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Salvatore Ferragamo top, $1,090,; Miu Miu skirt, $1,100, briefs and belt, price on request, and shoes, $1,020,; Khiry earrings, $325,; and Catbird anklet, $184,

Hemlines are on the rise for spring, with leg-baring, ’90s-style minis that flare, slit and hug the hips.

Photographs by Alessio Bolzoni

Styled by Ian Bradley

<strong>Celine by Hedi Slimane</strong> jacket, price on request, and dress, similar styles, $1,800, <a href=""></a>; <strong>Panconesi</strong> clip, $280, and earring (sold as pair), $380, <a href=""></a>; <strong>Temple St. Clair</strong> bracelet, $12,000, <a href=""></a>; and <strong>Christian Louboutin</strong> shoes, $1,895, <a href=""></a>.
Celine by Hedi Slimane jacket, price on request, and dress, similar styles, $1,800,; Panconesi clip, $280, and earring (sold as pair), $380,; Temple St. Clair bracelet, $12,000,; and Christian Louboutin shoes, $1,895,
<strong>Givenchy</strong> top (worn underneath), $1,455, and shorts, $3,185, <a href=""></a>; <strong>Eckhaus Latta</strong> top, $475, <a href=""></a>; and <strong>Manolo Blahnik</strong> shoes, $1,095, <a href=""></a>.
Givenchy top (worn underneath), $1,455, and shorts, $3,185,; Eckhaus Latta top, $475,; and Manolo Blahnik shoes, $1,095,

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<strong>Chanel</strong> jacket, $8,900, top, $2,350, skirt, $4,350, and shoes, $1,300, (800) 550-0005; <strong>Stella McCartney</strong> top (worn underneath), $3,500, <a href=""></a>; and <strong>Tiffany & Co.</strong> rings (from left), $4,200 and $1,700, and earring (sold as pair), $6,200, <a href=""></a>.
Chanel jacket, $8,900, top, $2,350, skirt, $4,350, and shoes, $1,300, (800) 550-0005; Stella McCartney top (worn underneath), $3,500,; and Tiffany & Co. rings (from left), $4,200 and $1,700, and earring (sold as pair), $6,200,
<strong>Isabel Marant</strong> jacket, $3,760, <a href=""></a>; <strong>Marco Rambaldi</strong> top, $400, <a href=""></a>; <strong>Versace</strong> skirt, $12,950, <a href=""></a>; and <strong>Christian Louboutin</strong> shoes, $845.
Isabel Marant jacket, $3,760,; Marco Rambaldi top, $400,; Versace skirt, $12,950,; and Christian Louboutin shoes, $845.
<strong>Loewe</strong> sweater, $1,150, skirt, $2,600, and shoes, $1,100, <a href=""></a>; <strong>David Yurman</strong> earrings, $2,200, <a href=""></a>; and <strong>Fade to Black</strong> ring, $1,000, <a href=""></a>.
Loewe sweater, $1,150, skirt, $2,600, and shoes, $1,100,; David Yurman earrings, $2,200,; and Fade to Black ring, $1,000,
<strong>Dries Van Noten</strong> sweater, $1,998, <a href=""></a>; <strong>Tom Ford</strong> top, $1,390, <a href=""></a>; <strong>Burberry</strong> dress, $2,090, <a href=""></a>; <strong>Milamore</strong> ring, $2,200, <a href=""></a>; and <strong>Stuart Weitzman</strong> shoes, $425, <a href=""></a>.
Dries Van Noten sweater, $1,998,; Tom Ford top, $1,390,; Burberry dress, $2,090,; Milamore ring, $2,200,; and Stuart Weitzman shoes, $425,
<strong>Lanvin</strong> cardigan, $1,390, and skirt, $1,390, <a href=""></a>; <strong>De Beers</strong> necklace, $22,700, <a href=""></a>; <strong>Fade to Black</strong> ring, $1,950; and <strong>Tom Ford</strong> shoes, $1,590.
Lanvin cardigan, $1,390, and skirt, $1,390,; De Beers necklace, $22,700,; Fade to Black ring, $1,950; and Tom Ford shoes, $1,590.
<strong>Prada</strong> sweater, $2,480, and skirt, $1,830, <a href=""></a>; and <strong>Roger Vivier</strong> shoes, $1,750, (212) 861-5371.
Prada sweater, $2,480, and skirt, $1,830,; and Roger Vivier shoes, $1,750, (212) 861-5371.
<strong>Bottega Veneta</strong> shirt and skirt, price on request, <a href=""></a>; <strong>Panconesi</strong> earring, $280, and ring, $380; <strong>Temple St. Clair ring</strong> (on right), $1,800; and <strong>Christian Louboutin</strong> shoes, $745.
Bottega Veneta shirt and skirt, price on request,; Panconesi earring, $280, and ring, $380; Temple St. Clair ring (on right), $1,800; and Christian Louboutin shoes, $745.

Models: Jake Junkins at Kollektiv MGMT and Stephanie Quezada at State MGMT. Casting: Studio Bauman. Hair: Adam Szabó at Frank Reps. Makeup: Michaela Bosch at Bryant Artists. Manicure: Leanne Woodley at She Likes Cutie. Production: Counsel. Lighting: Christian Larsen. Photo Assistant: Julia Bahlsen. Digital tech: Carlos Manuel Gasparotto. Stylist’s assistants: Jye Leong, Ava Van Osdol. Tailor: Victoria Yee Howe

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Gigi Hadid, center, walks in the Hugo Boss spring 2022 show in Milan — an ode to baseball, not suiting.Credit...Valerio Mezzanotti for The New York Times

The brand built by selling Wall Street suits is trying to reinvent itself for the post-office age.

By André Wheeler

It was fashion week, and the German brand, once a go-to for urban professionals dreaming of a steady climb to the corner office, cast its jackets and slacks to the side in favor of a baseball-themed spectacle. The model Gigi Hadid opened the show, held to debut Boss’s collaboration with Russell Athletic, the active wear brand, in high-waisted sweatpants and a beanie. There was a brass marching band and cheerleaders. The K-pop star Big Matthew made his modeling debut, and an anthropomorphic popcorn mascot danced.

It was, for anyone familiar with Hugo Boss’s usual slick Wall Street-ready offering, a tad unexpected.

It was also, it turns out, Stage 1 in what the company is calling a major rebrand that reaches fruition this week with new ad campaigns and a new look.

The old blocky logo has been replaced by new, sleeker typography. There is experimentation with repurposed materials. (Coming soon: suits constructed entirely out of recycled water bottles.) There are also ultra-breathable suits, fitting for dinner as much as the office, and elevated athleisure pieces reminiscent of 1990s street wear with a sophisticated twist. Punchy ad campaigns feature the model Hailey Bieber, the rapper Future, K-pop stars and TikTok influencers. Oh, and there will be a Hugo Boss-sponsored TikTok dance challenge, just like the viral 2020 dance renegade.

Yes, Hugo Boss is trying to recast itself as cool. Gen Z cool. Even in an industry where change is a given and brand reinvention is almost an annual occurrence, the attempted turnaround is extreme.

“For the past six to eight years the brand has just gotten a bit … dusty,” said Daniel Grieder, who was named chief executive of Hugo Boss last year. Mr. Grieder, 60, spoke from the company’s headquarters in Metzingen, Germany, over a video call, exuding the can-do air of a Silicon Valley founder — albeit one wearing a suit. He was sitting at a long table, flanked by two colleagues; they occasionally clarified or repeated questions for Mr. Grieder, who is from Switzerland and speaks German.

“I want to, um, how do you say, undust things,” Mr. Grieder said.

Future, one of the new faces of Hugo Boss, in the label’s latest campaign.
Future, one of the new faces of Hugo Boss, in the label’s latest campaign. Credit...via Hugo Boss
Hailey Bieber, another new face of the new Boss, has 40.7 million Instagram followers.
Hailey Bieber, another new face of the new Boss, has 40.7 million Instagram followers. Credit...via Hugo Boss
Anthony Joshua, the British boxer who has 13.4 million Instagram followers, also a new face of Boss.
Anthony Joshua, the British boxer who has 13.4 million Instagram followers, also a new face of Boss. Credit...via Hugo Boss

It’s easy to understand why. The company had a 33 percent decline in sales at the start of Covid, according to the brand’s 2020 annual report, its most recent.

Stock prices for Hugo Boss, have consistently fallen since June 2018, according to public records. “It was a dependable brand,” said Robert Burke, a retail expert who previously worked as a top executive at Bergdorf Goodman. “Men would go there and get two or three suits. And then it became too dependable.”

Suits themselves fell out of favor, victims of a longstanding trend toward casualization that accelerated during the pandemic, with its long stretches of working from home. Behemoths such as Goldman Sachs and the Federal Reserve Bank of New York adjusted or abandoned their formal dress codes. Cult brands such as Jerry Lorenzo’s Fear of God and Aimé Leon Dore, with their refined take on street wear, began to gain not only buzz but also critical market share. (The fashion conglomerate LVMH, owner of more than 70 prestigious brands, recently purchased a minority stake in Aimé.)

“Recency has become the new authenticity,” said Jian Deleon, the men’s fashion and editorial director at Nordstrom. “You can tell a lot of great heritage stories, but for a lot of younger shoppers, it’s more about what’s taking over their feeds. The Instagram Explore page and TikTok For You page are two of today’s biggest influencers.”

Mr. Grieder was hired in 2020 after 23 years as chief executive at Tommy Hilfiger Global, where he was credited with keeping the brand current through early adoptions of shoppable livestreams and Instagram filters. (Although, because of a noncompete agreement with Hilfiger, Mr. Grieder could not officially start his new role until last year.)

Daniel Grieder, the Hugo Boss chief executive and the man behind the rebrand.
Daniel Grieder, the Hugo Boss chief executive and the man behind the rebrand.Credit...Roderick Aichinger for The New York Times

And although some industry watchers have speculated that the Hugo Boss rebrand is designed to make the publicly traded company a more attractive acquisition target, Mr. Grieder denied the suggestion. “If anything,” he said, “we’re looking to buy. Not sell.”

(This is not the first time the company has had to contend with image rehabilitation: Its namesake founder made uniform for the Nazis before and during World War II, for which the company has publicly apologized.)

Mr. Grieder’s new vision for Hugo Boss began with the creation of two distinct lines intended for different audiences. “Hugo” is a new street-wear-leaning option for Gen Z shoppers replete with bucket hats, loose-fit jeans and logo-heavy accessories. “Boss” is a line of minimalist, smart-casual looks aimed at millennials that includes earth-toned hoodies, voluminous overcoats and tailored chinos. Though this goes against the current trend for brand consolidations, as espoused by Burberry and Zegna, Mr. Grieder said the differentiation would help Hugo Boss stand out.

Then he signed up a slate of new brand ambassadors, focusing on internet-famous names, including the TikTok comedian Khaby Lame, 21, who went from factory worker to the second-most followed person on the app (his current follower count: more than 130 million). Others include the model Adut Akech, known for her activism around greater inclusivity in fashion, the South Korean star Lee Min-ho and the musician Saint Jhn, who has collaborated with Beyoncé and Kanye West.

Khaby Lame walks the runway at the Boss spring 2022 show, along with some unusual Boss models.
Khaby Lame walks the runway at the Boss spring 2022 show, along with some unusual Boss models.Credit...Valerio Mezzanotti for The New York Times

Next, Mr. Grieder and the design team (there is no official “designer”) workshopped how to make their suits more appealing to their target shopper. “We want to be the first suit a millennial or Gen Z customer buys,” Mr. Grieder said, before beginning to wax lyrical about “the suit of tomorrow.”

He was wearing a “suit of tomorrow” as he spoke: a slim-fit cobalt number made from lightweight cotton, that, he said, was wrinkle resistant, water-repellent and, in his opinion, comfortable enough to sleep in. Then he performed a quick series of stretches — halfheartedly throwing his arms up — to show off the fabric’s elasticity.

“You could hike a mountain in this,” Mr. Grieder proclaimed, saying sales of suits for the brand recovered last summer, in tandem with scaled-back lockdown measures across the world. “People wanted to get dressed up and go to restaurants.”

(The “suit of tomorrow” will arrive in stores in “late January.”)

There are still some classic Hugo Boss elements amid these new clothes: European tailoring, preppy, billowy button-downs. (Mr. Grieder does not want to alienate the brand’s existing customers, who may find the new look somewhat startling.) But there are some forward-looking elements too. One standout comes from the Boss line, in the form of an oversize long-sleeve button-down-and-shorts set, available in an on-trend burnt orange. And women’s lounge shorts have the voluminous proportions of basketball shorts, flirting with androgyny.

Why is Mr. Grieder so convinced this is the way forward? Because, he said, he had a secret weapon: Gen Zers themselves.

Throughout the overhaul, Hugo Boss hired teenagers to work as consultants and assist on photo shoots. “Gen Zers are a rare commodity,” said Miah Sullivan, who oversees marketing and communications at Hugo Boss and is herself a millennial — though perhaps what is more true is that Gen Zers who want to engage with big brand executives on the subject of suiting are a rare commodity.

“I go to this Gen Z consultant — he has an agency, he’s 17, and a complete boss — and he gives me advice on how to execute, how to augment, how to change,” Ms. Sullivan said.

Sometimes the consultant, whom Ms. Sullivan declined to name, also helped the brand find other consultants.

“It’s actually hard to find Gen Z on LinkedIn,” Ms. Sullivan said. “They’re on TikTok.”

Whether they will also be in Hugo Boss while on TikTok is now the question.

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OMOREDO JULIET, Daniella Malafagha & Cynthia Chijioke Emerges As Comely Queens 2021



It was a very colourful and memorable event at Miss Comely Queen Nigeria 2021 beauty pageant (8th Edition).

The event was flooded by distinguished personalities/ captains of industries who came to witness the competition and crowning of the newly emerged Comely Queens who are Breast cancer Awareness Ambassadors.

According to a statement by the organisers, Queen Juliet Omoredo, the newly crowned Miss Comely Queen Nigeria battled the crown with 30 Beautiful Contestants and now she is expected to give voice to the fight against breast cancer in the country.

Miss Comely Queen Nigeria emerges beauty Queens that champion the fight against Breast Cancer, Comely Queens have been instrumental to wide range of sensitization projects.

Other Main crowns at the competition includes Miss Comely Queen INTERNATIONAL– Queen Daniella Malafagha &

Miss Comely Queen ECOWAS– Queen Chijioke Cynthia

Other ceremonial crowns at the finale includes;

Miss Comely Queen tourism 2021– Queen Jane Etta

Miss Comely Queen Ambassador– Queen Priscilla obiora

Face of Comely Nation — Queen Oseahumen Success

Miss Comely Queen Model– Queen Faridah jafar

Northen Comely Queen — Zalo Anna

Southern Comely Queen– Adeleye Oluwatamilore

Face of Jhelp concept– Khadijat joy

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Lady Gaga as Patrizia Reggiani in “House of Gucci.” Credit...Metro-Goldwyn-Mayer Pictures Inc.

When artistic license collides with reality, which one wins?

By Vanessa Friedman

The fractious Gucci family, whose internecine power struggles famously helped it lose the company Guccio Gucci founded in 1921, has finally found common cause once again.

The reason for the family’s reunification: “House of Gucci,” the 24-carat camp drama framed in pigskin about the murder of the family scion Maurizio Gucci. The film, starring Lady Gaga as Patrizia Reggiani, the spurned wife who commissioned the hit, and Adam Driver as Maurizio, opened in the United States last week, bringing 10 members of the dynasty back together to protest what they believe is a distortion of history, the family name and the brand they made.

The descendants of Aldo Gucci, one of the three sons of Guccio, and the man who turned the Florentine leather brand into a global sensation (and who is played in the film by Al Pacino as a sort of rumpled, prosciutto-spewing American cartoon of a Mafioso) issued a statement, reading: “Although the film claims to tell the ‘true story’ of the family, the narrative is anything but accurate, depicting Aldo Gucci — president of the company for 30 years — and other members of the Gucci family who were the protagonists of well-documented events, as hooligans, ignorant and insensitive to the world around them.”

It went on: “Even more censurable is the baffling reconstruction of events that advocate leniency toward a woman who was definitively convicted as the instigator of Maurizio Gucci’s murder. To see her portrayed as a victim — not only in the film but also in statements by the cast — who is trying to survive in a male-dominated corporate culture, is an injustice and could not be further from the truth.”

Public relations representatives for the film said that neither the producers nor Ridley Scott, the director, could be reached to respond to the family’s statement. Lady Gaga has acknowledged that she did not engage with Ms. Reggiani (who has expressed her displeasure about not being consulted), or even read the book on which the film was based, the better to create her character from her own imagination, she has said.

In response to earlier criticisms from Patrizia Gucci (a daughter of Paolo Gucci, played by Jared Leto as a dolt of a designer in a bad corduroy suit) that the filmmakers were exploiting a family tragedy for Hollywood profit, Mr. Scott said on the BBC “Today” show: “I don’t engage with that. You have to remember that one Gucci was murdered and another went to jail for tax evasion, so you can’t be talking to me about making a profit. As soon as you do that, you become part of the public domain.”

The suggestion being: Once you’re in the public domain, your story is not your own. An assumption presumably exacerbated if your ancestors have deliberately transformed your family name into a brand that they then sold to the world. It’s kind of like saying they swapped the family soul for fame and filthy lucre, so tough luck.

It’s also why the family decided to take the fight public. It may seem like a squabble in a green-and-red horse-bit-tinged teacup, but at a time when the distinction between what is fact and what is fiction has become evermore porous, when the concept of so-called alternative facts has became a part of the general discourse, and when viewers tend to believe whatever they see onscreen (big or little), it has resonance that goes beyond the box office.

Patrizia Reggiani in the 1980s.
Patrizia Reggiani in the 1980s.Credit…Ipa/Shutterstock

Sure, the Guccis are interested in perpetuating the aura of their own taste (even though they no longer have a financial relationship with Gucci the brand, they are deeply attached to the name). But that doesn’t mean their concerns are without merit. As Lady Gaga said in a British Vogue article, “I did my very best to play the truth.” But whose truth?

Not, the Gucci family says, theirs. According to Patricia Gucci, the family began discussing the possibility of a joint statement a month or so ago, after the breathless reaction on social media to early trailers suggested there would be a wholesale embrace of Mr. Scott’s version and after earlier attempts by the family to contact the film’s producers before the movie was even in production were never returned.

On one level, this is not a surprise. For as long as there have been biopics, the people on whose lives they have been based (or the people with a stake in the lives on which they have been based) have often felt shortchanged or otherwise misrepresented by the result.

Michael Oher was not happy with “The Blind Side,” nor Mark Zuckerberg with “The Social Network.” And there’s an entire industry in complaining about what “The Crown” gets wrong. “Based on a true story” is effectively creative code for “some artistic license involved,” which is itself shorthand for sacrificing fact to dramatic imperative and story arc.

Lady Gaga as Patrizia Reggiani and Adam Driver as Maurizio Gucci.
Lady Gaga as Patrizia Reggiani and Adam Driver as Maurizio Gucci.Credit…Metro-Goldwyn-Mayer Pictures Inc.

As it happens, “Gucci” takes the caveats a step further, with the opening disclaimer “inspired by a true story,” a signal that the filmmakers may have taken more liberties than usual. (Another signal: All the characters speak English in various versions of fake Italian accents, a much-derided choice that makes no sense.)

Yet the film is not presented as magical realism, nor even overt satire. It is based on the nonfiction book by Sara Gay Forden, “The House of Gucci: A True Story of Murder, Madness, Glamour, and Greed,” and none of the names have been changed, creating an expectation that what the viewer is seeing is at least a plausible re-creation of a historical truth. There has been much discussion of the attention to period detail when it comes to the wardrobes — so ’70s and ’80s fabulous! Even some from the actual Gucci archive itself!

But a cursory and noncomprehensive list of some of the changes the filmmakers made includes: the erasure of three of Aldo’s four children (who were also in the family business); the deletion of Dawn Mello, a key figure in the Gucci renaissance under Maurizio and his outside partner, Investcorp (and a female power player); the collapsing of various outside lawyers and bankers into the single figure of Domenico De Sole, who has been turned into a Tom Hagen figure à la “The Godfather” who not only does professional dirty work but also personal; and the fast-forwarding of Tom Ford’s breakthrough collection to associate it with Maurizio’s leadership (not true; nor did it involve men or Gucci G-strings — those came years later).

Such reduction can often be excused in the name of art and story streamlining: plot details that matter only to insiders. And the actual Gucci saga, with its competing boardroom power plays, was convoluted at the best of times. At a time of limited attention spans, you can understand why it seemed better left on the cutting room floor.

Except that there is also another element that has also been elided in the film: the reason any of it mattered in the first place.

Maurizio Gucci in the 1980s.
Maurizio Gucci in the 1980s.Credit… Ipa/Shutterstock

For that you have to go back to the myth of elegance, craft and a bit of flash encapsulated by the word “Gucci” that made the products — the shoes and bags and clothes — desirable as markers of both aspiration and achievement. And that was created largely by the exact characters the film turns into caricatures, embracing the showy trappings of success — furs! Ferraris! — to gussy up a rotten core. They may be entertaining to watch (Jared Leto and Lady Gaga may even get Oscar nominations out of it), but as tastemakers they are impossible to believe.

By most accounts, Aldo and even Paolo, not simply Maurizio and Rodolfo, were magnetic figures whose carriage reflected the soignée substance of what they were selling — and, indeed, helped sell it.

In a recent review of the film for Air Mail, Tom Ford, who had a front-row seat to the whole story (though not the precise one depicted in the film), wrote: “In real life, none of it was camp. It was at times absurd, but ultimately it was tragic.” The lack of nuance in the movie made him, he wrote, “deeply sad.” In a phone call, Domenico De Sole said much the same.

In their statement the family said it reserves the right to “protect its name, image, and dignity,” which sounds like yet another Gucci case might be the offing. But Patricia Gucci (who is currently embroiled in a different lawsuit, in which one of her daughters is suing her ex-husband for childhood sexual abuse, and she is named as a co-defendant) said there are no such plans; they are leaving it to the court of public opinion for now.

Will it make a difference? It’s easy to dismiss the complaints as the whining of sore losers who are obsessed with image over all. But it’s exactly that image that formed a totem of identity that is part of the story of how we got to here: how so-called craft became a value unto itself and fashion vaulted from being a bunch of small family-run businesses into a global part of pop culture.

And that in turn is part of what made the movie itself worth making, because that’s why a corporate and family crisis exploded into closets around the world. It’s part of why, since the film’s release, searches for Gucci products have gone into the stratosphere; according to the global fashion marketplace, up 257 percent for Gucci bags alone.

To miss that seems not so much like creating art and more like fake news. And in that case, no one really wins.

Vanessa Friedman is The Times’s fashion director and chief fashion critic. She was previously the fashion editor of the Financial Times.

For news and events coverage, photo features, contributions and adverts contact us via:
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