Sophie Buhai’s Baroque Pearl Crown Is the Only Accessory You Need to Ring In 2019

In a year of larger-than-life trends (mille-feuille coats! out-to-there ruffles! sky-high thong sandals!), it’s one rather petite piece that won the most hearts in 2018: the not-so-humble hair accessory. After all, crystal-embellished claw clips and blingy barrettes are now a dime a dozen—and yet, masterful, minimalist tokens are nearly impossible to come by. “They’ve kind of gone extinct,” says jewelry designer Sophie Buhai, whose sumptuous silk bells-and-whistles-free scrunchies instantly shot to her best sellers list (and many an Instagram feed) since their launch last July.

Inspired by the old-school polish of Upper East Side and Beverly Hills women “in their 60s, 70s, and 80s” whose lengths are uniformly accented with an understated, high-end number, the Angeleno is putting her trademark timeless touch on two new headbands: one, a braided velvet take; the other, a black satin puffed power piece strung with a fistful of baroque pearls—an elegant palette cleanser amidst a sea of holiday paillettes and plumage.

“Everything else should be kept very simple,” advises Buhai, who recommends pairing the $1,475 investment accessory with a men’s blazer or black turtleneck, slacks, and “clean—but not blow-dried—hair” for the festivities ahead. “All you need is that headband and you’re good to go.” Consider it the ultimate five-second trick for taking your evening ensemble to new heights this season.

Diana Ross and Her Family Take Holiday Style to Diva-Worthy New Heights

’Tis the season for holiday cards (though these days they tend to flood your inbox, not your mailbox). In the celebrity world, those outgoing postcards come with festive dressing galore: famous families, such as the Kardashians, have been known to photograph themselves in coordinated ensembles that are matchy-matchy and delightfully over the top. So what if you’re part of an insanely stylish brood such as the Ross family? The twinning holiday getups are bound to be next level, of course.

Snapped at the Macy’s Thanksgiving Day Parade in New York City yesterday, the Ross gang—mother Diana and children Tracee Ellis, Evan, Rhonda, Chudney, and Ross—gathered together to celebrate the holiday day on a float. And knowing there would be flashing cameras around at all times, the group decided to put together impeccably coordinated ensembles: they wore wintery, all-white getups, each family member wearing a different style of outerwear, from long puffers to tailored overcoats. Diana opted for a shaggy coat with a ballgown underneath—a look only the iconic singer could pull off—while Tracee Ellis chose Gucci’s white crystal-covered Flashtrek sneakers for a touch of bling. Their looks were cohesive, yet highly individual—just like the Ross family themselves.

These Sparkly, Met Gala–Approved Heels Are on Sale for Under $50—Just in Time for the Holidays

 This year marked my third Met Gala as a Vogue staffer. In the days that followed, the question I was asked most was, unsurprisingly, “What did you wear?” Given the “Heavenly Bodies” theme, I decided on a sweet off-white ruffled silk dress by Simone Rocha, which touched on the religious art and fashion in the exhibition but still felt party-appropriate. That said, my shoes were an even more important decision, considering I would spend the whole night on my feet (we were there to work, after all). With small feet like mine, squeezing into a sample is not an option, so finding the right pair was a tall order: I needed shoes that would not only look presentable in a sea of well-dressed celebrities, but would also complement my romantic dress and withstand hours of walking, standing, and occasionally running. Since I purged every stiletto and pump from my closet after graduation, there was a serious void for evening shoes in my closet—one I needed to fill stat.

Despite the Met Gala’s reputation as “fashion’s biggest night out,” I can’t get behind the idea of wearing ill-fitting, sky-high heels that don’t match my style (even for just one evening). I learned this the hard way after my first Met, where my heels caused the kind of pain no pedicure massage could fix. For my second Met, my shoes were similarly brutal, though I was at least mentally prepared for the hours I would spend wearing them. This year, I decided to dedicate my time to searching for shoes that were truly comfortable—and would still fit the theme, of course.

It turns out, the answer was right in front of me—or rather, below me. The shoes I wore the most this spring were my kitten-heel slides from the glitzy yet accessible label Nina. Sound familiar? It’s the special-occasion accessories brand typically found at department stores, beloved by teenagers and young women who wear Nina shoes to homecoming, prom, and weddings. But I’ve discovered that the nearly 60-year-old New York brand is worth a second look. When I was searching high and low for the right Met Gala shoe in April, my infatuation with sexy, diamanté-encrusted (read: impractical) shoes was also growing—fast! It felt like every brand was tempting me with a pair, but none were as gentle on my wallet as Nina’s. I decided Nina’s three-inch Avalon sandals would satisfy my craving for sparkly shoes that didn’t cost a month’s rent, but they also became a top contender in my Met Gala search.

The first time I tried them, I impulsively went to the office without a backup flat or sneaker for my commute. Foolish, I know—but I didn’t regret it. My feet were pain-free the whole day. It was a win-win: The flash of sparkle on my toes dressed up my laid-back pinstriped suit and shoelace belt, and they gave me confidence as I walked to and from meetings. I couldn’t go anywhere without being stopped for a compliment. These shiny, strappy, not-quite stilettos were the comfy-glam heels I’d been looking for! There was no way they weren’t coming with me to the Met. On the big night, the rhinestones picked up the embellishments on my dress and barrettes, and they lightened up the look of my otherwise all-black sandals (which were fully visible under my ankle-length dress). The thicker heel and ankle straps provided the extra support I needed to get through the long night, too. Needless to say, I made it to the after-party!

That first Monday in May feels like ancient history at this point, but with the holiday season quickly approaching, we’re about to find ourselves in need of festive, comfortable party shoes once again. In fact, my Met Gala-approved sandals are still out there—and they’re on sale for under $50, rhinestones and all. Run, don’t walk—and in these, you actually can!—to get a head-start on your party look now.

A Former Cardi B Video Vixen Has Created the Most Instagrammable Loungewear Brand of the Year

What would loungewear look like if it was based on the wardrobe of flashy mobster girlfriends like Adriana La Cerva of The Sopranos—or perhaps her more elegant incarnation, Elvira Hancock from Scarface, or a loaded Beverly Hills housewife circa 1987? Hannah Park set out to answer this question when she created Oori Ott, a label based on all things “tastefully gaudy,” as she puts it. The designer and onetime video vixen—she appeared in the Petra Collins–directed Cardi B music video “Bartier Cardi”—created the label around what she herself wanted to wear but was not able to find. Her knit clothes have new-money touches like superhigh slits, body-encasing workout fits, and Lolita-ish ruffles: Think a striking bodysuit, dainty biker shorts with a frill trim, off-the-shoulder tops, and cheeky tank tops.

Park tapped photographer Mayan Toledano to shoot Oori Ott’s dreamy debut lookbook, which includes two Instagram favorites, model Leila Rahimi and actress Medalion Rahimi (not sisters!), posing in what Park describes as an “’80s postmodern dream house in Chino Hills with a sky-blue carpet, pink tiles, a tropical garden, a garage filled with vintage game machines, mannequins, a Chippendale’s stripper cutout, and so much more.” The loungewear fits the deliciously excessive mood, as in a set of plush drawstring pants with slits up to the hips and a turtleneck-meets-tunic with an inverted cutout that dips to the breastbone. The standout pieces come in a very double-tappable Princess Jasmine shade of blue.

Park began thinking about launching her label when she was living in New York and working in the commercial sphere of fashion. “I felt a little bit trapped and I wanted to start working on my own thing,” she says. “I was keeping my ideas in a box.” Eventually, Park moved back to her hometown of Los Angeles to help her mother launch a manufacturing company. During this time, she observed the downside of mass production. “I saw a lot of people struggling. All of the production was moving to China, and I also saw a lot of waste because people were overbuying,” she says. “Manufactures were selling their clothes for less than a cup of coffee. So, I started rethinking where and how I am going to make my clothes.” Now, Park, who is launching her label this week, sources from local manufacturers and is rolling out the collection in limited drops.

Park infused a bit of her Korean roots into the line as well. The name Oori Ott means “our clothes” in Korean, and touches on her relationship with quality. “I liked the idea of clothes being ‘ours,’ not ‘my’ clothes,” she says. “We usually don’t think about it, but it takes a lot of people and time to create the clothes we buy. If the quality is good, the clothes should last long enough for more than one person to wear.” This philosophy comes through in another heartwarming touch that brings the the brand full circle: Park styled the looks with her mother’s vintage oversize gold cross necklace for just the right amount of flashiness.

Kelela Puts a Fiery Twist on a Simple Summer Slip Dress

Kelela is clearly a master at wearing white. Over the past few months, the singer-songwriter has seemingly only been pictured in the achromatic color: She’s performed onstage in white stand-alone puffy sleeves, she’s worn a lace-up Maryam Nassir Zadeh dress while on her way from San Francisco to Seoul, and she’s gallivanted about in northern France in a creamy Lado Bokuchava dress with built-in sleeves. Even when she does add a pop of color to her wardrobe, as she did recently in Ireland in an Alex Mullins jumpsuit with a bright, almost tropical print, the fundamental color of the garment is—you guessed it—white.

With her latest Instagram photo, Kelela yet again subtly disrupts this all-white streak to great effect: She added some fiery flair to a classic white slip silhouette in Osaka, striking a pose in a breezy Priscavera dress embellished with orange flames that flowed upwards from the hem. Leave it to Kelela to give a typically sweet piece just a tad more bite.

Nicole Kidman Wears Fresh-Off-the-Runway Dior to Comic-Con

With the 2018 Comic-Con International festival in full swing, a slew of A-listers have made their way to San Diego, California, to debut their new films and participate in cast panel discussions. Nicole Kidman attended the festival yesterday for her new film, Aquaman, where she talked her new project alongside stars Jason Momoa and Amber Heard. But there was no cosplay or superhero-inspired garb here—unless Superwoman wears fresh-off-the-runway Dior looks.

For the appearance, Kidman wore a cotton tulle-embroidered dress with transparent sleeves from Christian Dior’s Cruise 2019 collection (Look 15), styled with a thick black leather belt. Designed by Maria Grazia Chiuri, the Cruise collection was inspired by escaramuza, the Mexican sport featuring female rodeo riders, which resulted in voluminous silhouettes paired with structured jackets. Kidman kept the look relatively simple, wearing it exactly how it was shown on the runway, save for the traditional escaramuza hat. She did, however, add simple embellished sandals, also by Dior, to give the ensemble more of a red carpet feel.

Lizzo Shares an Exclusive Tour Photo Diary and Recap Video—And They’re Totally OTT

Supporting Haim on tour is a daunting task, particularly when it comes to one’s tour wardrobe—if Este, Danielle, and Alana are going to appear onstage in custom Chloé looks, how does one compete? But few artists are more poised to hold their own than Lizzo, whose sense of confidence radiates from both her music—her recent music video for “Truth Hurts” is a case in point—and her custom, curve-hugging looks, styled by the ever-boundary-pushing multi-hyphenate Brooke Candy.

Lizzo, fresh off her tour with Haim, has now shared an intimate photo diary that showcases her over-the-top sense of style and similarly outsize personality. From striking a pose in a bright blue lace-up bodysuit to hanging out backstage in sheer ruffled off-the-shoulder pieces, Lizzo clearly knows how to make a fashion statement. Her custom pink rhinestone-adorned bodysuit (designed by Seth Pratt) that she debuted last year makes a notable appearance as well. Take a look at her glamorous tour photo diary above, and watch her tour recap video below to learn more about how she stays present and empowered on the road—or if you just want to see all of those rhinestones in action.

Kendall Jenner Makes a Patriotic Street Style Statement, Just In Time for Memorial Day

After a whirlwind week in the South of France for the Cannes Film Festival, Kendall Jenner is back on American soil, specifically the sidewalks of New York. It seems the model is already flying her international fashion flag high in an American-meets-Parisian mashup of sorts: When she stepped out today in Manhattan, she sported a vintage Jean Paul Gaultier sweater modeled after the U.S. flag for a patriotic street style statement in the lead up to Memorial Day.

The look felt all the more homegrown thanks to her classic blue jeans—an all-American wardrobe staple, if there ever was one. Jenner kicked the off-duty ensemble into high gear with Givenchy boots, then carried a Prada nylon bag, which was a welcome change of pace from her ever-present fanny pack. And while the overcast skies and 60-something temperatures in New York didn’t exactly scream “long weekend,” Jenner worked in a subtle vacation-ready touch in the form of tinted shades that felt like a welcome salute to the summer months ahead.

Børns’s Leg-Revealing Coachella Look Proves Men Can Wear Short Shorts, Too

Who wears short shorts? Børns wears short shorts! This past weekend at Coachella, Garret Borns—the artist known as Børns, a man with lush Aphrodite tresses and a siren’s voice—wore a deliciously risqué Gucci outfit that included a pair of Daisy Dukes. The micro shorts showed off Børns's hunky hamstrings, which he told Vogue.com, stay toned and limber through regular yoga: “Flexibility and balance make a huge difference in a performance for me.” Another bonus point for the thigh-baring ensemble? Børns claimed his defined gams glistened thanks to “a mixture of hot desert sun and adrenaline.” Noted.

It’s not the first time that a man has worn tiny cut-offs. The men’s runways were filled with itsy bitsy shorts for Prada Fall 2018 and at Gucci Spring 2018. But Børns’s get-up was a new kind of daring—not only due to the amount of leg exposed, but in its color choice, too. He opted for rose pink, a hue that his stylist Kat Typaldos says was a way for the look to “really pop against the desert style.” And while most men might not be as bold as Børns to show off their cared-for calves and god-like quadriceps, the entertainer left us with one last piece of short shorts wisdom. “Remember, your legs are the pillars to your temple,” he says. “Let them be free and the rest of you will follow.”

In Kings, Sarah Burgess Tackles the Corrosive Power of Money on the Government

While supporting herself as a math tutor a few years ago, Sarah Burgess, who had studied film as an undergraduate at NYU, decided to try her hand at writing a play. The result, Dry Powder, a vicious if cooly rendered comedy about ruthlessness and greed in the world of high finance, was immediately snapped up by The Public Theater, which gave it a first-class production in 2016, directed by Tommy Kail and starring Claire Danes, John Krasinski, and Hank Azaria. It announced the arrival of a writer with a gift for razor-sharp dialogue, shifting power dynamics, and loaded showdowns, not to mention an acid wit and a not entirely sunny view of human nature and 21st-century capitalism.

Now, Burgess, 35, is back at the Public with Kings, a taut, smart, queasily of-the-moment dissection of the cozy relationship between lobbyists and lawmakers in Washington, D.C., and of the corrosive effect of money and cronyism on politics in these United States. Once again under the direction of Kail, who showed that he knows his way around American politics in Hamilton, the play focuses on the fraught relationship between Sydney Milsap (Eisa Davis, sensational), an incorruptible congresswoman—and black Gold Star widow—from Texas who has come to Washington to buck a rotten system, and Kate (Gillian Jacobs, creepy but appealing), a rude, combative, and amoral lobbyist who vainly tries to get Sydney to play ball on behalf of her clients at a weekend retreat for lawmakers and lobbyists. After a few meetings with Sydney over margaritas and sizzling fajitas at Chili’s, Kate decides to provoke the ire of a lobbyist friend (Aya Cash) and a powerful senator steeped in the culture of quid pro quo (Zach Grenier) to help Sydney in a righteous if quixotic bid to challenge the senator for his long-held seat. Like Burgess’s first play, Kings is sleek, fast-paced, absorbing, and very funny, but it also paints a disturbing portrait of what the relentless pursuit of money and power does to the human spirit, and it leaves a sting that lasts. Burgess spoke with Vogue about her new play.

Not that it doesn’t deserve skewering, but what made you choose Washington and the world of lobbyists as the arena for the play?

I’m from Alexandria, Virginia, and so I’ve always had an interest in the culture of D.C. and the professionals who work there. I’d tried writing about it in a couple of ways, but I never really landed on anything. And then two or three years ago, I read about these fund-raising retreats that politicians do, and it just seemed incredibly funny to me—something about the powerful politicians and important lobbyists together for a weekend of organized fun. And that scenario made me curious about what kind of conversations happen there and how the business of politics gets negotiated. One of the tricky things about writing about this topic is that these aren’t strictly bribes. No one’s giving someone a $1,000 check and saying, “You have to sponsor this legislation for me.” It’s like a swingers convention in that, right underneath the small talk, there’s the obvious reason that everyone’s there.

The tone of the play is almost anthropological, but in the wake of the shootings in Florida and the inaction of NRA-funded lawmakers, it’s hard not to feel a sense of moral outrage. Was outrage part of your mind-set when you were writing it?

I didn’t write the play thinking that way, but I understand why that would be the effect. I see these plays as the first two parts of a trilogy, as something that I’m fixated on, which is that what we do in our jobs every day somehow makes us who we are. And also how money changes us and how easy it is to say that it doesn’t influence us, but how really challenging it is to avoid that. The voice of people who are unapologetic about their belief in the free market and survival of the fittest has always interested me. Of course, what that probably does in practice is create deeply unfair situations and harm people who don’t have a say. And that’s something that both this play and Dry Powder grapple with. I like thinking about those things. Writing it didn’t come from a place of anger so much as fascination—finding comedy in something that can be kind of bleak is something that for some reason I tend to be very drawn to.

The conclusion that the play seems to come to—that the influence of money is permanently baked into our system—is kind of bleak.

The one thing about this play is it’s not a fairy tale about how great Washington is. In the initial draft, I came up with a bizarre scheme for the congresswoman character to avoid the campaign finance system. I sort of tried to solve the problem in the play. But it was so absurd that it seemed ridiculous. The challenges of avoiding the coercive power of money was sort of too much to handle. There is something about how impossible that can feel that made me interested in the challenge. And the gravity of that against these resort trips and politicians and lobbyists playing golf in Florida or making s’mores together in Vail—the juxtaposition of those two things seemed potentially exciting to me. It’s at the heart of our government and how we feel about it right now. We feel hopeless and divided and disenfranchised. It’s the donors that really have the power. Money has so much sway over legislation. And that’s not a right or left issue. The idea that I might feel that way, but so does a guy who lives in my parents’ neighborhood in West Virginia, or in rural Texas. There is something that unites us in that, even though we’re divided in so many other ways. I guess that’s not necessarily a hopeful thing.

JW Anderson’s Uniqlo Collab Is Returning This Spring With Brighton Beachwear

JW Anderson’s popular Uniqlo collaboration is coming back for Spring. The partnership, first launched in Fall 2017, produced the vibrantly strange pieces you’ve been seeing everywhere—you know, the rainbow-stripe knits, the cropped plaid puffas, and the inside-out trenches style-minded guys and gals have been wearing around. For Spring, Anderson is taking his inspiration from the country to the sea, citing the historic British beach town Brighton as his inspiration.

“In the second collection of the collaboration, I’m looking for this idea of British summer, the idea of being on Brighton Beach. Something which is very lightweight, very airy, with a lot of linen and cotton, that has a 1950s subcultural movement [mixed] with a little bit of ease and something which is quintessential,” Anderson said. Decoded, that means the collection is rife with seersucker, bold sailor stripes, and plenty of denim, whether as an on-trend bucket hat or a denim jacket worthy of Martin Sheen in Badlands. The lineup’s seaside spirit is countered by Uniqlo’s technical fabrics, like a wrinkle-proof and water-resistant pocketable parka and some tops and tees in wicking materials.

With over 30 items in men’s, women’s, and unisex styles, you can be sure this collaboration will zoom off shelves as quickly as the first season did. Mark your calendars: This one’s online arrival date is April 19, and it will be available in select Uniqlo stores on April 20.