Beyoncé's tentoonstelling

We all love Beyoncé! Daar heeft de Rock and Roll Hall of Fame in Cleveland mooi op ingespeeld met een tentoonstelling van de meest bijzondere looks van de zangeres. Het museum heeft vanochtend bekend gemaakt dat outfits van haar optreden tijdens de Super Bowl, haar zomerse look in de Crazy in Love-video en de Thierry Mugler-jurk die ze droeg in haar Sweet Dreams-videoclip tentoon worden gesteld in de Legends of Rock-exhibitie.

Bij de verschillende looks staan leuke quotes van Ty Hunter, stylist van Bee, over hoe de verschillende outfits zijn samengesteld.
De outfits zullen vanaf 22 juli te bewonderen zijn in de Ahmet Ertegun Main Exhibit Hall in de Legends of Rock-afdeling, naast andere iconische stukken van David Bowie en Michael Jackson.

This Intricate-Looking Braid Is Actually Much Easier to Master Than You'd Think

Have you ever seen a braid like this? It's so different and looks crazy complex. But it's easier than you think. As long as you can tie a knot, you can master this braid technique. CHI celebrity hairstylist Albert Luiz gave us the how-to.

What you need:
—A curling iron. We like CHI Ultra Orbit 3-in-1 Tourmaline Ceramic Curler ($160, ulta.com)
—Matte wax. One we love: Fudge Urban Matte Wax ($11, target.com)
—Clear hair ties. We love Ricky's No-Snag Clear Elastics ($4 for 50, rickysnyc.com)
—Bobby pins. Our recommendation: Toni & Guy Bobby Pins ($5 for 20, target.com)

Get the look:
Step 1. Create loose waves by wrapping sections of hair around a one-inch curling wand.  

Step 2. Divide front fringe into two sections.

 Step 3. Create a simple shoelace knot: Lay section 1 over section 2, bring the hair under, and pull out through the loop. Tighten until the knot reaches the eye line. Repeat the pattern of looping hair over, under, and through, adding a new section each time. When braid is desired length, secure the tail with a clear silicone band.

Step 4. Flip knots over and secure with pins to reveal the illusion of an intricate braid.

Step 5. Now deconstruct it by tugging gently on the knots to reveal some wispy, flyaway pieces. Add rough texture by rubbing the entire braid with a matte wax.

Fall 2014 Couture.Maison Martin Margiela

One connecting theme has come out of Paris this week—the way major designers have been going back over the history of haute couture: for example, both Raf Simons at Christian Dior and Karl Lagerfeld at Chanel wended their ways back to eighteenth-century court dress, and returned with reinterpretations exquisitely remade for modern princesses. Amusingly, this puts Maison Martin Margiela in a plum position this season, since this house was actually founded on the repurposing and reframing of old, vintage, historical things (often including trash) in cool, wearable ways. So: bright and early on Wednesday morning, the audience at the Margiela “Artisanal” show was not given a reproduction of the work of the seminal Parisian couturier Paul Poiret, but confronted by a piece of the actual thing, a beautiful faded brocade vest whose provenance was explained in the program as “Probably part of a costume for an Oriental party given by Denise and Paul Poiret. . . . ” It dates from about 1910, and with forensically transparent accuracy, is noted to have been bought this year in an auction at Drouot in Paris—Lot 26, to be precise. Without a glance at the notes, however, it was the one thing in the collection the women in the room craned their necks to look at and (you can feel these things in the moment) envied most.
 

Still, that one piece opens up yet another maze of questions and contradictions. Margiela’s “Artisanal” line isn’t officially haute couture at all. Martin Margiela, when he was operating in the nineties, was interested only in elevating cheap, available flea-market items and transforming them into clothes for an egalitarian intelligentsia who enjoyed his antiestablishment subtexts and subtle jokes about fashion.

 The way Margiela patched in the past was fully in the French “bricolage” tradition—a rough-edged method which was termed “deconstruction” in the nineties. As excellent as it always was, the whole point was the way it was calculated to be outsider; deliberately the kind of clothing rich people would never want or understand.

The baton has now been passed to a younger team, which is operating in a new commerical reality more than twenty years after Margiela began. Probably their customers now are members of the art world—the women who dress to stand out as avant-garde as they negotiate multimillion-dollar transactions in the gallery booths of Miami Art Basel and the Frieze fairs in London and New York. 

Against that particular social backdrop, this collection makes complete sense. It still looks rough and ready. It is composed of mad things like defunct coins as embroidery, and vintage late forties Japanese souvenir bomber jackets. In 2014, there’s a whole new type of supermoneyed art and music people in the world who value cool over convention. And maybe, they’ll be looking here.