Christina Aguilera certainly grabbed the crowds' attention during a performance in Las Vegas on Thursday for Virgin Hotel's grand opening.
The singer looked gorgeous in a skin-tight black latex top and matching headscarf as she belted out some of her biggest hits for the lucky fans in attendance.
MORE: Christina Aguilera plunges into pool in backless swimsuit – and she looks incredible
Keeping her top the focus of attention, Christina added a trio of black studded belts around her waist and a pair of black jeans.
For a pop of colour, the Beautiful songstress had electric blue winged eyeliner over her lids while the rest of her makeup was kept simple.
Christina displayed a much more relaxed style ahead of her rousing performance, teasing her arrival in Sin City with a trio of snaps from inside an elevator.
Wearing a pair of comfy blue tracksuit pants and a light blue, long-sleeved T-shirt, the 40-year-old still looked effortlessly cool as she posed with a coffee cup in hand and hid her eyes behind a pair of sunglasses.
"It's about time for my arrival, see you tonight, vegas @virginhotelslv," she wrote alongside the post, referencing a lyric from her hit song Dirrty.
Christina's appearance comes after she caused a stir in sizzling photos – including one of her topless – for a number of Polaroid snaps to highlight her new Pride clothing collection , which she announced in May.
Lottie Moss turns heads in a white buttoned up minidress and cowboy boots | Daily Mail Online
The model, 23, stepped out in a buttoned up mini and cream cowboy boots while rocking her pink hair in two plaits following the festivities.
She added a cream snakeskin bag and she carried another red carrier bag. She also accessorised by laying gold chains and she wore a statement ring.
The model's pink locks were styled in cute pigtails and her neutral make-up enhanced her naturally flawless features.
She's the risque lingerie queen, but today Lottie Moss has opted for a more reserved look - and doesn't she look stunning?
It features a button down design with ruche detailing in the centre for a flattering shape. It has a classic shirt style collar and short cap sleeves for a casual vibe.
On Tuesday, she left almost nothing to the imagination as she shared a series of topless snaps on her social media.
The model showcased her toned physique as she covered her chest with her hand while posing for a mirror selfie.
Displaying her toned midriff, Lottie let her freshly washed locks fall loose down her shoulders as she pouted at the camera. The beauty went makeup free in the snaps where she sported a silver cross necklace.
Gemma Collins cartwheels in skin-tight leggings as she shows off new fitness skills - OK! Magazine
Gemma donned a loose black long-sleeved hoodie which she paired with a skin-tight pair of black leggings.
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She accessorised the look with some black trainers to tie into the all-black monochrome look and let her long blonde locks down for the weekend which she styled in her natural loose waves.
The GC wore a full face of glamorous makeup which highlighted her chiselled cheekbones as she batted her long eyelash extensions in her finishing pose.
In the caption, she showed her 2.2 million followers: "The dance you do when it's the weekend," followed by a hand clapping emoji.
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Gemma has recently been posting videos of her gruelling workouts on social media, sharing clips of herself in workout gear and planking with weights.
After enjoying her new exercise regime so much, Gemma has made plans to create her own fitness empire.
"She is so passionate about fitness and is raving about how much it has helped her, not only physically but mentally."
Imogen Thomas showcases her flawless figure in a tight black vest and matching leggings | Daily
And Imogen Thomas, 38, proved she still has all the makings of a beauty queen as she was spotted leaving Sexy Fish restaurant in London on Friday.
The reality star was dressed all in black for her meal out with friends, as she made the most of her lithe legs and tiny waist in the skin-tight ensemble.
Imogen's outfit was perfect for showing off her stunning figure thanks to its clinging nature, with all aspects drawing the eye to her curves.
She wore a black vest top with a plunging neckline to display her surgically-enhanced bust and tiny waist.
The television personality wore a pair of blue, yellow and pink high heels to add a splash of colour to her get-up.
Imogen, who now describes herself as an 'investor and content creator', is a mother to daughters Ariana and Siera who she shares with partner Adam Horsley.
Instagram influencer Imogen paid tribute to her late friend Nikki Grahame last month, saying she 'made her laugh even til the end' and that 'not a day goes by that she doesn't think about her' in a new post.
How 'In the Heights' Costumes 'Pulled From the Sidewalks'
Romance, ambition, and a thriving immigrant community are intrinsic to this story that includes aspiring fashion designer Vanessa (Melissa Barrera) contemplating a downtown relocation, returning college student Nina (Leslie Grace) who longs to be in the warm embrace of the familiar, and the glue who holds them together, Abuela Claudia (Olga Merediz). The neighborhood might be changing, but at its heart, In the Heights is an exuberant expression of dreaming big and honoring your roots. "You get to go to work every day and be a part of something that feels much, much bigger than your part of it," Travers says about the experience and the challenges of envisioning and executing something of this size.
"I have a memory of talking to you, when we were shooting at a dry cleaner — I think it got cut from the movie — but I was pacing back and forth and there was horrible traffic noise," Travers adds, referencing the last time we spoke (he was discussing the Emma Thompson comedy Late Night ; his other credits include Eighth Grade , Hustlers , and Jennifer Lopez's forthcoming Shotgun Wedding ). Just shy of two years to this date in May, Travers joined Vulture on Zoom to chat about a movie he says "was definitely designed to be big and loud and seen with a bunch of people you don't know" and he hopes audiences will see it at the movie theater " when they feel ready." Luckily, it's coming out under very different circumstances and with a new administration than its original release date, which shifts the perspective. "We had this whole year where we were denied friends and family for our own health," Travers notes. "And so ultimately, the message about being together and community end up hitting like a ton of bricks." Here he talks about sartorial inspiration from Washington Heights, adapting a Broadway hit, and how costumes capture the feel-good mood.
Working on an adaptation of a mammoth Broadway show is a daunting prospect and one that would result in 135 principal costumes with a whopping additional 2200 for the background actors. Travers was not only aware of how beloved this musical is, but also counted himself as a fan of the show and its costume designer, Paul Tazewell (who also designed Hamilton ). "I wanted the costumes of the film to have a little bit of reverence for the original Broadway aesthetic, but I also wanted to pull it into our current climate," says Travers about visualizing the material through a contemporary 2019 lens. So while the songs "still have such an enormous impact and are an incredible commentary on the Latinx experience today," clothing trends have changed over the last decade. Rather than worry about delivering timeless looks, Travers would rather "tell the story of what it was like to be us," and if a stage production was made today "it would be different than when I was doing it two years ago."
"Talk about pressure, you're gonna fit Lin for his musical," Travers says about working alongside Miranda — whom he describes as giving him "the freedom to make it something else and something new." The designer spoke of Miranda's excitement during the fitting-room process, whose Piragua Guy costume is infused with references to Miranda's grandfather. "The way he wears his socks is from his grandfather," Travers recalls. "He was sending pictures to his wife, like, 'I'm so sorry this is who I might end up becoming — this could be a haunting visual from my future.'" Travers has previously worked with Chu and the pair had an established method to visually record their conversations. The designer covers walls with images and the director puts a Post-it on anything he lingers on or responds to. "When Jon leaves, I get to look back at the wall and trace what captured his attention or what made him dream a little bit," explains Travers.
"As I was designing and coming up with a color palette, and the visual language of the film, I was listening to the music," says Travers. "And in the music, I found this really fun clash between the staccato — that rhythm of the spoken word — mixed in with these beautiful, more classic forms of music." Mashing up two extremes and breaking costume design rules was in direct reference to how Miranda challenged musical theater norms: "What if there's a scene in which there's too much pattern? What if there's a scene in which you put a floral with a stripe and a camo?" This helped it "look like it might sound."
In some cases, Usnavi and Vanessa both wear a baseball jersey in the same scene, "to bring characters together and break those traditional costume design rules." Another example is the same shade of green worn by Nina and Usnavi when they run into each other upon her return. "A costume design 101 is you shouldn't do that. And I'm like, well, we're going to. She's coming back to the neighborhood, Usnavi (for us) represents the neighborhood."
While it is set in a real place, the musical framework is "a world that isn't quite reality, it's heightened. People are singing and dancing en mass." Finding the balance between the two was important, "I needed it to have some sort of relevance for a streetwear perspective so that it did feel current and it did feel exciting," says Travers. "It did feel like these people that I was seeing on the sidewalks." Starting his research in the neighborhood he resided in for seven years, Travers didn't have to approach the landscape as an outsider. While he had recently moved to Brooklyn, he ventured up to Washington Heights to capture the significant changes throughout the day. "I would find little details I thought were inspirational. There are direct little rips I pulled right from the sidewalks that I felt had a place in our film," says Travers. "There's a lot of repetition in the visual language of the movie. It came from seeing things in the streets. I kept seeing the words NEW YORK everywhere ," he recalls, and Usnavi's "Nueva York" T-shirt is one prominent example of how he deployed this trend.
For a film called In the Heights, this meant encouraging his team to only shop in the heights. "I would be shocked if someone on my team didn't hit every boutique store, thrift store — everything you can imagine. We tried to do our best to keep it local," says Travers. The designer approves every costume that goes on camera and is "big on dressing for the face." Expanding on this, he explains, "We might have a costume that fits, but would this person really wear this? No." This "full and complete expression" goes beyond the "Hollywood specific version" of Latina women in the bustling salon and ensures a full spectrum from skin-tight bodycon dresses to basketball shorts paired with a sports bra.
Meanwhile, Carla has "much more of an Instagram sensibility" with a Nikita Dragun influence. The streetwear-inspired sneakers, bike shorts, and crop top athletic spirit go further than "dress for likes" on social media, "there is heart in it." Rounding out the trio is Cuca who wears a "head-to-toe [look] Monday through Sunday." Describing this character as "unbelievably fun to dress," he explains that if she is wearing a printed dress then her fanny pack, socks, and scrunchie will match. Travers' favorite salon squad costume moment was creating a weekend nightclub look that resulted in a strong unifying motif: "Three women in jumpsuits — no dresses — just jumpsuits going out. I had such fun as a costume designer getting to express a similar idea through three very different sets of eyes."
Three in Houston: Nicole Awai, Robert Ruello, and Jamey Hart — Sightlines
At Barbara Davis Gallery, Awai's layered media combine with complex historical and personal references to invite repeated exploration
Since the world shuttered, I've had the luxury of working from home alone but leaving the house recently and merging onto Hwy. 71 felt exhilarating. With stars in my eyes, I headed to Houston to see what a few artists have been up to for the past year.
Three of the pieces on view — "Invincible" (2019), "All the White Stuff" (2019), and "Specimen from Local Ephemera: Go Go Green Compression with Black Ooze" (2008) — include what Awai refers to as a "sensation code": along the edge of the paper is a column of blocks of colors that lists the names and brands of each nail polish hue with which Awai painted. They have a double effect; relative to Awai's fantastic imagery, the words feel absurd — e.g., "Skin Tight Denim," "Phallic," and "Drama Queen." On the other hand, the names speak to the grotesque and calculated language of marketing campaigns, which reinforce cultural narratives about color relationships. "White Whip," from "All the White Stuff," was a particularly disturbing example and speaks to the ways in which such endemic perceptions of color manifest in material culture.
One aspect of the show that struck me was how different her work looks in reproduction. Photographs don't do it justice; they flatten and mute the spectacular puzzle Awai presents.
Ruello draws his source material from his computer desktop and works off of digital collages of screenshots he converted into bit maps. While the digital process pixelates the image, the chemical reaction between the Flashe ground and acrylic figures further distorts the imagery producing an effect analogous to a wax-resist dyeing process. In some passages, the forms appear broken; in others, they look stretched or warped across the canvas as they gradually change from recognizable symbols into amorphous shapes. This sense of change, like the waxing phases of the moon, came through most clearly in "Artifact #1" (2020), "Artifact: Troy and 3D Modeling" (2021), "Artifact: Capitol Hill Storm" (2021).
2021 CMT Music Awards: The Best Dressed Stars of the Night
Can't wait to see these two take the #CMTAwards stage tonight 💛 @MsGladysKnight @MickeyGuyton pic.twitter.com/xWNmXZFPHx
Neon yellow is always a fantastic red carpet statement, and Mickey Guyton did it right and did it big. In this unmistakable floor-length, asymmetrical gown, there was no overlooking Guyton's presence at the awards show. This was her year. Though she didn't win for either of her two nominations, Guyton brought the house down performing twice alongside BRELAND and once with the legend Gladys Knight.
the queen of all queens with her 23 #CMTMusicAwards which still makes her the most awarded artist in cmt history! well deserved, as always, congrats @carrieunderwood !! 💛 pic.twitter.com/jfChWvw85X
At this point, Carrie Underwood can wear just about anything to an awards show. She's a fierce competitor on the red carpet -- and throughout the entire awards circuit. This year, she won for CMT Award for Video of the Year (along with collaborator John Legend) and, frankly, her simple yellow minidress got the job done. Like Mickey Guyton, Underwood went for the trendy shade guaranteed to make a girl stand out. And styled with shiny stilettos and youthful blonde beach waves, that's exactly what she did.
Goddess of the hour from the CMT awards tonight: Carly Pearce and those deadly legs!🔥🔥🔥 pic.twitter.com/seGaMbcsV7
Carly Pearce looked, simply put, freaking adorable in this floral three-piece set by Ines Di Santo. The on-trend look was relatable, balancing skin and sweetness in equal measure, but heightened dramatically -- no pun intended -- with tall, pointy pumps from Casadei. Oh, and accessorizing with a dog? Genius move.
Kimberly Schlapman Wore Greta Constantine & Karen Fairchild Wore Magda Butrym To The 2021 #CMTAwards https://t.co/Q6luO1Ejq6 pic.twitter.com/vu2Xv37ea9
Though their looks were tonally different, together, these Little Big Town bandmates stunned at the CMT Music Awards. Kimberly Schlapman looked elegant in a two-toned gown by Greta Constantine. Karen Fairchild, meanwhile. makes this list for her boots alone! The hot pink piece of red carpet fashion reminds us what country style can look like in 2021.
My kuntry kween these pants are everything and the jewelry I could never wow I love you @laineywilson pic.twitter.com/XfIkyoL8Ks
America's Sweethearts: Lucy and Desi's Made-for-TV Romance | Vanity Fair
In June 1940, 23-year-old bandleader Desi Arnaz, a blue-blooded Cuban refugee who had taken the club scene by storm, was lunching in the commissary of RKO Studios with director George Abbott when a rumpled woman came up to chat. "She looked like a two-dollar whore who had been badly beaten by her pimp," Arnaz recalled, per Harris. "She had a black eye, her hair was hanging down in her face, and her skin-tight dress was coming apart at the seams."
Once she left, Abbott told Arnaz that the woman was Lucille Ball, who was slated to play an innocent college girl in Arnaz's debut film, Too Many Girls . "I think you've blown your top," Arnaz replied, per Harris. "There's no way they can change that tough broad back into anything resembling an ingenue."
Ball would prove him wrong. Six years older than Arnaz, Ball had been a reliable B-movie glamour girl in Hollywood since 1933. Her disheveled appearance in the commissary was the result of a cat fight with Maureen O'Hara for the film Dance, Girl, Dance . That afternoon, she cleaned up and went to a soundstage where Arnaz and other Too Many Girls cast members were rehearsing. This time, Arnaz was enthralled with the woman before him. Harris writes:
He…asked Lucille if she knew how to rumba. "No, but I bet that you do," she replied, amused. Desi did a quick demonstration…Fascinated, Lucille leaned against the side of the piano and asked for a repeat performance. This time Desi finished with a flourish, landing face-to-face with Lucille. Putting one arm on each side of her, he pinned her against the piano. "You're going to have to rumba in this picture," Desi said. "I can teach you quickly, but only on condition that you go out with me tonight."
The tempestuous newlyweds moved to a ranch in Chatsworth, which they named Desilu. But they were rarely together, with Arnaz on the road and Ball under contract at MGM, where her vibrant coloring earned her the nickname "Technicolor Tessie."
Rumors of Arnaz's womanizing, which allegedly included carousing with Mickey Rooney during a government sponsored Goodwill tour, quickly got back to Ball. According to her friend Ann Miller, in retaliation Ball had a short affair with an up-and-coming Robert Mitchum. Their cross-country battles led to epic long-distance screaming matches, which nosy switchboard operators often listened to as entertainment. Harris writes:
One night, the fighting was so vicious that Lucy, who usually called Desi back within minutes, gave up in disgust and went to bed. The hotel operator on duty at the time was so accustomed to the frequency of the couple's calls that the silence alarmed her and she took it upon herself to phone Lucy. "Why haven't you called Desi back?" the operator asked. "He's in his room feeling miserable…Why don't you call him back and make it up with him? He's just a baby." Lucy broke up laughing and couldn't get back to Desi fast enough to tell him what the operator said.
But by 1944, Ball could no longer deal with Arnaz's constant infidelity, and she filed for divorce. The night before she was scheduled to appear in court, Arnaz invited her to dinner at Mocambo, which turned into a night of passion. The next day, "Lucy got up and started to get dressed," Arnaz recalled, per Harris. "I asked her where she was going and she said, 'I'm divorcing you this morning.' I thought she was crazy to be going through with it now, but she had her mind made up. She'd bought a new suit …and she didn't want to disappoint all the reporters who would be down there at the courthouse."
Right after the judge granted Ball a divorce, she went right back to Arnaz's bed—thus by California law making the divorce null and void.
Drake looks fresh as he attends event in Hollywood with a mystery woman - California News Times
Published: 06:42 EDT, June 11, 2021 | Has been updated: 06:48 EDT, June 11, 2021
He is the beloved father of his three-year-old son Adonis, who shares with former fringe Sophie Bruceau.
And on thursday Drake The 34-year-old looked fresh in a denim jacket and cream-colored trousers, making it unobtrusive when he seemed to arrive at the event solo, but after a while a mysterious woman followed.
Drake wore a plain white T-shirt under a light wash jacket and accessories with a colorful beaded necklace.
Hold-on, We Going Home hitmakers spent the night combining laid-back trousers with BoxFresh trainers.
His mysterious date showed off her enviable physique with a bold cutout body and skin-tight trousers, turning her eyes down as she entered the venue.
At the end of May, Drake won the Artist of the Decade Award at the Billboard Music Awards in Los Angeles.
He accepted the highest honor, so he brought his little son Adonis to the stage to share with artist model Sophie Bruceau.
Adonis was a little shy as he snuggled up to his father’s side and hugged him with a tense look in front of a large number of people.
R.I. fashion designer Jessica Abernethy returns to the runway - The Boston Globe
PROVIDENCE — When seasoned designers showed off their spring collections this year, it was for an exclusive audience. Christian Siriano debuted his latest collection outside at his Connecticut home last September. Invitees had to fill out health screenings days before. Viewers wore masks and sat in lawn chairs with their heels likely sinking into the grass.
Jessica Abernethy, however, debuted her first collection in nearly three years in front of a mostly maskless crowd of Rhode Islanders who have spent the better part of the last 15 months in their homes.
People sat close together in rows (likely pleased to be out of their homes and dressed in something other than pandemic yoga pants) to see designs by Abernethy and Boston-based designer Melina Cortes-Nmili for Lalla Bee, who takes classic dresses and gives them a modern edge.
For Abernethy, a Providence-based designer, the show was marked her return to Rhode Island's fashion scene.
"I have missed the excitement of the shows, the pre-show jitters, and seeing everything come together in the end," she said prior to the show.
In 2017, she designed looks that resembled chic streetwear with geometric patters, pops of neon yellow, off-the-shoulder tops, leather-looking pants, and, no matter the outfit: black-and-gold platform sneakers.
For several years, she designed looks for the StyleWeek SWIM shows. Her 2014 offering included retro-looking hot-pink and silver one-piece swimwear.
She's made political statements in her designs, such as sending models down the runway wearing gas masks with futuristic looks, purposefully showing what could one day be "the norm" if climate change continues to get worse.
But after a three-year hiatus, which included a more than a year of pandemic downtime, she was ready return to the runway.
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