Skip to main content

Serena Williams turns heads with striking outfit at US Open




By Danielle Rossingh, for CNN

Serena Williams' tennis outfits are often the talk of the town, and she set New York tongues wagging with her latest creation in a routine opening victory at the US Open Monday.

The 36-year-old downed 68th-ranked Magda Linette of Poland 6-4 6-0 in her first home slam since becoming a mother.

But after French Open organizers ruled out a repeat of the black catsuit she wore in Paris for next year, all eyes were on what the 23-time grand slam singles champion would be wearing at Flushing Meadows.
She didn't disappoint.
Williams entered the night session at Arthur Ashe Stadium wearing a $900 black bomber jacket with white stitching, over a $500 black-and-brown one-shoulder silhouette dress with tulle skirt.

"It's easy to play in," Williams said in a news conference afterwards.
"Kind of aerodynamic with the one arm free. It feels really good. Yeah, the tutu is easy to play in because I practiced in it before. That was fun."

Dress code
The dress, designed by Louis Vuitton menswear artistic director Virgil Abloh, one of the hottest names in fashion, for Nike, was the culmination of a perfect public relations campaign in the past week for Williams' long-time clothing sponsor.
First, there was controversy over the black Nike catsuit Williams wore at Roland Garros, which prompted officials to introduce a dress code for the first time in Paris next year.
Then came a cleverly timed Nike ad, showing a moving home video of Williams practicing her serve with her father and former coach, Richard Williams, when she was nine years old. Williams Sr. is telling his daughter to pretend she is at the US Open.
The ad has had close to five million views.

Venus clash looms

Williams' preparation for the year's final major was not ideal, having played just three matches on US hardcourts and having to postpone her pre-tournament press conference in New York by a day because she wasn't feeling well.
None of that mattered against Linette, whom Williams dismissed in 70 minutes as she struck 23 winners and made 18 unforced errors.
"I thought it was a good match," Williams said. "Magda, she's such a fighter. She's a very hard worker...I think overall I had a little shaky start, but I got into it."
Williams plays world No. 101 Carina Witthoeft of Germany in the second round, before a possible blockbuster clash against her older sister Venus, who overcame former US Open winner Svetlana Kuznetsova of Russia in a three-set match lasting close to three hours.
Serena Williams, a six-time winner in New York who is seeded 17th after returning from maternity leave earlier in the year, didn't want to be drawn on playing her sister just yet.
"Just got to play, hopefully, get there," she said.

Comments

Popular posts from this blog

FLIGHT FACILITIES (Hugo) b2b TOUCH SENSITIVE in The Lab

#Deep_house #HouseMusic #HouseGrooves #Melodic #Electronic #djset #FlightFacilities #TouchSensitive An immaculate selection of disco and killer house grooves by Hugo (Flight Facilities) and Touch Sensitive. website: http://www.flightfacilities.com Youtube http://smarturl.it/SubscribeFF Facebook: http://www.facebook.com/flightfacilities Twitter: http://twitter.com/flightfac Soundcloud: http://soundcloud.com/flightfacilities Instagram: http://instagram.com/flightfac

Homecoming: A Film By Beyoncé | Official Trailer | Netflix

#Beyoncé, #Coachella, #Homecoming, #Netflix, This intimate, in-depth look at Beyoncé's celebrated 2018 Coachella performance reveals the emotional road from creative concept to a cultural movement. Premiering April 17. Only on Netflix. Published on Apr 8, 2019

Kate Bush, The Dreaming : A Pitchfork Review

#KateBush # WutheringHeights # Lionheart # NeverforEver #TheDreaming In 1982, Kate Bush’s daring and dense fourth album marked her transformation into a fearless experimental artist who was legible, audibly very queer, and very obviously in love with pop music. In 1978, Kate Bush first hit the UK pop charts with “Wuthering Heights” off her romantic, ambitious progressive pop debut The Kick Inside. That same year, her more confident, somewhat disappointing follow-up Lionheart and 1980’s Never for Ever had a grip of charting singles that further grew her UK success without achieving mega-stardom—she barely cracked into American college rock. What is truly amazing between the first chapter of her career and the new one that began with 1982’s The Dreaming is how consistently Bush avoided the musical world around her, preferring to hone and blend her literary, film, and musical inspirations (Elton John, David Bowie, and Pink Floyd) into the idiosyncratic perfection that was 1985’s Ho