Tree, who happens to be a close friend of my aunt, is absolutely both amazing and strong. However, when bumped into during the pre-see, she was swaying a little in a gust of nervy anticipation. “How long since I did a show?” she asked back. “Don’t make me think about it. I’m pretty sure it was in the 1980s for Jenny [Kee] and Linda [Jackson]. But right now I’m just trying to keep it together. What’s great is that there are so many others doing it—it makes you feel like nobody cares too much.” “Penelope is a great woman,” said Silvia Venturini Fendi preshow: “I wanted to ask her here because she shows that strength is absolutely beyond age. Really, she’s amazing.”
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For spring, designer Simone Rocha rethought Regency-era beauty—think: the soft paper curls and rouged cheeks of Jane Austen heroines—through a more modern and wearable lens. "The challenge was how do I translate this in a modern and unfamiliar way?" said hairstylist Cyndia Harvey, who gave the model's tightly-wound ringlets a more "offset and easy" shape, some topped with crystal-encrusted headpieces, while makeup artist Thomas de Kluyver shaded brows, cheeks, and lids in off-kilter green, orange, and gold pigments to subversive effect. From neon green hair to sky blue lashes, there were a myriad of beauty statements at Charlotte Knowles. But most striking of all were the shimmering, '90s-inspired body art designs dreamed up by de Kluyver. From butterflies along the collarbones to abstract lines and shapes along bare torsos, his body jewelry creations, cast in twinkling crystals and shiny pearls, were the ultimate It accessory.