2017323(木)

Fashion’s Glittery Façade

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A New Photography Book Unmasks Fashion’s Glittery Façade

Named after rapper B.G.’s song “Bling Bling,” the photography book Bling Bling Baby explores intersections of ‘90s hip-hop culture and contemporary fashion in lavish excess. While B.G. describes luxury goods as ultimate symbols of success, the photographers featured in Bling Bling Baby capture glamorous lifestyles with “a twinkle in their eye,” the book’s editor Nadine Barth told the Cut.

Published last month by Hatje Cantz, the collection features striking images from a recent exhibition in Germany alongside Barth’s own poetic musings on diamonds, decadence, and conspicuous levels of consumption. “We say bling bling when the glitz almost hurts,” she writes in the book’s introduction, “when we’re blinded by so much luxury and sparkle.”

Each photograph examines aspirational living, as shown in the slideshow ahead: In Polixeni Papapetrou’s Eden series, a young woman holds a lush bouquet of red and violet flowers in front of her face, obscuring her ability to see. An image by Daniel Sannwald takes a similar approach, replacing a model’s eyes with two gleaming pearls that match a gaudy white septum ring in his nose. Both images are vibrantly colorful and somewhat campy, underscoring the message that excess can be blinding.

In B.G’s world, the apex of success is owning Rolex watches, flashy cocktail rings, and $100,000 sports cars; in Barth’s show, she extended the concept of bling to surrealist landscapes, imaginative floral accents, and whimsical portraits. In some cases, flowers even replace diamonds as a status symbol. “Flowers are the new bling,” Barth explained. “They refer to the Baroque — the first art movement that celebrated the gold, the rich, the opulence.”

In a striking close-up, British photographer Miles Aldridge shot darkly painted fingernails sinking into a pool of clear jelly — surrounded, amusingly, by severed lobster legs. Glinting sapphire and topaz rings line the model’s fingers, exaggerating the high-polish shine of a silver bowl. “When I got a chance to say something in my work, I wanted to undermine that world — all of this luxury will not make you happy,” Aldridge once explained. The acrylic nails’ dramatic length and the lobster parts’ high sheen reveal how very fake the setup is.

Artificial press-on nails materialize again in a photo of a hand decked out in pearl and rhinestone rings reaching for a telephone. Artistic duo Christto & Andrew use the beige, blockish phone as a lifeless prop only for aesthetic effect; the focus, rather, is on how much jewelry the subject is wearing and how shiny it is. The image mirrors lyrics by Lil Wayne in B.G.’s song: “Every time I come around your city, bling bling / pinky ring worth about fifty bling bling.”

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この記事のURL2017-03-23 17:43:59

2017321(火)

Fall 2017 fashion Week

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Fall 2017 Was Fashion's Most Racially Inclusive Season Ever

It's 2017 and it looks like the fashion industry is finally getting the hang of this whole diversity and inclusion thing.

According to a new report by The Fashion Spot, the fall 2017 season was the industry's best yet when it came to casting non-white models for the runway.

Out of New York, London, Milan and Paris, New York Fashion Week took the lead with 31.5 per cent of their talent being people of colour, and for the first time ever, every show during NYFW had at least one model of colour.

London came in at second place, while Paris came third and Milan came last.

When it came to overall inclusivity, labels Chromat, Marc Jacobs, Tome, Christian Siriano and Dolce & Gabbana took the top spots, with runways that featured not only models of colour, but also trans, curvy and older talent.

Halima Aden, a Muslim, refugee-born model also made her stunning debut at the Yeezy Season 5 runway show in New York, proudly rocking her hijab.

But although fashion has made some significant strides when it comes to representation, there's still a ways to go — and casting director James Scully made no qualms about calling out designers for their unethical practices.

Specifically calling out Lanvin, and a number of other luxury retailers, Scully wrote a long Instagram post detailing their shortcomings during Paris Fashion Week in late February.

"I have heard from several agents, some of whom are black that they have received mandate from Lanvin that they do not want to be presented with women of colour," he wrote. "If this behaviour continues it's gonna be a long cold week in Paris. Please keep sharing your stories with me and I will continue to to share them for you. It seems to be the only way we can force change and give the power back to you models and agents where it rightfully belongs."

A number of black models were also vocal about the all-white catwalks during Paris Fashion Week, and many took to the streets to protest outside of Balenciaga's fall 2017 show, carrying signs that read "Black Models Matter" in French.

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この記事のURL2017-03-21 12:36:47

2017318(土)

a Dance Party

Roger Vivier Threw a Dance Party to Celebrate Spring Collection

"Central Park was empty — it was just me and three dogs all wearing plastic shoes," recalls Ines de la Fressange of her stay in New York during #StormStella earlier this week.

Manhattanites didn't have to apologize to everyone's favorite French style icon for the blizzard conditions during her four-day visit from Paris. Like so many others in the snowbound city on Tuesday, "I lounged in bed under some blankets and watched a lot of television — it was wonderful," she says.

By Wednesday evening, however, de la Fressange was ready to lace up her dancing shoes — quite literally. The global ambassador for Roger Vivier hosted a party at Soho's Dance With Me studio to celebrate the accessory brand's Spring 2017 collection, a collaboration between creative director Bruno Frisoni and Sofia Sanchez de Batek, a front-row fixture who has art-directed campaigns for Derek Lam and Marni. Also a part-time model, the Argentinian-born Sanchez de Batek was invited by Frisoni and de la Fressange to both influence the design of the spring collection and appear in its campaign, lensed by New York-based Quentin Jones.

"Nearly each year we have an image of the house and somebody we want to be linked with — it doesn't have to be a celebrity or a famous actress, but just somebody we like. We like her spirit and her style, but we also have to like the person. She has to be elegant and fun, and you see that in Sofia," explains de la Fressange. "If you think about Chanel, she was close to Romy Schneider and Jeanne Moreau; they were not only beautiful women, but also personalities. I always thought it was important for Vivier to be linked with talented people."

Crystal chandeliers, red roses everywhere and Ruinart Blanc de Blancs in coupe glasses transformed the studio into a space that felt equal parts Buenos Aires and Montmartre circa 1935. Near the entrance was a small display of pieces from the spring collection, most featuring Roger Vivier's omnipresent square buckle, but this wasn't an event rooted in viewing product. Rather, tango teachers lured guests — including Mario Sorrenti, Fabien Baron and Mia Moretti — on to the dance floor from bistro tables situated around the room's perimeter.

The resulting vibe was decidedly different from the typical launch event, and that was precisely the point, says de la Fressange. "We have a terrible reputation in France of being stiff and square and boring and sometimes rude, and it's not totally true," she notes. "We could invite you into the shop or to a restaurant and immediately hand you a press kit, but this is not elegance; this is not a way to treat people. Here we are having fun. We have 15 dance teachers all wearing Roger Vivier shoes. Isn't that so much better than being stuck in a restaurant next to someone boring?"

Indeed, there is nothing mundane about this Argentine-inspired collection, from the lush satin roses atop strappy sandals, accented with straps that wrap sensuously around the ankles, to the limited-edition bag Frisoni designed with Sanchez de Batek in mind: In crimson leather featuring laser-cut flowers, it's been aptly named the Viv' Cabas Tango. "It feels very special to work with such a talent like Bruno," says Sanchez de Batek. "I don’t like to endorse a product if I’m not involved in it. We talked about red and something that felt very sexy, and the laser cuts and flower-inspired pattern create that mood and is a great addition to the collection. But I also travel a lot, so I wanted to know you could put a lot in the bag, that it would be practical."

As an homage to both the handbag and the evening's ambiance, Sanchez de Batek wore a high-neck dress of draped red crepe, a vintage piece she bought in L.A., she says. It wasn’t her first choice, but the weather wouldn’t cooperate. "The dress I wanted to wear got stuck in the FedEx," she says, adding that an impromptu high slit cut into one side seam made the replacement dress tango-friendly.

It's a style hack de la Fressange likely would have thought of herself, and Sanchez de Batek admits she's flattered by any comparison. "I find Ines to be a fascinating mix of brains and beauty, sharp and smart, and always saying the right, funny thing," she says. "I've known her for a while, but we did get to know each other better working on this project. When I came up with the concept for tonight's event, she backed me up completely and said we should just go for it. And here we are: People you would never see dancing are onstage right now."

Outside, New York City trucks were still plowing and salting the streets, but inside this Broome Street studio, the mood was positively sultry. "If you think about it, the tango is from Argentina, but it really comes from France," says de la Fressange, pointing to the dance’s popularity in Paris in the early part of the 20th century. "That was a very fashionable moment in France. And here tonight, it's the perfect spirit."

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この記事のURL2017-03-18 12:44:36

2017316(木)

Dior Haute Couture

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Emma Watson gives Belle's iconic yellow dress a modern day makeover in Dior Haute Couture

On Monday evening Emma Watson, who plays Belle in Disney's much-anticipated remake of Beauty and the Beast, took to the stage at the Lincoln Centre in New York, to read an excerpt from the story to children from the New York Film Society Kids programme. While the leading lady reading from the fairy tale made for a magical moment in itself, the event was made all the more enchanting by the fabulous yellow Dior Haute Couture gown which Watson wore while doing so, making her almost a mirror image of her on-screen character.

In-keeping with Watson's pledge to wear sustainable fashion, all of the looks she has worn during her promotional tour have been ethically sourced, and the Dior gown is no exception.

It was created using a combination of organza and Eco-Age fabric, as per Watson's request. And it seems the actress was able to influence more than just the fabric of the custom-made dress, which is remarkably similar to that worn by Belle in the film. ''We decided with Emma to go this way,'' says Maria Grazia Chiuri, Dior's Creative Director, ''it's very close to the story.'' There are slight differences in the design however with Dior's creation featuring thinner straps, a slightly less voluminous skirt, a flattering cowl neckline and criss-cross detailing which leaves most of Watson's back exposed. The end result? A modern makeover for Belle's legendary look.

On the subject of creating beautiful red carpet designs for Watson and welcoming her input in the design process, Grazia Churi says, ''Emma is very important for the new generation of women. She's a good example. I really respect her a lot''.

The buttercup-yellow dress stands out from Watson's other looks thus far on the film's promotional tour, which have largely been all-black ensembles, from the bespoke 3.1 Phillip Lim outfit, to the strapless jumpsuit by Oscar de la Renta, and the cut-out gown by Christopher Kane. That doesn't mean to say these looks have been without a nod to the Disney heroine. The Oscar de la Renta jumpsuit was endowed with a large gold rose pin - symbolic of the rose from the story.

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この記事のURL2017-03-16 14:47:39

2017314(火)

teen-fashion retailers

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How teens and smartphones are killing teen-fashion retailers

Mipri Haye, a high school junior, is on Instagram and Snapshot daily, showing off her latest outfits to her girlfriends.

She also shares where she got those clothes: Forever 21, H&M, and Charlotte Russe often top her list.

"I take pictures of myself trying on new things, post them, and see what my friends think," said Haye on a recent Friday as she shopped with her mother, Capri Haye, inside Francesca's at Cherry Hill Mall in the New Jersey portion of suburban Philadelphia.

Retail experts say such prolific use of social media by Haye and others is driving the rapid success of some teen retailers, and causing the quick demise of others. Teen brands have also been among the slowest to close their brick-and-mortar stores and grow their websites.

In the last 18 months, Aeropostale, with 800 stores, Pacific Sunwear, with nearly 600 stores, and American Apparel, with 273 stores, have all filed for bankruptcy. (An ownership group stepped up in September 2016 to buy Aeropostale for $243 million at auction; the new owners plan to reopen its 500 stores across the country this year.)

Wet Seal, a California teen-oriented brand with 171 stores, filed for Chapter 11 last month. It specialized in selling clothing and accessories to young women.

Others, such as Abercrombie & Fitch and American Eagle Outfitters, are struggling. On a recent Friday at Cherry Hill Mall, neither store attracted much foot traffic from 7 to the 9:30 p.m. closing.

Generation Z: E-commerce sales continue to grow at about 15 percent a year, noted Garrick Brown, vice president, retail research of the Americas for Cushman & Wakefield. And online retailers keep gaining market share.

But while most have been focused on millennial shopping habits, "what has been missed ... is the impact of the next generation: Generation Z," Brown said. "This generation (the first to have grown up completely on smartphones) are poised to put that growth to shame."

In 2015, Forrester Research reported that, despite low incomes due to their youth, Generation Z consumers spent 8.75 percent of their total income online. This compared with 5.33 percent for millennials and 3.85 percent for Generation X.

"The entire apparel marketplace has been sharply impacted by the encroachment of Amazon into the fashion arena and by the general rise of e-commerce," Brown said. "But that impact has been sharpest on teen apparel because their core consumer, Generation Z, have been even stronger users."

Combined with retailers being slow to develop an in-store/online sales strategy, "this is why there has been a wave of teen apparel retail failures that is nowhere near finished," he said.

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この記事のURL2017-03-14 13:33:27

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