Muscle car maniacs: not everyone who is shopping for your holiday gifts can afford that Holley Dominator carburetor you need for your hot rod, so why not add something a little more affordable to your list?
Something like the coffee table book Day One, from muscle car era participant Marty Schorr. For those of us who where around to experience the arrival of some of the most legendary machines in automotive history, Schorr puts us in the driver’s seat by relaying his first-hand experiences with the most incredible muscle cars.
That means not only factory machines, but also custom builds from the likes of Balwin-Motion, Yenko Chevrolet, Nickey Chevrolet, Royal Pontiac and Tasca Ford.
Day One includes cars like Pontiac’s 1962-‘63 lightweight Super-Duty 421 street car and Chevy’s ‘63 427 Mystery Motor Impala.
Ford had the 1963 1/2 427/425 Galaxie fastback, and Chrysler introduced the first 426 Street Hemi.
These incredible rides and more populate the pages of Day One, taking us back to times many of us missed.
So here’s your chance to catch up on what it was like when these iconic muscle cars debuted and how they were to drive, thanks to a man who tested them all himself back in the day.
Venerdì e sabato, dalle ore 19:00, quando entrerete nel giardini Montanelli per i concerti del Wired Next Fest troverete i controlli obbligatori “da concerto”.
Vi consigliamo vivamente di venire presto perché si potrebbero formare codee perché, raggiunta la capienza totale, chiuderanno i cancelli di tutto il parco.
Ricordate che non si potrà accedere con:valigie, trolley, borse,zaini più grandi di 15 litri di capienza; bombolettespray (inclusi antizanzare, deodoranti, creme solari), bevande alcoliche di qualsiasi gradazione, bevande contenute in lattine, bottiglie di vetro, borracce di metallo o bottiglie di plastica più grandi di 0,5 litri, bastoni per selfie e treppiedi, ombrelli e aste, penne e puntatori laser, droni e aeroplani telecomandati, strumenti musicali, apparecchiature per la registrazione audio/video, macchine fotografiche professionali o semiprofessionali, videocamere, GoPro, iPad, tablet.
Vietati anche tende e sacchi a pelo, trombette da stadio, armi, materiali esplosivi, fuochi d’artificio, fumogeni, razzi di segnalazione, pietre, catene, coltelli o altri oggetti da punta o da taglio, sostanze stupefacenti, veleni, sostanze nocive e materiale infiammabile.
What you see in the pictures wasn’t the stage effects of a costly rain machine. It was the forces of nature turning chances of rain into a biblical flood by the time guests reached the Chantilly riding course for the Christian Dior Cruise 2019 show. Here, with the equestrian hotspot’s Disney-like chateau on the horizon, Maria Grazia Chiuri’s collection looked a little homesick for the sun-drenched Mexico that had inspired it. A country dear to her heart, it provided the latest in her seemingly never-ending line of historic feminist references to fit the manifesto with which she entered Dior in 2016, immediately before Trump became president and a year before Time’s Up. Breaking glass ceilings has become a recurring a motif in Chiuri’s work as the ankle-skirted suffragette silhouette epitomised by her collections. This one’s muse: the escaramuzas of Mexico, a group of women riders, who first invaded the male-dominated Mexican charreada rodeo scene in the 1950s and did it their way. “But with pretty, feminine dress with embroidery,” Chiuri explained in a preview. “The shape is very fifties.” That, of course, tied in well with her reverence of Christian Dior’s New Look silhouette and the neo-feminist values this Roman designer has imbued it with since arriving at the house.
“In some way the message is that you can do what you want without having to lose your femininity. You don’t have to lose yourself. I find them really strong and really feminine at the same time,” she said. Clad in dresses inspired by their own tradition and created by Dior, the escaramuzas opened the show on their fluffy white ponies, braving the torrential rain (there was no roof) in an animated side-saddle performance that was ultimately quite cute. The ruffled skirts and Hispanic embroideries historically favoured by these female Mexican riders set the tone for a red-blooded, decidedly southern take on the look Chiuri has established at Dior. Those practical ankle-length skirts were more adorned than ever, most notably in Chantilly lace to fit the show’s setting, reworked into more lightweight interpretations or interweaved with leather for a tougher look. “It’s very difficult to make lace in a modern way,” she noted. The balance between the ultra-delicate femininity and the sturdy elements with which Chiuri infuses it to reach her message of female empowerment was never as apparent as in the hard, wide leather belts used to armour her delicately-dressed models at the waist, or the rubberised leather wellies that made them trot down the wooden floorboards surrounding the riding course.
For all her devotion to the 1950s, Chiuri’s work often has an East African colonial vibe about it – cf. Out of Africa – which was even more expressed in this collection’s shirts and ties and safari-coloured Japanese cotton takes on the New Look skirt-suit, or the toile de jouy to which Chiuri had added wildcats. The latter was the most outstanding element in the collection: a classic, beautiful thing quite simply made more interesting. Two years into the designer’s tenure at Dior, her creative language has been entirely cemented: the fitted top, the long skirt, the defined waist, the flats. The silhouette and its components seem like the template that starts her every collection, unfazed by predictability or repetition. “It’s very simple: I desire what I do. I’m not only a designer, I’m a woman who buys fashion. So it’s very easy. If you like fashion, sometimes it’s important to design what you really desire, not just what you think is right. That’s my not-so-big secret,” Chiuri reflected. “Women love the same things all around the world. We are all connected.”
Bikini shopping is, to be frank, a terrible activity: fraught with the insecurity that comes from wearing essentially underwear in brightly-lit changing room, or ordering endless different sizes from online retailers only to discover that none of them fit. The only way to ease the pain is by confidently knowing what you want: which style suits your taste, whether you prefer print or plain, if you like a tiny one or fuller coverage. Here are our favourites, handily divided into simple categories just in time for the bank holiday. You’re welcome.
The perfect accessory can complete one’s look and in light of this, Essie and BaublebBar joined forces to offer consumers a collection of color coordinated nail polish and earrings.
This line enables individuals to match their jewelry to their nail polish, making for a gorgeous combination that’ll help anyone look more put together. The colors selected for this line are ones which can be worn both day and night, arriving in hues of light pink, coral, gold and navy. The jewelry ranges from “dangling baubles, beaded chandler earrings to trendy tasseled styles,” offering something a little more audacious to turn some heads.
All of the available nail polish, which arrives in shades to match the jewelry, ranges from sheer to sparkling finishes.
Tired of those tiny sunglasses with pea-sized lenses that are, yes, very Instagrammable but do nothing to protect against the sun? Look to Princess Anne, a very unlikely style icon paving the way for the next big eyewear trend. Today, the 67-year-old, fresh off Saturday’s royal wedding between her nephew Prince Harry and Meghan Markle, attended the Chelsea Flower Show wearing a pert cream coat and kicky brown pumps that she coolly accessorized with a pair of sporty Adidas sunglasses. The frameless aerodynamic sunnies, which boasted mahogany red polarized lenses and are more often worn by UV-conscious athletes than an event-hopping royal, added just the right amount of contrast to the princess’s otherwise very prim look.
While Princess Anne’s choice seems a bit unorthodox—both because it is more expected for her to wear a classic Jackie O–type pair and also because they don’t resemble the current wave of Matrix sunglasses—the royal is actually right on trend. For Spring 2018, both Stella McCartney and Fenty x Puma showed some sporty incarnations on the runway—and it looks like like Princess Anne beat all of the Instagirls to the sun-deflecting punch by test-driving a pair first. What a ray of light.
As Letícia, clad in a fluttering pink bridesmaid’s dress, walked to the center of the rose garden ahead of the bride, my 7-year-old reached his hand sideways, groping for my purse. He located his camera, held it up, and began snapping photos of his beloved babysitter in this beautiful setting. “I can show her later,” he said, putting down his dinged-up old Canon with the burned-out circle in the top left of the screen. “She might want to see.”
I also have a younger son, who is 3. Anyone with multiple kids is familiar with the Law of Conservation of Object Possession: For any item of desire obtained by Kid A, an analog must also be obtained by Kid B.
So the 3-year-old got his own camera. It’s a cute little thing, with grippy side handles and a binocular-style viewfinder. But oh, the interface. You can take photos, yes. But you can also festoon them with stamps and frames and even use them to play games. The camera makes a lot of uncameralike bloopy sound effects. I had given him something that I hoped would be a heads-up experience for him, but what he had in his hands was something that, to my mind, just pulled his gaze down into his lap.
“Children go out in the world, they look, they see—and a camera is another way for them to capture that,” says Tovah P. Klein, director of the Barnard College Center for Toddler Development and author of How Toddlers Thrive. “You were putting him in the world to look around.” And the stamps and games? “Those took him out of it.” The digital add-ons are a distraction that pulls their focus (literally) away from picture-taking and into a world of silly hats and goofy effects. And developmentally, little kids are very bad at filtering out distractions. “The more simple the toy they’re given,” Klein says, “the more they discover for themselves.”
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The me who wants to just get the dishes done was secretly OK with how face-sucking this camera was. But the me who frets about the Deleterious Impact Screens Are Having On the Young won out, and I was tragically, inexplicably unable to fix the camera after it “broke” one day. He has a no-frills one now, and his dad wondered if it was too boring. He didn’t have to worry.
“We seem to feel that we have an obligation to entertain our children every second of every day. And we don’t want to give them two seconds to get bored,” says Michael Rich, director of the Center on Media and Child Health at Harvard and author of online advice column “Ask the Mediatrician.” “Boredom is where creativity is born. Boredom is not the enemy. Boredom is the friend. Boredom is what gives rise to ‘What happens when I take a picture between my fingers? What happens when I turn the camera sideways?’”
I’ll just be over here patting myself on the back. Except. As I was writing this, I scrolled through all the photos my younger son had taken. (I fixed the silly camera by, uh, flipping one of the batteries back around.) On it I found shaky pictures of our Roomba. One Blair Witch-esque selfie. Photos of tabletops.
But there was something else: shots of his older brother taking his own pictures on his own camera. For all its distractions and hot dog overlays, the bloopy camera was still a beautiful, if blurry, record of two boys, heads up, looking out at the world, taking pictures together.
And yet the impact on Givenchy and Stella McCartney, the two design houses responsible for the duchess of Sussex’s gowns that day, is likely to be felt for years to come. Same goes for the silhouettes Markle chose to wear, which could more generally affect the bridal market as a whole. One need only look at the Meghan-inspired wedding gowns that were announced within hours of the wedding, with the intention to ship in a matter of weeks. The royal wedding fury isn’t about to die down any time soon.
Ever since she and Prince Harry went public with their relationship, Markle has had an effect on retail. Dubbed the Meghan Effect (or the Markle Sparkle), brands can’t keep the items she wears in stock—whether it’s a Strathberry handbag or a coat from Line the Label. Still, all estimates say that this phenomenon will only be kicked into overdrive with all things wedding related: Ahead of the royal wedding, consultancy firm Brand Finance estimated that Markle’s fashion choices for the big day would generate about $212 million in retail and apparel sales.
It’s a staggering number, but one that the data from the big day supports.
Search terms like “Meghan Markle First Wedding Dress” and “Meghan Markle Second Dress” saw huge spikes in Google on May 19, so did the two brands Markle wore for the occasion, Givenchy and Stella McCartney, along with the name of the first gown’s designer, Clare Waight Keller.
According to InfluencerDB, an influencer marketing software, @givenchyofficial got 3,002 mentions and generated 12,234,710 likes on Instagram; @stellamccartney, meanwhile, got 1,840 mentions and racked up 9,605,198 likes; @clarewaightkeller, 827 times mentions and 8,907,933 likes. By these metrics, the company estimates that Givenchy has earned $2.9 million while Stella McCartney has garnered $2 million just from its coverage on this one social platform.
In data supplied to Glamour, eBay reported that searches for items related to Meghan Markle rose 146 percent on May 19 in the U.S. and U.K. (The impact was particularly felt Stateside, where U.S.-based shoppers searched for Meghan Markle–related items nearly five times more than those across the pond.) On that day Givenchy was the most searched-for brand on eBay; other fashion labels associated with the royal wedding, including Oscar de la Renta (worn by Markle’s mother, Doria Ragland) and Vivienne Westwood (worn by Priyanka Chopra), rounded out the top five.
Per e-commerce aggregator Lyst, traffic to Stella McCartney dresses increased by 3,000 percent on May 19, compared with the previous day.
Not only does the data suggest just how fascinated people were with the wedding itself but also how in tune they were to its details, taking into account things like who the creative director of Givenchy is, who’s responsible for the mother-of-the-bride look, and even what the protocol was around the bride wearing two dresses to the royal wedding.
“For a design house to create a gown for a royal wedding of this magnitude, it has a phenomenal effect on the brand,” royal wedding expert and British bridal designer Caroline Castigliano tells Glamour. “Look at Alexander McQueen after the marriage of Kate Middleton to Prince William…. The gown elevated then little known Sarah Burton [the creative director of Alexander McQueen]…and the brand has gone from strength to strength across the world since.” This type of exposure could have a similar impact on Waight Keller, who, until know, has been little known outside of the fashion world: “While Givenchy is a successful and very famous design house, the creative director [is putting her] stamp on the brand quickly [because of this],” per Castigliano. “LVMH, which owns Givenchy, must be thrilled.”
It’s not just the brands associated with the wedding that will likely see a boost—don’t be surprised if you see bridal trends reminiscent of both of Markle’s wedding dress styles and choice of tiara. (eBay, for instance, saw a 72 percent increase in searches for tiaras on May 19, compared with a day earlier.)
“When you look back in history at royal weddings, you can see that in the eighties, when Princess Diana married Prince Charles, full dresses with leg-o’-mutton sleeves, became very fashionable,” Castigliano shares. Same goes with Princess Margaret’s gown from her 1960 nuptials: “Princess Margaret married in a stunning gown by Norman Hartnell. While a ball gown shape, the gown was classic in styling with a long sleeve and high neckline with a fitted bodice…. Her gown was iconic and has influenced bridal design for years.”
Then, of course, there’s Middleton’s Alexander McQueen wedding dress, which had a huge impact on the bridal trends (and is still inspiring dress styles in 2018)—though, it didn’t happen overnight.
“Kate Middleton’s long-sleeve, V-neck and lace wedding gown shook the bridal gown retail business where the strapless gown had been the number-one seller,” Susan Ashbrook, celebrity product placement guru and author of Will Work for Shoes: The Business Behind Red Carpet Product Placement, tells Glamour.
“We found that trends spotted at Duchess Kate’s wedding, such as long lace sleeves and high-necked bridesmaids dresses, like Pippa’s gown, took a few months to gain popularity,” Lori Conley, senior vice president for merchandising, design, and product development for David’s Bridal, tells Glamour. “Consider the time it takes to plan a wedding. Most brides purchase dresses nine to 10 months before the wedding, so newly engaged brides may purchase royal-inspired gowns; however, we may not see the trend showing up at weddings for many months.” It might’ve taken a bit, but Middleton’s dress did have staying power: “Seven years after that wedding, we continue to see dominance of several trends evoked by her gown, for example the neckline, deep V, and structured lace.”
The duchess of Cambridge’s wedding gown also killed the strapless wedding dress trend: Before the 2011 royal wedding, 75 percent of the dresses David’s Bridal sold were strapless; nowadays, 65 percent of brides opt for a more covered-up style, whether that’s tank straps or full sleeves…like Kate’s. The bridal retailer is using these learnings to shape its response to this royal wedding: “[We] are not replicating Meghan’s dress…[but] we will look to be inspired by her gown and create our own interpretations,” says Conley.
Some bridal brands, though, have already doubled down. Morilee, which is designed by Madeline Gardner, started working on its riff on Markle’s wedding dress soon after the wedding, with plans to put it up for sale in the weeks following.
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Direct-to-consumer wedding brand Floravere also just released its own Meghan-inspired gown, available to shoppers for $1,475.
“Members of our team were up at 5:00 A.M. on the West Coast waiting to see what she wore, mimosas may or may not have been involved,” Denise Jin, its cofounder, tells Glamour. “Since then…our collective of designers and artisans have been working around the clock to craft something really beautiful and one-of-a-kind that still captures the best qualities of her dress.”
Floravere isn’t a brand that regularly looks to celebrities for inspiration, but Markle and her dress felt like a unique opportunity, according to Jin.
“In a lot of ways, Meghan really stole our hearts because she’s not just a celebrity bride; she’s a trailblazer,” Jin says. “We were really inspired by their love story and the way she infused her own identity into the wedding. That ethos and independent spirit is exactly what we love about modern brides, and ultimately, those are the women who inspire us and who we design for.”
What drew Floravere to Markle might just get at why this royal wedding will be such a retail juggernaut—because of what it and Markle represent.
The duchess of Sussex is very much a new kind of royal: biracial, a self-proclaimed feminist, an activist, a past successful career (in Hollywood, no less)…. Because of that and more, she stands for an inclusivity that might make her one of the biggest style influencers in history. “Her subtle taste in all facets of her role as duchess of Sussex will influence a new generation,” says Ashbrook.