John Barnes had it all. Two-footed, fast, strong, clever, a creator and scorer of goals with a temperament that allowed him to play on when fans were racially abusing him and throwing bananas on the pitch – infamously, but not exclusively, at Goodison Park where he once back-heeled one disdainfully off the pitch in a Merseyside derby. He didn’t so much beat defenders as put them in a trance and tiptoe past without their noticing, nowhere more so than in his debut goal for England in 1984 when he skipped through the Brazilian defence in the Maracanã with ridiculous ease.
He took part in two World Cups but was injured when England played West Germany in the defining international game of his era. He only played for 15 minutes in the previous tournament in ’86, but lit it up in the quarter-final against Argentina, with a famous display on the left wing, providing two sublime crosses for Gary Lineker, one of which he scored and the other which prompted Barry Davies to exclaim, “John Barnes. And every Englishman will surely be saying, ‘Go on, run at them!’ It’s a good cross… Yes! No!” The pace he once showed on the pitch is now reserved for his speech, which is rapid-fire…
GQ: What do you think of the squad we’re taking to Russia? John Barnes: They’ve got lots of talent in that squad. They’ve got pace, ability, skill. What they haven’t got is experience, and experience counts for a lot because without it you can get inconsistency, as we’ve seen. So when we’ve played against some of the top teams we’ve done well, but not so much against some of the lesser teams. That will only come with time and support. I think at the last World Cup we expected too much of the team. I’m hoping for us to lower our expectations, because if we get to the quarter-finals we will have done well. And, of course, in a quarter-final we can beat anybody, but we can also lose. We should progress from the group, and the way it’s been set up we should win our last-16 game. After that we could get Spain or Brazil in the quarter-final and we can beat them, but they can also beat us. But if we put too much pressure on these young boys and if we say, “Well, if we don’t make the semifinal it’s a failure…” No. What’s important is that we support these young players, who have a lot of potential. Their confidence will grow, they’ll have greater experience and in two years’ time in the Euros, and four years’ time in the 2022 World Cup, they’re still young enough to put on a better showing. That’s not to say we can’t go to the semifinal or even the final, but if we don’t, let’s not be too critical and too harsh on them.
Sven-Göran Eriksson has said England players will be tired after a long season. Do you agree? Not at all. And the more people harp on about that, the more it will play on their minds. If things aren’t going well, you can convince yourself you are tired. Why should you be tired? The whole thing about the winter break? The winter break in Germany will be two or three weeks. Nothing. It’s a bit of a myth. Maybe the game’s got more physical, but that’s the nature of it. You’re 23, 24 years old, you look after yourself, you should be able to play, you’re fit. In my day, the whole drinking culture was different and you didn’t necessarily look after yourself, but nowadays they’re supreme athletes and I don’t want to even give them that excuse.
You talk about experience and you played at two World Cups. Were you a better player at the 1990 tournament than you were in 1986? Well, I had a lot of injuries leading up to the 1990 tournament. From the point of view of age and experience, I was a better player than in ’86, but, physically, I wasn’t at my best and I should have been because I was 27. I should have been in my prime. But the team itself in 1990 was a better team than ’86. We had the right blend of youth and experience. The best performance was against West Germany when we lost. You have to say we were fortunate against Belgium and against Cameroon – they went down to ten men – but we had a lot of experience of getting through adversity. That team could get results without necessarily playing well, whereas this team now, if they come up against adversity, are they able to win matches in adversity? I think probably not. I think this team has to play well to win matches. But it’s a young, growing team, so I’ll support them whatever.
You were injured in the quarter-final against Cameroon and didn’t play against West Germany. Had we won that, would you, hypothetically, have been fit for the final? I don’t think I would have been fit. I might have played, but I don’t think I would have been fit! [Laughs.] I would have had three days to get fit. I don’t know… It would have been up to Bobby Robson, wouldn’t it? But I would definitely have been available for selection, as we say. To be honest, it would have been the wrong thing to do, but how could you turn down the chance to play in a World Cup final?
Is team spirit more important than individual ability when it comes to a tournament like the Euros or the World Cup? Absolutely. Look at what Wales achieved. They went with low expectations, but they had togetherness and team spirit. Look, you’re not at a World Cup or a European Championship if you’re a bad player. You’re not playing for England if you’re a bad player. Individual quality is important, but team spirit for me is of greater importance. Regardless of what people might say about ’86 and Diego Maradona, and of course he was a superstar and the best player in the world, but that was a really good Argentina team. They had Olarticoechea, Burruchaga, Jorge Valdano. Maradona overshadowed them, but the reason they won it was because of the strength and togetherness of that team.
There were 114,000 people in the Aztec Stadium for that quarter-final between England and Argentina, nearly all of them supporting Argentina. Was that the biggest crowd you ever played in front of? Probably would have been, although Wembley held 100,000 in those days. But crowds never affected me at all. It didn’t matter whether they were cheering me or booing me, it made no difference. I wasn’t one of those players who was positive or negative because of the crowd. A lot of people were inspired or put off by a crowd, but that wasn’t me. I really just shut it out. That was just the person I was. I never got carried away. Triumph or disaster, the way you treat them both? After the Arsenal game when we lost 2-0, [the climax of the 1988-89 season, when Liverpool lost the title] I didn’t wallow in self-pity. I didn’t get too excited when we won or too depressed when we lost. That was just the person I was.
You came on as a substitute in the 76th minute of that quarter-final and everything changed… People always say that and say, “You should have played from the start.” But if I’d played from the start, I could have fallen over in the first minute, lost confidence and been substituted. It doesn’t follow that I should have been on from the start.
I wasn’t actually going to say that… [Laughs.] Well, you should have been saying that!
What I was going to say was: do you ever ask Gary Lineker how he missed that second cross? Oh, he didn’t miss it. It was great defending. If there was anyone in the world I would have wanted on the end of that cross it was Gary Lineker. He didn’t miss it. It was just amazing defending.
If you had to put a bet on a winner of this World Cup, who would it be? Well, every time a World Cup comes around, I bet on Brazil. But I think Brazil have a younger squad, playing Brazilian-type football, [with] players like Firmino, Coutinho. At the last World Cup, I think they relied too heavily on Neymar. After that, I’d be looking at Spain and France. And after winning the Euros and the World Cup, do Germany have the hunger? It might be like Spain in the last World Cup. I think Spain will be strong again, so I’ll go for them or Brazil.
Which team is worth an outside bet? Croatia.
Who in the England team do you find exciting? Raheem Sterling, obviously, for the way he plays. But I think for England to do well we need Harry Kane to score lots of goals. No matter how well Raheem Sterling plays, he’s not necessarily going to score many. To do well we need to score goals and apart from Harry Kane, I don’t see any real goalscorers in the team.
Prior to the 1990 World Cup, there was a lot of negativity about England. Oh, yes, definitely. That’s why experience counts for a lot. We had a bit of a siege mentality. The press were giving Bobby a hard time, giving the team a hard time and we probably didn’t help ourselves by sneaking out late at night. It’s a bit different now in terms of the support the press are giving the team, but back then it was different. The adversity I was talking about was not just on the pitch, but off it as well, and we really had to come together as a team. One of the sad aspects of modern football, at club and international level and it’s much more apparent now than it was in my day, is that individual players put themselves above their teammates. They see themselves as better than their teammates, either in terms of prestige or social media, and this makes individual players much more important, so it’s even more necessary to stick together as a team. Because if players aren’t playing well or scoring, other players will think I should be in the team because I have more followers on social media, my fans think I’m better than him, I think I’m better than him. That’s a modern phenomenon, but, in my day, we had a strong mentality as a team and it was forged through adversity. Imagine if we don’t win the first game? Obviously, I hope that we don’t, but in ’86 and ’90 we did not start well. So then we had to beat Belgium to qualify – that’s when you need togetherness.
Were you in a bubble in that 1990 tournament? Absolutely. But regardless of that, individual players, me being one, might have been going through a hard time and everybody got behind me and supported me. It’s different from how it is now, but I’m hoping there is humility throughout the team and that reverence is for the team, not individuals, because from a sponsor’s point of view, individual players need to be high-profile because of social media. All that has to be put on the back burner when you get to the tournament.
What is your favourite Paul Gascoigne story from Italia ’90? My favourite is one I only found out about years later when I worked with Thomas Berthold in South Africa. Berthold was the player Gazza fouled in the semifinal and it was because of that foul and the subsequent booking that he knew he wouldn’t be playing in the final, had we won. After he fouled him and Berthold was lying on the floor, Gazza went up to him and everyone thought he was rubbing him on the head to say sorry and Berthold was pushing him away. What actually happened – and Gazza told me this and Thomas confirmed it – was that after he kicked him, he saw the referee coming over and Gazza said to himself, as only Paul Gascoigne could in his own mind, that if the referee hears him screaming – and Gazza said he was screaming like a baby – if the referee hears him screaming, he’s going to book me. But if he doesn’t hear him screaming then maybe I won’t get booked. So I’m going to squeeze his lips shut. So that’s what he was trying to do. It didn’t work, but it was a brave effort.
When you played for England you were often the only black player playing. Do you think you would have enjoyed your international career more if you’d been playing in a more racially mixed squad like the England team of today? Not at all. There were lots of black players back then anyway, like Ricky Hill, Brian Stein, Cyrille Regis. It would have been enjoyable, but only because I enjoyed playing football. But I don’t enjoy playing football with black players more than I do white players. My teammates are my teammates. From the point of view of the abuse we got from the crowd, if there had been more black players, they would all have got it and they did. That was the nature of football back then; that was the nature of society back then. I couldn’t have had a more enjoyable time by playing with more black players at all.
Poetry in Motion is out on DVD on 4th August, johnbarnesfilm.com
Le défilé homme printemps-été 2019 de Xander Zhou, pendant la Fashion Week de Londres, a agité le Net ce dimanche 10 juin 2018. La cause ? Le créateur chinois, adepte d’une mode conceptuelle, a fait défiler des mannequins au ventre bien arrondi, au Queen Elizabeth Hall. À travers sa nouvelle collection, intitulée “New World baby“, Xander Zhou imagine un monde où les hommes peuvent tomber “enceints”. En légende d’un cliché posté sur Instagram, il écrivait “Nous sommes prêts à accueillir les grossesses masculines du futur”.
At Supernatural, Extraterrestrial Co., we’re prepared to welcome a future of male pregnancy. Model: Daniel Olze @daniolze Xander Zhou Spring/Summer 2019 _ Creatve direction: Xander Zhou @xanderzhou _ brought to you by Xander Zhou Studio team _ Music: Emil Schult @emilschult _ Styling: Gary David Moore @gary_david_moore Casting: Madeleine Østlie @maddeostlie Hair: Kiyoko Odo @kiyokoodo Make-up: Isamaya Ffrench @isamayaffrench Set design: Sophie Durham @_sophiedurham Production: Antony Waller @awandc _ Press Release: Ross Aston @rossaston Front of House Photography: Helle Moos @hellemoos PR: Agency Eleven @agencyeleven Sales: Nana Suzuki @suzukishowroom _ #xanderzhou #ss2019 #LFWM
Une publication partagée par Xander Zhou (@xanderzhou) le 11 Juin 2018 à 12 :15 PDT
Dans une interview accordée au magazine WWD, le designer confie : “C’est ma conception du futur. Je ne me suis pas inspiré des codes de la mode, ce n’est pas le monde réel pour moi. J’ai essayé de penser la collection comme un film, une histoire que j’ai imaginée, dans laquelle chaque mannequin représente un personnage“. Il ajoute : “Si vous voulez la jouer futuriste, c’est facile d’aller dans les extrêmes, avec de nombreuses touches métalliques et beaucoup de clichés. C’est plus intéressant de créer quelque chose de portable avec de petites touches futuristes. J’ai mis beaucoup de personnages d’extraterrestres dans des tenues vraiment basiques, et c’est ce contraste qui les rend encore plus irréels.” La question que tout le monde se pose : comment cela est possible ? Il ne s’agit pas de ventres à bière mais bien de prothèses, réalisées par la célèbre artiste make-up Isamaya French.
Episode 2: Transcending Art Film Project: Once Upon a Future – Apartment Creative Director: Xander Zhou x Gentle Monster @xanderzhou @gentlemonster Film Director: Rei Nadal @reinadal Stylist: Gary David Moore @gary_david_moore Casting director: Madeleine Østlie @maddeostlie Makeup Artist: Lucy Bridge @lucyjbridge Hair Artist: Yumi Nakada Dingle @yuminakadadingle Set Designer: Sophie Durham @_sophiedurham Production: PRETTYBIRD @prettybirdpic Fashion Production: Antony Waller @awandc Edit: Paul Moth at Final Cut @finalcutedit Colourist: Jessica Vile at Framestore @framestore Music: Matthew Heywood (Bruised Skies) @matthewtheywood
Une publication partagée par Xander Zhou (@xanderzhou) le 9 Juin 2018 à 6 :03 PDT
This weekend, 29 million Americans and 24 million people in the UK tuned in to watch Meghan Markle and Prince Harry’s royal wedding, from which the couple emerged officially as the Duke and Duchess of Sussex. With that kind of massive viewership, it’s unsurprising that the royal wedding has already influenced shoppers.
According to a report released by eBay, there are a few easy-to-spot trends that appeared in terms of search traffic after the weekend’s festivities. The first had to do with designers whose dresses were prominently worn at the wedding: Givenchy, the label behind the Duchess’s wedding ceremony gown, catapulted to the top of eBay’s search charts on Saturday. Vivienne Westwood, which was responsible for Priyanka Chopra’s lavender look, and Alexander McQueen, which was behind Kate Middleton’s dress, followed behind. Stella McCartney, the designer responsible for the Duchess’s second look of the day, as well as both Amal Clooney and Oprah’s outfits, also saw a boost.
While those major labels topped the most-searched chart list, two slightly smaller brands enjoyed the largest jump in search percentages. Searches for The Fold, the British brand responsible for Pippa Middleton’s floral dress, jumped a whopping 700 percent the day of the wedding, and Roksanda, the label behind Princess Beatrice’s look, saw a 500 percent leap.
In addition, eBay noted that pink dresses — like those worn by Oprah and Serena Williams — saw an increase in search traffic, as did yellow ones, in homage to Amal Clooney’s bold look. Polka dot dresses also saw a 20 percent jump in traffic, perhaps pointing to the influence of the Duchess’s former “Suits” co-star Abigail Spencer’s dress. Tiaras, like the one the Duchess wore with her veil, saw a 72 percent spike in traffic on the day of the wedding in comparison to the day prior.
But it turns out that not everyone wanted to get in on the royal wedding fun by dressing like someone who was there — some just wanted something, anything, that was connected to the new Duchess herself, with “Meghan Markle related items” seeing 47 percent more sales and 146 percent more searches on the big day. Prince Harry got left behind in that equation, as searches related to his name only saw a third of the numbers his wife’s did, but somehow, we get the feeling he’s happy enough just to be with his new bride.
Renée Zellweger is playing Judy Garland in an upcoming biopic, Judy, which mostly focuses on the last year of the iconic entertainer’s life. In a photo released as production began in March, it’s clear Zellweger looks the part, appearing identical to Garland in the photo.
But that doesn’t mean Garland’s family is on board. In a statement, her daughter Liza Minnelli noted that she doesn’t endorse the movie and hasn’t been working with Zellweger at all on her portrayal of Minnelli’s late mother.
Minnelli posted on her Facebook page in response to an online article (which has since been taken down) that claimed Zellweger was working with her during production of the movie. “I have never met nor spoken to Renée Zellweger,” she wrote. “I don’t know how these stories get started, but I do not approve nor sanction the upcoming film about Judy Garland in any way. Any reports to the contrary are 100% fiction.”
Judy will examine Garland’s life as she performs her final shows in London in 1968, interacts with her management, and starts a relationship with Mickey Deans, her fifth and last husband. Garland died a few months after those London performances due to an accidental overdose of barbiturates. The movie will showcase some of Garland’s most famous songs, like “Somewhere Over the Rainbow.”
It’s unclear whether other members of Garland’s family are involved in the production of Judy. Minnelli’s half-sister, Lorna Luft, wrote Me and My Shadows: A Family Memoir, which was turned into a 2001 miniseries. Neither Zellweger, Luft, nor the producers of Judy have responded to Minnelli’s statement.
On June 11, Minnelli shared a video of herself performing with Garland on Facebook. “She was taken from Lorna, Joey [Luft], and me far too soon,” she wrote to honor what would have been Garland’s 96th birthday.
It was amazing how good they all were about having to share me,” costume designer Sarah Edwards tells Vogue of dividing her time between the eight leading ladies of 2018’s summer blockbuster, Oceans 8. “Most of these actresses are used to being the star of a movie, not having to share that spot with seven others, but they were really respectful of each other.”
The calibre of the cast – Hollywood heavyweights Cate Blanchett, Sandra Bullock, Anne Hathaway star alongside Mindy Kaling, Sarah Paulson, Awkwafina, Rihanna and Helena Bonham Carter – also made Edwards’s job easier. “We got a lot of help from the fashion world,” she recalls of the costume department bulging with every major fashion brand. “There were a lot of people really interested in being a part of it.”
It was when Cartier came calling, however, that she realised the extent of the cast’s influence. The storied jeweller invited Edwards and Hathaway into its archive to select rare stones to complement her costumes as Daphne Kluger. “We sat in this incredible room and Cartier brought us trays and trays of jewellery,” she remembers. “We went through every single one and matched the jewellery to all of Anne’s outfit changes – it was incredible.” The luxury French house also created the magnificent Jeanne Toussaint necklace that is the focus of film’s Met Gala heist.
Ah, the heist. The master plan of Danny Ocean’s sister, Debbie (Sandra Bullock), and her team of money-hungry mates. Edwards’s team (15 styling assistants on normal days, near 50 for the gala shoot) dressed 300 extras in couture and designer dresses that PR agency KCD helped her source. “We couldn’t go to Macy’s and buy these dresses, it would never have looked real! We had to have access to authentic designer gowns.” Debbie Ocean’s crew wore archive Givenchy (Blanchett), Alberta Ferretti (Bullock), Zac Posen (Rihanna), Valentino (Hathaway), Dolce Gabbana (Bonham Carter), Naeem Khan (Kaling), Prada (Paulson) and Jonathan Simkhai (Awkwafina), but several celebrity cameos weren’t confirmed until the shoot day. Other high-profile actors, who Edwards will not name, turned up wearing red-carpet wear from their personal collections. The more the merrier, or rather, the more fabulous the better, was the mood.
If the gala finery marks the film’s glamorous climax, it’s the everyday uniforms of the octet that underline their personalities. Take Lou, the nightclub owner played by Blanchett, whose wardrobe screams of Keith Richards – all louche tailoring, patterned shirts and silk ties. “I did a lot of research into New York in the late Eighties and early Seventies – that kind of new wave meets rock‘n’roll era,” she explains. Sure enough, Richards was on the moodboard, alongside Debbie Harry, and also street style from the team’s extensive photography research. “It was important to try to incorporate real people’s style into every character,” Edwards asserts.
Blanchett’s suits came courtesy of Burberry, which “was amazing – the brand made them on such an incredible timeline.” But, in keeping with the cast’s “realness”, Edwards teamed Lou’s tailoring with thrift store items. “Her style is a real mix of everything – found items, designer items and inexpensive items that you can buy at the Army Navy store.”
Her eclecticism ricochets off Bullock’s somber style. “We really wanted Debbie to be cool, calm and collected, because she’s behind the heist and she’s been in prison for five years planning it,” Edwards explains. “There’s a stillness about her, so there’s a lot of clean lines and controlled colours in her wardrobe. She’s the polar opposite of Lou, because it’s an opposites attract kind of thing.”
Though Edwards is loathe to suggest a favourite character – “that’s like asking me who my favourite child is!” – or divulge whose wardrobe took the longest to curate (Bullock racks up some 65 outfit changes, with Blanchett coming close at 40), she does have a soft spot for Rihanna’s Oceans transformation. “She plays a computer hacker from the Caribbean, so I looked at pictures of Bob Marley, and other Rastafarians,” she says. “She wears very oversized clothes, so when we see her character at the Met Gala, it’s a major transformation. It’s really fun.”
Edwards started carving out the character and costume arcs with director Gary Ross back in 2016, so the recent attention the film has received in the wake of the Harvey Weinstein scandal has surprised her. The all-female reboot of the 1960 heist film Oceans 11 has been applauded during a time when Hollywood is analysing gender inequality in the workplace, but, Edwards points out, “we were making the movie before the Time’s Up movement. Even though the film suddenly seems a little more in the spotlight, what’s great is it was already happening before that.”
For Edwards, the film’s impact comes down to collaboration: from the cast and those in the “fashion world”, who lined up “in a way that you don’t get on every project.”
As usual, North West served up a major look this week, but this one has the Internet completely divided. The controversy stems from the sporty ensemble North wore on Thursday, the day before her fifth birthday. During an outing to Dylan’s Candy Bar in New York City, alongside a friend, her mom Kim Kardashian West, and Jonathan Cheban, North wore a hot pink Adidas windbreaker and matching shorts, white Yeezy sneakers, a candy choker necklace, a unicorn purse, and her long hair straightened and slicked back into a high ponytail with a single braid down her middle part, Elle U.K. reports.
As the pictures made their way across the Internet on Thursday, many people took issue with North’s pin-straight hair, criticizing Kardashian West, a white woman, for straightening her half-black daughter’s natural curls. They expressed their disapproval on Twitter, where one wrote, “Y’all…. Kim really straightened out her baby’s hair. That’s sad, what is she like 6? Leave her natural hair alone.”
Others, however, came to Kardashian West’s defense. While some suggested that North herself — a budding style icon who has been known to design her own clothes and do her famous family members’ makeup — may have requested the hairstyle as a birthday style switch-up, others maintained that the haters have no right to criticize Kardashian West (or any other parent for that matter) for how she raises her children. Still, others pointed out that North is far from the only child to ever have her curls straightened and assured worried onlookers that her curl pattern will likely be fine.
For her part, Kardashian West has previously expressed her desire to help North embrace her natural texture. In a 2016 episode of Keeping Up With the Kardashians, the mom of three took braiding lessons so she could learn how to style and take better care of North’s hair.
For the September 2017 issue of Interview magazine, in which she appeared alongside North in a Jackie O–inspired shoot, Kardashian West spoke about how “important” it was to her that North had people around her with natural hair and learned to love her texture. “She’s obsessed with her curly hair, and if she finds someone who has the same hair, she runs to them and is like, ‘You have curly hair like me?’ And we get to talk about it. We also talk about it with my niece Penelope, because she and North look really different, but they’re best friends and they’re together all the time.”
More on Little Northie:
North West Just Did a Full-Face Makeover On One of Kim Kardashian’s Friends
North West Wants to Do Makeup Tutorials — and I Want to Watch Them
Kim Kardashian on gender equality and how she’ll teach North and west the same things
Now, watch Rihanna’s makeup artist break down some of her looks:
If you thought people would stop piling ridiculous and wholly unnecessary criticism on Meghan Markle‘s style choices once she married Prince Harry and officially became the Duchess of Sussex, then it sounds like you’ve been living on a lovely planet far, far away from Earth. Here on this planet, it seems some people still can’t stop scrutinizing and criticizing every inch of Markle’s appearance, and their latest rude comments just might have set a new record for most ridiculous cyberbullying in the history of the Internet.
On Thursday, Markle accompanied Queen Elizabeth II on her private train for a one-on-one royal outing to Cheshire in Northern England. The pair looked quite happy to be spending time together, despite the fact that they were battling gale-force winds the entire time they were outside. According to the BBC, Storm Hector hit the U.K. on Thursday, bringing heavy rains to some parts of the region and strong winds of up to 74 miles per hour. Despite the countrywide phenomenon that caused lasting damage to many homes and trees, however, some people still took it upon themselves to shame Markle for — gasp! — letting her hair blow in the wind.
“You should have informed Meghan Cheshire is having high winds so she could have tied her hair back,” one person replied to the official Kensington Palace Twitter account’s photo of the duchess and queen together. “Agree. She looks sloppy with her hair loose….” another added. Fortunately, several others pointed out the obvious, tweeting back that, in fact, Markle cannot control the weather, and that “the wind blows hair, it happens.”
Also, it’s worth pointing out that when Markle does wear her hair up, she’s usually criticized for that, too.
And, to be fair, that group has done an impressive job of not acting like a big corporate boss, and essentially leaving the Alaïa house alone except to support it in whatever it wanted to do (sometimes have a show, sometimes not). Richemont was even smart enough not to try to parachute in a new designer after the unexpected death of the founder last November, and to let the studio carry on his legacy — which also happens to be protected by a foundation the designer created. But that approach has been the exception rather than the rule.
Despite the lip service paid these days to the idea of consumers in search of the rare and one-off in a world where the digisphere has made so much so available, the tendency has been, at least when it comes to the big groups, to make brands more available: to open stores and push e-commerce and make a bid for shopper’s attention at every point possible. But that was never the Van Noten way.
It’s possible that Puig understands this and will simply let Dries be Dries. He will, after all, remain the creative director (or chief creative officer) and executive chairman. The brand is staying in Antwerp. And there’s a good chance he would like a few more stores, and a little more market share — more recognition of what he does — plus a perfume or two without having to worry about the capital expense. No one ever said he was not ambitious. Plus, there’s always vacation.
And it’s possible that Puig’s reputation as highly conservative investors in its fashion brands, an approach that has driven many of their designers batty, may actually work in Mr. Van Noten’s favor.