Sister Style: Beyoncé and Solange Knowles Sport the Same Coat

It looks as though Beyonce and Solange Knowles share more than their genetic DNA or their musical talent. Evidently, they also share the same closet.

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Earlier this fashion month, Beyonce took her front row seat at the adidas Originals x Kanye West Yeezy show during New York Fashion Week in bejeweled zipper-front Harbison separates that she topped with a contemporary mosaic color-block overcoat, also by Harbison. She accessorized with round sunnies, a fluffy oversize color-block clutch, and Alaia sandals.

Less than a month later, Solange hit the Paris Fashion Week circuit and stopped by the Vivienne Westwood and Andrew Gn shows in the same coat. But instead of draping it over her shoulder like big sis Beyonce, she kept it closed and styled the look with a box clutch and cool geometric color-block sandals.

Even though their personal styles have been vastly different in the past, this incident just goes to show how similar they truly are. So, is this a classic case of sister-to-sister sixth sense? We think so!

RELATED: How to Get Beyonce’s Hair (You Know You Want It)

New Paris Exhibit on Jeanne Lanvin Illustrates the French Designer’s Exquisite Elegance

Eric Wilson is InStyle’s Fashion News Director. Sit front row at Fashion Week with him by following him on Twitter (@EricWilsonSays) and Instagram.

Jeanne Lanvin was the founder of the oldest surviving fashion house in Paris, with its roots as a millinery shop beginning in 1889, though her place in history has never been acknowledged with quite the fanfare of her early 20th century contemporaries, women with big personalities like Coco Chanel, Elsa Schiaparelli, or Madame Vionnet.

A new exhibition that opened at the Palais Galliera during Paris Fashion Week seeks to rectify that omission in a somewhat unusual way, in that the museum’s general curator, Olivier Saillard, worked in close collaboration with Alber Elbaz, the current artistic director of Lanvin. Contrary to what you might expect, there is not a direct comparison of the historic and contemporary versions of Lanvin, but instead a sincere exploration of only the historic side. In a way, that becomes more interesting, because even most fashion professionals have never had the opportunity to see the marvelous decorations Jeanne Lanvin created herself. At the same time, the exhibition shows clearly the roots of Elbaz’s designs, his use of tulle, frayed edges, and unique placement of embroideries.

Encountering an exquisite black and white ball gown with a slash of red abstract embroidery on one side of the bodice, the thought occurs that it could have been from one of Elbaz’s recent collections, but the year was 1939. A portrait of Odette Alfano by Albert Braïtou-Sala wearing the dress shows just how sensational it must have looked.

RELATED: Lanvin Makes the #PFW Paparazzi Circus Tolerable

“If you were to ask me for the picture of French elegance, I would say Jeanne Lanvin, particularly in the 1930s,” said Saillard at a preview on Friday. “To me, she was the combination of elegance and, this is probably not the right word, but boring.”

By that, he means that Lanvin, to the best of our knowledge, was never one to make a spectacle of herself, nor did her designs broadcast ostentation. She was most widely known for the elegance of her embroideries and in fact was running three embroidery workshops by the mid 1920s. Many of her designs incorporated floral or animal motifs rendered in crystal embellishments. There is a gorgeous black dress with a big silver bow depicted in Swarovski crystals, for example, and another from 1928 with a bird in flight along the bodice, one of its wings extending all the way up the strap of the dress.

PHOTOS: Runway Looks We Love: Lanvin

Eric Wilson’s Front Row Diary: Lanvin Makes the #PFW Paparazzi Circus Tolerable

Eric Wilson is InStyle’s Fashion News Director. Sit front row at Fashion Week with him by following him on Twitter (@EricWilsonSays) and Instagram.

Oh, the indignities we suffer in the pursuit of fashion.

Pardon me. I just need to vent a little bit. Late Wednesday night, right before H&M took us to the moon with a set from space and a collection that included no less than French style authority Caroline de Maigret, author of the recent hit book How to Be a Parisian Wherever You Are, dressed in a silver jumpsuit while walking around tinfoil UFOs (below, right), your faithful correspondent was pushed aside rather rudely so the paparazzi could get a better picture of Solange Knowles. Ugh.

There is never a shortage of reminders of your place on planet fashion, though lately I suspect we are more likely hurtling toward the abyss of Krypton, what with all of the inanity going on at these shows. Push, shove, argue, bicker, grumble, sit, and stew over the latest p.r. salvo in a bid to treat people as inhumanely as cattle. I’ve heard this three times already this week: “You are seated appropriately amongst your peers.”

Have you met these people?

I’m with de Maigret. Let’s all act Parisian and just enjoy the parade of clothes, while simultaneously acting above it all. At H&M, for the retailer’s Studio collection, the Swedish designers of fast-fashion fantasies were caught in the 1960s and ’70s revival that has been sweeping the runways, with flared pants and overall jumpsuits shown in shades of avocado, somehow sweetly optimistic about life and the future.

RELATED: All the Stars in the Front Row During Fashion Week

Thursday was a brand new day, and I decided to get up on the right side of the bed for Roland Mouret, who’s skewing much younger this season with his kicky 1960s skirts, and also for Carven (below, left), which has a young-and-cute new look thanks to its recently appointed creative directors Alexis Martial and Adrien Caillaudaud. Don’t ask me how to pronounce that. Just think of them as I do—clever, promising, pretty young guys who have a good sense of what’s fun about fashion—sharp, short skirts, mini dresses and a blue sweatshirt covered in crystal blue beads.

Alas, my goodwill had completely worn off by the time of the afternoon Balmain show, where even Solange was getting fed up with all the pushy photographers. “Can I talk to you?” she asked the person sitting behind her—me!—just to avoid the phalanx of microphones being thrust in her face. I don’t blame her. It was me, or Jared Leto with his white hair and no eyebrows. We had a nice chat before she gave up and hid backstage, at least until Kanye West and Kim Kardashian showed up (Kardashian also with white hair), to suck away the attention of the flashbulbs. Balmain this season was about flashy, glittering fringe, by the way (below, right), the kind of clothes that promise to instantly turn you into a Kim or a Solange. Be warned or be thrilled.

RELATED: A Fancy Pants Ending to Milan Fashion Week

Moving on, affixed to the invitation to the Rick Owens show was a long strip of furry brown hair, which proceeded to affix itself to the breath mints in my pocket. Ugh. The Owens collection this season included several models whose faces had been varnished with gold, silver, or green patina foil, which called to mind the characters of Wicked, which I’m sure was not at all what the designer had in mind. His clothes were the sort of heavily draped, exotically embroidered, caftan-cum-obi-robes that only frail people and Dan Brown villains can carry off successfully, though surprisingly enough, this was actually one of his more accessible collections. At least I picked out a few items for possible personal orders, particularly an off-white coat with gold ribbon streamers woven into the panels (above, left). We can all be street style stars yet.

Thank goodness for Alber Elbaz at Lanvin (pictured, top). I’d hate to go to bed after a temper tantrum, and even though Solange, Kim, Kanye, Kris, and Jared, once again, held up the start of show with their drawn-out arrivals, the intensity and brazenness of this collection left me elated. First drumbeats, like the kind from Whiplash, heralded a thrilling performance of hyper-decorated gowns, coats, and even beaded baseball caps. Then came the a capella voice of Diana Ross singing the lyrics of “I Hear a Symphony.” I’m lost in a world…made for you and me…

While I was particularly taken with the simplest of dresses, a rusty brown sleeveless gown that had been belted and banded with leather that wrapped its way up to the shoulder, like a naughty harness or holster, it was the exotic, gilded textiles and passementerie on peasant blouses, jackets, and dresses toward the end of the show, evoking the landscapes and military attire of northern Africa, that made you want to stand up, see more, and even be happy for a moment that you’re stuck here for the week on planet fashion.

RELATED: Eric Wilson’s Front Row Diary: Dries Van Noten Was In Top Form at #PFW

The Only Hair Tool You Need to Get Kerry Washington’s Effortless Waves


March 3, 2015 @ 6:00 pm

Kerry Washington is known for her chic style choices both onscreen and off (did you see her in Miu Miu at the Oscars?). But lately we’ve been obsessing over the versatility of her shoulder-length haircut that can do it all—straight, slicked back, or our favorite, tousled bedhead.

For our March cover shoot, hairstylist Mark Townsend used R Session Pro Tools Nalu Waver ($ 130; rsessionprotools.com for stores) to create the perfectly imperfect style. “We wanted her hair to have movement, so I used a double-barreled iron to form waves,” says Townsend, who first prepped the star’s hair with a smoothing serum.

RELATED: The First Time Kerry Washington Found “Red Carpet Kerry”

Though the tool might look daunting (we recommend using the heat resistant glove that comes with it), it’s surprisingly easy once you get the hang of it. First hold the curling rod perpendicular to hair and wrap large sections, starting about two inches from the root, around each barrel in an S pattern. Then turn your wrist slightly, so that the two barrels go from being on top of each other to side by side. Keep ends loose and run your fingers through your stands for a relaxed finish. The result? #Iwokeuplikethis perfection.

For more from Washington, pick up InStyle’s March issue, available on newsstands and for digital download now.

PHOTOS: Kerry Washington’s Best Beauty Moments Through the Years

Eric Wilson’s Front Row Diary: Dolce & Gabbana Design a Love Letter to Mom

Eric Wilson is InStyle’s Fashion News Director. Sit front row at Fashion Week with him by following him on Twitter (@EricWilsonSays) and Instagram.

The invitations to Dolce & Gabbana’s fall runway show today featured the kind of children’s drawings you might find taped to refrigerator doors across the world. A child handing a rose to his mother, saying she is the most beautiful thing in his world. What could be sweeter?

Sometimes a fashion show isn’t about fashion at all, and the theme of this one was “the mother,” which, as anyone who has ever dated an Italian will tell you, is sacrosanct. I mean, Mamma mia! While moms are an unusual choice of muse for designers like Domenico Dolce and Stefano Gabbana, it turned out they had quite a lot to say on the subject in what turned out to be the feel-good moment of Milan Fashion Week. The curtains parted to reveal a tableau vivant of models and children – babies and toddlers, some still in diapers, others old enough to know how to stand still and look adorable. Some of the babies even clapped along! Not one of them was a crybaby, either.

RELATED: Our Fashion TV Guide to the Fall Collections Thus Far

Next came the runway models, carrying little babies in their arms, and one model, Bianca Balti, was pregnant, which means that Dolce & Gabbana managed to combine fashion for women, moms, babies, children – and maternity – on a single runway. They even created gowns printed or embroidered with drawings by the designers’ nieces and nephews, which were surprisingly delightful and also unexpectedly symbolic, a heartfelt expression of acknowledging their roots, or, as the designers said in a release, “allowing fashion to be seen as an extension of where one comes from.”

Even if you have mommy issues, it would have been impossible not to find something charming about this collection, which included quite a number of gilded suits and lacy black dresses, some with red roses appliqued along the hems and trims. One perfect cape, in particular, was beautifully crafted with a three-dimensional embroidered rose on the shoulder, perhaps less saintly than suitable for Mommie Dearest.

RELATED: Runway Looks We Love: Moschino

Moving on from mom, Milan has had its shares of highs and lows this week, but none as high as another M, as in Marni. Consuelo Castiglioni, its designer, stripped down her silhouette to bare lines, and in many cases highlighted the waist to a greater degree than is her norm. The results were super-intriguing, like a long brown jedi-like tunic worn over loose wide trousers that were slit in the back to reveal a flash of leg with each lengthy stride (pictured, below left). Coats were shown with long fur sleeves in contrast colors, and a brick red dress was cinched with a wide belt worn high above the waist, a look both abstract and clean, without veering too far into the territory minimalism.

Speaking of, what ever happened to minimalism? What’s so wrong with distinct lines and a spare palette, or a perfect navy wrap coat over trousers in the same fabric (pictured, above second left)? Or a simple-skin-tight turtleneck worn under a loose jacket or sweater? Rodolfo Paglialunga, the new designer at Jil Sander, has given us reason to reconsider the value of a clean start. His terrific remake of the troubled house is gaining momentum, and fast.

MSGM designer Massimo Giorgetti loves turtlenecks, too, and evidently minimalism also (pictured, above right). He showed something that could be described as a turtleneck dickey – that is, just the turtleneck part, attached to no sweater, and worn with a colorful coat. Not for everyone, I’ll admit, but I’m interested.

If you’ve been following the gossip, you’ll also know that Peter Dundas, currently the designer of Emilio Pucci, is rumored to be heading to Roberto Cavalli very, very soon. You might say it’s in the stars. For what it’s worth, Dundas must have been spending quite a lot of time with his astrologist, his fortune teller, and his tea-leaf reader this season, given that he showed some dashing gowns that were printed with constellations (pictured, above second right). Anyone feel like making predictions?

PHOTOS: Runway Looks We Love From Milan Fashion Week