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The Devil Wears Prada got Vogue wrong says Andre Leon Talley

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Meryl played Miranda Priestley – believed to have been based on Anna Wintour (Picture:
Getty – Rex)

It’s widely accepted that Miranda Priestley in The Devil Wears Prada was based on Vogue’s editor Anna Wintour.

Meryl Streep won an Oscar nomination for playing the intimidating fashion editor – Priestley, not Wintour – who threw her coat at interns and made the world ‘cerulean’ sound like a threat. 

But as uncanny as Miranda was to Anna Wintour, there were apparently a few major differences between Runway and Vogue. 

Andre Leon Talley, Wintour’s former BFF and former editor-at-large of Vogue, has pointed out the things that the 2006 movie got wrong, and Wintour would not throw her expensive handbags on a desk.

In an excerpt of his new book The Chiffon Trenches, acquired by People, Talley, 70, wrote: ‘Anna Wintour would never walk in and throw down her coat and handbag on a desk. No.

At Vogue, girls did not run down the halls in stiletto heels into Ms. Wintour’s office. No. They got it so wrong.

Andre Leon Talley has pointed out the glaring errors (Picture: Eugene Gologursky/WireImage)

‘Meryl Streep did a great job in the movie. It was a combination of Anna Wintour and [the late Harper’s Bazaar editor] Liz Tilberis. 

‘But the man who played me [referencing Stanley Tucci]? No! It did not reflect the real world of Vogue.’

Talley added that he was initially approached to play the role himself, but turned it down.

Wintour’s former assistant Lauren Weisberger wrote the book The Devil Wears Prada, and the fashion icon was said to be furious about the character Miranda Priestley, with reports claiming that she threatened designers that Vogue would no longer cover them if they made cameo appearances in the movie.

Anna said she found The Devil Wears Prada ‘entertaining’ (Picture: Barry Wetcher/20th Century Fox/Kobal/REX)

However, Wintour, 70, later called the film ‘really entertaining’ and said: ‘Anything that makes fashion entertaining and glamorous and interesting is wonderful for our industry. So I was 100 percent behind it.’

In 2017, when Anna interviewed Meryl Streep for Vogue, she asked the actress who was the most challenging woman she’d ever played.

Streep said: ‘I should say’ – gesturing towards Wintour – with the mogul joking: ‘No. No. We’re not going there, Meryl.’

The video of the interview also made reference to the movie, with Meryl’s elevator journey mimicking that of Miranda’s in the Runway offices. 

The Devil Wears Prada – also starring Anne Hathaway and Emily Blunt – charted an aspiring journalist’s time as assistant to the editor-in-chief of a world famous fashion magazine.

The movie received positive reviews and made $300 million (£244m) worldwide.

MORE: Ben Stiller remembers being soothed by late dad Jerry when he suffered bad trip on LSD

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London Jewelers to keep HQ on LI, add eight jobs with IDA tax breaks

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High-end retailer London Jewelers will keep its headquarters on Long Island despite receiving less in tax breaks than it asked for, officials said.

The family-owned seller of fine jewelry and watches plans to purchase a 14,000-square-foot building in Glen Head to consolidate back-office operations now spread over three buildings in downtown Glen Cove.

London secured tax breaks for the $2.7 million project last month from the Nassau County Industrial Development Agency. However, the property-tax reduction will be over 20 years, five years less than the retailer requested in June.

The property tax rate on the Glen Head office will rise 2% in each of the first nine years, followed by a three-year freeze and 2% increases in each subsequent year, according to the deal approved unanimously by the IDA board.

The 119 Glen Cove Dr. building already receives tax breaks under a 2013 IDA deal for Long Island Industrial Management LLC, which is now selling the building to London. Long Island Industrial has been saving about $77,000 per year on a total property-tax bill of $93,107, records show.

London also secured a sales-tax exemption of up to $56,054 on the purchase of furniture, equipment and fixtures, plus up to $9,720 off the mortgage recording tax.

London’s real estate attorney Daniel P. Deegan said the company looked at moving the headquarters outside Nassau because it has stores across Long Island and in Manhattan and New Jersey.

“This is a back-office operation that could really be located any place…But the commitment to Long Island and Nassau County is strong with this company and with the IDA’s assistance we’d like to keep them here,” he told IDA board members before they voted on the tax incentives.

In return, London will add eight people to its office and administrative staff of 46 within three years. Records show the employees earn, on average, $91,000 per year.

The headquarters supports nine retail stores in the metropolitan area, including six on the Island that employ about 200 people. The company began in 1926 as a small shop on Glen Cove’s School Street with founder Charles London selling and repairing clocks and watches.

CEO Mark Udell said the IDA aid will help the retailer to remain “viable in a region that we have called home for nearly a century.” He and wife Candy are third-generation owners of the business.

“Our plans for the new office will help us improve the quality of our services and keep our company local,” Mark Udell said.

IDA chairman Richard Kessel, citing the recession brought on by the coronavirus, said, “at a time when unemployment numbers are as high as they are — any project that not only retains jobs but adds jobs must be taken into consideration.”

LONDON JEWELERS AT A GLANCE

What they do: sell fine jewelry and watches

Number of stores: nine in the metropolitan area, including six on Long Island with the flagship at the Americana shopping center in Manhasset

LI employment: about 250 people

History: Started by Charles London in 1926 in Glen Cove to repair clocks and watches

SOURCE: London Jewelers

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How to Choose the Right Barbour Jacket Style for You

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Barbour is a brand that bears a diverse range of associations, from British royals in the countryside to rockstars trekking through the mud at Glastonbury — not to mention a certain former White House chief strategist.

But despite the icon status and heritage ingrained in the brand, of the brand’s many styles of wax jackets, there are only two that seem to be easily recognized: the Bedale and Beaufort. While these jackets are classic in their own right, there’s a whole slew of equally classic silhouettes we’ve neglected.

In an effort to shed some light on the brand’s many other waxed jackets, we’ve compiled a guide detailing each style they offer, including the Bedale and Beaufort and their different iterations. Allow the guide to help you easily distinguish between the silhouettes as well as much more easily find a jacket best suited to your wants and needs. Whether you continue to stick to the Beaufort or Bedale, or opt for something new, there’s really no going wrong.

Bedale and Beaufort Wax Jackets

The most ubiquitous silhouettes from the brand, the Bedale and Beaufort Wax Jackets bear striking resemblance to one another and are thus the two you’re most likely to get confused. However, the Bedale preceded the Beaufort by three years, with production starting in 1980 with riding in mind. While the Bedale was designed for equestrian purposes, the Beaufort gleaned inspiration from French shooting jackets, evident in the large rear pocket meant for holding game.

Both silhouettes feature traditional Barbour details like waxed cotton, a corduroy collar, two-way zipper and handwarmer pockets. At first glance the Bedale and Beafourt might look identical, but the main difference between the two lies in their length, with the Bedale proving to be shorter by a few inches (the back length of the Bedale measures 30″ to 32″ while the Beaufort measures 33″ to 34″). The Bedale also has elastic cuffs, which the Beaufort has an unconstricted opening.

Classic vs. Regular

To add further confusion when it comes to differentiating between the two, there exists a Classic Bedale jacket and a Classic Beaufort jacket, as well as non-classic iterations of both. In Barbour-speak, “classic” is used to indicate a jacket that is made with the brand’s Sylkoil outer, an “unshorn” wax taken directly from the loom then dyed and waxed. As a result, the imperfections of the weave are evident in the color and finish of the fabric.

Because of the Sylkoil process, the texture of a “classic” Barbour jacket takes on a more weathered appearance versus the smooth finish of the brand’s regular waxed cotton. Choosing between the two becomes a matter of deciding how much wear one wants the jacket to show, but in Barbour’s eyes Sylkoil is the more traditional fabric, hence the use of “classic” as a qualifier.

Barbour Classic Bedale Jacket

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Classic Bedale Wax Jacket

Barbour Bedale Jacket

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Bedale Wax Jacket

Barbour Classic Beaufort Jacket

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Classic Beaufort Wax Jacket

Barbour Beaufort Jacket

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Beaufort Waxed Cotton Jacket

Barbour Corbridge Jacket

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Corbridge Wax Jacket

Where the Bedale and Beaufort jackets work for a range of seasons, the Corbridge Wax Jacket was designed specifically with winter in mind. Constructed from the brand’s 6oz Sylkoil waxed cotton, the Corbridge also features a nylon lining quilted to 50g wadding (think stuffing) to provide extra warmth. Although the Corbridge was crafted with more utilitarian purposes in mind, the jacket’s slimmer silhouette lends the wearer a more defined figure that makes it conducive to more than just practical wear.

Barbour Lutz Jacket

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Lutz Wax Jacket

If you’ve noticed that the finish of Barbour’s Lutz Wax Jacket differs from that of the Bedale or Corbridge, that’s because the Lutz is cut from 8oz Oban waxed cotton, a suede-like fabric with a matte appearance. As iconic as the Sylkoil and regular waxed cotton versions are, maybe you want something slightly more inconspicuous, something that still reads as Barbour just not so immediately. The sports jacket still features classic brand details that are slightly altered, like a corduroy-lined collar that fastens with a buckle rather than a snap.

Barbour Sapper Jacket

Nordstrom

Sapper Wax Jacket

Perhaps the most notable features of the Sapper Wax Jacket is the drawcord waist which gives the jacket a more tailored appearance and the lighter-weight Sylkoil it’s crafted from. While the rugged utilitarian aesthetic is evident in all Barbour jackets, the Sapper takes these elements (like the four outer pockets) and refines them, making for a jacket that remains functional without looking too much the part.

Barbour Gilpin Jacket

Barbour

Gilpin Wax Jacket

The Gilpin jacket features something we have yet to encounter in any of the previous versions: leather detailing. The details are subtle, but leather trim can be found on the collar, with the leather creating a sort of half-moon, as well as a leather Barbour badge on the pockets and back of the jacket and leather piping along the front pockets. Barbour describes the Gilpin as being “ideal for any country pursuits” but we think it would work just fine in the city, too.

Barbour Beacon Jacket

Farfetch

Beacon Sports Wax Jacket

You might recognize the Beacon Sports Wax Jacket as having been donned by Daniel Craig’s James Bond in 2012’s Skyfall. While Craig sports the To Ki To, designed by Tokihito Yoshida in limited quantities, this version of the Beacon takes much of its inspiration from the highly sought-after Japanese design.

The medium-weight waxed cotton jacket features leather-trimmed cuffs, contrasting shoulder and elbow patches and a triangular button throat flap. Whereas Barbour’s other styles are more casual, the Beacon has the added benefit of working as both a blazer (just fold down the collar) and a classic piece of outdoor outerwear (just turn the collar up).

Barbour Prestbury Jacket

Macy’s

Prestbury Wax Jacket

One aspect of the Prestbury Jacket that stands out most are the angled pockets fastened with stud-close flaps. In contrast to the usual deep bellows pockets, the angled pockets provide the jacket with a sleeker, less bulky silhouette. Consider the Prestbury for those days you don’t have to carry much else besides your phone and wallet.

Barbour Border Jacket

Barbour

Border Wax Jacket

Barbour’s Border Wax Jacket is essentially the brand’s Bedale and Beaufort silhouette, yet with a considerable amount of length added. Maybe you find yourself on the taller side and want a jacket that properly fits you and doesn’t look shrunken, or maybe you just want a jacket that will provide extra coverage — whatever the reason, you need look no further than the Border.

Barbour Bristol Jacket

Bloomingdale’s

Bristol Wax Jacket

Like the Corbridge, the Bristol was designed specifically with the winter months in mind and thus features a storm-fly front with stud fastenings to keep out the treacherous wind, rain or snow. Additional protective features include the sit-down corduroy collar that can be raised for added protection as well as two waist-length handwarmer pockets lined with moleskin for not only warmth but a touch of luxury. It’s the classic look of the Beaufort and Bedale, just with some slight reinforcements.

Barbour Durham Jacket

Macy’s

Classic Durham Wax Jacket

Again, because the Durham is part of the “Classic” collection you know that it is made from the brand’s Sylkoil wax. However, rather than the 6oz Sylkoil used for the Bedale and Beaufort, the Durham is crafted from 4oz Sylkoil, making it ideal for wear year-round. While all Barbour jackets are made to withstand various types of weather, this is most evident in the Durham silhouette, thanks to the large hood and cape detailing. This isn’t to say that the Durham isn’t a handsome jacket, just that it’s more explicitly utilitarian than most.

Barbour Grendle Jacket

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Grendle Hooded Wax Jacket

Subtly inspired by the military, the Grendle is a blouson style jacket perfect for inclement weather, thanks to the storm-guard fastening and waterproof exterior.

Barbour Dalegarth Jacket

Barbour

Dalegarth Waxed Cotton Jacket

All the elements of a classic Barbour jacket are present in the Dalegarth, from the corduroy collar, to the brass stud buttons and, of course, the waxed cotton. But there’s something about the Dalegarth that seems even more rugged and stripped down in comparison to its counterparts. Maybe it has something to do with the heavier 8oz wax on the shoulders or the resemblance in silhouette to a shacket, but it’s a jacket that seems especially conducive to time spent outdoors.

Barbour Hafden Jacket

Barbour

Hafden Waxed Cotton Jacket

Another jacket crafted from the brand’s heavy Oban wax, the matte black exterior of the Hafden might seem boring in comparison to the brand’s usual olive greens and browns, but you’ll appreciate the color when it takes abuse from weather in the colder months, yet looks to be no worse for wear.

Barbour Hortal Jacket

Backcountry

Hortal Waxed Cotton Jacket

Barbour’s Hortal Waxed Cotton Jacket is the brand’s take on the classic barn coat, and it features a more tailored silhouette with button front fastenings that lead to a curved hem. It’s handsome without sacrificing practicality — in other words, a jacket fit for fall.


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Hermès unveils light-filled new high jewellery collection

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Hermès unveils light-filled high jewellery collection

Pierre Hardy’s Lignes Sensibles collection juxtaposes a rainbow of gemstones against warm rose gold

A sense of intimacy characterises creative director of Hermès jewellery Pierre Hardy’s pieces, which seek to be close to the body in increasingly intricate forms. In the past, the heavy gold links of his perennially popular chains achieved this by emphasising the body’s lines and curves, and the new Lignes Sensibles collection gets closer still.

Hardy was inspired by objects which listen to the body, such as a stethoscope, for this collection, tracing its coiling lines on the skin. Skin colour becomes embodied in gemstones in cloudy, milky hues, with cabochons in pink quartz, black jade and grey and cream moonstone cutting bold geometric silhouettes.

When abstractly placed, they subvert the symmetry Hardy sees in the human body. Gradients of colour run throughout, with light brown diamonds, a signature of Hermès jewellery, adorning the neck, chest and hands. A cuff encrusted with quartz cabochons and a triple ring of quartz, jade and opal encapsulate bolder tones.

Other jewels seek to get close through osmosis; by working with lace-like meshing for the Contre la peau necklace, it becomes a fabric crafted from metal and diamonds complete with triangular micro-wrinkles – a second skin. Fluidity is a recurring theme: loops of diamond chains around brooches mimic the flow of water, hand chains trace lines of veins and an earring hugs the contours of the ear. §

 

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