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Friday, May 31, 2019

Ikea Annanstans collection is about fashion and social jobs - Fast Company

Ikea is getting into fashion again

After releasing a $25 hoodie in 2018, Ikea is returning to fashion with a new limited-edition collection called Annanstans.

The collection is a collaboration between Swedish fashion designer Martin Bergström, Ikea, and artisans from four socially conscious manufacturing companies in India, Romania, and Thailand.

According to Ikea, the collection exists to both dress you and create good quality, non-exploitative jobs in those three countries. “Annanstans” is a Swedish word that means “elsewhere,” and it’s meant to conjure up the idea of international connection.

The collection features a $30 scarf made of sheer, 100% cotton fabric available in two different print designs. There’s also a caftan, a type of robe that has been used by all kinds of cultures since ancient Mesopotamia and is usually made of wool, cashmere, silk, or cotton. Ikea’s version is more a $30 long shirt with a V-neck front and round neck on the back made of 100% sheer cotton. An $18 100% cotton tote bag, made in India by artisans, has a print designed by Bergström.

Annanstans additionally has some non-fashion items, such as woven baskets made from banana fiber–which go for $20 and $30 depending on the size.

Will we see even more fashion at Ikea? The company has extended its catalog into non-furniture categories, from high-tech smart electronics to gardening. I wouldn’t be surprised if clothing became as much a staple at Ikea as the meatball.

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https://www.fastcompany.com/90357173/ikea-is-getting-into-fashion-again

From cowboy print to square sausages: this week’s fashion trends - The Guardian

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From cowboy print to square sausages: this week’s fashion trends  The Guardian

Rave flyer graphics, circa 1994 As seen in the club scene in Beats. All hail the fractal. Sub-zero skincare From teas to serums, freezable face products are a ...

https://www.theguardian.com/fashion/2019/may/31/square-sausages-fashion-trends

Thursday, May 30, 2019

Lady Gaga, Tyra Banks and the Disneyfication of Fashion - The New York Times

This week Lady Gaga, last seen winning the game of entrances at the Met Gala, will re-emerge in Las Vegas to continue the series of “Enigma” shows she began last December at the Park MGM. On its own that may be exciting news for anyone feeling “Shallow” nostalgia, but this time around she is also bringing a little something extra to the strip: 1,600 square feet of disco-bedazzled fashion and retail extra, to be precise.

Not exactly merch, not a museum, the Haus of Gaga is something else. It is a kind of theme park/trip down memory lane complete with about 50 items — 20 head-to-toe looks, assorted hats and shoes — from her archives, all set in a futuristic space with dark walls lit by spots like floating planets.

The meat dress she wore to the MTV Video Awards in 2010 is there. (“We beef jerky’d it,” said Nicola Formichetti, fashion director of the Haus of Gaga, in case anyone was wondering how it was still around.)

So is the Armani insect ensemble from the Born This Way Tour in 2012. So is the metallic Versace bodysuit she wore to fly into the Super Bowl in 2017, and the blood-spattered “Paparazzi” bodysuit and the many, many pairs of eye-popping hooflike platform shoes.

There are also specially designed new items for sale, as well as personal Gaga pieces that will be auctioned, with proceeds going to the Born This Way Foundation.

“It’s like being in a galaxy of Gaga!” said Mr. Formichetti, who has been curating the contents of Haus of Gaga. “Everything inspired by her story and her work,” with takeaways both in memory and material.

And it’s just the first example of what may turn out to be the fashion trend of the year.

Later this winter, Modelland, the 21,000-square-foot modeling amusement park in Santa Monica dreamed up by Tyra Banks, is scheduled to open, offering retail, model role-play and other interactive fashion features, the better to allow paying visitors to live out their catwalk fantasies.

It will be “a new world of storytelling and adventure in a grand, fantastical, physical place where all expressions of beauty are celebrated,” according to a news release. “The multilevel ticketed experience invites all visitors to redefine what a model really is and for people to be the dream versions of themselves.”

And after that will come American Dream, three million square feet of immersive consumption (don’t call it a mall) from the Triple Five Group, currently under construction in the Meadowlands area of New Jersey.

When finished, it will contain an indoor ski hill with real snow, a DreamWorks water park, a Nickelodeon Universe theme park, a Legoland Discovery Center, an ice-skating rink, a giant Ferris wheel, an indoor garden with bunnies and an aviary — and assorted stores including Gucci, Saint Laurent and Tiffany & Co., along with the largest mall-based Zara store in the country (among other things).

Triple Five’s Wizard of Oz — sorry, chief creative officer — is Ken Downing, who was the fashion director of Neiman Marcus for 28 years, and who envisions a fashion show on the ski slope, with models going up in the chairlifts and down on skis, the audience arrayed in little gold ballroom chairs alongside.

“There is nothing that is too big or too crazy,” Mr. Downing said.

Image
A rendering of American Dream, currently under construction in the Meadowlands of New Jersey.

Welcome to the Disneyfication of style: the convergence of entertainment, consumption and experience in a single, sensation-filled high/low extravaganza. Everyone has been on something of a roller coaster lately, after all. This just makes it official.

Maybe it’s where we’ve been going all along; the ultimate evolution of T-shirts with Hermès bags, of the convergence between streetwear and luxury, the transformation of shows into Shows and Content, and the constant harping on the need for “experiences,” and how they — be they travel or concerts — are vying with handbags and cashmere sweaters for pocketbook share.

It’s probably not a coincidence that Mr. Formichetti, who also has his own brand, Nicopanda, is the former artistic director of Diesel and the current fashion director of Uniqlo. He plays in all style sandboxes.

No one doubts that the old way of selling things — the 1980s mall, now an echoing wasteland; the department store, a dying breed; the flagship, a museum encased in amber — may be over. But are rides with a side of style, or fantasy with fanny packs, really the answer?

“There’s so much fear right now,” Mr. Downing said. “People are afraid to do something bold. But what retail lacks right now is creativity, theater and the ability to get people to come in just to see what’s going to happen.” It lacks “The Avengers”!

Mr. Formichetti agreed. “We talked about this from Day 1,” he said of Haus of Gaga. “Fashion is such a big part of performance, why shouldn’t performance be part of fashion? I love seeing fashion in a more entertainment way. That’s how the magic is made.”

Image
The Haus of Gaga is filled with head-to-toe looks and assorted hats and shoes from Lady Gaga’s archives.CreditCycy Sanders
Image
Nicola Formichetti, fashion director of the Haus of Gaga, curated the contents.CreditCycy Sanders

But is it also how it is bought? Certainly it is not a surprise that in the search for the new and the different, Disney would prove an irresistible model, just as Apple once did. After all, Disney blockbusters got people back into movie theaters (another relic of the past, like stores, oft-declared “over”), and the company has become expert at taking one brand and disseminating it across multiple platforms: small screen, big screen, live action, cartoons, merchandise and, most of all, rides.

One school of thought says yes, that we invest in souvenirs to recall great experiences, and this is simply the wearable expression of that urge. Since none of these products are strictly necessary, they become symbols of a happy, exciting time.

According to Uma Karmarkar, a neuro-economist and professor at University of California San Diego, connecting fun (rides! theater!) to product attaches a brand memory to a positive experience, potentially giving us adrenaline-rush associations with a purchase.

But after the thrill of actual action — plunging down a flume, being flung around by bungees — can the thrill of a new leather jacket really compete? Do the urges to acquire sensation and stuff live in the same pleasure centers in the brain? (Rock climbers who live in their vans would suggest not.)

David Sulzer, a professor in the psychiatry department at Columbia University whose lab studies changes in the brain that occur during learning and addiction, said the fact that American Dream and Haus of Gaga are designed so that visitors have to pass through the retail section of the “experience” to get to the actual “experience” may work in their favor.

Dr. Sulzer pointed out that studies have shown that dopamine (a neurotransmitter linked to desire) is released when a pleasurable end is achieved, and that release can be “upstreamed” by cues related to the goal.

In other words, passing by Gucci to get the rush you achieve from pelting down a ski hill may transfer the sense of rush to Gucci, or passing by “Enigma” merch on the way to seeing your favorite Gaga outfit in the actual cloth may give you a feeling of satisfaction simply from seeing the shirts (or whatever exciting product is on offer).

More feeling, anyway, than you get from simply wandering around an empty store, or shopping by iPhone light in the middle of the night. “Though we don’t really know,” Dr. Sulzer said. It has been demonstrated in a lab environment with animal subjects, but not in a retail environment with people.

Still, Dr. Karmarkar added, there’s a certain precedent for all of this. “In some ways the Champs-Élysées is already the Disneyland of Paris,” she said.

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https://www.nytimes.com/2019/05/30/fashion/disney-fashion-lady-gaga-tyra-banks.html

Lady Gaga, Tyra Banks and the Disneyfication of Fashion - The New York Times

This week Lady Gaga, last seen winning the game of entrances at the Met Gala, will re-emerge in Las Vegas to continue the series of “Enigma” shows she began last December at the Park MGM. On its own that may be exciting news for anyone feeling “Shallow” nostalgia, but this time around she is also bringing a little something extra to the strip: 1,600 square feet of disco-bedazzled fashion and retail extra, to be precise.

Not exactly merch, not a museum, the Haus of Gaga is something else. It is a kind of theme park/trip down memory lane complete with about 50 items — 20 head-to-toe looks, assorted hats and shoes — from her archives, all set in a futuristic space with dark walls lit by spots like floating planets.

The meat dress she wore to the MTV Video Awards in 2010 is there. (“We beef jerky’d it,” said Nicola Formichetti, fashion director of the Haus of Gaga, in case anyone was wondering how it was still around.)

So is the Armani insect ensemble from the Born This Way Tour in 2012. So is the metallic Versace bodysuit she wore to fly into the Super Bowl in 2017, and the blood-spattered “Paparazzi” bodysuit and the many, many pairs of eye-popping hooflike platform shoes.

There are also specially designed new items for sale, as well as personal Gaga pieces that will be auctioned, with proceeds going to the Born This Way Foundation.

“It’s like being in a galaxy of Gaga!” said Mr. Formichetti, who has been curating the contents of Haus of Gaga. “Everything inspired by her story and her work,” with takeaways both in memory and material.

And it’s just the first example of what may turn out to be the fashion trend of the year.

Later this winter, Modelland, the 21,000-square-foot modeling amusement park in Santa Monica dreamed up by Tyra Banks, is scheduled to open, offering retail, model role-play and other interactive fashion features, the better to allow paying visitors to live out their catwalk fantasies.

It will be “a new world of storytelling and adventure in a grand, fantastical, physical place where all expressions of beauty are celebrated,” according to a news release. “The multilevel ticketed experience invites all visitors to redefine what a model really is and for people to be the dream versions of themselves.”

And after that will come American Dream, three million square feet of immersive consumption (don’t call it a mall) from the Triple Five Group, currently under construction in the Meadowlands area of New Jersey.

When finished, it will contain an indoor ski hill with real snow, a DreamWorks water park, a Nickelodeon Universe theme park, a Legoland Discovery Center, an ice-skating rink, a giant Ferris wheel, an indoor garden with bunnies and an aviary — and assorted stores including Gucci, Saint Laurent and Tiffany & Co., along with the largest mall-based Zara store in the country (among other things).

Triple Five’s Wizard of Oz — sorry, chief creative officer — is Ken Downing, who was the fashion director of Neiman Marcus for 28 years, and who envisions a fashion show on the ski slope, with models going up in the chairlifts and down on skis, the audience arrayed in little gold ballroom chairs alongside.

“There is nothing that is too big or too crazy,” Mr. Downing said.

Image
A rendering of American Dream, currently under construction in the Meadowlands of New Jersey.

Welcome to the Disneyfication of style: the convergence of entertainment, consumption and experience in a single, sensation-filled high/low extravaganza. Everyone has been on something of a roller coaster lately, after all. This just makes it official.

Maybe it’s where we’ve been going all along; the ultimate evolution of T-shirts with Hermès bags, of the convergence between streetwear and luxury, the transformation of shows into Shows and Content, and the constant harping on the need for “experiences,” and how they — be they travel or concerts — are vying with handbags and cashmere sweaters for pocketbook share.

It’s probably not a coincidence that Mr. Formichetti, who also has his own brand, Nicopanda, is the former artistic director of Diesel and the current fashion director of Uniqlo. He plays in all style sandboxes.

No one doubts that the old way of selling things — the 1980s mall, now an echoing wasteland; the department store, a dying breed; the flagship, a museum encased in amber — may be over. But are rides with a side of style, or fantasy with fanny packs, really the answer?

“There’s so much fear right now,” Mr. Downing said. “People are afraid to do something bold. But what retail lacks right now is creativity, theater and the ability to get people to come in just to see what’s going to happen.” It lacks “The Avengers”!

Mr. Formichetti agreed. “We talked about this from Day 1,” he said of Haus of Gaga. “Fashion is such a big part of performance, why shouldn’t performance be part of fashion? I love seeing fashion in a more entertainment way. That’s how the magic is made.”

Image
The Haus of Gaga is filled with head-to-toe looks and assorted hats and shoes from Lady Gaga’s archives.CreditCycy Sanders
Image
Nicola Formichetti, fashion director of the Haus of Gaga, curated the contents.CreditCycy Sanders

But is it also how it is bought? Certainly it is not a surprise that in the search for the new and the different, Disney would prove an irresistible model, just as Apple once did. After all, Disney blockbusters got people back into movie theaters (another relic of the past, like stores, oft-declared “over”), and the company has become expert at taking one brand and disseminating it across multiple platforms: small screen, big screen, live action, cartoons, merchandise and, most of all, rides.

One school of thought says yes, that we invest in souvenirs to recall great experiences, and this is simply the wearable expression of that urge. Since none of these products are strictly necessary, they become symbols of a happy, exciting time.

According to Uma Karmarkar, a neuro-economist and professor at University of California San Diego, connecting fun (rides! theater!) to product attaches a brand memory to a positive experience, potentially giving us adrenaline-rush associations with a purchase.

But after the thrill of actual action — plunging down a flume, being flung around by bungees — can the thrill of a new leather jacket really compete? Do the urges to acquire sensation and stuff live in the same pleasure centers in the brain? (Rock climbers who live in their vans would suggest not.)

David Sulzer, a professor in the psychiatry department at Columbia University whose lab studies changes in the brain that occur during learning and addiction, said the fact that American Dream and Haus of Gaga are designed so that visitors have to pass through the retail section of the “experience” to get to the actual “experience” may work in their favor.

Dr. Sulzer pointed out that studies have shown that dopamine (a neurotransmitter linked to desire) is released when a pleasurable end is achieved, and that release can be “upstreamed” by cues related to the goal.

In other words, passing by Gucci to get the rush you achieve from pelting down a ski hill may transfer the sense of rush to Gucci, or passing by “Enigma” merch on the way to seeing your favorite Gaga outfit in the actual cloth may give you a feeling of satisfaction simply from seeing the shirts (or whatever exciting product is on offer).

More feeling, anyway, than you get from simply wandering around an empty store, or shopping by iPhone light in the middle of the night. “Though we don’t really know,” Dr. Sulzer said. It has been demonstrated in a lab environment with animal subjects, but not in a retail environment with people.

Still, Dr. Karmarkar added, there’s a certain precedent for all of this. “In some ways the Champs-Élysées is already the Disneyland of Paris,” she said.

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https://www.nytimes.com/2019/05/30/fashion/disney-fashion-lady-gaga-tyra-banks.html

Wednesday, May 29, 2019

Menswear Brand Adopts A Repair Program To Make Fashion More Eco-Friendly - Forbes

San Francisco brand partners with Yerdle to repair old, worn clothing.

Taylor Stitch

San Francisco-brand Taylor Stitch has been advocating for a slower, more thoughtful approach to fashion for the past 12 years. But co-founder Michael Maher argues it’s not enough. “We wanted to bring circularity to our model. We have been focused on making high-quality clothing. But how do make sure that it stays out of landfills,” he asks.

That’s why this month they’ve launched a new program, Restitch, which will enable the company to take-backed used, worn Taylor Stitch clothing in need of repair. By partnering with Yerdle, a startup backed by Patagonia’s Tin Shed Ventures and working with brands such as Eileen Fisher and REI, Taylor Stitch can give these old clothes a new life. Their website reads, quite bluntly: “We Want Your Old Sh*t.”

Here’s how it works, Maher explains: Customers send in used clothing to Yerdle. They receive a credit towards another Taylor Stitch garment (which can be new or used). Meanwhile, Taylor Stitch works with Yerdle to take that used garment and patch it or restitch it. They can take almost anything but T-shirts or footwear, because those two categories are hard to repair into a resellable product.

So far, they’ve received about 1500 garments. These have been divided into two categories -- about 40 went to their vintage collection, suggesting that they’re a bit above the rest and can be re-sold at a premium. The rest fall into the restitch program. The goal is to iterate to consumers that products don’t have to meet their end of life so quickly; they can be reused repeatedly, even it’s not by the same person.

It’s an age-old concept of repair, one that Patagonia has been doing as well, to keep apparel out of the landfill. By some estimates, the average American throws out about 80 pounds of clothing each year. With that comes a resurgence to go shopping, and invest in new garments -- that all has a carbon, water, and materials footprint.

There are other ways to recycle old clothing, particularly denim which is often sent to be reused as insulation. “But that’s not as cost-effective or resource-effective as keeping it as old denim,” Maher says.

Plus Maher wanted Taylor Stitch to be one of the early adopters of a circular model for a fashion brand -- not an outdoor one, he clarifies. So much of this emphasis on repurposing has been within the outdoor industry instead.

“I’m that guy who likes to fix up clothes. And I’d like to say that the clothes we make get better with age. So we wanted to bring this concept to the everyday guy.”

Yet doing it as a small brand, Maher explains has been a challenge. “We chose to partner with Yerdle, because we wanted to be a part of that movement and concept, even if we are pint-sized.”

However, getting manufacturers and building an eco-friendly supply chain in textiles, Maher says is hard for such small players. Plus, he says the apparel industry is now crowded with those who do a lot of marketing, suggesting they’re sustainable when they’re not.

“We focus on responsibility, not sustainability. Sustainability is hip right now. Everyone is using it as a thinly-veiled marketing word. I applaud the big guys that are actually making the effort to push forward standards in the industry. But you have to discern between the BS and those that are actually doing it. We don’t want to market it. We want to report it.”

For instance, he says, Taylor Stitch was not using organic cotton in 2016. The following year, in 2017, he made that shift and by the end of this year, they’ll be using 95 percent organic cotton. “That’s the kind of stuff we want to report. So consumers can see that we’re taking every single step we can, being a relatively small business.”

Taylor Stitch’s model addresses some of the concerns around waste inherently: in 2015, they launched the Workshop, an internal crowdfunding platform that enables them to only manufacture a select number of products. A design is posted; customers support it by pre-ordering and the brand then has a sense of how many people want it. “It helps us mitigate a lot of the overproduction that takes place in the apparel industry.”

While all of this are signs of progress, Maher has a bigger vision: he wants to see if the brand can use renewed fibers as opposed to recycled fibers primarily. “Then you’re able to do that with true circularity,” he clarifies.

With renewed fibers, the brand is sending in old clothing that’s being turned into new material. With recycled fibers, they’re relying on a third-party to procure that material.

Yet that model has its challenges: a longer staple fiber recycled get shorter and loses its strength, making it harder to work with the second time around. “And customers still want a high-quality product, even if it’s made from repurposed material.”

Thus, he concludes that the supply chain is simply not there yet to make entirely circular products. Hence, Restitch, the Workshop, and their collaboration with Spanish manufacturer Recover to give garments a new life and cut down on excess production are all on that pathway to circularity, he says. “We can push the other players. We can help with the pilot programs. But we still have a ways to go as an industry. There is no perfect solution yet.”

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https://www.forbes.com/sites/eshachhabra/2019/05/29/menswear-brand-adopts-a-repair-program-to-make-fashion-more-eco-friendly/

Tuesday, May 28, 2019

School of Fashion's Graduation Fashion Show Draws in Nearly 2,000 Attendees - Yahoo Finance

SAN FRANCISCO, May 28, 2019 /PRNewswire/ -- The Academy of Art University School of Fashion hosted its annual exclusive graduation fashion show on May 11, 2019 in San Francisco, featuring top work from its womenswear, menswear, knitwear, and childrenswear B.F.A. fashion design graduates.

Experience the interactive Multichannel News Release here: https://www.multivu.com/players/English/8487054-academy-art-university-school-graduation-fashion-show/

School of Fashion’s Graduation Fashion Show 2019

Top press and industry professionals watched as models walked down the runway sporting innovative designs from graduating students. Designs included womenswear, menswear, knitwear, and childrenswear collections. Students' creative inspirations for the 29 unique clothing collections ranged from the Japanese technique of Shibori to the vibrant culture of Colombia, strong women, coffee, and even pencil shavings. Other influences included the fluidity and movement of water, colorful birds, functionalism, drag performers, and one student's experience of heritage and identity as a Chinese-Indonesian.

"It is so interesting to discover the possibilities that this school gives to everyone, the materials, everything is amazing. The students have big possibilities to work, to be free, to create." - Livia Stoianova / founding designer of On Aura Tout Vu

"The visual and aesthetic developmental innovation is always so evident with the design students. I just love the creativity here and what Simon and the department in general does with the students, is always amazing to watch." - Andre Walker / designer

Previous graduates from this program have proceeded to work for major fashion labels, including Alexander McQueen, Nike, Oscar de la Renta, Chloe, and Marc Jacobs upon graduating.

WATCH the Fashion Show and MEET the Designers: https://www.academyart.edu/academics/fashion/graduation-fashion-show/

DOWNLOAD Runway Images
https://spaces.hightail.com/receive/gFfpFePaHP

School of Fashion Blog: www.fashionschooldaily.com
Instagram: http://instagram.com/academyufashion

About Academy of Art University
Academy of Art University is the largest private university of art and design in the United States.  Established in 1929, the Academy imposes a rigorous curriculum that requires the students to produce a portfolio of work that demonstrates a mastery of their field.

About the School of Fashion
Graduates have gone on to such companies as Abercrombie & Fitch, Adidas, Alexander McQueen, Azzedine Alaïa, Banana Republic, BCBG Max Azria Group, Blanc de Chine, Burberry, Calvin Klein, Corso Como 10, Chloë, Diane von Fürstenberg, Donna Karan, Gap, Kate Spade, Kiton, L.A.M.B., L'Ecole Lesage Paris–Atelier de Broderie, Liz Claiborne, Louis Vuitton, Marc Jacobs, Martin Margiela, Martine Sitbon, Missoni, Nike, Nordstrom, The North Face, Old Navy, Oscar de la Renta, Phillip Lim, Pottery Barn, Ralph Lauren, Reebok, St. John, Tocca, Viktor & Rolf, and Williams-Sonoma.

About School of Fashion Executive Director
Simon Ungless, Executive Director of the School of Fashion, graduated from Central Saint Martins School of Art and Design in 1992 and was awarded the prestigious M.A. Degree in Fashion with Distinction. He collaborated with Alexander McQueen on the first 10 collections shown in London and New York, and personally introduced Sarah Burton, Creative Director of Alexander McQueen, to the late designer. His work experience spans fashion design, textile design, forecasting, brand development, and marketing for such clients as Givenchy, Paul Smith, and Versace.

School of Fashion: www.academyart.edu/academics/fashion

Gabriel Joshua Gima / 415.618.3802 / ggima@academyart.edu

School of Fashion’s Graduation Fashion Show 2019

 

School of Fashion’s Graduation Fashion Show 2019


 

Cision

View original content:http://www.prnewswire.com/news-releases/school-of-fashions-graduation-fashion-show-draws-in-nearly-2-000-attendees-300856296.html

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Serena Williams makes a high-fashion statement a year after her French Open catsuit ban - CNN

Serena Williams made her first appearance at the French Open after officials banned the black catsuit she wore during last year's competition, and she did so in a flashy, black-and-white tennis set with a mesh underlay.

Oh, and she won her match.

If you'll recall, a few months after last year's tournament, French Open President Bernard Giudicelli announced a stricter dress code, specifically called out Williams' catsuit and said players in the future should choose outfits "to respect the game and place."
Serena Williams catsuit French Open Roland Garros Paris

CHRISTOPHE SIMON/AFP/Getty Images

His comments sparked backlash, especially since Williams' catsuit was specially designed with compression elements to help prevent blood clots, which she dealt with after the birth of her daughter in 2017.

Williams' ensemble for her opening match this year was designed by Virgil Abloh, founder of luxury streetwear brand Off-White, for Nike.

Abloh, who also helms Louis Vuitton's menswear line, designed the memorable tutu Williams wore during last year's US Open.

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https://www.cnn.com/style/article/serena-williams-outfit-french-open-trnd/index.html

This shepherd has found her niche in the farm-to-fashion movement - The Washington Post

André Chung for The Washington Post Franny Kansteiner, owner of Gum Tree Farm Designs, raises merino wool sheep on her farm then creates sewn, knitted, woven and baby goods, all handmade, which she sells online and in her shop in Middleburg, Va.

Gum Tree Farm Designs’ showroom is far enough out in horse country Virginia that the dry cleaners down the street also offers mane pulling. President Kennedy had a house near here; it was where Caroline Kennedy’s famous pony, Macaroni, lived while her father was in office. Located in downtown Middleburg among brick sidewalks and across the street from an old church, the showroom is a cozy, light-filled shop full of luxury wool goods — baby sweaters, socks, fingerless mittens, all artfully arranged and hand-knit.

Proprietor Franny Kansteiner, 61, designed almost all of the items, and knitted about a third of them herself. The day I visit, she is wearing a dark blue woolen work shirt of her own design, which retails for $475. With silver sneakers, bobbed blond hair and jeans, she looks a little practical for how you might imagine a fashion designer. She looks quite glamorous, though, for how you might imagine a shepherd — which is her other job.

Two miles away is Gum Tree Farm, a hundred acres where she lives and raises the flocks that provide every scrap of wool in her store. She calls herself a designing shepherd, and she labels her corner of the clothing industry “farm to fashion.” The term has been around for a few years, but it mostly refers to designers and sellers who know and approve of how sheep are treated. A fashion designer actually raising sheep from birth to death is somewhat less common in America — let alone being “owner, CEO, everything” on the business end, as Kansteiner describes her role.

Rita Kourlis Samuelson, director of wool marketing at the American Sheep Industry Council, says that, while Kansteiner’s all-in-one operation is rare, it’s part of an overall industry trend towards more transparency: “Consumers want to know more about the products they’re buying. Sometimes it’s about their own values. Traceability, identity, a story about where the garment comes from. They want to make sure that some of what they’re purchasing matches the values of who they are and what they think is important: animal care, sustainability, carbon footprint.” Gum Tree Farm Designs ticks some more feel-good boxes as well: local, small business, woman-owned.

“It seemed very important to me to make something beautiful out of [my sheep’s] wool,” Kansteiner says. She moved onto a farm when her children were small. She wanted her kids to know where things come from, food and clothes and everything. She started teaching horseback riding and got a three-sheep starter pack. She watched friends who knit and got the hang of it. “Originally I was spinning [wool] and knitting it into garments for my friends and family,” she recalls. Her kids kept giving their fingerless mittens to their friends and asking for more. It’s what made her think she could make it a business. Knitting was a little limiting, so she wanted to move into woven goods as well. She went to New York to get garments made from her wool, but “I realized not a lot of shepherds are hanging around the garment district in New York. They said, you can’t get fabric made in the U.S. And I said, ‘No, we did.’ ”

The farmer-artisan-chief-executive-retail-seller was a much more common business model 150 years ago, but now it seems incongruous that all the pieces of the process of making clothes can fit together and can, for the most part, happen in one place, just a 90-minute drive from Washington. Though she employs others to do the dyeing, some of the spinning and knitting, and all of the weaving and sewing, Kansteiner still knits one piece a day.

André Chung

for The Washington Post

Baby goods at the Gum Tree Farm Designs shop in Middleburg.

She also squelches those silver sneakers through the mud down at the farm, unfixing the fence to get into a paddock with one flock of mothers and lambs, pointing out the sheep droppings, which are everywhere. One white lamb nibbles her finger in case it might be food. “That’s how you can tell they’ve been bottle-fed,” she says. The ones who nursed with their mothers are more cautious. About 80 of the farm’s 300-ish sheep are munching at bales of hay in this paddock, baaing. One sheep in particular sounds like a person making fun of the other baas.

They are currently safe because of the llama. Summer, who has large, sharp eyes and resembles a huge, long-necked sheep herself, has been watching the approach of people. She has quit her munching and devotes her full attention to evaluating the danger of the situation. If she determines it necessary, she will move away from the interlopers, and the sheep will slowly follow. When she’s threatened, Kansteiner says, she shrieks, and the sheep all get behind her. The whole production is enough to scare off a coyote, but not two coyotes. Two coyotes will probably get to take home a lamb.

Summer is devoted to her flock. Llamas are pack animals, Kansteiner says, but if you keep them separate from other llamas, they bond with sheep. Summer is helpless, though, to protect the sheep against another predator the flocks face: a local bald eagle. It will claw a sheep’s back legs, but can’t carry the whole body away. Kansteiner has several survivors of such attacks in her flocks. One had a talon injury that went all the way through her neck, but she still showed up for breakfast the next morning. “They’re very stoic,” she says. This is not the reputation sheep have among people who do not hang out with sheep — think “sheepish” or “sheeple” — but their wide, expressionless faces are exactly that. They are here to eat, and they work hard at it.

Shearing happens in March. Kansteiner employs a shearer who gets all the wool off a sheep in one piece. It takes about four minutes a pop. After the shearing it takes a moment for them to recognize one another. At a year old, the gentlemen lambs will be escorted off the premises to find new employment as high-end organic sausage. Some of their skins will become shoes.

In this paddock — which was literally the poster farm for a recent Certified Humane ad campaign — sheep do their sheeply job, the irreducible process of turning hay and grass into fiber and more sheep. Considering all the steps involved, all the creatures and their lives and the work they will do, suddenly a $375 woolen sweater starts to make some sense — even if you can buy a much cheaper one at Macy’s. Gum Tree Farm isn’t that long a drive from Washington, but it’s long enough to make you think.

Rachel Manteuffel is an editorial aide at The Post.

More from the Magazine:

How robo-callers outwitted the government and completely wrecked the Do Not Call list

This ‘hillbilly madman’ is country music royalty. So why haven’t you heard of him?

What I figured out about America’s future from visiting Trump resorts throughout the world

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Monday, May 27, 2019

Serena Williams overcomes rocky start, advances to second round of French Open - The Washington Post


Serena Williams reacts during her first round match against Russia's Vitalia Diatchenko. (Vincent Kessler/Reuters)

PARIS — Playing in just her 10th match of the season, Serena Williams overcame a rocky opening set at the French Open Monday to advance to the second round.

Williams, 37, was hardly at her best against Russia’s Vitalia Diatchenko, 28, who is ranked 83rd in the world and had never beaten a top-10 opponent. But she summoned her fierce fighting spirit to compensate until she found the range on her serve and groundstrokes to prevail in commanding fashion, 2-6, 6-1, 6-0.

A three-time French Open champion, Williams has scarcely been seen on court this season, limited by illness and injury, so she enters the French Open amid questions about her health and fitness. Her 2019 record, before Monday, was 7-2 after she withdrew from tournaments in Indian Wells (viral illness), Miami (left knee) and Rome (left knee).

Over the course of her 24-year pro career, Williams has started majors in rusty and ragged form before. But her pattern has been to battle her way to early-round victories while raising her level of play at each stage.

Whether she can do that here, on the French Open’s red clay, which blunts the impact of her powerful first serve, is unclear.

Amid gusty winds, her game was riddled with unforced errors in the first set, which the Russian claimed in 34 minutes.

Serving to open the second set, Williams blasted yet another ground stroke well over the baseline and howled in frustration. The outburst seemed to focus her, and she held serve. She stopped pressing and over-hitting in subsequent games. And after breaking for a 2-0 lead in the second set, she unleashed a cry of “Come on!” and rolled from there.

Seven-time French Open champion Chris Evert, an ESPN commentator who’ll provide analysis for Eurovision this fortnight, counts herself among those uncertain about Williams’s readiness for the season’s second major given how little she has competed.

“You need your body, your fitness and your legs more than anything on the red clay,” said Evert, who compiled a 382-22 career record on clay, in a telephone interview before the tournament. “Even if she does have her fitness and her health, how much preparation has she had? Is that going to affect her, too? It hasn’t been ideal.

“I think she would have liked to have played a tournament or two and gotten some more matches on red clay. So, it remains to be seen.”

Williams made a strong fashion statement in her return to Roland Garros, one year after a French tennis official took issue with the black catsuit she wore here last year.

A 23-time Grand Slam champion, Williams strode onto Philippe Chatrier Court in a billowy, black and white striped outfit that consisted of an asymmetrical skirt and long-sleeved blousy jacket that fluttered in the late afternoon breeze.

She had previewed the outfit via an Instagram post Sunday, alongside its creator, fashion designer Virgil Abloh, founder of the Milan-based label Off-White and the men’s designer at Louis Vuitton’s menswear line. It is her second Nike tennis-wear collaboration with Abloh, who designed the one-shoulder dress with flouncy, ballet-inspired tulle skirt that Williams wore at the 2018 U.S. Open.

After a brief warm-up with Diatchenko, Williams unzipped the jacket to reveal a fitted top-that repeated the skirt’s striped pattern.

Williams was criticized by one French tennis official, who said after the fact that her catsuit had “gone too far” and suggested that it showed a lack of respect for the game.

Williams explained that she wore the outfit — a compression suit — largely as a medical precaution to help guard against a recurrence of blood clots that endangered her life during the birth of her first child, daughter Alexis Olympia, on Sept. 1, 2017, roughly nine months prior.

Read more from The Post:

Patriots tight end Benjamin Watson explains why he faces a four-game suspension

Kevin Na won a 1973 Dodge Challenger at Colonial and gave it to his caddie

Roger Federer receives a hero’s welcome at French Open

Finals-bound Raptors channel Kawhi Leonard’s focus as Warriors await

How Bruce Cassidy’s failure as Capitals coach made him better for Bruins

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https://www.washingtonpost.com/sports/2019/05/27/serena-williams-returns-french-open-with-new-fashion-statement/

After the catsuit, Serena Williams debuts new outfit for 2019 French Open - ABC News

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New Sustainable Outerwear Brand Fuses Fashion, Performance - WWD

Canada-born designer Chelsea Claridge is making her mark in the outerwear market. After identifying a need for fashion forward, slight and sustainable outerwear, Claridge sought to create her own line, Caalo, a New York-based brand that offers ultra-cool coats that are transformable, trans-seasonal and non-gender specific.

Claridge spent 10 years in the industry as a designer, but was inspired to create Caalo after battling wet and frigid winters in New York and Canada while wearing bulky, sporty outerwear that felt unfashionable. Caalo’s first collection is for fall 2019, and offers shoppers minimalist, almost futuristic-looking coats that are backed by peak performance and sustainable production. Chelsea Claridge, founder and creative director at Caalo, told WWD, “We believe that when we create something, we need to be conscious of its impact on everything it touches, throughout the whole lifecycle. To have the largest impact, we focus on product materials, quality and a sustainable production process, both environmental and social.”

Caalo’s coats are made of Thindown, a new down technology hailing from Italy that is RDS certified and Oeko-Tex class 1 certified, which enables greater traceability. “Not only does this fabric innovation allow us to create a new silhouette for warmth, but it’s completely sustainable and is held to strict guidelines where the geese are treated humanely since hatchery,” Claridge noted. Caalo also uses “Seaqual,” a fabrication made from upcyling plastic bottles from the Mediterranean Sea. “We are constantly looking at advancements in material sciences to see what new fabric technologies have become available and how we can utilize them,” adding that Caalo exclusively scouts high quality fabrics that are recycled whenever possible.

Photo courtesy of Caalo. 

Caalo’s commitment to the use of more costly, well-made materials is less about luxury and more about being sustainable. Claridge told WWD, “We believe if you make garments timeless with high-quality materials, people can and will wear them for a long time, and as a result will keep more clothes out of landfills. This is critical, as the fashion industry is one of the biggest polluters in the world. Also, because our jackets are transformable, they can be worn for multiple seasons and climates, which helps reduce waste and over consumption.” In a way, Caalo’s garments have a lifetime guarantee: “For those customers that no longer prefer to wear their garments after a number of years, we have a ‘2nd Home’ initiative, where customers are able to return their garments to us to be resold or donated in exchange for a credit toward a future purchase.”

And the brand’s small batch production policy aligns well with its careful selection of factories, one of which is based in New York City, that “supports our local economy and helps reduce our CO2 footprint.” Claridge told WWD, “We have made the conscious effort to only partner with sustainable factories to produce our collection. When selecting our factories, we wanted to make sure they were both environmentally and socially responsible. This means they utilize as much of their energy from renewable resources as possible — [such as the use of] solar panels — and are as close to our core market as financially feasible. They all provide a clean and safe working environment for their staff with adequate space around their desks, access to natural light and are paid a living wage. Surprisingly, these things we tend to take for granted are not a given for most factories. We [also] produce in small runs, allowing us to be a part of the process, reduce waste and maintain our high standard of quality.”

Regarding the fashion industry-at-large, Claridge offers sage advice: “Every brand can start contributing, however small, in their own way. For us, it’s a core aspect of our brand and we are glad sustainability is becoming more and more essential for our customers and the fashion industry as a whole. We are dedicated not only to our initiatives, but also to actively improving upon our sustainable practices as new materials become available and as we grow.”

For more Business news from WWD, see:

Fashion Brand Vida ‘Redefines Growth,’ Addresses Consumption

At the Source: Peruvian Manufacturing in Focus

Field Notes: Holistic Sustainability

Google Moves Sustainability Needle With ‘Your Plan, Your Planet’

Change Agents: Denim Brands Working to Transform the Industry

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https://wwd.com/business-news/business-features/claridge-brand-launch-1203139525/

Sunday, May 26, 2019

Rihanna makes fashion history - The Columbian

PARIS — Rihanna may have looked cool and collected next to the debut collection for her new fashion label, Fenty, donning a brilliant white tuxedo dress and a 1,000-watt smile. But on the inside it was another story.

“It’s all a facade,” said the Barbados-born star who has become the first black woman to launch a major Parisian fashion house.

“Pressure? Of course … I’m passionate about what I do, so there’s pressure every single second. It’s not like crumbling pressure, but it’s like: ‘You better get it good, girl.'”

News of the singer’s groundbreaking deal with LVMH, the world’s largest luxury group, shook up the fashion industry earlier this month. Rihanna is the first woman, and the first person of color, to create a major brand under the luxury giant from scratch. At age 31, that’s no mean feat.

“This is a moment in history … It’s a big deal for me and my entire generation,” she said.

The collection is named after the singer-turned-designer’s last name: She was born Robyn Rihanna Fenty. The ready-to-wear, footwear, accessories, and eyewear are available for sale in Paris’ Le Marais area in a popup store from Friday and will debut online Wenesday.

Speaking in the store amid snapping cameras, she said she felt the time was right to make a move like this. It comes one year after LVMH’s Louis Vuitton named its first ever African American designer for menswear, Virgil Abloh.

“Right now, fashion in general has been stepping up a lot and been vocal about issues — whether it’s subtly or aggressively,” she said.

While she said Fenty’s ambitions are not “political,” they’re infused with the story of “me as an immigrant moving to America. That was a big journey for me. And to even get here to Paris — it’s something to celebrate and embrace.”

The singer already has a track record for embracing diversity in the luxury industry after she featured some 40 shades of foundation in her hugely lucrative Fenty Beauty line in 2017. Many said that revolutionized the makeup industry and plugged a glaring gap in the market for women with diverse ethnic backgrounds.

That initiative was said to have caught the eye of Europe’s most powerful luxury CEO, Bernard Arnault of LVMH.

But the launch — steered by an outsider with no formal design training — has also been greeted with a dose of cynicism.

Fenty is a recognition that the fashion industry now formally considers a major popstar to have as much to say in design as established figures such as Nicolas Ghesquiere of Louis Vuitton, or even the lauded Alber Elbaz, formerly of Lanvin. He is currently out of work.

Some say Fenty is the first major house of the Instagram age.

Streetwear with luxury

The Parisian fashion industry — dominated by white males — is famously snooty, and Rihanna will have a lot to prove.

At the launch, top designers in attendance such as Balmain’s Olivier Rousteing and Dior’s Maria Grazia Chiuri studiously picked through the clothes on display.

The wearable designs channeled an oversize, street aesthetic, with garments like cross-over jackets in thick cotton canvas or a button-down shirt dress in stiff Japanese denim.

“It’s hardcore, but still chic. It’s that juxtaposition that I really enjoy,” Rihanna said, reeling out technical terms and fabric names she’s recently discovered.

“Knowing me, of course you’re going to have streetwear elements that are done in a luxury way,” she added.

Fenty — not to be confused with the storied LVMH brand Fendi — says it will be based in Paris but will operate online with a “See-Now-Wear-Now” model, forgoing the usual luxury fashion seasonal previewed designs.

“They were flexible enough to allow me to have a different perspective on the way I wanted to release things,” she said. “Coming from such a traditional background in fashion (as LVMH), you don’t think there’s another way that will work — but they allowed me to do that.”

The head of communication of LVMH, Bernard Arnault’s son, Antoine, admitted Rihanna was not a traditional kind of designer, but said the company had given her total creative freedom.

“Calling it an experiment is a little reductive, given the ambition we have for the project,” Antoine Arnault told The Associated Press.

“There are lots of firsts: It’s the first time we, in fashion, are collaborating so frankly with a popstar. But she’s so much more than that. She’s someone who has a bird’s-eye view on fashion and pop culture, who is at the same time obsessed with details.”

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Saturday, May 25, 2019

'Dress Your Values' - Celebrity Stylist Laura Jones on Sustainable Fashion - Forbes

Laura Jones

Photo: Thefrontlash.com

“(T)here’s an enormous opportunity to talk about sustainability and environmentalism in a way that captures the imagination of an everyday consumer or an everyday fashion lover and find a way to make it exciting and interesting and accessible.“ Laura Jones on Green Connections Radio

Celebrity stylist Laura Jones found herself overwhelmed when she realized the field she had dedicated her career to was damaging the environment big time: fashion Then, she resolved to do something about it.

At first, she thought her skills were not appropriate to helping to find a solution and thought she needed to go back to school to study environmental science or such. Then she realized she could use her skills to tell stories and engage fashion lovers who were accustomed to reading fashion magazines.

“I decided to create a platform for people who have consumed regular fashion media to be able to consume a similar type of media but that suits their value systems better and that speaks to issues that are more topical and more related to environmentalism and sustainability,” Jones told me when I interviewed her at the Earth Day Network 2019 gala recently about her new magazine, Frontlash, about sustainable fashion.

Here are issues the fashion industry faces as it confronts a market increasingly focused on sustainability:

  • The biggest issue fashion faces in relation to sustainability: Fashion encourages over-consumption – that is, buying the latest fads over and over – and it’s over-consumption, in Jones’ view, that is the most detrimental.
  • Why women over-consume fashion: “Over-consumption comes from feeling like you don’t have enough and feeling like you don’t have enough comes from a place of feeling like you are not enough.” Jones “wants to push against those ideals” and remind women that they are enough without all the fashion trappings.
  • Why sustainability in fashion is complicated: Because it encourages disposability, and “sustainability is about not being disposable and fashion is considered disposable.” So she wants to use her new magazine to help create “greater value around the things we create, thereby giving them a longer life…than something that is disposable. This made me a lot better about wearing my older sister’s clothes a lot when I was a kid.

    Laura Jones (l), Joan Michelson at the Earth Day Network Gala 2019

    Photo: Joan Michelson
  • “Dress your values”: Jones said women need to consider the impact of what they wear, across the system, from the way the women who make these clothes are treated and their working conditions (and they are mostly women, not men and not machines, she explained), to where the fabrics come from, to the impact making them has on the environment, including water use and pollution, waste, and energy use.
  • Why designers don’t talk about sustainability more: Designers and retailers fear that if they aren’t 100% addressing every issue related to sustainability, that if they talk about what they are doing that they will be attacked. But that’s a goal that’s unrealistic. “I think it’s a real way to limit innovation in the space,” Jones said.

Sustainability is a journey with multiple aspects.

At Frontlash, she said, “we try to celebrate the journey of the consumer and the designer” getting to a sustainable place knowing that “it’s never going to be perfect.”  They embrace the technical, not shy away from it.

“We’re talking about how science is reimaging the textile industry, which is really exciting…People get really excited about innovation.”

Jones also had unusual career advice, which you can read about in my next Forbes blog.

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https://www.forbes.com/sites/joanmichelson2/2019/05/25/dress-your-values-celebrity-stylist-laura-jones-on-sustainable-fashion/