Justin and Hailey’s Date Night Look Is Peak Bieber

Justin and Hailey Bieber have developed a couples style that’s unlike any other. Whereas J-Rod and Nickyanka are always polished and put-together, the Biebers consistently opt for a grungier vibe. Justin’s all about streetwear—including his own Drew House label—with a sporty twist, while Hailey often pairs designer dresses with denim or leather jackets. Case in point: last night, the couple stepped out for dinner in Malibu, and their date night looks included all of said fashion signatures.

For their night on the town, Justin wore an oversized Fear of God T-shirt with ripped jeans, while Hailey wore a red slip dress with a boxy leather moto jacket and Jennifer Fisher hoops. Their matching accessory? Both sported crisp, box-fresh white sneakers. (Talk about marching to the same drum beat.) It was a night-out moment that was ultimately peak Biebers—so much so that it surely deserves a Simpsonized treatment, something the couple’s style has received before. D’oh!

From Sports Cars to Vintage Champagne, Carmelo Anthony Shares His Views of Paris

As Carmelo Anthony says, “Fashion Week in one of my favorite cities is guaranteed to be a good time!” The basketball player has become something of a regular at Paris Fashion Week men’s shows, and so when he boarded a plane to the City of Light this week, he knew exactly what to expect—well, almost. In addition to taking in Kris Van Assche’s sophomore runway show for Berluti, Anthony set off for a slew of activities outside Paris that were sure to make his fellow front-row friends pretty jealous. In addition to taking a Ferrari to Reims, a city 90 miles outside of Paris that is colloquially known as the “Champagne capital of the world,” Anthony also took a personal tour of the Veuve Cliquot Champagne vaults and learned to saber a Champagne bottle. Your average Paris Fashion Week, this was not.

But it all came together in the Berluti front row, where Anthony chose a navy ensemble and leather beret with the help of his stylist Khalilah Beavers. What did he think of Van Assche’s lively reinterpretations of Berluti’s suiting, now in “Bermuda-formal” colors, or those paint-flecked blazers? Let’s just say Anthony has his eye on Van Assche’s expert leatherwork. “Some of my favorite pieces from the show were the orange leather hoodie and purple leather hoodies, which were tastefully paired with an orange leather suit and purple leather overcoat. Also, the brown leather script bomber—all pieces that I definitely want in my wardrobe come January 2020.” You’ll have to keep an eye on the court next winter to see if Anthony’s wishlist piece makes it into his wardrobe, but we have a pretty keen sense that it will. Until then, see his best snaps from Paris Fashion Week men’s, above.

Cara Delevingne and Olivier Rousteing on Handbags, Friendship, and Their New Balmain Collaboration

Olivier Rousteing understands the power of influence. Throughout his tenure at Balmain, the designer’s approach to fashion has been marked by a keen understanding of online culture. Rousteing was among the first to harness the viral power of the Kardashian-Jenners, for instance, and this perspective also led him to his latest collaborator, Cara Delevingne. The British actress and muse has been a regular presence in the brand’s runway shows and campaign images, but she has moved to member of the design team: Delevingne worked on Balmain’s latest launch, a trio of handbags named Romeo, Twist, and the BBag. Made in black leather with striking metal hardware, the accessories merge Rousteing’s power-femme aesthetic and Delevingne’s nonchalant personal style into purses worthy of It-bag status.

For other brands, the age of limited-edition drops has meant a constant stream of collaborations, but Rousteing wanted to select the right partner for his. Due to their shared love of cinema, social media, and an affinity for futurism, Delevingne fit the bill. “You can’t collaborate with someone if there isn’t that friendship,” said Rousteing, on the phone from Paris. “At least for me there needs to be a camaraderie since my work is my life. I think I always had it in mind to work with Cara since the beginning, but things take time.” The gradual progression led to a back-and-forth brainstorming session, in which they communicated through text, emails, and meetings in Los Angeles or at Balmain’s Parisian atelier. Despite their busy schedules, the process was seamless due to their shared understanding of what the final product had to be. “I feel like I’ve known Olivier forever. The familiarity between us made it really easy to collaborate,” says Delevingne, who came to the table with a slew of references. “Once I saw Olivier’s ideas, I knew we were on the same page [and] that I only needed to give minimal feedback in order for it to be exactly what I had envisioned.”

Easily dressed up or down, the new bags correspond with Delevingne’s versatile take on fashion. Apt to switch from leather jackets and jeans during her off-duty moments to slinky little black dresses for parties and premieres, she’s an ideal representative for the duality of the modern wardrobe and the Balmain woman. “I needed someone that has a strong point of view, that knows how to dress, whatever she’s wearing,” says Rousteing. “Whether it’s sweatpants or a beautiful dress, at the end of day the girl that’s going to work with me can switch her style easily and still add a bag that is timeless.” Each bag offers a different take on that ideal: The boxy quilted BBag is a riff on the traditional quilted flap bag with a gold chain added for a touch of decadent luxury; Romeo’s spikes and studs deliver punk attitude, while the Twist plays up the canteen bag’s regimental origins.

Of course, creating a bag that feels classic is easier said than done. In an effort to find the sweet spot between functionality and beauty, the pair looked to the purpose handbags serve in the lives of their wearers. “A bag is something that is extremely personal,” says Rousteing. “You need to understand a woman’s life to understand her bag.” For Delevingne, who counts herself amongst those who’d be lost without their carryall, the accessory has to have a utilitarian purpose while serving as a form of expression. “They hold everything a person needs to make it through a day, a night, a trip,” says Delevingne. “What I like about the bags we did for this season and particularly next season, is that they are versatile. People can carry them to work and then out to dinner with friends without having to change.”

The first collection will debut with a series of videos that harness Delevingne’s acting skills. Inspired by virtual reality and on-demand platforms like Netflix, Rousteing wanted the marketing around the accessories to be experiential. “Of course we do portraits because they’re timeless, but video is so important today,” he says. “Cara has such great talent with acting, and I wanted to bring that strength into the campaign.” While he remains mum on whether the designer and muse partnership will grow to encompass more than just handbags, Rousteing promises that this is only the beginning. “When you create a collaboration, for me it’s never something that you just drop and afterward you stop,” says Rousteing. “For me it’s creating a universe that we can then share with the world.”

Are You Using Too Much Dry Shampoo? This French Hair Guru Says Oui

If one attribute has come to epitomize the oft-romanticized French Girl’s beauty, it’s her laissez-faire lengths: always tousled, never freshly washed. The secret weapon at her side, we’ve been told? Dry shampoo, a duty-free commodity Americans (and more than one Vogue-ette) have been known to bring back from Paname by the trunkful. As it turns out, though, folklore may have led us astray, causing sensitive, itchy scalps and even hair loss along the way. “If you use it all the time, it’s a real issue,” says Parisian colorist Christophe Robin, who’s behind Catherine Deneuve, Léa Seydoux, and Ines de la Fressange’s inimitable coifs. “It’s like going to bed with makeup on.”

Instead, Frenchwomen “have better habits,” he explains, that ensure every (sparse) shampoo session lasts longer. “They don’t want to go home to wash their hair every day,” adds Robin, citing residue-removing antibacterial vinegar—bought at Diptyque or Santa Maria Novella—mixed into a bowl of cold water and poured over the head as “a great French trick.” Follow it up with a softening oil treatment, which will leave lengths less coated than traditional conditioners. “French girls will comb it through their hair, throw their hair into a little bun, and read or exercise with it [in] before [finally] washing it out.”

Of course, all the planning in the world can still land us in a (greasy) pinch. In that case, reach not for deluxe dry shampoos, whose sweet-smelling scents and shine-enhancing ingredients can further add to irritation, but rather for one unexpected pantry staple: baking soda. “It’s an old ingredient that works,” Robin says. As for his pro tip? “Put it onto a good natural bristle brush, and brush your hair upside down.” No transatlantic flight required.

Should I Break Up With My Hair Colorist to Go Gray?

One evening last summer, I was seated at the Brooklyn hair salon where I spend so much of my waking life. As my scalp was being slathered in a color formula best described as deep espresso with tones of roasted hazelnut, I watched a local jewelry designer settle into the station across from mine. “The regular touch-up?” her colorist asked. “Actually,” she replied tentatively, “I’m ready to grow in my grays.” I cast my eyes away from the mirror, embarrassed to be privy to so intimate an exchange.

A few months later, I scrolled past an image of Jocelyne Beaudoin on designer Rachel Comey’s feed and started to rethink my every-five-weeks habit. The 60-year-old prop stylist and interior decorator, who had recently walked Comey’s spring show, brandished silver-wheat curls that looked radically fresh. I spotted another gorgeous riff on the mother-of-pearl shade on the baby-faced assistant at my dermatologist’s office. “I’ve already tried all the other colors out there,” she told me with a shrug when I paid her a compliment on her new smoky tone.

After years of being a telltale sign of getting old—a stigma so toxic for women in America “that almost no one, no matter her age, will admit she is old,” Mary Pipher recently wrote in her widely shared New York Times essay “The Joy of Being a Woman in Her 70s”—it’s suddenly hip to be gray. You can see it on the pop charts, as musicians such as Cardi B, Ariana Grande, and seventeen-year-old pop phenom Billie Eilish have all had a go at lunar hues that channel cyberpunk princesses, and on the runways, where women of a certain vintage (Stella Tennant, Erin O’Connor, Pat Tracey) are embracing their salt-and-pepper strands to the clamor of casting directors. “Brands are asking for models with their natural hair colors and textures,” confirms Travis Weaver, who is in charge of the lineups at shows such as Comey’s. These frosty streaks “communicate authenticity,” suggests New York gallerist Bridget Donahue, 38, who frequently sweeps her own into an updo to display the flashes of white that run underneath. Look no further than the drugstore aisle for evidence: Earlier this year, L’Oréal named silver the hair color of the year.

Concealing grays has been a popular practice since the early twentieth century, following the advent of the first synthetic hair dye. And while wearing them with pride entertained a brief comeback in the 1970s, when feminists eschewed hair color in what Lois Banner, a professor of history and gender studies at the University of Southern California, calls “a backlash against the patriarchy,” that flirtation quickly fizzled. But today’s pale craze may have staying power. A natural outgrowth of the body-positivity movement, it goes hand in hand with a wide reconsideration of long-ingrained beauty norms. Now, says Banner, choosing to wear your hair gray is an opportunity to assert independence and style. “It’s my favorite thing about myself,” says Sophia Roe, a social-­media star, chef, and wellness advocate who was sixteen when she started seeing silver. Now 30, she is the proud owner of copious tinsel-like ringlets that punctuate her otherwise onyx curls. “It’s like I got bopped in the head with a magical stick.”

That’s not to say breaking with the bottle is easy. “It can be just as much work as maintaining your roots,” explains Christophe Robin, the cult French colorist who regularly mixes mahoganies and flaxens for Kylie Minogue and Tilda Swinton. There are a slew of wash-out color products, such as Bumble and Bumble’s velvety Bb.Color Sticks and R+Co’s Art School root touch-up gel, to help blend natural grays as they come in—a better bet than adding artificial silver additions, according to Robin, who prefers to skip anything requiring a preliminary bleaching process that can be damaging to the hair. Instead, he prescribes an acidic pH shampoo, such as his own wheat-germ formula, used in tandem with Santa Maria Novella’s violet vinegar rinse to lock in the cuticle and protect against environmental pollutants that can turn a perfect pewter into a dull yellow.

In my native habitat of brownstone Brooklyn, women of a creative ilk cultivate streaks of white and silver as part of a uniform that includes A Détacher knitwear and shearling-lined clogs. It’s a constant endorsement for revisiting my natural hair color, whatever it may be. Perhaps I’ll discover that it’s that of a Norse goddess, or the morning fog over Mexico City. But images of ashy pigeons and tarnished silverware inevitably swoop in, and I lose my courage. And maybe that’s fine, too. I recently ran into the jewelry designer whose color evolution I’d been following for the past year. Her brush with grayness had reached its conclusion, and she’d returned to a warm, rich chestnut. Going silver and back again: What’s more empowering than that?