#2020 Ford Edge Design

[energy-5]

From Classic to Electric: The Transformation of Iconic Car Models

Electric Revolution in the Automotive Industry

The automotive industry is undergoing a monumental shift, transitioning from the roar of gasoline engines to the hum of electric motors. This transformation is not just about the emergence of new electric vehicle (EV) brands, but also about the electrification of some of the world's most iconic car models. This transition to electric power is driven by a combination of environmental concerns, advancements in battery technology, and changing consumer preferences. The journey from classic internal combustion engines to electric powertrains has been both challenging and exciting, reshaping the automotive landscape as we know it.

The Resurgence of the Volkswagen Beetle

One of the most beloved car models in history, the Volkswagen Beetle, has made a comeback in an electric avatar. Originally launched in the 1930s, the Beetle became a symbol of simplicity and reliability. In recent years, Volkswagen announced plans to revive the Beetle as an electric car, part of its broader strategy to introduce more electric models. This new electric Beetle aims to combine nostalgia with modern EV technology, appealing to both classic Beetle lovers and new-age environmentalists. While retaining its iconic shape, the electric Beetle is expected to feature advanced technology like fast charging and a substantial range, catering to the needs of today's EV market.

The Electric Transition of the Ford Mustang

The Ford Mustang, an emblem of American muscle cars, has also embraced electrification. The Mustang Mach-E, an all-electric crossover, marks a significant departure from the classic Mustang's V8 engine tradition. Launched in 2020, the Mach-E combines the Mustang's legendary performance with the benefits of electric propulsion. It offers a range of up to 300 miles on a single charge and accelerates from 0 to 60 mph in just 3.5 seconds. The Mach-E has been well-received, signifying a successful blend of an iconic legacy with futuristic technology.

MINI Cooper's Electric Makeover

The MINI Cooper, known for its distinctive design and agile handling, has also joined the electric wave. The launch of the MINI Electric brings a new dimension to this British icon, maintaining its classic aesthetics while integrating cutting-edge EV technology. With a range of around 145 miles per charge and a 0 to 60 mph time of around 7 seconds, the MINI Electric retains the brand's fun-to-drive character. This transition reflects the brand's commitment to sustainability while preserving the essence that has made the MINI a popular choice for decades.

Porsche's Electrification with the Taycan

Porsche, synonymous with high-performance sports cars, has made a bold entry into the EV market with the Taycan. The Taycan is not just Porsche's first fully electric car but also a powerful statement in the luxury EV segment. With its exceptional performance, delivering up to 750 horsepower in the Turbo S model, and a range of up to 227 miles, the Taycan has set new standards for electric sports cars. It represents how traditional sports car manufacturers are adapting to the electric era without compromising on performance and luxury.

The Transition of Supercars to Electric Power

The shift to electric is not limited to mass-market models; even supercars are getting electric makeovers. Brands like Ferrari and Lamborghini, known for their powerful engines and exhilarating performance, are exploring electric and hybrid models. The move towards electrification in supercars is particularly significant, as it challenges the traditional notion that electric vehicles can't match the performance of gasoline-powered sports cars. This transition is a testament to the advancements in EV technology, where electric motors can deliver instant torque and unmatched acceleration.

Challenges and Future Prospects

Despite the excitement, the transition from classic to electric models poses significant challenges. These include maintaining brand identity, meeting consumer expectations for performance and range, and managing the higher production costs of EVs. However, the future looks promising as battery technology continues to improve, charging infrastructure expands, and public acceptance of EVs grows. The transformation of these iconic car models into electric versions is not just a trend but a glimpse into the future of transportation, where sustainability meets style and performance.

[adamwatchesmovies]

Raiders of the Lost Ark (1981)

When you put the finishing touches on a film, you always hope it will be a hit but few must know for sure how the public will react to their hard work. When Steven Spielberg wrapped production on Raiders of the Lost Ark you wonder if he knew. Packed with wall-to-wall excitement, unforgettable characters, one memorable scene after another, deliciously evil villains, a romance that draws you in and a protagonist so cool it’ll make you want to become an archeologist so you can imitate him, this is the kind of movie that reminds you why you love movies.

In 1936, American archaeologist Indiana Jones (Harrison Ford) is sent to investigate a dig funded by the Nazis. Rumor is Indy’s old mentor discovered the location of the Ark of the Covenant, that whoever possesses it will be granted invincibility and that the last clue to its location is in the headpiece of a staff Abner Ravenwood left to his daughter, Marion (Karen Allen).

You can simply sit back and enjoy the show but if you’ve got an eye for filmmaking, Raiders of the Lost Ark takes you through a masterclass. The opening scene is a dazzler. The way it sets up Indiana Jones, it’s like they designed the character to be recognizable from his silhouette alone - guaranteeing his iconic status. As our hero, Harrison Ford practically embodies the definition of manliness. He’s crafty and methodical. He’s always got a snappy remark to ensure his opponents are dumfounded even before he throws a first punch. When he encounters an opponent stronger than he is, his well-oiled brains make up the difference. The chemistry between our favorite archeologist and the beautiful Marion (who winds up kidnapped and captured more than a couple of times but is otherwise tough and resourceful) is unmissable. You want them to get together almost as much as you want them to find that mysterious Ark.

When you look at the whole picture, there’s nothing grandiose about the characters and their relationships. The sadistic Major Arnold Toht (the wonderfully slimy Ronald Lacey) is evil through-and-through. He has no redeeming qualities whatsoever except that he excels at making you intimidated. The film has a tiny bit of something to say about the value of archaeological finds in that Indy’s rival, Dr. René Belloq (Paul Freeman) sees every ancient trinket as an object that randomly happens to be valuable, whereas our hero sees the non-monetary value they will earn from future generations. What makes it so special, then? It's the emotions the story stirs within you. Even if you've never sat through the Saturday morning serials Philip Kaufman, George Lucas, Lawrence Kasdan and Steven Spielberg saw as children, you immediately understand what made them special because this is essentially one of those blown up and made by fine artists. Every cliffhanger has you on edge, wondering what’s next. As soon as our heroes make it out of one jam, you get a bit of a breather to laugh… but then you’re thrown right back into the thick of it with another spike pit or goon looking to cause trouble. Every frame of Raiders of the Lost Ark fulfills the kind of childhood desire that guarantees you leave satisfied.

You could watch Raiders of the Lost Ark 100 times and always find something new in it. From the characters to the action and the romance, there's too much to drink in for just one sitting. It's no wonder we're still talking about it today. (On Blu-ray, April 10, 2020)

[usaautoparts]

From Vintage to Modern: Used Engines and Transmissions for Every Vehicle

The automotive world has always been a blend of nostalgia and innovation. From classic cars that evoke memories of a bygone era to cutting-edge modern vehicles that push the limits of technology, every vehicle tells a story. But when it comes to maintaining or restoring these vehicles, the engine and transmission are at the heart of their performance. At Vander Engine, we specialize in providing top-quality used engines and transmissions for every type of vehicle, from vintage classics to modern marvels.

Why Choose Used Engines and Transmissions?

When it’s time to replace an engine or transmission, many car owners and enthusiasts are faced with a tough decision: new, rebuilt, or used? For a growing number of individuals, used engines and transmissions present the ideal balance of affordability, quality, and sustainability. Here are a few reasons why opting for used parts might be the best choice:

Cost Efficiency: Purchasing used engines and transmissions can save up to 50% compared to new or rebuilt parts, offering budget-conscious drivers a reliable alternative.

Environmental Benefits: Reusing engines and transmissions reduces the demand for new manufacturing, helping to minimize environmental impact. This contributes to a more sustainable future by recycling existing parts.

Availability of Rare Parts: For owners of vintage or classic cars, finding brand-new parts can be a challenge. Used engines and transmissions often provide access to components that are no longer in production, making them a lifeline for restoration projects.

Supporting Every Era: From Vintage Beauties to Modern Powerhouses

At Vander Engine, we understand the unique requirements of vehicles across all eras. Whether you're restoring a 1960s muscle car or keeping your 2020 SUV in top shape, we have a broad inventory to meet your needs.

Engines and Transmissions for Vintage Cars

Classic car restoration requires a delicate balance of authenticity and functionality. Whether you're bringing a vintage Ford Mustang back to life or reviving a Chevrolet Bel Air, having the right engine and transmission is critical. We offer a wide selection of used vintage engines and transmissions to help you preserve the original spirit of your car while ensuring it performs like a dream.

Modern Vehicle Solutions

For those driving newer models, replacing an engine or transmission doesn’t have to be an expensive ordeal. Our inventory includes reliable used engines and transmissions for today’s most popular vehicles, ensuring you can get back on the road without breaking the bank. From fuel-efficient compact cars to robust SUVs and trucks, Vander Engine has the parts to keep your modern vehicle running smoothly.

Quality You Can Trust

When it comes to purchasing used automotive parts, quality is key. At Vander Engine, we rigorously inspect and test every engine and transmission before it reaches our customers. Our commitment to excellence ensures that you receive parts that are in top condition, offering both durability and performance.

Nationwide Shipping, Comprehensive Support

No matter where you are in the USA, Vander Engine has you covered. We provide nationwide shipping, ensuring that your used engine or transmission arrives promptly and safely. Additionally, our customer support team is available to assist with any questions you might have regarding compatibility, installation, or maintenance.

Final Thoughts: The Perfect Fit for Your Vehicle

Whether you’re restoring a classic car or maintaining a modern one, finding the right engine or transmission is essential for longevity and performance. At Vander Engine, our extensive inventory of used engines and transmissions is designed to meet the needs of every vehicle owner, from vintage enthusiasts to modern commuters.

[susannatipsandtricks]

Electric Car Brands in USA: Leading the Charge in Innovation

Electric Car Brands in USA : Tesla, Chevrolet, and Ford are leading electric car brands in the USA. Rivian and Lucid Motors are also gaining popularity. The electric vehicle market in the USA is expanding rapidly. Tesla dominates with its high-performance models and extensive Supercharger network. Chevrolet offers affordable options like the Bolt EV, making electric cars accessible to more people. Ford's entry with the Mustang Mach-E brings a blend of tradition and innovation. Rivian focuses on adventure-ready electric trucks and SUVs, while Lucid Motors targets the luxury segment with its high-end sedans. With increasing consumer interest and government incentives, these brands are driving the shift towards sustainable transportation, making electric vehicles more mainstream and environmentally friendly.

Rise Of Electric Cars

Electric cars are taking over the roads in the USA. They are clean, quiet, and fun to drive. More people are buying electric cars every year. Historical Context Electric cars are not new. The first electric car was made in the 1800s. But gas cars became more popular. Gas was cheap and easy to get. Electric cars had small batteries and could not go far. In the 1990s, electric cars came back. The USA made new rules to protect the air. Companies started making better batteries. Electric cars started to go farther and faster. Market Growth Today, many people want electric cars. They help the planet and save money on gas. Big companies like Tesla, Ford, and Chevy make electric cars. Tesla is the most famous. They make cars that can drive a long way on one charge. Ford has the Mustang Mach-E, and Chevy has the Bolt. The number of electric cars on the road is growing fast. In 2020, there were over 1 million electric cars in the USA. This number is getting bigger every year. More charging stations are being built. Soon, it will be easy to find a place to charge your car. Brand Popular Model Tesla Model S Ford Mustang Mach-E Chevy Bolt Many new brands are coming. These cars will make our air cleaner and our world better.

Tesla: The Pioneer

Tesla is the leading electric car brand in the USA. It revolutionized the electric vehicle industry. Tesla combines innovation, performance, and sustainability. Flagship Models Tesla's flagship models set the benchmark for electric vehicles. They offer a blend of luxury, technology, and performance. Model Range (miles) Top Speed (mph) Model S 396 200 Model 3 358 162 Model X 371 155 Model Y 326 135 Autopilot Technology Tesla's Autopilot technology is a game-changer. It offers advanced driver-assistance features. - Autosteer - Traffic-Aware Cruise Control - Auto Lane Change - Summon - Autopark These features enhance safety and convenience. Autopilot uses cameras, sensors, and advanced algorithms. Tesla continues to innovate. They aim for full self-driving capabilities.

Rivian: The Adventurer

Rivian, the bold new electric vehicle (EV) brand, is revolutionizing the American automotive landscape. Known for its adventurous spirit, Rivian offers rugged, off-road capable vehicles with cutting-edge technology. Unique Offerings Rivian’s vehicles feature groundbreaking designs and technologies. The R1T truck and R1S SUV are built to explore. They offer impressive off-road capabilities and advanced safety features. Key highlights include: - Quad-Motor System: Each wheel has its own motor. - Skateboard Platform: Ensures stability and maximizes space. - Large Battery Pack: Enables long-distance travel. Sustainability Efforts Rivian is committed to a sustainable future. They use recycled and eco-friendly materials. Their manufacturing processes aim to reduce carbon footprints. Important sustainability initiatives include: Initiative Description Renewable Energy Factories powered by renewable sources. Recycling Programs Materials are recycled to minimize waste. Eco-Friendly Materials Use of sustainable and recycled materials. By focusing on these efforts, Rivian aims to lead in green automotive manufacturing.

Credit: www.autoblog.com

Lucid Motors: The Luxury Innovator

Lucid Motors stands out among electric car brands in the USA. Known for its luxury and innovation, Lucid Motors aims to redefine the electric vehicle market. Their cars are not just about performance; they focus on providing a premium experience. High-performance Vehicles Lucid Motors creates high-performance electric cars. Their flagship model, the Lucid Air, offers impressive specs. Model Range (miles) Horsepower 0-60 mph (seconds) Lucid Air 520 1080 2.5 The Lucid Air can travel up to 520 miles on a single charge. It offers 1080 horsepower, making it one of the most powerful electric cars. It accelerates from 0 to 60 mph in just 2.5 seconds. These features make it a top choice for performance enthusiasts. Interior Design The interior of Lucid Motors' cars is luxurious. They use high-quality materials and advanced technology. - Spacious cabin - Premium leather seats - Advanced infotainment system The cabin is spacious, providing comfort for all passengers. The seats are made of premium leather. The infotainment system is advanced, with a large touchscreen display. Lucid Motors focuses on offering a luxury experience from the inside out.

Ford: The Traditionalist

Ford, often seen as the traditionalist in the American auto industry, is making waves in the electric vehicle (EV) market. Known for its rich history and iconic vehicles, Ford is now blending its legacy with innovation to offer cutting-edge electric cars. Their commitment to sustainability and technological advancement is evident in their new electric models. Electric F-150 The Electric F-150, also known as the F-150 Lightning, stands out in Ford's lineup. This electric truck combines the robust features of the traditional F-150 with modern electric technology. - Range: Offers up to 300 miles on a single charge. - Towing Capacity: Can tow up to 10,000 pounds. - Power: Delivers instant torque with dual electric motors. Ford's Electric F-150 is designed for those who need power and efficiency. It retains the ruggedness of the classic F-150 while offering a cleaner alternative. Legacy And Transition Ford has a deep-rooted legacy in the auto industry. The company, founded by Henry Ford, revolutionized the manufacturing process with the assembly line. This innovation made cars affordable for the average person. Today, Ford is transitioning to a more sustainable future. They are investing heavily in electric vehicles and battery technology. The goal is to reduce carbon emissions and meet the growing demand for clean energy solutions. Here is a table summarizing Ford's transition to electric vehicles: Year Milestone Impact 2021 Launch of F-150 Lightning First all-electric truck 2022 Expansion of EV lineup Increased EV market share 2025 Goal for 40% EV sales Significant shift to electric Ford's journey from traditional cars to electric vehicles is remarkable. This transition ensures they remain relevant and competitive in the evolving automotive landscape.

Chevrolet: The All-rounder

Chevrolet has become a significant player in the electric car market in the USA. Known for its reliable and affordable electric vehicles, Chevrolet offers something for everyone. The brand combines innovation with practicality, making it a top choice for many consumers. Below, we'll explore one of its standout models. Bolt Ev The Chevrolet Bolt EV is a star in the electric car world. It’s designed for those who seek efficiency without breaking the bank. The Bolt EV offers a smooth ride, advanced tech features, and impressive performance. Affordability And Range The Bolt EV stands out due to its affordability and range. It's one of the most cost-effective electric cars available today. Feature Details Starting Price Under $40,000 Range 259 miles per charge With a price tag under $40,000, the Bolt EV is accessible. It offers an impressive range of 259 miles per charge. This makes it perfect for daily commutes and longer trips. Key features include: - Fast Charging: Charge up to 100 miles in 30 minutes. - Spacious Interior: Plenty of room for passengers and cargo. - Advanced Safety Features: Equipped with the latest safety tech. The Bolt EV combines affordability with excellent range and features. This makes it a smart choice for budget-conscious drivers. Chevrolet continues to lead the electric vehicle market with its reliable and innovative cars.

Future Trends

  The future of electric car brands in the USA looks very bright. Innovations in battery technology and charging infrastructure are paving the way for a cleaner, more efficient future. Battery Technology Electric cars need powerful batteries. Battery technology is improving rapidly. New batteries can store more energy. They last longer and charge faster. Companies are working on solid-state batteries. These batteries are safer and have a higher energy density. This means electric cars can travel further on a single charge. Another exciting trend is recycling old batteries. This helps reduce waste and lower costs. It's good for the environment too. Charging Infrastructure Charging infrastructure is also evolving quickly. More charging stations are being built across the USA. This makes it easier for people to charge their electric cars. Fast chargers are becoming more common. These chargers can fill up a battery in minutes instead of hours. It makes electric cars more convenient for long trips. Smart charging stations are another trend. They use advanced tech to optimize charging times. This helps balance the power grid and save energy. Trend Benefit Solid-state Batteries Safer, higher energy density Battery Recycling Reduces waste, lowers costs More Charging Stations Convenient for users Fast Chargers Quick charging times Smart Charging Stations Optimize charging, save energy

Consumer Adoption

Electric cars are gaining popularity in the USA. Many people are choosing electric vehicles (EVs) over traditional gas cars. This shift is due to several factors. Let's explore these factors in detail. Incentives And Rebates The US government offers many incentives and rebates for EV buyers. These financial perks can make electric cars more affordable. Some common incentives include: - Federal tax credits - State-specific rebates - Utility company discounts Federal tax credits can save buyers up to $7,500. State rebates vary but can offer additional savings. Some utility companies also provide discounts for EV charging stations. A table of incentives by state can help: State Incentive Type Amount California Rebate $2,500 New York Rebate $2,000 Texas Rebate $2,500 Public Perception Public perception plays a big role in consumer adoption. People need to trust that EVs are reliable and cost-effective. Some key points affecting public perception: - Environmental benefits - Lower running costs - Advanced technology Many people believe EVs help the environment. They produce fewer emissions than gas cars. Electric cars also have lower running costs. They require less maintenance and offer cheaper fuel options. Finally, EVs often feature advanced technology. This includes autonomous driving features and smart connectivity.

Credit: www.cnn.com

Frequently Asked Questions

What Companies Are Making Electric Cars In The Us? Tesla, General Motors, Ford, Rivian, and Lucid Motors are making electric cars in the US. These companies lead the EV market. Which Company's Electric Car Is Best? Tesla's electric cars are often considered the best. They offer superior range, performance, and advanced technology. How Many Brands Of Electric Cars Are There? There are over 50 brands of electric cars globally. Major brands include Tesla, Nissan, BMW, and Chevrolet. What Is The Most Sold Electric Car In The Us? The Tesla Model 3 is the most sold electric car in the US. It's popular for its range, performance, and affordability.

Conclusion

Electric car brands in the USA are revolutionizing the automotive industry. They offer sustainable and efficient transportation options. With a variety of choices, consumers can find the perfect electric vehicle. Embrace the future of driving by exploring these innovative brands. The shift to electric cars is here to stay.   Read the full article

[dankusner]

Kanye West Bought an Architectural Treasure—Then Gave It a Violent Remix

The Malibu house bought by Ye has about four thousand square feet of indoor space.

Four miles to the west, on a grassy bluff overlooking the Pacific, is a forty-two-thousand-square-foot Ando mansion.

The owners are Beyoncé and Jay-Z.

Tony Saxon is a wiry, tattooed man in his early thirties who is proud of what he calls his “Jersey gonzo” work ethic—that is, “I’ve got a guy, or I’ll get a guy.”

His legal surname is Netelkos, but he prefers the one that his father adopted while performing as a lounge singer with an Elvis-inspired act.

The younger Saxon had a sometimes chaotic and druggy youth; he now sustains himself with Red Bull and can talk loudly and without interruption—but still with some charm—for four or five hours.

When we recently met in Boyle Heights, in East Los Angeles, he arrived in a 1963 Ford Thunderbird convertible.

Four years ago, Saxon moved to California from northern New Jersey and sublet an apartment in North Hollywood.

He worked on TV commercials and as a handyman; he played in bands and recorded music.

In September, 2021, a woman who introduced herself as Bianca inquired about his availability for construction work.

He was available.

A few days later, she texted, asking him to come to Malibu immediately.

In a response that eventually led to a lawsuit against Ye, formerly Kanye West—the music and fashion star who in the past two years has become known for his public antisemitism and admiration of Hitler—Saxon said that he’d get his tools.

He drove down to the Santa Monica Pier, then headed northwest on the Pacific Coast Highway.

For about ten miles, the road follows the ocean’s edge: if you live on the beach, you also live next to a four-lane highway.

But just past the Malibu Pier the highway and the ocean separate, and for a few miles the beachfront properties line a calm residential street, Malibu Road, with speed bumps and dog-walkers. Stan Laurel used to live here.

The houses stand shoulder to shoulder, allowing little more than a glimpse of sky between them.

Saxon pulled up to a two-story façade of smooth gray concrete.

On the upper floor, the surface was interrupted only by an arrow-slit window; at street level, there was a wooden garage door, and a front door and a window, both made of milkily opaque glass.

A few months earlier, when the house had had a different owner, a visitor would have entered a little gallery-like space, with concrete walls and gray limestone floor tiles, filled with contemporary art.

The house withholds its big Pacific reveal, and the clouded glass casts the gallery in pale light.

The art here once included photographs of nuclear-weapons-test clouds and a life-size statue of a man, no longer in his youth, with his fists in a boxer’s pose.

The sculpture, cast in aluminum and painted blue, is by the French artist Xavier Veilhan.

It is a likeness of Tadao Ando, the Pritzker Prize-winning Japanese architect.

Ando, who had a brief boxing career, designed the house.

Now eighty-two, he has kept his practice small.

He has one office, in his home city of Osaka, and has never employed more than thirty people.

He works on only a few designs each year.

Some are museums; many are houses; nearly all, including the house on Malibu Road—finished in 2013, for Richard Sachs, a former money manager—are made of concrete, poured on-site, and left unclad and unpainted, indoors and out.

In what has become an Ando signature, the concrete’s velvety surface is marked by evenly spaced holes—small and shallow enough to be plugged by, say, a marshmallow.

The Malibu Road house has about four thousand square feet of indoor space.

Another property of this scale, on this street, might sell for twenty million dollars.

When Sachs put his house on the market, in 2020, he asked for seventy-five million.

Sachs’s price, like his aluminum statue, suggests the extent to which an appreciation of Ando can take the form of veneration.

For very wealthy people who spend some of their wealth on art, no living architect seems more likely to make them feel that they’re buying not just a fine home but the work of a major modern artist.

An Ando house will require expensive and exacting construction; it will have a controlled, sober beauty that photographs well and that plainly communicates contemporary, if not avant-garde, taste.

And it will be rare.

The client will receive personal validation of the most tangible, bombproof kind.

Ando has said that, after being introduced to potential clients, “my decision to accept their projects depends mainly on their personality and aura.”

An American real-estate agent who has had some interactions with Ando recently told the Wall Street Journal that “it was like working with God.”

Saxon was let into the Malibu Road house by Bianca Censori, the woman who had texted him; she was in her twenties.

The house is a box partially embedded in the continent’s last, low step of land.

The structure then stretches over the sand, propped up by four pillars at about the high-tide mark.

(The beach here is narrow.)

Although the house appears from the street to be two stories, the front door is on the middle of three floors—the main floor.

A short corridor leads from the gallery to an open living area where the house delivers its vast, binary view of sky and ocean, through floor-to-ceiling windows.

Censori mentioned that the house, which was empty of furnishings, had a new owner, but she didn’t name him.

A few other people were around; they had ladders and tools.

One or two were identified as co-workers of Censori’s and, like her, were dressed all in black.

Others, like Saxon, had been summoned that day.

Walking around, Saxon registered bathroom walls lined in marble—“gorgeous black-and-white marble, like something in a New York hotel in the nineteen-twenties,” he told me—and custom wooden cabinetry that, he estimated, had cost hundreds of thousands of dollars.

Downstairs, the ceilings were lower than on the main floor.

Three rooms, each with a little bathroom, had ocean views.

There was also a laundry, and a room where Saxon saw devices that controlled the house’s heating and other systems.

On the upper floor, two extravagantly wide staircases—more suggestive of a college library than of a beach house—descended to the main floor.

One staircase was inside, one was outside: they ran alongside each other, separated by a wall built partly of glass.

At the bottom of the outdoor staircase was a courtyard with a fire pit.

At the top was a concrete hot tub.

The top floor was mostly terrace, with the primary bedroom opening onto it.

Sachs once kept a sculpture of the Incredible Hulk, by Jeff Koons, midway up the indoor staircase.

In this area, Saxon noticed, Censori’s black-clad colleagues were doing something involving large blocks of foam.

He remembered being told that they were turning the stairs into a slide.

Later—as the house’s interior was dismantled—Saxon would spend nights here, sleeping on a mattress on the floor, surrounded by Clif Bars and Red Bulls, and bothered by seagulls.

Later still, Censori would become a fixture of the paparazzi-oriented media, as the romantic partner of the house’s owner: Ye.

For nearly a year, Censori, who is Australian and had studied architecture at the University of Melbourne, had been working for him on various design projects, alongside other young architects.

Saxon saved her number on his phone under “Bianca architect.”

(Censori did not respond to requests for comment.)

In the fall of 2021, Ye was forty-four, and his wealth was estimated to be nearly two billion dollars, thanks in part to fashion deals with Adidas and the Gap.

That February, his wife, Kim Kardashian, had filed for divorce.

Saxon, who’s unimpressed by most music recorded after 1969, now takes some pride in having been oblivious of whom Censori meant when she referred to “the owner,” and why there was some hubbub in the street and a security guard posted outside.

People paying closer attention to Ye’s life might have read a TMZ story, published a few days before Saxon’s visit, headlined “Kanye West Drops A Whopping $57.3 Million for Malibu Home/Sculpture.”

Censori asked Saxon to paint over the shelves, cabinets, and closets—along with the bathroom marble—in a shade that would disguise the boundaries between these surfaces and the untreated concrete of the walls.

She said of the owner, “He doesn’t want any of the wood to show.”

Saxon had a moment’s pause: the paint would look bad (and soon peel off).

But he likes to contrast his pluck with what he perceives to be uniform lassitude among Californians, and he didn’t protest.

He gave Censori a quote and drove off to buy paint samples.

That afternoon, Saxon did some test-painting on sections of wood.

Censori sent photographs of these to the owner.

They waited.

Censori then told Saxon to remove all the wood; she allowed him to call a friend to help.

That day, Saxon recalled, he and his colleague “ripped the cabinets out, we ripped the entire laundry-room wood out.”

They worked all night, filling the garage with splintered pieces.

Saxon eventually went home to sleep.

A few hours later, Censori woke him with a call:

“Do you think you could come help me get the foam off the stairs?”

She meant now.

“And he wants to meet you,” she added.

In 2001, Tom Ford, the fashion designer and filmmaker, bought twenty-two thousand acres of land in northern New Mexico.

He asked his preferred architect, Ron Radziner, of the L.A. firm Marmol Radziner, to design some buildings for the new property.

But, as Radziner recently recalled, Ford also requested permission to stray, architecturally:

“Tom said, ‘I’m not going to do this if you really don’t want me to. But how would you feel if I hired Tadao Ando to do the horse facility?’ ”

Radziner, who admires Ando—it’s always “Mr. Ando,” in his telling—approved, and offered to become Ando’s local “executive architect” (in charge of permits and planning) and general contractor.

To secure Ando’s blessing, Radziner flew to Japan.

Ando’s career had been founded, in the nineteen-seventies and eighties, on ingenious single-family homes, often on tight city lots in Osaka.

After Ando won the Pritzker, in 1995, his practice became increasingly international.

Kulapat Yantrasast, a Thai-born architect, joined Ando’s firm in 1996, and came to spend much of his time overseas, frequently on projects for fashion-world figures.

In France, he worked on a house, never built, for Karl Lagerfeld. In Italy, he oversaw the construction of a theatre in Milan for Giorgio Armani.

Yantrasast, who now has his own practice, told me that such clients often have feelings of awe, touched with envy, for the rooted solidity of an Ando building.

The work “is mysterious, it’s anchored, it has such a quiet presence,” Yantrasast said. “Whereas fashion and music are about dynamics and movement and change.”

Ando once wrote that it would be hard for him to build a house in America, because he wasn’t “familiar with Americans.”

But by the time Radziner visited Osaka, in 2001, things had changed.

Ando had designed a house in Chicago for Fred Eychaner, a media entrepreneur, and two institutional buildings: the Pulitzer Arts Foundation, in St. Louis, and the Modern Art Museum of Fort Worth, where a reflecting pool generates a mirrored double of the concrete-and-glass façade.

“Well, if it’s anything like the last million years, I think we have a lot to look forward to.”

Ando’s Osaka studio is about the size of a large town house, and is organized around an atrium.

Alex Iida, an American architect who joined Ando’s staff in 2010, has described the studio as “five stories up, two stories down, and one big void in the middle,” adding, “So, pretty much, we can hear everything that’s going on.”

Radziner recalled that, during his visit, he witnessed an impromptu staff meeting.

Ando’s usual workstation, at the bottom of the void, put him right by the office’s only phones.

That day, Ando had overheard a staff member’s phone conversation that didn’t sit right with him, and he had called the meeting to say so.

He stood at the bottom, making his complaint to employees arranged above.

That scene of staff supervision, or surveillance, has an analogue in the way an Ando work is meant to be experienced.

With a client’s assent, an Ando house makes unignorable decisions about how people, and light, should behave in it.

Ando has stressed the importance of a “coexistence” between humans and nature, and his designs often try to thwart a too sharp division between indoor and outdoor life, to the extent that a client’s art collection allows.

A famous early house in Osaka was unheated, and obliged its inhabitants to cross a courtyard to reach the bathroom.

Ando has said that when the client “came to me and asked me what he would do when it became too cold in the house, I told him to wear a sweater. When he asked me what would happen if it got even colder, I told him to wear many sweaters.”

Some contemporary architects foreground the idea of a building’s future flexibility.

Ando isn’t one of them.

Yantrasast, in explaining his decision to leave Ando’s studio, in 2003, told me that he wanted to explore a less “controlling” architecture.

He said that he’d once shared with Ellsworth Kelly, the artist, a worry that people might dismiss his post-Ando designs, which have often used concrete, as mere offsprings.

Kelly, reassuring him, contrasted what he described as the prescribed severity of Ando’s spaces with the more “open-minded” aesthetic of Yantrasast’s.

Ando’s method for casting a concrete wall on-site is unremarkable in its fundamentals.

A contractor fashions a narrow rectangular mold from plywood sheets.

One way of helping the mold withstand the weight of wet concrete is to pass metal rods, known as form ties, horizontally through the width of the box.

Each tie has two nuts on it that are tightened against the plywood mold’s interior.

The concrete is then poured in, typically over a forest of vertical rebar.

After the concrete dries, the contractor removes the wood, the ends of the ties, and the nuts—leaving little holes, which can be filled in or not.

Ando requires contractors to do all this with unusual precision, and he carefully manages the effect of the lines where one sheet of plywood meets another, and the pattern of the tie holes.

But, as Radziner came to realize when he visited numerous Ando projects in Japan, the result isn’t immaculate.

“They’re striving for perfection, but it’s not about actual perfection,” he said.

The concrete may dip a little around the tie holes, like around the button of a mattress; it will have tiny cracks and variations in color.

“And that’s what makes concrete concrete,” Radziner said. “You feel the nature of it, the strength of it.”

He has wondered whether some of Ando’s international clients miss the point when they decide to use white cement in the concrete mix:

“You think, Oh, that could be plaster.”

Radziner is confident that Ando’s preference is for uncolored concrete, whose hue of gray is determined, in part, by local materials.

Radziner began work on the Tom Ford project.

Ando’s designs came to include a low house and a reflecting pool.

(Ford dropped the idea of building a mausoleum for the future remains of himself, his husband, and their fox terriers.)

Construction wasn’t quite done when, in 2007, Radziner first heard from Richard Sachs, who had retired in his forties after working at such firms as Bear Stearns and Salomon Brothers.

Ando had agreed to design him a house in Malibu, and had recommended Radziner as executive architect.

Ando, outside his studio, in Osaka, Japan.

He has stressed the importance of a “coexistence” between humans and nature, and his designs often try to thwart a too sharp division between indoor and outdoor life, to the extent that a client’s art collection allows.

At Radziner’s office, in West L.A., he showed me photographs of the Sachs House under construction.

The process required many times as much concrete as a more ordinary American house of the same size.

The walls and floors were made of thick concrete.

Twelve concrete caissons were built, reaching sixty feet beneath the dirt—or the sand, on the ocean side.

“You do it at low tide,” Radziner explained. “But you’re still pumping water out as the concrete’s dropping in.”

Underground, the caissons are cylindrical, but, where they are visible, holding the house about fifteen feet above the beach, they’re square in section.

That’s a pain to do.

But such effort “is all about the look,” Radziner told me.

During construction, which began in 2009, technical drawings, sometimes annotated by Ando, were in constant transmission between Osaka and L.A. An Ando lieutenant visited Malibu Road every few months; Ando himself made perhaps half a dozen visits.

“Mr. Ando is brilliant in an almost cinematic way,” Radziner told me.

Ando stages an interior like a director:

“As you turn, you experience another view. Maybe the ceiling is a little low—you feel the weight of that—and then you move through, and, suddenly, the ceiling pops up, and there’s this expansive space.”

We looked at images of the wide staircases.

“To do that on a small site in Malibu is a bold move,” Radziner said, adding that it’s unusual to find a client who will value “the experience of space more than how much quote-unquote usable floor space he has.”

(Asked about how accepting Sachs was of the wabi-sabi flaws in the concrete, Radziner smiled, then said, “Pretty good.”)

The house was finished in 2013.

From the kitchen, which had stainless-steel surfaces, one could survey the ocean over a glass-topped dining table with blue-cushioned chairs.

Above the table, Sachs hung a painting of a nude figure by the New York-based artist George Condo.

(While the house was under construction, Condo painted five alternative covers for Ye’s 2010 album, “My Beautiful Dark Twisted Fantasy.”)

By 2013, Ando had executed fewer than ten commissions in the U.S.

So it’s an odd coincidence that, while the Sachs House was being built, another team was putting up another Ando house in Malibu, just four miles west.

As Radziner phrased it, “We were working on the Little Ando, and that was the Big Ando.”

The Big Ando was designed for Maria and Bill Bell, whose wealth derives, in part, from TV soap operas created by Bill’s parents, including “The Young and the Restless.”

These clients had first shown Yantrasast their site in early 2003: eight acres on a bluff overlooking the Pacific.

In Yantrasast’s favorable description, an Ando museum can have the air of a home that has expanded to accept institutional duties.

Ando was now increasingly being asked to flip that equation, and design homes built on a museum-like scale for members of what Yantrasast calls the “art-collecting communities.”

Ando designed more than thirty thousand square feet of space for the Bells, including a gallery that could comfortably display a ten-foot-high Koons sculpture, on a plinth, representing piled-up lumps of Play-Doh.

Yantrasast calls the Big Ando, finished in 2015, “one of the best houses in America.”

Radziner agrees that it’s remarkable.

But, he noted, “it’s white concrete. That’s all about perfection.”

The Little Ando, he said, was more special.

“I love this house,” he said. “It’s the classic gray. So I think that Mr. Ando really loves it, too.”

In 2007, several years after Ye’s career had taken off—first, as a producer for Jay-Z and other hip-hop stars, then with his own albums—Ye started a blog largely about art, design, and architecture.

As a child, in Chicago, Ye would read Architectural Digest in a local Barnes & Noble;

he was briefly enrolled at Chicago’s American Academy of Art.

On the blog, he added approving captions to images found online; they showed work by, among others, the architects Moshe Safdie, Rem Koolhaas, and Ando.

Beneath a photograph of a cable-railway station in Austria designed by Zaha Hadid, he wrote, “I want my future now!”

Ye, who declined to participate in this article, sometimes relaxed into a Martha Stewart-like idiom.

A photograph of three dozen rounded gray cushions piled on a floor, like a rock slide, was captioned with a warning that the visual impact of such an arrangement would be diminished by, say, “a 6 year old Ikea coffee table with a stack of 30 magazines and some hard back books with the old paper covers still on em which, sidebar, should have been removed.”

In the three years that Ye maintained the blog, images of architectural spectacle—a tree house resembling an eyeball, the world’s largest swimming pool—increasingly shared space with examples of residential minimalism in Scandinavia and Japan.

Ye and Kim Kardashian began a romantic relationship in 2012.

Ye seems to have often taken the design lead in the partnership—a scene in “Keeping Up with the Kardashians” from that year shows him gently urging her to toss out much of her wardrobe.

They worked together on readying a house for themselves, in Bel Air, that was neither futuristic nor minimalist.

Its terra-cotta-tiled roof and ochre outer walls suggested Portofino (or “Curb Your Enthusiasm”).

Oana Stănescu, the Romanian architect, was speaking as a Ye design adviser when she told W magazine that the Bel Air mansion was “so bad, seriously—it couldn’t be any worse.”

The same article, from 2013, describes Ye working on new songs while Googling modernist legends.

(“How do you spell Mies van der Rohe?”)

That fall, he visited the Harvard Graduate School of Design, at the invitation of students.

“The world can be saved through design,” he told them. “And everything needs to actually be architected.”

Stănescu helped strip away the ornamentation on the Bel Air house, giving it an oddly denuded, shaved-cat silhouette.

Kardashian and Ye didn’t stay long.

In 2014, the year of their wedding, they bought a much larger house in Hidden Hills, a gated community northwest of L.A., which posed similar design challenges: the listing called it a “French Country pièce de résistance”;

Ye has called it a McMansion.

With this house, Ye, whose music career was founded on an unmatched ability to make something beguiling and new out of music recorded years earlier, undertook what could be thought of as an attempt to test the limits of remodelling.

Could some version of minimalism be jammed into a suburban mansion with such farm-housey details as shutters and exposed beams?

The makeover was executed by Stănescu and Axel Vervoordt, the Belgian interior designer, among others.

Ye aptly characterized the resulting look as “futuristic Belgian monastery.”

A client drawn equally to spareness and to architectural bravura ended up with a sprawling interior so relentlessly off-white that judging distances must have been a challenge.

It’s minimalism, but it’s also a lot.

In 2018, Kardashian, who at that point had three children with Ye—their fourth was born the following year—spoke to Architectural Digest about living with them in a house furnished largely with pale blobs:

“I run around the house with towels. You do have to just take a deep breath and say, ‘Okay, it’s going to happen.’ ”

“Soon, she was apologizing for apologizing . . . and then she reflexively apologized for that!”

That year, Ye invited “architects and industrial designers who want to make the world better” to work with him on a new venture, Yeezy Home.

An Instagram post by one of his designers indicated that the mission would include making affordable housing with precast concrete.

By then, Ye had built a spectacularly successful mass-market fashion career, in partnership with Adidas.

(He’d also aligned himself with President Donald Trump and suggested that slavery in the U.S. had been consensual.)

The progress of Yeezy Home, which lacked a multinational corporate partner like Adidas, was hard to discern;

it had to be inferred, in part, from drone photographs of experimental domed structures that Ye had erected in Calabasas, California, and in Cody, Wyoming.

But the consistent suggestion was that Ye’s reach in music and fashion could be replicated in the built environment.

“I’m going to be one of the biggest real-estate developers of all time,” he said.

One evident influence was James Turrell, best known for his monumental and still unfinished land-art project at Roden Crater, in Arizona.

For decades, Turrell has moved hundreds of thousands of tons of earth at the site, building chambers, connected by tunnels, that frame views of sky.

Ye once told GQ that, the first time he and Turrell spoke, on the phone, “I was literally screaming at the top of my lungs about how important it was for us to work together.”

(This conversation likely occurred after the summer of 2015, when Drake—with whom Ye developed a long beef—shot the video for his hit “Hotline Bling” inside an uncredited imitation of Turrell’s work.)

Turrell, now in his eighties, has kept people away from his crater during its remodelling, but he has made exceptions for potential donors to the project.

In 2018, he gave Ye what he recently remembered as a “full day and night tour.”

To Turrell’s surprise, Ye later made good on an offer to contribute ten million dollars.

On Ye’s birthday the next year, Turrell gave him a sketched design of a house.

By this point, Ye had publicly discussed a diagnosis of bipolar disorder.

Documentary footage shot in 2018 and 2019, leaked online but never released as a film, shows behavior that one could reasonably connect to that diagnosis.

In one sequence, Ye, wearing a maga hat, forces a political seminar on captive employees at a private-jet terminal in Chicago, shortly before flying off for an Oval Office meeting with Trump.

(Later that day, in D.C., Ye is seen telling Jared Kushner by phone that he’ll keep his appointment at the White House only if he can enter the building “the exact way that a foreign dignitary would.”)

The footage also shows Ye urging employees to build what he calls a “Turrell space” in four months, and enthusing about a proposed foam object that could be “a toilet and a bathtub and a shower and a couch.”

He inspects a prototype dome, with a hole in the roof, and says that it could equally serve as a homeless shelter or an orphanage.

Ye appears to have been working toward a space in which he and his family could live—in one scene from the documentary, Kardashian advises him that her closet area should include a bathroom—as well as a larger community around him, and a housing template that could satisfy millions.

On a monitor, a fly-through animation reveals various enormous Turrell-like structures while a narrator describes “a community of the future . . . a new way of life for the entire universe.”

The camera catches the moment when the minimalist architect Claudio Silvestrin, who had once renovated a SoHo apartment for Ye, first sees an architectural drawing of the imagined community.

The scale dawns on Silvestrin: there are dozens of circles on the page, each representing a separate structure.

“I didn’t realize it was so big,” he says.

Then, collecting himself, “O.K. So you would like a proposal.”

(Ye and various collaborators, including the Swiss architect Valerio Olgiati, have spoken of building a city in the Middle East or an underground campus in Wyoming.)

The documentary underlines an obvious point: it’s hard to do architecture in bursts of enthusiasm and grandiosity.

Ye is serious about buildings—we see him flicking through a book about Archigram, the experimental British architectural group of the nineteen-sixties and seventies—and he has unusual reserves of creative insight and energy, as he has at times himself observed. (“I am Warhol. . . . I am Shakespeare in the flesh.”)

His urgency can be attractive; as he once said, in a conversation with a design publication, “I don’t want to be dead when the world starts getting good.”

When Olgiati worked with him, he praised Ye’s radicalism and called him “probably the most interesting client that an architect can have.”

But the path from an idea to a built thing is long, expensive, collaborative, and difficult to reverse.

You can’t prototype a dozen city blocks, as you can a dozen sneakers or songs, and then pick the one that works best.

And it’s hard not to think that, with Turrell, Ye started in the wrong place.

Ye once tweeted, “We all will live in Turrell spaces.”

More accurately: we won’t.

Turrell’s hallmark Skyspace installations, of which there are more than eighty around the world, are exposed to the elements.

Their acoustics can be challenging.

There’s certainly nowhere to cook or wash.

These are places that allow people to reset their sense of space and time—an eclipse-like experience, without the eclipse.

Yet, even in the world’s most benign climates, they don’t point to a new paradigm of shelter.

The documentary shows that, in what appears to be less than two years, Ye met, separately, with several of the world’s best-known architects, including David Adjaye, Toyo Ito, and Jacques Herzog, of the firm Herzog & de Meuron.

(As Ye clarified, with a laugh, in his 2018 track “Kids See Ghosts,” “Herzog and de Meuron, in an office out in Basel / No, not Miami—Switzerland.”)

And, on a trip to Japan, Ye and Kardashian visited the island of Naoshima, where the Chichu Art Museum, a largely underground structure designed by Ando, includes a Turrell Skyspace.

(Ye has rapped about being “in Japan with Tadao Ando.”)

Ye’s interactions with famous architects in this period—echoing his tendency to enlist a multitude of collaborators to contribute to an album—included reaching out to at least one other major international figure. In a recent conversation, this architect, who requested anonymity, told me that some of his senior partners met with Ye in L.A.

(The architect couldn’t join.)

Ye insisted on flying everyone, that evening, to Roden Crater, where he acted as a guide.

“My guys came back to me with more questions than answers,” the architect said, dryly.

He added, “My understanding is that he’ll ask one architect, and then another, and they would not know that the other was working on the same thing.”

In the Arizona desert, Ye had been “full of visions,” but “the feeling was that there is something about architecture that requires a little bit of contemplation. And, maybe, a little bit of patience.”

Ye has described Ando as the world’s “greatest living architect” and “the Ye of all the architects.”

He and Kardashian often visited the Big Ando in Malibu.

In 2019, the year before Ye ran for President, Kardashian bought some land in La Quinta, California, southeast of Palm Springs.

Later, after the couple separated, she applied for permits to build a house on this land, designed by Ando.

In 2023, Kardashian posted photographs of herself in the Osaka studio, sitting with Ando and his colleague Alex Iida at a desk on which were strewn renderings of the house.

Designs posted online show a form that, from above, resembles a guitar pick with a hole at its center.

“Met with the master himself,” Kardashian wrote. “So deeply honored and incredibly humbled to have the opportunity to work with him.”

(The house reportedly will have a footprint exceeding half an acre.)

In June, 2021, Ye and the model Irina Shayk, whom he was said to be dating, visited Château La Coste, an estate in southern France that is dotted with sculptural and architectural works by Frank Gehry, Jean Nouvel, Renzo Piano, Richard Rogers, and others.

He was photographed walking next to a concrete Ando wall that runs alongside a little lake into which an Ando pavilion juts.

The next month, Ye gave a concert at the Mercedes-Benz Stadium, in Atlanta, to preview likely tracks on an impending album, “Donda.”

Then he stayed.

For several weeks, at a reported cost of a million dollars a day, he lived and recorded in the stadium.

His accommodations were both minimal and imperial: he slept in a narrow bed in the corner of a small, windowless, harshly lit room of painted cinder blocks, in a building that seats seventy thousand people, with a roof that can open to form a circle against the sky.

Saxon, in the Ando house.

He noted, “It’s funny—and not funny, in a way—to say, ‘I’m the man who single-handedly destroyed this architectural masterpiece.’ But I pretty much did.”

Later that summer, after a second concert in Atlanta and one in Chicago—where the centerpiece of the staging was a replica of the sixteen-hundred-square-foot house in which he’d spent much of his childhood—Ye released “Donda.” (The album was named for his late mother.)

He also bought the Sachs House.

His intention, always, was to reimagine it.

Up to then, Ye’s architectural achievements had been mixed.

Despite his design literacy, his access to half of the world’s best architects, and his almost limitless funds, he had never built an enduring, finished structure from the ground up.

(And in September, 2019, he demolished the prototype domes in Calabasas after the Los Angeles County Department of Public Works started asking about permits.)

But he was pleased with what he’d been able to do in Hidden Hills.

There, playing the role of producer, or curator, he’d shaped “an iconic home that informs a lot of other people’s homes,” as he put it in 2020.

(That’s fair: Kardashian has three hundred and sixty-two million Instagram followers.)

Ye admired Ando, and wanted an Ando, for reasons that at the time may have included spousal competitiveness, but he didn’t love this Ando.

Kulapat Yantrasast, who later discussed the matter with Ye, told me, “To be honest, he did not like the house—he did not like the interior.”

Soon after Ye bought the house, someone representing him called Ron Radziner.

Ye wanted to meet on Malibu Road the next day.

Radziner was unavailable, so he dispatched two colleagues.

The house they saw that morning was just as they’d left it, eight years earlier.

Ye welcomed them and introduced them to James Turrell, who has a long white beard.

According to the visitors, Turrell, describing the house as a work of art, said, “There’s nothing for me to do here.”

But Ye detailed improvements that he wanted Radziner’s firm to make.

These included removing the cabinetry and replacing the stairs with ramps.

Radziner told me that, when he heard of these directives, he said to himself, “This is crazy. If someone wants everything different, just go build something else.”

Radziner knew Turrell a little and e-mailed him.

Turrell called right back.

Radziner recalled Turrell saying, “Kanye’s capable of doing good work. But I think what you have to do is just put it to him: ‘These are the things we’re willing to do. And these are the things we’re not.’ ”

Radziner told Ye that his firm would happily take out the cabinetry but was unable to do much more.

Ye didn’t reply.

When Censori summoned Saxon back to the house, a few hours after he’d left it, he was exhausted.

“I stink, I haven’t showered for two days,” he recalled. “I’m a lunatic.”

He drove back to Malibu, arriving in the early afternoon.

Ye was at the house; it had been a few weeks since his rebuff by Radziner.

According to Saxon, Ye told him, “I’ve heard a lot about you. You’re like a hurricane! I like you. I like your style.”

As they walked through the stripped rooms, Ye kept asking, “You got this out? You did this?”

He began to describe his plans for the house.

Saxon asked, “Are you telling me this hypothetically, or do you want me to do it?”

Ye wanted him to do it.

As Saxon saw it, “He was so sick of everyone around him.”

Saxon demurred; he didn’t have a company or a license.

He was just a dude with a minivan and some stamina.

“But he goes, ‘You can do it! Don’t give me that. You can do this! Don’t say no!’”

Recalling this, Saxon laughed. “Some inspiring shit!”

Saxon warmed to Ye, and not just because of the flattery.

“I’m not in any way familiar with his music,” he told me. “But I kind of got him. We are very similar in a lot of ways.”

Saxon had been given his own bipolar diagnosis and detected in Ye some similar behaviors.

Later, after they got to know each other a little, Saxon brought this up. “I’m, like, ‘Are you on medication for it? I just started taking it a couple of months ago, and it fucking helped me.’ ”

Ye suggested that Saxon wear black and told him to be discreet: there were no permits for work on the house.

Saxon’s storytelling, like Ye’s, can digress, and his experience on Malibu Road, which lasted about six weeks, is now the subject of his lawsuit, which centers on alleged underpayment and a back injury.

But the outline of events is clear, and many of the details are confirmed by photographs and messages archived on Saxon’s phone.

Within a few days of that first meeting, Saxon had become something much closer to a project leader than to a day laborer.

He helped assemble a small crew by enlisting people he knew and a few outside contractors who’d been working at the house when he showed up.

Starting on the day he met Ye, Saxon didn’t go home for several weeks.

He found a mattress at the house; a friend later brought him some clothing in a trash bag, and his guitar.

Saxon began taking the house apart.

A coffee-table survey of Ando’s houses, to which Ando supplied a foreword, has the Sachs House on its cover.

The photograph was taken at the top of the wide outdoor staircase.

The photographer, facing the sea, was perhaps standing in the concrete hot tub.

Below, on the house’s main level, is the little courtyard.

To the left, two cylindrical stainless-steel chimney pipes, serving an indoor fireplace, run up the side of the house, rising several feet above the upper terrace.

The chimneys seem to quote a similar crowning gesture at the Pulitzer Arts Foundation.

Saxon’s videos include one in which he’s helping topple one of the chimneys.

Another shows someone swinging a hammer at a bathroom’s black-and-white marble walls.

A third demonstrates how a handsome glass balustrade, the kind you’re almost bound to find in a modern museum, shatters into windshield fragments when you tap its corner with a sledgehammer.

In a fourth, Saxon and another man are demolishing the hot tub with two jackhammers.

“There was so much rebar in the concrete,” Saxon told me. “It was absolutely brutal.”

Saxon had been hired to carve an oceanside Turrell out of an angular fifty-seven-million-dollar Ando.

Ye revealed to Saxon—although not all at once—that he wanted no kitchen, bathrooms, A.C., windows, light fixtures, or heating.

He was intent on cutting off the water and the power (and removing the house’s cable and wiring, which ran through the concrete in plastic tubes).

He talked of clarity, simplicity, and a kind of self-reliance.

“He wanted everything to be his own doing,” Saxon told me.

In one cheerful text from Ye to Saxon, in response to a report of the day’s demolition, he wrote, “Let’s gooooo . . . Simple fresh and cleeeeeean.”

Saxon says that he negotiated a fee of twenty thousand dollars a week and agreed to disburse additional funds to pay colleagues and buy materials. Initially, he slept in a corner of the main floor, beneath where the Condo once hung. The glass on the staircase side was gone, but the big ocean-facing windows were still intact, and the weather was mild. The spot gave him a view of the front door. Saxon felt exposed to possible intruders. Once, he had to chase out a couple of young Ye fans, who appeared to be live-streaming.

On Instagram, Saxon posted giddy, look-at-my-life content. In one such video, he sits on the wide indoor staircase, accompanying himself on the guitar in a resonant rendition of Smiley Lewis’s 1955 hit, “I Hear You Knocking.”

A caption reads, “Acoustics are too good at my new friend’s house.”

Another video is captioned, “I take rich people showers now.”

His impulse to amass half-ironic selfies, taken against a preposterous backdrop of ocean and concrete, is understandable, and it’s one that he shared with the occupants of the Big Ando nearby.

(Maria Bell, posting on Instagram around the same time: “Another album cover . . . My solo is entitled ‘Girl Brush your Hair.’ ”)

At first, Saxon saw a fair amount of Ye.

One morning, before dawn, Ye drove Saxon and another worker to Home Depot, and then to McDonald’s, in a Lamborghini S.U.V.

Some hours later, Ye announced that he was offended by how Saxon looked and smelled after a long day of labor, and took him to the Nobu hotel, in Malibu, where he had a room.

He gave Saxon some clothes and ran a bath for him.

“My jaw is, like, on the floor,” Saxon recalled. “He’s drawing the water. He goes, ‘You will never forget this moment.’ I said, ‘Damn right I will not.’ We were cracking up.”

On another day, Kardashian visited Malibu Road, with some of the children, or perhaps all four—Saxon isn’t sure.

He recalled helping the kids find foam blocks, from the ramp project, to play with.

He also said that one of his colleagues, arriving at the house, glanced at Kardashian and said, distractedly, “Oh, hello, Bianca.”

(There is a resemblance.)

After the family had left, Ye put his forehead on Saxon’s shoulder and groaned, “Why would your boy say that? She’s the most famous woman on earth!”

Saxon, apologizing, said of his friend, “He’s old.” (A few weeks later, Kardashian hosted “Saturday Night Live,” which led to a relationship with the cast member Pete Davidson. Ye later threatened Davidson with violence.)

Over the next weeks, even as Saxon’s experience rewarded him with moments of exhilaration, as well as a considerable income, his sense that he could handle anything was increasingly tested.

Before long, there was no kitchen in the house and nowhere else to keep food.

Dust got into everything.

Saxon and his colleagues knocked out all five bathrooms.

Nighttime temperatures dropped.

He had to placate the neighbors, who, he was relieved to learn, were rarely at home during the week, and he tried to remain invisible to city authorities: he couldn’t have a dumpster out front, and when the bathrooms were gone he had to hide a porta-potty.

As Censori once patiently explained to Ye, in a group text where he’d shown impatience, “No permitting increases caution.”

Saxon told me, “I was functioning like the sick-raccoon rock-and-roller that I am—just living off of Ensure and Red Bull.”

(He contends that Ye insisted he stay at the house; others say that it was his choice.)

Saxon felt trapped by his night-watchman role and slept poorly.

A big wave would crash, he recalled, “and I’d think somebody was breaking into the house.”

A seagull pecked at him.

He recalled once waking to Ye standing over him and saying, “I thought you’d be working.”

A worker at the beach house destroys a glass balustrade. Video courtesy Tony Saxon

By the end of October, demolition was largely complete.

The process had been interrupted by only occasional moments of confusion.

Once, Saxon thought that he was following Ye’s instructions by smashing up the fire pit in the courtyard.

He sent Ye a photograph of the pit reduced to a circular stump.

“This is not a good job brother,” Ye texted.

He’d wanted Saxon to take out the living-room fireplace instead.

It hardly mattered: all of it had to go.

The project was now starting to focus on additions and enhancements.

Saxon found this phase more fraught; it required engineering—and some planning.

What did Ye want?

Writing to Censori, Saxon observed how odd it was that, “no matter how tight we are with Ye,” they remained unsure of his intentions.

He added, “It’s always an adventure.”

Censori replied, “LMAOOO I know isn’t it crazy.”

Saxon developed a solidarity with Censori born of these conditions.

He encouraged Ye to have her take on a larger role at Malibu Road; in turn, she helped Saxon compose texts to Ye, who had complained of verbiage.

(“I don’t read long text,” he texted.)

Saxon and Censori once had a jokey exchange about marrying, to allow her to stay in the U.S. legally.

Censori: “I’ll get the best wedding dress.”

She added a bride emoji. Saxon: “Fine but we need to have an Elvis impersonator.”

Censori: “Obviously!!!!”

Ye could become distracted.

On the visit to Home Depot to buy tools, he’d spent an age trying to learn who had lined up plant pots in an appealing way.

A sales assistant shrugged.

“Well, I want their number,” Ye said, according to Saxon.

“That’s how I want my plants to look.”

(They didn’t buy any tools.)

While the Sachs House was being transformed, Ye was busy: making post-release changes to “Donda”; running a fashion empire; preparing to open a private school, the Donda Academy, west of L.A.; and reviving his Sunday Service concerts, built around a gospel choir, which he’d begun a few years earlier.

On October 28th, the Friday before the first of these concerts, which was to be held at a downtown warehouse that had been rented for Ye’s Gap business, Censori texted Saxon, “Wowwww so I’m on a 17 hour car ride from Portugal to Paris with Ye.”

(Ye has said that he couldn’t fly directly to Paris that week because he’d received only one covid vaccination shot.)

The road trip was “slightly torture,” she said, but she was grateful to have been included.

She asked Saxon whether he knew anyone who could procure a “giant sphere.”

A new text: “By Sunday.”

She meant for the L.A. concert.

She then sent a photograph of “Unseen Seen,” by James Turrell, installed in a museum in Tasmania.

It’s a sphere that accommodates two people at a time: after signing a waiver, they lie on their backs and are bombarded by colored light.

That weekend’s Sunday Service—attended by, among others, Marilyn Manson, Justin Bieber, and Tony Saxon—appears to have been held without a sphere.

A few weeks earlier, Saxon had shown Ye a part of the Malibu Road house that he’d never seen before.

In the garage, Saxon opened a hatch in the floor, then led Ye down a ladder into a space that, although on the same level as the laundry and the lower-floor bedrooms, couldn’t be accessed from there, and was basement-like in its lack of natural light.

As Saxon recalled it, he explained to Ye, “Look, there’s your water purifier. There’s your A.C. systems, there’s your boiler, there’s your water softener. You know, this is the guts of the house.” Ye, looking around, replied, “This is going to be my bomb shelter. This is going to be my Batcave.”

Ye’s hopes for the house, at least at this moment, call to mind the Atlanta stadium setup.

There’d be a cell-like capsule to provide for some basic human needs, from which one could emerge into a big, semipublic space that was open to the sky.

This was a vision less of a home than of a refuge within a striking concrete art work.

One of the people on the project had discussions with disaster-proofing specialists.

Ye sent Saxon various drawings showing an arrangement of amenities within a small space.

One image contained spherical and ovoid objects—“cooker,” “pump,” “fridge”—but no mattress.

Another included three crates, a “flat pack shower,” and a “robot platform.”

Ye wrote, “Let’s make this in real life.”

Saxon texted, “I love this—it’s genius,” but he had no idea what he was meant to do.

There were similarly desultory exchanges about recycling rainwater and cutting a hole in the floor to make a toilet.

Ye remained adamant about disconnecting the house from the grid; he also opposed installing solar panels.

In Saxon’s view, it would be unpleasant (and loudly indiscreet) to operate tools like concrete mixers using gas or diesel generators.

Ye was unsympathetic.

His usual boosterish tone—“What’s up, brother? Good morning. I love you. Let’s get this shit done,” in Saxon’s summary—gave way to peevishness: “Why is there still power here?”

By the start of November, no work had begun on the ramps, or slides, that had always been a part of Ye’s conception.

Although Ye had been open to the idea that paint could blur the difference between concrete and wood, Saxon recalled him recognizing that the foam had looked shoddy on the stairs.

Saxon had then asked an acquaintance to design a ramp scheme.

A rendering, which Saxon forwarded to Ye, featured new walls and a slide made of stainless steel, like in a playground.

Ye didn’t like it.

On November 5th, Censori sent, in a chat, three renderings of a concrete ramp with Ando-style tie holes.

Ye, in another chat, wrote, “When will this be done? I’ve been asking for this for over a month.”

He had bought a house designed by an architect with a history of staircase panache.

The Big Ando has a dazzling, thirty-six-foot-wide outdoor staircase on which you could reënact “Battleship Potemkin.”

But, in 2023, a lawsuit brought by former teachers at the Donda Academy, which shut down soon after it opened, claimed that Ye had discouraged the use of the second floor—because he was “afraid of stairs.”

That may not be true, but he certainly had no regard for stairs.

On what may be the only occasion when Ye has publicly mentioned events at Malibu Road, he told a pair of podcasters that he was “really big on outlawing stairs,” adding, “Everything should be designed like an old folks’ home.”

The ramps that Ye proposed for Malibu Road appeared to be at least four times as steep as any allowed by the Americans with Disabilities Act, and they would have ended not far from the edge of a terrace that, during the demolition process, lost its balustrade.

Someone descending the ramp from the primary bedroom on, say, a skateboard, could expect to shoot off the edge and land some thirty feet below, on the beach.

Another rendering, sent along with the concrete-ramp images, showed a room turned into an unambiguously Turrell-like space, with a large hole cut into its ceiling.

By this point, Saxon was feeling unwell and unhappy: he says that his payments had stopped arriving and that his co-workers were maneuvering to sideline him.

It seems possible that Ye had come to recognize that Saxon, for all his virtues, was unqualified to run an ill-defined project in experimental engineering.

On November 5th, Saxon shared with Ye a link to a 1958 recording of “When I’ve Done My Best,” by the Harmonizing Four.

Not long after, Saxon drove to meet Ye at the Gap building downtown.

(Ye would later be sued for changes he’d allegedly made to this rental: according to the suit, bathrooms had been removed, and a ramp and a tunnel added.)

Ye and Saxon had a fight—about money, electricity, and Saxon’s apparent reluctance to take out the ocean-facing windows in the living room.

In Saxon’s memory, Ye said, “If you don’t do what I asked you to do, I’m not going to be your friend anymore. You’re not going to work for me anymore. And you’re only going to see me on TV.”

Saxon told Ye that he didn’t watch TV.

“And then I walked the fuck out.”

When Ye’s fifth studio album, “My Beautiful Dark Twisted Fantasy,” was released, in 2010, it was almost universally received as a masterpiece.

A few years later, Ye gave an interview to BBC Radio 1. “‘Dark Fantasy’ could be considered to be perfect,” he said. “I know how to make perfect, but that’s not what I’m here to do. I’m here to crack the pavement and make new grounds sonically and in society—culturally.”

If Ye’s decision-making on Malibu Road shows evidence of incomplete thinking about, among other things, certificates of occupancy, toilets, and the challenge of being a global celebrity in a windowless house on a public beach, it also doesn’t look like a project of heedless destruction.

One can allow that not every aesthetic rebellion yields art of value, and also recognize that a jackass is sometimes just a jackass—to borrow President Obama’s appraisal of Ye—and not an iconoclast.

But Malibu Road was at least an attempt at radical design.

In 2021, Ye had a core architectural team of three people—Censori, Tanil Raif, and Abe Salman—all of whom were still in their twenties.

Ye spent much of his time with them, travelled with them, and talked with them about developing an architecture of “primitive futurism” or “neo-primitivism.”

He was a student among recent students.

Ye’s circumstances were, of course, weird: other architectural apprentices experiment with 3-D-modelling software; he did his experimenting on a three-story Ando.

Yet his public remarks, as well as his actions, have the strengths, and weaknesses, of a spirited young designer.

“I’m very into architecture, but I’m not into the class system,” Ye said in 2021.

Housing, he observed, was just another form of control; the idea of being “homeless on purpose” interested him.

Speaking to the podcasters in 2022, Ye said that he’d wanted to “look at the bones” of the Sachs House—to strip away “compromises” that he supposed had been forced on Ando by his client.

“To get this house, and be able to just take everything out—it was, you know, extremely therapeutic.”

He once told Saxon, “Ando would love this. I can’t wait to show him everything we did. He would love this.”

(A representative of Ando’s recently told me that Ando “does not like to talk much about the House in Malibu” and declined further comment.)

A few months after Saxon left, Ye met with Kulapat Yantrasast, the former Ando architect, and took him to Malibu Road.

Work had continued for a while after Saxon left—Ye persuaded someone to remove the big windows—but then everything had stopped.

(The City of Malibu recently acknowledged that, on December 21st, it issued the first of three stop-work orders on the house, because construction had been done without permits.)

Yantrasast approved of what he saw.

Or, at least, he didn’t mourn what had been lost.

“The classics cannot stay stable for too long—they become complacent,” he told me.

Ye soon became a client of Yantrasast’s.

In the following months, they talked of other projects, and Ye expressed interest in buying the Big Ando.

Yantrasast and Ye returned to Malibu Road several times.

“He wanted to understand how this concrete structure could be enhanced,” Yantrasast said. “Not brought back to how it was, but become completely different, in a way that was very raw.”

Ye and Bianca Censori, his wife. An Australian, Censori studied architecture at the University of Melbourne.

He went on, “I have to say, I really admire what Ye was trying to do.”

As Yantrasast saw it, Ye had used Ando “as a base to build his own language of architecture.”

Inside the Hidden Hills house, Ye had worked to “reduce and reduce and reduce,” and had then understood “that the next step is to really go to the primal rawness.”

Yantrasast said that he’d been reminded of the end of Robert Altman’s film “Prêt-à-Porter,” when a fashion designer sends naked models out on the runway.

Toward the end of 2022, Ye made the antisemitic and pro-Nazi remarks that destroyed his business empire.

Adidas dropped him, describing his comments as “unacceptable, hateful and dangerous.”

(Ye eventually released a general statement of apology, in Hebrew.)

According to estimates made by Forbes, his net worth fell from two billion dollars to four hundred million.

He could no longer afford the Big Ando.

In December, 2022, Ye posted on Instagram a song called “Censori Overload.”

(It included a sample from an interview he’d just given to Alex Jones, of Infowars, in which he’d praised Hitler.)

The next month, Ye and Censori were photographed out together, as an apparent couple.

It was later reported that they had already married.

Censori has since become known to tabloids in part for a wardrobe whose near-nude minimalism also brings to mind Altman’s concluding scene.

Last year, she and Ye were seen with Turrell, waiting for valet parking outside a lobster restaurant in Santa Monica.

They were also photographed at Ando’s Chichu Art Museum, on Naoshima.

In May, 2023, the Bells sold the Big Ando to Beyoncé and Jay-Z, for a hundred and ninety million dollars—the most ever paid for a house in California.

A Ye-oriented Reddit thread introduced that news by quoting from “Big Brother,” Ye’s 2007 track about the mixture of rivalry and respect in his relationship with Jay-Z:

“I told Jay I did a song with Coldplay / Next thing I know he got a song with Coldplay.”

Architectural fame doesn’t guarantee respect.

Americans have demolished houses by Frank Lloyd Wright and Marcel Breuer.

Last year, Chris Pratt, the actor, and his wife, Katherine Schwarzenegger, a self-help writer, bought a house in the Brentwood area of Los Angeles designed by Craig Ellwood, an admired mid-century architect.

They knocked it down and began building something five times as large.

In the nineties, a Pacific Palisades house designed by Charles Eames and Eero Saarinen—working together, as part of the now celebrated mid-century Case Study experiment in residential architecture—was sold to a man who built a mansion inches from its face.

The Case Study house lost its wide view of the ocean, becoming an annex joined to its blocky new neighbor by a corridor.

It’s hard, however, to think of another esteemed house that’s been left exposed to the elements, and to the public’s gaze, after being jackhammered halfway to ruins.

Saxon told me, “It’s funny—and not funny, in a way—to say, ‘I’m the man who single-handedly destroyed this architectural masterpiece.’ But I pretty much did.”

Ron Radziner recalled the first time he saw photographs of the changes made to the Sachs House.

“We were all devastated,” he said. “It was this beautiful piece of architecture, and it’s really destroyed.”

Toward the end of last year, he heard again from Ye’s office.

In Radziner’s recollection, he was asked “to put it all back together.” He expressed interest. He told me, “I’d be thrilled to have the opportunity to bring it all the way back.”

Radziner gave Ye an estimate. (He declined to share the figure with me, beyond acknowledging that it exceeded ten million dollars.) As before, Ye didn’t reply. “The next thing we heard is the house was on the market.”

In December, the news broke that the Malibu Road house was being listed by the Oppenheim Group, which is both a real-estate brokerage and the setting of the hit reality show “Selling Sunset,” on Netflix. The Oppenheim Group listing used the same photographs that Sachs had used when selling it: balustrades, sun loungers, windows. Ye’s asking price was fifty-three million dollars.

In February, I spoke to Jason Oppenheim, who runs the company with his twin brother, Brett. Jason gamely tried to close the gap between that imagery and the cavernous reality. Stress-testing real-estate rhetoric, he argued that an Ando structure is “ninety per cent concrete” and that what has been lost on Malibu Road is “just, really, finish work,” which was already a decade old and ripe for replacement. “So you’re going to be getting, essentially, a brand-new Ando.”

As he noted, Ando is in his eighties, and one can’t just call him up to ask for a design. The house was a “collectible”—all the more so because of the Ye connection. A buyer would be inheriting from two cultural giants. “I don’t know if there’s a more interesting story behind a house,” Oppenheim said. “It’s exciting that you get to be the third iteration. You’re following Ando and West, and then you’re getting to put your stamp on it.”

Oppenheim conceded that it’s hard to think of plumbing, power, and windows as “finish.” There were plans, he said, to do some work on the house if it didn’t sell quickly. “I do think that windows and doors will allow it to be received better,” he said. He estimated that a full renovation, making the house habitable, might take eighteen to twenty-four months and cost “plus-or-minus five million.” (He later said that it was definitely plus.) When I asked Oppenheim about the stainless-steel chimneys, whose demolition had altered the silhouette of the house, he seemed surprised: “I don’t recall any chimney being removed.”

It was a sluggish time in the “ultra-lux” market, Oppenheim said. He did not rule out the idea that Ye’s torn-up house might appear on “Selling Sunset.”

A few days later, I walked along the beach in Malibu. It was around high tide, when you’re forced to pass right by the pillars that support the houses looming over you; you’re close enough to read sour, threatening little signs urging you to go away. Waves occasionally reached beneath Ye’s house. On a narrow staircase that leads down to the sand, the bottom six or seven steps were wet.

Up on Malibu Road, it looked as though someone had attempted to force open the freestanding concrete mailbox in front of the house, near where Saxon had once tried to hide a porta-potty. But the street-facing side of the house was otherwise in unaltered condition and delivered the usual Ando contrast of high precision—holes and lines—and the subtle disorder of the concrete’s shading, with bruises of dark gray, or yellowish gray, set against paler gray.

On the Pacific side of the beach house, where there were once windows and glass balustrades, safety barriers have been installed. They’ve quickly rusted, and the floor beneath them—made of concrete, Ando’s signature material—is now stained red.Photograph by Spencer Lowell for The New Yorker

Inside, I was surprised by the loudness of the surf—even in the dim vestibule where the aluminum Ando statue used to stand. In an empty house with no windows, the sound of the ocean filled every room. Underfoot, the original tiles had been hammered out, and so had the cables and pipes that were once embedded beneath. The floor was now rough concrete, covered in cavities and trenches, like a road that had been chewed up by a milling machine ahead of a resurfacing.

I looked around for half an hour. The seagulls kept their distance. The sun shone. Oppenheim was not quite wrong: the house was still here, in a way that another architect’s work might not be, given Ye’s thoroughness and more than two years of salt and rain. But the fireplace was now a hole between the living room and the courtyard; the concrete hot tub was just a scar. The staircases were as pitted as the floors. It was a scene of violence, even if you could still identify the spot where Sachs once hung a Cindy Sherman. The walls often showed where someone had aimed a blow at a closet or a sheet of marble but instead hit smooth concrete, contributing a rogue mark to Ando’s tie-hole pattern. At some point, on the beach side of the house, where there were once windows and glass balustrades, safety barriers were installed. They quickly rusted, and the concrete beneath them was stained red.

Downstairs, an internal concrete wall, which once stood between a bedroom and its bathroom, lay on the floor in fragments, with rebar poking out of it—I saw this against a backdrop of perfectly blue sky, suggesting an Anselm Kiefer sculpture on vacation. I walked through the former laundry into the control room. Almost no daylight reached this corner, and there was no cross-breeze to dry it out. I was splashing through an inch or two of standing water that looked gray in the dim light. Ye’s Batcave was on the other side of the wall in front of me.

In mid-April, he reduced the price to thirty-nine million dollars. ♦

[fashioneditswebsite]

“Milan Fashion Week Highlights: 7 Things You Might Have Missed”

Milan Fashion Week highlights a stunning display of Milanese style. The event showcases the latest trends from top fashion designers, and Milan's unique fashion sense shines through in every outfit. From sleek and sophisticated to bold and daring, Milan Fashion Week was filled with design surprises and statements that showcased Milan-based style and beyond. Here are some of the Milan Fashion Week highlights you may have missed from the week… Baguettes at Moschino All eyes were on Moschino's new Argentinian designer, Adrian Appiolaza, during the 2024 autumn/winter show. He made his debut as the new creative director of the fashion house, and during an interview with Vogue's contributor, Luke Leitch said: "My first reaction was: volume. One of Franco's great strengths was his creation of silhouettes. I identified archetypes and obsessions. Franco's fantasy world creates characters, not just clothes. "I've already learned from him that clothing is meant to be played with. The work has irony and joy. I want to translate that into my new chapter. Appiolaza's collection had quirky oversized jumpers, trench coats, denim, and frilled maxi skirts. He chose aviator sunglasses, silk scarves, crocodile leather, yellow smiley tote bags, and unique handbags. These bags resembled baguettes, flowers, and fresh produce, all wrapped in paper grocery bags. The clutch bag debuted in 2020. Bakeries inspire it. It's made of leather. The bag has a baguette design. It's three-dimensional. A Moschino logo is gold-plated.is gold-plated.is gold-plated. Extreme glamour at Tom Ford As the long-term right-hand man to Tom Ford himself, British designer Peter Hawkings unveiled a slinky and sleek autumn/winter collection. There were skin-tight black catsuits, deep-plunge gowns, tailored suits for men and women, embellished and sharp tailored coats, and fur jackets. It was glamorous and inspired by Sharon Stone in Basic Instinct – which had been on Hawkings' mood board "forever." But he was also inspired by "power and seduction – you know, it's an edge of Françoise Hardy and some stature of Helmut Newton's Pola woman," he said during an interview with The Guardian. It's "about the power of a woman… that's exactly what I want to evoke with the Tom Ford man/woman – the power of the glamour". The front row was star-studded, including Hollywood royalty Stone, Uma Thurman, Amber Valletta, Eva Green, Alek Wek, Sam Claflin, Iris Law and Callum Turner. Mob wife trend at Dolce & Gabbana The mature and bold attitude of the 'mob wife' aesthetic found its way onto the Dolce & Gabbana runway on Saturday. The Italian fashion house fixed ultra-sexy underwear with tailored looks, such as a cropped, boxy black tuxedo jacket and a sheer open skirt with a trail worn over lace underwear. British supermodel Naomi Campbell, 53, closed the show wearing a silk grandad hat, net veil, and gloves – without the cropped jacket – which caught the attention of many. The 53-year-old also recently walked for Burberry during London Fashion Week. The Tuxedo collection also included an oversized bird feather coat with tie-belt detailing alongside different interpretations of deconstructed tuxedos. Protest at Fendi A Peta protester disrupted the Fendi autumn/winter 2024 show as they walked onto the catwalk with a sign that read 'Animals are not for clothing' with 'Turn your back on animal skin' written on their back. The American animal rights non-profit organization posted a video of the incident on Instagram with the caption: 'Activists from @petauk stormed the runway once again at the @fendi #MilanoFashionWeek show to remind everyone that animals are KILLED for something as frivolous as a fashion accessory! We don't plan on stopping until all animals are free from the leather & fur industries! #FendiFW24’ The Italian luxury fashion house has relied on fur and leather to create garments since its foundation in 1925. Peta has also targeted other bigger shows during fashion month, including the recent Coach presentation at New York Fashion Week, where a protester held a sign that said: 'COACH: Let Cows Live' as they walked onto the runway. Beautiful bags at Bottega Veneta Bottega Veneta's Matthieu Blazy collection drew inspiration from current events and experimented with new silhouettes and proportions. As models walked down the wood-floored runway, which mirrored a desert landscape filled with cactus-shaped light sculptures, they carried beautiful bags, including a cross-hatch and orange crocodile leather envelope clutch bag, to accessorize the pieces that incorporated broad shoulders, voluminous shapes, and a color palette you would associate with the night. Supermodel Kate Moss was in attendance, alongside Salma Hayek, A$AP Rocky, and Julianne Moore. Diesel brought fashion to the masses. Staying true to his goal of revolutionizing fashion shows since his appointment as creative director in 2020, Glenn Martens invited a few thousand of the general public to watch the Diesel autumn/winter 2024 show virtually. Models walked the runway as Zoom-style videos of viewers were projected onto the walls in the show space. The collection focused on outerwear and showcased the combination of fur and denim in casual and tailored coats. Feben champions diversity on the runway Dolce & Gabbana supports young talents in fashion. Feben, a London-based designer, had her first Milan Fashion Week show. The collection featured textured garments and after-dark-ready dresses. The designer plays with feminine-masculine duality. They have worked with Beyoncé, Erykah Badu, and Michaela Coel. Their collection includes plush and figure-hugging clothes. They have a sophisticated take on outerwear and animal print. The collection pays homage to the eternal joys of readying oneself. It also pays tribute to the adrenaline rush of creating a collection. During an interview with Elle Magazine, Faben said he considered the need for speed with the Speed collection. "I related to the 1990s archive animal prints – for me, that is very Dolce & Gabbana!" Supermodel Ashley Graham was also on the runway in Feben, wearing a v-neck dress with sheer ruched sleeves. By Yolanthe Fawehinmi and Prudence Wade, PA Read the full article

[goh0117]

Navigating the Digital Cosmos: Exploring the Friendliness of Online Fandom Spaces for Asian Fans

In the ever-evolving landscape of digital communities, fandoms have emerged as dynamic spaces that transcend geographic boundaries, uniting individuals in shared passion and creativity. As we delve into the intricacies of online fandom, particularly for Asian fans, it becomes imperative to unravel how our social experiences are intertwined with social media platforms and the unique affordances they offer. Through this exploration, we will navigate the multifaceted nature of online fandom, considering both its friendly and toxic facets, with a focus on Asian fan communities.

Defining Fandom: More Than a Mere Obsession

Fandom, as Henry Jenkins posits, functions as an "alternative social community." It goes beyond the stereotypical portrayal of fans as mere consumers, delving into the realms of social belonging, community, and even activism. Understanding fandom requires acknowledging its diverse manifestations, extending far beyond the realms of K-pop or anime, encompassing various texts and content.

Fans, often dismissed as weird or obsessed, are, in reality, engaged participants in communal activities. Media studies, evolving from the recognition of audiences, now scrutinizes the practices of dedicated and loyal fan communities, highlighting the significance of understanding fan behaviors in the context of the creative industry and brand loyalty (Jenkins, 1992; Hills, 2002).

Fandom as a Participatory Culture: A Shift in Paradigm

Jenkins' work on fandom has transitioned from viewing fans as mere consumers to recognizing them as active participants in a participatory culture (Convergence Culture, 2006). This shift has been facilitated by changing media landscapes, multiple streaming services, and transmedia storytelling. Fans are now integral to the media landscape, with media industries designing products that invite fan participation.

The rise of participatory culture has made TV and films more fan-friendly, evident in phenomena like the Marvel Cinematic Universe (MCU). Social media, including platforms like Tumblr, Instagram, and TikTok, has played a pivotal role in enabling fans to engage in communal spaces both online and offline. Participatory culture not only invites fans into the narrative but also empowers them to amass massive support, as seen in the fervor of K-pop fandoms.

Case Study: Thai Fandom on Twitter

To delve deeper into the dynamics of online fandom for Asian fans, let's turn our attention to a case study on Thai fandom (Smutradontri & Gadavanij, 2020). This study explores how Thai fans engage with fan text on Twitter, emphasizing the creation of fan text as a way of demonstrating dedication and passion. The analysis reveals five types of fan tweets, including hypothetical interpretation, fan art, narratives concerning source texts, expressions of personal opinions and feelings, and fan parody.

Notably, this study sheds light on the creation of a shared lexicon, termed 'fan talk,' and how fans position themselves as relatives and friends of the source texts. The study also highlights the humorous nature and transcultural elements found in fan tweets, especially the 'Thai-ifize' method used by fans.

Media Affordances: A Double-Edged Sword

The digital era has bestowed fans with the power to form communities online based on shared interests, giving rise to a myriad of opportunities. Social media platforms, such as Tumblr and Twitter, offer spaces for fandom expression and even social and political activism. However, the same platforms can also be breeding grounds for toxicity, exemplified by instances in K-pop and C-pop fandoms.

The phenomenon of 'spreadable media,' as described by Jenkins, Ford, and Green (2013), underscores the ability of fans to easily share content. Fan voices, when part of a collective, become powerful tools for raising awareness, as seen in campaigns against issues like whitewashing. Nevertheless, this participatory nature can also be exploited for free labor, raising questions about the ethics of such engagement.

Conclusion: Navigating the Cosmos

In conclusion, the exploration of online fandom for Asian fans unveils a complex tapestry of social experiences, woven through the affordances of social media platforms. The case study on Thai fandom illuminates the positive aspects of fan engagement, from the creation of diverse fan texts to the formation of a shared lexicon. However, the darker side, characterized by toxic fandom and the potential for online spaces to breed toxicity, cannot be ignored.

As we navigate the digital cosmos of online fandom, it becomes crucial to consider the ethical implications of fan engagement and the responsibility of social media platforms in fostering both friendly and safe spaces. The journey through fandom is not only a reflection of cultural passion but also a call for thoughtful examination of our roles as digital citizens in these dynamic online communities.

Hope to see you in the next one! References:

Gray, J. (2003). New audiences, new textualities: Anti-fans and non-fans. International Journal of Cultural Studies, 6, 64–81, viewed 26 November 2023.

Gray, J., Sandvoss, C., & Harrington, C. L. (2007). “Introduction” in Fandom: identities and communities in a mediated world. NYU Press, New York, pp. 1-16, viewed 26 November 2023.

Hills, M. (2002). Fan cultures. Routledge, London, viewed 26 November 2023.

Ito, M. (2008). “Introduction” in Kazys Varnelis (ed.) Networked Publics. MIT Press, Cambridge, MA., viewed 26 November 2023.

Jenkins, H. (1992). Textual poachers: Television fans & participatory culture. Routledge, New York., viewed 26 November 2023.

Jenkins, H. (2006). Convergence culture: where old and new media collide. NYU Press, New York., viewed 26 November 2023.

Jenkins, H. (2006). When fandom goes mainstream. Confessions of an Aca-Fan. , viewed 26 November 2023. <http://henryjenkins.org/blog/2006/11/when_fandom_goes_mainstream.html>

Jenkins, H., Ford, S., Green, J. (2013). Spreadable media: creating value and meaning in a networked culture. NYU Press, New York, viewed 26 November 2023.

Kresnicka, S. (2016). Why understanding fans is the new superpower (guest column). Variety, viewed 26 November 2023. <https://variety.com/2016/tv/columns/understanding-fans-superpower-troika-1201743513/>

Smutradontri, P., Gadavanij, S. (2020). Fandom and identity construction: an analysis of Thai fans’ engagement with Twitter. Humanit Soc Sci Commun 7, 177, viewed 26 November 2023. <https://doi.org/10.1057/s41599-020-00653-1>

[extremeonlinestore]

The Iconic Design of the Ford Mustang: A Style Evolution

When it comes to American muscle cars, few have left an indelible mark on the automotive landscape quite like the Ford Mustang. Since its inception in 1964, this iconic vehicle has been synonymous with power, performance, and a style that is simply unmatched. Over the years, the Mustang has undergone several transformations, evolving both under the hood and in terms of design. In this blog, we'll take a journey through time, exploring the style evolution of the Ford Mustang, focusing on its iconic design elements and the pivotal role of Mustang parts, Mustang parts catalogs, Ford Mustang parts & accessories, and Mustang body parts in shaping its distinctive look.

The Birth of an Icon

In the early 1960s, Ford set out to create a car that would capture the spirit of the American youth. The result was the Ford Mustang, introduced in April 1964. Its design was revolutionary, boasting a long hood, short rear deck, and a sleek profile that exuded power and speed. The first-generation Mustang was an instant hit, captivating the hearts of car enthusiasts and casual drivers alike. Underneath its stylish exterior were carefully crafted Mustang parts, meticulously designed to enhance its performance and durability.

Mustang Parts: The Building Blocks of Style

One of the reasons behind the Mustang's enduring popularity is the availability of high-quality Mustang parts and accessories. Mustang enthusiasts have always had a keen eye for customization, and a plethora of Mustang parts catalogs have made it easier than ever to modify and personalize their rides. From performance-enhancing components to aesthetic upgrades, these parts catalogs have played a pivotal role in shaping the Mustang's style evolution.

The Mustang's Design Language

As the years rolled on, the Mustang went through various design iterations, each building upon the legacy of its predecessor. The second-generation Mustang, introduced in 1974, showcased a more angular design, a departure from the curvy lines of its predecessor. The third generation, which debuted in 1979, embraced a more aerodynamic look, reflecting the design trends of the time.

The 1990s saw the Mustang embracing a modern, yet retro-inspired design. The fourth-generation Mustang, introduced in 1994, featured classic styling cues reminiscent of the original 1960s models. This fusion of vintage charm and contemporary design elements appealed to a wide audience, ensuring the Mustang's continued relevance in the ever-changing automotive landscape.

Ford Mustang Parts & Accessories: Fueling Innovation

The availability of Ford Mustang parts & accessories played a crucial role in this era. Enthusiasts could easily obtain Mustang body parts to restore their vehicles to their former glory or opt for performance-enhancing components to unleash the full potential of their engines. The aftermarket industry flourished, offering a wide array of options for Mustang owners to express their individuality.

Modern Elegance and Performance

In the 21st century, the Mustang underwent a significant transformation. The fifth-generation Mustang, introduced in 2005, embraced a more modern and aggressive design language. Sharp lines, bold curves, and a powerful stance defined this iteration, making it an instant favorite among car enthusiasts. Technological advancements were mirrored in the Mustang parts, with a focus on enhancing both performance and fuel efficiency.

With the sixth and seventh generations, introduced in 2015 and 2020 respectively, the Mustang continued to evolve. The design became more streamlined, with a focus on aerodynamics and efficiency. LED lighting, advanced infotainment systems, and driver-assist technologies became standard features, showcasing the Mustang's ability to blend iconic design with cutting-edge innovation.

Mustang: A Timeless Classic

As we look back at the Mustang's style evolution, it's evident that the careful selection and integration of Mustang parts, as well as the availability of Mustang parts catalogs and Ford Mustang parts & accessories, have played a pivotal role in shaping its iconic design. From its inception in the 1960s to its modern iterations, the Mustang has stood the test of time, captivating generation after generation with its powerful performance and timeless elegance.

In conclusion, the Ford Mustang's journey from a revolutionary concept to a timeless classic is a testament to the importance of innovative design and high-quality parts. As automotive technology continues to advance, one can only imagine what the future holds for this beloved American muscle car. Whatever the next chapter may bring, one thing is certain: the spirit of the Mustang will always be defined by its iconic design and the passion of its enthusiasts.

For further insights, delve into our blog, " The Most Popular Aftermarket Car Parts and Accessories on the Market. " 

[shrishti1994]

Designer Sneaker Market Size, Future Trends, Growth Key Factors, Demand, Share, Application, Scope, and Opportunities Analysis by Outlook 2032

As per newly released data by Future Market Insights (FMI), the Designer Sneaker Market is estimated at USD 182.9 Million in 2022 and is projected to reach USD 289.5 million by 2032, at a CAGR of ~4.9% from 2022 to 2032.     

The term "Sneakerheads" is now gaining popularity in pop culture. Designer Sneaker has made this form of sneaker so popular is all the talk about celebrities, artists, and even regular people having collections of expensive and rare sneakers worth lakhs and more. These designer sneakers stand out from the crowd thanks to their exquisite handmade and elaborate features.

 With its cutting-edge Boost technology, Adidas provides designers with a brand-new tool that may substantially modify a shoe's look, feel, and cushioning capabilities. It will be fascinating to see how footwear designers advance this technology and integrate it into various components of footwear to provide better cushioning and a completely fresh design that appeals to customers who love comfortable sneakers. New products are required when fashion trends grow, creating a business opportunity. Customers eagerly await new products or recent market entrants. Because fashion trends change so quickly, it is predicted that in the coming years there will be a greater demand for creative and fashionable products.

Request for PDF Sample@ https://www.futuremarketinsights.com/reports/sample/rep-gb-16298

A major feature that is becoming ever more popular in the designer sneaker market is technological innovation. To achieve the sustainability targets established by international organisations and governments around the world, businesses in the designer sneaker market are concentrating on creating new, future-proof goods using recycled plastics. . For instance, in 2020, Adidas, a German based designer clothing, designer sneaker, accessory, and sports equipment designer and producer, produced plant-based leather material made from mycelium, a component of a fungus, for use in shoes. Additionally in 2020, the business will have created 15 million pairs of shoes from recovered plastic garbage that was gather from beaches and coastal areas.

 “The need for designer sneaker is rising as they gain popularity in pop culture and collaborations are rapidly increasing so the consumer demands for Designer Sneaker are rising boost the Designer Sneaker Market.” Says an FMI Analyst.

Impact of COVID-19 on the Market

Many industries were temporarily shut down because of the COVID-19 outbreak. Due to the disease's ability to spread through contact and the air, public areas were close. Public gatherings required a permit and there were rules governing public transportation. There are two sides to the footwear industry: a retail company and a manufacturing business. A few companies have seen zero revenue over the past few weeks in this market segment as a result of COVID-19's impact on the both company ends. The effects of COVID-19 will last for a while. Clarks, a British shoe brand, saw a decrease in its sales revenue because of the COVID-19 effect. The company, despite the delays because of the epidemic, does not yet cancel orders. Therefore, this is anticipate that the e-commerce platform used to market the product would expand.

Who is winning?

Leading players operating in the sneaker market are Adidas, Balenciaga, Gucci, Nike, Golden Goose, New Balance, Prada, Valentino, Saint Laurent, Tom Ford, Lanvin, Balmain, Versace, Veja, Billionaire, Emporio Armani, Fred Perry, Hackett London, John Richardo, Michael Kors, Philipp Plein, Polo Ralph Lauren, Ralph Lauren, Ted Baker and others.

Inquire Before Buying Research Report @ https://www.futuremarketinsights.com/ask-question/rep-gb-16298

[steampunkforever]

On The Vibe Shift And Architecture

I’ll attempt to keep this from turning into a multi-part essay on the concept of Form and Art and Public Works under modernity, and while I’m at it I should clarify that I’m less rooted in architectural theory as I am in greater literary and structural (small S) cultural philosophies. Most of this is observation on larger cultural trends. Feel free to contradict this with YOUR cool architecture studies stuff but do know that if you do it in a condescending manner I will drop an anvil on your head.

The past 20 or so years have really been the years of referential style. After 9/11 America as a country looked to the past for structure and familiarity. Just as the 30s had Europe clawing at symbols of Rome for specific reasons we will not mention here, there was a need for strength. For symbols of it. For callbacks to when things were “Ok” that also blended with the eternal nostalgia train of new generations making enough money to buy reproductions of their youth. The late 90s and early 2000s already had y2k fears, 9/11 just made things that much more drastic.

Maybe it’s just me, but the past two decades have been a nonstop nostalgia fest. A whole 20 years of being born in the wrong generation. First the yearning for the white picket 60s in the wake of the war on terror before shifting in a hard pivot to the stongman antics of the 80s as a country in the midst of post-9/11 Obama-failure culture warring longs for a Ronald Reagan to sort things out (This includes the left, they just wanted their iron-fisted iconoclast in the form of Bernie or Hillary). We did get a hollywood republican president but he obviously wasn’t what they wanted. Too volatile.

Now we’re in many ways clear of that, at least for now. The world order is set to rights for the moment, with the international community firmly united against Russia and whatnot. A boring man sits in the white house. They’re making the Ford Bronco again (a last gasp for retro?). It’s feeling very post-watergate in a way.

Partly thanks to @kontextmaschine I’ve been thinking more and more about the Vibe Shift, and a return to permissiveness as the punk thing to do definitely looks to be in the cards. Social Justice is important as ever, but the 2017 pink hat crowd gets irrelevant, they’re uncool. It’s no longer punk rock to be uptight about things. I think part of the vibe shift might be a culture tired of looking backwards in a 20-year retrospective on the last century. A generation that doesn’t remember the 90s now reaches adulthood and is ready to make new things and look at the future with a fresh light. Sure, y2k is back, but with it things ironically feel like we’re ready to look forward again. It feels like normal nostalgia.

My predictions on what 2020s will bring architecturally aren’t really that groundbreaking. “The cutting edge of technology will no doubt influence design” is not a controversial statement, after all. What I will say is that a melding of the natural form and recent AI-driven understandings of structural design will most likely be seen. 3D printing and VR Imaging are all the rage, and a lot of prefab will be undoubtedly influenced by this. I think the 70s-into-y2k ultramodern style nostalgia will meld splendidly with this. LED Lighting allows for crazy light fixtures too.We’re over the grit and realism, and I think some fanciful design is on the horizon for sure.

I foresee advances in futurist sustainability, not only with callbacks to Carter era solar-panels-and-Syd-Mead Design (look at Genesis/Kia/Hyundai’s EV design!) but with a mature look at mitigating carbon output and the environmental impact buildings exact on the environments they’re constructed on, both as singular units and as a whole.

For as much as I loathe them, I think the unattractiveness of suburban culture/commutes paired with the inaccessibility of single family housing (partly due to the whole Airbnb scourge) will drive the design trend toward apartment blocks and more 5-over-1 housing, hopefully with innovations intended to make them less exactingly ugly and shoddy. [Dear reader, do know that they will not stop being ugly and shoddy] This is America-specific, I know, but 

Energy-wise i feel that Nuclear power is one crusading republican away from finally being brought back properly, and if the bleeding hearts on both sides can rub the idpol out of their eyes they’d see that the energy-to-pollution-ratio makes nuclear--a technology that’s only gotten cleaner, safer, and more efficient--the greenest energy we’ve had in a long time. Expect massive twitter fights about this. In any case, I hope to see cooling towers once again dot the skyline. 

I’m interested in how the cottagecore trend towards more agrarian aesthetics will interact with the steel-siding industrial future look that a lot of the 2010s held, and how the split (at least in America) between the Urban young professional and the settled-down homeowner will marry the two aesthetics. The vibe shift gets a little fuzzy here, or at least is made so in my mind by the commodification of aesthetic as identity rather than as consumption.

I’m not architecturally educated enough to do anything more than basic predictions on “I see trends, socially.” [Dear reader, I am talking out of my butt] I’ll try not to add unprompted additional thoughts to this if I can help it. No promises.

[fashioneditswebsite]

“Milan Fashion Week Highlights: 7 Things You Might Have Missed”

Milan Fashion Week highlights a stunning display of Milanese style. The event showcases the latest trends from top fashion designers, and Milan's unique fashion sense shines through in every outfit. From sleek and sophisticated to bold and daring, Milan Fashion Week was filled with design surprises and statements that showcased Milan-based style and beyond. Here are some of the Milan Fashion Week highlights you may have missed from the week… Baguettes at Moschino All eyes were on Moschino's new Argentinian designer, Adrian Appiolaza, during the 2024 autumn/winter show. He made his debut as the new creative director of the fashion house, and during an interview with Vogue's contributor, Luke Leitch said: "My first reaction was: volume. One of Franco's great strengths was his creation of silhouettes. I identified archetypes and obsessions. Franco's fantasy world creates characters, not just clothes. "I've already learned from him that clothing is meant to be played with. The work has irony and joy. I want to translate that into my new chapter. Appiolaza's collection had quirky oversized jumpers, trench coats, denim, and frilled maxi skirts. He chose aviator sunglasses, silk scarves, crocodile leather, yellow smiley tote bags, and unique handbags. These bags resembled baguettes, flowers, and fresh produce, all wrapped in paper grocery bags. The clutch bag debuted in 2020. Bakeries inspire it. It's made of leather. The bag has a baguette design. It's three-dimensional. A Moschino logo is gold-plated.is gold-plated.is gold-plated. Extreme glamour at Tom Ford As the long-term right-hand man to Tom Ford himself, British designer Peter Hawkings unveiled a slinky and sleek autumn/winter collection. There were skin-tight black catsuits, deep-plunge gowns, tailored suits for men and women, embellished and sharp tailored coats, and fur jackets. It was glamorous and inspired by Sharon Stone in Basic Instinct – which had been on Hawkings' mood board "forever." But he was also inspired by "power and seduction – you know, it's an edge of Françoise Hardy and some stature of Helmut Newton's Pola woman," he said during an interview with The Guardian. It's "about the power of a woman… that's exactly what I want to evoke with the Tom Ford man/woman – the power of the glamour". The front row was star-studded, including Hollywood royalty Stone, Uma Thurman, Amber Valletta, Eva Green, Alek Wek, Sam Claflin, Iris Law and Callum Turner. Mob wife trend at Dolce & Gabbana The mature and bold attitude of the 'mob wife' aesthetic found its way onto the Dolce & Gabbana runway on Saturday. The Italian fashion house fixed ultra-sexy underwear with tailored looks, such as a cropped, boxy black tuxedo jacket and a sheer open skirt with a trail worn over lace underwear. British supermodel Naomi Campbell, 53, closed the show wearing a silk grandad hat, net veil, and gloves – without the cropped jacket – which caught the attention of many. The 53-year-old also recently walked for Burberry during London Fashion Week. The Tuxedo collection also included an oversized bird feather coat with tie-belt detailing alongside different interpretations of deconstructed tuxedos. Protest at Fendi A Peta protester disrupted the Fendi autumn/winter 2024 show as they walked onto the catwalk with a sign that read 'Animals are not for clothing' with 'Turn your back on animal skin' written on their back. The American animal rights non-profit organization posted a video of the incident on Instagram with the caption: 'Activists from @petauk stormed the runway once again at the @fendi #MilanoFashionWeek show to remind everyone that animals are KILLED for something as frivolous as a fashion accessory! We don't plan on stopping until all animals are free from the leather & fur industries! #FendiFW24’ The Italian luxury fashion house has relied on fur and leather to create garments since its foundation in 1925. Peta has also targeted other bigger shows during fashion month, including the recent Coach presentation at New York Fashion Week, where a protester held a sign that said: 'COACH: Let Cows Live' as they walked onto the runway. Beautiful bags at Bottega Veneta Bottega Veneta's Matthieu Blazy collection drew inspiration from current events and experimented with new silhouettes and proportions. As models walked down the wood-floored runway, which mirrored a desert landscape filled with cactus-shaped light sculptures, they carried beautiful bags, including a cross-hatch and orange crocodile leather envelope clutch bag, to accessorize the pieces that incorporated broad shoulders, voluminous shapes, and a color palette you would associate with the night. Supermodel Kate Moss was in attendance, alongside Salma Hayek, A$AP Rocky, and Julianne Moore. Diesel brought fashion to the masses. Staying true to his goal of revolutionizing fashion shows since his appointment as creative director in 2020, Glenn Martens invited a few thousand of the general public to watch the Diesel autumn/winter 2024 show virtually. Models walked the runway as Zoom-style videos of viewers were projected onto the walls in the show space. The collection focused on outerwear and showcased the combination of fur and denim in casual and tailored coats. Feben champions diversity on the runway Dolce & Gabbana supports young talents in fashion. Feben, a London-based designer, had her first Milan Fashion Week show. The collection featured textured garments and after-dark-ready dresses. The designer plays with feminine-masculine duality. They have worked with Beyoncé, Erykah Badu, and Michaela Coel. Their collection includes plush and figure-hugging clothes. They have a sophisticated take on outerwear and animal print. The collection pays homage to the eternal joys of readying oneself. It also pays tribute to the adrenaline rush of creating a collection. During an interview with Elle Magazine, Faben said he considered the need for speed with the Speed collection. "I related to the 1990s archive animal prints – for me, that is very Dolce & Gabbana!" Supermodel Ashley Graham was also on the runway in Feben, wearing a v-neck dress with sheer ruched sleeves. By Yolanthe Fawehinmi and Prudence Wade, PA Read the full article

[dailynicholasgalitzine]

If anything is going to get you in the Christmas spirit, it’s English actor Nicholas Galitzine’s latest look. In his newest starring role, the 26-year-old wears a dashing Feng Chen Wang red suit, with any echoes of Old Saint Nick negated by the slick fit and even slicker hairdo.

He wore the tailoring to join an all-star cast including model and British Vogue cover star Adut Akech, The Morning Show actor Bel Powley and designer Michael Halpern in a new tongue-in-cheek film for Mercedes-Benz. The stars appear as contestants in a retro take on a gameshow hosted by Adut, Supermodel Fashion Statement, in the hope of winning a Mercedes G-Class. Nicholas plays a heightened version of himself in the “OTT” production, which was “super fun” to film, he told Miss Vogue over the phone.

“The red suit really just kind of popped along with the other extremely bold outfits we wore as a cast,” he said. “I’m very much an easy person, and I love to work with people who have bold eccentric vision. As a performer, I love to facilitate that in whatever way.” 

Nicholas’s performing career wasn’t part of any grand plan – he says he was more at home on the rugby pitch than the stage while at school. But a trip to the Edinburgh Fringe saw him return to South West London with a flurry of agents eager to have him on their books. “I was always a pretty shy kid. At that point in my life, [being in a play] felt like a big step that I needed to take, but I wasn’t expecting anything to come of it,” he said. “There, this idea was presented to me of potentially becoming an actor, which was kind of crazy. I left school unsure of what I wanted to do in life. It was kind of by fate that it came at this perfect moment, and I haven’t really looked back since. I don’t think anyone who I went to school with would have necessarily have been like, ‘Oh, he’s going to be an actor one day.’ I am just as surprised as anyone else.”

Seven years have since passed, and Nicholas has had roles in Netflix’s Chambers and as a closeted teen in the Irish film Handsome Devil, and played Timmy Andrews in The Craft: Legacy, released earlier this year. But it’s his role as Prince Charming in the forthcoming live action retelling of Cinderella – due for release early in 2021 – that is sure to catapult him fully into the spotlight.

For Prince Charming, Nicholas drew on his own personality and experience to bring a modern, more human element to the role. “I definitely had a sort of rebellious period as a kid and was alway getting into trouble and was very mischievous,” he chuckled down the phone. “Yet I’ve always aspired to be the quintessential gentleman. This version of Prince Charming is very much a fusion of both those things. He’s not your typical clean-cut, linear fairytale prince, there’s definitely an edge to him and there are things about him that make him more human than your typical fairytale prince.”

The release of Cinderella couldn’t be more timely, he hopes. After the last 12 months, a happily ever after might be just what everyone needs. “People will be drawn in by the familiarity of it, but then ultimately surprised by our interpretation of it, which is kind of the best of both worlds,” Nicholas said. “I think you always feel a certain level of nervousness when you’re taking on a character that is so well known and so iconic. I felt very comfortable in the fact that we were making something bold and new, and with the team that was assembled around me, I was just so supported going through the process.”

Fans of the original Disney classic will be pleased to hear that this Cinderella is packed with musical numbers. “I just had such an incredible amount of fun doing it, being in a movie musical is one of the greatest creative gifts you can possibly imagine,” said the actor. “It was definitely intimidating in the beginning, but as soon as we finished I was so sad it was over.” Of his co-star, Camila Cabello, who plays the titular role, Nicholas said: “I can tell you for a fact that I have never felt as untalented as when I had to sing alongside her and the other incredible singers, like Idina Menzel (Cinderella’s evil stepmother), and Billy Porter (who plays a genderless Fairy Godmother). I just feel so blessed to be on these tracks with these incredible singers, and regardless of what happens in life, no one can take that away from me now.”

The Cinderella soundtrack won’t be the only album Nicholas appears on next year. “I’m going to be releasing some of my own music in the new year, which is super exciting because I’ve never really had time to pursue that, as acting has taken precedence,” he said. “My goal is to continue working with passionate, driven, artists who are willing to think out of the box, and to keep challenging myself as an artist and a creative.”

Fashion is something else that Nicholas is keen to get his teeth into. Having donned “Cuban heels and super-tight trousers” to play Prince Charming, he’s been picking up style notes from set. “I think you have to step outside of your aesthetic comfort zone when you’re creating characters, because for me, a lot of characterisation happens in costume building,” he explained. “I’ve been very lucky to play a plethora of different characters, and have had to experiment with a lot of styles that aren’t typically what I wear and have been influenced through that.”

He said he admires the wardrobe of Harry Styles, who famously takes a fluid approach to getting dressed. “Something that I’ve definitely taken on when I think of my style icons – people like Harry Styles and the way he’s managed to bring a femininity to his masculinity – is that that’s definitely the way that we’re moving as men going into 2021.” Nicholas name drops young designers Daniel W. Fletcher and Harris Reed as creatives he would like to work with in the near future, and adds that he’s long admired the work of Kim Jones and yearns to own a Tom Ford Suit.

Though classically handsome, Nicholas admits that he hasn’t always felt accepted by the fashion and film worlds. As a broad-shouldered former rugby player, Nicholas said some fashion brands simply don’t cater to his shape, but added that things are changing. “I still have thick thighs, but the male aesthetic is very much tailored to the Timothée Chalamets and the Charlie Plummers of this world,” he said. “I think that we’re moving back into this space of normalising different body types, for both men and women. I think there has been a beauty standard in fashion and the movie industry, but all the shapes are great shapes as far as I’m concerned. If people don’t want my thick thighs then that’s just that’s their fault.”

BY NAOMI PIKE (16 DECEMBER 2020) BRITISH VOGUE

[madsenatthemovies]

My 2020 Oscar Ballot (for Gambling Purposes Only)

There are some great and terrible films being honored this year, but that doesn’t mean YOU can’t make some $MONEY$

If you like to gamble on 5-hour award shows, here are my picks that may help you on your way to winning.

BEST ANIMATED SHORT

Dcera (Daughter) Hair Love ✅ Kitbull Memorable Sister

BEST DOCUMENTARY SHORT

In the Abscence Learning to Skateboard in a Warzone (If You’re a Girl) ✅ Life Overtakes Me St. Louis Superman Walk Run Cha-Cha

BEST LIVE ACTION SHORT

Brotherhood ✅ Nefta Football Club The Neighbors’ Window Saria A Sister

BEST SOUND EDITING

1917 ✅ Ford v Ferrari <----Potential Upset Joker Once upon a Time... in Hollywood Star Wars: The Rise of Skywalker

BEST SOUND MIXING

1917 ✅ Ad Astra Ford v Ferrari <----Potential Upset Joker Once upon a Time... in Hollywood

BEST MAKEUP & HAIRSTYLING

1917 Bombshell ✅ Joker Judy Maleficent: Mistress of Evil

BEST VISUAL EFFECTS

1917 ✅ Avengers: Endgame <----Potential Upset The Irishman The Lion King Star Wars: The Rise of Skywalker

BEST ORIGINAL SONG

“I Can’t Let You Throw Yourself Away,” Toy Story 4, Randy Newman “(I’m Gonna) Love Me Again,” Rocketman, Elton John & Bernie Taupin ✅ “I’m Standing With You,” Breakthrough, Diane Warren “Into The Unknown,” Frozen II, Kristen Anderson-Lopez and Robert Lopez “Stand Up,” Harriet, Brian Campbell and Cynthia Erivo

BEST ORIGINAL SCORE

1917, Thomas Newman <----Potential Upset Joker, Hildur Guðnadóttir ✅ Little Women, Alexandre Desplat Marriage Story, Randy Newman Star Wars: The Rise of Skywalker, John Williams

BEST COSTUME DESIGN

The Irishman, Sandy Powell and Christopher Peterson Jojo Rabbit, Mayes C. Rubeo Joker, Mark Bridges Little Women, Jacqueline Durran Once Upon a Time... in Hollywood, Arianne Phillips

BEST PRODUCTION DESIGN

1917 <----Potential Upset The Irishman Jojo Rabbit Once Upon a Time... in Hollywood ✅ Parasite

BEST FILM EDITING

Ford v Ferrari, Andrew Buckland and Michael McCusker ✅ The Irishman, Thelma Schoonmaker Jojo Rabbit, Tom Eagles Joker, Jeff Groth Parasite, Yang Jin-mo <----Potential Upset

BEST CINEMATOGRAPHY

1917, Roger Deakins ✅ The Irishman, Rodrigo Prieto Joker, Lawrence Sher The Lighthouse, Jarin Blaschke Once Upon a Time... in Hollywood, Robert Richardson

BEST DOCUMENTARY FEATURE

American Factory ✅ The Cave The Edge of Democracy For Sama <----Potential Upset Honeyland

BEST INTERNATIONAL FEATURE

Boże Ciało (Corpus Christi), Poland Медена земја (Honeyland), Macedonia Les Miséables (The Miserable Ones), France Dolor y gloria (Pain and Glory), Spain 기생충 (Parasite), South Korea ✅

BEST ANIMATED FEATURE

How to Train Your Dragon: The Hidden World I Lost My Body Klaus <----Potential Upset Missing Link Toy Story 4 ✅

BEST ADAPTED SCREENPLAY

The Irishman, Steven Zaillian Jojo Rabbit, Taika Waititi ✅ Joker, Todd Phillips and Scott Silver Little Women, Greta Gerwig <----Potential Upset The Two Popes, Anthony McCarten

BEST ORIGINAL SCREENPLAY

1917, Sam Mendes and Krysty Wilson-Cairns Knives Out, Rian Johnson Marriage Story, Noah Baumbach Once Upon a Time... in Hollywood, Quentin Tarantino <----Potential Upset Parasite,  Bong Joon-ho and Han Jin-won ✅

BEST SUPPORTING ACTRESS

Kathy Bates, Richard Jewell Laura Dern, Marriage Story ✅ Scarlett Johansson, Jojo Rabbit Florence Pugh, Little Women Margot Robbie, Bombshell

BEST SUPPORTING ACTOR

Tom Hanks, A Beautiful Day in the Neighborhood Anthony Hopkins, The Two Popes Al Pacino, The Irishman Joe Pesci, The Irishman Brad Pitt, Once Upon a Time... in Hollywood ✅

BEST LEAD ACTRESS

Cynthia Erivo, Harriett Scarlett Johansson, Marriage Story <----Potential Upset Saoirse Ronan, Little Women Charlize Theron, Bombshell Renee Zellweger, Judy ✅

BEST LEAD ACTOR

Antonio Banderas, Pain and Glory Leonardo DiCaprio, Once Upon a Time...in Hollywood Adam Driver, Marriage Story Joaquin Phoenix, Joker ✅ Jonathan Pryce, The Two Popes

BEST DIRECTOR

1917, Sam Mendes ✅ The Irishman, Martin Scorsese Joker, Todd Phillips Once Upon a Time... in Hollywood, Quentin Tarantino Parasite, Bong Joon Ho <----Potential Upset

BEST PICTURE

1917 ✅ Ford v Ferrari The Irishman Jojo Rabbit Joker Little Women Marriage Story Once Upon a Time... in Hollywood Parasite <----Potential Upset

[asphaltvalhalla]

2020 Mitsubishi Outlander Sport

After 3 days in a nice but troubled Volvo XC60, the nice folks at Avis swapped it out for an “Outlander.” I thought, “Cool. A ‘GT’ might almost be an even trade!“

What they meant though, was an Outlander “Sport.“

In Four Words: It Gets No Respect

Where I saw one: In Rochester, and Kalamazoo, and Ann Arbor, and Pinckney. And Hell, for about 5 minutes.

Nostalgia/Coolness Factor: 1/10

Baseline: 0, because I never actually owned one.. -10 because I had never driven a Mitsubishi anything ever in my life. -5 because I had no idea an Outlander Sport existed, or that it was genetically unrelated to the Outlander regular size. Think Ford EcoSport instead of an Edge. -10 because style-wise, they came from the same aggressively determined not to look like everything else on the road while basically looking like everything else on the road design studio. The face - grill, lights, bumper - says nothing coherent. It makes less sense than Torny Starks goatee. Or this beard thing.

I do apologize. Moving on…

-5 for being cheap and tinny. +10 for being more right-sized than the Volvo. +21 because as bored as I was with this car, I can’t come up with more to say to get to the end number.

[extrabeurre]

Oscars 2020 : Choix et prédictions

La 92e cérémonie des Oscars, sans animateur encore une fois cette année, aura lieu ce dimanche 9 février. Comme le veut la tradition, voici mes choix et mes prédictions dans chacune des catégories principales.

MEILLEUR FILM Ford v Ferrari The Irishman Jojo Rabbit Joker Little Women Marriage Story 1917 Once Upon a Time… in Hollywood Parasite

Choix :  Once Upon a Time… in Hollywood, non seulement mon film préféré de 2019, mais aussi mon film préféré de la décennie. 

Prédiction : Plusieurs candidats sérieux cette année, dont Joker (le film avec le plus de nominations) et Parasite (la Palme d’or, le chouchou des critiques, le lauréat du SAG Award de la meilleure distribution d’ensemble), ainsi que le chef-d’œuvre de Tarantino. Mais parce que les Oscars récompensent rarement les meilleurs films, j’ai l’impression qu’ils ne pourront pas résister au techniquement impressionnant, mais sans plus 1917. Il a déjà le Golden Globe du meilleur drame, le prix de la PGA et tout plein de BAFTAs en poche.

MEILLEURE RÉALISATION

Quentin Tarantino, Once Upon a Time… in Hollywood Martin Scorsese, The Irishman Bong Joon-ho, Parasite Todd Phillips, Joker Sam Mendes, 1917

Choix : Tarantino, bien sûr. Ce cinéaste a littéralement changé ma vie il y a 25 ans, et il signe ici son meilleur film en carrière.

Prédiction : Encore là, l’Academy risque de donner un 2e Oscar comme réalisateur à Sam Mendes (lauréat du prix de la DGA), alors que Tarantino n’en a jamais gagné aucun.

MEILLEUR ACTEUR

Antonio Banderas, Pain and Glory Leonardo DiCaprio, Once Upon a Time… in Hollywood Adam Driver, Marriage Story Joaquin Phoenix, Joker Jonathan Pryce, The Two Popes

Choix et prédiction : Joaquin Phoenix est probablement le meilleur acteur de sa génération, et avec The Master et You Were Never Really Here, sa performance dans Joker forme une troublante trilogie.

MEILLEURE ACTRICE

Cynthia Erivo, Harriet Scarlett Johansson, Marriage Story Saoirse Ronan, Little Women Charlize Theron, Bombshell Renee Zellweger, Judy

Choix : Scarlett Johansson, criante de vérité dans Marriage Story. 

Prédiction : Renee Zellwegger dans Judy. C’est toujours payant d’incarner une personnalité réelle.

MEILLEUR ACTEUR DE SOUTIEN

Tom Hanks, A Beautiful Day in the Neighborhood Anthony Hopkins, The Two Popes Al Pacino, The Irishman Joe Pesci, The Irishman Brad Pitt, Once Upon a Time… in Hollywood

Choix et prédiction : Brad Pitt, Movie Star avec des majuscules, incroyablement charismatique dans le film de Tarantino.

MEILLEURE ACTRICE DE SOUTIEN

Kathy Bates, Richard Jewell Laura Dern, Marriage Story Scarlett Johannson, Jojo Rabbit Florence Pugh, Little Women Margot Robbie, Bombshell

Choix et prédiction : Qui n’adore pas Laura Dern? Et ce sera peut-être la seule façon de récompenser cet excellent film qu’est Marriage Story.

MEILLEUR SCÉNARIO ORIGINAL

Knives Out, Rian Johnson Marriage Story, Noah Baumbach 1917, Sam Mendes and Krysty Wilson-Cairns Once Upon a Time… in Hollywood, Quentin Tarantino Parasite, Bong Joon-ho, Jin Won Han

Choix et prédiction : Vu qu’on dirait que Tarantino va une fois de plus être écarté des catégories Meilleur film et Meilleure réalisation, il devra se contenter d’un 3e Oscar du Meilleur scénario. À moins que Parasite l’emporte, ce qui est quand même très probable.

MEILLEURE ADAPTATION

The Irishman, Steven Zaillian Jojo Rabbit, Taika Waititi Joker, Todd Phillips, Scott Silver Little Women, Greta Gerwig The Two Popes, Anthony McCarten

Choix : Le scénario de The Irishman est magistral, à tous les niveaux. Ce film sera-t-il le grand oublié de la cérémonie?

Prédiction : J’ai l’impression que l’Academy ressentira la pression de remettre au moins un prix à Little Women, et ce sera probablement celui-ci. Mais c’est aussi possible que le ridiculement surestimé Jojo Rabbit gagne ce prix.

MEILLEURE DIRECTION PHOTO

The Irishman, Rodrigo Prieto Joker, Lawrence Sher The Lighthouse, Jarin Blaschke 1917, Roger Deakins Once Upon a Time… in Hollywood, Robert Richardson Choix :  Once Upon a Time… in Hollywood, un plaisir visuel de tous les instants.

Prédiction : 1917 pour le gros flex de Roger Deakins, comme dirait mon ami Yannick. Gagnant du prix de l’ASC.

MEILLEUR MONTAGE

Ford v Ferrari, Michael McCusker, Andrew Buckland The Irishman, Thelma Schoonmaker Jojo Rabbit, Tom Eagles Joker, Jeff Groth Parasite, Jinmo Yang

Choix : The Irishman, car  Thelma Schoonmaker parvient à rendre un film de 3 h 30 toujours captivant, sans longueurs.

Prédiction : Parasite, car il a gagné le prix ACE Eddie.

MEILLEUR MONTAGE SONORE

Ford v Ferrari, Don Sylvester Joker, Alan Robert Murray 1917, Oliver Tarney, Rachel Tate Once Upon a Time… in Hollywood, Wylie Stateman Star Wars: The Rise of SkyWalker, Matthew Wood, David Acord

Choix : Ce ne sont pas des catégories que je connais bien, mais j’ai adoré le son des moteurs dans Ford v Ferrari.

Prédiction : 1917, car j’ai l’impression que ce sera le grand gagnant de la soirée, tour de force technique et tout ça.

MEILLEUR MIX SONORE Ad Astra Ford v Ferrari Joker 1917 Once Upon a Time… in Hollywood Choix : Ford v Ferrari. Prédiction : 1917.

MEILLEURE DIRECTION ARTISTIQUE

The Irishman, Bob Shaw and Regina Graves Jojo Rabbit, Ra Vincent and Nora Sopkova 1917, Dennis Gassner and Lee Sandales Once Upon a Time… in Hollywood, Barbara Ling and Nancy Haigh Parasite, Lee Ha-Jun and Cho Won Woo, Han Ga Ram, and Cho Hee

Choix et prédiction : Je vais y aller pour la reconstitution d’époque, les décors de western, Spahn Ranch dans Once Upon a Time... in Hollywood, mais 1917 pourrait rafler ce prix également. Parasite aussi serait plausible.

MEILLEURE MUSIQUE ORIGINALE

Joker, Hildur Guðnadóttir Little Women, Alexandre Desplat Marriage Story,Randy Newman 1917, Thomas Newman Star Wars: The Rise of Skywalker, John Williams

Choix et prédiction : Joker et le sinistre violoncelle de Hildur Guðnadóttir, qui contribue grandement à l’atmosphère du film.

MEILLEURE CHANSON ORIGINALE

I Can’t Let You Throw Yourself Away,  Toy Story 4 I’m Gonna Love Me Again, Rocketman I’m Standing With You, Breakthrough Into the Unknown, Frozen 2 Stand Up, Harriet

Choix : Je n’ai pas encore vu Frozen 2, mais je suis obsédé par Into the Unknown telle que chantée par Idina Menzel.

Prédiction : Difficile de résister à remettre un prix à Elton John pour I’m Gonna Love Me Again!

MEILLEUR MAQUILLAGE ET MEILLEURE COIFFURE

Bombshell Joker Judy Maleficent: Mistress of Evil 1917

Choix et prédiction : Joker peut-être? Ou est-ce trop facile d’associer ce film au maquillage?

MEILLEURS COSTUMES

The Irishman, Sandy Powell, Christopher Peterson Jojo Rabbit, Mayes C. Rubeo Joker, Mark Bridges Little Women, Jacqueline Durran Once Upon a Time… in Hollywood, Arianne Phillips

Choix et prédiction : Once Upon a Time... in Hollywood, car les films d’époque sont souvent récompensés pour leurs costumes, et le travail de la designer est particulièrement inspiré dans le film de Tarantino.

MEILLEURS EFFETS VISUELS

Avengers Endgame The Irishman 1917 The Lion King Star Wars: The Rise of Skywalker

Choix : Avengers Endgame, un quasi oublié des Oscars. On sous-estime l’exploit qu’est la culmination de l’Infinity Saga, notamment au niveau des effets visuels.

Prédiction : 1917. La prédiction facile pour la majorité des catégories.

MEILLEUR FILM INTERNATIONAL

Corpus Christi, Jan Komasa Honeyland, Tamara Kotevska, Ljubo Stefanov Les Misérables, Ladj Ly Douleur et gloire, Pedro Almodovar Parasite, Bong Joon Ho

Choix et prédiction : Parasite. La catégorie la plus facile à prédire de la soirée, avec raison. Un chef-d’œuvre, tout simplement.

MEILLEUR FILM D’ANIMATION

How to Train Your Dragon: The Hidden World, Dean DeBlois J'ai perdu mon corps, Jeremy Clapin Klaus, Sergio Pablos Missing Link, Chris Butler Toy Story 4,  Josh Cooley

Prédiction :  Je n’en ai vu aucun. Je vais dire Toy Story 4. Comme ça.

MEILLEUR COURT MÉTRAGE D’ANIMATION

Dcera, Daria Kashcheeva Hair Love, Matthew A. Cherry Kitbull, Rosana Sullivan Memorable, Bruno Collet Sister, Siqi Song

Prédiction : Je n’en ai vu aucun. Je vais dire Hair Love. Comme ça. 

MEILLEUR DOCUMENTAIRE

American Factory, Julia Rieichert, Steven Bognar The Cave, Feras Fayyad The Edge of Democracy, Petra Costa For Sama, Waad Al-Kateab, Edward Watts Honeyland, Tamara Kotevska, Ljubo Stefanov

Prédiction : Paraît que For Sama est exceptionnel. 

MEILLEUR COURT MÉTRAGE DOCUMENTAIRE

In the Absence Learning to Skateboard in a Warzone, Carol Dysinger Life Overtakes Me, Kristine Samuelson, John Haptas St. Louis Superman Walk Run Cha-Cha, Laura Nix

Prédiction : Learning to Skateboard in a Warzone. Le titre m’intrigue. 

MEILLEUR COURT MÉTRAGE

Brotherhood, Meryam Joobeur Nefta Football Club, Yves Piat The Neighbors’ Window, Marshall Curry Saria, Bryan Buckley Une soeur, Delphine Girard

Choix : Une soeur, pour la twist ingénieuse, le suspense soutenu, et les excellentes actrices. Le jury dont je faisais partie lui a remis le prix du Meilleur film à SPASM.

Prédiction : Pourquoi pas la coproduction québécoise Brotherhood!