The announcement came during what was surely one of the summer’s most glamorous parties – thrown by Vogue to celebrate the 40th anniversary of the car.

And if 4x4s aren’t usually heavily associated with fashion, their efforts last night put them very much in the style frame – with in the style frame – with Alice Temperley, Julien Macdonald, Roland Mouret, Matthew Williamson, Rupert Sanderson, Henry Holland, Jade Parfitt, Erin O’Connor, Katie Hillier, Richard Hammond, Jo Wood, Zara Phillips, Alex James and Laura Bailey among the glam crowd of media, celebrity and fashion people enjoying cocktails in the early evening sunshine outside the Kensington Palace Orangery.

“I’m incredibly excited to be collaborating with Range Rover. I like to take on a challenge,” said Beckham – wearing a nude silk crepe dress of her own design – after Range Rover’s new Evoque 4×4 was lowered from a crane amid a cloud of dry ice and a clap of thunder from the speakers.

“This lady knows a lot about fashion and a lot about trends, a lot about luxury products,” Land Rover and design director Gerry McGovern told us. “She’s been running her own fashion business for three years and she’s incredibly successful.”

Check out indieWIRE’s interview with Cholodenko from Anthony Kaufman.
ch venue, especially at its main October Multiplex Cinema venue, with the event’s red and purple imprimatur on every door and signpost and on the wall behind every press conference and gala red carpet.

Lisa Cholodenko Aims for the Mainstream with
“The Kids Are All Right”

Sex, drugs and rock ‘n’ roll—while all three appear to lesser and greater degrees in the work of indie auteur Lisa Cholondenko, what’s always constant is a keen insight into the complexity and fragility of our closest relationships. From her breakout debut “High Art” (1998), a dance of seduction and power between two women, to “Laurel Canyon” (2002), which dissects varying familial and sexual triangles, to this year’s Sundance hit “The Kids Are All Right,” in which lesbian moms struggle to keep their family intact, Cholodenko’s characters express profound multi-dimensional lives with a single gaze. (Said Cholodenko’s longtime producer Jeffrey Levy-Hinte, “She could just as easily—and more easily, to be honest—been a novelist.”)

And yet, Cholodenko’s three films are strikingly different, as she has followed a trajectory of greater accessibility, from high art to popular art. But she’s quick to reject any notion of selling-out. “There’s no compromise,” she said to indieWIRE of “The Kids Are All Right,” which tells the story of two moms (Annette Benning, Julianne Moore), their teenage offspring and the sperm donor (Mark Ruffalo) that briefly turns their lives upside down. “This film is truly a reflection of my sensibility and my sense of humor. If there’s more audience for it because it has a tone and approach that’s more accessible, I’m really happy about it.”

the Moscow International Film Festival runs a tight ship, no doubt about it.

It’s really modeled in the classic European festival tradition, which unlike Asia or the Americas, can lay claim to years leading up to World War II. First commissioned in 1935 by Joseph Stalin as an uneasy rival to the Mussolini-founded Venice Film Festival (the world’s very first film festival), Moscow’s was hastily canceled not long after it was founded, before its rebirth in 1959. It was then staged every other year before finally becoming an annual event only as recently as 1999.

Like Berlin, Moscow’s festival is thoroughly branded at each venue, especially at its main October Multiplex Cinema venue, with the event’s red and purple imprimatur on every door and signpost and on the wall behind every press conference and gala red carpet.

The Opening Night party occupied a chic terrace on the twinkling banks of the Moskva River followed the world premiere of Claude Lelouche’s “Ces Amours-La” (which I arrived too late to see but didn’t seem to have generated too much interest). Tables groaning with savories and deserts, bars hawking vodka mojitos and that comforting, familiar festival fixture Stella Artois beer attracted as wide a spectrum of fashion do’s and don’ts as you’re likely to see in this anything-goes, sometimes ostentatious metropolis – everything from black tie (which I wore because it was on the invitation, thank you very much), to acid-washed, strategically ripped designer jeans.

Joking aside, it’s a rare skill to be able to pull off a trend without being that horribly disposable thing, “trendy.” If a woman goes to Hermès, it’s with the intention of buying something that will stay in her wardrobe for years. This collection faultlessly delivered on exactly that point, covering haute necessities from beautiful daywear (caramel leather dresses, a blue suede “umpire” blazer) to chic-casual looks for early evening (a black chiffon blouse, jacket, and knife-pleat skirt with sheer inserts) and sinuously simple navy or white ankle-skimming dresses cut to knock the competition dead at any number of indoor or outdoor summer events. Quietly, the show also established Hermès’ supremacy in discreet jewelry. Fine strands of silver-link chains, worn as pendants or as belts, were a styling choice so compelling they might even shift the current aesthetic away from gold.

Clever, witty, and perfectly timed, this collection reaffirmed the position of the leather and accessories house of the rue Saint-Honoré in the Parisian top league, exactly where it belongs.