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Search resuls for: "Landon Nordeman"


3 mentions found


Hats may follow horses around the world, from the Kentucky Derby to the Dubai World Cup and the Hong Kong Cup, but nothing tops the … well, toppers at Ascot, founded in 1711 by Queen Anne. Perhaps it’s because of “My Fair Lady” and the extraordinary black and white lace hat Cecil Beaton created for Eliza Doolittle when she made her Ascot debut. Or maybe it’s thanks to Queen Elizabeth II, whose twin passions for horses and hats reached their apex at Ascot. “To err on the side of extravagance as opposed to modesty is a joy for everyone,” said the milliner Stephen Jones, who reported that he once made an Ascot hat out of feathers for Jasmine Guinness, the aristo-model, in the shape of a feathered pinwheel about two feet high. “There are so few rules in dressing anymore that to dress up is part of the reason for going to Ascot.
Persons: Queen Anne, , Cecil Beaton, Eliza Doolittle, Queen Elizabeth II, Stephen Jones, Jasmine Guinness Organizations: Royal Ascot, Kentucky Derby, Dubai, Hong Kong, Ascot Locations: Ascot
Up the carpeted stairs, past the tuxedoed photographers, Anna Wintour stood at the top of the steps at the Metropolitan Museum of Art’s Costume Institute benefit. “Your royal highnesses,” Baz Luhrmann, the Australian film director, said as he approached Bad Bunny, Jennifer Lopez and Chris Hemsworth, who were standing in a receiving line with Ms. Wintour. The space had been transformed by greenery, filled with string musicians and dancers, creating a “Midsummer Night’s” dreamscape just off Fifth Avenue. “How is it out there?” Ms. Wintour said, adding, “You look incredible.”One by one, the stratospherically famous faces that captivate imaginations worldwide walked carefully up the stairs and stopped to talk to the row of co-chairs. (Zendaya, the fifth co-chair, did not make it to the perch.)
Persons: Anna Wintour, ” Baz Luhrmann, Bad Bunny, Jennifer Lopez, Chris Hemsworth, Wintour, dreamscape, Ms Organizations: Metropolitan Museum, Art’s Costume Institute Locations: Australian
Yannick Nézet-Séguin, the Metropolitan Opera’s music director, dressed in a blazing sapphire jacket and trim black pants, stood before a mirror backstage on a recent afternoon and smiled. “Oh my God, it’s so good,” he said, waving his baton. His outfit was modeled on one worn onstage by a band leader in Franco Zeffirelli’s classic production. Could the golden braid that dangled from his right shoulder be fastened, so it did not create a distraction in the pit? Was the jacket comfortable enough to accommodate the sweeping gestures that the music demanded?
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