The 10 Best Fall/Winter 2019 Supreme Accessories

Supreme Blu Burner Phone

Another Supreme season has arrived with another range of ridiculous accessories. As the brand officially turns 25 this year, it continues to explore new items to feature its trademark box logo. The accessories this season showcase a wide array of collaborations including practical tools, like a Chapman screwdriver set, and subtle kitchen flexes, like a Stanley coffee canister. But before Eric Whiteback makes an Instagram video with every single accessory from the brand’s Fall/Winter 2019 collection, we ranked some of our favorites.

10. Supreme Post-It Flags

Supreme Post It Flags
Image via Supreme

Shouts out to all my thoroughbred nerds out there who care about their books and won’t ever violate the sanctity of parchment. Now, you can mark down the pages of some of your favorite manuscripts in style with these Supreme Post-It flags. No more dog eared pages. –Lei Takanashi

9. Supreme Plated Dumbbells

Supreme Plated Dumbbell
Image via Supreme

Thankfully, these gold and silver dumbbells only weigh 5 pounds and USPS Priority Mail has a 70 pound weight limit. So your frail arms will have no problem tossing these into a flat rate Priority Mail box when you make a whopping profit of reselling these, which retail for $30, on Grailed. Congratulations, player. –Lei Takanashi

8. Supreme Voodoo Doll

Supreme Voodoo Doll
Image via Supreme

The perfect Supreme accessory to have on hand when you are wild heated about that L you took on the latest drop. Take your frustration out on resellers and bots by sticking bobby pins into a plush voodoo doll. Wow, it must feel incredibly satisfying to use this doll to curse an OP with a “STD” or simply “SHIT.”  Wouldn’t your mother be proud to find this in your bedroom. –Lei Takanashi

7. Supreme Timex Watch

Supreme Timex Digital Watch
Image via Supreme

Another piece that adds to Supreme’s early ‘90s drug dealer range of accessories this season. –Lei Takanashi

6. Supreme Hanging Lantern

Supreme Hanging Lantern
Image via Supreme

A traditional Japanese paper lantern that you can stare at while eating Top Ramen in your college dorm room for the next four weeks, which is all you can afford after buying it. –Lei Takanashi

5. Supreme Baccarat Dom Perignon Flute Set

Supreme Baccarat Dom Preignon Flute Glasses
Image via Supreme

This set of crystal champagne flutes is the perfect accessory to have ready to go by your laptop every Thursday morning. Pop a bottle of bubbly and toast to defeating the bots once again. –Mike DeStefano

4. Supreme x Pyrex ‘2 Cup’ Measuring Cup

Supreme Pyrex Measuring Cup
Image via Supreme

Supreme stuck to a theme for some of its Fall/Winter 2019 accessories by stamping its signature branding on a handful of items commonly linked to dealing narcotics. This Pyrex measuring cup fits the bill, but we recommend you use it to bake a cake for your buddies or something. No need to break the law guys. –Mike DeStefano

3. Supreme Knoll Wassily Chair

Supreme Knoll Wassily Chair
Image via Supreme

The Wassily chair has been around since the 1920s. Its unique look and steel construction make for an already striking piece of furniture, but Supreme ups the wow factor with Spinneybeck Italian leather covered in leopard print. Given the fact that a regular version costs almost $2,800, this accessory won’t be for everyone, but will be a solid addition to any living room if you can afford it. It’s also nice to see the streetwear brand not just paint something red and slap their logo on it. –Mike DeStefano 

2. Supreme Honda CRF 250R

Supreme Honda Bike
Image via Supreme

If you’ve been paying close attention to some of Supreme’s recent seasons, the writing was on the wall for this accessory to come to fruition. First, it was very limited quantities of the Coleman CT200U mini bike in June 2017. That was followed up by the Fox Racing collaboration in May 2018. A legit Honda CRF250 dirt bike is the next logical step. Like most of the brand’s larger accessories, expect this one to be pretty hard to purchase. Hopefully, Travis Pastrana can at least get his hands on one of these to bust out a double backflip in style. –Mike DeStefano 

1. Supreme Blu Burner Phone

Supreme Blu Burner Phone

This is “put a Box Logo on anything” at its finest. The connotations here are pretty obvious. If Walter White were a hypebeast, he’d be keeping one of these handy. Of course, we don’t condone those actions over here. The real question is, is anyone loyal enough to swap out their iPhone for the Box Logo Burner Phone? –Mike DeStefano

[“source=complex”]

Cultural Referencing Is At The Heart Of British Designer Bethan Gray’s Philosophy

With her love of travel and gypsy roots, London-based Scottish-Welsh designer Bethan Gray has always been inspired by different cultures. Her designs combine luxurious natural materials such as wood, marble and leather with refined craftsmanship from around the world and attention to detail. Take for example her Siena series influenced by the black-and-white motifs of Medieval Italian cathedrals or the Shamsian collection based on Omani architecture and crafts in collaboration with celebrated Iranian artist, Mohamed Reza Shamsian, which is made by the same artisans who have been creating for the Sultan of Oman for 40 years. The handmade furniture reveals patterns on stained wood produced using marquetry and inlay techniques that have existed in Islamic craft for centuries. For the detailing on the Dhow table, Gray was drawn to the shapes produced by the large triangular sails of Oman’s traditional dhow boats as they catch the wind, a pattern adapted for the hand-stained, birds-eye maple veneer case of The Glenlivet Winchester Collection Vintage 1967 with its curved solid copper overlays that echo the whisky distillery’s copper stills, the River Spey and the layers of mist that gather in the surrounding valleys. She worked with Scottish master glassblower, Brodie Nairn, to create the bottle showcasing hand-cut lines that result in an ombré color effect with the whisky that goes from light to dark to mimic the 50-year ageing process.

With a mother who was an art teacher and a great-great-grandmother who was a cabinetmaker, Gray was encouraged to follow her creative instincts. Born in Cardiff in 1977, she graduated in three-dimensional design and was discovered by Tom Dixon in 1998 when he bestowed on her the New Designers Innovation Award for a piece of furniture she showcased. This prize led to her appointment at Habitat, where she rapidly became design director before opening her own design studio in 2008. This allowed her to enlarge her client base and work with the more costly materials that she couldn’t at Habitat, designing best-selling collections for high-profile global retailers and brands such as Liberty, John Lewis, Anthropologie, Crate & Barrel, 1882 Ltd and Rado. She is recognized today by four Elle Decoration British Design Awards including Best British Designer and Best British Tableware Designer. We sit down with Gray to discuss how she’s inspired by the art and culture of the places she visits, working with hundreds of craftsmen and her business strategy.

You’ve been working in the design industry for 20 years. What motivates you?   

I love getting to know people from all over the world and understanding what inspires them – whether it be cultural narratives or elements from nature, as well as their own personal experiences and journeys. This motivates me to use local craft techniques and materials to tell stories that would be relevant to them, but also work for a global audience.

How does your multicultural family background influence your work?

I’m inspired by my ancestors’ journeys – they were a Rajasthani clan that traveled from Northern India through Arabia and Persia and then to Europe, before eventually settling in the Celtic heartland of Wales. I’ve recreated those journeys and been inspired by cultural narratives and nature that I have experienced on the way. I’ve been brought up to be proud of my Romany-Gypsy heritage, so I’ve always been fascinated by other cultures. I don’t know if it’s also about being Welsh. I speak Welsh and only 20 % of the population does, so I’m more aware of different cultures because I speak a minority language. I’ve traveled a lot and like to use cultural references as inspiration; I like to have a link when I’m designing a product. We’ve also formed very close partnerships based on trust and mutual respect with local master craftspeople in Europe, Asia and the Middle East. In fact, we support over 400 master craftspeople who make our luxury craft collections.

Describe your creative process.

I start with research and then I like to look at lots of options in the concept phase. So I start and I choose one thing and I know it’s not going to be the end of it, but that leads to another thing and to another. If it doesn’t work, I know quite quickly and move on. Then detailing is very important to me. Getting really simple is the hardest thing. These three elements are equally important, so it’s a balance.

How involved are you in production?

It’s really important understanding what’s possible, how things are made. I love working with craftsmen all over the world. I’m not a craftsperson and don’t have the patience to be one, but I have the utmost respect for them. All my projects are based on craft. I love understanding a new material that I haven’t worked with before. It’s all about pushing the boundaries to show off the craftsmanship so much better. You work around problems and make them work, and the craftsmen are so proud of what they can achieve.

What is your work philosophy?

Every project I do is all about relationships. You have to have an open dialogue with what you’ve created, especially the relationships with craftspeople. Even if you don’t speak the same language, there’s so much that you can communicate. Some of my work comes because I’ve connected with people. Everyone that I have worked with, we have a connection. For instance, I met Emily Johnson of 1882 ceramics, which is based in Stoke-on-Trent, and we got on really well before we decided to do a project together, and we’re continuing to do more. The Shamsian collection is made in Oman; we started there a few years ago and now we’re launching new collections every year with them.

Tell me about your collaboration with The Glenlivet on the Winchester Collection Vintage 1967.

The collaboration started with some simple sketches of the decanter and canister that would eventually house Vintage 1967. We intended to tell a story about the craftsmanship behind such a rare and coveted collector’s item, and we wanted to incorporate features from nature that were important to both Master Distiller Alan Winchester and I. Ideas for the designs stemmed from the Cairngorms landscape, and going back to nature helped to create a truly distinctive theme. For the canister, I have customized my Dhow pattern and included mother-of-pearl inlays to reflect local freshwater pearl mussel shells, while the beautiful and captivating decanter itself was created in conjunction with master glassblower, Brodie Nairn, who used innovative glassmaking techniques and bespoke cutting tools to create a capsule as pioneering and special as the whisky it houses.

What has been your best business decision?

It’s probably having more confidence in my own choices and just going and showing what I want to show, the level of craftsmanship and my style, which is always evolving. Also getting my husband Massimo to join me. He’s a consultant to culture and other creative businesses. He’s got this great way of bridging the creative and business worlds. That’s what he did for me before he joined and that’s ongoing. Sometimes it’s difficult but he pushes me, in the same way that I push the craftsmen. Although I don’t always appreciate it at the time, I do appreciate it afterwards. I’m a perfectionist and I push myself, but he pushes me out of my comfort zone.

What has been the greatest difficulty you have encountered in your career?

Probably letting go of certain details. Sometimes you have to compromise. It’s sometimes difficult to know which things to be strict about and which things to be flexible about. Like in detailing, if something is going to add £2,000 for a very small detail, is it really worth it for the end consumer? Sometimes it is and sometimes it’s not, so it’s hard to get that balance.

What is your vision of the future of design?

It’s interesting because we launched a new project at Rossana Orlandiin Milan during Salone that’s all about natural materials that are wasted. For instance, pearl shells from pearl factories only interested in pearls and not the shells. We’re also using goose feathers, scallop shells, abalone shells and pen shells. It’s a new collaboration with Nature Squared, a Philippine company making sustainable products, normally surfaces for yachts. This is the first furniture line that it has created; it’s a new way for it to work. There are about 10 pieces plus some accessories. Obviously sustainability has been there for a long time although people don’t talk about what they do do because I think they’re scared of being criticized for what they’re not doing, but everyone has to start somewhere. We need to celebrate what people are doing, even if they only have one piece in their range that’s sustainable. It’s a step forward.

[“source=forbes”]

J. Hannah’s Designer On Minimalism And Matching Your Mani To Your Jewelry

If you aren’t lucky enough to inherit jewelry that you can wear forever, J. Hannah is the next best thing. Founded by Jess Hannah Révész, J. Hannah is all about pieces that are meant to be future heirlooms. In fact, the line with a cult-following was inspired by jewelry Révész received from her grandmother. The jewelry line was officially launched in 2014, and nail polish followed a few years later when she needed just the right palette to compliment her pieces. Now J. Hannah is stocked everywhere from FortyFiveTen to 10 Corso Como to Violet Grey, Barneys Japan and Need Supply, to name just a few. Révész gives us the scoop on her line.

A model wearing J. Hannah jewelry and nail polish

COURTESY OF J. HANNAH

Why did you decide to focus on sustainability? At the early stages of J. Hannah I was making each piece myself by hand, and sustainability was default to my practice. Learning about where my materials came from was part of the craft that drew me in in the first place. As our orders increased and it was no longer possible to personally make the jewelry, I wanted to keep production local for control reasons. Using foreign manufacturers and materials never crossed my mind. As a jeweler myself I was aware of the environmental and ethical ailments of the industry and was conscious of circumventing these as we grew. It’s been an intentional and uphill journey to prioritize sustainability since then, but always worthwhile. What’s disheartening is that there are very limited independent certifications or standards, so you really need to do your own legwork to figure out what terms like “recycled” or “ethically sourced” mean to different suppliers. It’s taught me a lot about greenwashing and false marketing, and motivated me to be better at telling this story. It’s important to share how to authentically support and sustain better business practices with other jewelry companies as well as consumers.

J. Hannah jewelry

COURTESY OF J. HANNAH

How is J. Hannah sustainable? For us, sustainability requires a thoughtful and holistic approach because there are so many points of consideration. Specifically, the ethics of environmentalism, humanitarian concerns and business operations are three areas we work to address in our efforts to be sustainable. We treat it as an ongoing effort, and something we are always actively striving for—not a definitive marker of achievement. We are just barely scratching the surface with these examples.

Environmental concerns most obviously include how much waste is produced by our business and if we are partnering with suppliers who are concerned with their effects on the environment. We’ve cut most plastic out of our packaging, aside from our nail polish caps and labels, and our shipping boxes come from an amazing company called EcoEnclose, which makes recyclable and compostable packaging using recycled materials. We make an effort to reuse any plastic that does end up in our offices from our jewelry manufacturers. Jewelry baggies were a hard thing to banish but we finally found a compostable alternative; these still of course have a disposal issue but strides are being made. All our cast gold and diamonds are 100% recycled, which was a hard-won goal since we weren’t willing to sacrifice in quality. It also required adapting certain designs, like our Diamond Demi Signet (which we will be changing to a brilliant cut versus the current rose cut because we can’t find a reliable ethical source), to ensure we would always be able to reliably source recycled stones. Currently we are working on incorporating detailed sourcing for each piece on our website for improved transparency with our customers.

Sometimes the most ecologically sustainable option is not the most human friendly approach. For example, using recycled gold makes the least impact on the environment, but what if you want to make a positive impact? Communities near sites rich with gemstones and metals will always mine there. Supporting safe and fairly compensated mining and stone cutting can make a huge difference in these communities. If more companies refuse to support unregulated and dangerous mining practices, we can show the world that exploitation is not lucrative. Our gemstones sometimes come from other countries, or they might be cut in other countries, but we make sure that each person in our supply chain was paid fairly and working under safe conditions.

This extends to our company culture, which I think is the last prong in our efforts to be genuinely sustainable. It matters to me that I have a monetarily viable business that can provide for its employees. At J. Hannah, despite being a very small team, that means healthcare, vacation time, etc. I consider this an essential investment in the foundation of the company. We all take care of each other.

Jess Hannah Révész

Jess Hannah Révész

COURTESY OF J. HANNAH

How would you describe your aesthetic? It’s been described as “minimal” so many times but I’d have to respectfully disagree. More often than not my designs are informed by the decorative, historical, and traditional. If you boiled down these opulent themes into a reduction I think you get the J. Hannah aesthetic—simplified opulence, edited maximalism. Classics like signets and hoops are a huge part of our collection because they are wearable staples. Recently I’ve been delving more into kinetic and inventive designs. Our Objet Pendant, Duo Form Ring and Duet earrings are just a few pieces that employ moving parts, and there will be more.

Tell me about your philosophy of designing jewelry that never is taken off. “Never taken off” is how we want our customers to wear their jewelry, but it’s also a context for their purchase. We do not expect people to be able to afford our jewelry on a whim—it’s a luxury product. We see a lot of language used in our industry that tells women “this product will empower you” or “you need and deserve this,” as though jewelers are providing something necessary or benevolent, which is such a fiction. Jewelry is extra, it’s fun. It’s special and rare and expensive and hopefully something the customer will deeply consider as a special purchase that will last them a lifetime. We envision our customer as someone who saves up for that perfect piece of jewelry they’ve wanted for so long, or to commemorate a major life event. Hopefully they will pass it down one day as an heirloom. This feels closer to reality, which is important when we are continually exposed to entire Instagram feeds that promote excess as the norm. The prevalence of fast fashion works against us in so many ways and everything comes back to sustainability. Trend-based shopping is a wasteful pursuit. If the consumer started thinking about their purchases from a cost per wear perspective, it could change the whole design industry.

J. Hannah jewelry

J. Hannah jewelry

COURTESY OF J. HANNAH

What are a few of your favorite pieces in your jewelry collection? I’m always found in at least one pinky ring—but usually two!—which currently is our Duet signet. Another favorite is our Clara necklace. A big part of why I became a jeweler was my early interest in tinkering with my grandmother’s jewelry. She had accumulated a lifetime of pieces that all had different significance for her. My favorite piece of hers inspired my Clara collection; it’s a delicate oval bead that is suspended from a cable chain. I elaborated on the original design with a few variations, including a bracelet and a few other necklaces. My Clara Necklace is a foundational piece that I never take off.

Why did you decide to launch a nail polish collection? It mostly started out of personal desire. I am often showing off the jewels on my hands, so I make an effort to keep them well-manicured. I was having so much trouble finding good colors at my usual nail salons aside from your typical fire engine red and a sea of pale pinks. I decided to fill the void I saw at the time, selfishly in a way I suppose. It has grown to become an integral part of the brand: A key storytelling opportunity (#jhcolortheory) as well as a product with a lower barrier to entry price point. It’s now more accessible to buy into the brand.

The J. Hannah nail polish collection

The J. Hannah nail polish collection

COURTESY OF J. HANNAH

You said the palette is “color-resistant”—what does that mean? J. Hannah polish is not about having every color in the rainbow or following trends—rather a tight selection of effortlessly wearable colors. I figured I probably wasn’t the only one craving some respite from the louder pop colors you usually see on the shelf. I wanted to make it easier to find that laid back shade that you won’t ever get sick of, and that will actually look good once you put it on, not just in the bottle.

Why do you focus on neutral nail polish tones? We started with a palette dominated by neutrals, and we will definitely continue to expand our array of muted shades because you can never have too many. One of the reasons was my own frustration with how it was so difficult to select a color that would blend with my wardrobe. If it’s going to be on your nails for one to two weeks it should look good with anything you might want to wear, so that posed a fun design challenge for me. That said, some of our best sellers are actually our least neutral shades, like Eames (a midcentury green) and Ghost Ranch (our red rock shade). They’re colorful, but not in a polarizing way.

J. Hannah jewelry

J. Hannah jewelry

JESS HANNAH RÉVÉSZ

How can people choose a nail polish color to complement their jewelry? Styling advice is hard to give; I think it’s always a matter of personal choice and the main thing is that there are no rules. I think a good arena for juxtaposition is with cool and warm tones. Our aquamarine is an icy green color and it looks beautiful set in warm yellow gold. Ghost Ranch, our red rock shade of polish, looks incredible paired with bigger silver rings for a more modernist look. Maybe that’s because both evoke the New Mexican desert.

[“source=forbes”]

New Women’s Clothing and Accessories Store Opens in Ballston Quarter

A new trendy clothing and accessories store is now joining the ranks of businessesopening up in the Ballston Quarter mall.

Called Francesca’s, the new store opened today (Friday) and sells women’s apparel as well as shoes, hats, jewelry, and hair accessories.

Ballston is one of several D.C. area locations for the chain, which also has opened up shop in the Fashion Centre at Pentagon City, as well as in D.C, Tysons, Springfield, and Alexandria. Despite the local expansion, the company has also faced some recent struggles.

The new store occupies a 1,600 square foot space on the second story of the mall, across from another women’s clothing store, Gossip Boutique, and watch retailer Bering.

A PR rep told ARLnow that the store is offering a buy one, get one 60% off deal through Wednesday, August 21.

[“source=arlnow”]

‘GLOW’ Costume Designer on Creating Bridesmaids Leotards, Borrowing a Bob Mackie Original

Beth Morgan photographed by Dan Doperalski at the PMC Studio in Los Angeles for Variety on July 23, 2019

Beth Morgan received her first Emmy nom for the first television show on which she ever worked, “Deadwood.” Now, she is nominated in the period costumes category again for the costume design of Netflix’s “GLOW.” Morgan is up for the second season finale “Every Potato Has a Receipt,” in which she got the chance to create a full set of bridesmaids leotards for a special stunt in the 1980s wrestling comedy. But not to be outdone, she worked hard to top herself in Season 3, when the characters went on the road to Vegas.

In the second season, the female wrestling troupe becomes much more comfortable in the ring and the actresses perform more complicated stunts. How did that kind of wear and tear affect the amount of doubles of costumes you needed?

It didn’t affect it as much as some shows because we don’t have stunt doubles. Really we have a double for an emergency, but the girls really wear their one. The wear and tear on them has not been extreme. We were fortunate in all of the fabrics we chose in the beginning; they can stand the test of time. What does change is the girls’ bodies. In the reality of our show, and in life, as you’re getting better at something and training more and more, your body is more physically fit, so some of the costumes were tweaked a little bit for that.

What is something about the way the costumes are made that you think no one thinks about when they watch the show?

The Zoya costume gets the most beat up because I was insistent that she had the belt. A lot of things about “GLOW” and the ’80s is about the silhouette and it being simple, so a lot of them are very simple leotards — especially in the ring because you have to make sure they can be safe. Everyone except Zoya wears Capezios. But we had to make sure they could grab each other — the wrestling is about interacting closely with each other and making sure you’re a good partner, so what fabrics were too slick, that when they go to grab to turn them around, they can’t get the right grip. All of that had to come into play. Also, we have to think about everybody’s ring looks and their entrance looks. We don’t always see everybody enter, but what is that — because wrestling is about showmanship, but these girls are gritty and they don’t have any money, so they’re putting these things together themselves. So it’s about what found objects can they use? We wanted it to be realistic that they could put this together, so when we were picking fabrics, it was about what would they be able to get and augmented? Season 2 was kind of a leftover from Season 1, but we wanted them to be iconic looks.

Speaking more to that realism, then if something does start to fray, do you leave it, rather than rush to make a new double?

We leave it. Because we’re shooting in chronological order, if somebody would have busted a seam, we would have it look liked it’s hand-stitched up. Carly [Mensch], one of our showrunners, would be so happy if we had a busted seam; she loves stuff like that! And people always notice that we do a lot of repeating — because I wear three pairs of jeans, and I feel like that’s the one thing that TV makes not as realistic. These people, especially in Season 2, have a small amount of money to spend. Rhonda is living in her car; she wouldn’t have this copious amount of wardrobe. And they’re wearing the same wrestling things. So I wanted it to feel realistic and organic. And some people who would have a lot of clothes, like Melrose has a trust fund and Debbie has divorcee money, we do a little more with.

Something really big and new in the second season was in the finale episode, for which you are nominated, when you made bridesmaids leotards and a wedding dress.

That is actually why I entered this episode. In my career, it was my favorite creative collaborative experience to date.

So how did the design come about?

Originally it was going to be that the girls were in their “GLOW” costumes for the wedding, and I was like, “Can I pitch something?” It was my own doing, but we didn’t have a lot of time. My sketch artist and I started working on Rhonda’s wedding dress, but we didn’t know what was going to happen — was she going to have to wrestle? So I decided to make the tearaway leotard. And then we sketched all the girls in the leotards — the pink side and the gold side. I went and pitched that because I knew they wanted “GLOW” costumes, but I thought there was something about the girls being on this journey, and being a bridesmaid for a person is really a symbol of showing up for them, no matter what. And that’s what I wanted to show for the girls, but I just thought it translated better in something new. And bridesmaids dresses in the ’80s were insane, and there’s something about being in an iconic part of each decade that weddings does, and we were going to get that opportunity only once, so I was like, “We need to do the big ruffle and the headpieces and all that.” It was really a time when it showcased how supportive the whole creative process is there.

How functional did the wedding looks have to be, knowing they would start wrestling around the ceremony? 

I was adamant I wanted the ruffles to be off the shoulder for the ceremony, but then they would pull them up when they go to the Battle Royale. But the functionality of building a garment that’s off the shoulders is very different than on the shoulders because of the fit. And we have many different body types in the same look, which is the beauty of bridesmaids dresses: How do you make 15 women look good in the same thing? Who gets what color? Originally it was going to be the good girls in pink and the bad girls in gold, but it didn’t quite work out that way because of how they were walking down the aisles. But then we also had to double the fabric and get cups because we have a nipple issue in general because it’s cold. We love nipples, but we don’t want to distract!

Do you have to use special fabrics or line the costumes so they stay perfectly in place while the women are moving so vigorously to avoid other wardrobe malfunctions?

We’ve had no wardrobe malfunctions. There’s not a lot of coverage, and every once in awhile I will watch something like, “When is there going to be a slip?” We are so lucky; we’ve never had anything pop out. Season 1 we used this Bikini Bite and these different things to keep the wedgies in place, but as we were watching it — and as you watch ’80s wrestling and aerobics — wedgies were such a part of it. So we stopped. We really only used it for the fantasy match in Season 1, Episode 1. We used it and then we stopped, and it’s a wing and a prayer, and that speaks to how perfectly fit how all of those leotards are that we’ve had no slips.

Going back to the philosophy of reusing certain looks, how did those bridesmaids’ leotards end up in Season 3?

I didn’t make them specifically to reuse them. I had specifically said to my assistant, “Don’t worry, they’re only going to wear these once.” Because they were such an engineering feat — they’re delicate costumes to wear — we assumed they would only be in that one episode, but then they loved them so much. They weren’t meant to be worn again, but usually I am thinking of how they can be. Like, in Season 3 now that they have more of a bond and they’re living in the same place, you see them wear each other’s things. It’s that thing that girlfriends do, so I always try to think of, “Oh, this piece would be great on multiple actors.” And when they’re at the pool, well I know for each season I usually have one piece and a backup, so we have to really love the looks because we’re going to see them again and again, and that does inform the idea of signature pieces. Ruth’s jeans with the seam down the front, the minute she tried them on, we knew everyone would know we were repeating because they’re so obvious.

When you end a second season in such a big way, do you feel you need to go bigger the next year to continue to challenge or further inspire yourself?

It’s hard because you have to hope the story lends itself to that. This one, luckily, we go to Vegas, so it’s easy to top [Season 2] because we’re in Vegas and everything is bigger there. I love the storytelling part of what I do, so that’s what always draws me in. One of my favorite jobs was “Key and Peele,” and when it started we had no money and I had a department of me plus two and every day they’d be, like, vikings in the morning and DJs in the afternoon. It was the best training ground, and because I had assisted on “Deadwood” and “John Adams,” these amazing period shows, I was able to take that knowledge and underappreciated genre of variety sketch and make it historically accurate.

Was there one of those big moments in Season 3 that stands out as a favorite?

The Geena Davis Bob Mackie Jubliee outfit. In general Season 3 is like Season 2 on steroids. Everything is bigger: People are in formal wear, we had so many more background fittings, we had so many more changes, the girls had money. Basically it was like the finale every episode. But the Geena Davis moment at the end when they’re at the ball — the writers had gone to Vegas and they got a tour of the Jubilee costumes, and then I got in contact with them and we were able to actually rent them, which has never happened. Bob Mackie is one of the reasons I got into costumes. I’m a “more is more” type of person and when I started, he was the master, and the fact that I got to pay homage was amazing. I added pasties, but we took a Jubilee costume and put it on Geena Davis, and she was game for it, and she looked amazing. I did get to design originals for our Fan-Tan girls with our show in mind, but the Jubilee is a special aesthetic. So we definitely got to have the best of both worlds in Vegas.

Your first Emmy nom was for a period piece, as well. What keeps you coming back to that realm?

I think just because you have perspective. You have research that you’re doing. It’s hard to say today what exactly the forecasting of the future will be — especially working on Netflix when it’s a year to go. But I think you can really develop a character in a different way when you’re doing a period show — because you have all of the information already. You know what the outcome was. So you’re getting to delve deep into the character aspect, and usually you get to make more. You have a little more of a budget, where typically on modern shows you’re doing more shopping, more putting pieces together, and you don’t have the budget or freedom to create your own things. It depends on the show, obviously, but for me, I love that we can create so many original pieces and delve deep into what was happening in the time period, what was going to happen, what happened already, and how that informed the characters at the time.

What are the quintessential colors, design aesthetics and style pieces that you try to infuse in all your jobs, no matter the time period?

I have an insane love for vintage belts, and I feel like it’s something that’s an insane hole in the market. I always use vintage belts on any show I’m doing, and I feel like it really becomes my favorite thing that ties everything together. But it’s hard to say that there’s something quintessentially me because I want to be here to serve the characters, so of course my stamp is on it — it can’t not be — but it’s about thinking with the character’s brain: What about these characters, when they went in their closet, would they pick this particular outfit in this particular moment?

[“source=variety”]

The Best Designer iPhone Cases of 2019

Give your phone case the designer touch.

Want to dial up the glamour on your phone? Give it a change of case—or two. After all, a phone is the one accessory that’s with you everywhere and seen by everyone, so this is no time to skimp on style.

These designer iPhone cases have got your phone’s back—and sides:

UNDER $100

Marc Jacobs Orange Peanuts iPhone XS Case

Meet the case that puts the good in “Good grief!” A collaboration between Marc Jacobs and Peanuts, its iconic Charles M. Schulz drawing of Charlie Brown looks like it was lifted right out of the funny papers, complete with Schulz’ unmistakable signature at the bottom. Made from smooth rubber, the interior is printed with some of Peanuts’ classic wisdom: “I need all the friends I can get!” Remember that next time you’re despairing about your paucity of Instagram likes.

Moschino x Sims Pixel Capsule Logo iPhone XS Case

Let the gamer in you revel—this Moschino x Sims case is an AFK win. The logo has been pixelated to the point of obfuscation, as has the “quilted” pattern against which it’s set. The result is a hard-shell case that is no hard sell, with just the right degree of underground cool.

Heron Preston Silver Logo iPhone X/XS Case

Heron Preston, a DJ and artist who got his start with Off-White’s Virgil Abloh and Alyx’s Matthew Williams, is known for his subversion of logo mania—he’s gone from making bootleg NASCAR shirts to collaborating with New York’s Department of Sanitation—and this phone case is no different. Paying homage to the brainiacs at NASA, it has a rocket scientist’s austere touch with its tiny ruler marks, while its metallic-silver coloring makes it something to keep you grounded even when your head is in the clouds.

Off-White Green Camo Quote iPhone XS Max Case

This phone case is so iconically off-white a logo isn’t even necessary (though there is one). With the brand’s signature ironic quotation marks and industrial type, it’s got a muted green camo print that’s better at helping it stand out than blend in. Plus, at this price tag, it’s the piece that’ll help your style work double time without making you do so. It’s also available in yellow for the iPhone X.

UNDER $200

Dolce & Gabbana White Laundry iPhone XS Max Case

This is one case in which you definitely don’t want to follow directions. In a heavy dose of fashion-forward irony, this iron- and tumble-dry-ready protector takes the tag right off your clothes and sticks it on the back of your phone. Though the rubberized graphic wouldn’t fare well in the heat of your dryer, it would look great near other hot things—like fresh white Dolce & Gabbana sneakers.

Givenchy Logo iPhone X/XS Case

The shiny black back of this case evokes images of patent-leather glam rock and the velvet-roped clubs of decades past, a nostalgia that’s enhanced by the sprawling rainbow logo. It’s a play between the brand’s minimalist lettering and David Bowie glam. The result is a case that provides ready protection and can go from day to night.

Off-White White Arrow iPhone X Case

The off-white logo on this polycarbonate case is turned into a child’s crayon drawing of a blue table, surrounded by potted plants. Consider this the modern art of cases, with doodling on the back that, yes, maybe you could’ve done yourself (except that now you don’t have to).

UNDER $300

Balenciaga Printed Textured-Leather iPhone X Case

In a bright baby blue, the leather of this case was made in Italy, making it especially worthy of the Balenciaga label inked on it. It offers a minimalist and modern silhouette that’s become standard on the fashion house’s runways; the days of jumbo thimbles have been forsaken for crisp lettering and sleek shapes, resulting in this especially trend-worthy accessory.

Christian Louboutin Loubiphone Embossed iPhone X/XS Case

With ridged rubber sides and a durable PVC back, this “Loubiphone” case has a utilitarian functionality in the brand’s signature high-fashion sensibility. It has everything you love from the brand, including the red of its trademarked soles—a hue so vibrant you might miss the “Louboutin” scrawled down the length of it.

Dolce & Gabbana Black Bag Shape iPhone X Case

If your jean pockets are starting to shade around a familiar rectangle, this is the case for you. Or the bag for you. Shaped to resemble a Dolce & Gabbana purse, it features a top handle and detachable chain long enough to make it an actual purse, while the range of colors—beige, black and red—lets you pick the one that matches your look.

Chloé Printed Textured-Leather iPhone X/XS Case

In retro-prep stripes, this leather case lets you bring Chloé’s ’70s energy with you everywhere. The cream and deep red give it a warmth that’s perfect for fall weather, but, at the end of the day, this is a phone case, and you can’t put an expiration date on its practicality—or it’s durability, thanks to the scratch-resistant felt lining and embossed cow leather. Extra points if your name is Chloé.

UNDER $400

Gucci Print iPhone X Case

In a washed design taken from 1980s Gucci archives, this case is a classic, with timeless appeal. The canvas material has a leather effect that’s emphasized by the fading of the logo itself, while the creamy color is an equally refreshing alternative to pure white, with less mess-related stress. It’s also available in black, but you’ll have to jump onto the wait list to get one. And if you do,.

Prada Saffiano Leather iPhone X Case

Don’t damage your case with any old ring prop; this leather case from Prada has the stand preinstalled, so you can hang it, dangle it, balance it however you want straight out of the box. Fashioned in a streamlined Saffiano leather, with navy and white accents, it provides a deserving home for Prada’s iconic triangle logo—a good replacement when you can’t tote your phone around in one of their similarly iconic nylon bags.

Saint Laurent iPhone XS Quilted Leather Phone Case

With chevron stitching giving it an edge—and some cushioning—this case defines luxe phone style, with a metal YSL logo pressed into the material. The perfect partner to any of the brand’s similarly quilted purses, this case is crafted out of a satiny black calfskin, making it your phone’s plush new home.

[“source=forbes”]