Cone bras! Rumoured Wang getups! All the scoop (and sketches!) on Madonna’s upcoming MDNA tour costumes | Hollywood yohana

It should come as no surprise that Her Madgesty is going to be royally decked out for her upcoming MDNA concert tour. The fact that Jean Paul Gaultier, her long-time collaborator (and creator of that oh-so-famous conical bra), is already on board is reason enough to get excited about the costumes, but now WWD is reporting that Jeremy Scott and Alexander Wang will both be creating stage outfits as well.

Madge will be running through no less than eight outfit changes during the concert, from a metal mesh warrior number to a sleek cat woman suit, though we doubt any will be as exciting to see as her Jean Paul Gaultier “Vogue” number. Drawing heavy inspiration from the iconic powder pink bra worn during her ‘90s Blond Ambition tour, Gaultier has designed a 3D recreation of the conical bra out of a combination of patent and metallic leather. It will be tethered around a strong but sexy menswear look, complete with a pair of pinstripe trousers, a button-down shirt and a black tie. For a little taste of fetishism (it’s Madonna, after all), the whole look is topped off with elbow-length black leather gloves.
“It’s all about masculine and feminine, Madonna and Jean Paul Gaultier classics reinterpreted for 2012,” the designer said.
For those of us who have pored over Madonna’s many fashion moments as much as her music, the stage during the MDNA concert tour will be eye-candy overload. Aside from Madge’s costume design trio, Dolce & Gabbana will be designing suits for her band, Fausto Puglisi is creating veritable art pieces for the backup dancers (including ram’s head masks and bandolier vests) and J Brand will be designing custom-made jeans. Oh, and Madonna’s high-octane performances will all be danced away in Prada and Miu Miu shoes.
Madge… you’ve outdone yourself yet again.

Sugar High: Soft pastels and frothy silhouettes are on the menu this spring | Hollywood yohana

Sugar High. From left to right: Ralph Lauren, Louis Vuitton, Chanel, Versace Spring 2012. Photography by Peter Stigter.

Louis Vuitton show for Spring 2012 opened with the tinkling of a music box and the rising of a scrim to reveal a carousel carrying girls in pale dresses on cream-coloured ponies. It might have seemed a saccharine set-up, but such a response could just be a bad case of not getting it. The news of the season is gentle news. That’s what Marc Jacobs got so right at Louis Vuitton. All the white and those whitened pastels—a key colour trend, favoured by both traditionalists such as Ralph Lauren and more experimental types such as Christopher Kane and Hussein Chalayan—might have appeared to be borrowed from a bag of miniature marshmallows. But the candied palette was not there simply to satisfy a sweet tooth. It also appeals to a Bluetooth appetite when dished out in fabrics that are marvels of modern technology—things like foam organza, silk cellophane and laser-cut leatherette. For the theory-minded, it’s tempting to conclude from the fact that we live in times when you see toddlers dressed in skull patterns and infants swaddled in camo-print blankets that it’s only logical their moms should start playing with pink and baby blue.
There is a dreamy innocence to a lot of this spring’s collections—all the soft tints, the floral patterns, the daisies, the roses—but it’s not to be mistaken for immaturity. The shoes at Louis Vuitton featured childish Mary Jane straps on high-heeled mules, the most kick-offable footwear ever invented and not intended for kids’ play. The clothes, too, had a way of blending sugar and spice. There was a mild-looking jacket that » was made from powdered crocodile, with zippered pockets that a biker chick might want and a flared peplum that recalled the womanly silhouette of Dior in the late 1940s. (The word “peplum” goes back to ancient Greece and is derived from peplos, a kind of outer robe or shawl.) These flounces, ruffles and clean lines also framed the hips of models walking at Céline, Giorgio Armani and Jason Wu.

It’s undeniable that fashion this spring is out to celebrate the female form. Besides the peplum attracting attention to the waist and hips, there are also bras, bandeaus and cropped tops to expose the midriff, as it was at Dolce & Gabbana, Versace, Emilio Pucci, Oscar de la Renta, Missoni, Alexander Wang and, most unapologetically, Prada. Miuccia did it in the name of sweetness, not to scare us with the ghost of Britney. In fact, several pop stars, Katy Perry being the most inescapable, have toyed with cartoon visions of femininity.
But there was nothing infantile about the bare bellies at Prada. Bandeaus went under jackets of loose, utilitarian cut and were worn with pleated skirts, which were not hiked up schoolgirl-style but fell to a graceful longer length, making for a balance between brazen and demure. There were echoes of a ladylike refinement in the jewellery at Prada as well. The drop earrings seemed particularly sedate compared to some of the collection’s more raffish references, such as the images of big-finned automobiles that appeared in prints or the hot-rod flames shooting from the heels of shoes. Similarly, at Jil Sander, designer Raf Simons used accessories to lend an edge of aged authority to the clothes, a rare move given fashion is more likely to promote mutton dressed as lamb than to suggest that young women might learn from following the example of their elders. In this same show there were pantsuits, even some with short pants, worn by models with Grace Kelly–smooth hair, as if to salute the soignée coiffure of yesteryear. Sometimes that hair was topped by hats with veils reminiscent of old-time millinery and old-school propriety.
Conforming to conventional standards can also have a downside. In presenting her spring Comme des Garçons collection, Rei Kawakubo showed nothing but girls in white dresses. They were beautiful dresses; with their elaborate rosettes and big satin bows, they looked fancy enough to be ceremonial. But built like cages that looked like bell jars, with arms encumbered, even bound together by shiny ribbons, they were at once a celebration of the mode and a call for manners.

Daily Steal: Geometric print linen tank, $30 | Hollywood yohana

The trendy print and low back on this luxe linen tank makes this piece a summer wardrobe standout.
Zara geometric print linen tank ($30, zara 

Inside Fashion’s Night Out’s pre-party in Vancouver: Jason Matlo’s stellar fall showcase, stylish partygoers and more! | Hollywood yohana

Vancouver announced it’s coming out of the closet and into the streets and stores to throw its own official Fashion’s Night Out (FNO) on September 6 of this year. The invite for the launch-come-fashion show decreed “afternoon elegance” as the dress code to suit the Shangri-La Hotel location, and most attendees obliged.
At the press conference, details of the event were announced by Vancouver Fashion Showcase, the licensed local organizer of the global initiative instigated in 2009 by Anna Wintour, and advisory team Alexandra Suhner Isenberg of Searching for Style and designer Jason Matlo. The September event is expected to include the participation of 90-some fashion and beauty retailers, as well as restaurants.

Since press conferences aren’t exactly titillating, there were pre-cocktails and an après fashion show for Matlo’s Fall 2012 collection (he’ll show his Spring 2013 collection on the evening of FNO). Guests that heel-shuffled from lobby to front row of the outdoor runway included actress Carly Pope, stylist Leila Bani, and FASHION Style Panel contributors Alicia Quan of Alicia Fashionista and Niki Blasina of A Haute Mess. Fittingly, some of Matlo’s black over white lace overlays seemed to create a cityscape outline. Perhaps that’s what we’ll wear to shop till we drop come September.

10 fully styled affordable outfits that make a pricey PS1 a totally reasonable purchase! | Hollywood yohana

Cost per wear: PS1

This one is for all you designer diehards out there—the ones who would risk their rent on the latest Riccardo Tisci masterpiece. You know what it’s like to go without the many, only to behold the fashionable few. But how do you justify that one outlandish designer purchase? We’re here to help. We’ve done the math, and come up with enough affordable outfits to justify that one gotta-have-it-now item.
Case in point: Proenza Schouler’s latest PS1. Despite the designers’ intention to create just the opposite, Jack and Laz created a beast of a must-have in the classic style back in ’08, and its Spring 2012 iteration has us seeing stars (or rather, tropical flowers). At a cool $1,125 for the Pochette model, we figure you’ve gotta wear this guy quite a few times to make it work, and being bright yellow, that ain’t an easy feat. Working out to just under $113 a wear, we’ve styled 10 full and unique looks on Marta that make the PS1 proud.
Have a peek. Foam at the mouth. And then be happy that no other single item in the gallery costs anywhere close to $1,125.

Two-toned nude dress, $40 | Hollywood yohana

 This elegant nude dress from Zara just got marked down, meaning the chic details and two-tone colours can be all yours for a fraction of its original cost. Zara short front dress ($40, 

Pack light for the long weekend: 5 travel-sized hair products you’ll want to add to your suitcase | Hollywood yohana

 Long weekends can throw some beauty curveballs. (What do you mean there’s no running water in the cottage?) Hair can be the biggest challenge, because, yes, you want your go-to products with you, but not if it means dragging around a hockey bag’s worth of them that makes you look like Guido Palau ready for a day on set. We’ve found some pint-sized versions made for summer travel so you can covertly deal with everything from frizz to flatness.

Chanel does nail art! Plus, two new shades of nail polish to covet (including silver!) from their Couture show | Hollywood yohana

Will we ever tire of the rush that comes from anticipating a new Chanel nail polish colour at every runway show they do? Considering that today’s Fall 2012 Couture presentation provided us with not one, but three new polish gifts, we think not. That’s right, there were three treats on models’ fingers: two new colours, and one foray into nail art—which may just be a first for the brand.
We’re still waiting on confirmation of the colours used, but at first glance (followed by much zoomed-in scrutiny) here’s what we can share: colour-wise, the nails are painted in silver and pink polish. The silver looks very close to the polish used at Chanel’s Spring 2010 Couture show—which was actually called “Silver.” (Unfortunately for us it was not sold in North America after that show, but perhaps now it will be? Fingers crossed!) Pink polish is applied on top of the silver, down the middle of the nail for a crescent moon manicure. Does this mean Chanel is officially on board with nail art? If yes, can we put in a request now for some signature double-C logo nail decals for Spring 2013?

Necklace, $34 | Hollywood yohana

 Add exotic appeal to the simplest of looks with a little beaded bijoux. ($34, anthropologie

Our Q&A with the director of Bill Cunningham New York | Hollywood yohana

One of fashion’s most celebrated yet understated stars, Bill Cunningham, is finally getting his moment in the spotlight…. though he’s already shying back out of it. Despite photographing some of the most memorable street style images in over 4 decades for the New York Times (many times from a bicycle that he folds into a closet outside his apartment in Carnegie Hall), the 80+-year-old photographer sees himself as nothing more than a mere fashion enthusiast. Proving nothing but the contrary, director Richard Press turned his lens on the man for the new film, Bill Cunningham New York. Finally opening in Toronto and Vancouver this Friday April 22nd after receiving weeks of rave reviews from New York and LA, the film is so overwhelmingly heartwarming that it’ll have you crying tears of fashion joy. We had the change to speak with Press and quiz him all about Bill and his legendary impact on fashion.

This is your first feature film, what made you want to focus on Bill, specifically?
The film took 10 years to make: eight years to convince Bill to let us make the movie, and two years to actually film it. Really, for me, I’ve always been familiar with his body of work in New York because I knew his column, but really for me the who Bill is as a person. You know, how he’s chosen to live his life, his ethics, his morals, the joy he gets from his work, his religious obsession with his work, so that’s what I was really trying to capture. He celebrates self-expression, and that really was a big part of the feeling of the movie that I wanted, was these great characters.
What does he think about the movie? Has he seen it?
He hasn’t seen it! We tried to get him to see it, he knows what’s in it, he’s given us his blessing, but he just says kids, you made a movie, have fun, but I’m too busy, he just has no interest.
Bill seems to be one of the last of a dying breed in so many different ways, in wanting to do something and just going for it, rather than having to part of an establishment or system, and also in not being influenced by all of the perks of the industry.
He’s sort of the last bohemian in a certain way, he’s doing it with such purity and purpose, and I almost wonder if it’s a generational thing. I think he represents a certain way that the culture was and that is sort of dying out because everyone now wants to be rich and famous, and get as much attention paid to them as possible. Here’s this guy who’s exactly the opposite, who wants no attention paid, he doesn’t care about fame, he doesn’t care about money, he just cares about the pleasure of doing what he does, and for the most pure reason.
I love that this movie made me remember when I first started to get into fashion, and I was just so crazy for everything.
Exactly. I mean really, it just brings you back to your innocence in a way.
Another thing I loved about Bill and about Editta Sherman (Bill’s 98-year-old photographer neighbor) is that they were just such characters. She just reminded me of the last flag-waver of the Edie Beales of the world.
She raised five kids in that studio with no kitchen and no bathroom, and at 98, she’s still taking pictures and she still wants to get a gallery show, she’s just this life force, of pure artist, she lives the artist life in the purest sense.
What Harold Koda (the Costume Institute’s head curator) and Anna Wintour say about Bill is interesting, that he operates outside the system and therefore picks up on all sorts of different style cues. He’s just photographing what he loves. Why do you think it took so long for that kind of outsider view to become the mainstream?
It really has to do with just the Internet and technology and everything has become more democratized, and so it’s just access. There are more ways to get your message out and people are really about how they present themselves, so I think that’s why there’s really a big interest in street fashion. The culture right now is really about how do we present ourselves to the world, and I think it’s just in keeping up with the whole Facebook-online mentality of that.
What interested you the most about Bill while working on the film?
I knew he was dedicated to his work, but I didn’t know to what extent he was so passionate about what he does. I joke that Bill had taken a vow of fashion, and he’s dedicated to it, and there’s almost this religious quality to it that’s kind of monk-ish, so I didn’t realize that he really works all the time, almost to the exclusion of everything else.
I think the funniest part of the movie was when he was taking pictures of those young girls, who told him to f-off. When you were filming him, how many people do you think know who he is? Is it just the fashion people and the people who read the New York Times?
He really has been invisible all these years, when I was filming him on the street, New York is just so focus when they’re on the street, and nobody noticed him photographing them, and nobody noticed me filming him, and it was amazing. People know him, and he knows so many people in New York, so occasionally somebody would come up to him and just talk, an acquaintance or just a friend, but basically, people that he’s photographing have no idea they’re being photographed.