Met Gala: Rihanna, Jared Leto as Choupette, Kim K. In Pearls

Barbadian singer/actress Rihanna arrive for the 2023 Met Gala at the Metropolitan Museum of Art on May 1, 2023, in New York. (AFP)
Barbadian singer/actress Rihanna arrive for the 2023 Met Gala at the Metropolitan Museum of Art on May 1, 2023, in New York. (AFP)
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Met Gala: Rihanna, Jared Leto as Choupette, Kim K. In Pearls

Barbadian singer/actress Rihanna arrive for the 2023 Met Gala at the Metropolitan Museum of Art on May 1, 2023, in New York. (AFP)
Barbadian singer/actress Rihanna arrive for the 2023 Met Gala at the Metropolitan Museum of Art on May 1, 2023, in New York. (AFP)

Rihanna shut down the Met Gala carpet Monday encased in white camellias on a jacket with a long train gown. Janelle Monáe dropped a bulky coat to reveal a see-through cage and Jeremy Pope walked in a 32-foot cape emblazoned with the visage of Karl Lagerfeld.

In the spirit of Lagerfeld himself (he was not often on time), Rihanna and her Valentino couture had the carpet to themselves save her partner, A$AP Rocky, who wore a red tartan skirt over crystal-studded jeans with a train of his own. They showed up well past everyone else.

Around her neck was a short Bulgari necklace in Akoya cultured pearls and pearl-shaped diamonds.

Lagerfeld was the honoree at the A-list gala with many in the crowd of about 400 dressed in vintage looks from the fashion houses where he worked during a career of more than 60 years.

But elegant wasn't entirely the hallmark of the evening. Jared Leto dressed as Choupette, Lagerfeld's beloved fluffy cat. Lil Nas X went full cat covered in crystals by Pat McGrath and Dior Men.

Bad Bunny showed up late in bright white from head to toe with a long cape also adorned with camellias, a Coco Chanel motif embraced by Lagerfeld. Monáe’s look, with a black sparkly leotard underneath, was made by Thom Browne.

Cardi B first donned pink then switched to a full black ballgown with, you guessed it, camellias. Up top, she said, “is giving Karl, the house of Chanel and Karl at the same time.” It was a men's white collar shirt accent with a black men's tie. The outfit in honor of Lagerfeld was done by an up-and-coming British design house, Chenpeng Studio.

“The Met Gala dress code was ‘in honor of Karl’ and guests definitely understood the assignment,” said Alison Cohn, deputy fashion news editor for Harper's Bazaar. “They referenced the many signatures Karl Lagerfeld developed over his six-decade plus career.”

Many used boucle fabric (Teyana Taylor's Thom Browne suit and Anne Hathaway's Versace safety pin number). Also adorned in camellias were Emily Blunt in a Michael Kors blouse and Adut Akech in a Carolina Herrera gown.

Dua Lipa walked in a white Chanel ballgown from the fashion house’s archive and Nicole Kidman chose a look Lagerfeld himself made for her 20 years ago.

And there were some bombshells: Serena Williams wore a flapper Gucci look when she announced she's pregnant with her second child.

Lipa, a gala co-chair, wore a Tiffany & Co. diamond around her neck. She called her cream-colored dress, by Chanel from 1992, “very, very special” as it has been on her mood boards.

Claudia Schiffer wore the gown on the runway for its debut, although hers had a matching hat. Lipa's necklace in platinum included a center diamond of more than 200 carats.

Nicole Kidman said it was Lagerfeld who ignited her fashion spark. She wore a pale pink gown created by Lagerfeld for a Chanel No. 5 commercial she starred in. It's adorned with 3,000 silver crystals for the ad directed by Baz Luhrmann.

“I’m very grateful to wear it,” she told The Associated Press. “He was so much a part of my life, as were his whole team. He was the one really sort of shepherded me … in terms of my love of fashion.”

Kidman topped off her look with Harry Winston diamonds.

“My favorite look was Nicole Kidman's ethereal feathered sequin Chanel gown. Typically stars wear new couture straight off the runway or have a custom look commissioned. It was a lovely statement about sustainability, proving that beautifully hand-crafted pieces never go out of style,” Cohn said.

Kim Kardashian, meanwhile, went with loops and loops of pearls all over her Schiaparelli look. And Cardi B went big in pink, complete with a feathery head piece.

Many in the crowd counted Lagerfeld as a friend or worked with him at Chanel, Fendi, Chloe or one of the other fashion houses where he created.

And many guests wore black to walk the unusual carpet in a line design. It was a color Lagerfeld wore almost exclusively. Black-and-white combos were also plentiful.

Kristen Stewart wore the color duo in a suit with a cropped white jacket. And Cara Delevingne honored her old friend Lagerfeld with a ruffled white shirt look short in front with a train at the back. Ruffled shirts were among Lagerfeld's favorites.

The classic colors weren't for Viola Davis. She walked in a stunning neon pink strapless gown with long feathers at the bodice.

Frenchye M. Harris, CEO and founder of the online fashion site The Black Fashion Movement had one word for Davis: “Gorgeous!”

She called Anne Hathaway's Chanel-inspired but Versace-created look with the pins and camellias at the breast “super cool and a great marriage between the brands.”

Gigi Hadid wore Givenchy in black with feathers, a drop waist and sheer train in tulle. It took more than 300 hours to make. Kendall Jenner was also in black, sans pants. She wore a sparkly leotard with long sleeves that has pieces doubling as a train. On her feet were kinky, towering black boots, all courtesy of Marc Jacobs.

Jenner's high white collar was a nod to those worn by Lagerfeld. Her hair was in a high ponytail.

Rita Ora was also in black, a stunner of a peekaboo sheer look from Prabal Gurung. It was silk tulle with corset detailing and sexy draping in chiffon. One shoulder was dropped.

Margot Robbie, who stars in this summer's “Barbie” live-action film, wore a 1993 Chanel gown in black that Cindy Crawford first wore on a runway. Robbie said she was the last Chanel ambassador to be handpicked by Lagerfeld.

“I feel really great in it. It's an honor," she said.

The invitation-only gala earned $17.4 million last year for the museum's Costume Institute, a self-funding department with a budget dependent on the gala's success. The price of attending went up this year to $300,000 for a table and $50,000 for a single ticket.

The guests from fashion, film, music, theater, sports, tech and social media were asked to dress “in honor of Karl” by gala mastermind Anna Wintour, a close Lagerfeld friend who first signed on to the event in 1995 and took over the helm in 1999.

The party coincides with the Costume Institute's blockbuster spring exhibition: "Karl Lagerfeld: A Line of Beauty.”

American fashion was last year's vibe. It followed gilded glamour and white tie. Camp was the theme in 2019, producing what is considered one of the wackiest displays of dress by the celebrity crowd.

Lagerfeld worked for Chanel, Fendi, Chloé, Jean Patou, Balmain, his own brand and more.

This year’s five hosts include Wintour, as usual, and also Michaela Coel, longtime Chanel ambassador Penélope Cruz, and recently retired tennis superstar Roger Federer.

Cruz looked like a bride with a sheer hood on her white Chanel belted gown with silver details from spring/summer couture collection in 1988.

Asked how he got to be a Met Gala co-chair, Federer said it helps to know Wintour. He said it makes sense for athletes to be at the gala because they’ve become a bigger part of the fashion world in recent years.

“I think the sports people have gotten more and more fashionable,” Federer told the AP. “We’re fortunate to get onto covers much more frequently nowadays. Before it was always the models, the good-looking people, not the athletes.”

Fendi, where Lagerfeld worked for more than 20 years, was also represented. Suki Waterhouse wore a 2019 Fendi design by Lagerfeld in silk tulle and delicate flowers and birds on sheer panels.

Lagerfeld's cat, Choupette, had been rumored to attend but her humans posted on Instagram earlier in the day the 11-year-old feline was staying put in Paris. Doja Cat's cat-eared hood on a sparkling white and silver-beaded dress was an ode by Oscar de la Renta. She wore prosthetics that gave her a feline face and claws.

Chloe Fineman carried a cat-shaped bag and Emma Chamberlain wore “Choupette blue,” a light blue hue created by Lagerfeld. James Corden also showed up in the shade.

As for Leto, he swapped out his cat costume for a black caped look.



Gap, American Eagle Fall as Weak Apparel Demand Signals Constrained Consumer Spending

A man walks past a Gap store on Oxford Street in London, Britain, July 1, 2021. (Reuters)
A man walks past a Gap store on Oxford Street in London, Britain, July 1, 2021. (Reuters)
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Gap, American Eagle Fall as Weak Apparel Demand Signals Constrained Consumer Spending

A man walks past a Gap store on Oxford Street in London, Britain, July 1, 2021. (Reuters)
A man walks past a Gap store on Oxford Street in London, Britain, July 1, 2021. (Reuters)

Shares of apparel makers Gap and American Eagle Outfitters dropped 15% and 10%, respectively, in premarket trade on Friday after weak annual forecasts, as consumers curb discretionary spending amid a tough macroeconomic climate.

Gap cut its annual sales forecast, while American Eagle maintained its full-year comparable sales and operating profit outlook but flagged a contraction in current-quarter gross margin, stoking worries about near-term demand.

US inflation posted its biggest increase ‌in three ‌years, while consumer sentiment hit a record low ‌in ⁠May, forcing households to ⁠tap savings and cut back on discretionary purchases such as clothes and accessories.

Both companies flagged weakness in certain women's seasonal categories, weighing on current-quarter results.

At Gap, which is undergoing a turnaround under CEO Richard Dickson, pressure centered on Old Navy, its largest banner, where seasonal women's apparel failed to connect ⁠with shoppers.

"Old Navy was the key swing ‌factor," BTIG analysts said in ‌a note.

"Weakness was concentrated in seasonal categories like dresses, where the assortment missed ‌on fashion and value, weighing on conversion despite solid traffic."

American ‌Eagle also came under pressure as strong demand at Aerie failed to offset weakness at its namesake brand, with women's bottoms hurt by changing fashion trends and a colder spring.

In a bid to ‌attract Gen Z shoppers and boost sales, the denim retailer, last month, unveiled a second ⁠campaign with "Euphoria" ⁠star Sydney Sweeney for its summer season denim shorts collection, a year after a viral and controversial ad featuring the actress fueled a stock rally.

Barclays noted heavy marketing spending is expected to recur in Q2 2026, but "bottoms including denim have since returned to underperformance".

It added American Eagle brand may struggle to lap its high-profile Sydney Sweeney and Travis Kelce campaigns and drive earnings growth in H2 2026.

Gap currently trades at 10.30 times its estimated earnings for the next 12 months, compared with 9.70 times for American Eagle and 7.43 times for Abercrombie & Fitch, according to LSEG data.


Clothing Rental Services Promise a Sustainable Alternative to Fast Fashion. Experts Say It Depends

A shopper browses for clothing at a Walmart store in Flagstaff, Arizona, US, October 19, 2022. (Reuters)
A shopper browses for clothing at a Walmart store in Flagstaff, Arizona, US, October 19, 2022. (Reuters)
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Clothing Rental Services Promise a Sustainable Alternative to Fast Fashion. Experts Say It Depends

A shopper browses for clothing at a Walmart store in Flagstaff, Arizona, US, October 19, 2022. (Reuters)
A shopper browses for clothing at a Walmart store in Flagstaff, Arizona, US, October 19, 2022. (Reuters)

For weddings, vacations or other special occasions, more consumers are turning to clothing rental services instead of buying something new.

These subscription-based services, often marketed as a sustainable alternative to fast fashion, ship straight to customers everything from everyday and workwear to dresses, handbags and formalwear. Then, the items are returned for someone else to use.

“I haven’t bought anything for a big occasion since 2019,” said Sasha Eck, a user of clothing rental services.

Along with giving her continuous and affordable access to newer, trendier clothes, she said renting formalwear made more sense than spending the equivalent of a month's rent on a dress she would only wear once. A recent survey from ThredUp suggests others face the same predicament, with the resale platform finding 87% of wedding guests said they had purchased at least one outfit they wore only once.

Clothing rental services appear to be an environmentally ethical alternative: One garment can be worn by multiple people instead of being tethered to a single closet. But fashion and logistics experts say the reality of rental subscriptions is more complicated, especially once shipping, returns and consumer habits are factored in.

The promise (and problem) of rental fashion

Kate Fletcher, a professor of sustainability, design and fashion systems at Manchester Metropolitan University, said rental services can sometimes encourage the same mindset that drives fast fashion.

“In theory, the embodied resources within that garment get a chance to be worked harder by having that many more people wear it. And so that’s the sort of compelling argument of it,” she said.

But Fletcher said many of those environmental benefits can be undermined by repeated shipping, returns and cleaning.

Aja Barber, a sustainability consultant and writer, said people often overlook the footprint of those processes.

“When you think about rental, you don’t think about the packaging that comes every time you get something from rental. You don’t think about the carbon footprint of shipping the item to you. And you certainly don’t think about the carbon footprint of dry cleaning,” said Barber.

Still, both experts said rental services can have advantages in certain situations.

“If you are someone who occasionally has to wear occasion-wear and you don’t want to buy a dress that you’re going to wear just once, I think it can be really impactful,” said Barber.

Fletcher pointed to older, more localized rental models, like with suit or gown rentals, where customers visited a shop, were fitted in person and later returned the item. She said those systems often had a very different environmental profile than modern, app-based rental services that rely on repeated shipping.

Why shipping matters

The rise of online shopping has heightened the environmental affect of “last mile delivery" — the final stage of transporting a package from a fulfillment center to a customer’s home. Transportation is already one of the largest contributors to greenhouse gas emissions, said Johanna Amaya, assistant professor of supply chain management at Pennsylvania State University.

“The more deliveries going to our homes, the more delivery that goes to our preferred location, the more that impact on the environment,” said Amaya.

Rental services can also create an added logistical challenge because the process involves two trips — one to deliver the clothing and another to return it.

Amaya said fast shipping can also make delivery systems less efficient because companies have less time to consolidate packages into fuller routes.

“The longer they can wait to consolidate more orders and use the capacity of the delivery vehicles, the better,” said Amaya.

She added that returning items to centralized locations, like parcel lockers or post offices, may be less environmentally impactful than home pickup services.

So what should consumers do?

Experts say renting can still be a better option in some situations, particularly for special occasion outfits that may otherwise only be worn once. But they also said consumers should think carefully about how often they are ordering, shipping and returning clothing.

Fletcher encouraged people to “look within a wardrobe and yourself before you look without and try and get a new piece.”

Amaya said consumers can reduce the environmental impact by avoiding rush shipping and choosing consolidated or pickup delivery options when possible.

And the broader sustainability challenge in fashion cannot be solved by a single service or product alone, Fletcher said.

For consumers trying to shop more sustainably overall, experts said some of the simple options may still be the most effective, like re-wearing clothing, repairing items, swapping with friends, buying secondhand or donating pieces so they continue to be used.

“The best thing we can do is engage with fashion as a practice. So, a lived experience of what it is to be dressed — full of capabilities of who I can be in the world — and not as something to buy,” Fletcher said. “Fashion as shopping, that sort of idea of it, is something that industry has encouraged us to believe is the only way of engaging with fashion. And fundamentally, that’s only going to lead to more climate impacts.”


'Robots Need Clothes': Humanoids Hit Catwalk in Seoul

Each human model and their android companion took turns to strut their stuff in unison. Pedro PARDO / AFP
Each human model and their android companion took turns to strut their stuff in unison. Pedro PARDO / AFP
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'Robots Need Clothes': Humanoids Hit Catwalk in Seoul

Each human model and their android companion took turns to strut their stuff in unison. Pedro PARDO / AFP
Each human model and their android companion took turns to strut their stuff in unison. Pedro PARDO / AFP

There were no naked robots in sight at a fashion show held in Seoul with a high-tech twist, where pairs of people and humanoids hit the catwalk in matching outfits.

A tasseled blue Texan-style ensemble -- complete with a cowboy hat for the robot -- and a retro silver puffer jacket were among the looks showcased at the event on Thursday.

Each human model and their shorter android companion took turns to strut their stuff in unison on stage, AFP said.

The designs, including silky dresses and billowing space-age black trousers like those worn by rock star David Bowie in the 1970s, were carefully fitted to the robots' skeletal frames.

Galaxy Corporation, the entertainment company behind the display, said it was meant to ask: "How can humans and robots coexist?"

"We realized that robots, too, need to wear clothes," CEO Choi Yong-ho said.

"Just as every human being is unique, we believe that every single robot should also be distinct."

The clothes were designed by the company, whose spokesperson said it hopes to launch them under the brand name "MACH 33" at the end of the year.

The robot models at the Seoul fashion show appeared to be a humanoid made by Chinese startup Unitree, which are popular due to their relatively low cost.

Increasingly dexterous robots have proven themselves capable of performing choreographed dances, participating in races, and even able to land backflips.

Financial services firm Morgan Stanley predicts the world could have more than a billion humanoids by 2050.

But fully automated robots -- using emerging physical AI technology -- are still rare, with most impressive displays remotely operated or pre-programmed.