RALPH ON THE COURT: Wimbledon support staff will be well trained again this year, thanks to Ralph Lauren.
For 17 consecutive years, the company has been the official equipment for the Wimbledon Championship in partnership with The All England Lawn Tennis Club and has dressed judges in chairs, line judges, boys and girls with the ball. This year marks the 100th anniversary of the Central Court at its current location on Church Road in south-west London.
For this year’s tournament, which starts on June 27 and lasts until July 10, the uniforms are inspired by the sublime sense of style that some of the spectators bring to the event, the company said. Example: Judges in chairs will wear sports coats with a belt at the back lined with a commemorative Wimbledon print designed by Ralph Lauren that includes both Polo Ralph Lauren and Wimbledon emblems. It will be paired with a shirt on wide Bengali stripes that includes recycled materials and either white pants or a white skirt with pearl buttons.
Boys and girls with the ball will wear a Ralph Lauren Polo shirt in a dark blue and white wide stripe that includes recycled material and includes stretch properties, moisture resistance and UV protection. Line judges will wear navy blue cardigans with white and Wimbledon green striped details on the cuffs that include recycled Coolmax fibers.
Whenever possible, uniforms shall contain products made from recycled materials and other fabrics that take into account the community and the environment.
Gus Henderson, Wimbledon’s commercial director, said: “This is a special year for the All England Club as we mark the centenary of the Court on Church Road Center. To coincide with this milestone, we are thrilled that all of our field officers, boys and girls, will be wearing newly designed uniforms produced by our partner, Polo Ralph Lauren. Given our organization’s commitment to being ‘environmentally positive’ by 2030, it’s fantastic to see Polo Ralph Lauren prioritize environmental sustainability in the production of field uniforms for Wimbledon. ” – JEAN E. PALMIERI
ALL ABOUT JOSEPHINE: Before Beyoncé and a host of other black entertainers achieved great success, Josephine Baker ruled. But few young people know of the Missouri who rose from poverty to fame in Roaring in the 1920s, a stunning success for a black woman at the time. Therefore, the new exhibition near her long-term home in France hopes to present it again.
At the Salle Saint-Martin in Souillac until September 10, “Joséphine Baker, Extraordinary Destiny” tells her story through 200 pieces, including her personal haute couture, photographs and documents, as well as setting the stage for the first museum dedicated to stage icon and screen, open activist and pioneer of civil rights, who will debut here in 2025.
Baker has a moment. Last year, she became the first black woman to be buried in the Paris Pantheon. Janelle Monáe stars her in the upcoming A24 series “De La Resistance,” whose book by co-executive producer Damien Lewis “The Flame of Resistance: The Untold Story of Josephine Baker’s Secret War” was released in May.
“She is a figure of courage who speaks to today’s people,” said exhibition curator Florence Müller, who recently resigned as curator of the Avenir Foundation for Textile Arts and Fashion in Denver for independent projects. “When I gave [actress] Yara Shahidi toured Dior’s exhibition at the Brooklyn Museum and we got to the part about the famous women he dressed, she said Baker was her inspiration. ”
Many of Baker’s exhibition works come from the private collection of the exhibition’s art directors Nathalie Elmaleh and Laurent Teboul, one of the world’s greatest, according to Müller. They borrowed the silk velvet evening gown Jean Patou, her oldest known existing gown. Since they only had a jacket for her 1951 Balmain suit that she wore several times on tours, including Japan, Balmain creative director Olivier Rousteing replicated a new haute couture skirt based on an archival sketch.
“He is [Rousteing] identifies with it, because they have a lot in common. He is black, of poor descent and has been adopted – Baker has adopted 12 children from many countries and all races that were known as her “rainbow tribe”, “said Müller.
Another Balmain ensemble with sequins and feathers dates from her 1964 performance at Carnegie Hall. Baker’s personal belongings, such as the necklace of her pet cheetah Chiquita, are complemented by the looks of 20th-century designers she loved, such as Jeanne Lanvin and Paul Poiret. The Azzedine Alaïa Foundation and the Peter Lindbergh Foundation borrowed dresses and photos from a shoot of Italian Vogue in which Naomi Campbell posted it as a tribute to Baker.
“It simply came to our notice then. Like Josephine, she has a sculptural body with elongated muscles and posed quite naked and half-naked. They are both proud of their bodies, ”Müller said of the comparison to Baker’s shocking performances during the Revue Nègre in Paris in the 1920s. “But nudity did not shock people – many music dancers were half-naked at the time. It was the way she danced her ‘danse sauvage’. You see freedom on stage. ”
The exhibition also addresses the Baker business woman. She had the ability to invent and market products such as foot creams, a precursor to self-tanning. It was a major transitional shift in beauty from women protecting their purple-white skin with gloves and umbrellas.
“I can’t say 100 percent, but I believe it started the tanning trend and made brown skin beautiful,” Müller said.
The historical element is the most touching. Baker chose a blue Dior suit for her namesake in Harlem in 1951. She rode in a convertible during the procession and gave a civil rights speech at her lunch. With the film from the event, the public can read her manuscript for the first time.
“It’s the Mona Lisa from the series. And to think that it was 12 years before the March on Washington and that she was a woman is just crazy, ”said Müller, who plans to uncover more gems in anticipation that the exhibition will travel. – REBECCA KLEINMAN