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The Crocs Hidden Valley Ranch now exists. Here’s how to score a pair.

The subset of humans who love both the ranch and the hooves will be excited about this new collaboration between food and fashion. Rapper Saweetie has teamed up with Crocs and Hidden Valley Ranch to create a new creamy clog.

Crocs described the white green-speckled shoes as their “most ranchist ever.”

“Crocs with a ranch side, or a ranch with a Crocs side?” The answer is both, ”the foam clog supplier wrote of the new shoes. “Our love of Hidden Valley Ranch knows no bounds, so we’ve teamed up to create an inexplicably alluring collaboration with Hidden Valley Ranch.”

The condiment-inspired clogs are adorned with charms featuring foods often soaked and sprinkled on a ranch – fries, nuggies, veggies, and of course pizza.

“Much like Hidden Valley Ranch, these clogs can go with anything if you like them enough,” the company wrote.

Have a crush on ranch-inspired shoes? Enter this drawing for the chance to buy a pair. The draw began on September 16 and will end at 11 a.m. on September 20. Winners will be selected at random and notified within 12 hours of the end of the draw.

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Two women based in France to tackle a women’s off-road race in the Sahara desert

Two British and New Zealand women residing in Deux-Sèvres (New Aquitaine) leave today to participate in an all-female all-terrain car rally that will take place in the Sahara Desert in Morocco.

Briton Helen Tait Wright and New Zealander Susan Alemann, both in their 50s, will drive a 4X4 Land Rover for a total distance of 7,100 km from France to Morocco, where they will then take part in the Rallye Aicha des Gazelles.

The teams are leaving from Nice today (September 18).

The actual race will take place over six stages and last nine days, between September 22 and 30. They will travel around 1,500 km of the Sahara Desert, and will only have a compass and a map from the 1950s to complete this race.

The two women, who have lived in France for three years, first met at a wine tasting two years ago.

“I knew straight away that I was going to be his sailor, but it took a while for her to realize it,” Ms Alemann told Ouest France before the race.

Ms Alemann is the first person from New Zealand to participate in the race, which she said was a motivator to participate.

Ms. Tait Wright has competed before, in 2019.

“I’ve done it before, so I know it won’t be easy,” Ms. Tait Wright told The Connexion.

“So yeah, there’s a little bit of excitement. I can’t wait to go back to Morocco and go back to the desert.

“Sue is nervous because she’s never done it before. I kind of know what’s coming up. There are some things that worry me but I’m not really nervous about that, if that makes sense. I know the things that are going to be difficult.

The women donated € 3,000 to a project run by the Bioparc, a zoo in Doué-la-Fontaine (Maine-et-Loire). The project involves efforts to slow the invasion of prickly pears in West Africa, which threatens the habitats of dama gazelles. It is the largest of the gazelles and the most endangered, according to the biopark website.

Queens of the desert

The two women based in France make up just one team out of a total of 190 all-female teams.

This is the 30th edition of the Rallye Aicha des Gazelles, which has been repeatedly delayed in 2020 due to the Covid pandemic.

Ms Tait Wright will drive her own car, which she nicknamed Priscilla, named after the 1994 Australian film “The Adventures of Priscilla, Queen of the Desert”.

Ms Tait Wright is not currently working, but said her “real job” was to work as a UK fashion designer specializing in wedding dresses and special occasion wear.

Ms. Alemann works as a consultant.

You can follow their evolution on their Facebook page here.

An action program is organized around the Rallye des Gazelles, to provide medical assistance to isolated populations.

Related stories:

The next generation of French hikers turn to outdoor micro-adventures

Cystic fibrosis is not an obstacle to the thirst for adventurers


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Brooke Museum Continues WWII Education | News, Sports, Jobs

TITLES OF STORY – Jim Brockman, executive director of the American Defenders of Bataan and Corregidor Museum, Education and Research Center, and Chloe Cross, intern at the Franciscan University of Steubenville, examine some of the many newspapers and magazines in the Second World War I era donated by the family of the late Matt Camilletti. They are among the many artifacts that help the museum tell the story of the many veterans and others who lived during World War II. – Warren Scott

WELLSBURG – Located in the Brooke County Public Library, the American Defenders of Bataan and Corregidor Museum, Education and Research Center was established to remember the many American servicemen who fought the Japanese invaders of the Philippine Islands during the Second World War.

As part of the library building, the museum was closed for some time due to the pandemic, but it has reopened and welcomes visitors and contributions of items that can help it tell the story not only of these veterans, but other aspects of the war, said Jim Brockman, its executive director.

The museum began in 2002 as a large exhibit created by the late Ed Jackfert and his wife, Henrietta, to educate people about the atrocities suffered by tens of thousands of Allied soldiers held in Japanese POW camps. .

Among them were approximately 72,000 US servicemen and Filipino scouts who took part in Bataan’s infamous death march.

Captured following a three-month battle with the Japanese, troops were forced to march 65 miles in the grueling heat to a train station to be transported in suffocating wagons to POW camps.

But before that, more than 10,000 died of illness, starvation or dehydration or were killed when they tried to get water or fell behind.

Although he did not participate in the death march, Jackfert, an Army Air Corps infantryman, was imprisoned in such a camp and said he was transported to a “Hell ship”.

He said the ships earned the name not only for their inhuman conditions, but also because they were not marked, as prescribed by the Geneva Convention, to deter fire from Allied forces.

Jackfert said the poor conditions experienced by prisoners of war were exacerbated by the fact that they were forced to work for Japanese companies which contributed to that nation’s war effort and benefited financially from their work. slave.

As the leader of the US defenders of Bataan and Corregidor, a national group of surviving prisoners of war, Jackfert campaigned for the Japanese government to issue an apology in 2009.

It was followed in 2015 by another from Mitsubishi Materials Corp., which also donated $ 50,000 to the museum.

Two years later, the Hubbard and Meriwether families collectively donated $ 500,000 for a museum and library expansion that allowed the museum to display several of the hundreds of artifacts that were donated by others. ADBC members and many other veterans and their descendants.

In recent years, the museum has expanded its collection to include other items reflecting the service and experiences of others during the war.

Brockman said his most recent addition is an extensive collection of newspapers and magazines published during the war and in the years leading up to it.

The periodicals were owned by Matt Camilletti, longtime owner of City Plumbing, Heating and Supply and an active member of the community, who died on March 7. They were donated by Margaret White on behalf of her family.

They relate the main developments of the war.

An October 17, 1941 issue of the Herald-Star reports that the torpedoing of the USS Kearney, an American destroyer responding to an attack by German forces on British and Canadian ships near Iceland, led Congress to demand the armament of Merchant ships.

The same issue reported on the efforts of Communist troops to repel a Nazi invasion of the Soviet Union.

The problem predates the United States’ entry into the war following the Japanese attacks on Pearl Harbor on December 7, 1941.

A December 22, 1941 issue of Life magazine rescued by Camilletti includes an article on “Defenders of the Philippines”, photos of soldiers killed at Pearl Harbor; and stories designed to prepare readers for war.

A special edition of the Herald-Star in Camilletti’s collection bears the title, “Continent invaded. Allied forces land in France.

Dated June 6, 1944, it announced the landing of thousands of soldiers in Normandy, the first step in the liberation of France occupied by the Nazis, during what many call D-Day.

Camilletti’s collection includes April 13, 1945 issues of the Wheeling Intelligencer and the Pittsburgh Post-Gazette reporting the death of President Franklin D. Roosevelt.

“There was a huge funeral when FDR passed away. They spared neither time nor expenses ”, Brockman noted.

The April 4, 1945 issue of the Wheeling Intelligencer reported on the surrender of Germany in what seemed to many to be the end of the war.

But the battle against Japan will continue for several months until the Wellsburg Daily Herald can proclaim on August 15, 1945, “The world is at peace. Japan surrenders. The big guns are still here after 12 long years.

One story below is titled by “Town and county celebrate end of war with parades.”

“Each of these (problems) is important because it tells an important story in history”, said Brockman.

He and Chloe Cross, an intern at Franciscan University of Steubenville, noted that other stories and magazine advertisements tell a lot about life in America at the time.

For example, a survey of the 1930s Cosmopolitan issues reveals not only that women’s fashion has changed a lot, but also that the magazine was less about fashion and more of a showcase for fiction at the time.

In addition to Cross, Brockman is helped by two other interns: Brody Hynes, also from Franciscan, and Jonathan Wynn from West Liberty University.

“We have excellent students and others want to come here” said Brockman.

He explained that the students will help him create a digital record of the periodicals and place them in protective sleeves.

He noted that while many of them are in surprisingly good condition, having been stored with very little protection, their thin, yellowed pages nonetheless have brittle edges and would not stand up to frequent handling.

Brockman has said so often that such things are found in the attics and basements of their original owners by descendants who do not know what to do with them.

Among the items that bolster the museum’s efforts to educate about history, he said, “We’re very happy to have this stuff. We don’t want it to rot. “

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The dirty secret of clothes is released

Instead, due to the pandemic, she was in custody in Brooklyn when news broke that dozens of major consumer clothing brands were refusing to pay factories for completed orders. The orders represented billions of dollars and the livelihoods of legions of impoverished people, mostly women.

“In the midst of this terrifying crisis, these really huge, profitable companies – their instinct wasn’t to protect the people who work for them, it was to screw them up,” Cline says. “It was too much.”

She launched a campaign called #PayUp, alongside activists and others following the fashion industry, demanding that brands, including H&M and Zara, pay what they owe. Factory owners have been exceptionally open with the press about the extent of the problem, Cline says. They rarely speak ill of their customers, whose whims control the fate of factories. But in this case, what did they have to lose?

#PayUp has gone viral. Over $ 22 billion of those unpaid bills have since been paid. But the bad taste in Cline’s mouth hasn’t gone away. For years, she had written extensively on brands’ efforts to do better on labor rights and the environment. But because fashion has largely escaped the official pollution and waste regulations that governments apply to industries such as petroleum and agriculture, clothing companies were watching and reforming themselves. Now Cline couldn’t muster even skeptical optimism.

It was time, she thought, for fashion to stop being. And she was not alone. In recent years, awareness of fashion issues has surged like a wave in society, especially among young people. The pandemic has only accelerated the process, with injustice and environmental degradation attracting the attention they rarely received before. Now Cline and other voices – activists, writers, non-governmental organizations – are calling for change, with real rules on the industry.

A glimpse of the future

The social problems of clothing manufacturing, which relies on low wages and long working hours, are no secret. But what you might not know is the depth of fashion’s sustainability problem. Along with little black dresses and trendy sneakers, clothing manufacturers are producing tons of trash and oceans of contaminated water. Clothing manufacturing doubled between 2000 and 2014, and many pieces are now only worn a handful of times. Each second, the value of clothes from a garbage truck is thrown away or burned. The fashion industry is a conveyor belt transporting natural resources through landfill at breakneck speed.

The solutions explored by the clothing brands themselves typically resemble using a pipette to put out a forest fire. Recycling cotton makes more use of the material, but recycling shortens its fibers, which must then be combined with fresh cotton to make a garment.

The best ideas involve the concept of circularity. “This means moving to a system where we no longer extract new materials from the earth,” says Elizabeth Segran, a fashion reporter for Fast Company.

If fashion were circular, the materials of one garment could be used to make a new garment after the first one is worn. They should be chosen from a list of materials that can be recycled endlessly. That’s a tall order at the moment, as the best-known examples are glass and aluminum, which are unlikely to be used much in clothing. And there is almost no infrastructure to do it: there are few supply chains of recyclable substances and no good way to recover the materials from the consumer.

Still, if brands are using materials that can be recycled multiple times, but not endlessly – like the PET plastic used in water bottles, which can be used to make polyester – and if they can invest in it. infrastructure and logistics to recover and reuse their products, just as they have adapted to e-commerce over the past 15 years, there may be a way forward.

Chloe Songer and Stuart Ahlum, founders of sneaker brand Thousand Fell, see their company as a pilot project for this potential future. Both had worked for several years for major clothing brands and kept an eye on researching new types of materials.

“Textile vendors and factories had heard the consumer want something more sustainable,” says Ahlum, and he and Songer had seen enough textile innovations to launch a first product that matched the bill. “By that I mean better [use of] carbon, water and energy across the entire supply chain than traditional leather, traditional rubber or traditional foams, ”he says. And “we could actually recycle a lot of that stuff.”

They chose a simple white sneaker, the kind that people could wear everyday for months on end until it was really worn out, then tossed in the trash, and designed it so that at the end of the day. its life, it can be disassembled and many of the components recycled.

From the way Songer and Ahlum talk about materials, you can begin to see a future in which companies have endless foods of plastic or synthetic cork or vegan leather that are marketed as finished products and come back as raw materials. (The company name reflects the founders’ interest in new types of “scraps,” an old term for leather or hides.) At the end of this month, the company will launch an online system for its recycling process that will allow consumers to track the material fate of their shoes and use credits when purchasing new ones.

This proto-circular economy is an appealing vision, but relying on companies alone to make it real is not enough, especially huge ones like Gap and Inditex, which owns Zara. “What we risk is that they are doing just enough to stop us from asking for real change,” says Cline.

In other words, they will only leave if they are pushed. We don’t have time to wait for them to move on their own.

Elizabeth Cline, author of “Overdressed” and “The Conscious Closet”.Keri wiginton

Real responsibility

In February, Segran wrote an article for Fast Company calling on Biden to appoint a fashion czar. “The fashion industry is responsible for 10% of the world’s carbon emissions,” she wrote. “It must be regulated like the other major sectors. The story sparked a movement: Activists wrote a letter signed by more than 80 groups, including fashion brands and nonprofits, urging the president to choose someone to take charge of this disaster at high speed, someone to inaugurate policies that make brands responsible for the environmental and social burdens of their products.

Cline was one of the signatories of the letter. “Although [the United States has] a huge fashion industry and is a leader in terms of design, we don’t have a lot of breakthroughs in Washington. And at the moment, we are late in this political conversation, ”she said. “We believe that every conversation the White House has on climate, energy or sustainability or domestic manufacturing should include people from the fashion industry.”

Elsewhere in the world, there are signs of what could be. When brands miscalculate demand, they often burn or destroy unsold clothing en masse – a practice France now has banned. The European Union’s Circular Action Plan includes another idea Cline hopes to have legs: a demand for extended producer responsibility. This would force companies to take back and recycle or otherwise treat their products once they have reached the end of their useful life. “It would be such an easy thing for the United States to adopt,” she said. The EU also plans to establish rules encouraging manufacturers to use recyclable materials.

In addition, the EU passes human rights laws that oblige companies operating in the EU – whether it is simply having a store there or having their headquarters there – to s ” ensure that their supply chains, wherever they are in the world, meet certain standards. . If they don’t, there will be financial consequences. “This marks a big step forward from self-regulation towards real accountability for brands,” says Cline.

In recent months in the United States, Cline has campaigned for the Garment Workers Protection Act in California, which would hold fashion brands legally responsible for ensuring workers earn at least minimum wage. She took on the role of director of policy and advocacy at Remake, an organization focused on overhauling the fashion industry, and fought for the renewal of an international agreement to protect factory workers from tailoring at work.

Almost 10 years after Cline helped revive the consumer staples movement to extend the life of clothing, the movement has gathered pace. People are now committing on social media not to buy anything new. Younger generations are showing increasing awareness of the fashion industry waste problem. In June, online resale firm ThredUp and research firm Global Markets announced that second-hand clothing sales are expected to quintuple over the next five years. That’s fine, says Cline, but changing consumer behavior is only a small part of what’s needed.

“My job has changed a lot over the past year,” says Cline. She now believes that instead of getting people to buy smarter or less and expect brands to reform from within, there is a need for change in the public sphere. “Instead of putting so much pressure on our consumers, we need to review what our citizens are capable of,” she says. “Which is a lot.”

Veronique Greenwood is a science writer who frequently contributes to Ideas. Follow her on Twitter @vero_greenwood.



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Marks & Spencer accuses Brexit of cutting 800 lines in Republic of Ireland stores and closing 11 stores in France

Retail giant Marks & Spencer has been forced to cut 800 lines from its stores in the Republic of Ireland, including items like free-range chicken, orchids or products containing Parmesan Reggiano.

he changes are the result of complex rules and excessive paperwork caused by Brexit.

The store also announced that it will close 11 of its stores in France due to supply issues with fresh and chilled food in the wake of Brexit.

The group blamed the Brexit disruption on UK exports to Europe for its decision to close all franchise stores with its partner SFH in France.

He said: “The long and complex export processes now in place after the UK’s exit from the European Union severely limits the supply of fresh and chilled produce from the UK to Europe and continues to increase. impact the availability of products to customers and the performance of our business. in France.”

The stores, located mainly in the shopping streets of Paris, are expected to close by the end of the year.

M&S said it remains in talks with its partner Lagardere Travel Retail over its nine remaining French stores based at airports and train stations, which it says continue to operate normally.

Its website in France, which mainly sells clothing and home products, is not affected, the group added.

Paul Friston, Managing Director of M&S International, said: “M&S has a long history of serving its clients in France and this is not a decision that we or our partner SFH have taken lightly.

“However, as it stands, the complexities of the supply chain in place after the UK’s exit from the European Union now prevent us from serving fresh and chilled products to customers to the high standards that ‘they wait, which has a continuous impact on the performance of our company.

The move comes after it emerged over the weekend that M&S ​​was considering store closures in France as part of a review of its operations there in light of post-Brexit trade rules and product availability. .

M&S restructured its Czech operations in April following Britain’s withdrawal from the EU, removing all fresh and chilled products from stores and doubling the frozen and longer shelf life product lines.

The group warned last week of further disruption expected when a grace period on trade and goods entering the UK from the continent begins to expire.

Last month, M&S upped its profit targets after seeing a 10.8% increase in food sales in the 19 weeks leading up to August and an increase in online clothing sales.


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Why AOC’s Met Gala Dress Drove People Crazy

New York Rep. Alexandria Ocasio-Cortez arrived at the Met Gala on Monday night wearing an ivory Brother Vellies wool jacket personalized with an organza ruffle and the message “Tax the Rich” in red on her back.

In video footage shot before her arrival, she can be seen walking towards the vehicle that brought her to the gala, a masked assistant holding the train of her dress as she smiles brightly and waves to her fans.

Designers and corporate sponsors typically pay the hefty price of admission – $ 35,000 a ticket or $ 200,000 to $ 300,000 a table – for gala guests, which typically include a quorum of Hollywood star Kardashians. and mannequins. The star-studded event is often referred to as the Fashion Oscars.

Many New York City elected officials are also invited, as “museum guests” who do not pay to attend.

Regardless, the presence – and dress – of Rep. Ocasio-Cortez provided easy fodder for her most trusted critics. On Twitter, Donald Trump Jr., the eldest son of the former president, called her a fraud for sending a message about taxing the rich “as she hangs out with a group of rich left elites.”

Rep. Jim Banks, Republican of Indiana, tweeted that Ms. Ocasio-Cortez is the “gift that keeps on giving.”

But more surprising than the rote judgments of her political opponents was the criticism Ms. Ocasio-Cortez, a Democrat, drew from the left – a chorus of dissatisfaction of progressives and self-proclaimed socialists disappointed with a gesture they were saying. caricaturing a progressive cause and stressed their feeling that it is not maximizing its ability to fight for congressional workers.

Briahna Gray, the former national press secretary for Senator Bernie Sanders’ 2020 campaign and co-host of the “Bad Faith” podcast, said Ms Ocasio-Cortez is “subject to a single standard exactly because people expect more. of her “. She said part of the gradual backlash for the dress resulted from a more general disappointment with some of her political positions.

“People are disappointed with his behavior outside of this context, and it seems to reflect a lack of commitment that has been shown in a purely political context,” said Ms Gray.

Ms Ocasio-Cortez was first invited to the Met Ball in 2019, the year after her victory over former Rep Joe Crowley – the most significant upset for a Democratic incumbent in more than a decade. She did not attend and the following year’s gala was canceled due to the coronavirus pandemic.

This year, Ms Ocasio-Cortez was seated at the table of Anna Wintour, editor-in-chief of Vogue and artistic director of Condé Nast, who is the longtime co-host of the gala.

Some supporters had a simple and negative gut reaction to his decision to attend. “The Met Gala is an event to be avoided by sincere socialists”, wrote John Ganz, a Gawker.com columnist who described himself as a supporter who at other times viewed Ms. Ocasio-Cortez as a “light of hope.”

Danny Haiphong, a socialist activist and writer, said what had offended him was not the dissonance of a self-proclaimed democratic socialist hanging out with the elite, but that “AOC and the Squad are not taking advantage of their huge base. support for demanding the very thing that she put on her dress.

Many progressives still credit Ms. Ocasio-Cortez for being a consistent advocate for progressive causes. She was the only Democrat to oppose the $ 484 billion coronavirus relief program last year, saying she found it too generous to corporations without providing enough help to working class people.

Along with Mr Sanders, she lobbied to triple the amount of money President Biden is proposing to improve the country’s aging public housing system.

Recently, she joined the marathon protests on the Capitol steps against the expiration of a federal moratorium on pandemic-era evictions that neither the White House nor Congress had until then acted to stop.

“She’s generally happy to spark people’s enthusiasm for a different view of America,” said Faiz Shakir, director of Mr. Sanders’ 2020 presidential campaign. “It’s an art: politics is theater. You are looking for ways to animate it.

Indeed, Ms. Ocasio-Cortez has already used the slogan “Tax the Rich”, on campaign products, which Republicans have criticized in the past.

But a group of more left-wing activists tried to push the party further and became increasingly critical of Ms Ocasio-Cortez.

Some had demanded that Ms Ocasio-Cortez and others withhold their votes for House Speaker Nancy Pelosi unless she agreed to put the Medicare for All bill to a floor vote. They also urged Ms Ocasio-Cortez to use her position to force a vote on a $ 15 minimum wage and to make sharper criticisms of the Biden administration for pushing back calls for blanket student debt cancellation. .

Ms Ocasio-Cortez is seen as a supposed stranger in Congress, Ms Gray said, but “doesn’t really do the kinds of things that might actually attract the real reactions and difficulties that some people expected her to do. do, given the way she presented herself. in. ” The image of her “rubbing shoulders with these people” on Monday evening angered some on the left, she said.

The slogan on the dress was also a problem, according to Ms Gray – not because it was too radical but because it was too innocuous; according to a 2020 Reuters / Ipsos poll, a majority of American voters support a wealth tax for the very rich.

“If she had chosen to highlight a message that had not already been so well received, then her act would have been seen as more subversive, as opposed to a pageantry comparable to Cara Delevingne’s ‘Peg the Patriarchy’ shirt.” , said Ms Gray. – another Met Gala outfit that caught attention for the message it carried.

Other New York politicians were at the gala this year, including Rep. Carolyn Maloney, who represents Manhattan’s former Silk Stocking neighborhood, and New York City Comptroller Scott Stringer.

New York City Mayor Bill de Blasio jumped the ball for years before breaking his streak of absence on Monday night, in the final months of his mayoralty.

“It’s not my cup of tea,” de Blasio said during an appearance on NY1 in 2019 when asked about his absence. “It’s an elite rally, I’m not an elite guy. It really is – let’s simplify it, it’s just not my thing. It’s the kind of place where the elite go and like to be together, and I have a different approach.

Among Ms Ocasio-Cortez’s supporters was Maya Wiley, the former New York mayoral candidate whose campaign Ms Ocasio-Cortez supported earlier this year. Ms Wiley said the Met Gala is part of the fabric of New York City and identifying as a Democratic Socialist does not mean hating or avoiding the wealthy who show up.

“We are turning everything into a contest of purity,” Ms. Wiley said. “Politics shouldn’t be about purity. She did the right thing by not avoiding it, saying it’s part of who we are, and let’s have a conversation that includes the Met Gala.

“Enter a space devoted to art, fashion, luxury and wealth and say, ‘This is the conversation we have to face, but I will face it in the vernacular of the event”, c ‘is awesome, ”Ms. Wiley said.

Ms Ocasio-Cortez may have managed to highlight an issue at the heart of what Democrats are pushing for in the reconciliation bill they are trying to push through by the end of the month. Most importantly, the dress served as Rorschach’s final test on Ms. Ocasio-Cortez, and whether she is seen as fighting for the people or aligning with the elites.

“I don’t envy him,” said Sumathy Kumar, president of the New York branch of the Democratic Socialists of America. “When faced with this question, ‘Do I go to this event and use it as an opportunity to spread the message, or do I boycott it?’, She usually chooses to broadcast this message.”

Ms Kumar added, “Whether you agree with a tactic or not, more and more people are talking about taxes on the rich and at least this conversation is taking place. We’ll take what we can get.

On Tuesday, Ms Ocasio-Cortez, who declined to comment for this article, defended herself against criticism in a lengthy Instagram post. “Me and my body have been so heavily and relentlessly monitored politically from all sides since the moment I won my election,” she wrote.

In the end, she said, “we all had a conversation about taxing the rich in front of the same people who are pushing against it and broke through the 4th wall of excess and spectacle.” In a follow-up fundraising email, she asked supporters to purchase their own “Tax the Rich” outfit. A t-shirt costs $ 27 and the hoodie costs $ 58.


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In the Hermès workshop which manufactures its iconic bags

There is a kind of fashion object so enduring, so tirelessly sought after that its name becomes recognizable, a metonym for the brand that made it: the Air Jordan, the Love bracelet. Few brands, however successful they are, reach this kind of saturation. Hermès has done it twice: the Birkin and, undoubtedly the first of the known phenomena, the Kelly. Originally designed in the 1930s as the Small tall bag, with strap, simplified, the Kelly was renamed after the newly crowned Princess Grace was pictured, in 1956, hugging her to hide her precocious pregnancy; the image appeared on the cover of Life magazine.

The Kelly, pictured here, consists of 36 pieces of leather and takes up to 20 hours for a craftsman to complete.Photograph by Cyril Zannettacci.

But in the workshops of Hermès craftsmen, the much-vaunted bag is not a waitlist status symbol, it is education: usually the first item built by newly minted leather craftsmen, it serves as leather goods 101 . “The Kelly bag is one of the most complex bags we have in terms of our know how, or know-how, which is really based on the tradition of saddlery and harnessing ”, specifies Olivier Fournier, Deputy Managing Director for Compliance and Organizational Development at Hermès International, in charge of the sustainable development of the company. With its crisp top flap, shoulder strap, and feminine single handle (the most easily spotted differentiating feature of the double-handle Birkin), it requires 36 pieces of leather, a handful of metal parts, and 15-20 hours for a craftsman to Completed. Mastery of Kelly means mastery of practically all other Hermès bag models.

Buckles and other hardware are attached by hand.Photograph by Cyril Zannettacci.
Photograph by Cyril Zannettacci.

Indeed, at Hermès, everything depends on a single point, tense and tense, with nearly 200 years of tradition. And if each dot represents a sentence from the history of Hermès, which began when German-born saddler Thierry Hermès founded the company in Paris in 1837, then his workshops are the grammar guiding their syntax. These workshops, 51 in number in France alone, each dedicated to women’s ready-to-wear, perfumes, shoes, jewelry, men’s clothing, silk or furniture, are spaces for the transmission and preservation of standards and techniques. .

Craftsmen spend 18 months learning the trade and spend 8 years working for the title of master craftsman.Photograph by Cyril Zannettacci.

This marriage of craftsmanship and heritage is perhaps nowhere more apparent than in the company’s brand new leather workshop, or leather goods, which opened last September in the bucolic village of Saint-Vincent-de-Paul, on the outskirts of Bordeaux. Not far from the city center or the terroirs teeming with vines, a group of 180 artisans (a number which will increase to more than 250 once training and recruitment are completed) find themselves selecting, pruning, perfecting, browning and yes, sewing . – meters of soft leather in one of Hermès signature bags, all exclusively made in France. “Making a bag requires time and skill,” says Emilie, leather craftsman from Saint-Vincent-de-Paul, who joined Hermès in 2015. “There is a little bit of our soul in each bag.

The first Hermès leather goods workshop opened at the flagship store in Paris in 1880.PHOTOGRAPH BY CYRIL ZANNETTACCI.


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Disguise appoints new market managers for UK and France

Disguise has announced two key costume hires for its growing sales team in the EMEA region. The brand calls on Kim Lucas and Nathalie Ferrier to lead the two largest apparel markets in EMEA, UK and France.

“The UK and France are the most powerful clothing markets in Europe, so it is essential that we have talented and experienced staff who manage local development and sales there, and Kim and Nathalie are the cream of the crop, ”says Tara Hefter, President and CEO, Disguise. “Their backgrounds and personalities fit perfectly with the Disguise culture, and we are delighted that they are leading our growing team. We look forward to Kim and Nathalie developing key, major licenses that will soon be announced in the EMEA region. ”

Kim Lucas, UK & Ireland Business Development Manager, will oversee UK business development alongside the management team. Lucas brings the apparel experience gained throughout her career, most recently to Christy’s by Design where she helped grow the costume business. Lucas’ insight into the UK and Irish licensor-driven apparel industry, along with his extensive relationships with retailers, will drive Disguise’s growth and expansion into these key markets.

Nathalie Ferrier, Business Development Manager for France and Benelux, has over 20 years of experience in the toy and clothing industry, including years at Amscan. Ferrier will develop the French and Benelux markets via direct retail sales, in collaboration with distribution partners and local accounts. His local presence as well as his disguise knowledge and connections will build on Disguise’s growing business in these important countries.

“We are delighted to welcome Kim Lucas and Nathalie Ferrier to Disguise EMEA,” said Tony Lewis, Director of Sales and Marketing, Disguise EMEA. “With their vast experience in the apparel industry, they are both confident in continuing to expand into the retail business and providing truly professional service to our customers. ”


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French fashion

Aida Aras, tailor in Nan Duskin and Toby Lerner boutiques, who later started her own business, dies at 86

Aida Aras, 86, of Wayne, a dressmaker who did alterations for upscale boutiques in the downtown and mainline, and who also had her own tailoring business at home until last year , died in her sleep in her apartment on Monday, September 7. 6.

She was a “force of nature” who had a cuteness that could charm anyone she met, said daughter Arlene Aras.

And she charmed everyone, from the high-end clients who came to her house with ball gowns to touch up at 9 or 10 p.m. to the maintenance workers in her building.

“She was very full of life and always had good intentions and was very involved in her community,” her daughter said. “She knew everyone and everyone knew her.”

She lived independently and made dresses for proms and weddings until the pandemic forced her to shut down her business last year, at the age of 85.

An immigrant from Turkey, of Armenian Christian origin, Ms. Aras arrived in the United States in 1976 when she was in her early 40s. She was the mother of two teenagers. Her husband joined the family later.

“She saw the United States as a place where people had this freedom and this opportunity,” said Jon-Jorge Aras, her grandson. “She had the feeling deep in her heart that her children would be more successful here.”

When Ms Aras and her children moved to Drexel Hill, her husband stayed in Turkey for a while to continue his business.

She was also very opinionated and loved to watch news programs on television.

“She was a very assertive person,” Jon-Jorge said. “She was the kind of person who wasn’t going to hold back what she was feeling.”

Yet she always had a warm, welcoming smile and a bubbly personality.

“She used her confidence and kindness to get her foot in the door” of those toney shops like Nan Duskin and Toby Lerner, he said.

The Fox Historic Costume Collection fashion website described the Nan Duskin as “an internationally renowned boutique that has dressed the high society of Philadelphia”.

For 30 years she worked in boutiques in Center City, Strafford, Haverford and at Lord & Taylor in Bala Cynwyd. She then worked from home for the clients she met in these shops.

At first, Ms. Aras found work as a tailor in a dry cleaners. But customers told her she should work for nice shops because of her skills.

So, armed with both the ability to speak French, in addition to three other languages, and a keen sense of fashion, Ms. Aras disguised herself and visited the shops her customers spoke to her about to gift her sewing services.

“Istanbul was once much more cosmopolitan,” said Arlene. “Because my father was a record producer, they were always invited to musicals or opera events when artists and great European composers came to Turkey. They were also invited to foreign consulates for dinners.

“My mother could take a simple black dress and in her youth she looked like Audrey Hepburn.”

Arlene said the family had received numerous calls and texts from her former clients, as well as from a maintenance worker at her apartment.

“He said, ‘Your mother was one of the nicest people I have ever met. She was always so grateful. On a hot day, she always offered us a cold drink.

Aida Aras was born in Istanbul, Turkey on October 7, 1934, to Kevork and Satenik Serif. She was the oldest of two children. Her father owned a famous delicatessen.

She attended school in Istanbul, where she studied French in addition to being fluent in Armenian and Turkish.

In 1957, she married music producer Onnik Aras. In 1974, when her children were teenagers, she traveled to the United States with friends and fell in love with the country, her grandson said.

After moving to the United States, she was so happy to become an American citizen that her family members nicknamed her “The Patriot”.

“She loved her country, its flag and its culture,” said Arlene. “She always said, ‘Where else in the world can you be yourself? You don’t have to hide your religion. You don’t have to hide your last name. You have nothing to hide.

However, she also maintained a strong love for Turkey.

“She kept coming back to visit. She was always happy to go and happy to come home, ”said Arlene. Her husband died in 2003, after a 46-year marriage.

When she retired from her boutique job, Ms. Aras’ clients persuaded her to sew and alter from home.

She turned a room into a full-fledged boutique, where she welcomed customers with tea, fresh baked goods, and Dove milk chocolates.

She also loved to cook and prepare Armenian dishes for her children and grandchildren, Jon-Jorge said. The day before her death, she baked a fruit cake for her daughter.

She loved to travel and was a member of the St. Sahag & St. Mesrob Armenian Apostolic Church in Wynnewood.

Besides her daughter and grandson, Ms. Aras is survived by her son, Aret Aras, her brother, three other grandchildren and a great granddaughter.

A service commemorating his life was held on Friday September 10.


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French fashion

A short and brilliant history of gold in art, from the glittering tombs of ancient Egypt to the shockingly gilded surfaces of Gustav Klimt

Gold is a color in its own right. Just ask any chrysophile – a fancy word for lovers of the substance, that is, almost everyone. For millennia, this material has been used as a glittering symbol reserved for what is most sacred and revered. The Incas called gold “the tears of the sun”. The Egyptians knew it as “the flesh of the gods”. The hue adorned homages to deities, branded representations of kings and queens, and symbolized the opulence, power, and spiritual splendor of another world.

The mythologies and stories surrounding gold have also been troubling at times. In mythology, King Midas’s wish for a touch of gold becomes a curse. Belief in magic played a role, with alchemists seeking to transform ordinary metals into coveted matter. The actual quest to acquire gold ore has at times had horrific consequences, including colonial plunder that spanned centuries. During the American Golden Age, gold took on more sinister implications, embodying decadence, excess and corruption (the Emerald City of Oz, in The Wizard of Oz, was itself a reference to “ounces” of gold and the American obsession with silver).

Nonetheless, gold has retained its powerful hold to this day (who could forget the hubbub on The golden toilets of Maurizio Cattelan at the Guggenheim?). With the recent announcement of the discovery of golden treasures in France and in Denmark, we decided to take a brief look at the enduring role of gold in the history of art.

Ancient symbol of the gods

The funerary mask of King Tutankhamun at the Cairo Museum, Egypt. Photo: Tim Graham, courtesy of Getty Images.

Although it is not known exactly when humans first encountered gold or began to create art from it (the Scandinavian solar chariot at Trundholm dates back to at least 1,400 BC). era), it was in the fertile crescent of Egypt that gold flourished in new and brilliant forms, thanks to many artisans.

Egypt had a veritable glut of gold, it should be noted. While other civilizations must have searched for the precious material, the element was so common in Egypt that royalty adorned themselves with gold glitter as a cosmetic. Additionally, the Egyptians were technically savvy, successfully transforming the naturally soft material into enduring objects and adornments for rulers for both this life and the next. In the tomb of Pharaoh Tutankhamun (one of the only tombs to have been excavated largely intact), archaeologists have discovered the famous Tutankhamun mask, a funeral mask of the face of the young king in 11 karat gold and encrusted with precious stones. Entering the tomb for the first time, archaeologist Howard Carter wrote in rapture: “Strange animals, statues and gold… all over the reflection of gold. It should be noted that even since these early experiences, gold has been associated not only with wealth and power, but also with spirituality, transcendence, and the hereafter. A fascinating piece of information for jewelry purists: the Egyptians were more concerned with the specific hue of gold than its quality, and often used alloys, especially the gold-silver alloy electrum, to create their objects of gold. ‘art.

Byzantine beauty

Christ Pantocrator, flanked by the Virgin Mary and John the Baptist (c. 1261), Hagia Sophia, Istanbul.

Christ Pantocrator, flanked by the Virgin Mary and John the Baptist (c. 1261), Hagia Sophia, Istanbul.

Gold was at the heart of artistic creation during the reign of the Byzantine Empire (4th-15th century). Its rulers have often been honored with artistic tributes, such as the famous 6th-century mosaics depicting Emperor Justinian and Empress Theodora at the Basilica of San Vitale in Ravenna, Italy. Further west, Celtic manuscripts illuminated with gold leaf, and in paintings, images of Christian religious figures were placed on ethereal backgrounds and flattened with gold leaf. At this time, the gold once associated with the ancient solar gods was transferred into the Christian faith, with gold reflecting divine light and radiance, as well as the illuminating omnipresence of God. Viewed by candlelight, as they were meant to be, such works would have had a sparkling, otherworldly beauty.

Islamic calligraphy and Persian miniature paintings

Baysonghor Shahnameh, 1430.

A miniature from Baysonghor Shahnameh (1430), a Persian epic famous for its art.

Gold has a long tradition in court paintings in the Islamic world. One of the most acclaimed works of Islamic calligraphy, the Blue Quran, features brilliant gold leaf calligraphy on rare indigo parchment. In miniature paintings of the Indo-Persian world, the hue also found special meaning. Mughal Emperor Akbar (1542–1605) was particularly fond of the art of miniature paintings, small and delicate, often intended to be collected in books or albums for private consumption. During his reign, an artistic milieu flourished, producing intricate scenes of architecture, events, decorative elements and clothing, all wonderfully enhanced with golden details.

Louis XIV as the Sun King

Drawing by Henri de Gissey of the Apollo costume worn by Louis XIV in Le Ballet de la Nuit (16530>” width =”664″ height =”1024″ srcset =”https://news.artnet.com/app/news-upload/2021/09/Ballet_de_la_nuit_1653-664×1024.jpg 664w, https://news.artnet.com/app/news-upload/2021/09/Ballet_de_la_nuit_1653-194×300 .jpg 194w, https://news.artnet.com/app/news-upload/2021/09/Ballet_de_la_nuit_1653-32×50.jpg 32w, https://news.artnet.com/app/news-upload/2021/09 /Ballet_de_la_nuit_1653.jpg 750w” sizes =”(max-width: 664px) 100vw, 664px”/></p>
<p class=Drawing by Henri de Gissey of the Apollo costume worn by Louis XIV in Le Ballet Royal de la Nuit (1653).

As power shifted between the Catholic Church and divinely ordained rulers and merchant classes throughout the Renaissance and Enlightenment, gold took on shifting political meanings. In the ancient world, Zeus, god of the sky, appeared to Danae as a shower of light (often represented as a shower of gold coins). Louis XIV of France renewed these old associations by proclaiming himself Sun King. In a famous ballet show, The Royal Ballet of the Night, the 14-year-old king (by all accounts an excellent dancer) appeared as costumed as the sun itself, happy in sparkling gold. Louis XIV’s celestial aspirations are also manifested in the architecture of Versailles, with abundant use of gold and mirrors to create a glittering effect as the king walks through the halls.

Gustav Klimt and the Vienna Secession

Gustav Klimt, The Kiss (Lovers) (1907-1908).  Courtesy of Galerie Belvédère.

Gustav Klimt, The Kiss (Lovers) (1907-1908). Courtesy of Galerie Belvédère.

While Pablo Picasso had his blue period, Gustav Klimt flourished in his golden phase. The Austrian artist had trained as a goldsmith in his father’s studio before becoming a painter, and the material had deep personal meaning for Klimt. In his work he used gold leaf for a novel effect, flattening the plane of the image in a way reminiscent of the Japanese prints that inspired him so much. His application of gold also imbued his works with a certain “objectivity” that crossed the fields of design and decorative artists, qualities that embodied the unique characteristics of his fellow Viennese Secession artists. Moreover, Klimt’s decadent use of gold was not related to ideas of power or religion, but to sexuality and what Klimt saw as the transcendence of intimacy between men and women. . Indeed, his most famous painting, The Kiss (Lovers) (1907-1908), scandalized some critics with his obvious allusions to religious icons while exalting not God, but man and woman.

Yves Klein’s golden sublime

Yves Klein, Untitled monogold (1961). Courtesy of Christie’s.

While French conceptual artist Yves Klein is certainly most famous for his patented International Klein Blue, the artist was also deeply fascinated by the golden hues. Klein considered his more pink and gold blue to symbolize the holy trinity, with gold embodying God the father; blue, God the son; and risen, the Holy Spirit. Klein is coveted Monogolds the series featured sculptural surfaces entirely covered in gold leaf. As places of abstract reflection, these works refer to Byzantine icons.

Gold played an important role as Klein expanded his metaphysical investigation with the “Zones of Immaterial Pictorial Sensibility” series of the late 1950s, in which he sold spaces of “pure pictorial sensibility” otherwise known as space itself. Gold also played an important role in this work. In January 1962, Yves Klein went to the banks of the Seine to perform a “ritual transfer of immateriality” with the Italian author Dino Buzzati, who paid the artist for his area of ​​“pictorial sensitivity” with gold leaf . To complete the transaction, Klein produced a receipt for Buzzati – who burned him – and threw the majority of the gold leaf into the river to float, sparkling, away.

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