creative director

Fashion designer

Repossi pays tribute to Robert Mapplethorpe in fine jewelry

As one of the great studio photographers of the 20th century, Robert Mapplethorpe saw his life stretched out to the point of nausea. And yet, despite Mapplethorpe’s notoriety, his jewelry designs – a significant part of his creative output prior to his photography – remain criminally ignored.

“He was fascinated by finery, especially jewelry, which he made from an early age,” says Michael Stout, former Mapplethorpe attorney and chairman of the Robert Mapplethorpe Foundation. “And he’s always been very interested in expanding his artistic footprint in the fashion world.”

The new Americana Eagle necklace.

The photographer in 1971.

Mapplethorpe, who died of AIDS in 1989, could finally get his wish. Next month, at the request of the foundation, Gaia Repossi, the third-generation creative director of the eponymous company, unveils 10 new high jewelry pieces inspired by Mapplethorpe originals from the early 1970s. two-pronged offer was launched last year.) “They were perfect,” Repossi says of the trinkets Mapplethorpe made for friends and acquaintances, including Halston, Marisa Berenson and Yves Saint Laurent (who Mapplethorpe claimed to have snatched her dice jewelry and domino handcuffs). “But I really wanted to elevate them using noble materials.”

While Mapplethorpe’s long chains and fetish necklaces were made from found objects such as skulls, rabbit’s feet, beads, feathers and even the occasional crustacean, Repossi’s updates are rendered in golds and exquisite diamonds, and their price ranges from $2,050 for a ring to $197,000 for an Americana Eagle necklace. “It’s impossible to collaborate with someone who isn’t there,” Repossi explains, “so I was very careful not to violate their vision.”

His concern has already won the admiration of influential fans. “She really captured the essence and spirit of her designs,” says Frances Terpak, Senior Curator and Head of Photographs at the Getty Research Institute and co-author of Robert Mapplethorpe: The Archives, a book that pays particular attention to the artist’s early Polaroids, sculptures and jewelry. “There is a collector’s bias in favor of his black and white photographs, and the Repossi collaboration will go a long way to remedying that.”

Repossi examines some of Mapplethorpe’s original creations.

Relic necklace by Gaia Repossi, inspired by one of Mapplethorpe’s pieces, with her 1981 Ajitto photograph.

No one would have been happier than Mapplethorpe himself. “He absolutely would have loved the Repossi collection,” says Stout. “As he got richer, the level of jewelry he bought for himself increased. He certainly wasn’t going to Harry Winston, but he wasn’t just into cheap pearls anymore, nuts and skulls.

There will be no shortage of Mapplethorpe-related events to wear the pieces. Triptych (Eyes on each other)a musical composed by Bryce Dessner about the life and photography of Mapplethorpe, is scheduled for an extensive international tour, after a run in the United States which was interrupted by Covid; Hadrian, an opera composed by Rufus Wainwright, is revived in Madrid and Barcelona this summer, with artwork by Mapplethorpe as part of the scenography. And in July in London, Alison Jacques, the British gallery that has represented Mapplethorpe since 1999, will present her works, including jewelry, curated by fashion designer Jonathan Anderson.

“Robert sought ultimate perfection and exquisite beauty, often in controversial subjects that were far removed from the art world, with all its polite or seemingly sophisticated inhabitants,” says Jacques. “It is this rapprochement between opposite, often conflicting worlds that has made him the emblematic artist that he is and will be for many generations to come.”

Robert Mapplethorpe and Patti Smith, wearing his jewelry designs, in 1969.

©Norman Seeff; Valerie Santagto; © Robert Mapplethorpe Foundation, under license Artestar, New York; ©Jeremy Everett; Photo courtesy of Repossi.

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French fashion

Stella McCartney nods to Ukraine crisis with Lennon’s anti-war song at winter show

PARIS, March 7 (Reuters) – In a nod to the war in Ukraine, Stella McCartney closed her eponymous label’s winter fashion show to the music of John Lennon’s anti-war ballad “Give Peace a Chance.” .

Models curled up in glass-encased hallways atop the Center Pompidou, parading in elegant bohemian-flavored dresses with pockets and slit balloon sleeves as rhythmic music played, with sweeping views of Paris in the backdrop.

“I believe very strongly in peace and love and obviously using John’s song, who was my dad’s best friend…it just shows for me, it’s a personal song that reflects the thoughts of the world whole, I hope, right now,” McCartney told reporters after the show, referring to her father, Paul McCartney.

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Some fashion designers have spoken publicly about their struggle to find the right tone for their shows and make the decision to go ahead with Paris Fashion Week events as the world focuses on the Ukraine crisis.

The French capital is hosting the latest series of industry fairs which have also taken place in New York, London and Milan, and end on March 8.

In Milan, Georgio Armani acknowledged the crisis by cutting the music for his fashion show. Read more

In Paris, Balenciaga creative director Demna Gvasalia spoke about his experience as a refugee from Georgia and presented guests with Ukrainian flag t-shirts, while Isabel Marant bowed for her brand’s runway show with a blue and yellow top. nL2N2V90CN

“Obviously I’m anti-war… My heart goes out to the people of Ukraine tremendously and it’s heartbreaking, it’s a traumatic experience to go through, so one can only imagine what these poor people are going through,” said McCartney.

His brand is part of the luxury group LVMH (LVMH.PA), which, along with Hermès, Kering, owner of Gucci, and Chanel, announced on Friday a suspension of its operations in Russia.

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Reporting by Mimosa Spencer Editing by Mark Heinrich

Our standards: The Thomson Reuters Trust Principles.

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French fashion

Children of famous fashion brands go their own way

MILAN — When Alice Etro was a little girl, she used to spend hours after school with her father, Kean Etro, creative director of Etro menswear, playing with fabric swatches in the design studio of the fashion brand in which his grandfather Gimmo started. 1968. She creates clothes from scraps for her dolls and plays with the tubes of rolls of fabric.

“I loved everything,” she said. She remembers the thrill of watching a parade and walking alone with her parents. “I wanted to be him,” she added, of her designer dad. She was expected to follow in his footsteps and join the family business, just as he and his three siblings had followed their parents. As, indeed, has been the norm among many Italian fashion dynasties.

There is an expression in Italian – “capitalismo familiare” or family capitalism – which refers to the transmission of a private enterprise from one generation to the next, said Matteo Persivale, special correspondent for the Corriere della Sera newspaper. For decades, this has been the rule in fashion where brand stewardship has been passed down like a well-guarded saffron risotto recipe or a chalet in Cortina.

Angela, Luca and Vittorio Missoni took over from their parents, Rosita and Ottavio, the founders of Missoni, for example. Silvia Fendi is a third-generation Fendi, working in the company her grandparents Adele and Edoardo founded in 1925 (and her daughter, Delfina Delettrez Fendi, is now artistic director of jewelry). James Ferragamo, third-generation descendant of Salvatore Ferragamo, the founder of Ferragamo, is director of brand, product and communications for the family business. And one of the fourth generation of Zegna, Edoardo Zegna, is in the running to take over the brand, created in 1910 by Ermenegildo Zegna.

Entering the family business was such a common practice, says Laudomia Pucci, the daughter of Emilio Pucci, that even when she worked for Hubert de Givenchy in the late 1980s in Paris, he always told her: “Soon you will come back home to take over your father’s business. She did, in 1989, and described the concept of taking on the mantle of the family business as “quite normal and organic.”

But a combination of the globalization of luxury, which has led many family businesses to sell stakes to conglomerates or become publicly traded entities to survive, and the blurring of lines between all creative disciplines, has changed the narrative.

Increasingly, the next generation of big luxury families – often referred to as “figli d’arte”, a term referring to a child who inherits a parent’s profession, usually in the arts – is looking ahead. beyond the ancestral parapet, applying what she learned while growing up in one creative sector to work in another.

Ms. Etro, for example, 34, studied fashion design at Istituto Marangoni, one of Milan’s leading fashion schools, and spent around 10 years at another family sewing and textile company, Larusmiani. (where his uncle Guglielmo Miani is general manager).

But in 2019, rather than joining Etro as she had imagined, Ms Etro became the creative director of Westwing Italia, one of 11 national sites operated by a European interiors e-commerce retailer specializing in daily newsletters. offering a world of shopping. household items, from bed linen to dishes.

“I prefer mass over niche,” Ms. Etro said. “Luxury should be for everyone. It doesn’t have to be expensive and out of reach. Her family has been supportive of her decision to branch out, she continued, noting that these are times like the time she spent as a child in her grandmother Ghighi Miani’s atmospheric Milanese home, with its maximalist interiors, who ultimately perhaps inspired her the most.

Alessandro Marinella, 27, a fourth-generation member of the family that founded E. Marinella, the Neapolitan company known for making printed silk ties dear to President Barack Obama, is not only helping the brand grow in the field digital, but focuses on something he considers just as ingrained in the tradition of luxury as ties: food.

In 2019, Mr. Marinella co-founded Marchio Verificato, which produces, certifies and supplies Italian specialty foods. The company not only distributes some of the best Italian produce to shops and restaurants, but grows crops in the traditional way: for example, its Vesuvio Piennolo tomatoes are grown in volcanic soil, then strung on hemp threads, tied in circles and kept dry for months. .

“Eating well is important,” Mr. Marinella said, “but where and how also denotes a kind of social status.”

Technology too, according to Francesca Versace, 39, daughter of Santo Versace, brother of Donatella and founder of the Gianni brand. As a result, she traded her ready-to-wear birthright for the chance to start an NFT business.

“My love for fashion will never diminish; it’s in my heart,” she said of her family’s accomplishments. But she thinks the zeitgeist has changed.

“My gut tells me it’s time to move to the new space,” she said, referring to the metaverse. “It’s more of a cultural change than a technological one.

Later this spring, she and her partners plan to unveil Public Pressure, an NFT marketplace with an in-house NFT creative studio to help musicians, brands, and movie studios conceptualize NFT campaigns. The company – founded by Ms. Versace; Giulia Maresca, former designer of Christian Louboutin and Tod’s; Sergio Mottola, a blockchain entrepreneur; and music industry insider Alfredo Violante — is destined, Ms. Versace said, to recreate the Versace razzmatazz she remembers from her family’s fashion shows, but in the digital space.

Likewise, Larissa Castellano Pucci, 34, daughter of Laudomia and granddaughter of Emilio, thinks the future is virtual. She studied information science at Cornell University and worked as a 3D artist for Satore Studio, a creative company in London, rather than going into the family brand (which, anyway, was acquired by LVMH Moët Hennessy Louis Vuitton in 2000). And in January, Ms. Pucci released her first collection on DressX, a digital-only clothing retail platform.

Called Marea, the collection included garments that shimmer like fish scales, seaweed-like billowing hems, and dresses produced from tiny digital seashells. It is now set to be part of Crypto Fashion Week, a week-long event in March dedicated to blockchain-powered digital fashion.

“It’s rare for someone so junior to have creative carte blanche,” Ms. Pucci said of the appeal of working with DressX, rather than a traditional atelier. In the real world, “it’s almost impossible to create something completely new as a young designer” because costs and small production runs hold you back.

This spring, FouLara, Ms. Pucci’s scarf brand, plans to launch an NFT minting service to allow users to design and mint custom NFT prints.

Laudomia Pucci said she was thrilled Larissa was trying something that resonated with her and her generation – and she thinks Emilio Pucci would have looked on with affection too. “It’s necessary in Italy,” she said. “We have to look to the future, not just to our great past.”

Her daughter agreed. “If you come from a background that has so many things, you follow in the footsteps or try to forge your own identity,” Ms. Pucci said. “Otherwise, it is abusive. I can only re-imagine my legacy; I can’t escape it.

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French fashion

How I Created a Diversity-Focused Fashion Brand: Gen Z Founder

  • Yassine Guelimi is an entrepreneur who wants to raise awareness of women wearing the hijab.
  • Through its Hallyulimi brand, Guelimi honors its heritage and favors diversity.
  • He advises future young entrepreneurs to have a clear message, regardless of the type of business.

French law student and entrepreneur Yassine Guelimi believes there needs to be a much better representation of women wearing the hijab – and that her progressive, fashion-forward approach can bridge the gap.

Guelimi founded Hallyulimi in 2020 and has been the Creative Director ever since. The brand wants to stand out with its Korean-inspired outfits. And he also places women wearing the hijab at the forefront of his mission.

Guelimi, however, said he never originally intended to make it his mission to represent women wearing the hijab. It was always normal for him growing up to see his mother wearing it. He said: “Women who wear the hijab are so inspiring – despite all the obstacles they face, they never give up.”

The 22-year-old pointed to the current climate surrounding wearing the hijab in France, where he lives.

In January, the French Senate voted in favor of banning wearing the hijab in sports competitions, and last year he voted in favor of President Emmanuel Macron’s controversial proposal separatism bill, which prohibits Muslim women under the age of 18 from wearing the hijab in public. the The EU also voted last year for a bill allowing companies to ban employees from wearing religious headscarves in order to maintain “neutrality”.

“There is a cohesion behind all my campaigns, and a real desire to put diversity first,” said Guelimi. “I want my brand to represent inclusivity, but more importantly, I want the brand to be a true representation of youth.”

He added: “Enough with people trying to erase from the mainstream how diverse we are. In particular, French society is made up of all kinds of religions, and I’m more advocating for the hijab because of the political climate. current – it’s catastrophic.”

France’s Minister for Gender Equality declined Insider’s request for comment.

A study of Pew Research Center found that Gen Zers are more racially and ethnically diverse than any previous generation and that major social and political issues, just like Millennials, Gen Zers are progressive and pro-government and see increasing racial and ethnic diversity as a good thing.

Four Hallyulimi models smiling during a campaign for the brand's new collection.

Diversity is a key objective for the entrepreneur.


Guelimi told Insider that anyone who appears in the brand’s new campaigns isn’t there to highlight an ethnic difference, and that’s not even a “difference to me – whether you’re white, black, mixed-race, Asian… But all I want is true representation of all women from all walks of life.”

Here’s what he would advise any young entrepreneur looking to build a successful, heritage-driven brand.

Have a clear message

Guelimi launched her fashion brand taking inspiration from Korean loose cuts and her Algerian heritage.

One of his motives is to normalize women wearing the hijab, “even though it bothers me to use the word normalize because they are normal.” To his surprise and pride, these women adopted the brand. He said: “I’m proud they’ve embraced my brand because women who wear what’s called ‘modest fashion’ tend to be very demanding – the item of clothing needs to be able to fit their way of being. dress.”

In the process of building the brand’s marketing, he meets Amelia Gueye, a French Muslim model who has become his muse. “She represents the woman I want to please – free, modern and strong.”

A post shared by Amélia Gueye ★ (@ameliaguey)

Find a place in the market — or your wardrobe

Guelimi is proud to contribute to a growing trend for loose and oversized clothing in Western countries; he began to consider the idea of ​​making such clothes when he could not find in stores what he himself wanted to wear.

“I just wanted good quality clothes that looked simple and effortless.”

He added that the simplicity of the clothes is very important and the response has been amazing, he says. “People want simplicity, and this brand is very niche – the demand was there, I just executed it.”

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Fashion designer

Nino Cerruti gave elegance a good reputation

Elegance, said Nino Cerruti, got on his nerves. It was the kind of remark you can afford to make when you’re easily the most elegant man in the room. And Mr. Cerruti, who died last month at the age of 91, embodied that attribute, a quality rarely encountered but undeniable when you are in his presence.

“It can be learned, but you have to have a natural disposition for it,” he said in a interview at L’Officiel USA last year.

Although sartorial elegance is an instinct, as Mr. Cerruti suggested, it can be anatomized. It stems from knowing yourself and staying true to yourself; to ruthlessly assess physical flaws and strengths in order to understand the effect of your body moving through space. It depends, to some extent, on learning the basics of dress-up before throwing it.

As we enter the third year of a still, mostly pandemic, sitting at home in our relaxed duds, it might seem that having an aptitude for elegance is as useful as knowing how to prune a bonsai tree.

Yet, as recent menswear and couture shows across Europe suggest, a stylish mirage looms on the horizon. Designers, experts and consumers are looking for reasons to dress up again – regularly and in public. By this one, we don’t mean for Instagram selfies or red-letter events like, say, the Met Gala, which has come to look like the fashion version of Comic Con.

On the catwalks and showrooms of Milan and Paris, brands like Prada, Louis Vuitton and Tod’s represented individual visions of clothing that nodded obliquely at Mr. Cerruti, who insiders know he laid the foundations of a post-war Italian ready-to-wear industry that produced Italian clothing. elegance a global identity.

“I’m very drawn to this idea of ​​chic,” Tod’s creative director Walter Chiapponi said last month in Milan after previewing a beautiful capsule collection of reworked classics that could have been hacked into wardrobes. of a certain type of Italian. of a particular pedigree – someone like Nino Cerruti. “These northern Italians traditionally had that quality,” Mr. Chiapponi said. ” It is a question of culture.

The poster of this form of chic was by reflex Gianni Agnelli, the industrialist and heir to Fiat. Mr. Agnelli, however, was a showboat, partly a creation of a post-war tabloid culture fascinated by the doings of a newly minted cosmopolitan jet set.

The contrast between the two men is also instructive. Where Mr. Agnelli’s signatures (knotted-shoulder sweaters, denim skiwear, soft-soled driving shoes, ties tucked into waistbands, wristwatches worn on a shirt cuff) came together as expressions of sprezzatura, an overused term for elegance thrown wide, Mr. Cerruti’s was more authentic and relaxed. He dressed so as not to be noticed. Yet when you were with him, you wondered why he looked so much better than anyone else in sight.

“He was the most stylish man I’ve ever met,” said Emanuele Farneti, fashion and style editor at Italian daily La Repubblica. “He was the symbol of a certain elegance specific to regions and generations, such as Milan and Turin. It’s a kind of chic that’s the opposite of showing off.

In a sense, Mr Farneti said, it’s no surprise that Cerruti “discovered Armani”, whom the older man spotted as a relative stranger employed at the La Rinascente department store and hired to design menswear. for his Hitman label. In his 50-year career, Giorgio Armani has rarely strayed from a calm basic aesthetic. When critics criticize the apparent monotony of his work, they also tend to overlook his early innovations.

More than any other designer, Mr. Armani can be credited with popularizing the deconstructed suit. And, intentionally or not, contemporary designers like Jerry Lorenzo at Fear of God or Mike Amiri at Amiri nod to his legacy with each new collection of their high-end streetwear. Mr. Armani did not “invent” deconstruction, however. If anyone, Nino Cerruti did it. “He was the trailblazer,” said Nick Sullivan, Esquire’s creative director.

Coming from a family of industrialists whose Lanificio Cerruti woolen mills were founded in 1881 in the northern town of Biella, Mr. Cerruti was the first to notice the potential to diversify from fabric manufacturing to tailoring. “With Walter Albini, he was the forerunner of what became Italian ready-to-wear,” Sullivan said. “He was a rock star in the late 60s.”

Among the innovations Mr. Cerruti pioneered were wetsuits stripped of their rigid interior structures. “He was among the first to deconstruct the jacket,” said Angelo Flaccavento, an Italian style writer.

Unlike the soft Neapolitan shirt tailoring popular since the 1920s, when upper-class Englishmen sent their tailors to Naples to copy local techniques, Mr. Cerruti retained the structure of his suits while relaxing them. The simple decision to remove linen, flannel, horsehair and other basic elements from traditional suits ultimately affected the course of modern menswear.

Mr. Cerruti was a pioneer in many other ways. In the early days of the asexual fashion concept, which he called “couples’ clothing,” he also regularly dressed celebrities, including Anita Ekberg, Jean-Paul Belmondo, and Harrison Ford, and not because his publicists stalked them for lucrative endorsements. Many of his star customers, he says, “came as customers of my Paris boutique.”

Curiously, given that he has provided clothing for countless films, his cinematic contribution has generally gone unrecognized. “So many things that people think Armani was in the movies were Cerruti,” designer Umit Benan noted last week by phone from Milan.

Although it was costume designer Marilyn Vance who chose the ‘Pretty Woman’ wardrobe, it was her choice of the Cerruti costume that dignified the millionaire played by Richard Gere and gave an enduring elegance to an essentially generic character. .

Cerruti designs have appeared in films as disparate as “Wall Street” and “The Silence of the Lambs” and have been worn by generations of fashionable men. Yet no one has ever managed to look as stylish as the designer himself. There were her sorbet-colored sweaters draped (but not tied) over the shoulders. There were her quirky polka dot green socks worn with gray flannel pants. There were his pinstriped shirts invariably worn over a dark T-shirt and under a tweed jacket, with no tie. There were his Yohji Yamamoto sneakers and the sewing tricks that few experts could detect.

“He was very aware of his body and his figure and how to work with it,” Flaccavento said.

Tall and lanky, Mr. Cerruti was long in the chest and dressed in a way that minimized the flaws in his figure. “In my mind, I see him in a soft suit, usually gray, with an open-necked shirt with a contrasting dark T-shirt underneath,” said Peter Speliopoulos, former creative director of DKNY and who was one of the many talents. (Véronique Nichanian of Hermès and Narciso Rodriguez were others) spotted or hired early on by Mr. Cerruti.

“He belted his high pants, wore a well-worn leather belt, to accentuate his waist – or give the illusion of really long legs,” Mr Speliopoulos said.

Until the end, he smoked like a fiend and lit his cigarettes with matches, somehow lending an element of chic even to this habit. “He was devilishly elegant,” said Mr. Flaccavento, who in 2015 organized an exhibition at Florence’s Museo Marino Marini of clothes from Mr. Cerruti’s personal wardrobe – he rarely threw anything away – which included suits, jackets, pants, evening wear. and capes tracing the evolution of Italian menswear through six decades.

Among the most fascinating items on display in this exhibit was a moth-ventilated frayed woolen jacket. Humble as he was, there was elegance in the designer’s shameless decision to not just keep an old garment, but to display it as representative of himself.

“I kept it for a simple reason,” Mr. Cerruti told that reporter at the time. “I’ve always loved this fabric.”

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Fashion brand

Could Detroit be the next fashion city?

“I think our landlord is like, ‘What are you guys doing?'” Cassidy Tucker said, sitting alongside her sister Kelsey on a Zoom call from their Detroit studio last week. . Around them was a stack of 50 original artworks, with several 8ft by 4ft wall sculptures meant to resemble the pages of a giant storybook. The art was to be pressed into the 26-foot truck they had rented to transport the lot from Detroit to New York for an exhibit called “Don’t Sleep on Detroit.”

Cassidy, 27, and Kelsey, 25, are the founders of Deviate, a playful, unisex line of street and workwear that launched in late 2018 and is produced entirely in Detroit. The sisters love and believe in their hometown’s creative energy so much that their entire business model is built around nurturing and sharing it.

They have recruited more than 50 local artists – fashion and textile designers, muralists, painters, graphic designers and ceramicists – to contribute to the work of the “Don’t Sleep on Detroit” showcase, which will also serve as a fashion presentation for the Fall 2022 from Deviate.

The idea behind the exhibition, which will be held in New York on February 2 and 3 as a press and industry event, is a core conceit of Mohammed/Mountain: Bringing the creative world of Detroit into the court of the big ones. The showcase will return to Detroit and open to the public later this year.

Detroit has long been in the fashion orbit. Highly influential retailer Linda Dresner, credited with bringing Jil Sander, Martin Margiela and Comme des Garçons to the United States, ran stores in New York and Birmingham, Michigan, about half an hour from Detroit, for decades. One of the few black designers to be a mainstay on the New York scene, Tracy Reese returned to Detroit in 2019 to launch her enduring collection, Hope for Flowers. Carhartt, the workwear brand that is increasingly linked to street fashion and hype, was founded in Detroit in 1889.

Over the past year or so, interest in Detroit has been reignited by global players: Gucci launched a collaboration with local brand Detroit Vs. Everybody, founded by Tommey Walker Jr., for a capsule collection of T-shirts and announced the opening of a new store in downtown Detroit; Hermès opened a store in the city; and in October, Bottega Veneta hosted what would be creative director Daniel Lee’s final fashion show for the Detroit house.

In March, Michigan’s first historically black college, the former Lewis College of Business, will reopen as the design-focused Pensole Lewis College of Business & Design.

“When people think of Detroit, they don’t think much of the positivity the city has to offer,” Cassidy Tucker said. “It’s often overshadowed by some of the most sensational elements in its history – the struggle, the triumph, the struggle.”

The New York showcase is set up like a storybook written by Kesley Tucker, creative director of Deviate, titled “A Bird Trusts Its Wings.” A metaphor for non-traditional creative careers, the story follows the main character who, mired in self-doubt, wakes up in a bustling world in which all of his ideas have been exiled to live out the rest of his days.

By revisiting them and interacting with them, she realizes that she wants to share them with the world. If the story provides a dreamy backdrop for the showcase, the subtext for it is the tenacity of rambling DIY.

“There’s always a lot of pressure, like, ‘You should be there. You should be doing this,’ Ms Tucker said of her decision to choose to carve her way off the well-trodden roads to the capitals of the fashion like New York, Los Angeles, London, Paris.” The showcase is really us putting the foot down and saying, ‘We can do this from Detroit and bring it to you.'”

Ms. Tucker studied fashion design at Wayne State University in downtown Detroit. After an internship with Vera Wang in Los Angeles, she realized she wasn’t interested in big brand work. “What I’ve learned the most is that fashion is a chore,” she said. “Everything you do in this life is drudgery, but you have to choose your path.”

Hers was driving home and teaming up with her sister who, after graduating from Princeton, had been involved in a ride-sharing startup called Splt and wanted to get involved in social entrepreneurship.

“We were on a mission to put Detroit on the fashion map,” Cassidy said.

How to do that? They had no idea.

They started by reaching out to people in the community, bringing together mentors including Ms. Reese. There’s also Christina Chen, who does public relations for Deviate and has fashion experience at Saint Laurent, Alexander Wang, Shinola and StockX, and Ben Ewy, the vice president of design, research and development at Carhartt.

“People here create their own scenes and have done so for a long time, whether it’s automotive, Detroit techno or workwear,” Ewy said. “People here think differently and create unique products.”

An eco-consciousness is built into Deviate’s ethos – the Tuckers produce almost everything locally and use scrap fabric to cut their clothes when they can – but the social impact is greater. Kelsey mentioned the Antwerp Six, Motown and the Wu-Tang Clan as collectives who started in neglected places and amplified their talents through the power of numbers.

Deviate has also partnered with the Industry Club of Boys & Girls Clubs of Southeast Michigan to offer paid internships. And last year, the company launched the Lost Artists Collective: a series of house parties requiring artists to bring some of their work to enter (they could walk away with someone else’s) which is became a community resource and was the starting point for “Don’t Sleep in Detroit.

Marlo Broughton, 34, a painter and illustrator who helped introduce Detroit Vs. Everyone with his cousin Walker, first heard from Kelsey and Cassidy via direct message, inviting him to one of the parties at the house of the collective of artists, then to participate in the showcase. “They showed me everything and had a full plan,” he said.

The sisters also reached out to Sydney James, 42, a fine muralist and artist, who contributed a photo of her 8,000-square-foot mural, “Girl With the D Earring,” a reinterpretation of Vermeer’s painting “Girl With a Pearl Earring”. featuring a black woman wearing an Old English D.

“I didn’t necessarily understand what it was, but I liked the ‘why’,” Ms James said after being approached for the showcase. “It’s like, ‘We’re going to make them look at us.'”

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French fashion

Chanel sends a princess on horseback to the catwalk in Paris

Written by Oscar Holland, CNN

CNN Style is an official media partner of Paris Fashion Week Haute Couture. See all coverage here.
Chanel unveiled its latest collection in dramatic style at Haute Couture Week in Paris — by sending a real princess to parade on horseback.

To the surprise of the guests of the Grand Palais Éphémère, the French fashion house opened its parade on Tuesday with the help of the niece of Prince Albert of Monaco, Charlotte Casiraghi, also a show jumper.

Dressed in a sequined Chanel jacket and black helmet, Casiraghi emerged on horseback, hurtling down the catwalk accompanied by a live performance by musician Sébastien Tellier. With several distinguished guests in attendance, including Margot Robbie, Pharrell Williams and Vogue editor-in-chief Anna Wintour, she circled the room before breaking into a gallop.

Casiraghi, who is also the granddaughter of Hollywood icon Grace Kelly, was unveiled as Chanel’s 2020 brand ambassador, having previously modeled for Gucci and Saint Laurent. Her mother, Princess Caroline of Hanover, was a close friend of the late Chanel creative director, Karl Lagerfeld.

In a promotion video produced before the show, Casiraghi said the use of horses was consistent with the history of Chanel and its founder.

The set featured a number of “equestrian curves” according to the luxury label. Credit: Gao Jing/Xinhua/Getty Images

“I immediately think of the story of Chanel and Gabrielle Chanel,” Casiraghi added. “Horses and riding were hugely important, even defining, in his vision for the brand.”

The striking decor for the event, which was littered with geometric objects and featured what Chanel called “equestrian curves,” was designed by French artist Xavier Veilhan. In Chanel’s promotional video, Veilhan said he and creative director Virginie Viard wanted the models and clothes to “contrast with the beauty of the rider and the horse.”

“It was also a way to align the very strong aesthetic of the horse with that of haute couture, and to see how refinement and animality can come together,” he said.

After Casiraghi’s dramatic appearance, the rest of the models were part of Chanel’s Spring-Summer 2022 Haute Couture collection. Check out the full collection in the video below.

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French fashion

Thierry Mugler, legendary French fashion designer, dead at 73

Rest in peace. the celebrity deaths in 2022 include Sidney Poitier and other stars, actors and singers who died this year.

The 2022 celebrity deaths come after a year of loss in 2021, which saw the deaths of stars like Betty White, Joan Didion, Cicely Tyson, Prince Philip and Willie Garson. On the morning of December 31, 2021, Betty White-an actress and comedian best known for her roles in television shows like The golden girls and The Mary Tyler Moore Show– died at age 99. His death came three weeks before his 100th birthday. “Even though Betty was about to turn 100, I thought she would live forever,” White’s friend and agent Jeff Witjas said in a statement at the time. “I will miss her terribly, as will the animal world she loved so much. I don’t think Betty was ever afraid to die because she always wanted to be with her beloved husband, Allen Ludden. She believed that she would be with him again.

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Prince Philip, the Duke of Edinburgh, died at Windsor Castle on the morning of April 9, 2021. He was 99. “I have, on my 95th birthday today, received many messages of well wishes, which I greatly appreciate. While as a family we are going through a time of great sadness, it has been a comfort to all of us to see and hear the tributes paid to my husband, from those in the UK, the Commonwealth and around the world,” said Philip’s wife, Queen Elizabeth said II in a statement at the time, “My family and I would like to thank you for all the support and kindness we have shown over the past few days. We were deeply touched and continue to be reminded that Philip had a such an extraordinary impact on countless people throughout his life.

Read on for the celebrity deaths in 2022 and the stars we’ve lost this year so far. May they rest in peace.

Thierry Mugler

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Image: AP Photo/Rémy de la Mauvinière.

Image: AP Photo/Rémy de la Mauvinière.

Age: 73 years old

Manfred Thierry Mugler, French fashion designer and founder of fashion house Mugler, died on January 23, 2022. “#RIP We are devastated to announce the passing of Mr. Manfred Thierry Mugler on Sunday January 23, 2022. May his soul rest in peace . We have the immense sadness to inform you of the death of Mr. Manfred Thierry Mugler which occurred on Sunday January 23, 2022. May his soul rest in peace, ”wrote the Mugler team in a post on its instagram on January 23, 2022.

Mugler, originally from Strasbourg, France, began designing in the 1970s and was known for his dramatic and avant-garde designs. He retired from fashion in 2002, but has come out of retirement a few times. Once, in 2009, when he designed Beyoncé’s “I Am…World Tour” costumes, and once, in 2019, when he designed Kim Kardashian’s Met Gala look. Mugler was relaunched in 201 under the creative direction of designer Casey Cadwallader.

Louis Anderson

Image: Richard Shotwell/Invision/AP.

Image: Richard Shotwell/Invision/AP.

Age: 68

Louie Anderson, a comedian best known for the FOX series Life with Louie, who died on January 21, 2022 of blood cancer. He was 68 years old. According to Anderson’s publicist Glenn Schwartz, who confirmed his death, the comedian died in a Las Vegas hospital, where he was undergoing treatment after being diagnosed with diffuse large B-cell lymphoma, the most common type. of non-Hodgkin’s lymphoma. “He is survived by his two sisters, Lisa and Shanna Anderson. The cause of death was complications from cancer,” Schwartz said in a statement to People.

A week before his death, Schwartz said rolling stone that Anderson was “resting comfortably” after undergoing his treatments. “Iconic comedian Louie Anderson is currently in a Las Vegas hospital being treated for diffuse large B-cell lymphoma, a form of cancer,” Schwartz told Rolling Stone in a Jan. 18, 2022, post.

Anderson won two Daytime Emmys for Life With Louie, his animated series which aired on FOX from 1997 to 1998. He also won Emmy for Outstanding Supporting Actor in a Comedy Series for his role in Baskets in 2016. From 2003 to 2012, Anderson also performed a stand-up show called “Louie: Larger Than Life” in Las Vegas.


Image: Scott Weiner/MediaPunch/IPX.

Image: Scott Weiner/MediaPunch/IPX.

Age: 74

Meat Loaf, a rock singer known for songs like “I’d Do Anything For Love,” died Jan. 20, 2022. He was 74. “Our hearts are broken to announce that the incomparable Meat Loaf passed away tonight surrounded by his wife Deborah, his daughters Pearl and Amanda and close friends,” Meat Loaf’s agent Michael Green confirmed in a statement. People. “His incredible career has spanned 6 decades which has seen him sell over 100 million albums worldwide and star in over 65 films including Fight Club, Focus, Rocky Horror Picture Show and Wayne’s World.” Bat Out of Hell” remains one of the top 10 selling albums of all time. We know how much it meant to so many of you and we truly appreciate all the love and support we are going through during this time of mourning the loss of such an inspiring artist and a beautiful man. The statement continued, Thank you for understanding our need for privacy at this time. From his heart to your souls…never stop swaying!

According to TMZ, Meat Loaf died of complications from COVID-19 and was due to attend a business dinner earlier this week for a show he was working on, “I’d Do Anything For Love,” but the dinner was canceled after he fell ill with COVID -19 and his condition became critical. Meat Loaf, real name Michael Lee Aday, was best known as a musician for his Bat out of hell trilogy albums——Bat Out of Hell, Bat Out of Hell II: Back to Hell, and Bat Out of Hell III: The Monster is Loose– which have sold more than 65 million copies worldwide. Alongside his music career, Meat Loaf was also an actor and starred in movies like The Rocky Horror Picture Show and Fight club. He was also part of the original Broadway cast of The Rocky Horror Picture Show and appeared in the musical Hair both on and off Broadway.

Andre Leon Talley

Image: Ilir Bajraktari/ Press.

Image: Ilir Bajraktari/ Press.

Age: 73 years old

André Leon Talley, fashion writer and former creative director of Vogue, died on January 18, 2022. He was 73 years old. TMZ, Talley died at a hospital in White Plains, New York, after battling an illness. “Goodbye darling André ❤️🙏… Nobody saw the world in a more glamorous way than you ❤️🙏… nobody was bigger and more moving than you ❤️🙏… the world will be less joyful I ❤️🙏 I t loved and laughed with you for 45 years…. I miss your loud screams… I love you so much ❤️🙏,” designer Diane von Fürstenberg wrote in an Instagram post at the time. Talley joined Vogue in 1983 as the magazine’s fashion news director before being promoted to creative director from editor-in-chief Anna Wintour in 1986. He held that position until 1995. He also served as a judge on America’s Next Top Model for seasons 14-17. Talley is also the author of the 2020 memoir, Chiffon trench coats, which takes readers through her 50-year career in the fashion industry.

Bob Saget

Image: Tony Costa/TV Guide/courtesy Everett <a class=Collection.” src=”–/YXBwaWQ9aGlnaGxhbmRlcjt3PTk2MDtoPTE1MDM-/–~B/aD0zMDAwO3c9MTkxNjthcHBpZD15dGFjaHlvbg–/”/>

Image: Tony Costa/TV Guide/courtesy Everett Collection.

Age: 65

Bob Saget, a comedian and actor best known for his role as Danny Tanner in Full house, died January 9, 2022 at the Ritz-Carlton in Orlando, Florida. He was 65 years old. Saget’s death was confirmed by the Orange County Sheriff’s Office, which found no signs of foul play or drug use. “Earlier today, deputies were called to the Ritz-Carlton Orlando, Grande Lakes for a call regarding an unresponsive man in a hotel room. The man was identified as Robert Saget and pronounced dead at the scene. Detectives found no signs of foul play or drug use in this case,” the sheriff’s office said. tweeted with the hashtag #BobSaget.

In September 2021, Saget launched a national stand-up comedy tour that was scheduled to run through June 2022. His most recent performance was on the evening of January 8, 2022 (one day before his death), at Ponte Vedra Concert Hall in Jacksonville, Florida. With Full house (in which he starred from 1987 to 1995), Saget was also known as the host of America’s Funniest Home Videos from 1989 to 1997. He was also the voice of the future Ted Mosby on CBS how I Met Your Mother from 2005 to 2014. From 2016 to 2020, Saget reprized his role as Danny Tanner on Netflix’s Full house to restart, More complete house.

Sidney Poitier

Picture: AP Pictures.

Picture: AP Pictures.

Age: 94

Sidney Poitier, the first black man to win the Oscar for best actor, died on the evening of January 6, 2022. He was 94 years old. Clint Watson, the Bahamian Prime Minister’s press secretary, confirmed his death. Poitier, who was born in Miami, Florida but raised in the Bahamas, is an actor, director and activist who became the first black man to win the Best Actor Oscar in 1964 for his role in film. field lily. Throughout her career, Poitier has received two further Academy Award nominations, 10 Golden Globe nominations, two Emmy nominations, six BAFTA nominations, and a Screen Actors Guild nomination. He was the longest-serving male Oscar winner until his death in 2022. From 1997 to 2007, Poitier served as Bahamian Ambassador to Japan. With field lily, Poitier was best known for films like Porgy and Bess, A Raisin in the Sun, To Sir, with Love, Guess who’s coming to dinner and In the heat of the Night.

Kim Mi-soo

Age: 29

South Korean actress and model Kim Mi-soo died on January 5, 2022. She was 29. His Landscape agency confirmed his death in a statement. “Kim suddenly left us on January 5th,” the statement read. “The bereaved are deeply saddened by the sudden sadness. Please refrain from reporting false rumors or speculation so the family can grieve in peace. Kim’s most recent role was in Disney Plus’ South Korean drama Snowdrop, in which she played a student activist who shared a female dormitory with Young-ro, played by BLACKPINK member Jisoo. Kim’s other credits include those in 2019 Souvenirs andThe world of Kyungmi, as well as TV series like Human Luwak, Hi bye, mom! and In the Ring. She on March 16, 1992. Some media reports that she is 30 and 31 years old due to different calculation methods.

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Fashion style

Thierry Mugler, French fashion designer who breaks genres, dies at 73

Thierry Mugler, the outrageous, anti-gender designer who dominated European catwalks in the late 1980s and early 1990s, died on Sunday. He was 73 years old.

His passing was announced on his brand’s official Instagram. “#RIP,” he said. “We are devastated to announce the passing of Mr. Manfred Thierry Mugler on Sunday January 23, 2022. May his soul rest in peace.”

Reached Sunday evening, two of his close friends confirmed his death, but declined to be interviewed, saying they were both too upset. No cause of death was given.

Mr. Mugler was one of the main architects of a late ’80s aesthetic that married S&M and high fashion. Her figure was a sort of inverted triangle with giant shoulders and a nipped-in waist. He loved latex, leather and curves.

His early muses included Grace Jones and Joey Arias. He’s had a longtime creative collaboration with David Bowie, and even dressed him for his wedding to Iman. His invaluable sensibility took him from couture to setting up a hugely successful Cirque Du Soleil show in Las Vegas. Long after he entered semi-retirement in the early 2000s, his perfume “Angel” was a huge success.

Alexander McQueen’s punk chic sensibility owes much to the work of Mr. Mugler. Just like Lady Gaga’s first “Bad Romance” look.

Mr Mugler was also known for dressing some of the biggest names in Hollywood and beyond, and made a comeback in 2019 by dressing Kim Kardashian for the Met Gala. The ‘wet dress’ Mr Mugler designed for Mrs Kardashian introduced him to millions of new fans.

Its current creative director, Casey Cadwallader, said: “Manfred, I am so honored to have known you and to work in your beautiful world. You have changed our perception of beauty, confidence, representation and empowerment. Your legacy is something I carry with me in everything I do. Thank you.”

A complete obituary will be published shortly.

Christine Chung contributed report.

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French fashion

French fashion team shows how to be horrible foreigners in Mexico


A crew member in Oaxaca for a French fashion shoot tricked Guillermina Gutiérrez into dancing for the camera, sparking outrage. (Photo via Instagram with permission @lienzos.extraordinarios)

MEXICO CITY — Strangers laugh as the elderly Native woman raises her arms and rocks back and forth to a 1960s pop tune as a professional photographer begins snapping pictures. Now, video of the photoshoot for a French fashion brand has sparked widespread outrage and a strong rebuke from the Mexican government.

The explosion involving Sezane, a clothing line founded in Paris in 2013, is the latest chapter in a long-standing debate around cultural appropriation and racism in the fashion industry. Big brands have been publicly shamed for being predatory at worst and culturally insensitive at best.

The controversy arose after a Sézane team staged a photo shoot with an elderly indigenous woman in the Zapotec community of Teotitlán del Valle, Oaxaca state, on January 7. The wife, Guillermina Gutierrez, is wearing a green sweater from Sézane and is seated in front of a staged set.

A woman from the French team gets up and starts dancing with Gutiérrez to the song by Mary Hopkin from 1968 Those were the days. The woman then steps aside and encourages Gutiérrez to keep moving forward, eliciting smiles, peals of laughter and words of encouragement.

But one onlooker was outraged: an Oaxaca resident who had been hired by Sézane to help with his shoots and recorded video of the scene.

The company arrived in Mexico in early January with a team of about 20 people, including models, photographers and videographers, said Kandy Mijangos, another Oaxacan hired to work with the team. The photo shoot in Teotitlán, famous for its weaving, came three days after a planned nine-day shoot in various parts of the state, according to a “mood board” the company put together outlining its vision for the advertising campaign. The painting features models eating mangoes on the street, lounging in high-end hotels and posing in front of marigolds.

Those plans evaporated after the person who filmed the elderly woman being tricked into dancing shared the footage with Mijangos, who in turn shared it with Manuela Cortés, a textile artist and art curator. Cortés posted the video on her Instagram account with the comment: “Indigenous cultures are treated as a showcase from which to choose. No respect. No morals.”

The video quickly racked up thousands of views and furious comments directed at the company, which advertises “luxury quality at a fair and accessible price” and promises “Commitment to the community.” Most of her clothes sell for between $100 and $300. The person who shot the video declined to speak to VICE World News.

Mexico’s National Institute of Indigenous Peoples, a government agency, said Sézane’s actions reinforce “racist stereotypes” and called “private brands and companies must stop exploiting indigenous and Afro-Mexican peoples and communities as cultural capital”. These are not objects for sale, specifies the institute, but citizens “possessing a vast cultural heritage and traditional knowledge”.

The agency said it would be in contact with Gutiérrez and his family, as well as authorities in Teotitlán del Valle, to pursue legal action. The agency did not respond to a request for comment from VICE World News on specific legal actions it may take.

Mexico’s government ministry and its culture secretary accused the French fashion company in a joint press release of “manipulate, use and make a spectacleof the elderly in indigenous villages as part of “their publicity”.

Morgane Sèzalory, the company’s founder, who was present at the photo shoot, wrote a letter to Cortés saying that she “never wanted to hurt anyone” and that her only intention was “to do things the most beautiful/good way, with all my heart and passion.” Cortes posted the letter on his Instagram account.

Sèzalory said in the letter that she met “the beautiful woman” at a market, where they had “a real connection and shared joy”, prompting them to dance together. Sèzalory said she returned two days later to “make beautiful pictures that I could then give to her and add to my diary”. She said the local production team helped Sèzalory meet the woman for a third time “and we made beautiful pictures of her – and with her and her daughter”. Sèzalory never mentions Gutiérrez by name.

In a statement to VICE World News, Sézane, who cut his trip short after the flap, said “the photos in question were intended for the sole purpose of a behind-the-scenes diary of the creative director.”

“We heard and understand that our approach has affected the local Mexican community,” the company said. “And we are truly sorry that our actions did not reflect our best intentions and the deep respect we have for the local community.”

Cortés said she believed the company was lying.

“I don’t believe they took those photos because it was a meeting of hearts and all that talk about love,” Cortés told VICE News. “It was clearly for an advertising campaign. There are professional cameras. There is someone who helps direct the image of the dancing woman. There are a lot of people in front of the woman trying to capture different moments.

In an interview conducted by the Milenio TV station Gutiérrez, who sells her own embroidery for a living, said she was told the photoshoot would only take a “little time”, but lasted an hour. She didn’t pay anything, she said.

Mijangos, the Oaxacan stylist hired by Sézane for the trip, said the French fashion company had annoyed Mexican staff from day one. production teams.

French photographers and videographers did not ask Oaxacan residents for permission to appear in the footage, added Mijangos, who left filming early out of anger at the crew. In one instance, she said, they staged one of the foreign models in a line of women waiting for a bus. Another time, she said, they took video in a market without asking permission from people appearing in the background.

“I told the person filming that it was inappropriate. That they should at least ask permission from the people at the back of the market who appeared in the photo,” Mijangos said. “After that, they sent me to do other things further away from the set.”

This is not the first time foreign clothing lines and companies have sparked allegations of cultural appropriation and disrespect for indigenous Mexican traditions. Major companies, from Nestlé to Benetton, have been accused of appropriating images and designs created by artisans around the world. Tenango de Doria, a city in the Mexican state of Hidalgo. And in 2019, the Mexican Minister of Culture accused the New York fashion line Carolina Herrera to steal embroidery techniques and designs from indigenous peoples.

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Fashion brand

Profile of the fashion brand Anest Collective

Anest Collective celebrates the proportions of da Vinci’s Vitruvian Man

Anest Collective continues its search for perfection with a new collection that looks back at the ideal proportions of Leonardo da Vinci’s Vitruvian Man

When Brendan Mullane, Creative Director of Anest Collective, visits Italian workshops producing the brand’s trendsetting silhouettes, he marvels at their attention to detail and collaborative spirit. “I have known the manager of one of our knitwear factories for over 25 years,” says Mullane, who has worked for brands such as Brioni and Givenchy. “One of the master tailors from another factory is in his eighties. These people are simply unmatched in their abilities.

Unmatched ability is integral to Anest Collective, a Shanghai and Milan-based label launched in 2017. “We want to cause a feeling, a sensation,” says Mullane. Its collections are entirely concept-driven, while the brand’s Instagram is populated with artwork by Man Ray, BrâncuÈ™i and Cy Twombly. Da Vinci’s Vitruvian Man 1490, who views humanity’s perfect proportions as sitting within a circle and a square, inspired the circular patterns in the F / W 2021 collection. These shapes encourage a purist vision of form, with silhouettes incorporating circular patterns: hourglass waist, cocooning back, raglan shoulder. “There is a sense of study inside the clothes,” says Mullane. “The concept is more than what the eye can see. Our collections don’t refer to something thematic, like the 1970s. We want to provoke a feeling, a sensation.

Anest Collective looks back at the ideal proportions of Leonardo da Vinci’s Vitruvian Man

Jacket, £ 2,500, Anest Collective

Mullane joined the brand in March 2020, during the first iteration of the global lockdown imposed by the Covid-19 pandemic – for Mullane, a creative and liberating experience, much to his surprise. “I managed to get out of the mad rush,” he says. “I was able to think differently. I had time to think about the study of perfection. Mullane and the 80-year-old tailor he admires so much, passionate about the positioning of a seam or the dimensions of a drape, have a lot in common. §

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French fashion

Stella McCartney Gets a Pay Raise While Fashion Company Takes Cash Vacation | Stella mccartney

Stella McCartney received a salary of almost £ 2.7million from her fashion business last year, up more than £ 220,000 from the previous year, while the company claimed nearly £ 850,000 under the government leave program.

The creator’s salary rose despite a 26% drop in sales to £ 28.4million in the year through December 31, 2020, with UK sales more than halving, while the company recorded a pre-tax loss of £ 31.4million, according to the accounts. for Stella McCartney Limited filed at Companies House. The group recorded a pre-tax loss of £ 33.4 million the previous year.

The accounts show that McCartney’s label, in which she sold a minority stake to French luxury goods conglomerate LVMH in 2019, said it was dependent on additional funds provided by its new shareholder in order to stay in business.

LVMH, which owns a series of high-end brands including Louis Vuitton, Christian Dior and Givenchy, had already granted additional loans of £ 26.3million last year, bringing its total loans to the group to just over £ 66million.

Stella McCartney Limited said the directors of Anin Star Holding, LVMH’s investment vehicle, had “indicated their intention to continue to make such funds available to the company”, but there was no certainty that support would continue.

The London-based fashion company, which prides itself on its environmental and ethical credentials, said its target for 2021 was to increase sales by 4% and “significantly reduce” losses. However, the business is likely to have continued to be affected by further street closures and limits on socialization imposed during the Covid-19 pandemic.

LVMH bought the label from McCartney in 2019, just over a year after ending its 17-year business partnership with rival conglomerate Kering, and bought back its 50% stake in its brand.

McCartney, the daughter of former Beatle Sir Paul and late photographer and animal rights activist Linda, designed her first jacket as a teenager. After professional experience at Christian Lacroix, she became Creative Director of the Parisian fashion house Chloé, before creating her own brand in a joint venture with Kering, owner of Gucci, in 2001.

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A spokesperson for Stella McCartney Limited said: “During the lockdown, senior management, including Stella, suffered a pay cut. The 2020 accounts relate to a year of transition and the effects of the pandemic on the distribution sector, but given these challenges, brand sales have remained strong.

“Like all companies in our sector, we are currently going through one of the most difficult periods in a generation and are thinking about how to adapt our activity to the economic evolution of our industry.

“Our mission to end cruelty to animals and help embed sustainability into the fundamentals of business conduct has made real progress. We believe we can come out stronger and better equipped to continue the vital work towards a more sustainable future for all. “

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Fashion brand

Zegna’s fashionable IPO path begs the question: is this the next big fashion trend?

To further secure its supply chain, Zegna has partnered with Prada this year to each buy 40% of Italian cashmere producer Filati Biagioli Modesto, and Mr Zegna said Zegna could use the proceeds from the IPO. to invest more in Italian textile manufacturing.

Production control has the added benefit of ensuring traceability and sustainability, a growing concern of the younger generation of customers Zegna courts. One of the brand’s most famous assets is Oasi Zegna, the vast Italian park in Trivero, Piedmont, the brand’s hometown, which was created by the founder of Zegna to preserve the local ecosystem that is 30 times the size of New York’s Central Park (as the company boasts in the investor deck it prepared for PSPC). During the interview, Mr. Zegna proudly pointed out his sneakers, made from recycled components, and the fact that the brand now has a program to reconfigure the scraps of fabric left on the cutting room floor so that ‘they are no longer wasted.

But even with quality and the supply chain on its side, Zegna, as a state-owned company, will be in competition with the French luxury giants who have spent decades unearthing the world’s best-known brands. LVMH Moët Hennessy Louis Vuitton, which has built a stable of more than 75 brands including Tiffany & Company, Dior and Pucci, has achieved a market capitalization of nearly $ 400 billion. Kering, owner of labels like Gucci and Saint Laurent, is worth nearly $ 100 billion.

“Part of the reason we did what we did is because of the scale,” Zegna said of the decision to go public. “Ladder – this is our program – don’t ask me what the ladder would be, but surely bigger than it is now.” “

He couldn’t be invited to discuss future acquisitions, but Zegna made one of his first steps towards that to-do list with his 2018 acquisition of New York-based fashion label Thom Browne, whose shrunken costumes and a penchant for tongue-in-cheek interpretations of preppiness made him popular with a client group younger than Zegna’s main clientele. Since joining Zegna, the brand has branched out into children’s clothing, with a strong presence in South Korea and China, and Mr. Zegna said there were plans for further expansion. . (Mr. Browne, who remains the brand’s Creative Director, and Rodrigo Bazan, its CEO, joined Mr. Zegna in ringing the opening bell at the New York exchange on Monday.)

A collaboration with high-street American streetwear brand Fear of God in 2020 also helped boost Zegna’s cool factor, and Mr Zegna said there were more limited-edition collections in the works.

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Fashion style

What’s new in people and fashion trends

parisian match

Louise Stokes’ favorite vintage jewelry stores for inspiration in Paris are located around the city’s famous Place Vendôme, and this ring is named after Vendôme. It combines an antique style ring with classic round GIA certified diamonds accented with a navy blue enamel border to give an old ring a new Loulerie look. In 14k gold with a 0.23ct GIA diamond and surrounding diamonds of 0.55ct, it costs € 3,699 and would make an attractive engagement ring. Visit

From the Wear Less Buy Better campaign from Grown Clothing

Wear less, buy better

“Over the past 18 months, we have enjoyed nature and turned to solitude; now is the time to reciprocate. That’s the campaign statement from Grown Clothing, known for its sustainability credentials, which uses a nude photoshoot to make its point of overconsumption. “Every year in Ireland we buy 220 million pieces of clothing, or about 28 per person,” says Stephen O’Reilly, co-founder of Grown. “Only 22 million of those 220 million are reused / resold, the rest is sent abroad to be landfilled.” As Christmas approaches, Grown Clothing wants to “celebrate and encourage people to become more conscious consumers and to awaken a sense of responsibility to people and the planet – so wear less, buy better”.

Caroline Duffy in her studio

Caroline Duffy in her studio

Wrapped in art

Passionate is the name given to the latest collection of scarves from artist and print textile designer Caroline Duffy. Created from her bold and feminine original artwork, these silk scarves feature images of primrose flowers in vibrant colors and stripes, in 70cm x 70cm squares made in Italy. Prices start from € 135 via its website

Gold faux leather clutch € 85 with embroidered cashmere scarf € 295, both from Susannagh Grogan

Gold faux leather clutch € 85 with embroidered cashmere scarf € 295, both from Susannagh Grogan

Chic pineapple

Susannagh Grogan doesn’t need to be introduced as a talented scarf designer, but recently she has made attempts in bag design using Piñatex, the pineapple leather alternative developed by Carmen Hijosa at the Philippines. Hijosa was the force behind Chesneau leathers where she was the creative director of the Irish brand for over a decade. Grogan, remembering the beauty of her bags and their leather, was so impressed by reading Piñatex that she turned to a few pieces, like this small gold faux leather clutch, € 85 presented with her scarf in embroidered cashmere, € 295. Visit

Statement silk twill scarf € 249 by Niamh Gillespie

Statement silk twill scarf € 249 by Niamh Gillespie

Comfort news

In Niamh Gillespie’s current Tidings menswear campaign, led by Ciara Mack of Phello, she shows how to get the most out of her dramatic print scarves on men – whether they’re tied like a tie, tied around the wrist, draped languidly over the body or simply drag the neck in a bold contrasting color. The graphic designer scarves are on sale at Fortnum & Mason in London, at Seagreen in Monkstown, Sybil Boutique in Dundalk and Adare Manor and online at, she will spread her wings next season, exhibiting in Paris at Première Vision. This 90cm x 90cm graphic floral-striped silk-twill scarf, called Outrageous, from the collection, is modeled by Dublin-based Brazilian influencer Lucas (pobrenairlanda on Instagram) is € 249. Photography: BangBangVisuals

A 9 karat gold Stonechat bangle, 3 mm wide € 1,190

A 9 karat gold Stonechat bangle, 3 mm wide € 1,190

Golden day

I recently spent a day as a goldsmith crafting a gold bracelet like the one featured here under the tutelage of Jemma Crosbie and designer / silversmith Ann Chapman at Stonechat. It started with cutting a gold bar to the required size – often recycled gold is used and customers regularly leave old jewelry to be melted down and recycled into new pieces. Once cut, the gold is then rolled in a steel mill, then turned and welded, hammered, filed, sanded and polished in a long and painstaking process that belies the simplicity of the finished product. It was a rewarding afternoon, revealing the labor involved in making such a bracelet, although it is not currently a service open to the public. A gold bangle like the one I made, 3mm wide in 9k gold, sells on Stonechat for € 1,190. Visit

Thick cashmere

Carolyn Donnelly’s first cashmere knitwear collection for The Edit at Dunnes Stores launched in November. black and pink. All models, knitted in gauge 9 for a bigger and oversized look, are priced at 130 €.

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Fashion brand

Kanye West “Online” for a Leading Position at Louis Vuitton Fashion Brand

Sources claim Kanye West could become Louis Vuitton’s new creative director

Kanye West “Online” for a Leading Position at Louis Vuitton Fashion Brand

Kanye West is said to be on his way to becoming the creative director of luxury fashion brand Louise Vuitton.

The late Virgil Abloh was the brand’s artistic director of men’s fashion before his tragic death less than two weeks ago.

Rapper Kanye, 44, has taken over the fashion world in recent years with the launch of his own clothing line, Yeezy, which has quickly become immensely popular.

It has now been claimed that the star – who was a close friend of fashion legend Virgil – could expand her fashion portfolio with a new role at LV.

According to sources, Kanye and Virgil had discussed the possibility of the role.

“Kanye is devastated by Virgil’s death because they have been friends for years and worked a lot together,” the insider told The Sun.

“They shared a similar vision and now Kanye thinks he owes Virgil to continue his work at Louis Vuitton.”

Kanye and Virgil had been close friends for years


Getty Images)

The star already has her own clothing line


Getty Images for Fast Company)

The Mirror has contacted representatives for Kanye and LVMH for comment.

Ye and Virgil had been friends for more than a decade after they first met in 2009.

The designer even had the role of creative director in Kanye’s own business, Donda.

Off-White founder Virgil died aged 41 last month after a secret battle with cancer.

LVMH had confirmed the tragic news by paying tribute to the fashion designer, revealing that he had been battling a rare form of cancer – cardiac angiosarcoma – in private for two years.

The statement read: “LVMH, Louis Vuitton and Off White are devastated to announce the death of Virgil Abloh, Sunday, November 28, from cancer, which he had fought in private for several years.”

There was also a post on Virgil’s Instagram account by his family, which described him as “a fiercely devoted father, husband, son, brother and friend.” They also thanked the fans for their love and support during this difficult time.

Virgil died in November


Christopher Peterson /

Virgil was secretly battling cancer



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The statement said: “We are devastated to announce the passing of our beloved Virgil Abloh, a fiercely devoted father, husband, son, brother and friend. He is survived by his beloved wife Shannon Abloh, his children Lowe Abloh and Gray Abloh, his sister Edwina Abloh, his parents Nee and Eunice Abloh, and many dear friends and colleagues.

“For more than two years, Virgil has valiantly fought a rare and aggressive form of cancer, cardiac angiosarcoma. He has chosen to wage his battle in private since his diagnosis in 2019, undergoing many difficult treatments, while leading several institutions. major that span fashion, art, and culture. “

They continued, “Through it all, his work ethic, endless curiosity and optimism never wavered. Virgil was motivated by his dedication to his craft and his mission to open doors for others and to create pathways for greater equality in art and design. He would often say, “Everything I do is for the 17-year-old version of myself”, deeply believing in the power of art to inspire future generations.

“We thank you all for your love and support, and we ask for privacy as we mourn and celebrate the life of Virgil.”

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Fashion style

Gigi and Bella Hadid’s tributes to close friend and fashion maverick Virgil Abloh

Gigi Hadid and Virgil Abloh attend the 2019 CFDA Fashion Awards in New York City. Photo by Michael Stewart / WireImage

The founder of Off-White and Creative Director of Louis Vuitton, Virgil Abloh, has made a lasting impact in the lives of many people. Gigi and Bella Hadid were among those people and became his muses on the track. Both models are said to be seen with him very often on red carpets and at social events.

Virgil recently passed away after battling cancer after being diagnosed in 2019. A heartbroken Gigi shared a heartfelt post after losing her friend.

READ MORE | Off-White founder and director of Louis Vuitton, Virgil Abloh, was a master of authentic expression

“His kindness and energetic generosity left a lasting impression on every life he touched – he made everyone feel seen and special. He will be deeply missed, cherished and celebrated by me and all people and industries. who were lucky enough to work around him and know the real supernova behind this man, ”she wrote.

Gigi added that Virgil would always be adored and magical.

“You will continue to inspire me every day, V. I feel blessed and honored every moment. Rest easy, my friend. You are so loved. You have made the difference. As we have always said,” Gigi continued.

READ MORE | Gigi Hadid marks her return to the catwalks for Versace 5 months after welcoming her daughter

Bella was also one of the celebrity models frequently seen with Virgil. She says the fashion maverick broke boundaries and made everything his own. “You shared your love endlessly. The way your brain functioned was above all else, and the way you did everything in life for your family, friends and for the better,” says Bella. .

READ MORE | Shake up the status quo: meet Gabriella Karefa-Johnson, the first black woman to style a Vogue cover

She went on to say that he was someone for everyone, which was the magical power he held.

“He made everyone he met feel special in every way he could. Even when the world was sad he brought laughter, color and beauty. The way he made an impact positive about everything he touched and always pushed for his culture / world is why he was an angel on earth and an angel among many. The most beautiful of warrior souls. I cannot not believe it, “wrote Bella.

Virgil was laid to rest in Chicago on December 7.

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Fashion style

Law Roach on his strength in fashion, Style Influencer Award FNAA 2021 – Footwear News

On November 30, Law Roach will be honored as Style Influencer of the Year at the 35th Annual FN Achievement Awards. Below is an article from the print issue of the November 29 magazine.

For a non-model, Law Roach makes modeling easy. It’s a late afternoon in New York and I quietly walk up a flight of stairs to a photoshoot at Grand Marnier, where Roach climbs a ladder with one foot on a step and the other protruding. He wears a black and white houndstooth coat and puffy skirt with spectacular platform heel boots. His hair is in braids and beads, which clicks between clicks as he strikes a new pose.

“I like the way you move after each shot. I usually have to tell people to do it, ”explains the photographer.

Clearly, Roach is a pro. He’s been in 30 cover sessions this year alone, despite being typically behind the biggest celebrities in camera-style entertainment. “I was also a judge on ‘America’s Next Top Model’ for two seasons, so I know,” he jokes.

The stylist partnered with the French cognac house to throw a party in Manhattan and was capturing content for the company before guests arrived. One would expect anxious energy before such an event, but Roach exudes calm. He is playful, drinks the prop drinks behind the bar. He is no stranger to this type of setting: before his foray into the world of fashion, he was a bartender in Chicago.

The day is a glimpse into Roach’s busy life, entering a new phase. It’s not often that stylists are talked about in the same breath as their clients, but its impact on fashion is undeniable.

Law Roach in a blazer, tank top, jeans and platform boots by Rick Owens; shot exclusively for FN.

CREDIT: Sage Est

Right roach

Law Roach in a blazer, tank top, jeans and platform boots by Rick Owens; shot exclusively for FN.

CREDIT: Sage Est

Many are familiar with Roach’s work with Zendaya. Over the past decade, the two have created countless red carpet stunners together, cementing her as a fashion icon – a title she won at the CFDA Fashion Awards this month. And Roach remembers every look.

“I firmly believe that the universe is putting me in people’s lives exactly when this is supposed to be happening,” he said. “When Zendaya and I started our journey, it was all about being a chameleon. Her style isn’t having a style, it’s being able to do what she wants when she wants to do it. think it’s a trend that I was at the forefront of.

Roach became known for his ability to disrupt. As he puts it, “You’re not going to call Law Roach if you just want to wear a pretty black dress,” he said. “I was at the forefront of vintage on the red carpet, [for example]. It showed me that I have influence, that I am influential in this way. “

Aside from Zendaya, Roach has designed the images of stars such as Priyanka Chopra, Anya Taylor-Joy, Lewis Hamilton, Halsey and Tiffany Haddish. And even when he’s no longer working with a client, Roach said the plan is already set for the next person to come. Hence its self-proclaimed title “image architect” (which is a registered trademark, by the way).

“Stylists, we are the ones who move [trends]. We are the ones who take something from
trail to real life. And I think we should get more credit for that, ”he explains. Designer Tommy Hilfiger seems to agree: “Law has an exceptional eye. He is a master storyteller and every detail of his work is well thought out. What sets him apart is that he’s not afraid to take risks with fashion and he does so in a way that is authentic and unique to each client he works with. He is a genius of style.


The next day we’re back on set as Roach prepares for his FN cover shoot. Just five years ago, he was here behind the scenes, helping to direct Zendaya’s cover moment to mark the launch of his shoe line in 2016.

His new position in front of the camera is a testament to Roach’s evolution and work ethic.

Law Roach, FN, Cover

Law Roach covers the November 29 print issue of FN.

CREDIT: Sage Est

“I’m a born hustler,” he said of his early days in fashion, where he traveled to New York from Chicago, pretending to be local so as not to miss out on opportunities. “I wanted people to say my name like the best one to ever do. And that’s what I was working towards. I didn’t know how I was going to get there. I didn’t have a clear plan. I just wanted to be the best.

Her days are now similar to those of a sleep-deprived new mom. He gets up at 3 a.m. about four days a week, works with clients and takes on a new position in London that he hasn’t been able to disclose. Then he goes back to bed around 6 or 7 a.m., only to wake up at 9 a.m., when his LA office opens.

This work, while exhausting, is fuel for Roach.

“I still have a lot of passion for what I do. I don’t think who I am as a person – what I look like, being a black man – has never existed in this world on this level. So I hope that my presence leaves room for other people who are like me. It’s the biggest motivation for me to work as I work, ”he said.

And he made room – literally – at the Met Gala this fall, when Hamilton tasked Roach with hosting a table filled with black talent. This included Roach, designers Kenneth Nicholson and Edvin Thompson, stylist Jason Rembert and others.

“The beautiful thing about that night was that the whole was greater than the sum of the parts. This moment had all these blacks in a space that just opened up for us. And it was powerful, it was Black and it was strong, ”Roach said.

During our interview, Roach referred to another up-and-coming black shoe designer, Sunni Sunni, as someone he admires and supports – at his own expense.

“Law Roach has been amazing to me since starting Sunni Sunni and had a big impact on my show,” said designer and founder Sunni Dixon, who was also on FN 2021’s Emerging Talent list.

In this business, anyone of influence is usually sent a free product, but for Roach it was important to pay for Sunni Sunni shoes.

“We can use social media and stand up for someone, but if you’re not really using your influence to change people’s economic status, then that doesn’t really mean to me,” he said. “Where I’m from, you kept your money under your mattress. I didn’t understand how to have a real, genuine relationship with money. Now I am becoming more financially literate. And as much as I’m learning, I want to be able to teach it to other people who are like me.


Back on the set of FN, Roach impresses the photographer. Beyoncé plays in the background and he gives Michael Jackson a foot in a 10-pound Marc Jacobs look paired with a Mary Janes platform. “I’m different,” Roach laughs.

Law Roach, Fnaa

Law Roach in an overcoat, puffer jacket, sequined tunic, pants, sunglasses and platform Mary Janes, all signed Marc Jacobs.

However, the work doesn’t stop even when it’s its time to shine. While filming, a young man (who may or may not be our new favorite webslinger) calls Roach on Facetime. “It’s beautiful, you look fmind blowing cking, ”I hear Roach say. (Later that night, one of his clients, Tom Holland, attended the 2021 GQ Men of the Year Awards in a costume Roach would likely describe as “fmind blowing cking. “)

The balance between being a stylist and creating your own brand is not easy. In fact, Roach is still trying to figure it out. “At the heart of who I am, I’m in the service industry,” he says. “I always have to come up with the mindset that doing something for me can’t interrupt the service I’m paid for, because that’s what pays my bills.”

That’s not to say his aspirations aren’t greater than ever.

Roach’s agent and Only Agency CEO Kent Belden said it was only a matter of time that his success as a stylist would lead to a range of opportunities. “I am constantly impressed with his dedication to fostering emerging talent and using his influence to inspire a new generation of talent,” said Belden. “Right now, the name Law Roach is synonymous with big names in fashion, and that’s just the beginning of its legacy.”

Roach dreams of becoming a Creative Director and ultimately wants his own lifestyle brand that covers everything from shoes to food. More immediately, however, a natural transition takes place through collaborations with brands.

“I’m going through the process to become more audience oriented and that’s something I understand,” he said. “I’m having fun, I’m going to make mistakes. I don’t want to fail. I get comments that what I do makes people happy and it makes me happy so I’m able to just make people feel something.

For more photos of Law Roach from the FN cover photo shoot, click the gallery.

Hair by Antoinette Hill
Makeup by Amber Amos
Stylized by Law Roach FN
Style Director Shannon Adducci
Wardrobe by Posh McKoy

For 35 years, the annual FN Achievement Awards – often referred to as the “Shoe Oscars” – have celebrated fashion stars, top brand stories, ardent philanthropists, emerging talent and industry veterans. The 2021 event is supported by main sponsor Nordstrom, as well as Authentic Brands Group, FDRA, Informa, On and Wolverine Worldwide.

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Fashion designer

Fashion designer Virgil Abloh has died aged 41

NEW YORK (AP) – Virgil Abloh, a leading designer whose revolutionary fusions of streetwear and haute couture made him one of the most famous taste designers in fashion and beyond, has died of cancer. He was 41 years old.

Abloh’s death was announced on Sunday by luxury group LVMH (Louis Vuitton Moët Hennessy) and Abloh’s own brand Off-White, which he founded in 2013. Abloh was the artistic director of men’s fashion for Louis Vuitton, but its pervasive and friendly presence in the culture was broad and vibrant. Some have compared him to Jeff Koons. Others hailed him as the Karl Lagerfeld of his generation.

“We are all shocked after this terrible news. Virgil was not only a designer of genius, a visionary, he was also a man with a beautiful soul and great wisdom ”, declared Bernard Arnault, Chairman and CEO of LVMH, in a press release.

A statement from Abloh’s family on the creator’s Instagram account said Abloh was diagnosed two years ago with cardiac angiosarcoma, a rare form of cancer in which a tumor occurs in the heart.

“He has chosen to wage his battle in private since his diagnosis in 2019, undergoing many difficult treatments, while leading several important institutions that span fashion, art and culture,” the statement said.

In 2018, Abloh became the first black artistic director of men’s clothing at Louis Vuitton in the rich history of the French design house. A first-generation Ghanaian American whose mother a seamstress taught him to sew, Abloh had no formal training in fashion but had an engineering degree and a master’s degree in architecture.

Abloh, who grew up in Rockford, Illinois, outside of Chicago, was often considered a Renaissance man in the fashion world. He moonlighted as a DJ. But in no time, he became one of the most acclaimed fashion designers. Abloh called himself “a creator”. He was named one of Time magazine’s most influential people in 2018.

In 2009, Abloh met Kanye West – now called Ye – while working at a screen printing store. After he and Ye interned together at LVMH brand Fendi, Abloh was Ye’s creative director. Abloh was artistic director of Ye-Jay-Z’s 2011 album “Watch the Throne”, for which Abloh was nominated for a Grammy.

Abloh’s work with West has served as a model for future cross-border collaborations that combine high and low. With Nike, he teamed up with his label Off-White for a line of frenzied sneakers remixed with a variety of Helvetica styles and fonts. Abloh has also designed furniture for IKEA, refillable bottles for Evian and Big Mac boxes for McDonald’s. His work has been exhibited at the Louvre, the Gagosian and the Museum of Contemporary Art in Chicago.

Abloh’s death stunned the entertainment world. Actor Riz Ahmed said on Twitter that Abloh “stretched the culture and changed the game.” Fashion designer Jeff Staple wrote: “You taught us all to dream. Pharrell Williams called Abloh a “kind, generous and thoughtful creative genius.”

Abloh took what he called a “3% approach” to fashion – that a new design could be created by modifying a 3% original. Critics have said Abloh is more brilliant at repackaging than creating something new. But Abloh’s style was also self-aware – quotes were a trademark to him – and noble.

“In my mind, streetwear is tied to Duchamp,” Abloh told The New Yorker in 2019. “It’s that idea of ​​the ready-made. I’m talking about the Lower East Side, New York. It’s like hip-hop. It’s sampling. I take James Brown, I cut him, I make a new song. “

The stars lined up to be dressed by Abloh. Beyoncé, Michael B. Jordan, Kim Kardashian West, Timothée Chalamet and Serena Williams wore her clothes.

Abloh’s Off-White label, in which LVMH acquired a majority stake earlier this year, has made him an arbiter of cool. But his Louis Vuitton appointment took Abloh to the top of an industry in which he was once a rambling underdog – and made Abloh one of the most powerful black executives in a historically closed fashion world.

As Abloh prepared for his first menswear show in 2018, he told GQ: “I now have a platform to change the industry.”

“We’re designers, so we can start a trend, we can highlight issues, we can get a lot of people to focus on something, or we can get a lot of people to focus on ourselves,” he said. said Abloh. “I’m not. Interested (the latter). I’m interested in using my platform as a member of a very small group of African American men to design a house, to show people a poetic way.

Abloh is survived by his wife Shannon Abloh and his children, Lowe and Gray.

Copyright 2021 The Associated Press. All rights reserved. This material may not be published, broadcast, rewritten or redistributed without permission.

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Fashion brand

Keeping Cool: How To Take Care Of White Shirts | Fashion

AAn old friend once described his style to me as “like an apple, crisp and fresh”. The description was appropriate for this time in our life (early 20s) and although a decade has passed I still think about it every time I put on a white shirt.

The wardrobe classic looks great when it’s just that: crisp white, crisp and fresh. But keeping it that way isn’t always easy.

The lifespan of the shirt will be in part determined by its composition. Jade Sarita Arnott, creative director of slow fashion brand Arnsdorf, recommends choosing natural fibers like organic cotton, linen, hemp or Tencel. She says, “Stay away from synthetic fabrics or synthetic blends as they attract odors and trap bacteria.”

Steve Anderton, a laundry expert with LTC Worldwide Consulting Group, explains that this is because “polyester tends to cling tenaciously to oily contamination. [including skin sebum]”, As well as greasy food stains caused by” dressing, chicken fats and fish oils “.

Watch out for deodorant

Anderton warns that the chemicals in deodorant stains make them “virtually impossible to remove.” To avoid them, he suggests waiting until your deodorant is completely dry before putting on your shirt.

While not particularly popular in a hot Australian climate, wearing an undershirt will also help absorb sweat before it reaches your shirt.

Choose the right detergent

Both Sarita Arnott and Anderton suggest keeping white clothes away from all other colors when washing. Sarita Arnott explains that this prevents dyes in other clothes from tinting whites.

An all-white wash will also allow you to choose a specialty detergent that may not be as gentle on other colors. Anderton recommends choosing a higher quality detergent with a suspending agent like sodium silicate salts, so that after the dirt is removed from your shirt in the machine, it will stay in the water and out of the fabric for the. rest of the wash. This prevents the shirt from turning gray.

He says your detergent should contain an emulsifier, such as citric acid, to solubilize greasy food stains (this will help even stained polyester). A mild oxidizing agent such as sodium perborate will help discolor plant dye stains from things like coffee, tea, red wine, beets, or grass.

The other thing to watch out for is a detergent that contains enzymes like protease or proteinase, which will digest food and drink stains and perform well in low wash temperatures. If this is all a bit technical, Choice has performed lab tests to determine which detergents are the best.

Pre-treat problem areas

Often times, the collars and cuffs are the first places to turn yellow. Anderton says this is because “grime tends to build up on the fabric which is repeatedly rubbed against the skin during normal wear.”

He suggests pre-treating the collars and cuffs to keep those areas white by following these steps: “Wet them and scrub for a few seconds with a medium-hard natural bristle brush dipped in liquid detergent”.

If this does not work, unfortunately the fabric may have been discolored by skin oils from a previous wash, where they were not removed, “either with the heat of a previous drying, or with ironing, or simply over time ”. To avoid this, Anderton advises to pay “special attention to the pre-treatment of the yellowed areas, otherwise they will not fade.”

If you need to iron, do it while the shirt is still slightly damp and start at the back of the collar. Be careful not to iron the stains, as this may make them impossible to remove in the future. Photograph: Ian Logan / Getty Images

Although sweat and skin oil can be more complicated, he says, “most food and drink brands will rub off very easily, provided they have a cold pre-wash (below 40 ° C). ) to prevent the formation of spots “.

Sarita Arnott recommends targeting the stains by making a paste from baking soda and water, applying the paste directly to the oily stains and leaving it overnight before washing the garment. After this treatment, Sarita Arnott recommends using “a cold or gentle machine wash at 30 ° C”. She says, “You can also add baking soda to your regular wash load to lighten the whites and make them look fresh.”

Sunlight helps

To dry white shirts, Sarita Arnott suggests hanging them outside in the fresh air because “sunlight can also brighten whites.”

It should be even more impactful if you’ve used a detergent with an optical brightener, says Anderton. It has to “grab onto the cotton fibers and convert the invisible, ultraviolet part of natural daylight into a brilliant white light” that will make the shirt glow.

Urgent situations

Sarita Arnott says you can avoid ironing “if you hang the shirt on the line or on a hanger” to dry, as most creases will fall off in the process. But she cautions, “if you’re using a hanger, make sure you use one with light wood or metal or plastic rather than dark wood which can transfer color.”

If you need to iron, Anderton recommends doing it while the shirt is still slightly damp, using an iron on medium heat. Turn it inside out, start with the back of the collar and the yoke on the shoulders, then work your way up to the sleeves and finally work around the body. It says to avoid squeezing hard folds in the sleeves or pleats, to maximize the life of the fabric.

Do you have a garment care riddle that you would like to cover in this column? Send an email to [email protected] with the requests.

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Fashion brand

How Michael Bastian reworked the Brooks Brothers Oxford Button-Down – Robb Report

“I feel like I’ve auditioned my entire career for it,” says Michael Bastian of his new role as Creative Director for Brooks Brothers, the 203-year-old mainstay of American preppy style. Indeed, with his eponymous Gray Label, Bastian would often riff on a sleeker, sexier, and more adventurous take on the Brooks Brothers world – the type of clothing, he says, he wanted to find at Brooks Brothers but didn’t. couldn’t. It should come as no surprise, then, that his first order of business was to rework the most iconic and beloved piece of the mothership: the button-down shirt in oxford fabric.

At just under $ 90, you can spend more on socks from some brands, but the appeal of the brand’s OCBD, as the style is known in men’s clothing circles, is the authenticity, since Brooks Brothers invented the category. That’s a lot of history to be learned and a tremendous dose of nostalgia. “Everyone has their idea of ​​what the perfect one was,” Bastian says. “But the truth is, they’ve tweaked the design a lot over the years – there’s never been just one version.” The earliest versions, dating from the 1930s, were “cut so long they were almost nightgowns,” and the shirt only took on the basic form we know today before the 1970s.

The designer assembled an internal “forensic team” – including a member known as The Keeper of the Shirts – to research, analyze, measure and deconstruct the entire archive, then reassemble Bastian’s signature iteration. . But it wasn’t just a matter of adjustment. “Getting that perfect rose was really a priority,” says Bastian. “Brooks Brothers has always made the best pink shirt – there’s only a drop of blue in it, and no yellow. Other chromatic highlights include a button-down poplin shirt in a bold red Bengal stripe.

Bastian’s version is a relaxed revolution of precise details: thicker fabric, a shorter, looser fit with wider sleeves and a sleeker turtleneck despite the unchanged shape. (The secret, Bastian says, is actually the placement of the collar buttons: “If you don’t get exactly what you need, you won’t get that perfect curve, like a violin.”) The breast pocket is back, the six pleats the gathered cuffs remain and the various fits and sizes of dress shirts are gone – only one construction is now available in S, M, L, etc. the shirt, says Bastian, is coming soon.

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French fashion

Bottega Veneta propels Matthieu Blazy to the forefront as creative director | Fashion

Matthieu Blazy is the latest behind-the-scenes fashion designer to land a prominent position in a luxury brand. After waiting backstage at Bottega Veneta since joining last year, he has been announced as the new Creative Director. The appointment, effective immediately, follows news last week that English designer Daniel Lee had resigned amid a hugely successful turnaround, with sales boosted and Bottega Veneta setting the fashion agenda like never before. .

Blazy’s name is not well known outside of the fashion industry, but he has a wealth of experience. A graduate of the La Cambre art and design school in Brussels and protégé of Raf Simons for whom he worked on Simons’ own label and at Calvin Klein, Blazy continued to work with Phoebe Philo at Celine where he rode with Lee.

Matthieu Blazy joined Bottega Veneta in 2020 and worked at Raf Simmons, Calvin Klein and Celine. Photography: Willy Vanderperre

He may not be used to the limelight, but Blazy has firsthand experience of the pressures of the top position. Under the veil of anonymity that it offered to its creators, he managed the ready-to-wear and artisanal line of Maison Margiela. Her identity was revealed by Suzy Menkes in 2014, with the reviewer saying “you can’t keep such talent a secret.”

Blazy’s partner, Pieter Mulier, Raf Simons’ longtime right-hand man and recently appointed Alaïa’s creative director, is following the same professional trajectory.

It was once a common practice for fashion bosses to seek out the most star-studded name they could find to fill a vacant Creative Director position (and then give carte blanche to reinvent the house), but companies are looking to more and more internally when it comes time to start a new chapter.

It’s an approach that has worked well for Kering, the French multinational that owns several luxury brands: Alessandro Michele of Gucci, arguably the world’s most influential designer, for example, started out designing handbags before moving on. work your way up.

However, given the similarities between Blazy and her predecessor’s career trajectory (think sleek, demanding minimalism, much like the aesthetic Lee pitched at Bottega), the new appointment is unlikely to signal a change. seismic for the brand. Granted, insiders aren’t predicting a redesign of Michele’s scale and proportions.

Instead, fans of Lee’s best-selling pocket bags and stomping tire boots can expect more of the same. Without a doubt, we have the feeling that Kering privileged a need for continuity and a desire to hold on to new customers acquired during his tenure. An approach that has worked well for Saint Laurent who, under the direction of Anthony Vaccarello, is following a path that is no different from that traced by Hedi Slimane during his redesign of the house.

Blazy’s appointment was well received by the industry who congratulated him with a stream of emojis, posted on his Instagram feed. New York Times fashion director Vanessa Friedman took to Twitter to express her approval. “It is time that he [Blazy] has a mark. It’s going to be interesting, ”she wrote.

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French fashion

Kering appoints new designer for Bottega Veneta, Daniel Lee leaves

A model presents a creation from the Bottega Veneta Fall / Winter 2020 collection during Milan Fashion Week in Milan, Italy on February 22, 2020. REUTERS / Alessandro Garofalo / File Photo

PARIS, Nov. 10 (Reuters) – Kering (PRTP.PA) will announce a new creative director at the head of Bottega Veneta, the French luxury group announced on Wednesday, announcing the surprise departure of Daniel Lee just three and a half years after his mandate to ignite the popularity of the Italian label among the younger generations.

In a statement, Kering said the decision was mutual, but provided no further details on a timeline for the designer replacement.

The move comes as European luxury companies mark a strong recovery in sales after the coronavirus crisis, with the sector’s biggest players, including Kering, exceeding pre-pandemic levels.

“His singular vision (of Lee) made the house’s legacy relevant to today and put it back at the center of the fashion scene,” said Kering Chairman and CEO François Henri Pinault.

The 35-year-old Central Saint Martins graduate is credited with raising the profile of the brand known for its woven leather products, with popular accessories such as soft leather handbags and slip-on mules.

Marking the return of in-person and celebrity-filled fashion events, Bottega Veneta traveled to Detroit last month to show off Lee’s spring 2022 collection.

Reporting by Mimosa Spencer Editing by Mark Potter

Our standards: Thomson Reuters Trust Principles.

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Fashion designer

Monique Lhuillier, Bridal Designer for Britney Spears, on 25 Years of Weddings

Written by Megan C. Hills, CNN

Filipino American fashion designer Monique Lhuillier wants to make your dreams come true. She wants you to imagine yourself dressed in cream silk, lace and verdant flowers, running through the gardens of Lake Como and toward the love of your life – a scene captured in one of her brand’s recent campaigns.
“People come to me for this fantasy,” explained Lhuillier, who is best known for designing wedding dresses for Britney Spears and Reese Witherspoon, via video call. “They want that over the top look.”

Even during the pandemic, when marriages were curtailed and brides around the world were forced to put their plans on hold, the fantasy “never went away,” she added.

A dress from Monique Lhuiller’s latest bridal collection. Credit: Monique Lhuillier / KT Merry

“(The brides) never wanted to compromise on the dress. Even though they were going to have a little ceremony, they still wanted the dream dress … (if there were) five people in the room with them , or 200. “

Lhuillier has been distributing fantasies – and fulfilling her own dreams of running a successful label – since 1996, when she set up her eponymous brand in the basement of her parents’ house in Malibu without even a business plan (” we don’t have I don’t know nothing. for ten years when they devoted “90% of their time” to the business.

A floral dress by Monique Lhuillier.

A floral dress by Monique Lhuillier. Credit: Monique Lhuillier / Rizzoli

At the time, Lhuillier, who was born and raised in the Philippines and then lived in Switzerland, was inspired by a sense of “Californian ease,” she writes in a new book retracing her 25-year career. Her early designs offered romantic, modern silhouettes that were close to the body and embellished with unexpected details, from colorful belts to blush veils.

However, the brand was not, Lhuillier recalled, an instant dazzling success. As she ran between bridal shows and catwalks, calling out whoever would sell her brand’s dresses – while also running a Beverly Hills store and developing new designs – there was no time to work with. Hollywood stylists. And anyway, the pair “didn’t realize the power of celebrity dressing,” she said.

Angelina Jolie wearing Monique Lhuillier at the 2002 Golden Globes, accompanied by Billy-Bob Thornton.

Angelina Jolie wearing Monique Lhuillier at the 2002 Golden Globes, accompanied by Billy-Bob Thornton. Credit: Gregg DeGuire / WireImage / Getty Images

But that all changed in 2002, when Angelina Jolie asked to wear one of her dresses for the Golden Globes. The elegant look was not a cream, beige or white, but rather a strapless black dress paired with a shawl and pearl necklace. Then, the following year, the brand was noticed when Lhuillier made for the first time a wedding dress for a “mega celebrity”: Britney Spears.

Big cut

Spears was splashed in every magazine back then. After kissing Madonna at the VMAs, then marrying Jason Allen Alexander – only to have the union called off 55 hours later – she went on to announce a surprise engagement to backup dancer Kevin Federline.

In search of a dress for the wedding, a friend and stylist of Spears contacted Lhuillier and arranged a series of dates in secret places to prevent the paparazzi from harassing the singer. It made it difficult to give Spears “the whole experience of a bride,” the designer recalled, as she couldn’t just show up to her studio.

Monique Lhuillier's ready-to-wear collection, presented during Spring-Summer Paris <a class=Fashion Week in 2017.”/>

Monique Lhuillier’s ready-to-wear collection, presented during Spring-Summer Paris Fashion Week in 2017. Credit: Monique Lhuillier / Rizzoli

“I didn’t just bring her two dresses, I showed her what I would show to (all) my brides, so that she could feel like she really had the (typical bridal) experience,” said said Lhuillier, explaining how the brand designed the bespoke lace, accessories and veil for Spears, as well as the dress.

Lhuillier was also commissioned to make a “fun and flirty” reception dress and dresses for the whole wedding party, in a strict color scheme. She was given six weeks to design and produce everything, a huge task considering she was also preparing to show off a ready-to-wear collection at New York Fashion Week.

When the press found out about the wedding, the pressure mounted.

“The day before my show, I got a phone call from his team,” she recalls. They said, ‘People are finding out, so we have to get the wedding to take place earlier, so now you will have three weeks. ”

“(I told them) ‘OK, we’ll do it. Don’t worry.’ But inside, I was dying. “

Designer Monique Lhuillier attends a 2018 gala.

Designer Monique Lhuillier attends a 2018 gala. Credit: Emma McIntyre / Getty Images

In a way, she succeeded. Photos of the nuptials have been splashed in magazines and on the internet, with Spears’ white silk gown, embroidered train, and floor-sweeping veil in the spotlight. Soon more and more of his ready-to-wear items were appearing on celebrity red carpets, and Lhuillier “could sense the momentum” when people finally began to fully understand his French surname – loo-lee. -ei.

“It helped people figure out how to pronounce our name; it helped hearing it a few times on the (red) carpet. It really cemented our name and the idea of ​​Monique Lhuillier and glamor.”

A quarter of a century later

Celebrating its 25th anniversary this year, the brand remains proudly independent, with Lhuillier as Creative Director and Bugbee as CEO. Their dresses – and now the furniture and jewelry, among other things – are American made, so the designer can stay “on the go”. (“It’s not the cheapest way to do it, but that’s how I like to work,” she said.)

Taylor Swift wearing Monique Lhuillier in 2014.

Taylor Swift wearing Monique Lhuillier in 2014. Credit: Dimitrios Kambouris / Getty Images

Lhuillier is now more aware of the power of celebrity and has an employee in charge of VIP requests. Celebrities like Taylor Swift, Kaley Cuoco, Heidi Klum and Elizabeth Banks have all turned to her for major events, while Carrie Underwood and Lea Michele have asked her for their dream wedding dresses. Reese Witherspoon, a close friend of Lhuillier’s, wore the designer’s white dress and blush satin belt for her second wedding, to Jim Toth, in 2011.
In the preface by Lhuillier new book, Witherspoon wrote, “(Monique) understands why women want to wear something that makes them beautiful and how her designs will become part of the fabric of their lives.”
Indeed, Lhuillier’s knack for figuring out what women want to wear during life-changing moments remains astute, with her self-proclaimed “whimsical” new collection focusing on floral prints, colors and shorter hems. But the pandemic has damaged her business, as brides around the world have turned to Zoom fittings and scaled back their plans. With more time for her during the lockdown, the designer has taken care of a new line of fine jewelry. Created in collaboration with the retailer Kay Jewelers, it is a project close to the heart of Lhuillier, his grandfather being a jeweler.
The cover of Monique Lhuillier's new book, a retrospective of her career published by Rizzoli.

The cover of Monique Lhuillier’s new book, a retrospective of her career published by Rizzoli. Credit: Monique Lhuillier / Rizzoli

“Jewelry, for me, was a natural (progression). It’s part of history. Without a ring, there is no dress,” she said, adding that each piece is engraved with a short message from him.

Figuring out what comes next is a tall order, especially since she has already been shown at Paris Fashion Week, received a Presidential Medal of Merit from former Philippine President Gloria Arroyo and she received the seal of approval from American first ladies Michelle Obama and Melania Trump. Lhuillier said that as an immigrant who had lived in the United States for almost 35 years, it was “an honor” to dress the women of the White House.

First Lady Michelle Obama wore Monique Lhuillier in 2014, alongside her husband President Barack Obama.

First Lady Michelle Obama wore Monique Lhuillier in 2014, alongside her husband President Barack Obama. Credit: Brendan Smialowski / AFP / Getty Images

The designer, who lived in the Philippines until the age of 14, said she still carries the country’s “kindness” and “traditions” to this day. Describing herself as a “citizen of the world” she said: “It was a gift to be raised in Asia… picking up all these cultures and bringing back family has always been the most important thing.”

Designer Monique Lhuillier (second from left) with models wearing her Spring 2019 bridal collection.

Designer Monique Lhuillier (second from left) with models wearing her Spring 2019 bridal collection. Credit: Monique Lhuillier / Rizzoli

Yet rather than creating designs inspired by the Philippines, she believes that “good design transcends so many different cultures.”

“I decided to create this brand so that women feel empowered and they feel beautiful.”

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Fashion brand

British brand Victoria Beckham launches a line of traceable merino wool

British fashion label Victoria Beckham has collaborated with Australian based The Woolmark Company to design a collection of durable and traceable knits made from merino wool and natural dyes. The range includes cozy and comfortable knitted sweaters, cardigans and accessories with intarsia details and contrasting stripes for adults and children.

The collection was made in Pescara, Italy from 100% merino wool. As an original eco-fiber, merino wool is completely natural, renewable and biodegradable. Victoria Beckham chose non-mule merino wool which is fully traceable to just five Australian wool producers, The Woolmark Company said in a press release.

The collection’s color palette is earthy and warm, created using a unique herbal dye process. While no chemicals are involved, natural dyes create vibrant shades using alternative ingredients such as flowers, leaves, and berries. The garments are all Woolmark certified, tested for longevity and color fastness.

British fashion label Victoria Beckham has collaborated with Australian based The Woolmark Company to design a collection of durable and traceable knits made from merino wool and natural dyes. The range includes cozy and comfortable knitted sweaters, cardigans and accessories with intarsia details and contrasting stripes for adults and children.

“I’m excited to launch a farm-to-workshop collection and wanted to mark this moment with classic yet fun designs for adults and kids alike, providing all ages with the building blocks of a great wardrobe. perfect and comfortable winter, “mentioned Creative Director Victoria Beckham.

Throughout October and November, this collection will be available at several retailers, including Saks Fifth Avenue, Zalando, Mytheresa, Harrods, Luisaviaroma, KaDeWe and Barneys Japan.

Fibre2Fashion Information Office (KD)

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Fashion style

Bottega Veneta opens Squid Game-style maze in Korea: see photos

Bottega Veneta has plenty of unconventional ways of getting noticed, whether that’s by hosting secret fashion shows or ditching Instagram altogether.

Now, for some mysterious reason, the Italian fashion brand has launched a new art installation called “The Maze” in South Korea. The giant 16-meter-long maze, reminiscent of the confusing visual spectacle featured in the hit Netflix series Squid game, is located outside the parking space of the Grand Hyatt Seoul.

We say “mysterious” because The Maze doesn’t offer a single Bottega Veneta product. Instead, it picks up on the brand’s codes, as defined by Creative Director Daniel Lee. On the one hand, you will notice that it is entirely in the same shade of green (officially nicknamed “Perakeet”) as the brand’s cult bags, like The Pouch or The Jodie handbag endorsed by Kendall Jenner.

The maze is also shaped like a triangle, another key motif in Lee’s collections for the brand. The structure is lined with chain link fences, which you will need to navigate to enter the ultimate photo-taking area covered in strands of fur. You might remember this same texture appearing on several Bottega Veneta coats, most notably the one worn by Hailey Bieber. Once inside, you will also have to solve puzzles to discover the true meaning of the installation.

True to the secretive nature of its fashion events, Bottega Veneta didn’t say much about the art installation, the opening of which saw South Korean stars like Go Hyun-jung, Ahn Hyo-Seop and musician Code. Kunst. Still, you can scroll through the pop-up’s dedicated hashtag, #themaze, for a closer look or see more photos below.

Go Hyun-jung in THE LABYRINTH by Bottega Veneta
Come on Hyun-jung
DPR LIVE and DPR IAN in THE MAZE by Bottega Veneta
Bibi in THE LABYRINTH by Bottega Veneta

All photos are courtesy of Bottega Veneta.

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French fashion

A new wellness brand that harnesses the power of the garden

Even when the creative director Scott Formby was working around the clock for fashion and interior brands like Ralph Lauren and Frette, he would find a way to put himself outside. “I would have a photoshoot in the middle of a garden on the Amalfi Coast,” he recalled recently from his home in the Hollywood Hills in Los Angeles. When he bought this 1920s Spanish colonial-style home 15 years ago, his 2,500 square foot terraced garden, on a connected but separate lot, was a big part of the draw, and after the drought which hit the region in 2014, he transformed it to reduce its water needs. “I kept the old lemon trees but added a lot of cacti and, inspired by the Mediterranean, fig and mandarin trees,” he said.

About two and a half years ago, Formby’s frequent trips between New York (where he has an apartment) and Toronto for his then job as creative director of Canadian bookstore chain Indigo – and the lack of of garden time that resulted – was beginning to exhaust it. To distract himself, he started talking with his colleague Jennifer De Klaver, who is now his business partner, about the idea of ​​working together on a small wellness business that would celebrate the beauty and healing properties of plants. “Just talking about it seemed like oxygen to me,” he recalls.

When he finally quit his job at the end of 2019, Formby decided to spend more time in Los Angeles, where he hoped to recharge and putt in his garden. Weeks later, the pandemic hit the west coast and, due to the lockdown measures, he had more free hours to tend to his plants than he had ever imagined. At the end of that spring, he had a bumper crop of citrus and avocados and started selling them at local farmers’ markets. Sometimes he would just leave a basket of lemons by the side of the road with a sign saying “Free Vitamin C!” “It was like therapy for me,” he said. “It was also around the time when we decided to turn our idea into something real.” He and De Klaver found a lab in Colorado to help them formulate the natural, herbal-laden oils and creams they’d envisioned during their years of commuting – products that would combine the anti-inflammatory properties of cannabinoids with powerful organic ingredients, like Echinacea and Evening Primrose, and combine Old World herbal knowledge with cutting edge science.

The visual concept for Apothecary Figaro, as the pair named the brand, later focused when Formby saw an image of “Landscape with a Cowbird,” a serene rendering of the Italian countryside painted around 1637 by French artist Gaspard Dughet, online. “Jennifer and I wanted to talk about the healing properties of art, in addition to those of plants, and this painting became a definitive starting point,” he said. In fact, they liked it so much that they decided to allow the work to be used in their branding. Much of the packaging in the wellness area, Formby said, is “white, clean and clinical and we felt it didn’t work visually for our serums, which are so filled with organic herbs.”

This month, the line will launch its first two products: the Botanical Serum and the Relief Balm. Both formulas contain a potent combination of organic green echinacea extract from a farm in upstate New York and CBD; some research has shown that the two ingredients can work favorably together to reduce inflammation of the skin and muscles. “We don’t market ourselves as a CBD business,” Formby explained. “But Echinacea is a powerful booster for CBD and its properties may work well on the skin.” He says the serum, which includes 30 other botanical ingredients such as wild geranium and patchouli, improves radiance and has a calming effect, while the balm, which includes arnica and extracts of mint and wintergreen. , can soothe muscle aches and pains. Coming up, and expected to arrive in the spring, a moisturizer for the face and a tincture infused with ginger, turmeric and elderberry which is designed to help the immune system and improve the quality of sleep.

All the while, Formby continued to tend his garden, even adding a new area for medicinal herbs such as wild marigold and chamomile which he describes as a “kind of laboratory.” He also found new uses for his abundance of products. Last Christmas he made a huge batch of fig compote and sent 50 jars to friends and family on the East Coast and Texas, where he grew up. The recipe, which he shares below, was inspired by a version he tasted years ago in Turin, Italy, and he likes to use it as a garnish for yogurt or toast, serve it with hard cheeses or pour it over rose ice cream. “As a child in Texas, I never knew what a fig tastes like, ”he said. “If you had said 15 years ago that I would make my own herbal jams and tinctures, I would have rolled my eyes and said, ‘What are you talking about? But the garden has become a real refuge for me. I realized how healing and empowering it is to watch things grow, especially during such a tragic time.

1. Place the figs, balsamic vinegar, orange zest, orange juice, sugar, salt, vanilla bean, rosemary and cinnamon in a medium heavy-based saucepan. Cover and bring to a boil over medium heat. (It may look dry, but don’t worry.) Boil for 1 minute, stirring to dissolve the sugar.

2. Lower the heat, add the bourbon and simmer, uncovered (you want the little bubbles to be visible throughout the pot, not just around the edges) for 45 minutes to 1 hour, stirring occasionally, until until the figs fall apart and the mixture has the consistency of red fruit jam.

3. Discard the vanilla bean and serve or refrigerate the compote. It will keep for about two weeks in the refrigerator.

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Fashion designer

‘Christian Dior: Designer of Dreams’ opens at Brooklyn Museum

While recent discussions around the city have focused on the Costume Institute at the Metropolitan Museum of Art, just across the East River, the Brooklyn Museum has brought an equally (if not grander) exhibit to life. which takes guests on a wonderful journey through the history of the iconic Dior fashion house.

“Christian Dior: Creator of dreams” is separated into two sections: an exterior section retracing the history and heritage of Dior and an interior “Enchanted Garden”. As guests enter the exhibit, they are greeted by Dior’s signature New Look, her iconic dress that features round shoulders, a voluminous skirt and a cinched waist. The look, which debuted in 1946, quickly became a favorite among women around the world.

Then take a look at the collections of Dior’s successors, starting with Yves Saint Laurent, whose designs were considered provocative at the time due to their bold silhouettes. Next come the beautiful ornate dresses by Gianfranco Ferré located next to the daring creations of John Galliano. The dramatic beaded dresses by Raf Simons and the collections of Maria Grazia Chiuri, Dior’s first female creative director, are also in the spotlight. Each section is complemented by works of art from the museum’s permanent collection.

Perhaps the most magical part of the exhibition is the breathtaking “Enchanted Garden. Once you step into the garden, the fashion and the exhibition merge into one, creating an immersive experience like no other. Dresses float up to the ceiling as clouds and birds dance on the walls. The layout not only provides a beautiful backdrop for these works of art, but also gives every fitted ball gown, suit and jacket the chance to be admired up close. You can get so close that even the smallest details, from their intricate embroidery to the trims and lace adorning them.

“Christian Dior: Designer of Dreams” is on view at the Brooklyn Museum until February 20, 2022. Student tickets cost $ 16.

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Fashion style

Homer Simpson was made for fashion

Applause, whispers, camera slamming, questionable music: these are the sounds of a classic fashion show. Laughter ? These are less frequent.

Yet several were heard last Saturday night, circulating in the 19th century Parisian theater where the great and wealthy house of Cristóbal Balenciaga jumped the traditional podium and screened a special 10 minute episode of “The Simpsons”.

It was a surprise lasting over a year, and the result of a sometimes grueling collaboration between two demanding creative entities known for their attention to detail. So far, it has been viewed over five million times on YouTube.

In the episode, Homer writes to Balenciaga (“Dear Balun, Balloon, Baleen, Balenciaga-ga,” he says as he struggles to pronounce the famous fashion name) on Marge’s birthday, explaining that his wife always wanted to own something by the brand.

He asks for the cheapest item, which the Balenciaga team interprets as “one of those American gags that nobody has” and sends him a dress that costs 19,000 euros. After wearing it briefly, Marge returns the dress with a note saying that she will “always remember those 30 minutes of feeling a little bit special”.

Back in Europe, Balenciaga Artistic Director Demna Gvasalia says her rating is “the saddest thing I have ever heard, and I grew up in the Soviet Union.” This is exactly the kind of woman I want to reach! He then goes to Springfield and decides to “save” the “styleless” by inviting them to model his clothes in Paris, explaining that he wants “the world to see real people in my show“.

The 10 minutes are filled with Easter eggs for die-hard “Simpsons” and Balenciaga fans. A Balenciaga private jet has a landing gear that resembles the brand’s famous sock sneakers; Waylon Smithers chooses a dress to wear when given his choice of outfit; Lisa initially recognizes that walking on a track is “superficial”, but then benefits tremendously.

The collaboration began in April 2020, when Mr. Gvasalia sent “Simpsons” creator Matt Groening an email about the collaboration.

Mr Gvasalia, 40, who was born in Georgia and watched the show when he was growing up, said the idea came to him during the first lockdown of 2020. He has a penchant for inserting Balenciaga into the trends of the mass market: Under his leadership, the brand collaborated with other American sensations, such as Crocs and Fortnite.

About the ‘Simpsons,’ he said, ‘I’ve always loved the wry humor, romance, and charming naivety of this one.’

‘The Simpsons’ executive producer and screenwriter Al Jean said that when he learned of the Balenciaga Project in January, “my response was,’ What is Balenciaga? “” He turned to Wikipedia for answers.

Her first pitch at Balenciaga had a similar setting to the one they ended up going with – Marge’s birthday wish – but diverged with Mr. Gvasalia’s character deciding that the brand’s next show would take place in Springfield. When the Balenciaga plane lands there, its models are not allowed into the United States because they are too thin and too good-looking. The people of Springfield become the role models, their nuclear power plant is the trail, and the ghost of Mr. Balenciaga appears.

But Balenciaga preferred that Springfield be brought to Paris, Mr Jean said. From there, the story was revised and edited – to the point that the writers joked about “Draft 52 of the Balenciaga script” – until two days before the screening in Paris.

Mr. Gvasalia made specific contributions to the scenario, Mr. Jean said. For example, the episode ends with Homer kissing and singing “La Mer” at Marge on a party boat after the show on the Seine. But Mr Gvasalia wanted one last joke, so he demanded that Homer’s jacket be set on fire by a Frenchman smoking a cigar. Mr Jean then suggested to Anna Wintour, who had appeared in the front row of the fashion show, to try and put out the fire with expensive champagne, which Homer would try to drink instead.

“She said, ‘Please don’t let me do this,’ so it became Demna,” Mr. Jean said. (Ms. Wintour otherwise approved of her likeness being used but declined to express her character, he said.) And that previous line about Mr. Gvasalia who grew up in the Soviet Union? The “Simpsons” team had decided to cut him, but Mr. Gvasalia demanded that he be reinstated.

He also asked, the day before the show, to change the color of a tear that Ms. Wintour sheds while looking at model Marge. The tear was too light and wouldn’t be readable on screen unless it was a darker blue. Mr. Jean and director David Silverman agreed.

“They were definitely our game in terms, down to the last detail, to make sure everything was perfect,” said Jean. “The animation team is the hardest thing they’ve had to do since ‘The Simpsons Movie’.”

Mr Silverman, who directed this 2007 film, said the biggest challenge was getting the “necessary precision in clothing,” which involved inventive post-animation effects to capture the distinct textures and movement, for example, from Marge’s runway look: a gold metallic ball gown.

Balenciaga sent the “Simpsons” team 15 looks to choose from for the final show, all based on designs from the past five years. But putting them on the bodies of these universally recognizable cartoon characters wasn’t that simple.

“It was difficult for us to grasp that balance between caricature and the integrity of the clothing,” said Mr. Silverman. “You translate the appearance of real clothes, real designs on these figures that are not exactly human proportions.”

Mr Silverman, who joked, but not really, saying this was how he spent his summer vacation, studied the footage from the parade to determine what the audience should wear and how the lighting should hit the podium.

The script also had to capture the peculiar absurdity of the luxury fashion world and Balenciaga’s stature in this world – something that cannot be absorbed on Wikipedia. Mr Jean said that in addition to the crash course at Balenciaga earlier in the year, watching the Netflix series on Halston, who was a big Balenciaga fan, helped him understand the excessive and evergreen culture of the fashion.

The secondary characters are also based on real people and animals, including Mr. Gvasalia’s husband, Loïck Gomez; their two dogs; Creative Director Martina Tiefenthaler (speaking); and the workers of the Balenciaga workshop who end the collection on the plane by singing “formidable, formidable”.

This is one of Mr. Gvasalia’s favorite scenes in the episode, he said, “It makes me so happy every time I watch it.”

As for Mr. Gvasalia’s voice, “we had to try to convince him to play himself, but he didn’t want to,” Mr. Jean said. He felt this was consistent with Mr Gvasalia’s recent decision to completely hide his face and body during public appearances, creating confusion among observers as to whether it was really him.

When asked why he wanted to align Balenciaga with “The Simpsons” and if he thought the brands had something in common, Mr Gvasalia replied that “it’s more personal to me”.

“I didn’t want to line anything up or make sense of anything. I just wanted to create an iconic visual story.

While the novelty of the collaboration made it surprising, the brands share a similar philosophy. They appreciate self-referentiality, break the rules of presentation (broadcast of an episode with live animation, turn a red carpet into a parade without telling anyone) and bridge the gap between the intellectual and the intimate. Mr. Jean called Mr. Gvasalia “an excellent collaborator” and Mr. Gvasalia described the experience as “the highest level of collaboration” and “a dream come true”.

“I didn’t realize how complex it is to create a 10 minute episode, so immense respect for that,” he said.

Whether the act is meant to challenge the seriousness of fashion or the public’s notions of luxury – bringing Balenciaga to the suburban masses or bringing the suburban masses to Balenciaga – is something it will let critics debate.

What did he want from that? “A smile and a good dose of pleasure.

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Fashion brand

Lumber + Salt Expands Purposely Reused Vision Across North Fork

One afternoon, the Lumber + Salt salvage and antique shop on Sound Avenue in Jamesport had among its wares: a six-foot-tall vintage bookbinding press, tiny porcelain doll heads displayed in wine glasses , oxidized copper door frames from the Savoy Hotel in London. , metal cutouts to create puzzles, stacked fireplace hearths of indeterminate age, a textile roller lamp, primitive carved heads and around a thousand other eclectic objects – all with a rustic patina and a mysterious past.

In the hands of people less creative than business partners John Mazur and Brooke Cantone, these esoteric discoveries can seem confusing at best. But the duo knows how to integrate their “raw and refined” aesthetic into everything they do. Their retailsourcing-architecture-design-branding business is the ultimate multi-hyphenate – a growing operation known to revamp some of the coolest interiors and exteriors in and around North Fork.

Lumber + Salt has also been busy developing its own lifestyle brand, including creative collaborations with like-minded taste makers in the region, as well as a cafe, farmer’s market and greenhouse in the works.

A highly conceptual designer, Mazur is wary of Lumber + Salt being cataloged as one thing, because the whole is greater than the sum of its parts. “What we do is creative design,” said the artist, who offers to sketch out his ideas rather than trying to put them into words. “We are introducing unique hardware solutions and the integration of objects into an overall plan,” he said. “It’s about creatively rethinking new ways of approaching spaces and how the client’s lifestyle fits into them. We don’t just sell products; we are selling a feeling.

Even the name Lumber + Salt is open to interpretation. It can represent land and sea, or a patina aged by time and forces swept by the sea. Or it could serve as a metaphor for the aesthetics and working style of the partners – a fusion of hard elements sprinkled with elegant touches like a chef’s finishing salt.

If Mazur is Wood, Cantone is Salt. “We organize our spaces and then add softer touches that evoke the emotion and vibe of the brand,” said Cantone, who left the corporate fashion world of Manhattan during the pandemic and moved to full time at North Fork to help evolve his passion project into a brand in its own right. concept.

Lumber + Salt is owned by the Mazur & Co. banner, founded by owner Mazur and Creative Director Cantone, who bring years of combined experience in retail, industrial design, fashion, art and antiques. . Mazur was previously the director and designer of an industrial and graphic design firm in Soho, specializing in branding for retail spaces. He specialized in industrial and graphic design at RIT and worked in Germany after his studies. Cantone has held leadership roles in business creation in fashion, visual merchandising, marketing and retail brand experience, with a BA in Fashion Merchandising from Philadelphia College of Textiles & Science.

The company was originally born in 2014 as Material Objects, living on the 1291 Main Road lot in Jamesport, which Mazur still owns. Today, their salvage showroom is at 5570 Sound Ave., while the Main Road campus serves as a sort of branded showcase for Lumber + Salt, Sherwood House Vineyards (which Lumber + Salt refurbished) , William Ris Gallery (run by Cantone’s mother, Mary) and a barn at the back which houses the duo’s design studio and is also used for pop-ups and collaborations.

“Over the past two years, we’ve really brought the brand’s voice to life. It’s been a refreshing and creative renaissance, ”Cantone said, mentioning a weekend fashion event they hosted in the barn with a fashion brand called, aptly, The Salting.

Mazur and Cantone are excited to take the retail space to the next level, praising their new transplanted team additions.

“Our store is now open every day, thanks to our daily manager Kenneth Montusi (and his trusted canine assistant Kali),” Cantone said, noting that Montusi has traded in the world of corporate finance for a career reinvention. on North Fork. Renowned pop artist Peter Marco (also known as Marcoart) also joins the team, she said, “adding his whimsical pop art, personality and wit to the brand’s mix. , after moving from the Lower East Side to North Fork to be part of the refreshing creative movement.

This fall, Lumber + Salt will host pop-up weekends with like-minded designers: furniture designers, artists, ceramists, craft coffee makers and juicers, chocolatiers, flower designers, organic herbalists, winegrowers and fashion brands – who “get” the aesthetics and the ambiance. The idea, Mazur and Cantone said, is to celebrate both art and community (or community, as they put it).

The duo can’t wait to bring their salvaged creativity to new projects and realms. “There are no more settings for us,” Cantone said. “We’re taking lumber + salt off limits!” “

Thanks to an influx of new team members, the Lumber + Salt showroom is now open seven days a week.

(Credit: Conor Harrigan)

Rose Hill Vineyards

“We hired John and Brooke in 2018 to define and redesign our tasting room with essentially a blank slate. We met them on a Monday and on Friday they came back to us with a 50 page deck with inspiration and renderings that approached the project from a truly 360 point of view! Since then, I have consulted them on every project, big or small.

They designed our wine library from scratch and built a magnificent ceiling that looks like a barrel in the highest way. Not only do they have incredible vision, but they also reuse items in the most unexpected ways that add both character and history to our farm. John reused an old corn screen as a light fixture that often prompts guests to ask, “What is this?” ”

Chelsea Frankel, Executive Director

(Credit: Conor Harrigan)

Cave & Vineyard Terre Vite

“As lovers of Tuscany (especially Florence) we knew we wanted to replicate its old world atmosphere while creating a trendy environment, but we couldn’t express that vision. John redesigned our tasting room before our eyes with an amazing freehand sketch and Brooke came full circle in whatever we wanted, bringing the ‘old world with a new spirit’ design to life.

The focal point of our tasting room is, of course, our large bar, supported by two pieces of vintage 1940s hardware. These pieces bring a classic apothecary vibe to the room and Brooke styled them with gorgeous drawers and pieces that really balance the whole. They also bought a vintage door from which they built the skeleton of our bar and then lined it with an antique conveyor belt!

Since we have extremely high ceilings, they brought a piece of the top of a windmill and adorned it with a shade fit for a giant. It’s so cool to have a part of our tasting room and I constantly see our guests staring and marveling, trying to figure out what it is. Although I am obsessed with every square inch, I have to say that my favorite corner of the tasting room is the corner with the weathered tall tables. Brooke styled it with the most beautiful mirror that invokes the Medici Palace in Florence.

– Jacqui Goodale, co-owner

(Credit: Conor Harrigan)

Sherwood House Wineries

“We are working with Lumber + Salt at Sherwood House Vineyards to organize the aesthetics of the tasting room, maintaining an ever-changing environment. This spring, as guests prefer to sit outside, we asked them to reinvent the courtyard space along the east side of the property to ensure that guests sitting outside have the same experience. visual than those seated in the tasting room. The result was a custom serpentine bar that transforms into two greenhouse-inspired structures that create an intimate garden environment in which to enjoy our wines, rain or shine.

– Ali Tuthill, Managing Director

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Fashion designer

Olivier Rousteing reveals he survived the frightening explosion of a chimney

Beloved designer Olivier Rousteing, the creative director of fashion label Balmain, shared on Instagram on Saturday that a year ago he was injured after his fireplace exploded. (Disclaimer: This story includes an image that some may find graphic.)

“A YA YEAR”, the 36-year-old fashion designer started his legend Saturday October 8. “I finally feel ready to share this. I’ve been hiding it for too long and it’s about time you knew it. Exactly a year ago, the fireplace inside my house exploded. I woke up the next day. . morning at Saint Louis Hospital in Paris. The talented staff at this famous hospital, which were handling an incredible number of COVID cases at the same time, took care of me very well. “

“I cannot thank them enough,” he continued. “I did everything to hide this story from as many people as possible and try to keep it a secret with my teams and my friends for too long. To be honest, I’m not sure why I was so ashamed, maybe this obsession of the perfection that fashion is known for and my own insecurities… “

In the image he shared on Saturday, Rousteing can be seen in a full cast with severe burns covering his face.

“While I was recovering, I just worked day and night to forget and create all my collections, trying to make the world dream with my collections and at the same time hiding the scars with face masks, turtlenecks, long sleeves and even several rings on all my fingers through numerous interviews or photo shoots, ”he shared.

“And I really realized that the power of social media is to only reveal what you want to show! It kind of allows us to create our own special narrative that avoids what we don’t want to see or show: it’s is our new world. “

Friends and fans of the creator took to the comments section to applaud him for his bravery, being so open and honest about the terrible incident.

“I have a soft heart,” wrote Karen Elson. “Such courage and bravery in sharing your story. One thing I know to be true is that true beauty, the one that lights up a room, is always flawed and flawed in all good manners. soul that shines brighter than anything else. “

Christina Milian wrote: “Glad you made it safe. God bless you and 🙏🏽 for the courage to share this.”

“I’m so glad you’re safe,” commented fellow fashion designer Donatella Versace.

Cardi B added: “God bless you.”

In September, Rousteing made his first public appearance in nearly a year on stage at the Balmain Festival V02 women’s ready-to-wear spring / summer fashion show as part of Paris Fashion Week.

Designer Olivier Rousteing on September 29, 2021.Dominique Charriau / Getty Images

“Now a year later – cured, happy and healthy,” he continued in his caption on Saturday. “I realize how truly blessed I am and I thank GOD everyday of my life. My last show was about the celebration of healing from pain and I thank all the models the productions my team the models my family Balmain, my friends who came and supported not only my 10 years as Balmain but my rebirth. “

Rousteing ended his legend by thanking the first responders who helped him with his painful recovery and reminding his fans and followers to never give up.

“Today I feel so free, so good and so lucky,” he said. “I am entering a new chapter with a smile on my face and a heart full of gratitude. To the doctors and nurses of Saint Louis, and to all those who helped me during this long convalescence and kept my secret: a deep thank you. you I love you.

“GOD BLESS YOU ALL,” he wrote, adding, “and yet never give up! There is always the sun after the storm.”

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Fashion brand

A “reset”? Not at Paris Fashion Week

On the final evening of Paris Fashion Week, Louis Vuitton, the world’s largest luxury brand in terms of sales, invested a passage in the courtyard of the Louvre, where dozens of crystal chandeliers hung above of a double row of large glass mirrors at the Palace of Versailles.

The models stepped out to the sound of a turret clock, dressed in wide, bouncy satchel skirts and woolen silk-cuffed blazers, lace dresses layered over blue jeans, and sporty lace-up boots in fluorescent satin. These were complex and intriguing in their unusual proportions and flowing mesh of at least three centuries of dress styles. Designer Nicolas Ghesquière called it “the big ball of time “.

Then came another woman carrying a fabric banner that said “Overconsumption = Extinction”. She seemed to be a part of the show at first – until she stopped at the end of the track and was brutally abducted by security guards. This cast a chill over the rest of the event; the models did not make a second appearance for the finale, and when Ghesquière came to bow out, he was accompanied by a bodyguard.

Although a shame for the hundreds of people who had worked on the collection, for a climatic event, the timing and location was appropriate. There was something deeply unsettling about the return of these lavish displays of brand power during Fashion Weeks; of the sudden reappearance of designers, buyers and journalists (myself included) who, just over a year ago, called for a ‘reset’ of the fashion system – fewer catwalks, fewer creative exhaustion and a lower carbon footprint.

At Louis Vuitton, creative director Nicolas Ghesquière mixes past and present references. . . © Giovanni Giannoni

. . . like dresses adorned with velvet and lace combined with open-toe satin boots © Giovanni Giannoni

Bruno Sialelli from Lanvin presented playful dresses covered with a daisy print. . .

. . . alongside simpler and more sensual babydolls

Of course, commercially this makes sense. On the contrary, the last year and a half has proven just how well oiled the luxury machine is, especially among the industry mega brands. Despite the resurgence of Covid-19 in China, shares of LVMH, Kering and Hermès are trading at near historic levels. Shows are making a comeback as they boost sales and media attention.

Chanel Fashion President Bruno Pavlovsky saw it coming. In an interview during France’s first lockdown last year, he said he saw no reason for an overhaul of the fashion calendar; that six fashion shows a year worked well for Chanel before the pandemic and would continue to perform for the company after it.

Bar chart of 'soft luxury' * market share, Europe and UK only (%) showing major labels tightening their grip

“We have the strongest loyal local customer base we’ve ever had at Chanel,” he says now, speaking ahead of the brand’s Spring / Summer 2022 show. Although operating profits fell 41% between 2019 and 2020, Pavlovsky says travel restrictions have given the brand’s boutiques the opportunity to really listen to what local shoppers want – which, above all, is to “feel privileged”. Sales, which were already doing “very well” in China, the United States and in pockets like Dubai, are also picking up in Europe, where American tourists have started flocking to Chanel stores again this summer, he adds. .

This season, Creative Director Virginie Viard revisited Chanel’s heyday of the 1980s and 1990s, erecting a catwalk above the audience and surrounding them with old-fashioned photographers. The models were grinning and spinning like ’90s supers in simple black swimwear trimmed with sparkling white tweed skirts accented with chain sashes and flowing black chiffon dresses printed with butterfly wings.

It was elegant but not very exciting, devoid of the irony and wit that once animated the house’s iconic gold chains and tweed jackets under the late Karl Lagerfeld. Without them, these pieces are simply nostalgic.

At Chanel, Virginie Viard returned to the brand’s 80s collections with swimsuits and sports bras. . .

. . . alongside short pink dresses, multicolored jackets and denim suits

Hermès enlisted artist Flora Moscovici to create the atmospheric, orange-tinted backdrop for the show. . .

. . . for a collection of refined leather pieces in black, white, yellow and earth tones

It does not matter. Outside the pandemic period, Chanel’s ready-to-wear sales continued to climb under Viard. Chinese customers of the brand particularly appreciate its feminine approach, Pavlovsky says.

Same story at Hermès, where Nadège Vanhee-Cybulski showed the know-how of the house in a private jet terminal through smooth black leather suits and chiffon dresses delicately embellished with tiny glass beads, and small bags cylindrical with luxuriously thick silver handles. There is little need for Vanhee-Cybulski to push the limits on the podium; sales at Hermès have already exceeded pre-pandemic levels.

Givenchy designer Matthew Williams feels the need to push the boundaries – or at least define what the LVMH-owned house represents following the departure of Clare Waight Keller last year. For her first physical show, held in an arena northwest of Paris, a giant and expensive oculus was suspended from the ceiling, bathing in glowing white light the models dressed in the associated black neoprene riding vests. to stretch waders. , and the men in utility vests layered over narrow-cut pants.

There were a few decent looks here – cropped pantsuits and pictorial partings created in collaboration with Josh Smith in particular – but for the most part, this collection seemed to tread territory already occupied by other designers. Maybe that will develop when Williams starts experimenting with high fashion for her debut in January.

Givenchy’s creative director Matthew Williams mixed corsets and basques in tulle. . .

. . . with traditional couture fabrics and thigh-low clogs

At Miu Mui, Miuccia Prada revolutionized the preppy style by lowering the waist and showing off logo underwear. . . © Monique Feudi

. . . and cropping sweaters and shirts to reveal the models’ naked bellies © Monica Feudi

Miu Miu’s identity has at times been obscured by her sister brand Prada, but that is starting to change now that Raf Simons is co-designing Prada. “Before, I could have half of me in one place, half of me in the other,” Miuccia Prada told the FT earlier this year. “Now all of me is up to Miu Miu. This should be good for Miu Miu.

It was a very good collection, full of the beloved Miuccia signatures that recently disappeared from Prada: pleated schoolgirl skirts with chunky V-neck jumpers and neat straight jackets, sheer floral-appliquéd cocktail dresses. with gray ribbed socks and moccasins. These have been featured with bare bellies and the shortest skirts this season, but their deliberately awkward proportions have elevated them above conventional sensuality.

It was also reassuring to see such a wearable collection by Stella McCartney, whose curvy bodysuits, mushroom-print dresses, and lively, easy-going pantsuits were accompanied by little black bags made from mycelium, an alternative to cultured leather. laboratory. Although more expensive than her typical range, “it’s definitely cheaper than exotic skins,” she said. “And it doesn’t kill any animals, it’s not cutting down trees, it’s amazing technology that is truly the future of fashion.”

Stella McCartney has paired bodycon tops, cutouts and dresses with relaxed pants, knits and blazers. . .

. . . and launched the Frayme Mylo, a mushroom leather handbag

Models and guests paraded a Hollywood-style red carpet at Balenciaga. . .

. . . before entering a theater to enjoy the premiere of ‘The Simpsons I Balenciaga’

Not all shows marked a return to business as usual. A red carpet and a crowd of photographers greeted guests in front of the Théâtre du Châtelet, where Balenciaga gave his show. All the standard stuff, until the guests were seated inside, where the “show” turned out to be the red carpet itself, broadcast live on stage. Here, in relentless high definition, a mix of real celebrities – Cardi B, Elliot Page, Isabelle Huppert – took on camera-friendly poses alongside unwitting reporters, laughing and clapping inside the theater. Soon the looks of the collection began to appear, adjusted to the actors, the Balenciaga staff and various “friends” of the house.

It was a careful dismantling of the boundaries between performers and audiences that has also been expertly choreographed this season by Francesco Risso de Marni and Pierpaolo Piccioli from Valentino. The latter took his show to the streets, where students and audiences alike drank in the beautiful mix of jeweled and citrus-hued partings and silk shirts turned into dresses. Customers were free to stay and dine in restaurants afterward, thanks to Valentino. “Inclusiveness and humanity is what I want to offer today,” he said.

Valentino’s Pierpaolo Piccioli reinterpreted classic couture in extravagant volumes and acrylic colors. . .

. . . and paired feathered looks with practical combat boots

Paris Fashion Week ended with a tribute to AZ Factory’s Alber Elbaz, who died in April. The show featured pieces from various fashion houses, including Valentino. . © imaxtree

. . . as well as drawings by Elbaz himself © imaxtree

The sense of community was also palpable at the AZ Factory memorial show for the late Alber Elbaz, where 47 designers created looks for an audience including his partner, Alex Koo, and France’s first lady, Brigitte Macron.

Return to Balenciaga. Just as the show seemed to end, the lights dimmed and on screen appeared Homer Simpson, desperate to secure something – anything – from the tag as a birthday present for his suffering wife. for a long time, Marge. The ironic film culminated with a Balenciaga show in Paris, modeled by the people of Springfield. The company described it as “the latest in a progression of activations that push some established boundaries between fashion and other forms of entertainment, culture and technology, moving the brand away from an easily defined category.”

I’m not sure the experience pulled Balenciaga out of “easily definable” categories, but it was fun, clever, and surprising. Everything you hope a physical spectacle should be. Because right now they’re not going anywhere.

To follow @financialtimefashion on Instagram to first discover our latest stories

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Fashion designer

Giants announce business collaboration with Latin luxury streetwear brand Agni Atelier

Gonzalez and Peña work with the Giants to engage and support students at The Island School PS / MS 188 on the Lower East Side of Manhattan with resources to learn more about fashion, entrepreneurship, and the sports industry.

“My whole family is in education,” Gonzalez said. “I am the only one to have chosen the path of entertainment and fashion; however, my aunt is a principal, my mother is a teacher, my cousin is a teacher, everyone. Jorge and I always love to give back to the community. What we want is to open those doors for kids and let them see that someone who looks like them and speaks like them can create a brand. We want to give them opportunities that we haven’t had. “

Gonzalez and Peña have known each other since their teenage years. They attended the High School of Art and Design, a leading institute in the development of gifted artists in Midtown Manhattan. They signed up with the dream of succeeding in the comic book world.

“We’ve had these skills since we were kids,” said Peña. “I learned to draw when I was four years old. My mother noticed my talents and pushed me to improve myself. Art became an outlet for me. I was always in the park drawing and I fell in love with creation. also saved me from trouble. “

“We’re New Yorkers, we’re competitive by nature,” Gonzalez said. “We became best friends when we realized we had a similar background. Our parents came from the Dominican Republic hoping for a better life. They instilled in us hard work and determination, and we bring that work ethic to everything we do inside and outside of business. “

While Peña wanted to be the next Stan Lee, Gonzalez took inspiration from fashion designer Marc Ecko. Their school cut the cartoon program and Gonzalez was automatically enrolled in fashion classes.

Then Gonzalez got a job in a clothing store at a time when hip-hop and fashion were merging. Gonzalez has helped artists like Nas, Busta Rhymes and Jadakiss – “you name it, they walked into our store”. After a while, the news spread to the owner of the business, who asked why Gonzalez was still working on the floor because he should be in the office.

“At the age of 19, I became an assistant buyer for the company, so I was like the youngest buyer in New York,” Gonzalez recalls. “I was sitting at meetings with the biggest names in the business. Everyone had white hair. They were looking at me like, ‘Who is this kid?’ And then it all started to take off from there. “

After a few years, Gonzalez wanted to do something different and became a celebrity stylist. He then meets Seth Gerszberg, Marc Ecko’s partner, through his friend Edgar Andino, leading him to work for the source of his inspiration. He became the Creative Director of Ecko and the doors opened wide. He made contacts, gained access, learned how to design and produce a collection, all the while considering one day creating a new brand with Peña.

Meanwhile, Peña had taken a different path from their high school years of art and design. He became one of the top product specialists, then sales manager for a large car dealership.

“Jorge could sell anything to anyone,” Gonzalez said. “You know the old saying: he could sell water to a whale.”

“I learned how to greet customers, how to solve problems for both customers and the dealership. At the same time, creating different advertising plans that helped the dealership increase sales volume,” said Peña. . “I have spent the last 15 years in sales, I have been able to combine my creativity, my skills and my passion to develop the business.”

Then came the time to start their own business. They found success with their hoodies, but they were looking to take the next step. The opportunity presented itself due to an untimely circumstance when Peña was fired by his company at the start of the pandemic.

“Unfortunately I was let go, but it opened a huge door for us,” said Peña. “Ariel and I were really able to hit the gas and focus 24/7 on the brand.”

“It was the best thing that could have happened,” Gonzalez said.

They now have time for the large-scale deployment of the Agni Atelier brand. After all of their hard work roaming the Garment District, people started talking. And the Giants have noticed the heat.

“This collaboration is more than a dream, it’s a vision coming true,” said Gonzalez. “I remember watching the Giants win the Super Bowl with my mom. I remember always wanting to make my own brand like my idols, and it all came out.”

“No matter what we are aiming for, we got it done,” said Peña. “We are proof that anyone, from any background, can do anything. We hope our story inspires others to make their dreams come true, you just need to visualize them and work hard to make them come true. make it happen. “

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French fashion

Alber Elbaz: a moving tribute to fashion

In the fashion world where aerial kisses often don’t make sense, the design community gathered on Tuesday and paid tribute to Alber Elbaz, who died of COVID-19 in April at the age of 59. With contributions from Giorgio Armani, Ralph Lauren, Burberry and Christian Dior, the latest Paris Fashion Week show was an extended French kiss for the designer who single-handedly relaunched the Lanvin house.

Elbaz’s peers and admirers have created moving pieces through the filter of the instantly recognizable designer, with his shrunken costumes, stout figure and bow ties. Unlike this year’s Met Gala, where the theme In America: a fashion lexicon produced disparate results, such as Kim Kardashian wearing a black hood and pop singer Kim Petras in a horse’s head, is what is described among the locals in the front row as a “moment.”

Fashion’s moving tribute to Alber Elbaz. Anthony Vaccarello for Saint Laurent, Viktor & Rolf and Stella McCartney sent designs inspired by the man who brought Lanvin to life.Credit:Getty

Fresh off her success at Balenciaga’s breakthrough show featuring The simpsons, Demna Gvasalia created a voluminous dress in Elbaz’s favorite pink with iconic bows while Stella McCartney’s metallic gold pleated dress resurrected the glamorous Lanvin brand that dominated the 2000s.

Ralph Lauren and Anthony Vaccarello at Saint Laurent (where Elbaz had succeeded the founder of the house in 1998, before being replaced by Tom Ford in 2000 and moving to Lanvin in 2001) sent models in updated versions of his parade uniform.

Viktor & Rolf and Jean Paul Gaultier riffed on red hearts, another familiar Elbaz motif born in Morocco and raised in Israel, against a dark background.

Alber Elbaz bowed out in 2007 when he was the Creative Director of Lanvin.

Alber Elbaz bowed out in 2007 when he was the Creative Director of Lanvin. Credit:PA

The dramatic show, called Love brings love, borrowed its structure from a 1945 Parisian exhibition, Théâtre de la Mode, where 60 designers celebrated the end of World War II but was purely Elbaz. At first, guests including Naomi Campbell and Vivienne Westwood took to the podium, enjoying snacks and drinks, a welcoming tradition introduced by Elbaz during his Lanvin tenure. I would have liked to keep a cookie in a cartoon figure of the creator of a Lanvin show, but like everyone in fashion, I was hungry.

In an interview with the American Vogue, designer Gabriella Hearst who participated in the tribute as Chloe’s artistic director, recalled: “It was modern in his attitude to understand that the most old-fashioned thing was to be a snob.

After being fired from Lanvin in 2015, following disagreements with the owner of the brand’s Chinese media mogul, Shaw-Lan Wang, Elbaz took a hiatus from the fashion industry, only returning this year with the support of the luxury group Richemont, by launching the more democratic AZ Factory label. .

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French fashion

French women dream of escape at Paris Fashion Week

PARIS – Parisians may be proud of their often-copied and never-equaled style, but after two years of travel disruptions, they plan to leave the city next spring.

As the collections showcased over the past week have shown, contemporary French labels have them covered, with plenty of options to throw in a suitcase or travel bag, depending on their destinations.

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The city dweller’s well-polished wardrobe by people like Maje and Zadig & Voltaire softens, both in tones and textures, with a sensual touch. The skin is visible through cutouts uncovering large expanses at the waist and back, or through eyelet lace or heavy crochet. Nostalgia has scented the palette of these separate pieces – denim jackets, polo shirts, seductive skirts or sets designed to be mismatched – echoing a wider appetite for vintage and time-tested styles, with mint green and bubble gum pink. matching previously widely distributed hues. like chocolate or fatty lilac.

Flowers for spring are not a cliché, they are a classic to Maje, where artistic director Judith Milgrom embraced the heyday of the ’70s of the bohemian aesthetic she favors. Choose a presentation centered around a flower stand, where crochet and floral prints were in full bloom in a palette of intense pinks, sherbet lemon undertones and vibrant greens. Blouses were cut voluminous but cropped, while dresses pinched – or bared – the waist, all creating the impression of hourglass silhouettes.

On the accessory side, the bucket-shaped sun hat was perfect for the course, while comfortable clogs and flats completed the look. Maje’s popular Fringed M bag, which sells at a rate of 140 units per day worldwide, will be releasing in micro versions – just big enough to hold a phone and lip balm, really – and crochet, for those who won’t. look for one of the straw bags offered for the season. To celebrate the bag’s fifth anniversary in October, the brand is planning a mix of physical and digital activations, including a life-size Tetris game in the city.

Come summer, the Sandro the woman had only three things in mind: dancing, sunbathing and traveling. She embraced the codes of Mediterranean living, with alluring summer dresses with asymmetrical cutout details inspired by swimwear; lo-fi patterned knitwear; crochet pants and waistcoats in naive patterns that looked like they had been bought at the local market; sun-washed denims and silky blouses with maritime anchor and rope motifs woven around the brand’s monogram.

Back in town, she brought back an Italian couture spirit for blazers and matching pants – not that she intended to wear them as an ensemble – while her male counterpart tried to keep pace, dressed in ‘an assortment of knitted polo shirts. acid-washed tie-dye shirts, shirt jackets and swimsuit shapes.

Feet in the sand and the dreamy voice of the Canadian singer Charlotte cardin to their ears, the 55 guests of Zadig & VoltaireThe spring parade at the legendary Club 55 in Saint Tropez must certainly have felt like floating in the azure sea as the models lifted sand with every step. “I wanted to bring out a strong and happy woman, a party atmosphere. And she walks, so that’s where the cowboy [touches in the collection] comes from, ”said Creative Director Cécilia Bönström, highlighting the hard-wearing denim pieces with details such as contrasting reinforcement panels.

Coming in 2022, it is the 25th anniversary of the brand, which will be marked by the reissue of iconic pieces such as high-top sneakers or its flap clutch, but also collaborations with artists from the United States, France. , from Korea and China, who will be invited to reinterpret Zadig & Voltaire’s all-time bestsellers.

The idea for a getaway also included looking for lesser-known destinations, perhaps closer to home, such as the port city in northern France, Le Havre. Its intricate juxtaposition of concrete facades was the backdrop for APCThe pragmatic basics of – sleek unisex polo shirts and tailored shorts to match leather slides – in warm-weather neutrals of white and blue, beige and khaki stripes.

TO Kitsuné House, Creative Director Marcus Clayton – formerly at Fenty, Golden Goose and Givenchy Women’s Clothing – envisioned the season as a summer camp for the brand, with outdoor wardrobes for city dwellers trying to reconnect with nature. Arrived in their uniforms of pointy denims, beige overcoats, and tailored pants, they would soon find themselves swapping them for pop-over parkas in utilitarian neutral color blocks that gave them a patchwork look; nubby fleeces with fox faces strewn all over; and Scout approved cargo shorts. All of these could be brought back to town when cut from crisp poplin, paired with silky slip dresses in a Maison Kitsuné weave – or black.

Launch gallery: Contemporary brands from Paris Fashion Week spring 2022

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Fashion designer

India Fashion rewards a fashionable evening

The second season of the India Fashion Awards took place on September 25 to celebrate innovators in the fashion industry. The second award season took place in Delhi on September 25, 2021 at Andaz by Hyatt and was powered by Mario and DLF Malls, co-powered by Pepsi & Ebix cash, in association with Artize & Havells

The awards ceremony is designed to celebrate “the unsung heroes of the fashion industry. The initiative is a step towards creating a space where fashion can be celebrated. Fashion who’s who from across the country were there either to receive the awards or to celebrate those who won.

Founder Sanjay Nigam said it was amazing to wrap up the second season of the India Fashion Awards because we believe that every talent needs to be commended and we, the board of directors of the India Fashion Awards, are creating this platform -form. During the pandemic, we also tried to give a helping hand to model artists and backstage crews to survive through tough times.

Rajnigandha Pearls * is a brand that believes in kindness and is proud to be part of the India Fashion Awards, a platform that recognizes unsung heroes of the fashion fraternity. We are delighted to sponsor the India Fashion Awards 2021 for the second year in a row and applaud the creative and innovative efforts to harness the power of fashion for good, the DS Group spokesperson said.

The jury consisted of Creative Director-Rocky S, Sonalika Sahay, Maneka Gandhi, Ravi Jaipuria, Prasad Naik and Varun Rana, as well as Vagish Pathak, Chairman of the Board of India Fashion Awards. The nomination and winners were selected on the basis of their contribution to the industry as well as taking into account uniqueness and consistency.

Apart from this, 3 Chanderi artisans and weavers received special recognition for their extraordinary contribution to the fashion industry.

In addition, Conrad Sangma won the Sustainability Leader Award, Tarun Khiwal won the Country Legendary Photographer Award, Muzamil Ibrahim won the Legendary Super Model Award, Nitibha Kaul won the Fashion Designer Award of the fashion of the year, Shobhita Dhulipala won the youth fashion icon, Sunil Grover won the versatile personality of the year, Raghav Chadha won the stylish politician of the year award, Vaishali S won designer of the year award – internationally renowned, Suneet Varma won designer of the year award (popular choice), Rohit Bal won legendary fashion designer award for his contribution to Indian fashion and Manish Malhotra won the Legendary Fashion Designer award for contribution to Indian cinema and fashion.

India Fashion Awards

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Fashion designer

Designers team up with Milan Fashion Week Spring 2022

Courtesy of the designers; Prada: Emmanuel Wong

style points

Style Points is a weekly column on how fashion intersects with the rest of the world.

In the past, a collaboration was the height of credibility – from top married to bottom, luxury mixed into everyday life. But after this just concluded Milan Fashion Week, this kind of movement looks so much like 2020. Now the designers who once existed in their own competing, non-intersecting lanes are merging, with unexpected results. Perhaps the model for this was the Gucci / Balenciaga tie we saw during the Aria collection from the first in April, whose “pirated” pieces merged Alessandro Michele’s embellished maximalism with that of Demna Gvasalia. Matrix-front ready.

Milan fashion week spring 2022
Fendi by Versace

Courtesy of the designer.

“Fendace”, AKA Fendi + Versace, was the coat rack that became the talking point of this Milan Fashion Week. But since the exhibition notes for the collection were quick to declare from the start, “This is not a collaboration.” Instead, it was a meeting of the spirits, as Fendi’s Kim Jones and Versace’s Donatella Versace brewed a potent brew of the house’s iconographies. “This is a first in the history of fashion,” said Versace, “two designers with a real creative dialogue that flows from respect and friendship.” The first part, Versace by Fendi, featured the safety pins of the first cutting the double-F logos of the second, while the second part flipped and inverted it, layering Medusa prints over the familiar brown logo pattern. Two good tastes that taste good together!

Milan fashion week spring 2022
Prada spring 2022

Emmanuel Wong

Another fashion power couple, Miuccia Prada and Raf Simons, continued their successful partnership, forged in early 2020 when Simons was announced as co-creative director of the house. Their first IRL show was, deservedly, on a double podium, with models marching simultaneously in Milan and Shanghai. The theme: “seduction through reduction”, pairing Prada’s talent for unconventional sexy with Simons’ masterful minimalism. They wanted to explore, the show’s notes explained, the “clothing history … the memory of a train, the bones of a corset, the curve of a bra”. So the trains came thin and single-paneled, as a Brutalist architect might envision, and the corset cords hung as loosely as shoelaces, reminders of a standard of antediluvian beauty whose shadow still hangs over us today. hui. Ms Prada’s sense of humor shone through in an oversized sweater that retained the slight silhouette of a first-wave bra, with sashes hugging the particularly erogenous zone of the upper arms. Let Prada create clothes that are both sexy and ironic.

Milan fashion week spring 2022
A Rave Review look from the Gucci Vault.

Courtesy of Gucci.

Michele, who took advantage of GucciFest last fall to support up-and-coming designers like Charles de Vilmorin and Gareth Wrighton, had a trick up his sleeve in embroidered velvet this season. No, he didn’t put on a surprise show, but he did unveil the Gucci Vault, an online concept store featuring looks from up-and-coming brands like Swedish sensations upcycling Rave Review and New York designer Shanel Campbell endorsed by Solange, as well as vintage Gucci pieces that Michele describes as “mutant relics”. Teaming up with those on the rise and letting them enter the Gucci world was a natural move for a designer who has always welcomed new talent. (“I was like, ‘Why can’t a fashion house with a creative director also have space for expressive, aesthetic and social contaminations?’ Michele explained in a statement.)

shanel campbell gucci vault
A look by Shanel Campbell from the Gucci Vault.

Courtesy of Gucci

This kind of “contaminations” between design talents with different perspectives makes sense not only on the client side, but also on the designer side. A simple logo might seem routine these days, and we’re all mired in collaboration fatigue, but the postmodernist, limited-edition appeal of two layered visions is the ultimate fashion joke for the hypebeast who has it all. In addition, the preciousness of brand holiness has collapsed and everything is now a fair game. As for the creators, they are no longer sitting alone in their workshops to pursue a singular vision. It is even possible that the solidarity rediscovered thanks to open source sustainable development efforts and the group’s commitments to change the industry will increasingly turn them into collaborators, and not competitors. And we’re all fancier for that.

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French fashion

Balmain Celebrates Creator’s Birthday With Live Show

PARIS, Sept.29 (Reuters) – French fashion house Balmain celebrated 10 years in the tenure of creative director Olivier Rousteing with a runway show featuring a host of famous models including Naomi Campbell, former French first lady Carla Bruni, Milla Jovovich and Natalia Vodianova.

Models strutted across the stage of a crowded music hall on the Seine in deconstructed clothing slit to show patches of bare skin, draped in chains and layered with bold shoulder jackets or floor-sweeping trenches.

At the end of the show, the designer bowed to the jubilant crowd, surrounded by a dozen models dressed in whimsical dresses covered with sequins.

The label welcomed thousands of fans to the hall for a two-day festival that included performances by Jesse Jo Stark, Doja Cat and Franz Ferdinand.

Dozens of brands are hosting in-person fashion shows during Paris Fashion Week, which runs through October 5, as slowing COVID-19 infection rates and easing restrictions have allowed events to resume interrupted during the peak of the pandemic.

Spectators at the Balmain festival could purchase food and drink as well as branded goods, including sneakers priced at 850 euros ($ 986) and bags of hair cosmetics.

($ 1 = 0.86 euro)

Reporting by Mimosa Spencer; Editing by Richard Chang

Our standards: Thomson Reuters Trust Principles.

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Fashion designer

India Fashion Awards organize second season to celebrate ‘unsung heroes of the fashion industry’

The India Fashion Awards held their second season on September 25 to celebrate innovators in the fashion industry with judges including fashion designer Rocky Star and winners including designers such as Manish Malhotra, Tarun Tahiliani, Suneet Verma and many others.

The awards ceremony took place in New Delhi on Saturday and was designed to celebrate “the unsung heroes of the fashion industry”.

The initiative is a step towards creating a space where fashion can be celebrated. Fashion who’s who from across the country were present at the do either to receive the awards or to celebrate those who won.

Founder Sanjay Nigam said it was amazing to wrap up the second season of the India Fashion Awards as we believe every talent needs a pat on the back and we, the board of directors of the India Fashion Awards, let’s create this platform.

The jury consisted of Creative Director-Rocky S, Sonalika Sahay, Maneka Gandhi, Ravi Jaipuria, Prasad Naik and Varun Rana, Chairman of the Board India Fashion Awards Vagish Pathak. The nomination and winners were selected on the basis of their contribution to the industry as well as taking into account uniqueness and consistency.

The second season winners are: Pushpa Bector as Stylish Business Owner of the Year, MissMalini as Social Media Personality of the Year, Pujan Sharma for Coup De food presents the behind-the-scenes director of the year, Akshay Tyagi won the Artize Presents New Age Fashion Stylist of the Year Award, Lokesh Sharma for New Age Show Director of the Year, Maddy (Made Art) won the Cream Bell Presents Emerging Fashion Photographer of the Year Award, Richa Dave won Pepsi Presents New Age Model of the Year Ramp, Avanti Nagrath won Pepsi Presents Editorial New Age Model of the Year, Feat Artists won Blyss by B presents New Age Talent Management Agency of the Year, Siddharth Tytler won Noa Fragrances Presents Influential Model of the Year, Karan Torani won Rajnigandha Pearls Presents Sparkling Emerging Designer of the Year and Nitibha Kaul won the Havells Presents Fashion Setter of the Year award.

Sahil Kochhar won the award for innovative designer in craft techniques, Abhishek Singh won the award for the most fashionable officer of the year, Namrata Soni won the award for makeup – artist of the year, Gautam Kalra won the Artize Presents Fashion Designer of the Year award, Arjun Mark won the Fashion Photographer of the Year award, Anu Ahuja won the Show Director of the Year award, Kanika Dev won the Editorial model of the year, Zander won the super model of the year award – Ramp, Sony Kaur won the super model of the year award – Ramp, INEGA won the management agency award Talent of the Year, Gaurang Shah won Designer of the Year – Handwoven & Textiles, Nikhil Shantanu won Rajnigandha Pearls Presents Shining Designer of the Year – Menswear, Gaurav Gupta won EBIX Cash Presents Designer from Bridal Wear – Fusion year, Tarun Tahillani won Ebix Cash Present s Bridal Wear Designer of the Year – Indian, Anamika Khanna won the Designer of the Year – Jury Choice award.

In addition, Conrad Sangma won the Sustainable Development Leader Award, Tarun Khiwal won the Country Legendary Photographer Award, Muzamil Ibrahim won the Legendary Super Model Award, Shobhita Dhulipala won the Fashion Icon for young people, Sunil Grover won the award for versatile personality of the year, Raghav Chadha won the award for stylish politician of the year, Vaishali S won the award for designer of the year – internationally renowned, Suneet Varma a won the Designer of the Year award (popular choice), Rohit Bal won the Legendary Fashion Designer award for his contribution to Indian fashion and Manish Malhotra won the Legendary Fashion Designer award for his contribution to the film and in Indian fashion.

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Fashion style

Good Morning Vogue tackles the fashion revival Y2K

For our last episode of Hello Vogue, we’re bringing you a special report on one of the most talked about trends of the season, live from the city that gave us J.Lo. (Grazie, Donatella Versace!)

The rebirth on the Y2K fashion catwalks at Milan Fashion Week – spotted everywhere from Roberto Cavalli to Missoni and, naturally, Versace – sets the stage for a new era of a flirty style phenomenon, but no one makes the years 2000 like Blumarine.

This time, those tongue-in-cheek butterfly designs, those go-out jeans and those The revenge of a blonde roses are “sexier, more bitchy, more colorful, more seductive,” explains the label’s creative director, Nicola Brognano. Vogue as he puts the finishing touches on his spring 2022 collection. Meanwhile, stylist Blumarine Lotta Volkova reveals her love for pop icons of the decade, including Paris Hilton, Avril Lavigne, Britney Spears and Anastacia (note the translucent specs rose-tinted), as well as his own metamorphosis into a modern Y2K muse. “I had black hair, [only] wore black and listened to industrial gothic music… ”she told me in Milan.

In the studio, Hello Vogue runs into current model and 2000s style lover Jordan Daniels, who is on hand to give us a crash course on buying a red carpet-worthy look at one of the most vintage stores. appreciated by Milan, Cavalli e Nastri. She also shares the secret to a 30 second updo.

The final say on the Y2K style, however, goes to Los Angeles native Devon Lee Carlson. Watch the full video for an exclusive tour of her wardrobe and her best pieces from the year 2000.

Hosted by Julia Hobbs
Nicola Brognano
Lotta Volkova
Jordan daniels
Devon Lee Carlson
Executive producer: Liv Proctor
Service production company: Olympèque Films
Executive producer: Tommaso Fajdiga
Producer: Elisabetta Zecca
Director: Filippo Castellano
Post-producer: Cecilia Terenzoni
Publisher: Fabio Spalvieri
Special thanks:
Management + Artist
Cavalli and Nastri
Next to communication
Roberto Cavalli – Pr e HC Consulting Platform
Marguerite Reville
VP Digital Video Programming and Development, Vogue: Robert semmer
Creative Editorial Director: Mark Guiducci
Post-production supervisor: Marco Glinbizzi
Associate producer: Jessica Schier
Production manager: Edith Pauccar

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Fashion brand

5 interesting facts about fashion brand Comme des Garçons

When we think of Comme des Garçons, the first thing that comes to mind is the iconic heart-shaped logo in one of its clothing lines: Comme des Garçons Play. But if that’s the only thing you know about the brand, you’re missing out on the interesting stories behind this hugely successful fashion brand.

The legacy of Comme des Garçons began in 1969, when it was founded by Rei Kawakubo. Despite the fact that the brand was founded in Tokyo, its name was borrowed from a song recorded seven years before its premiere – “All the Boys and Girls”, written by French artist Françoise Hardy. Meaning “like some boys” in French, the brand focused on scrambling gender norms long before androgynous fashion took center stage in the sartorial world.

# 1 Kawakubo, the founder of Comme des Garçons, did not graduate from a fashion school

A graduate of Fine Arts and Literature from Keio University, Kawakubo actually started her job in the advertising department of a textile company. Later, she found her passion in fashion and gradually entered the industry as a freelance stylist. Despite the lack of proper training for a career as a fashion designer, the passion has taken Kawakubo far, as she is now the famous founder and creative director of Comme des Garçons.

# 2 Kawakubo doesn’t make clothes – she does works of art

Known for her imaginative and totally original approach, the Japanese designer has always let her abstract creations speak for themselves. When it comes to her collections, she doesn’t offer alternative silhouettes – on the contrary, she completely reconstructs the way we interpret clothing, resulting in avant-garde designs that exist somewhere between fine art and clothing. .

Like boys

# 2 Comme des Garçons is the first Japanese fashion brand to present at the Paris Fashion Show

For decades, Kawakubo’s pioneering spirit and unique designs have endured, leading the brand to achieve its coveted status over time. In 1981, the first Comme des Garçons fashion show was held in Paris, and this is how the Japanese designer became known internationally. It also marks the first Japanese brand at the Paris fashion show.

# 4 Comme des Garçons’ first collection was somewhat controversial and called “the black crows”

With its exaggerated silhouettes and usual dark color palettes, many newspapers and magazines have called Comme des Garçons ‘the black crows’. While Kawakubo tries to challenge the fashion industry, she tends not to feature wearable pieces in her runway shows. Instead, she reinvents them with her endless innovation and creativity. Although it was very controversial at first, the brand was later seen as uncompromising modernity while at the same time being alluring.

collection like boys, black crows

In 2017, the brand was presented at the Met Gala, with an extremely fascinating exhibition that resembles the fashion house itself. Entitled Art of the In-Between, it was only the second time in the history of the event, after Yves Saint Laurent in 1983, that a living designer was in the spotlight. With over 150 couture creations on display, the exhibition revealed the house’s extraordinary journey through the last decades, from the founder’s path and philosophy in fashion, to the broader context of her definition in art. and culture.

like boys collection

(All images: Comme des Garçons)

This story first appeared on Lifestyle Asia Bangkok.

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French fashion

Charles de Vilmorin: new star of Parisian fashion

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There is no doubt that Charles de Vilmorin is a rising star of Parisian fashion. In April 2020, at the age of 23, he launched his eponymous label on Instagram, in the midst of a pandemic. Within months, the industry buzz around him saw one of his designs (a psychedelic bomber jacket) appear in an Apple commercial about American rapper Tierra Whack. Soon after, Jean Paul Gaultier sponsored him to be a scheduled guest at Paris Haute Couture Week in January this year. Two weeks later, he was appointed the new creative director of the famous French fashion house Rochas.

Founded in 1925 by French designer Marcel Rochas, the house was best known for its signature fragrance, Femme. After the death of the designer in 1955, the fashion branch of the company closed its doors, to be relaunched in 1990 under its perfume owner Wella, then acquired by Procter & Gamble. After four years of critical success under Olivier Theyskens as Artistic Director, P&G again shut down the brand’s fashion division from 2006 to 2008. Italian designer Marco Zanini then threw his hat into the ring, followed by Alessandro dell’Acqua whose departure in December 2019 led to a year in which the house was without a creative director.

De Vilmorin himself has an interesting heritage. Much has been said about the creator’s bond with the poet, novelist and socialite Louise de Vilmorin (her grandfather’s great-aunt), who was also a close friend of Hélène Rochas, wife and muse of the founder Marcel. However, neither de Vilmorin nor Rochas knew of their family ties when he was offered the appointment. And, yes, there is a castle that bears his family name, the Château de Vilmorin in Verrières-le-Buisson. But he never went. In fact, the designer says he spends most of his time crouching on his sewing machine on the floor of his Parisian maid’s room.

Charles de Vilmorin in a thoughtful mood. . . . © Matthieu Delbrève

. . . in his Parisian house © Matthieu Delbruve

“It’s true that my family, in general, is super creative and taught me a lot about art and culture,” explains de Vilmorin, whose mother is an art teacher and whose father is financial director. “In some articles, [it is written] that I come from a very rich family and that I am [at Rochas] because Louise de Vilmorin was a friend of Hélène Rochas, but this is totally false.

Aged 24 and very calm, de Vilmorin spices up his speech with charming Frenglish superlatives such as “mega”, “totally”, “super” and “crazy!” (crazy). He studied at the Ecole de la Chambre Syndicale de la Mode et de la Couture, (followed by a master’s degree at the Institut Français de la Mode). De Vilmorin’s universe is dreamlike and fantastic, its exaggerated silhouettes and cheerful palettes, mixing surrealism with streetwise. “The Charles de Vilmorin woman is a bit shy, a bit ‘trashy’. She doesn’t know where she wants to go, but she goes. she corresponds [more] for me she is naive and a bit. . . ”He stops, searching for the word. “Clumsy!”

His first collection for his own brand, a series of ready-to-wear aviator jackets, was decorated with pictorial prints in acid shades hand drawn by the designer. These pieces evolved into its couture offering of leggings, chunky bombers and dresses with puffed sleeves, dripping with painted butterflies, rainbows and enticingly colored clown prints, inspired by Chagall, Dalí, Matisse. and Niki de Saint Phalle.

How will he reconcile this aesthetic with that of the more classic and elegant Rochas? “The Rochas woman and the Charles de Vilmorin woman are absolutely not the same. These are two totally different stories, ”he suggests. “The Rochas woman has a past. She is more confident, more sophisticated.

Rochas Resort 22 collection by Charles de Vilmorin

De Vilmorin says that the founder Marcel Rochas created the brand in the service of his wife Helene in 1925, but he wants “to tell the story of a more independent woman who does not need the help of her husband. I love Rochas’s story, but I think now we need the story of a super free woman.

This is a vision shared by Fabio Ducci, President of High Italian Manufacturing (formerly Onward Luxury Group), Rochas’ licensing partner. The brand’s parent company, Interparfums, announced the extension of its partnership with HIM for the Rochas women’s line on the day of Vilmorin’s appointment: its ability to embrace the brand’s past while guiding it towards a new one. time.

More looks from Rochas Resort 22

De Vilmorin’s first collection for the brand, Resort 2022, has not yet been marketed. Although the collection has only been shown to a few buyers, Ducci notes that it has generated interest. “This collection is a deliberate break with the past, and it resonates most with our business partners who are forward thinking and experimental,” he says. De Vilmorin’s second collection, which will be shown in Paris on Wednesday, will take the starting point of a woman in the middle of a house fire, throwing herself frantically into her wardrobe to save her precious Rochas. The flame burns flame prints on golden pleated lurex, a trompe-l’oeil jacquard that seems to drip from the heat, and flame-colored shoes and boots.

When asked why he thought Rochas had chosen him out of a handful of hopefuls, de Vilmorin said: “I think they liked the fact that I was not afraid to do a parade with clothes embroidered with erotic patterns and weird stuff. I proposed something more transgressive, while remaining in the codes of French couture.

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Fashion brand

An immersive and absurd spectacle to remember

From the start it was clear that this Marni show was not going to be like the others. Each guest was invited to wear some sort of Marni uniform – a recycled garment from an old collection that designer Francesco Risso and his team had hand painted with wide washes of stripes – and stop first at Marni’s headquarters for a fitting. Whether they’re the kind of person who generally feels drawn to the magpie, the high school art aesthetic that Mr. Risso brought home – or not.

I was given a navy blue dress with a large portrait taffeta / nylon neckline that rustled when I moved, and speckled with chartreuse stripes. The paint and fabric made it a bit stiff, so it tended to move on its own. When I tried it in the studio, I felt relatively ambivalent: as a reviewer, I found it pretty and interesting; as a wearer I felt like I was pretending and therefore a bit resentful about putting it on in the first place.

But when I got to the show on Saturday night, staged like a round theater, and there were stripes, stripes, everywhere you turned – in oversized shirts and pants and jackets and skirts, each one. with a white canvas patch framed in red reading “Marniphernalia: Miscellaneous Handpainted Treasures” and numbered (mine was 300/800) – I started to feel something different.

Then a conductor walked to the center of the stage. A Marni-clad choir spread throughout the space and began to hum a song composed for the show by Dev Hynes, the multi-hynes musical, titled “Guide You Home”. Models of all shapes, sizes and kinds and ideas of beauty descended from the top row of the arena, wearing ragged Aran knits and striped dresses taped around their bodies, as if cans of paint had been spilled. on their hair. Rapper Mykki Blanco emerged from the backstage, reciting a sort of spoken word that included the phrase “I am the primitive ejaculation of the mountains”.

A horde of fashion students who had been invited to attend emerged from the audience in the striped recycled clothes and began to ooze in and out as if being pulled by invisible strings. Singer Zsela, wearing a sky blue bra and long garland skirt, took the stage and sang. Other models appeared, in stripes and knits and daisy prints and daisy appliques. Mr Risso, the brand’s creative director, was among them, wearing a giant knit yellow and blue striped scarf draped over his shoulders and dragging to the floor, and yellow and white striped pants. He took his walk and then sat in the front row to watch the ebb and flow of the show. At the end, there were a lot of hugs.

Half the time, I felt like I was in a fashion substitute for the musical “Hair”. Half the time I thought I was on an events and performance art show with Wes Anderson. Most of the time, I didn’t know exactly what was going on and what role each one was supposed to play. Sometimes I just wanted to put my pen down, scratch my head and laugh.

It was ridiculous, rather charming, and totally devoid of irony. Also a subtly pointed retort to those who would say the clothes looked weird on the track, as much of the audience seemed comfortable in their gear. And quite impossible to escape the feeling that, like it or not, you had just been a part of something.

It could have gone wrong; fell into the category of exaggerated shows like the Moncler MondoGenius’ world event ‘, stretching from Milan to Shanghai and hosted by Alicia Keys (in Milan) and Victoria Song (in Shanghai) chanting lines like’ What only the truth?” while being accompanied by meaningful breaks and videos created by the brand’s 11 collaborators, including JW Anderson, DingYun Zhang and Gentle Monster, to showcase their artistic talent.

It would have been easy to play her calm and intimate, like Giorgio Armani with his Sunset-by-the-Med collection of liquid seaside costumes and nymph tulle dresses.

Or keep the old rules of the basic track like Salvatore Ferragamo (and, indeed, most designers so far this season) – although even the basic track is not without its risks, as it makes clunkers difficult. to hide. Like, for example, the totally mistaken idea that any adult woman might want to wear a diaper dress. Already. Ferragamo has been without a womenswear designer since Paul Andrew left in April, and it shows.

Instead, Mr. Risso de Marni did something else: he took the idea of ​​performance and in-person experience, which started in New York City with designers like Rachel Comey and Thom Browne, and took shattered the fourth wall between audience and performance – not just pretending to support the idea of ​​community or produce a fancy dress-up meditation on the idea of ​​the uniform, but to push “inclusiveness” to its natural conclusion and to remind everyone that dressing is a universal imperative.

This meant that whether or not you wanted to wear your outfit again (or like me, you had to return it according to the New York Times ethics policy), it made sense. Which is, and always should be, the goal.

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Fashion style

Francesco Risso on Rethinking the Fashion Show

Francesco Risso has been Creative Director at Marni since 2016, mixing the explosive prints of the Milanese fashion house and chic but quirky silhouettes with his own daring and often playful aesthetic. On Saturday, 18 months after Marni’s last physical show, the former Miuccia Prada protege once again upped the stakes with an experimental live event. Here he explains why.

How was your Spring / Summer 2022 show so different?

This season, after so many months of variation, I wanted to cancel any division between the observer and the observed. In practice, this means that we decided to dress everyone attending our show on Saturday in a bespoke Marni ensemble. The fitting process started almost a week ago on Monday and has been magnificent. We played music. We had a large team that worked day and night. The guests who were trying on clothes with you again and telling you about how they were feeling, felt happy.

Isn’t organizing a normal fashion show a stressful enough experience, let alone adding hundreds of additional accessories?

We had about 500 people coming to the show so it was a big undertaking. But dressing people for moments in their lives – making clothes for them, their tastes and their personalities – is the foundation of what we do. So it gave us so many new moments of personal interaction, a chance to re-engage and bond and have discussions after so much time apart.

The experience reminded me of another older era in fashion, where masters really knew their clients, with designers putting on small shows with direct connections. I wanted to channel this.

Where did you find all these clothes?

It was difficult. I didn’t want there to be a division with the new collection presented, but it was also important for me to have the reorientation at the heart of the community involvement aspect. So the audience looks like they’re coming out of seasons past – recycled pieces where there might have been excess stock or production flaws, for example, and then we also used recycled nylon to knit shoes or create new patches or hems. Each has been hand painted, so no look is the same.

How much was this idea inspired by the lockdown?

I think in some ways the pandemic has propelled a closer feeling of a global Marni community. People have participated in a more active and creative way with our house. They wrote songs for Marni, composed poetry, painted their own prints on clothes, then shared that with us online. I loved it and wanted to engage this virtual mood, bottle it and make it happen. It’s almost like our own little ‘Marni-land’ and the show is a way for a bigger family to expand into this world we have built.

But I was also thinking about sport this season. It’s not a sports collection, but I’ve been thinking about the philosophy of how a team works – how interactive and healthy the relationship is between everyone who participates in a game. I wanted to integrate part of it. And the coach is not me. The coach is our heartbeat, bringing us together as one.

Is the pandemic forcing the fashion industry to change?

We all complained about the endless cycle before Covid. But for Marni at least, a hard stop made us slow down and think more about what we’re doing in a focused way. Specifically, how do we nurture relationships with our customers and those who have supported our brands when they suddenly feel so far away, through social media, through the cinema and now when we can potentially be reunited in person. The pivot to digital media has also sparked some very thoughtful creativity in terms of how the clothes are presented – it will be interesting to see where that goes.

Ultimately, however, when you do what we do, it’s hard to deny the importance of touch. And our practice is to do things with our hands. So getting together for a fashion show is once again a real joy and a privilege.

This conversation, first posted on Instagram Live, has been edited and condensed.

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Fashion designer

Prada brings back miniskirt and pointy pumps for simultaneous Milan and Shanghai spring 2022 show

The legs and the feet are warned: next year, the mini and the pump are about to make a big comeback.

Both were in full display on Friday at Prada’s Spring / Summer 22 runway show, a show that took place simultaneously in Milan and Shanghai for a digital extravaganza at the IRL meet who showcased the women’s show look by look in two. different cities around the world. (a sign of the times not only in pandemic travel restrictions but also in the bifurcation of China and the rest of the world, in more than one way).

More New Shoes

For all those who tire of the long flowing nap dresses and pajama-style pants and sweatshirts of pandemic fashion, Prada’s collection presented the opposite in its silhouettes. It was a change of pace that Miuccia Prada and Raf Simons called “a seduction by reduction” (therefore read the opening line of the performance notes).

Pointed miniskirts and pumps, side by side in Milan and Shanghai for Prada's spring double show & # x002019; 22.  - <a class=Credit: courtesy of Prada” src=”–/YXBwaWQ9aGlnaGxhbmRlcjt3PTk2MDtoPTE0Mzk-/–~B/aD0xMDI0O3c9NjgzO2FwcGlkPXl0YWNoeW9u/″/>

Miniskirts and pointed pumps, side by side in Milan and Shanghai for Prada’s double spring-summer 22 show. – Credit: courtesy of Prada

Courtesy of Prada

The miniskirts featured a longer train in the back for a new twist on the high-low hem.  - Credit: courtesy of Prada

The miniskirts featured a longer train in the back for a new twist on the high-low hem. – Credit: courtesy of Prada

Courtesy of Prada

Other brands are also bring back the mini for spring ’22, but the Creative Co-Directors did it the Prada way, in satin with crisp lines and the duo’s now iconic color palette. Some of the miniskirts also came with straight, mid-length trains in the back, giving the high-low hem a new look (and a little more coverage for those who want to go back to the mini but need more. modesty). Other mini hems are offered in pastel shades, such as cotton candy pink or mint green satin (iconic hues from bar Luce de Prada to Fondazione Prada in Milan) with the brand’s triangular logo on the chest.

A pastel offset and logo placket & # x002014;  with matching logo pumps - in spring Prada & # x002019; 22.  - Credit: courtesy of Prada

A pastel offset and logo placket – with matching logo pumps – at Prada Spring ’22. – Credit: courtesy of Prada

Courtesy of Prada

All the looks were associated with the most pointed and pointed pumps. This is an apparent preference for Simons, because the form has slowly but surely making a comeback in the Prada collection since the Belgian designer joined Miuccia Prada as co-creative director of the brand in 2020 (despite the presentation last season of large bulky platforms). The pointy pumps were in smooth patent leather and in the same saturated colors. They also featured the brand’s triangular logo, which has cultivated a cult following among fashion enthusiasts around the world.

A lace midi dress and yellow pumps with patent Prada '22 spring logo.  - Credit: Courtesy of Prada

A lace midi dress and yellow patent logo pumps from Prada’s Spring / Summer 22 collection. – Credit: courtesy of Prada

Courtesy of Prada

A closer look at Prada's asymmetrical and over-the-top point-toe pumps for Spring '22 paired with an electric yellow satin dress.  - Credit: courtesy of Prada

Take a closer look at Prada’s asymmetrical and exaggerated point-toe pumps for Spring / Summer 22, paired with an electric yellow satin dress. – Credit: courtesy of Prada

Courtesy of Prada

Launch gallery: Prada Spring 2022 Woman Collection

The best of footwear

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Fashion brand

Gucci launches vintage site Vault during Milan Fashion Week

MILAN (AP) – Fashion houses trying to figure out how to reach new eyeballs after the pandemic’s long ordeal have focused around a singular idea: collaborations.

Many do it, in big and small ways. Gucci, which “hacked” Balenciaga last season, is now launching an e-commerce site featuring refurbished vintage Gucci products and capsule collections from young designers. The hatter Borsalino collaborates with the French brand Ami Paris and the equestrian-inspired brand Acheval.

If the fashion industry is going to change, now is the time, insiders say, even if the temptation to revert to old ways is great.

Highlights of the fourth day of the Milan parades on Saturday for next spring and summer:


Gucci launched an e-commerce site on Saturday featuring refurbished vintage Gucci pieces as well as capsule collections from young designers chosen by Gucci Creative Director Alessandro Michele.

Michele said the project grew out of his long-standing obsession with the fashion collection, including Gucci items even before joining the brand.

“Yes, I do this job to tell stories. But I also do it because I really like objects, ”he told reporters in Milan.

Young designers featured included London-based Priya Ahluwalia. Nigerian and Indian in origin, Ahluwalia’s recycled collections have already found a large following ranging from sports figures like Lewis Hamilton to middle-aged hipsters.

“Completely out of the blue, I received a message from Gucci. I thought it was advertising or spam, ”Ahluwalia said. “When I realized it was real, I was extremely happy.”

Michele said the brand has an extensive network of vintage Gucci sources, which it uses to reconstruct its archives. The launch includes a white Jackie bag meticulously maintained by its previous owner that he wanted to keep to himself.

Then, laughing, he said, “Who knows, maybe I’ll log on tonight and buy it myself!”

Gucci strayed from the Milan Fashion Week calendar, finding its own rhythms. Her next show will be on November 3 in Los Angeles, coinciding with the 10th LACMA Art – Film Gala, which Gucci is sponsoring.



Dolce & Gabbana wanted to shed some light on glamor with their latest collection – and they did. Their dazzling gazes lit up a searchlight that could easily be seen from orbit.

The silhouette was decidedly sexy, built around corsets, mini-dresses and sheer lingerie, fundamental elements of the brand’s creative language.

This season, designers Domenico Dolce and Stefano Gabbana have gone all out with light-reflecting embellishments, covering clothes with rhinestones, adding pearls and indulging in metallic accents and fringes. The models walked down a mirrored runway under traveling spotlights.

Jackets densely adorned with jewels contrasting with narrow camouflage cargo pants or distressed jeans. Jackets in one series had sculpted sleeves straight out of the fashion show. The pants were low waisted, leaving room for the studded lingerie to look through.

The designers said the collection was a “reinterpretation of the aesthetic of the 2000s”. They paid tribute to Jennifer Lopez with a pair of J-Lo T-shirts.

Calmer moments were reserved for on-trend little black dresses with lace accents and open fronts revealing almost sheer corsets, and even even smaller black jumpsuits.

The shoes were stiletto heeled sandals with laces, knee high boots and mid-calf boots, which helped the quick final a bit as the models slowed down to descend the stairs. The boots were in satin, denim, camouflage and crocodile.

Each Dolce Box handbag had a unique design.

Although in Milan for the show, the creators virtually appeared on a screen for their traditional post-show bow.



With the world almost at a standstill, Arthur Arbesser’s team kicked off their creativity by recycling shipping boxes into cardboard flowers and crocheting fancy hats.

The title of the collection “Lost and Found” makes concrete reference to inspirations found in a family attic that spark happy memories, but it can also mean things lost and found during the pandemic, such as the joy of doing things in homes. quiet moments.

“I realized that it’s so important to do something with your hands because you get some kind of satisfaction, and we need satisfaction,” Arbesser said.

In the wake of the pandemic, the Milan-based Austrian designer happily ditched the runway for more personal presentations, transforming a storefront in Milan’s luxury shopping district into a creative studio adorned with a bespoke mural and displaying a new line of tablecloths with its latest collection.

The details of the mural became a decoration on a dress pocket. The long, romantic silhouettes contrast with the crop tops. A black and white checkered mini dress was paired with a square print shirt, while a short tapestry skirt had a youthful appeal. This season’s prints include naïve designs, colorful checkerboard prints with a pixel effect, alongside gingham, retro checks and stripes.

“The most important thing to keep going,” said Arbesser. “We are happy because we believe that our own well-being and that of your team and the people around you is so important. “



Nothing like a stop in the event of a pandemic to rethink a business.

164-year-old Italian hat maker Borsalino took the time to focus on new collaborations, expanding the brand to leather goods and scarves through licensing deals, relaunching its digital presence, optimizing production and eliminating defects in machinery that might otherwise be unused.

“It was a great break. We made decisions which were not easy to take before, ”said Philippe Camperio, the manager of Haeres Equita behind the relaunch of Borsalino.

To reach new audiences and expand distribution, Borsalino collaborated with the Parisian brand Ami on a simple bell with a wavy edge and with Acheval on a raffia capsule collection with ribbons in the silhouettes of horses. The website now includes tutorials on how to cut and wear hats. And Borsalino is working with young designers from the Marangoni Fashion Institute to integrate hats into their stylistic language.

The Spring / Summer 2022 collection launched this week is a journey through Japan, Italy and South America. Dark denim baseball caps and bobs are personalized with charms or Geisha prints for a trendy Tokyo look. A hand-crocheted raffia hat represents Sicilian craftsmanship. And Ecuadorian influences shine through on the Panama hats with distinctive ribbons.

Each brand has a different response to how the pandemic has changed or challenged them.

“For us, it’s about embracing today’s values, being socially responsible, which includes sustainability and the circular economy, and diversity to attract everyone,” said the director creative Giacomo Santucci.



The Ferragamo woman for next summer is understated in an easy-to-wear silhouette with sexy moments.

Smocked dresses have a deep V and open backs, while more fitted wrap dresses feature suggestive slits. The pants were loose-fitting harem pants with wrapped details, associated, for example, with a crossover top.

“I wanted the collection to be feminine and sensual,” said design director Guillaume Meilland.

Men’s clothing included knit jumpsuits, low-rise pants with braided sashes, and bare-legged shorts under a coat jacket.

For women, the shoes have relaunched the Vara and Varina ballerinas in new materials including rattan, and an open toe sandal for him.

Brooke Shields, accompanied by her daughter Grier Hency, had a front row seat, along with American actors Ashley Benson, Madelyn Cline, Ashton Sanders and Ross Butler.

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Fashion style

The stylist behind Grimes’ futuristic look

For last week’s Met Gala, Grimes wore a dune-inspired reptilian dress and carried a steel sword made from a melted AR-15 rifle. The woman who put the set together is a stylist named Turner, a former accessory editor at Jane magazine, who was Grimes stylist for six years.

Raised in Alexandria, Va., Turner (her last name) studied graphic design at the School of Visual Arts in New York City, where an instructor told her she was clearly a stylist. While her roster includes Kim Gordon, Kesha and other musicians, her most loyal client is also her first: Grimes. They met in 2015, days after Turner, 40, moved to Los Angeles and a Nylon magazine fashion editor asked her if she would style Grimes for a cover. The two hit it off and have worked together ever since. Turner shared a glimpse into Grimes’ style.

What was the idea of ​​the sword?

That’s still Grimes’ idea. But his manager was the person who brought in MSCHF [the Brooklyn artist collective that designed the sword]. We also knew that bringing a sword to the Met Gala was going to be tricky. I persisted in trying to get permission for this sword. When I brought her to the mat, there was a security guard who said, “I’m sorry, you can’t bring this.” And I had to say, “No, the sword has to come in. It has been cleaned up.

Grimes wore a futuristic silk dress from Iris van Herpen, who is Dutch. Did you intentionally sidestep this year’s theme of American independence?

No. I had a conversation with Grimes: What is American fashion? What does it mean? Is it a fence? Is it a horse? Is it the flag? She said: “I really identify with Dune, the American book, then the American film.” Iris submitted a sketch which was perfect – it looked like all the references Grimes had sent. There is no other designer who does what Iris does. She’s so technically brilliant: she had 3D printed silicone reptilian scales that were stuck on. Who else does this?

What about the boots?

It is in fact Marc Jacobs. I got them through an amazing collector named Johnny at Pechuga Vintage here in LA. The shoes must work. It must be something they can walk on. In the case of Grimes, you need a lot of height and a lot of ankle support. It lends itself to this warlike atmosphere.

And she wears metal elf ears.

These ears weren’t the ones she was supposed to wear. Originally we had elven ears custom made by Lillian Shalom, who spent 90 hours on them, but they weren’t sitting properly on the ear. And we were crushed, but we had a save, because Grimes pulled another pair out of his bag. It is just personal jewelry for her.

So why a sword?

Looks like it’s an extension of her. We have already seen it in videos. It’s a direct reference to everything she dreamed of in her next vision for her next cycle.

Its cycle?

His next cycle of records. In the months leading up to a record’s release, there is a bible that she created of what she imagines herself to be, where she will take her music, where her music will live, who she will go with. collaborate. She’s like the creative director. She has to put together a team, a squadron if you will, of people who are going to do the job.

And are you in uniform?

I wish that. I come from a military family. My father was a photographer on an air base. I watched my dad take some great pictures of people. Not celebrities. Just normal guys. He taught me how to style a portrait, like how to tuck the shirt in so that it was super tight and didn’t leave any creases around the waistline. He told me which colors went well with people’s skin tones.

Have you always been interested in fashion?

In high school, I saw this episode of MTV’s “House of Style” with Anne Christensen working in the Vogue fashion closet. I watched it over and over on VHS because we didn’t have cable. I saw a bunch of shoes and clothes shelves, and that’s when I realized there was a job where you can put clothes on people. When I arrived in New York, I got an assistant job at T: The New York Times Style Magazine under the direction of Anne Christensen. This is the most exciting thing that has happened to me.

What is the story behind this name: Turner?

When I was 10, my best friend Kristina Buddenhagen and I met in elementary school. Our two mothers are Vietnamese, and we had the same name but a different spelling: I’m Christina. She started calling me “Turner”, my last name, because our mothers were calling one of us and we were both running. And it followed me. It’s not like I’m trying to draw attention to myself, but it’s been a really good branding.

How has Grimes’ look evolved over the six years you’ve worked together?

When I first met Grimes, she was buying stuff on Depop and Etsy, and I think she still does. She was very used to dressing up, and over time there is a lot of confidence. She made me bring designers, like Iris. She is in her thirties now. It’s not a girl. She is a representation of a powerful woman.

Who else do you work with?

I worked with Kim Gordon for a long time. She’s a neighbor, and I go there every two weeks and we plan her wardrobe and it’s surreal. Kim has great relationship advice. I have also just started working with Kesha. I believe in her.

What attracts you to these strong women artists, and them to you?

I respect their vision. I hear them. I’m getting to know them. Also I am a nice guy. My core mission is to help my clients say what they want through the visual and tangible medium of what they wear. I would like to think that I give them armor to take over the world.

The interview has been modified.

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Fashion designer

Maison De Mode hosts the Future of Fashion Summit 2.0

The concept of sustainability is at the forefront of many contemporary fashion conversations, and Maison de Mode – a sustainable fashion platform co-founded by Amanda Hearst and Hassan Pierre – is no stranger to triggering these kinds of crucial discussions. On September 10, Maison de Mode hosted its second annual “Future of Fashion” summit, hosted by Nicky Hilton Rothschild on the 44th floor of the Hearst Tower.

Hassan Pierre.

Daniel Ma and Miriam Arroyo.

Publishers, fashion designers and other leaders in the fields of technology and culture have come together to discuss topics ranging from high fashion in an ethical framework to environmental responsibility in consumer affairs, and even the task of balancing aesthetics and durability. Speakers at the summit also engaged in conversations about the impact of ethical reviews in relation to people’s choices and social behavior.

And the ultimate goal of the event was to leave a significant impact on the attendees and to further inform the younger generation of designers and consumers. “The world is producing far too much, far too fast. It is not sustainable. We all need to do our part to make sure we leave this world a better place for our children, their children and so on, ”said Hilton Rothschild.

Nicky Hilton Rothschild speaks at the Fashion Futures Summit
Nicky Hilton Rothschild.

Daniel Ma and Miriam Arroyo

Collina Strada & Quannah Chasinghorse Speak Out on Top of Fashion's Future
Collina Strada and Quannah Chasinghorse.

Daniel Ma and Miriam Arroyo

In addition to the informative discussions, the Future of Fashion 2.0 summit included stimulating Q&A moderated by a range of fashion industry stakeholders including CGVStellene Volandes editor-in-chief, luxury fashion designer Gabriela Hearst, model and activist Quannah Chasinghorse and many other personalities.

Erin Dempsey Lowenberg and Stellene Volandes Speak Out on Top of Fashion's Future
Erin Dempsey Lowenberg and Stellene Volandes.

Daniel Ma and Miriam Arroyo

gabriela heartst speaking on top of the fashion future
Gabriela Hearst.

Daniel Ma and Miriam Arroyo

One of the summit speakers, activist and creative director Marina Testino, shared a powerful opinion that we all need to think about: “Today more than ever, sustainability must be innovative and creative to stand out and stand out. engage with consumers … Having campaigns that break down the complexities of sustainability in a fun, artistic and cool way while still being informative is crucial these days. We need to spread creative messages around these topics to achieve a more sustainable future. “

Adam Lippes and Marina Testino speak at the Fashion Future Summit
Adam Lippes and Marina Testino.

Daniel Ma and Miriam Arroyo

After a day of transformative conversations, speakers and friends of the Maison de Mode brand celebrated their successful event with a dinner at Times Square EDITION, where Tanqueray cocktails and herbal dishes were served. Special guests included actress Rosario Dawson, fashion designer Esteban Cortazar, Broadway star Paloma Garcia Lee and many more!

paloma garcialee at the Fashion Future Dinner
Paloma Garcia-Lee.

Christos Katsiaouni

top speakers and friends from the fashion house have dinner together
Summit speakers and friends from Maison De Mode dine together.

Christos Katsiaouni

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Fashion designer

Latinos who have succeeded in the fashion world

The fashion industry has always been a demanding, closed and difficult to access environment. Only the best manage to stand out. However, being successful in a country that is not the same as the country of origin often makes the task even more difficult, but there are several Latinos who have taken the names of their countries high in this world full of glamor.

Carolina herrera

María Carolina Josefina Pacanis Niño, better known as Carolina Herrera, is a Venezuelan fashion designer who founded her own fashion house in 1981 and is now recognized as one of the most influential in the fashion world.

Carolina quickly found success, standing out for the inclusion of feminine, classic and elegant silhouettes in her designs. Just a year after its launch, in 1982, it was already dressing Princess Elizabeth of Yugoslavia, Duchess of Feria, Countess Consuelo Crespi, Queen Elizabeth II of the United Kingdom, Ivana Trump, Kathleen Turner and Nancy Reagan. In addition, for twelve years, she dressed Jacqueline Kennedy Onassis, wife of John F. Kennedy and made the wedding dress of her daughter Carolina Kennedy, establishing her as one of the best bridal designers.

Oscar de la Renta

De la Renta was born in the Dominican Republic, but when he was very young he traveled to Spain to study fine arts. It was in this European country that he met Cristóbal Balenciaga, with whom he made his first steps into the world of fashion.

After moving to Paris and increasing his popularity as an emerging designer, he decided to move to New York to make his debut as the Creative Director of Elizabeth Arden. In the United States, he decides to create his own brand under his own name and instantly becomes one of the most recognized designers on both sides of the Atlantic.

Today, the Oscar de la Renta brand represents a true emblem of the industry, handling feminine and stylish cuts.

Nina Garcia

The Colombian, who stands out today for being the editor-in-chief of one of the country’s most important fashion magazines, ELLE magazine, calls herself “an anti-establishment rebel” because she never liked to follow the laws of industry. . On the contrary, she has always been known to leave her mark on what she does.

At the age of 15, Garcia emigrated to the United States to live with his sister, trying to escape the guerrilla warfare and drug trafficking that was suffocating his country at the time.

Nina Garcia’s career in the fashion industry began in the early 1980s when she started working in Perry Ellis’ public relations department.

Adriana lima

Adriana is a Brazilian model, best known for being one of the Victoria’s Secret Angels from 1999 to 2018.

Lima started her modeling career in 1990. In her early days, her career consisted mainly of fashion editorial work and also catwalks.

The worldwide recognition of this Latina came when she arrived on the Victoria’s Secret catwalks in 1999 with 19 years old, as one of their angels. She was in charge of the opening of the fashion show in 2003, 2007, 2008, 2010 and 2012.

Lauren Santo Domingo

Lauren is one of the Colombian engines of this generation of Latin fashion which is conquering New York.

Santo Domingo is co-founder of Moda Operandi, distributor of exclusive Latin brands such as Mercedes Salazar, Isolda, Magnetic Midnight or Carmelinas ….

Narciso Rodriguez

Narciso Rodriguez is a designer son of Cubans who rose to fame for the dress he designed for Carolyn Besset for her wedding to John F. Kennedy Jr.

“No one makes a simple line as extraordinary as Narciso,” said Anna Wintour, editor-in-chief of Vogue magazine.

Other celebrities who have worn Narciso designs include Michelle Obama who in 2008 wore a spring dress when Barack Obama first appeared as President-elect of the United States, Salma Hayek, Claire Danes, Sarah Jessica Parker, Rachel Weisz and Jessica Alba.

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Fashion designer

How 13 Fashion Week designs looked at the 2021 IRL Emmy Awards

The latest fashion week collections have reigned over the 2021 Emmys red carpet, with many celebrities looking to Valentino, Carolina herrera, Markarian, Dior and other designer brands for their looks.

Carolina herrerais recent spring 2022 ready-to-wear collection, who celebrated 40 years of the legendary design house, was a favorite among many celebrities who wore the dresses of creative director Wes Gordon on the Red carpet. “This Is Us” star Mandy Moore and “American Horror Story” star Sarah Paulson looked at the collection’s red dresses, with Moore wearing a spaghetti strap, tulle dress and Paulson wearing a tulle dress. ‘a voluminous dress with oversized sleeves.

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Valentino sewing has also left its mark Emmys Red carpet. “Schitt’s Creek” designer and star Dan Levy – who previously wore the design house’s menswear pieces during this year’s awards season – chose a cobalt blue gabardine jacket with a shirt in crumpled velvet and matching wool pants from Pierpaolo Piccioli’s fall 2021 sewing collection presented in July.

Dan Levy (right) in Valentino at the 2021 Emmy Awards - <a class=Credit: WWD” src=”–/YXBwaWQ9aGlnaGxhbmRlcjt3PTk2MDtoPTk2MA–/–~B/aD0xOTM2O3c9MTkzNjthcHBpZD15dGFjaHlvbg–/″/>

Dan Levy (right) in Valentino at the 2021 Emmy Awards – Credit: WWD


Former Levy’s co-star Annie Murphy also wore a colorful look from the Valentino fall 2021 couture collection: a green draped chiffon shirt dress. “Black-ish” actress Tracee Ellis Ross was another celebrity who turned to the collection, wearing a bright red chiffon gown embroidered with tubular beads.

Other celebrities have turned to earlier designer collections for the Emmys, including “Lovecraft Country” actress Jurnee Smollett, who opted for an ivory hand-pleated corolla dress from Dior’s fall 2020 couture collection.

Click the gallery above to see more celebrity red carpet looks at the 2021 Emmys on the Fashion Week catwalks.


Focus on men’s fashion at the 2021 Emmy Awards

Anya Taylor-Joy dazzles on the Emmys red carpet

Regé-Jean Page attends the first Emmys in Custom Giorgio Armani

Carl Clemons-Hopkins honors non-binary flag with Emmys look

Launch gallery: Photos of the looks of the 2021 Emmy Awards on the Fashion Week show

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Fashion style

Amy Winehouse’s signature style to be celebrated at exhibition in London

With her towering ruffle, thick eyeliner, and penchant for retro mini dresses, Amy Winehouse’s look was arguably as distinctive as her chart-topping music.

And now the late singer’s style is set to form the cornerstone of a new UK exhibition.

Amy: Beyond the Stage will contain some of the Back to black the star’s most famous outfits when it opened at the Design Museum in London in November.

The retrospective marks the first major British exhibition on the life of Winehouse, which takes place 10 years after his death at the age of 27. Detox Singer-songwriter, who struggled with drug addiction issues, died of alcohol poisoning on July 23, 2011.

The exhibit, which will feature a number of Winehouse’s personal items as well as his stage looks, will open on Friday, November 26.

Pieces on display will include the yellow Preen dress and Moschino bag worn by Winehouse at the 2007 Brit Awards, as well as handwritten lyrics and the star’s blue Daphne Fender Stratocaster guitar.

Discover Amy’s early career story through her recordings and teenage diaries to unravel the creative process behind her music and pay homage to her rich range of influences, from Dinah Washington to Mark Ronson, from Camden to ’60s pop, from Motown to jazz, “said the Design Museum, before the show opened.

Proceeds from the exhibit, created in collaboration with the singer’s estate, will be donated to the Amy Winehouse Foundation, a charity created by the star’s family after her death to support those facing drug addiction issues and mental health.

The exhibition also includes an installation designed by artist Chiara Stephenson, while a mural of the singer will be on display on Camden High Street in London, to celebrate the launch of the exhibition, until Tuesday, September 28.

Winehouse’s friend and creative director Naomi Parry, who worked as a special advisor on the project, said she hoped the exhibition would clearly define Winehouse as an artist rather than media representation.

Often times, Amy’s portrayal will focus on the negative aspects of her life, while this exhibit will introduce visitors to all that she has accomplished and highlight the incredible imprint she has left on the lives of her fans. around the world, ”Parry said.

Winehouse, Grammy winner, whose 2006 album Back to black is still the second best-selling UK album of the 21st century, has also been the subject of Pick up Amy, a BBC documentary released in July which featured interviews with his closest friends and family.

Update: September 19, 2021 6:44 am

To give up
Sangeeta Bandyopadhyay
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To give up
Sangeeta Bandyopadhyay
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Sangeeta Bandyopadhyay
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Sangeeta Bandyopadhyay
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Sangeeta Bandyopadhyay
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Sangeeta Bandyopadhyay
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To give up
Sangeeta Bandyopadhyay
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To give up
Sangeeta Bandyopadhyay
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To give up
Sangeeta Bandyopadhyay
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To give up
Sangeeta Bandyopadhyay
Translated by Arunava Sinha
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To give up
Sangeeta Bandyopadhyay
Translated by Arunava Sinha
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To give up
Sangeeta Bandyopadhyay
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To give up
Sangeeta Bandyopadhyay
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To give up
Sangeeta Bandyopadhyay
Translated by Arunava Sinha
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To give up
Sangeeta Bandyopadhyay
Translated by Arunava Sinha
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To give up
Sangeeta Bandyopadhyay
Translated by Arunava Sinha
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To give up
Sangeeta Bandyopadhyay
Translated by Arunava Sinha
Inclined axis press

To give up
Sangeeta Bandyopadhyay
Translated by Arunava Sinha
Inclined axis press

To give up
Sangeeta Bandyopadhyay
Translated by Arunava Sinha
Inclined axis press

To give up
Sangeeta Bandyopadhyay
Translated by Arunava Sinha
Inclined axis press

To give up
Sangeeta Bandyopadhyay
Translated by Arunava Sinha
Inclined axis press

To give up
Sangeeta Bandyopadhyay
Translated by Arunava Sinha
Inclined axis press

To give up
Sangeeta Bandyopadhyay
Translated by Arunava Sinha
Inclined axis press

To give up
Sangeeta Bandyopadhyay
Translated by Arunava Sinha
Inclined axis press

To give up
Sangeeta Bandyopadhyay
Translated by Arunava Sinha
Inclined axis press

To give up
Sangeeta Bandyopadhyay
Translated by Arunava Sinha
Inclined axis press

To give up
Sangeeta Bandyopadhyay
Translated by Arunava Sinha
Inclined axis press

To give up
Sangeeta Bandyopadhyay
Translated by Arunava Sinha
Inclined axis press

To give up
Sangeeta Bandyopadhyay
Translated by Arunava Sinha
Inclined axis press

To give up
Sangeeta Bandyopadhyay
Translated by Arunava Sinha
Inclined axis press

To give up
Sangeeta Bandyopadhyay
Translated by Arunava Sinha
Inclined axis press

To give up
Sangeeta Bandyopadhyay
Translated by Arunava Sinha
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Fashion designer

Gayle King interviews fashion designer Telfar Clemens

CBS Photo ArchiveGetty Images

In case you haven’t noticed, our editor-in-chief Gayle King is rarely seen in pants, let alone jeans. Like she once said The Coveteur: “I wear pants very, very rarely. I wear dresses 99.9% of the time. I prefer them.”

But the CBS Mornings The anchor recently made an exception when she interviewed Telfar Clemens, the Liberian-American designer behind the hugely popular Telfar shopping bag, which has been worn by Gabrielle Union, Congresswoman Alexandria Ocasio-Cortez and even Oprah. “We’re thrilled to have the bag,” she told Clemens when she selected it as one of her 2020 things. “I appreciate the craftsmanship and thoughtfulness that went into making it happen. make it so superior. “

While visiting the brand’s 16-year-old Brooklyn studio for a CBS segment, Gayle got a glimpse of what Clemens described as his “stuff to come” painting, which includes dozens of sweatshirts, shoes , shopping bags and other genderless designs. “People say that, and they say it like a buzzword. It’s not just something you scroll online… it’s actually like you’ve seen your mom and brother in there.” , did he declare. “And that’s okay. I don’t know why people put pressure on themselves to be so stressed. Fashion doesn’t have to be stressful. It can just be cool.”

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One piece particularly marked Gayle: the brand’s “Thigh-Hole” jeans. “My eye is on this — help me understand what this it’s, “she said, pointing to the trendy design, which as the name suggests features cutout details at the thigh. She added,” And that’s an item which sells well? “

“This is the best-selling item in the new collection,” replied Clemens.

Even after looking at some of the brand’s other upcoming pieces, including puffy winter jackets and a duffel bag that Gayle says “will give the [Shopping] Getting your money’s worth, “our editor has always been” worried about the trendy pair of jeans. In response, Telfar’s creative director, Babak Radboy, told Gayle: “You have to. ‘to try.”

“You think about it too much,” Clemens added. “We’re going to do the Thigh Hole Challenge, and I’ll show you how it’s done.”

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This is exactly what Clemens and Gayle did. “You look so Good! “Clemens screamed when Gayle stepped out wearing the jeans with a white off the shoulder top.” Look how fabulous you are! “

But Gayle disagreed: “You know I sound ridiculous!” Gayle said. “I just did this for the story, I’m going never wear these jeans. “

She added, waving to the camera: “But to all of you … I greet you!”

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Fashion brand

Met Gala: Billie Eilish wears Oscar de la Renta

Against the backdrop of red carpets, it might seem odd to imagine that wearing a ball gown is a risky choice. But that’s how Billie Eilish saw it.

When Mrs. Eilish, the 19 year old gothic pop star, decided to wear an Oscar de la Renta nude tulle dress, “she was very interested in surprising everyone with a look she had never done before. “said Fernando Garcia. , creative director of the brand, describing the dress as “very clean and sensual”.

“It was like a risk for her – it was like something that made her nervous in a good way,” he said. “At the end of the day, she’s a girl and she wants to be pretty.”

Ms. Eilish has never worn Oscar de la Renta on a red carpet. She’s more of a logo enthusiast, historically opting for oversized and monochrome pants and jacket sets from Gucci, Burberry and Chanel, and occasionally matching her clothes with her black and neon green hair.

Except Mrs. Eilish’s hair hadn’t looked like this for a while. This summer, she showcased a new, bulging blonde look on the cover of British Vogue, dressed in pink lingerie and nude latex. During her Met Gala debut, she sought out another traditionally feminine aesthetic, providing Oscar de la Renta with benchmark images of Grace Kelly and Marilyn Monroe during the design process.

“She was super excited to wear a beautiful dress,” said Laura Kim, the brand’s other creative director – a statement that would have been somewhat unbelievable two years ago. But when she walked the museum’s red carpet on Monday night as the gala’s youngest co-chair, Ms Eilish looked like the glamorous starlet.

Her corseted dress had a gargantuan skirt with a 15 foot train. Seeing Ms. Eilish in such a grown-up ensemble, it’s easy to forget that she’s still a teenager. When she first met the creators, she brought her mother, who took so many pictures her phone froze, Ms Kim said.

Ms. Eilish is also perhaps the only Met Gala guest in history to bring about a change in a company’s ethics policy as a condition of wearing her dress to the fashionable version of the Super Bowl.

Oscar de la Renta will end all fur sales at the request of Ms Eilish, who is a vegan and animal rights activist. Mr Garcia and Ms Kim haven’t used fur in their designs for a few years now – ever since they told Alex Bolen, the brand’s general manager, that they don’t find fur chic, modern or relevant. Mr Bolen disagreed, he said, but told them it was okay to stop using fur on the track. However, the company still sold fur products in stores. While declining to provide figures, Mr Bolen said fur represented “a significant amount of sales and profit” for Oscar de la Renta.

For years, Mr Bolen has advocated for stopping the use of fur, including from his wife, Eliza, a longtime company executive, and his stepmother, Annette de la Renta (Oscar’s widow), who told him the practice was barbaric.

Mr Bolen thought it over but ultimately resisted those calls, until this summer, when Ms Eilish’s team informed the company that they did not work with brands in the fur business. He realized that maybe now was a good time to quit.

“I thought a lot about what Oscar said – he was a huge fan of fur, by the way – that the only thing that really worried him in the fashion business was that his eye was getting old,” he said. Mr Bolen said. It reminded him to listen to what young people, in particular, had to say. “I have to surround myself with people with different points of view.”

Ms Eilish said in a statement to The Times that she found it “shocking that wearing fur is not completely banned at this point in 2021” and “I am honored to have been a catalyst and to have been heard on that question . “

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Fashion style

Erica Gadsby creates and admires not-so-fast fashion

ReCreate Clothing co-founder Erica Gadsby is changing our view of sustainable shopping.


ReCreate Clothing co-founder Erica Gadsby is changing our view of sustainable shopping.

Erica Gadsby does things differently. For starters, no one on their team in New Zealand and Cambodia works full time – they all prioritize family life and other activities over work.

As Co-Founder and Commercial Director of ReCreate Clothing, Gadsby initially focused on providing jobs, training and equitable opportunities to marginalized women. Clothing happens to be the by-product of its mission.

Eight years after the label’s launch, ReCreate was to be part of New Zealand Fashion Week now postponed as part of the Sustainability Show. Quite a feat for someone who hasn’t started working in fashion.

Gadsby always takes a conservative approach to fashion. The sustainable clothing that ReCreate makes in its Cambodian workshop eschew fashion trends and instead opt for timeless and relevant designs, at affordable prices.

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The brand also works only with organic and natural fabrics. There are resale or repair options if a garment is damaged. And when the clothes reach the end of their life, they can be recycled into yarn and then into new fabrics, thanks to a partnership with The Circular Cotton Collective.

Three objects I would like to own

The Nana knit from Found Store in Hamilton is what warm, fuzzy dreams are made of. Unique and handmade in New Zealand by Nana Micky.

I recently discovered Esse, another Kiwi brand favoring ethical and sustainable values. His clever organic cotton wrap pants caught my eye.

I am very attached to sportswear because it is often made from synthetic fabrics that are harmful to the environment with patterns that will date quickly. But these high waisted bamboo and organic cotton tights from Boody seem pretty perfect to me.

Four things I own and love

These Indosole Cross platform slides are everything I dream of in an everyday shoe. Created in Indonesia from recycled tires, style and color goes with everything and at 5’2 “I love the extra height of the sole.

I borrowed this Organic Module sweatshirt from our rail swatch last winter, and since then it’s been on a high rotation in my own wardrobe. Our Creative Director, Marielle, makes casual comfort so incredibly good!

I originally bought this Duffle & Co Greenslade duffel bag for my husband. There is something so satisfying about carrying a beautiful, sturdy, and sustainably made bag that will age to perfection and last a lifetime.

Whenever I wear my Tonic & Cloth Fernando jumpsuit, strangers on the street can’t help but comment. I love the timeless fit, the color that sets the mood and the fact that it’s ethically made by women in India.

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Fashion designer

Caravana ready for global growth with support from Cho Ventures

Mexican artisan brand Caravana, inspired by ancient Mayan culture, is aiming for global expansion with investment from Cho Ventures, the private investment firm founded by entrepreneur Tony Cho.

Caravana was launched in 2011 by Jacopo “Jack” Lanniello with a focus on ready-to-wear pieces, accessories and handmade lifestyle products using traditional techniques of weaving and hand-crafting. the hand. The neo-artisan business also reflects the culture it honors, with 70 percent of its employees being Mayans and women making up 70 percent of its management team.

In a statement, Caravana said Cho Ventures will help it become a “leading sustainable lifestyle brand”, expanding into new product categories, verticals and global markets, as well as helping the development of new strategic partnerships.

Tony Cho, founder of Cho Ventures, said in a statement: “Our investment goes beyond fueling Caravana’s strategic growth, as our values ​​align with the goal of having a positive impact; celebrate and promote indigenous cultures, rituals and women; and emphasizing the importance of sustainability.

“I have known Jack the founder of Caravana for many years and consider him a visionary. He sets the example that our investment strategy aims to amplify, and together we will make Caravana a benchmark brand for sustainable lifestyles.

Image: Courtesy of Caravana by Richard Stow

Cho Ventures invests in Caravana and participates in the launch of the new Prao brand with Marios Schwab

Jack Lanniello, Founder and Creative Director of Caravana, added: “Caravana is a lifestyle brand that caters to those looking for a more conscious approach to creating a future that benefits the individual, the collective and the community. planet itself through sustainability and recognition of culture and art. .

“Cho Ventures understands the need to protect the environment and the importance of cultural connectivity. Their support gives Caravana the ability to further develop our community on a global scale and improve the world around us. With Cho Ventures, our efforts continue to build a better future for the next generation and to inspire them to pursue a legacy of lasting living.

The investment also acts as a catalyst for Caravana to launch the new Prao brand, a fashion brand created by Lanniello and fashion designer Marios Schwab to capture the spirit of modern Greece in collaboration with Noema, a new restaurant and bar in the old town of Mykonos.

Image: Courtesy of Caravana by Richard Stow

2021 has been described as a “definitive” year for Caravana, with new store openings in Miami, Ibiza, St Tropez and Bodrum. She also developed a Bazaar retail concept with her partner Scorpios in Mykonos. The Scorpios Bazaar now features a 3,000 square foot Berber tent that showcases a selection of artisan brands sharing the same core values ​​of ancient craftsmanship and sustainability. Caravana is also available at over 55 retailers, including Bergdorf Goodman, Net-A-Porter, Farfetch and its own online store.

In addition, the investment made possible through the Cho Ventures Qualified Opportunities Fund (QOF) will also allow Caravana to open its US headquarters in the Little Haiti community of Miami. They will join other companies in the Cho Ventures portfolio in a new state-of-the-art office location being renovated and scheduled to open in Q2 2022 in a Qualified Opportunity Zone, a program of US government push to revitalize underserved communities by creating jobs. and economic development.

Financial details of the investment were not disclosed.

Cho Ventures is the family office arm of Tony and Ximena Cho, focusing on strategic venture capital investments in the areas of sustainable technology, conscious fashion, impact hospitality, health and wellness. be, and other value-aligned investment opportunities.

Image: Courtesy of Caravana by Richard Stow
Image: Courtesy of Caravana by Richard Stow

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Fashion designer

Spring ’22 men’s fashion collections cross gender and age – Sourcing Journal

Post-pandemic fashion is getting bolder and bolder, and not just for women.

The recent surge in evening wear for women, categorized by sexy and nude styles like Mugler’s thongs and sheer catsuits, heralded a big change in menswear. Recent Spring 2022 shows featured a wave of styles that champion experimentation and fluidity, according to a new report on Spring / Summer 2022 men’s clothing from product intelligence firm Trendalytics.

Burberry’s “Universal Passport” collection offers a prime example of this fashion freedom, the report notes, with models dressed in cutting-edge elements like leather and faux piercings that Burberry Creative Director Riccardo Tisci, compared to the free spirit of youth and a daring attitude. The collection also featured bold prints, best represented in a standout look that combined cherry red skinny pants with tunics soaked in the phrase “Universal Passport”.

Text prints were also featured in Jil Sander’s collection, with neutral lettering punctuated by cheerful accessories like a bright orange hat and bandana scarf.


Bright colourways are also integrated into the extravagance theme of the season. Trendalytics drew particular attention to lime green, cerulean and light blue, which saw year-over-year increases of 12%, 14% and 3%, respectively. The designers played with the ombre hues, as evidenced by Etro’s lime green and yellow suit and Hermès’ orange and pink sweater cardigan.

And while bright colors seem to be the palette of choice for clothes that make a splash, when it comes to costumes, designers are going for pastels, according to the report. Pastel purple, blue, and green were among the most popular shades of names like Diesel, Fendi, and MSGM.

Rapper Travis Scott made waves when he walked the runway for Dior in looks from their latest collaboration. Showcasing a palette of sunset pink, cactus green, and earthy brown, the collection incorporates natural elements while pushing down gender barriers. He also highlighted the influence of music on fashion, as evidenced by rapper Kanye West’s successful partnership with Gap.

Not only is men’s clothing becoming more experimental with color, it also continues to test the concept of gender.

British fashion designer Erdem Moralioglu celebrated his foray into men’s clothing with floral fabrications, tapering seams and cropped hems mirroring his women’s line. Draping fabrics such as satin and silk are also both up 17% from last year. Casablanca, Loewe, Dior and Diesel have all included the classic feminine material in their men’s collections. Gender neutrality was also spotted in the fine details, with split and scalloped hems featured by Louis Vuitton and Dior.

Gender fluidity is emerging as a top search term, according to global fashion shopping platform Lyst, which reported that gender-related keywords have jumped 33% since the start. of the year, while press and social media mentions for genderless fashion terms increased 46% in May.

“Prep Leisure,” which Edited predicted to be important for fall 2021, continues to grow in popularity. Defined by sleeveless sweaters, straight-leg pants and college prints, the trend merges with streetwear for a modern update. Sweater vests remain strong for spring, as the collections of Paul Smith, Bethany Williams and others show. Other preppy patterns to watch out for are checkerboard prints and vertical stripes, up 30% and 23%, respectively, from last year.

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Fashion brand

LVMH takes majority stake in Virgil Abloh’s Off-White label

LVMH adds Off-White to its brand portfolio after the French luxury house agreed on Tuesday to take a 60% stake in Off-White LLC. The Milan-based New Guards group, licensee of the brand, will remain an operational partner.

Founder Virgil Abloh will retain his duties as Creative Director, in addition to his contractual duties as artistic director of Louis Vuitton menswear.

Although the terms of the deal have not been disclosed, LVMH and Abloh will look to develop and launch new brands, likely in the luxury streetwear fashion arena. Off-White has the potential to grow significantly, expanding into categories such as housewares, beauty, and fragrances.

In an interview with The New York Times, Abloh confirmed he will take on a larger role within LVMH, bringing a diverse voice to his portfolio of brands. “I’m going to sit at the table,” Mr. Abloh said.

“We are not trying to emulate a model that already exists,” said Michael Burke, general manager of Louis Vuitton, of Mr. Abloh’s new role to the NY Times. “It’s more like what Bernard Arnault did when he bought Dior and decided to create a federation of luxury brands.

On the road to inclusiveness

LVMH, despite its commitment to diversity, operates with an all-Caucasian board of directors and executive committee. The company made history when in 2018 it appointed Abloh artistic director of men’s fashion Louis Vuitton, making him the very first black designer to lead a French luxury brand. In a Financial Times ranking of the most inclusive companies in Europe in 2020, valued by 100,000 employees in 15,000 companies, LVMH failed to make the top 850, against Louis Vuitton at 16.

LVMH in the midst of a wave of acquisitions

LVMH has been very busy lately, confirming last week a 20% stake in Phoebe Philo’s new label, as well as L Catterton, LVMH’s consumer-focused private equity firm, taking the majority stake in the company. ‘Etro Europe. In April, L Catterton finalized its takeover of German shoemaker Birkenstock. In Paris, the La Samaritaine department store reopened with great fanfare in June, after the titanic restoration of LVMH (750 million euros) which lasted several years.

LVMH is used to taking stakes in brands founded by creators who creatively run its heritage brands, including Marc Jacobs at Louis Vuitton, John Galliano at Dior and JW Anderson at Loewe.

Not original

Off-White has often been plagued with copying from designers, which Abloh in an interview with 032c said “In postmodern order [that is fashion], being “original” seems to be the thing that matters the least. He reiterated this to the NY Times: “Relevance is my metric. “

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Fashion designer

Phoebe Philo returns to fashion with a new eponymous label

With names like Celine and Chloe under her reign once upon a time, the grounded yet mysterious nature of Phoebe Philo presents itself as a sort of enigma. The British fashion designer knows exactly when she needs a break and isn’t afraid to take it. In 2006, Philo decided to leave Chloe to spend more time with his family in London. The breakup lasted two years before luxury giant LVMH courted her with Celine. But she once again shocked fashion enthusiasts when she left her ten-year job at Céline in 2018, abandoning her coveted position as the Maison’s creative director. Not intending to join a luxury fashion rival, she left followers bewildered before becoming MIA professionally.

Phoebe philo

Today, after a three-year hiatus, Philo is making a comeback with an independent house of the same name, with LVMH (Moët Hennessy Louis Vuitton) as a minority investor. With clothes and accessories “rooted in exceptional quality and design”, Philo has been working with a small team in a studio in London since late last year. As she rather quietly prepares to reveal more details about Phoebe Philo Studio, here’s what she had to say about her journey so far: “Being in my studio and creating again has been both exciting and incredibly rewarding. I can’t wait to reconnect with my audience and people around the world. Being independent, governing and experimenting on my own terms is extremely important to me. “

Phoebe philo

Season after season, Philo has created clean lines, clean cuts, modernist silhouettes and distinctive handbags, which have drawn all eyes to her. Imagining women as a muse and gravitating towards winning celebrities like those in Hollywood, Philo’s simplicity and discernment has been impressive over a career spanning more than 15 years. Her clothes weren’t just for women; they also concerned women. With a refined philosophy that speaks to the woman of the 21st century, many are now turning to Philo’s eponymous brand with the hope of having the same DNA, only reinvented and completely their own.

Photographs: Instagram

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Fashion style

Phoebe Philo is launching a fashion brand – here’s what we know so far

Former Celine fans, you might want to sit down: Phoebe Philo is finally back in fashion.

According to Fashion business, the British designer will launch her own fashion brand with LVMH, the luxury conglomerate that owns brands like Louis Vuitton, Dior and Givenchy.

Philo’s upcoming eponymous fashion brand will offer clothing and accessories “rooted in exceptional quality and design”. In other words, it will be very much in tune with the design language she cultivated at Céline, the French luxury brand owned by LVMH, where she was Creative Director for 10 years before stepping down in 2017 to be focus on his family.

At C̩line, Philo made his mark with clothes for women that are at the same time intelligent, chic and sexy. She also designed a line of successful handbags, such as Cabas, which were functional and luxurious Рyet subtle, when it comes to designer leather goods, with no obvious branding. (The bags are still available at C̩line today.)

Philo’s decidedly modern and minimalist fashion has earned him a group of dedicated followers known as Philophiles, and his influence continues to be felt in other fashion brands such as The Row and Peter Do. Most notably, after Philo left Celine, her fashion followers turned to Bottega Veneta, now led by designer Daniel Lee who had previously worked with her as Celine’s director of ready-to-wear.

(Photo credit: Michel Dufour / WireImage)

In 2020, there were rumors that Philo would make a comeback in the fashion world with his own fashion label. Philo’s eponymous label had been under construction since leaving Chloé, where she held the position of artistic director from 2001 to 2006 before joining Céline. In February of last year, it was reported that she had assembled a team of designers for her brand.

This year, the British designer also made a semi-return to the ANDAM Awards 2021. Philo was a guest judge for the prestigious French Fashion Award, alongside Lisa of Blackpink and fashion photographer Juergen Teller, who shot a handful of memorable campaigns for Celine during her tenure.

Now it’s clear Philo is back for good. In a statement to Business of Fashion, the designer said, “Being in my studio and creating again has been both exciting and incredibly rewarding. I can’t wait to reconnect with my audience and people around the world. Being independent, governing and experimenting on my own terms is extremely important to me. “

There is no official launch date for the Phoebe Philo brand yet, but you can expect more details in January 2022.

Header photo credit: Bertrand Rindoff Petroff / Getty Images

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