Donald Trump’s first wife Ivana Trump has died at the age of 73.
On Thursday, multiple outlets reported that the Czech-born television personality and businessman had died of cardiac arrest in her New York City apartment.
Trump gained widespread recognition around the world in 1977 after she married businessman, real estate mogul and former President Donald Trump. The two have three children together, including Donald Trump Jr., Ivanka Trump, and Eric Trump.
Their relationship was covered extensively in the ’80s, especially when it was revealed that her then-husband had a high-profile affair with model Marla Maples, whom he later married in 1993.
During her marriage to Donald Trump, she held several key executive roles in his famous Trump Organization. Following their highly publicized divorce in 1992, Ivana Trump began several professional endeavors of her own, including her own line of clothing, jewelry and beauty products, all sold on QVC London and the Home Shopping Network.
Ivana and Donald Trump at the CFDA Awards, 1988.
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After the news of his death, Donald Trump posted on social media.
He wrote, “I am deeply saddened to inform everyone who loved her, many of whom are, Ivana Trump, has passed away at her home in New York City.” “She was a wonderful, beautiful and wonderful woman who led a great and inspirational life. Her three children, Donald Jr., Ivanka and Eric were her pride and joy. She was so proud of them, because we all had so much to her.” Was proud. Rest in peace, Ivana!”
His son, Eric, also uploaded a carousel of photos of himself with his mother to his official Instagram account, including an old family photo from when his parents were still married.
He wrote in the accompanying caption, “It is with great sadness we announce the passing of our beloved mother, Ivana Trump.” “Our mother was an incredible woman – a force in business, a world-class athlete, a radiant beauty, and a caring mother and friend. Ivana Trump was a survivor. She fled communism and embraced this country. She raised her children.” Taught her about patience and toughness, compassion and determination. She will miss her mother, her three children and ten grandchildren.”
Trump’s marriage to Donald Trump, who later became the 45th President of the United States, was his second marriage. He later married and divorced twice.
Approaching the costumes in Netflix’s “Persuasion,” costume designer Marianne Egertoft looked to “contemporary heroines” to create a wardrobe for the Jane Austen protagonist, Anne Elliot, played by Dakota Johnson.
She said of her design process, “I saw more contemporary heroines that I felt could convey a different feel and look to Anne Elliot.” “Patti Smith, Debbie Harry and Audrey Hepburn were featured on my mood board. It’s the attitude and spontaneity of these amazing women that resonates with me. I think it matters a lot what they actually wear rather than how they would wear something, although that naturally matters.”
“Persuasion”, which tells the story of Elliot, a young woman still grappling with her breakup eight years ago, is set in early 1800s England during the Regency era. Egertoft approached adaptation by incorporating period fashion – particularly for the aristocratic Elliot family – and married it with contemporary style icons to create costumes that would be considered timeless. The film starts streaming on Netflix from Friday.
The film is the latest project to fall under this year’s Regencycore fashion trend, inspired by other period dramas like “Bridgeton,” “The Gilded Age” and more. Unlike the plays of those period—which veered into a regal and lavish aesthetic—”Persuasion” is a more subdued take on Regencycore, primarily looking for Empire waist dresses and lace embellishments for costumes.
Eggertoft explained that his research process for the film was shortened due to accelerated production times, but he made references to historical textiles and museum pieces from the time period for the characters’ wardrobes. He also had a wide range of other Jane Austen film adaptations to work with.
A still from Netflix’s “Persuasion”.
Nick Wall/Netflix
“Director Carrie Kracknell and I were pretty much on the same wave length,” she said. “We wanted to strike a recognizable feel and a visual balance with the period scene without being overly careful with historical costume details and etiquette. We had already decided we would go for the period if we felt it was necessary.” For example, we were going to use the bonnet and cap in some capacity, but not strictly as the etiquette of the time would have dictated.”
As Johnson regularly breaks the fourth wall and speaks directly to the audience via monologues, Eggertoft wanted to keep her wardrobe uniform and minimal so as not to detract from her narrative.
“A timeless experience was important when it came to being Anne,” Egertoft said. “It’s her story from her point of view, and the directness to the camera means we need to take care that the costume doesn’t get in the way of these exchanges with the audience.”
Elliot’s minimalist wardrobe was also there as a way of showing off his differences from his sisters. While Elliot was more simple and reclusive and wore dark clothing, his sisters welcomed social engagement and attention, and used them as an opportunity to bring out their ornate and bright clothes.
“The overall idea was that Anne would have a favorite outfit than her sisters, who would prefer to make more changes and fuss than her sisters,” she continued. “The minimalist approach was challenged by the flow of the story and required a few more hero garments, but hopefully we’ve managed to gain some sense of favorite clothing.”
As the latest Jane Austen film adaptation, Egertoft believes the late author’s work has resonated with audiences for so long because of the relatability of his novels.
“Jane Austen’s books have a timeless quality about them, which makes them ideal for adaptation,” concluded Eggertoft. “I think Jane Austen hits a nerve within most of us. Oddly, sometimes it can be easy to appreciate it in period drama. Maybe we’re more accepting when our Get away from your reality.
Lizzo is keeping it sporty and chic while promoting her upcoming new album in New York City.
On Wednesday, the Grammy-winning singer visited SiriusXM studios as part of her press tour to promote her new album, “Special,” which is due for release on Friday.
For the occasion, she wore a long-sleeved bright coral cutout dress by Yeti, her new shapewear line, which launched in April. He paired it with white high-top Nike Air Force 1 sneakers and long white socks, which he rubbed across his ankles. To top the look, she accessorised with large hoop earrings, a jewelry chain necklace emblazoned with the word “Yeti,” and a pair of rectangular red sunglasses.
She is usually styled by Jason Rembert, who also works with Mary J Blige, Issa Rae and Queen Latifah.
Lizzo visits SiriusXM on July 13, 2022 at SiriusXM Studios in New York City.
Jamie McCarthy/Getty Images
Lizzo announced she was releasing a shapewear line in March, posting several Instagram photos promoting the launch. According to the singer, the project took five years to create.
The Yitty, made in partnership with its parent company Fabletics, ranges in size from 6X to XS and offers a wide range of bold and bright colors like yellow, pink, red and purple and neutrals.
Lizzo visits SiriusXM on July 13, 2022 at SiriusXM Studios in New York City.
Jamie McCarthy/Getty Images
“This is a love letter to my big grrrls, and a welcome letter to every body. This is *not* an invitation to change who you are… It’s an opportunity to be who you are on your own terms are,” Lizzo wrote in the caption for one of her Instagram posts. “I don’t know about you all—but I’m sick of people telling me how I should look and feel about my body. I’m tired of restlessness being synonymous with sexy. If it’s uncomfortable If it is, take it off. And if it makes you feel good then put it on. @YITTY isn’t just shapewear, it’s your chance to reclaim your body and redefine your beauty standard. I urge all of you guys I love.”
“Special” would mark Lizzo’s fourth studio album. His last project, “Cuz I Love You” was released in 2019 and earned him several accolades, including a Grammy Award for Best Urban Contemporary Album.
The singer was recently nominated for six Primetime Emmy Awards for her reality competition series “Lizzo’s Watch Out for the Big Girls”, including one for Outstanding Competition Program.
LONDON: Reece Topley’s six for 24 saw the Indian top-order fall like nine pins and England’s bowling performance registered a stunning 100-run victory while defending a modest target in the second ODI at Lord’s on Thursday.
With parity restored in the three-match series, Sunday’s decider at Old Trafford in Manchester promises to be mouth-watering.
When the Indian bowlers put on another impressive performance to bowl England out for 246 in 49 overs, no one knew the visiting batsman would be reduced to 146 in 38.5 overs thanks to Topley’s good seam and swing bowling.
David Willey (1/27 in 9 overs), experienced Moeen Ali (1/30) and Liam Livingstone (1/4) also played their part perfectly.
Topi’s figures were the best by an Englishman in ‘The Mecca of Cricket’.
After winning the first game by 10 wickets, the Indian team had no idea that the wheel of luck would spin so fast.
Shikhar Dhawan, Rohit Sharma, Virat Kohli and Rishabh Pant were back in the dressing room after the first powerplay with only 31 runs on the board, the only possible outcome.
Suryakumar Yadav (27), Hardik Pandya (29) and Ravindra Jadeja (29) tried their best but the scores would certainly provide a bigger picture of the plight of the Indian batsmen.
Dhawan (9 runs in 26 balls) and
Rohit (0 off 9 balls) clearly looked uneasy as the 6ft 5in tall Topley hit the seam and with his height, also pulled off a consistently disappointing bounce.
Knowing that Rohit is a compulsive hooker and puller, Topley kept it full and a distinctive left-handed batsman’s delivery with an angle, found the Indian captain swooping down the front.
Dhawan, whose stay on the wicket was as painful as Rohit’s, tickled Jos Buttler on the leg side.
Kohli’s quick 22-second move in the Lord’s Long Room was brilliantly filmed by the broadcasters as he was seen raising his collar as he entered the field of play.
What followed was three picturesque shots—one off-drive, one on-drive and one cover drive—all out of the top drawer but the tendency to play everything on the front-foot led to his downfall.
Left-arm pacer Willie angled an off-stump and once again the former India captain misjudged the length with his front-foot trigger. The resulting nick was happily accepted by Captain Butler behind the stumps.
Rishabh Pant (0) in the blue Indian jersey has often been a lighter shade of what he is in white flannel. A full toss ball from seamer Brydon Cars is credited to the mid-on fielder. It was 31 for 4 and suddenly the target of 247 seemed huge.
Suryakumar Yadav (27 off 29 balls) started right where he left off during that incredible T20I century in Nottingham.
With Pandya, he added 42 runs before Topley, coming in for his second spell, got one for extra bounce and forced the batsman to go for a non-existent cut shot when the bare minimum for execution Was.
Earlier, Yuzvendra Chahal’s clever variations looked to complement Hardik Pandya’s steady pace medium bowling as India bundled out England for 246 in 49 overs.
However, it was Moeen Ali (47 off 64 balls) who took the attack back into the opposition camp with his audacious hook and pulled off sixes with a slog sweep as England’s total had some semblance of respectability, as the apprehensive The top-order promised a lot, but delivered. little.
Moeen and David Willey (41 off 49 balls) put on 62 runs for the seventh wicket to help chase down the target of 250.
On a two-paced track, Chahal (10-0-47-4) was brilliant at managing his length while giving plenty of air to the ball as he got rid of England’s ‘Big Three’ – Jonny Bairstow (38), Joe Root ( 11) and Ben Stokes (21) – and then got Moeen out only when he looked dangerous.
At the other end, Pandya (6-0-28-2), who is slowly finding his bowling rhythm back, picked up the wickets of Jason Roy (23) and Liam Livingstone (33) and Rohit Sharma scored runs. – Flow stopped. Had another good day at the office, maneuvering his six-man attack.
Mohammed Shami (10-0-48-1) was as regal as ever as he dismissed rival skipper Jos Buttler (4) with a sharp inswinger that came into the tail late.
Jasprit Bumrah (10-1-49-2) and Shami were once again in the zone, although it was not as big a defeat for England as compared to the opening game.
It was during the middle overs that Chahal was excellent as he controlled the white kookaburra like a yo-yo, pushing the delivery fuller and at times shortening the length.
The balls were all different lengths to dismiss Bairstow, Root and Stokes, while Moeen Ali, towards fag-end, was hit from the line of delivery.
Milan – Experiencing a sharp rebound fashion has had an extraordinary ripple effect on garment manufacturers, who are collecting orders and trying to deal with an overloaded supply chain to ensure deliveries. But prospects may not be as bright, with analysts predicting inflation could lead to a recession early next fall.
During the three-day textile trade show Milano Unica – which closed on Thursday 4,052 visitors, up 31 percent from the same edition last year – officials were upbeat about the current but still cautious, noting that brands and retailers were hit by the pandemic two years later and fearing the cost of raw Overstocking clothing to replenish depleted warehouses. There will be further growth in materials, logistics and energy.
In the first quarter of 2022, the sector’s revenues grew by 34.3 percent on a similar basis, although sales figures were not yet available, while exports registered a growth of 46.2 percent to 816 million euros, which is further reflected in the is on the way to grow. The dollar has almost leveled with the euro this week.
“Growth has been experienced across the board, but less so in Asia, particularly in Europe and the Americas,” said Alessandro Barbaris Canonico, president of Milano Unica.
“When markets are positive, companies are more eager to return on investment … said.
“We can hardly explain why the market is performing so well despite slowdown and inflation. During the opening ceremony of the fair, Claudia D’Arpizio, a partner at Bain & Company in Milan, said investors, too, expected the Russo-Ukrainian war to dent consumer confidence.
She predicted that the order books would be reconciled for the fall in 2023 collections presented at the fairgrounds by 445 exhibition companies, which were followed by US brands and retailers resuming production from China, thus European and Italian manufacturers benefited. It will generate substantial revenue by the first half of 2023, he predicted.
“Unlike other sectors, current sales are a compensation for lost revenue,” said Barbaris Canonico.
EuroJersey’s sensitive fabric samples for the fall of 2023.
Courtesy of EuroJersey
According to EuroJersey Managing Director Andrea Crespi, “Among the social vulnerabilities caused by inflation, the supply chain crisis, the needs of different consumers, it is going to be a revolution … if retail sales fall by 20 percent. [in coming months] And with brands left with 20 per cent more stock, sales to garment manufacturers will drop by 40 per cent,” he forecast.
“The current ‘surge’ in sales is a direct effect of the lockdowns and shutdowns over the past two years,” echoed Canepa’s director of commercial and marketing, Patrick Lone. “With increased prices and sales peaking, the fall in 2023 could mark a different scenario,” he said, adding that the company will hit revenues of around 22 to 23 million euros in 2022. Irrespective of the context, the company is committed to regaining its market share in the luxury segment after it went through financial troubles over the past few years. It will also welcome a creative director next week, but his name has not been disclosed yet.
Vitale Barberis Canonico’s Shaket fabrics.
Courtesy of Vitale Barberis Canonico
Italian companies must take advantage of long-term planning to meet future challenges and volatility.
“We are facing unprecedented changes and challenges as the fashion business model will change, so we need to make long-term investments to anticipate this,” said Matteo Mantellasi, CEO of Manteco. He said the company’s sales in the first half have already exceeded the 2021 level by more than 50 per cent, although the company continued to make profits even during the pandemic.
“Despite prices being an average of 20 per cent higher, our business is growing three times that of competitors. This is because we have established a reliable relationship,” said Fabio Tamburini, CEO of Cotonifio Albini, the production arm of the Albini Group, which expects to post revenue in the region of €130 million this year and the same-for-60 registering a percentage increase. Like a falling order. “We aim to strengthen our volumes and grow organic growth in the range of 5 to 6 per cent.
In contrast, Tessitura Monti, once a powerful competitor in the sector, recently received a green light from the Italian government to postpone the sale of its assets until 30 November. This is part of the special administration process it entered into last year to ensure production. As a continuation it is looking for a buyer.
Overall, officials noted that increases in raw material costs are less constraining than energy costs, the latter reflected in the price points of their collections, which have risen by an average of 15 to 20 percent.
“In June we were forced to raise prices in-season, and we will need to get used to it,” said Filippo Vadda, CEO of Lanificio Fratelli Cerutti. This won’t stop the company from doubling revenue in 2022, once full speed production capacity is guaranteed in the first months of the year.
At velvet specialist Radelli Velluti, the 35 to 40 percent increase in unit price per meter reflected a disrupted landscape, worsened by the time- and energy-consuming manufacturing process core to that fabric.
“It is difficult to explain to the market how dependent our production is on energy, and there are only two ways forward: reducing the quality or maintaining it and paying higher prices,” explained Pierluigi Fusco Girard, CEO of Marzotto Lab, of The division Marzotto Group consisting of Radelli Velluti. He estimates that revenue will grow between 15 and 20 percent in 2022.
Fall 2023 fabric from Redaelli Velluti.
Redaelli Velluti. Courtesy
“This is not the time to fight over prices,” Lone echoed. “We are embedding an added value, leveraging innovation and sustainability” to help brands digest expensive clothing, he said.
In a worst-case scenario, officials agreed, inflation will severely impact the bottom line, affecting companies’ investment ability. “We haven’t experienced this kind of growth in the last 10 seasons,” said Barbaris Canonico.
D’Arpizio also noticed that fashion companies are placing their orders in advance for fear that production disruptions could cause delays. Lead time is really an unresolved issue, which he urged companies to commit.
“We don’t expect [market] Stability in the near future, rather a return to pre-COVID-19 business trends, whether they be adaptations or the more fragmented buyouts that we are seeing today. But within a recurring environment that will call for caution and short-term planning,” said the analyst.
Reda’s CEO, Ercole Boto Poala, outlined how the supply chain is under more pressure and went on to say that, in the fall, production could be halted for a lack of gas supply, while usually due to a seasonality. Great beginnings are predicted which should raise the company’s revenue for the year to 100 million euros.
The scenario partly explains why brands are stocking more of the ubiquitous solid and traditional clothing at the fair. Some companies have already sensed this trend and have offered clients such services as Albini Group’s Textum, a stock service consisting of 70 different garments ready to be fabric-colored or printed.
Elsewhere, Redaelli Velluti is providing customers with apparel-making experts to ensure velvet is treated the best, while Maglificio Maggia is working with suppliers to ensure supplies at the start of each season. Redrawing contracts.
Against this commercial background, clothing manufacturers acknowledged that the ongoing contingencies had changed fashion trends, but D’Arpizio noted that the post-streetwear wave has given way to clothing that is interchangeable at any occasion and towards self-expression.
Lanificio Fratelli Cerruti was among those wool mills that worked on damier, gingham and Vichy patterns for wool fabrics that stood out for their tactile effect.
“Consumers buy fewer suits, but when they do, they set out to create a more sophisticated look, it’s no longer a business duty, it’s a fashion statement,” Vadda offered.
A fabric fall 2023 collection by Lanificio Fratelli Cerruti.
Lanificio Fratelli Cerruti. Courtesy
To this end, the fall collection hinges on a 3D and tactile look and feel aimed at showcasing craftsmanship and detail with natural fibers, particularly wool – the more recycled and less treated, the better. – Standing out and the suggestion of textile companies is a progressively circular embrace.
“Wool is gaining momentum,” said Francesco Magri, regional manager for Central and Eastern Europe at The Woolmark Company, which in collaboration with Zegna Barufa Lane Borgosia launched a campaign highlighting the naturally biodegradable and performance features of fabrics Gone.” It’s long lasting and is adopted by luxury and sportswear companies alike. The latter are leaning away from polyester and towards natural fabrics,” he claimed.
The textiles with µGG12.9 cards patented in Maglificio Maggia were already produced by some luxury brands for suiting, while the Retrieve range of upcycled cashmere had a circularity component, made from Vita by Manteco, Wool or Wool A series of and was revived. Nylon blends crafted from the signature regenerated MWool, now rated according to LCA principles, and designed on an eco-design basis.
Madras, tartan and checkered options were all the rage, showing up on EuroJersey’s printed sensitive fabric; Part of Albini Group’s shirt options on cotton and Tencel flannel; Reda features merino wool in its Attitude collection, which weighs about 13 ounces and weighs in at a Prince of Wales pattern, and Vitale Barberis Canonico’s overshirt-intentioned wool shacket line. The latter mill also introduced GRS-certified carded flannels featuring 40 percent recycled wool.
In Redaelli Velluti, 3D effect was provided by wild animal, psychedelic and folk motifs, achieved by employing ink jet print, rust and tie-dye techniques. The company also introduced velvet imitation fur crafted from cotton or viscose and other man-made yarns.
Earthy tones were ubiquitous, often deep and saturated, as was the case with the Albini group’s recently industrialized re-oxidized dyes, which were derived from iron oxidation and the velvety-looking corduroy overshirts and Shetland-looks of Maglifisio Magia. In the jersey, he used to mix cashmere and camel hair.
Maglifisio Maggia’s Shetland-looking jersey for fall 2023.
Courtesy of Maglificio Maggia
Sustainability is a given today, but the companies were particularly proud of their most recent achievements on that front, including Botto Giuseppe for Slowwool Earth, cradle-to-cradle certified, RSW flannel, grisaille and fabric available in five colors . and Canepa with its nylon and viscose, developed in partnership with Fulgar and Sodra, respectively, both of which are biodegradable within five years. Tamburini of the Albini Group said he aims to only manufacture sustainable fabrics by 2025.
strength in numbers: Victoria Beckham has combined her beauty, fashion and personal content into one account to officially launch the @victoriabeckham account on TikTok.
The multi-faceted designer already has a strong social media base with 30.2 million Instagram followers, 4.3 million Facebook followers, and 14,100 Twitter followers.
Beckham on Wednesday floated the idea of starting a TikTok account via Instagram and one of his sons, Romeo, welcomed it with his approval. Fans reacted strongly to his video, with 33,551 likes as of Thursday afternoon.
Like most of her family, the mother of four and wife of David Beckham largely spends her life on social media. She recently posted about their 23rd wedding anniversary: ”They say he ain’t funny, they say I never smile, they say it won’t last.” Her daughter Harper’s 11th birthday was another cause for celebration. Photos with adorable messages from Beckham’s parents are posted from time to time, as are references to other types of family time. She recently mentioned taking a train ride with her family on the Venice Simplon-Orient Express.
In the midst of all this fun, Beckham is definitely a business lady with a lot of ventures to do. By combining Victoria Beckham Fashion, Victoria Beckham Beauty and her personal content into one TikTok account, she stands to enhance her brand with a cohesive narrative.
To encourage TikTok fans to engage, they can use #StitchPosh to show how posh they really are. Just as Kim Kardashian recently gave The New York Times a mid-interview tutorial about her beauty routine using her beauty products, Beckham is breaking out her mask using Victoria Beckham beauty products. Knowing that many consumers can’t get enough behind-the-scenes footage, here’s a sneak peek of her Vogue Australia shoot. Her TikTok account appears to be more than “one vibe, one attitude,” like the signature resort collection that Beckham showed off late last month.
Tottenham Hotspur star Son Heung-min has revealed he faced racism in Germany as a teenage footballer and was happy to have “revenge” when South Korea knocked Germany out of the 2018 World Cup.
Son, 29, became the first Asian footballer to win the Golden Boot by being the top scorer in the English Premier League last season with 23 goals.
South Korea’s football icon, the leading Asian goalscorer in English football’s top-flight history, was awarded the country’s highest sporting honor in June for his achievements.
But Son said the most memorable moment of his career was South Korea’s resounding 2-0 win over Germany four years earlier because of the racism he endured in the country as a teenager after joining Hamburg in 2010 .
Speaking to fans at an event in Seoul on Monday, Son shared his experiences of racism publicly for the first time.
“I moved to Germany when I was younger, and went through a lot of difficult, unimaginable moments,” said Son, who left Hamburg for Bayer Leverkusen in 2013.
“I faced a lot of racism. And going through such a tough time, I had so many thoughts that I should one day take my revenge.”
Germany were the defending World Cup champions in Russia, but a loss to South Korea meant they were at the bottom of their group, leaving many German fans in tears at the Kazan Arena.
Son, who scored the second goal in injury time to seal Germany’s early exit, said he had some sympathy.
“When people cry, I (usually) want to comfort them and give them a hug,” he said. “But seeing the German people cry, (I felt) I was able to take revenge by doing something of my choice,” he said.
Son has also faced racism during his Premier League career in England since moving from Leverkusen to Spurs in 2015.
Last year, eight people were arrested in addresses in England and Wales on suspicion of tweeting racist abuse at Son.
Son will be joined by his Tottenham teammates upon arrival in South Korea for pre-season games against the K-League All-Stars in Seoul on 13 July and Sevilla FC three days later in Suwon, 45 kilometers south of Seoul.
