Blockley's Helen is leading the way for inspirational women

(Photo:red carpet dresses) LIFE at 50+ is proving to be fabulous for one local lady who has been nominated as a finalist in a national competition recognising inspirational women.
Helen Yendall, 51, from Blockley is one of 10 finalists in the Peter Hahn Fabulous at 50 competition designed to celebrate women who continue to live life to its fullest post 50 years of age.
The contest is being run by premium mail order clothing brand Peter Hahn, which specialises in fashion for 50+ women and the UK’s longest-running women’s magazine The Lady.
Speaking about the initiative, Christopher Wheatley, sales manager at Peter Hahn UK said: “We know that in the UK women aged 50+ feel unrepresented by fashion. Just 20 per cent feel that they can find stylish, good quality clothing on the high street and a huge 76 per cent do not feel they are represented in advertising at all. At Peter Hahn, we celebrate women aged 50+ and wanted to recognise these empowering women.”
Helen was chosen by the panel of judges from hundreds of entries and is in the running to receive a £1,000 prize, a makeover and photoshoot and a feature in The Lady magazine. She will also become the face of Peter Hahn clothing on the company’s blog.
She enjoys a wealth of hobbies from playing tennis to swimming as well as dog walking, reading, and the arts. When she isn’t out and about, she dedicates her time to children's charity 'The Friendship Project' which matches volunteers with disadvantaged children. She has also run a creative writing class in Moreton for the past two years.
Mr Wheatley explained: “When we saw Helens entry we were immediately struck by her effortless style and care free attitude to life. For Peter Hahn, she is the very embodiment of what it means to be Fabulous at 50 and is an inspiration to women of all ages.”

“I am thrilled to be one of the finalists in the competition," said Helen. "For me it’s about building up your confidence - do something for you that raises your self-esteem and makes you feel good about yourself."Read more at:semi formal dresses

Fashion designer Zang Toi brings runway looks to Tampa Museum of Arts Saturday

It's been less than a week since Zang Toi caused gasps with his white wove

n hats and flowing ocean hued gowns at his Spring/Summer 2016 New York Fashion Week show, and he's already getting ready for the next phase.

"Hearing that even after being in this business for 26 years makes me want to work even harder," said Toi, 54, who lives in New York. "I say, 'You should work hard while they still want you.'"

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The Malaysian-born fashion powerhouse pictured here is bringing his well received "Splendor of Santorini" collection to town Saturday night.

Saks Fifth Avenue has partnered with the Tampa Museum of Art to host a showing of Toi's work at its 6th annual CITY: Fashion Art Culture. The next day, he'll host a trunk show from 10 a.m. to 3 p.m. in the Saks store in Sarasota's The Mall at University Town Center.

The CITY event, for which tickets start at $150, will give patrons a night of music, dancing, hors d'oevres and interaction with a The House of Toi collection, tailored in crisp whites and serene turquoise/blues evocative of Toi's first trip to Santorini, Greece.

"The first thing you notice there is the beautiful white architecture against the backdrop of the blues and greens of the Mediterranean. That gave me the inspiration for the first 10 looks, the clean white suits and separates," Toi said. "I'm glad to find out that it's on trend, but I don't pay too much attention to what other designers are doing."

Following his Sept. 11 show, customers were clamoring to order his expertly rendered woven hats and crystal necklaces right off the runway.

"We'll be selling those on special order," he said. "Two women ordered them immediately saying they had to have the hat."

The designer is happy to be still in demand in a fashion landscape getting fresh infusions of talent every year.

"I think competition is good," Toi said. "It's healthy. It makes you want to work harder. This industry is hard. It's like being an actor in Hollywood. If you want to make it, you have to work extra hard to turn that dream into a reality."

As alum of Parsons School of Design, Toi hasn't been back to talk to students in more than five years but he imparts wisdom when he can on the new faces he meets.

"My advice to aspiring young designers is to never be a afraid to live your own way and have your own vision," he said. "No matter how creative you are, you need to be business-savvy to make it in this industry."

After stopping in Florida, Toi and his team will be taking the line around the country for trunk shows.

"I won't be back in New York for three weeks," he explained.

Don't feel sorry for him just yet. His next collection will be inspired by his upcoming Christmas vacation to the French Alps.

Tampa Museum of Art's 2015 CITY: Fashion, Art, Culture event begins at 7 p.m. Saturday. It includes an open bar cocktail reception, hors d'oevres, fashion presentation and dancing. The VIP reception happens from 7 p.m. to 8 p.m. and Zang Toi's runway show will begin at 9 p.m. $150 to $250. tampamuseum.org/museum-events.

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Madonna’s ‘Rebel Heart’ Tour Designer Costume Sketches

The costume designer Arianne Phillips was in London in late February when she heard through the grapevine about a designer who was just beginning to get people’s attention: Alessandro Michele.
The 42-year-old Roman had just shown two collections in quick succession after his appointment as Gucci creative director and suddenly found himself the toast of the fashion world.
This story first appeared in the September 9, 2015 issue of WWD. Subscribe Today.
Meanwhile, Phillips, an in-demand costume designer for the movies, a veteran of Tom Ford’s “A Single Man” and an Academy Award nominee for “Walk the Line,” had just started preparing for her biggest project of the year: the months-long, all-consuming head trip known as a Madonna world tour.
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In a nice bit of kismet, or a psychic connection, Michele himself was somewhere in Florence working, unprompted, on a gift for Madonna when Phillips reached out to Gucci to contribute costumes to the tour.
“The energy was just out there,” Phillips says.
WWD Archives: The Best of Madonna in the Pages of WWD >>
When Madonna opens her “Rebel Heart” tour on Sept. 9 in Montreal, she will do so in Michele’s Gucci. And Prada and Jeremy Scott’s Moschino and Alexander Wang and Fausto Puglisi. Pop stars “collaborate,” to borrow an overused phrase, with designers all the time, mainly on red-carpet appearances.
But few can command at will, or use as prominently, marquee designers like these quite like the Material Girl, a unique position she’s enjoyed ever since she made a certain Parisian enfant terrible synonymous with a cone bra. More so than her peers, or her wannabes, Madonna has made high fashion an integral part of her music videos and tours, bestowing on designers the full force of her megawatt celebrity. Has anyone else worn Givenchy to the Super Bowl? When she calls, designers listen.
“She opened the door for all the pop girls out there today, many of whom I dress and who do respect her and give her props,” says Scott. “We all owe her a debt of gratitude.”
Plus, haven’t you heard her latest single? “She’s Madonna!” says Alexander Wang. “It goes without explanation, she’s iconic.” Michele adds simply: “I am crazy about her.”
A couple of weeks ago, Phillips was on her way to Nassau Coliseum on Long Island, N.Y., where Madonna is rehearsing, to work on costumes that were still not quite finished. Wang, for instance, was making alterations to his look, a long-sleeve mini in basketball mesh, because of last-minute changes in the production. Gucci had its last fitting a week later.
“For her, the performance comes first. She has to be able to dance and move and feel comfortable in it,” Wang says.
“[Madonna] doesn’t really finalize any of the designs until 100 percent of the choreography is set,” Phillips says. “It’s a real back-and-forth conversation and it’s a brutal process for most fashion designers. You’re hanging in the balance while all the practical aspects are worked out, like the choreography and the quick-changes.”
Not that Phillips sounds concerned. She’s gone through five of these marathons, each one larger than the last — this one has 28 performers; an average of 10 costume changes for 20 dancers, six for the background singers, four for the band and Madonna’s own eight full looks — and she knows it always comes down to the last minute.
By now, she’s been working on the tour on and off since December, when she organized her design team. She didn’t reach out to designers until April, when a working set list and the show’s usual four-act structure began to take shape.
Madonna’s conduit to the industry, Phillips is a longtime insider who can play the boss’ eyes and ears on the street and intuit her wishes. It was her job to design most of the show and then figure out the flourishes, which old collaborators to leave out and which new ones — accessories designers Lynn Ban and the Brit Rachel Freire — to bring into the fold.
“A stylist is like being a yenta. My job is finding out what’s relevant and what’s appropriate for the story Madonna’s trying to tell,” Phillips says.
She took the reins of the first act — a Joan of Arc-inspired section similar to the Mert Alas and Marcus Piggott-lensed cover art of the “Rebel Heart” album — and devised a series of costumes referencing liturgical fabrics and a recent exhibition of samurai armor at the Los Angeles County Museum of Art. Dancing nuns on stripper poles also make an appearance during this act. It wouldn’t be a Madonna show otherwise.
Miuccia Prada, who created original Prada and Miu Miu footwear for previous tours, was asked to design costumes as well this time around for the show’s second section. Her response? Rockabilly
meets Tokyo.
“Nothing we do is literal. Everything is a mash-up,” Phillips says.
It’s in the third act, the Latin quarter if you will, that things get really twisted. Puglisi and the Lebanese designer Nicolas Jebran created more of the same matador-inspired looks that appeared in the music video and live performances of single “Living for Love.” But then, there’s the showstopper: Michele.
After finding out about him, Phillips inhaled his first two collections for Gucci: “I was completely blown away. I love his hand. His clothes are lyrical and feminine and they tell stories. I didn’t know him, but I felt there would be this synergy to have them together.” Boy, was there.
Michele imagines Madonna in full-blown “La Isla Bonita” mode, a mysterious gypsy wrapped in her fringed manila shawl, hiding behind her flamenco hat, lace and jacquard bodysuit and multicolor skirt.
“That’s a real highlight,” Phillips says breathlessly. Michele might have been working on his spring show simultaneously, but he had to make time for Madonna: “Now that I have had the chance to see her working, I truly understand why she is so grand!” he says, just as breathlessly.
Slideshow: Madonna’s Red Carpet Looks Through the Years >>
To end things with a bang, Madonna enlisted Jeremy Scott, fashion’s resident club kid, for the party section. She has worked with Scott intermittently since the early Aughts, but perhaps picking up on his ascendance in the public eye since his appointment at Moschino — not to mention his relationship with Miley Cyrus, et al — she brought him back into her orbit to work recently on several high-profile looks, including ones for her “Bitch I’m Madonna” music video.
“Madonna is often like a director,” he says, comparing her to younger pop starlets. “She has a vision and you get behind her to achieve that vision.”
Scott’s mandate was to come up with an homage to Harlem-flapper-meets-Paris-in-the-Twenties and several weeks after their joint appearance at the Costume Institute gala, he had the look: a blinding finale dress employing thousands of Swarovski crystals because, Scott says, “no showgirl would be complete without crystals.”
Phillips has finished recounting all the costumes and late nights in the run-up to the opening when she arrives on Long Island. Before she goes in, she pauses to savor the spectacle of that Moschino sparkler.
“We don’t need a disco ball,” she says. “We have Madonna in costume.”
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Fashion design outlets sealed for non-payment of taxes

A PRA team, headed by Additional Commissioner Ayesha Ranjha sealed 13 outlets for non-payment of taxes.
A PRA team, headed by Additional Commissioner Ayesha Ranjha, sealed the Zara Shahjahan, Mini Bindra, Sania Maskatiya, Nida Azwer, Ayesha Imram, Shirin Hassan and Ammar Belal outlets as well as six others, said a spokesman for the PRA.
The spokesman added the the PRA had been in contact with the fashion designers for over a year regarding tax collection on their services.
The sealed outlets owe Rs80 million tax to the authority, he said.
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Last month, the PRA in its on-going drive for General Sales Tax (GST) collection on services sealed a number of fitness centres on for non-payment of the tax.
According to a press release, PRA officials sealed Oxygen Gym and Convert Fitness in Z Block DHA, Vigour Gym, Genesis, Azhar Fitness Centre and Synergy Health Fitness in Jauhar Town. The PRA officials also met resistance when they went to seal Convert Fitness and Azhar Fitness Centre, the press release said.
Following imposition of Section 59 by the commissioner PRA, officials conducted complete monitoring of two eateries in the Gulberg area. A team of PRA has been stationed at Faridi Café and MS Barbeque in Gulberg to monitor sales and to compare findings with GST payments. PRA believes that the steps will lead to reduction in tax evasion.
Correction: An earlier version of the article erroneously stated Khadijah Shah’s store was among those sealed. The error is regretted. EDITOR.
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Feminist Fashion For Tomboys

Borrowed-from-the-boys fashion is having a moment – you see it in every boyfriend shirt or slouchy jean Madewell sells – but for some women it’s not a trend. Seattle’s TomboyX is for that woman.
Designed to outfit women who don’t feel comfortable in feminine women’s clothing, TomboyX’s collection of apparel, underwear and accessories was inspired by the Sally Rides and Katharine Hepburns of the world. We chatted with founder Fran Dunaway about the line, who her team designs for, and what’s next for the groundbreaking brand.

First, what prompted you to start TomboyX? Was there a particular anecdote that inspired you, or were you tired of not finding what you were looking for?TomboyX was founded by Fran Dunaway and Naomi Gonzalez in February of 2013. Naomi and I formed this company because, as tomboys, we were frustrated having to choose between feminine women’s clothing and ill-fitting, unfashionable men’s clothing. We realized that we couldn't find any well-made, stylish, menswear inspired clothing - let alone undergarments - that were made for and fit women. We set out to make classic cool clothing with tomboy style—clothes made for a woman’s body, but with features typically found in menswear: a looser fit, and quality fabrics, with creative attention to detail.
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There were many stories from our friends frustrated by the same lack of options; in particular, one of our good friends Carma, who happens to be one of Seattle’s finest – a bada** police officer. Years ago she found that boxer briefs were the most comfortable under her uniform. She couldn’t find women’s boxer briefs so she would wear men's boxer briefs while on the job in Seattle. But there were a few things about them that just don’t work for a woman’s body - like that extra fabric in front. [They aren’t] made for a woman’s curves, so they would ride up or tug in all the wrong places. We listened when she said “And while you’re at it, can you make a waistband that is soft and lasts as long as the underwear?” We had our marching orders and set out to do right by her.

Our design and production team started with a super soft, silky waistband. Once that passed muster we started on finding the right fabric and fit - for real women in sizes XS to 4X. We went into production on two styles, a 6” long version which we named after Carma, the “Good Carma”. Keeping with the police officer theme, the 4.5” version we call the “Feeling Frisky”. In May we introduced a “Bobbie” which is also 6” but instead of buttons they have a racing stripe down the sides.

Aside from Carma, who were you designing for originally and why?For women like Amelia Earhart and Katherine Hepburn. Women who are just more comfortable in clothes that don’t skew ultra feminine or super masculine.

Who helped get things off the ground?I was frustrated by the lack of clothing options for women like me, women who are most comfortable in clothing that isn’t feminine yet isn’t masculine either. More in a space between the two. Naomi got tired of hearing me complain and one day she asked ‘how hard can it be to start a clothing line?’ And off we went.

We thought the spirit of what we were trying to do was captured by the name Tomboy. We wanted to be an exchange of sorts so truncated Tomboy Exchange to TomboyX.

We knew what we wanted to provide women with, but we first wanted to test the desire for tomboy style within this huge market to see if it would resonate. So we ran a Kickstarter campaign, and not only was the tomboy style successful -- we raised $76,000 in 30 days -- but we also quickly recognized that we had tapped into an emotional component that a cross section of women and girls from around the world relate to and identify with. Whether it's all day every day or every once in a while ,they love identifying as tomboys and the independent spirit it represents. And they are hungry for a brand that authentically sees them.

Who runs the line now? Who are the go-to people who help keep everything running?TomboyX is a small, dedicated team of 6 employees, including the two co-founders, Fran and Naomi. The most exciting common thread amongst everyone on the team is our excitement for the brand; their enthusiasm, drive, and passion to meet a previously unmet need; and their real belief in the brand. We aren’t kidding when we say our tagline which is “by tomboys, for tomboys.”

Specifically, [my] background is in media strategies and advertising. Naomi is a small business owner and was the massage therapist for the US Women’s Olympic soccer team. Barb is our experienced and talented designer. She brings over 20 years of fashion industry experience to the team. Julie leads our product development and sourcing.

We also have two fearless interns working with us. Marjorie spent four years working in Strategy Consulting in the defense and national security market after graduating from Dartmouth College. And despite only just finishing her sophomore year of college at George Washington University in DC, Keiko brings incredible ideas and energy to our team.

And then, of course, like many start-ups we have many individuals who have supported and continue to support us along the way, including advisors, mentors, friends, and investors.

What are the pieces you started the line with? How has it evolved since then?We originally set out to clothe tomboys from head to toe: shirts, jeans, and accessories. Then we started hearing this mantra… boxer briefs, boxer briefs. No one makes boxer briefs for women? We started to check around and every time we searched women’s boxer briefs at other retailers we were astonished at what we’d see! Our customer is all about comfort and the so-called boxer briefs for women were anything but. So we got busy and in September of 2013 we introduced TomboyX boxer briefs. The results were overwhelming. Customers and the community were so excited about the boxer briefs that we sold 2500 pair in [under three] months. What’s more, our reviews have been outstanding. Since that time, we’ve been expanding the boxer brief styles, colors, and sizes – we’ve got many more patterns ready to go, samples already done and ideas exploding in our heads.

So in all, we are a clothing and accessory company that allows women to embrace their inner tomboy by providing comfortable, well-made, fashionable clothing that isn’t super feminine. The anchor product remains the line of women’s boxer briefs in a variety of sizes and colors, but our other items are very successful.

Where can customers buy the line?Customers can go to tomboyx to shop. We’ve also been spending a significant amount of time and energy trying to connect with our customers on a more grassroots level by sponsoring a number of U.S. LGBT Pride festivals, roller derby, community events, and other festivals. It’s really rewarding to interact with our customers so directly. We also recently partnered with WA Girl Scouts recently during their record breakingIndiegogo Campaign. We get great feedback, get to be involved in causes we really care about, and get to introduce even more women to our mission and products.

Who do you think finds TomboyX to be a go-to line for their wardrobe?Women who want comfortable, quality clothing that expresses who they are. We aren’t in the business of fast fashion and we are serious about taking good care of our customer. Our reviews reflect that we’re being true to that, and we are honored that women are feeling it.

What's the most surprising demographic you've found shopping the brand?For only being a 2-year-old company with the overwhelming majority of our ads only on social media, we are really excited that we’ve reached women in over 30 countries, from all walks of life and from 10 years old to 80. They get the spirit of the brand, and that’s exciting.

If there's one mission the brand has, what is it?Great question! We have been overwhelmed with how much our brand is resonating with women around the world and we are excited to be taking a stance about what we care about: anti-bullying; anti-stereotype; pro-individuality; anti-conformity; pro-gender spectrum; anti-judgment; and pro-humanity.

"Athleisure" is a trend that's big right now in mainstream fashion, and TomboyX seems to fit into that trend inadvertently. Have you seen a jump in popularity because of that?We are such a nascent company that I can’t really attribute our popularity to a particular fashion. We aren’t really in the fashion industry, per se, except the fashion of owning your inner tomboy spirit and expressing who you are with confidence and style. That being said, we do recognize that the timing is right for a clothing company that empowers women from the inside out. We aren’t trying to show women how to be cool – we honestly celebrate how cool they already are.

What's your ultimate goal with the line?To affect the conversation about what it means to be a woman today. We want to celebrate the tomboy spirit in all women and we want to do that by empowering them and honoring what it means to be comfortable in your own skin -- from the inside out.

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Why Embroidered Fashion Is Stitch Perfect

EVEN IF YOU were temporarily dumbstruck by the appearance of Ben Stiller and Owen Wilson, there was something else you couldn’t fail to miss: the label’s persistently exquisite use of embroidery.

After several collections marked by flora, fauna and abstract motifs rendered in a rainbow of thread, it’s fair to say that Valentino’s design duo, Maria Grazia Chiuri and Pierpaolo Piccioli, have cornered the market in embroidery since arriving at the label in 2008. While their opulently, they’ve applied embroidery to more unlikely pieces, too, like the fisherman sweater. Floral-stitched, that sturdy staple looks fresh and newly luxe.

Undoubtedly they’re leaders of the pack in embroidery’s resurgence, but the pre-fall and fall collections were awash with what Linda Fargo, a senior vice president at Bergdorf Goodman, terms “stitch-witchery.” Sharing the common thread are old-guard brands like Gucci, youngish London labels such as Christopher Kane and Simone Rocha as well as nicely priced ones like New York-based Sea.

It’s a direction that feels right for right now. After seasons of normcore and minimalism, such beautiful and tactile clothing resonates. “At a certain point you can only wear so much clean and austere fashion. The pendulum has to swing toward the dazzle of incredible surface interest,” said Ms. Fargo.
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While the Valentino duo takes a relatively traditional approach, Mr. Kane approaches embroidery more subversively. The London designer currently offers a black leather motorcycle jacket festooned with sweet pink flowers and curling green stems. In short: not your grandmother’s embroidery—though granny might admire the rather pretty handiwork. “I like to challenge perceptions, mixing the femininity of embroidery with unexpected pairings,” said Mr. Kane.

His fellow Londoner Ms. Rocha, one of the industry’s edgy new darlings, also likes to nod to tradition while turning it on its head. In her fall collection, that strategy took form in nude tulle dresses embroidered with flowers in chunky cotton-blend yarn instead of slender silk. The look is a far cry from the, which until recently were the calling card of many up-and-coming British designers. The handcrafted effect, said Ms. Rocha, adds warmth and distinctiveness. “It was about trying to make something feel special,” she said, “but also a way to do something quite playful.”

Another way to give embroidery new life is to work old-world motifs on streamlined, modern pieces. Russian designer Olga Vilshenko landed on that strategy when she launched her namesake collection four years ago. The result: traditional Eastern European crisscross and chain-stitch embroideries on unfussy, wearable dresses, skirts and tops. “People want to see a forgotten beauty,” said Ms. Vilshenko. But they also don’t want to feel like they’re in a costume. Her clothes, she said, are “a link between yesterday and today.”

Indeed, the history of embroidery is long, going way back to ancient China and India. It’s something London’s Victoria and Albert Museum seeks to unravel in a coming exhibition, “The Fabric of India,” which opens on Oct. 3. Co-curator Divia Patel pointed out that many of the pieces in the show were designed to connote status, wealth and glamour. Clearly some things haven’t changed much in the course of centuries. Consider the fortune required to own a heavily worked Valentino frock.

Still, wearing embroidery needn’t bust your budget. Look to American label Sea, which offers sweet embroidered smock tops for just upward of $200. “The market is saturated with sameness,” explained co-designer Sean Monahan. “Using embroidery allows us to give our customer something unique.”

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Madonna Taps Gucci, Moschino for Rebel Heart Tour Costumes

Throughout her long career, Madonna has enlisted the world’s top designers, most famously Jean Paul Gaultier, to collaborate on the costumes for her globe-trotting tours.

She’s again recruited a murderer’s row of fashion talent for her latest, the “Rebel Heart” World Tour, named after her 13th studio album of the same name.

On Wednesday, she revealed exclusively to WWD the designers who made the cut, including Jeremy Scott and Alexander Wang. And add Madonna to the Alessandro Michele fan club: the Gucci creative director also pitched in.

Related Story: Madonna’s Red Carpet Looks Through the Years

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Just like she’s been teasing her setlist on Instagram for months — yes, “Vogue” and “Holiday” will make appearances on the tour — Madonna has also been posting snippets of looks she’s been working on with her longtime costume designer, Academy Award-nominated Arianne Phillips.

Ahead of the tour’s opening in Montreal on Sept. 9, she is revealing the full list of designers today: Fausto Puglisi, Prada and Miu Miu, Swarovski and the Lebanese designer Nicolas Jebran are the others. She’ll show sketches at a later date.

The pop singer’s predilection for some of these names has been evident for a while: she wore Scott for Moschino to the Costume Institute gala in May, on the red carpet as well as to various after parties, for instance. And she was also in full Moschino regalia in her last video, “B**ch I’m Madonna,” where Wang made an exuberant cameo. Before that, she was spotted around town wearing the platform moon boots from Wang’s fall show, practically straight off the runway.

Curiously, Versace, in whose 2015 advertising campaign Madonna appeared, is not involved in this tour. Phillips, who has been nominated for two Oscars, including her work on Madonna’s own “W.E.,” is marking her sixth tour with Madonna and will also contribute costumes.

Some of the other designers, though, like Michele, are more surprising, underscoring the singer’s knack for spotting new talent.

Slideshow: Madonna’s Concert Tour Costume Designs Through the Years >>

Long before pop acts fraternized with fashion designers, it was Madonna who asked Gaultier in 1990 to design costumes for her famous “Blonde Ambition” World Tour. He delivered the now iconic coned bra and the two have since collaborated on several tours, on 2001’s “Drowned World,” 2006’s “Confessions” and 2012’s “MDNA,” which included a reinterpretation of their best-known garment.

Previous tours included costumes from Karl Lagerfeld for Chanel, Dolce & Gabbana, Prada, Christian Lacroix — he designed the crystal-studded corset that opened the “Reinvention” tour in 2004 — and Riccardo Tisci, who designed the costumes the singer wore during the halftime show at the 2012 Super Bowl.

“People say everything has a limit,” Tisci told WWD at the time, “but limits do not exist with Madonna.” With today’s news, that still seems to be the case.

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