Stella McCartney may be the daughter of world-famous Beatle, Sir Paul McCartney, but she has undoubtedly carved her own inimitable path in the world of fashion.
Having launched her eponymous label in April 2001 under the Gucci Group, the designer not only introduced her infamous tailoring to fashion critics but her committed animal rights support.
In celebration of her 45th birthday, we take a look back at her revolutionary designs, which undoubtedly changed the way fashion is consumed forever.
How Stella changed the mindset of the fashion masses
Having followed in the footsteps of her mother Linda McCartney, Stella (who practices vegetarianism) has woven her core values into each and every collection - refusing to use furs, leather and animal skins within the process. Other renowned fashion houses would have undoubtedly fallen at the early stages, often reliant upon the use of animal skins but Stella prevailed.
In an interview with Women’s Wear Daily, the designer recalled the beginnings of her career and the hardships that she faced in order to be taken seriously.“Yes, early in my career I was blatantly ridiculed for it. I always felt that leather and fur are the conventions details
As The Beatles' live shows return to the spotlight, Giles Martin, Jon Savage and others explain why the magical mystery tour goes on.
When The Beatles split up in 1970, John Lennon was typically scornful and dismissive. “People keep talking about it like it’s the end of the Earth,” he told an interviewer. “It’s nothing important – it’s only a rock group.”
Almost 50 years on from the split, The Beatles appear to have defied Lennon’s own brush-off, becoming bigger, and more important, than ever. The Fab Four may no longer occupy a central space in the music industry, yet they still loom larger than everything else, hovering over pop culture like omnipresent gods – the ultimate arbiter of artistic quality and commercial success.
There is the apparently unending stream of books, documentaries, photo exhibitions and repackaged music. Cynics may wonder whether it ever stops, what more there now is to say, to look at or hear. Such is the insatiable demand for Beatles product, the stuff keeps on coming anyway.
This month sees the release of The Beatles: Eight Days a Week – The Touring Years, director Ron Howard’s look at the band&rsq details
Ron Howard wants to make a follow-up to his rock documentary The Beatles: Eight Days a Week - The Touring Years.
The 62-year-old filmmaker has edited archive material, unearthed new footage of The Beatles in concert and even obtained unseen home movies from Paul McCartney to tell the story of the band's early touring years.
Howard says he was so taken with the subject he'd love to make another film about the history of the Fab Four. "I found this (making Eight Days A Week) to be so fascinating that I'd be very open to that," he tells British newspaper The Times.
"I found this (making Eight Days A Week) to be so fascinating that I'd be very open to that," he tells British newspaper The Times. The film is the first since the band's 1970 split to be authorised by McCartney, drummer Ringo Star, as well as the widows of late bandmembers George Harrison and John Lennon, Olivia Harrison and Yoko Ono.
It mainly examines the years when the iconic group performed live, from early gigs in the Cavern Club in Liverpool, England in 1962 until a final concert in Los Angeles' Candlestick Park in 1966.
Howard tells the newspaper he shied away from the darker aspects of the group's story, saying he did not details
On September 11, 1967, the Beatles undertook a fateful course—one that would humble them profoundly in the coming months: with the recent triumph of Sgt. Pepper’s Lonely Hearts Club Band and the international simulcast performance of “All You Need Is Love” under their belts, they tried their hand, bizarre as it may seem in retrospect, at becoming film directors.
John Lennon, for one, recognized the dangerous waters that the Beatles had been trolling in since manager Brian Epstein’s untimely death only a few weeks earlier. As Lennon later remarked, “I knew that we were in trouble then. I didn’t really have any misconceptions about our ability to do anything other than play music. And I was scared.”
To Lennon’s credit, he understood intuitively that while their work as composers and their musicianship may have been unparalleled, such skills didn’t necessarily prepare them for making movies. But with Paul McCartney eager to see the Beatles make their mark in those post-Pepper, post-Epstein days, they amiably trudged on.
McCartney fashioned the idea for the group’s latest film project on traditional English day trips to the countryside. As McC details
No adjective can adequately convey how huge The Beatles already were on October 16, 1963, when director Richard Lester watched them arrive at London’s Playhouse Theatre and struggle good-naturedly through a fever-pitch crowd of teenage boys, screaming girls, reporters, photographers and news crews.
Inside, he saw them deal with a put-upon BBC radio producer and other clamorous claims on their attention with humour, command and a straightforward lack of pretension. These boys, he thought to himself, were naturals.
Film always interested The Beatles, and Lester was there at the audition to direct their first. ‘We were asked to sniff around each other, like dogs, to see whether we would get on,’ Lester recalls. ‘What came out was that we each knew the kind of film we didn’t want to make.’
A Hard Day’s Night was their first film for one reason: they said no to at least five others. Invitations started arriving in February or March 1963, and each was batted away. As Lennon explained in Melody Maker in June 1963, ‘We prefer to wait until we find a film with a good plot that will hold the interest. Otherwise it might do us more harm than good.’
In Li details
Although she has never been to the capital of Kansas, Louise Harrison said she expects to feel as though she is with loved ones when she appears with the Liverpool Legends, a Beatles tribute band, Sept. 24 at the Topeka Performing Arts Center.
“I always thought that all of the Beatles fans of the world were my extended family,” the 85-year-old sister of the late George Harrison said recently by telephone from a Liverpool Legends tour stop in Chicago. “I very much feel that way when I’m among their thousands of fans.”
Harrison will be with the Liverpool Legends, a tribute act whose members she handpicked and calls “the very best reproduction of a Beatles band that I’ve ever seen,” at the 7:30 p.m. Sept. 24 concert in TPAC, 214 S.E. 8th, to share some of her stories about her kid brother, whom she held in her arms hours after his birth at home in Liverpool, England.
“We were all born at home. It was the same midwife that birthed us all,” said Louise Harrison, the eldest sibling and only sister of George Harrison, who had two other brothers. Louise was 11 when George, the youngest of her brothers, was born.
“I helped him learn how to details
Look at this picture of The Beatles performing at the Cavern Club in 1962. What do you notice? The cramped confines of the club? George Harrison’s youthful face, innocent of the onrushing tsunami of global fame? Now look at the audience.
Notice anything missing... boys. The Beatles were not the first performers to appeal to teenage girls – but as an enthralling new film, Eight Days a Week – The Touring Years, vividly shows, in their early years the Fab Four brought fan mania to hitherto unknown heights of hysteria.
Mass stage invasions, faintings, hospitalisations – The Beatles were the first boy band, before anyone had thought of the term. The marvellous, timeless songs might also have had something to do with it. By 1966, the clamour around them had become so great that it was impossible for the group to tour.
They retreated into the studio to record Sgt. Pepper’s Lonely Hearts Club Band, and a new era had begun. ‘What place,’ Paul was asked on the group’s first American tour in 1964, ‘will The Beatles have in the history of Western culture?’ ‘You must be kidding with that question!’ he replied.
By: Mick Brown
Documentary films often stir up controversy, but they usually wait until after they’ve started screening to do so – and most of the time, it’s the political or issue-oriented docs that cause a fuss, not films about show business.
But “The Sixth Beatle,” which had its world premiere at the Toronto International Film Festival on Thursday night, is an exception to both those rules.
The film opened with an unusual and lengthy disclaimer stating that author Mark Lewisohn, one of the world’s foremost Beatle historians, felt that “many of the comments” made in the film “allege matters that are factually erroneous.” It went on to say that Lewisohn’s scenes, which are numerous and offer key perspective, would be deleted from the film after TIFF.
In the Q&A that followed the premiere, co-director Tony Guma responded to a question from TheWrap by saying that Lewisohn did a 90-minute interview for the film, but “didn’t like some of the stories” that are told in the film.
“We don’t know specifically what his problems were,” he added. “But we do know that he has been hired in the past by Apple [the B details
I remember well how my love affair with my Beatles started. On school nights, as a teenager, when I should have been asleep, I would instead huddle under a blanket in my bedroom, transistor radio hugging my ear, listening to “white music” on the high wattage WAPE (“Big Ape”) station. By day, meanwhile, I lived a rhythm and blues life in my all-black community in Jacksonville, Florida, in the segregated American South. It was a time of racial apartheid and turbulent resistance that was peaking in the 1960s. Through movies and television I was glimpsing a larger world of racial possibilities. I was a misfit teenager, ripe for change.
And then, during one of those nighttime rituals, I heard the Beatles wailing “I wanna hold your haaaand….”
I found out that they were young – from England of all places, so, surely they weren’t really white. Their songs had a forceful, funky dance beat and vocal swirls like the singers blasting from our record players and the local “black” radio station. They were brash and unafraid to break rules, fitting right into the times – at least as far as I was concerned. In addition, they had working class roots that se details
What do you think of when you hear the name John Lennon? He’s an icon and an innovator, but he is so much more and has created a legacy that will last for the ages, both with The Beatles and in his solo career.
Without him, so many songs would have gone unwritten and music history would be drastically different. His 1971 album Imagine is just like him, a moving piece of artistry punctuated with famous singles and strong messages that are a testament to history.
Before even talking about the music on the album, I have to first talk about the man behind the songs. Lennon is one of the greatest musicians of his time. His abilities shone when he was with The Beatles, co-writing many classics with Paul McCartney. After the band broke up between 1969 and 1970, Lennon embarked on a solo career.
Imagine, his second solo album, was released in 1971, with massive social upheaval from the ‘60’s coming to a close but still prominent enough that major themes carried over into the message of many tracks.
The overall tone leans towards almost bitterness throughout the album, about both the tensions between Lennon and McCartney at the time and antiwar sentiments. It may be hard to reach, as it details