Tuesday, April 30, 2019
This Budget-Friendly Dress Looks Amazing on Everyone
from Girl With Curves http://bit.ly/2Lgui2n
Dior Cruise 2020: How the new look of iconic Bar jacket came to be
Since taking over at Christian Dior in 2016, Maria Grazia Chiuri has sought to reframe the historic house—helmed by men until her appointment—as a feminist fashion brand. Up until now, she’s done so through Insta-worthy slogan T-shirts and by teaming up with standout female creatives, from South Korean sculptor Lee Bul to Colombian textile artist Olga de Amaral.
For her Cruise 2020 collection—a collaboration with some of Africa’s finest designers and makers—Chiuri also tapped African-American contemporary artist Mickalene Thomas and LVMH Prize-winning British fashion designer Grace Wales Bonner to reinterpret Christian Dior’s iconic Bar jacket. Both women, representing two different generations (Thomas is in her late-forties, Wales Bonner in her late-twenties), are renowned for addressing issues of race, identity and gender.
“I wanted to continue the [Lady Dior Art] project with the New Look because it is the most iconic silhouette of Mr Dior, ” Chiuri tells Vogue ahead of the show, hosted at Marrakech’s El Badi Palace. “I wanted Grace and Mickalene to add a different point of view to this silhouette, like I did when I first arrived at Dior.”
Here, Thomas and Wales Bonner tell Vogue how they feel about reinterpreting such an emblematic design.
Mickalene Thomas
Image: Alastair Nicol
“This was a little out of my territory… I love fashion, but I had to rely solely on the direction of my partner, Racquel Chevremont, because she actually wears women’s clothes. I was really thinking about what she would want to wear.
“I wanted my take on the Bar jacket to be very sophisticated, but I also wanted something fun—hence the flowing, iridescent skirt. I like having a patchwork version of Monet’s landscape integrated into the body, allowing the jacket to be the silhouette of a body set against this beautiful landscape that’s coming from the back and shoulders.
“My practice pulls from cultural history, French Impressionism specifically in this case, and I wanted to create a wearable performance costume. It is both art and fashion: there will be people who want it as a limited-edition piece, as an [art] object, which they don’t wear it at all; and then you’ll have someone who will wear it as fashion, perhaps with the Lady Dior bag I created. And that’s the intent.
“[This project] is everything. It is very empowering and it gives me a sense of accountability and agency, allowing me to really set the precedent for what is possible.”
Grace Wales Bonner
Image: Alastair Nicol
Image: Alastair Nicol
“I remember hearing about how radical the [Bar suit] silhouette was in school. It was one of the first things I learned about fashion, really. At first, I felt quite relaxed about [reinterpreting the Bar jacket], but I went to the Dior exhibition in London for a second time and quickly realised, historically, how important and what a great responsibility it really was… I also feel a responsibility for me, to reflect myself within that history as well.
“I got the chance to look at those early Bar jackets made by Christian Dior in the archive and that was very inspiring and magical, because they are so elegant and pure and quite simple, but they carry a lot of emotion and sexuality. I was really inspired by that spirit.
“For me, it was about creating a meeting point between two worlds for a new form of luxury; about exploring a point of hybridity, which is something I always try to do with my work, but [this time] through an emblem that represents European luxury. It’s about using techniques—embroidery, raffia, crochet—that feel reminiscent of Caribbean craft traditions within the silhouette.
“I never get to see my own work on the runway, because I’m always backstage, so it will be interesting to experience it as part of the audience [at the Dior Cruise 2020 show].”
Also read:
Watch the Dior cruise 2020 show live from Marrakech here
Why you need to know the story behind Princess Diana and this Dior bag
Deconstructing Dior’s AW19 with Maria Grazia Chiuri
The post Dior Cruise 2020: How the new look of iconic Bar jacket came to be appeared first on VOGUE India.
from Fashion – VOGUE India http://bit.ly/2UPJGSP
BEST BARGAINS OF YOUR FAVOURITE BRANDS – WHERE TO FIND THEM
Luxury or affordable luxury, we all love to splurge our heart out, once in a while at least. There are days we can live on our high street stores and other days where we want to buy the best to our limits. Luxury does not always have to mean the highest value good in the […]
The post BEST BARGAINS OF YOUR FAVOURITE BRANDS – WHERE TO FIND THEM appeared first on Hautelist.
from Hautelist http://bit.ly/2XVUIbm
Monday, April 29, 2019
Spring Lookbook Recap | TSD Outfit Diaries
Spring is my favourite time of the year. After being bundled up all winter in monochrome styles and layers of clothing, spring allows me to embrace the amazing weather with flowy silhouettes, bright colors and feminine prints.
It's the start of summer already, so I thought its the perfect time to do a recap to my favourite Spring looks of 2019. Below are three of my favourite looks of last season (that some of you might have seen already on my Instagram account) - so browse through if you are also2 on a hunt for statement wardrobe pieces this year :
Loving Them Culottes
I have these culottes in my wardrobe since sometime now but I have finally found a confidence to style them in many different ways. And I loved how it looked with this chic off-shoulder top that was actually a part of a co-ords set.
I plan to wear these culottes all around the summer, paired with different tees, as these are one of the most comfortable pants in my wardrobe.
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| Top : SheIn Culottes : Zara Heels : Mast & Harbour Bag : Primark |
Wrap It Up
Floral prints and spring are made for each other, and when mixed with a feminine silhouette - it makes for a perfect statement making outfit, just like this wrap-around dress from Shein. The bright and bold floral print makes the dress more chic and perfect for a romantic day out or a brunch with your BFFs.
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| Dress : SheIn Wedges : River Island Bag : Accessorize Earrings : H&M |
Skirtin' Around
Skirts have always been my first love, and I never miss a chance to buy a trendy skirt and when I saw this season's hottest trend - a brown suede skirt - I knew I had to have it in my wardrobe.
While a skirt like this might look difficult to pull off at first, there are many cute ways to style this skirt all around the year.
While I paired my skirt with a striped tee, you can also pair it with a sequinned blouse or a denim shirt for a trendy look.
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| Top : Vero Moda Skirt : Shein Wedges : River Island Bag : Burberry Necklace : Accessorize |
For regular updates on my lifestyle and fashion journey, you can follow me on my Instagram page.
Love
Nitika
from The Shopaholic Diaries - Indian Fashion, Shopping and Lifestyle Blog ! http://bit.ly/2UPhuQa
Watch the Dior cruise 2020 show live from Marrakech here
After travelling to Chantilly in 2019, French luxury label Dior is now all set to showcase its cruise 2020 collection in Marrakech, Morocco, for the very first time. Look through the label’s Instagram, and you’ll notice that they’ve been sharing behind-the-scenes videos in recent times to give their audience a glimpse at what can be expected. One of the captions—”“Culture teaches us to live together, teaches us that we’re not alone in the world, that other people have different traditions and ways of living that are just as valid as our own,” writes Franco-Moroccan author Tahar Ben Jelloun in his book ‘Racism Explained to My Daughter'”—hints that the upcoming collection draws inspiration from the importance of having diverse cultures.
The cruise extravaganza has already begun a traditional Ahwash welcome for those attending, followed by a dinner party and trips to the souk. Wondering what Maria Grazia Chiuri has in store for you this season? Watch the show live with us to find out.
Also read:
Why you need to know the story behind Princess Diana and this Dior bag
Deconstructing Dior’s AW19 with Maria Grazia Chiuri
Inside Christian Dior: Designer of Dreams at Victoria & Albert Museum
The post Watch the Dior cruise 2020 show live from Marrakech here appeared first on VOGUE India.
from Fashion – VOGUE India http://bit.ly/2XU0n1y
Why you need this upcoming Dubai store on your radar
What happens when a beauty entrepreneur and a fashion journalist join forces? In the case of Dr Lamees Hamdan and Sujata Assomull, it results in a luxury lifestyle boutique serving as a veritable treasure chest of hand-picked finds. This Dubai-based duo’s maiden collaborative venture, Shiffa Curated (housed at Waldorf Astoria DIFC), will officially launch early this summer, with a focus towards artisanal pieces for aesthetes.
When Assomull (who has stints in fashion many magazines to her name) moved to Dubai three years ago, she struck an instant friendship with Dr Hamdan (a medical doctor, entrepreneur and founder of natural skincare brand Shiffa Beauty); further cemented by their shared love for fashion, travel and art.
While Dubai takes its mall culture very seriously, these two style mavens conceptualised Shiffa Curated to fill the void for a one-stop destination that celebrates unique labels and designs. The store preview in the last week of April included an edit of kaftan dresses by D’Ascoli and Abraham & Thakore, a special line by Anita Dongre, fine jewellery by Lubhyati and L’atelier Nawbar, and silver decor pieces by Shiffa—just a taste of what’s in store for the city’s seasoned shoppers. Here, Assomull and Dr Hamdan speak to Vogue India about how they are combining their savoir faire to give Dubai its next shopping favourite.
How did the idea for Shiffa Curated come about?
Dr Lamees Hamdan: I wanted my first flagship Shiffa store to be more than just skincare. I wanted it to be an embodiment of all the things I love, all under one roof.
Sujata Assomull: The idea has always been on Dr Hamdan’s mind. And all my years as a fashion editor, curating was always part of my job. As a journalist, it is your mantra to stay ahead of the curve. Moreover, I always wanted to curate a lifestyle space full of things that spark joy. I felt this even more when I moved to Dubai. This city has all the big international brands, but no space that looks at special pieces and artisanal labels.
What is the focus of the store’s curation?
LH: You will always find beautiful jewellery, natural skincare, silver pieces and gifting items at the store.
Earrings by Lubhyati
SA: The boutique has a very dynamic structure. You can expect chic kaftans, exquisite jewellery and unusual home decor pieces that have been curated for Dubai’s style set, as well those visiting the city. There will also be a beauty section, featuring not just Shiffa Beauty but also other brands handpicked by Dr Hamdan. Our calendar will be very robust, featuring everything from store takeovers to limited edition lines. The idea is to be innovative yet full of real style buys.
Which are the brands one can expect to find at Shiffa Curated? Any Indian labels?
SA: The curation will be ever-changing, but in fashion, Patine, Talitha, D’Ascoli, and Abraham & Thakore will be a permanent part of the edit. We hope to work closely with Anita Dongre and well-known European brands too. For jewellery, there is Dubai’s Nadine Kanso and Lebanon’s L’atelier Nawbar. We also have leather goods and perfumes by Montroi, a Dubai-based handcrafted accessories label. And of course, Shiffa Beauty.
A dress by Anita Dongre
LH: I don’t look at where the labels I like come from. If I like it, it goes in the boutique. I visit India for shopping trips at least once a year as I love Indian craft, and usually sit with the artisans to customise my pieces. So yes, Indian brands will definitely feature in the store.
SA: The idea is to have things both of us covet. Since we both travel so much, you can expect [the curation] to be international. We do hope to work with local designers from this region, and Indian brands will be a focus too as the aesthetics overlap with the Middle East.
A dress by D’Ascoli; earrings and necklace by Lubhyati
Tell us about your individual styles, and how they lend themselves to the store’s aesthetic
LH: I like pieces I can wear over and over again, knowing I will always look fabulous in them. My style is all over the place because I travel so much—what I wear to a meeting in New York will be different from what I wear for dinner in Marrakech. And the boutique speaks to this too. There is a fluidity in fashion that I think is becoming more apparent now.
SA: I am all about smart shopping and investment buys. I do not like anything that is conventional. I want good quality, and I want to be able to wear my pieces again and again, but they still need to look au courant. Plus, it has to make me feel good—the way the fabric feels on my skin or how the jewellery sits on me. And I must always be wearing it, it must never wear me.
What will Shiffa Curated bring to Dubai’s already bustling shopping culture?
LH: Shiffa Curated is, in essence, what Dubai is all about—this incredible mix of people from varied backgrounds, nationalities and countries. There is a certain energy about Dubai (which you will understand if you’ve lived here), where you think about what you are wearing. That doesn’t mean being overdressed, but it doesn’t mean wearing whatever is lying on the sofa either. Even when you see someone in jeans and a T-shirt here, even that is a well-thought-out look without ever trying too hard. The store will resonate with this set.
A dress by Anita Dongre worn with a bracelet by L’atelier Nawbar
SA: Dubai is home to the world’s largest shopping mall, and every luxury brand has a footprint here. But there is no special store that represents the melting pot of cultures that the city is, and the fact that Dubai’s fashion girls have discerning taste and are not brand victims.
What are your top summer must-haves?
LH: A light silk kaftan, Shiffa Beauty’s sunscreen and healing balm, a wicker basket with your initials on it, a floppy hat and a pitcher for all the matcha iced tea, lemonade and orange blossom drinks you need to hydrate all summer.
SA: A printed silk kaftan dress that you can live in all summer long, Shiffa’s silver-dipped roses for your house, and Shiffa Amuse Dissolvable Patches for your smile line.
A dress by D’Ascoli worn with a L’atelier Nawbar necklace
Also read:
4 influencers of Indian origin that are making their mark in Dubai
A fashion girl’s guide to the shopping capital of the world, Dubai
Inside the stylish wardrobes of Dubai’s coolest women
The post Why you need this upcoming Dubai store on your radar appeared first on VOGUE India.
from Fashion – VOGUE India http://bit.ly/2WbZyAB
Saturday, April 27, 2019
Friday, April 26, 2019
Birthday Gifts For Her To Save You!
Giving a gift is an art. Not all of us are masters of it. Every year, before your girlfriend’s birthday, you pray to the mighty Internet god to give you an idea for what to gift your special one. And every year, you settle with something that is generic and your girlfriend is happy that […]
The post Birthday Gifts For Her To Save You! appeared first on Hautelist.
from Hautelist http://bit.ly/2UV4qNU
Sri Lanka, all things brave and beautiful
George Keyt, the Sri Lankan poet wrote these lines in the 1930’s, a dirge that somehow resonates down the corridors of time, as relevant now as it was then.
In a lonely place, among leafless branches, there are images seated in a circle,
There are placid faces and unseeing eyes. In everlasting silence
There are words spoken with voices from somewhere else, very soft, very distant.
The words are spoken, uttered in vibration,
Around that lonely place,
And the desolation listens.
-George Keyt
Sri Lanka, that brave nation that had seen a decade of peace after a long and bloody civil war, was attacked mercilessly on Easter Sunday in a nightmare flashback to more troubled times. The sheer viciousness of the attacks on churches and hotels left hundreds of dead and wounded. Most shockingly, many of the victims were little children in the act of receiving Holy Communion. These searing images are imprinted upon our collective consciousness and we will retain the pain forever. This attack counts as one of the worst in the history of terrorist attacks with the highest ever body count.
But Sri Lanka stands proud today, resilient and unshakeable as she takes strength in the faith of her own, wonderful people. Their agony is palpable, and you can see the questions in their eyes. Sri Lankans are an intrinsically gentle race, and the smiles you get from even strangers on the street attest to this sweetness of their natures.
I first went to Colombo twenty-five years ago, and instantly fell in love with the vibrant, tropical beauty of this teardrop shaped paradise, and would spend the next couple of decades working in and traveling all over the Emerald Isle. I made many friends, Ajai Vir Singh in particular, who would later become a business partner with whom I co-founded Colombo Fashion Week in 2003, right in the middle of the civil war. This was more of a long-term developmental project that aspired to curate the design skills of Sri Lanka and promoting the nascent fashion design talent.
Ajai’s tireless efforts to promote Sri Lankan Designers has seen 16 editions of this directional fashion week which positioned the Nation as a South-Asian design hub. Sri Lanka is one of the most design sensitive cultures in this region and has always presented a highly evolved design sensibility in their architecture, interior design, furniture and product design spheres. This was typified by entrepreneurs like Shanth Fernando whose chain of Paradise Road galleries, stores and cafes pretty much summed up the Sri Lankan design principle of spare, modern thinking combining with the best of their heritage crafts.
Their fashion industry was slowly evolving into creating a vernacular interpretation of fashion that was singular and noteworthy. Today a new generation of designers whom Ajai has assiduously curated are taking their space in the spotlight. He was invited to join as a founding member of the Commonwealth Fashion Council in London, which brought together 53 member countries under the patronage of Catherine, the Duchess of Cambridge. This put Sri Lanka firmly on the international design map, opening up trade routes and business opportunities for the designers worldwide. Now, in partnership with Fazeena Rajabdeen and Raj Omprasadham the Colombo Fashion Week will add a Bridal Week to their portfolio.
This year, in the 2019 edition of CFW, I remember thinking as I watched designers like Dimuthu Sahabandhu and Aslam Hussain showcase their impeccably constructed gowns, of how ready they were to take centre stage at fashion capitals the world over. Faultless technique and amazingly creative thinking combined to create a globally appealing look, that could be appreciated and worn anywhere in the world.
The attack coming at this time must not be allowed to stem the growth of the Sri Lankan fashion industry. It has served the country well, impacting both its global image as well as showing its potential to attract the top level of tourism during the various fashion weeks.
Prasad Bidapa is a well-known fashion personality who has worked in the fashion industry for close to four decades
The post Sri Lanka, all things brave and beautiful appeared first on VOGUE India.
from Fashion – VOGUE India http://bit.ly/2UIwwqO
The hidden meanings behind the Game of Thrones season 8 costumes
Michele Clapton has been feeling nostalgic lately. The veteran costume designer, who has worked on Game of Thrones since the show’s first season in 2011, is in the early stages of compiling a book about her creations. “It’s exciting but also very daunting,” she tells Vogue. “There are so many looks and trying to be selective is really hard.”
Sophie Turner as Sansa Stark, Isaac Hempstead Wright as Bran Stark and Maisie Williams as Arya Stark. Image: HBO
Over the past eight years, her ensembles for HBO’s fantasy epic have included armour-plated ballgowns, dragon-inspired jewellery and IKEA rugs that have been turned into capes for the men of the Night’s Watch—an extraordinary body of work that has earned Clapton four Emmys and countless fans who pore over every detail of her characters’ wardrobes in search of clues about their fate.
Emilia Clarke as Daenerys. Image: HBO
This year, as the show enters its final season, both excitement and speculation have reached fever pitch, and the pressure is on to outdo everything that has come before it. Clapton is certainly up to the challenge: for the first two episodes, titled “Winterfell” and “A Knight of the Seven Kingdoms”, she made a series of costume changes that highlighted the progression of each character.
Emilia Clarke, playing Daenerys Targaryen, in a spectacular white coat. Image: Helen Sloan
In the opening scene of “Winterfell”, Emilia Clarke, playing Daenerys Targaryen, wears a spectacular white coat with strips of red coming through the fabric. “It’s similar to a piece she wore in the season seven episode ‘Beyond the Wall’,” explains Clapton. “For that coat, we created the material using strips of faux fur and leather and worked with a pattern cutter who had to lay that fabric onto a corset. It was tricky to construct because we had to make three matching versions for the shoot and Emilia had to be able to straddle a dragon while wearing it.” This new coat is made using the same technique, but moves the narrative forward through the colours used. “Recently, Daenerys has started introducing the Targaryen colours [of red and black] into her wardrobe. Everything is there for a reason, and it will inform what happens next.”
Sophie Turner as Sansa Stark. Image: HBO
Sophie Turner, as Sansa Stark, has also embraced the sartorial hallmarks of her house, adopting the dark colours and thick pelts of her parents. “She’s the character I’ve most enjoyed dressing throughout the show,” says Clapton. “I like the way she expresses herself through colour and embroidery. We established early on that she makes her own clothes—she tells Cersei that in the first-ever episode of the show—and she has always sent messages through what she wears. She’s learned from the people who were cruel to her and when she gets back to Winterfell in season six, she’s finally in control. I love the idea of her lacing herself into her dress, wrapping belts around her and buckling herself in. She’s protecting herself by closing herself off from the outside world.”
Sophie Turner wearing the leather armour. Image: HBO
This season is also the first in which Turner wears leather armour. “People wear armour in times of danger and I wanted her costume to reflect what’s going on around her,” says the designer. “Daenerys is in Winterfell and it’s obvious that she and Sansa don’t get along particularly well, so it’s partly Sansa reacting to that. But I also wanted to show that she’s a warrior in her own right. I wanted it to evoke strength.” Another symbol of strength has been Sansa’s circular chain necklace, which she has worn in different iterations since season four. For Clapton, it represents Sansa’s emancipation from the chains of her childhood in King’s Landing—a heavy amulet that is a far cry from the delicate dragonfly necklaces she wore in the earliest episodes. “There’s something about this piece of jewellery that feels so powerful,” she says. “The original disk is a black stone I had made in New Zealand and I love the fact that it comes from the earth and feels so substantial.”
Cersei Lannister’s coronation crown from the season six finale “The Winds of Winter”. Image: HBO
Bespoke jewellery has always been a crucial component of the designer’s work, from Daenerys’s dragon chain made in collaboration with London brand Yunus & Eliza to the iron bracelets and rings created by sculptor Gloria Carlos. Clapton’s favourite piece is Cersei Lannister’s coronation crown from the season six finale “The Winds of Winter”, which the character continues to wear this season. “The crown shows the Lannister lionhead, but it’s pared down to just a few strokes,” she says. That episode also marked a shift in Cersei’s character. “Now that she is queen, she no longer needs to use her sexuality as power. She wears black because she’s mourning her children, but the fabric of that coronation costume is similar to one her father used to wear. That look was an homage to him, but also defying him because he didn’t think women should be on the throne.”
Lena Headey as Cersei Lannister and Nikolaj Coster-Waldau as Jaime Lannister. Image: HBO
For Cersei’s most recent looks, Clapton references the costume she created for last season’s finale “The Dragon and the Wolf”: a black felt coat with jagged detailing along the spine. “I wanted to take that motif through into this season,” she explains, pointing to Cersei’s scaled doublet and golden shoulder pads. “There’s something twisted and reptilian about that metalwork that makes her look untrustworthy. This season, there’s less pattern and more studding on her dresses to show that she’s protecting herself and feeling more threatened. I also wanted to get those deep Lannister reds back in. She’s still in mourning, but the red is slowly coming to the surface.”
Maisie Williams as Arya Stark wearing the slashed coat. Image: HBO
While Cersei’s looks are the most intricate, some of the pieces Clapton most enjoyed designing for the final season belong to Arya Stark, played by Maisie Williams. In the first two episodes, she wears a slashed cloak with grey quilting. “I love the asymmetry of it,” says Clapton. “Arya is a warrior and needs to be able to fight at any moment. When I was sketching this look, it made sense.” Could the unusual cut of the cloak hold a clue to her future? “The costume reflects her father with the cut of the padding, the skirts and the colouring,” she replies. “But I also didn’t want Arya to wear the big pelts that Jon, Sansa and Bran have. I didn’t want her to look like too much of a Stark, because she really isn’t anymore. Sansa in her costume almost represents Winterfell, but Arya looks as if she’s passing through. Whether or not that’s the case, we just don’t know yet.”
Maisie Williams as Arya Stark and Kit Harington as Jon Snow. Image: HBO
This level of detail is afforded to all of the ensembles in the eighth season, particularly for characters who have come north for the first time. Daenerys’s army of Unsullied, for instance, wear padded suits under their armour while the Dothraki remain true to their nomadic nature. “They have always taken what they needed and created new textiles,” says Clapton. “So when they fought and killed the Lannisters, they stole their jackets and incorporated them into their own clothing. They also do a lot of weaving, so when they hunt for food in the north they take pelts. They provide for themselves, whereas the Unsullied are provided for.”
Daenerys’s army of Unsullied in padded suits. Image: HBO
Although she can’t say more about the costumes in the final four episodes, the best is yet to come—especially because this will be Clapton’s last time designing for the Game of Thrones universe. “Some of our teams will be working on the prequel, but I won’t,” she says. “It’s nice to arrive at the end of something I started almost a decade ago.” All the more reason, then, to go out with a bang.
Keep on top of all that’s happening on Game of Thrones season 8 here
Also read:
The Game of Thrones costume designer claps back at Kit Harington
Are we making a big deal out of Arya’s sex scene in Game of Thrones?
6 unseen pictures from Game Of Thrones season 8 episode 3
The post The hidden meanings behind the Game of Thrones season 8 costumes appeared first on VOGUE India.
from Fashion – VOGUE India http://bit.ly/2vo7ymw
Thursday, April 25, 2019
I’M BACK!!! BUT ALSO, HOW PERFECT IS THIS SET?
OK, I was finally getting back on a roll of posting several times a week, but after going through a month world tour, I found it challenging to say the least.
Good news is; I have much to share, not just looks but also news and so on. We have been working hard on new projects that will go beyond the blog and which have taken years of gestation and hard work, but will finally come to life soon. I am so excited/nervous/terrified but above all, extremely proud of what we are working on and I can’t wait to share the news with you.
Stay tuned!
The post I’M BACK!!! BUT ALSO, HOW PERFECT IS THIS SET? appeared first on Stylescrapbook.
from Stylescrapbook http://bit.ly/2ZxLDH4
Protected: Volvo’s new ad campaign wants to drive change and bridge the gender gap
The post Protected: Volvo’s new ad campaign wants to drive change and bridge the gender gap appeared first on VOGUE India.
from Fashion – VOGUE India http://bit.ly/2UZn0o7
Is vegan leather a sustainable alternative to the real thing?
Fashion is finally waking up to sustainability—but the lexicon surrounding eco-friendly and ethical fashion is fraught with inaccuracies. In ‘Get Your Greens’, Vogue explores how the industry is advancing towards a greener future.
Fashion has always had a weakness for oxymorons. Take “athleisure”—that peculiar clash of athletic meets sweat-free casual. Ditto “affordable luxury”. Its latest self-contradictory crush? “Vegan leather”.
Otherwise known as synthetic leather, it used to be colloquially identified as (insert sniffy voice here) “pleather”. It is mostly made from polyurethane, a versatile polymer made from fossil fuels, or polyvinyl chloride (PVC), another form of plastic, and was formerly derided as cheap—the “skinted” alternative to “minted” butter-soft lambskin.
But with the industry’s move away from fur—Gucci, Michael Kors, Giorgio Armani and Ralph Lauren are just some of the luxury brands to have gone fur-free—comes a reassessment of other animal-based products. In particular, the production of leather has come under increased scrutiny.
Image: Net-a-porter.com
Animal rights campaigners point to the harsh treatment of animals farmed in industrial processes. Environmentalists point to the greenhouse gas emissions associated with raising livestock, of which leather is a byproduct—agriculture, according to the Food and Agriculture Organisation of the United Nations, is responsible for up to 18 per cent of the total release of greenhouse gases worldwide. Then there is the deforested land on which those animals often graze, and the giant vats of hazardous chemicals in which the leather is tanned (very often, these are subsequently dumped into rivers).
Yet the alternative faux leathers come at a significant environmental cost. Both polyurethane and polyvinyl chloride must undergo chemical processes to make them flexible enough to mimic leather: the former involves painting liquified polyeurethane onto a fabric backing, which requires a toxic solvent to render it fluid; the latter requires placticizers such as phthalates, which are also toxic. Both derive from fossil fuels which, when burnt, release materials such as ash, nitrogen and carbon into the atmosphere, which contribute to acid rain (as well as lots of other horrible things). And both take hundreds of years to biodegrade in landfill—a fate they are arguably more likely to meet, because the cheap, faux leather jacket you snagged for a fiver at Watford market is far less likely to be handed down through generations as an heirloom. (Besides, this country sends over 300,000 tonnes of clothing to landfill every year.)
Image: Net-a-porter.com
That hasn’t stopped numerous fashion brands bandying around the term “vegan leather” with increased enthusiasm. I’ve lost count of the number of press releases dropping into my inbox in recent weeks screaming about these so-called sustainable leather alternatives. Presumably that’s because consumer interest is at an all-time high. Lyst reports that over the past six months, searches for vegan leather have increased by 119 per cent. Meanwhile, the term “vegan fashion” has been responsible for over 9.3 million social impressions.
Marks & Spencer has observed particular success. Searches for “vegan” fashion doubled on its website last year, and it has increased its vegan footwear offering as a result. In April, Topshop launched a Peta-approved vegan leather shoe collection comprising 12 shapes developed in its factory in Spain, touted as “100 per cent non-animal and non-fish glue”. Even Dr Martens offers a 100 per cent vegan leather alternative to its classic 1460 leather boot.
Net-A-Porter.com has also seen increased pick-up in sales of faux leather. At its autumn/winter 2019 trends presentation, global buying director Elizabeth von der Goltz flagged how Ukrainian brand Ochi’s faux leather shirt (£470) almost sold out in its first two weeks on sale. Nanushka, a Budapest-based label that is another star brand for the retailer, has made its name with the “Hide”, a vegan leather puffer jacket owned by every Instagram influencer worth their salt, along with its “Taurus” vegan leather maxi dress.
Nanushka’s vegan leather is made from polyurethane and polyester, though designer Sandra Sandor is at pains to point out that it is REACH-certified under EU regulations, which mitigates the effect of harmful chemicals. Subsequently, nearly half of Net-A-Porter’s buy for Nanushka this autumn comprises vegan leather pieces. “The fabric feels so supple and amazing, you’d never know the difference,” says Von der Goltz.
Stella McCartney agrees: she launched her eponymous label in 2001 with “vegetarian” principles (she has never used fur, leather, skin or feathers). Since 2013 she has used “alter-nappa” for her best-selling Falabella bag, shoes and ready-to-wear—a blend of polyester and polyurethane with a recycled polyester backing. Her faux leather has eco-credentials: the alter-nappa coating is made with 60 per cent vegetable oil; her polyurethanes are water-borne and solvent-free, meaning they’re less energy- and water-intensive and made without toxic solvents. Her website cites a statistic from Environmental Profit and Loss (EP&L) that “using recycled polyester instead of Brazilian calf leather, for example, creates 24 times less of an environmental impact”. But even she has had to acknowledge “that the synthetic alternatives we use are not without environmental concerns”. She is looking into lab-grown leather as an alternative.
Image: Net-a-porter.com
The result is one big game of fashion whack-a-mole—you cut out one toxin over here, and it emerges again several steps later down the supply chain. As a journalist and a fashion-lover, I find myself casting around for an easy equation to adopt when weighing up a purchase. Should I save up for a much-lusted after Givenchy leather blazer, at £3,174, knowing I will wear it for life—or the faux leather Low Classic alternative, at £355, which I may well go off in several months’ time? Should I indulge my animal-lover instincts in favour of a synthetic alternative that may well have a far harsher impact on the environment? What about microfibres? What about fossil fuels? What about shipping, and packaging, and dry cleaning?
There are always trade-offs to consider. Amy Powney, creative director of Mother of Pearl, is particularly torn on the leather debate. “There are some big issues in the production of leather [but] I do think that “vegan leather” is a marketing disaster,” she says. “Brands and suppliers are jumping on this term to associate with an ethical movement, which instantly makes the consumer feel good. But if you are buying faux leather, you need to consider you are buying plastic.”
She has recently been investigating “best practice leather” as well as vegetable-tanning, which uses natural tanning agents, largely because it’s far more durable than the current faux leather options on the market. “Because the other question is, which one lasts longer?” she says. “If you buy leather goods from a brand that has high standards and ethics of leather practices, and you look after your purchase, leather can last for a really long time.”
Image: Net-a-porter.com
The designer Gabriela Hearst, who breeds grass-fed, free-range cattle on the family ranch in Uruguay, is of a similar opinion. “I would be willing to use vegan leather any time, but I haven’t found one that biodegrades 100 per cent,” she says, over the phone from New York. “Everyone talks about lab-grown leather, which sounds very exciting, but is still in its very early stages. A true luxury customer knows what quality looks like— you can’t fool them. What I can do, however, is try to use things that already exist—dead-stock, bi-products. It’s a complicated issue but I focus on the waste aspect: I know that when the organic cattle we breed is sent to the slaughter house, 99 per cent of it gets used and nothing goes to waste.”
In the past year, Hearst has successfully switched all her packaging to compostable and biodegradable alternatives, including recycled cardboard hangers. She is in the process of re-routing delivery processes from plane to boat—no mean feat, given that one needs to build in an 8-12 week window of delay into the production schedule. “But it’s good for business,” she insists. “Shipping by boat is cheaper than shipping by plane. I’m looking at my buying orders, cutting them down, too. Being less wasteful saves you money.”
More good news: a new crop of viable leather alternatives is in production. H&M’s latest Conscious collection, a sustainably-minded capsule, makes use of Piñatex, a fibre made in the Philippines from discarded pineapple leaves to make faux-leather. Frumat leather made from apple peel won the Green Carpet Challenge awards in Milan in September, and sustainable denim brand Boyish is planning to use it in its autumn/winter 2020 collection. Mylo, otherwise known as mushroom leather, was debuted by start-up Bolt Threads in 2018, and is made from lab-grown mycelium, the root structure of fungi.
So, will we soon be toting funghi-based Fendi bags around town? Not quite. As Honor Cowen, a north America-based consultant at sustainability consultancy Anthesis, tells Vogue: “New vegan leather products that are bio-based offer alternatives, but need to scale considerably (and resourcefully) to be able to compete with the plastic market.”
The fact remains that we all need to buy less, and buy better. “Look for signs of quality and durability. I have a limited number of leather items in my wardrobe, all of which have been in my possession for a long time and will be worn or used until they break irreparably,” says Cowen. Powney agrees. “Whether you’re buying real or faux leather, make sure it’s of high quality, that you look after it, and only buy what you really need from brands that genuinely care.” Ask brands for information. Study those composition labels. In 2019, the best any of us can do is to be well educated.
This article originally appeared on Vogue.co.uk
Also read:
How to shop leather responsibly
8 vegan and faux leather handbags you can buy online now
6 fashion brands that champion the cause of veganism
The post Is vegan leather a sustainable alternative to the real thing? appeared first on VOGUE India.
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Why you need to know the story behind Princess Diana and this Dior bag
Princess Diana was the first to adopt it. In 1995, the Lady Dior bag was born, almost immediately writing itself in the history of fashion. We’re taking a closer look at the legacy of the iconic bag, from its first appearance to the modern day.
Decades after its conception, the Lady Dior bag remains one of Dior’s perennial designs, making its first appearance in 1995. A signature piece of the French fashion house and a knowing nod to its founding couturier, it was after being worn by Princess Diana that the bag gained the momentum that would pull it through the decades, forging its place in the fashion scene today.
Lady Di on an official visit to Argentina in 1995. Image: Getty
It was 24 years ago the iconic bag appeared on the arm of Princess Diana in Paris. In her honour, it was baptised the Lady Dior bag, a symbolic gift offered by the first lady of France during the opening of a Cézanne exhibition.
In a string of subsequent appearances, the princess was faithful to the Dior design. On an official visit to Liverpool in 1995, she paired the bag with a Versace orange tailored ensemble, and for the 1996 MET Gala, with a midnight blue slip dress.
Lady Di at MET gala 1996. Image: Getty
A mannequin in a Dior autumn-winter 1948-1949 dress surrounded by Napoleon III chairs. Image: ADAGP
A testament to the exceptional savoir-faire at the Dior ateliers, the Lady Dior bag is a continuation of Christian Dior’s legacy, each element meticulously crafted, keeping in tune with the house’s heritage. The metallic charms that fall from the strap are inspired by the lucky charms that he so loved, and its signature quilting is a nod to Napoleon III’s chairs on which guests at the Dior runway shows would sit: a thread of history runs through each of the couturier’s collections.
The Dior collection autumn-winter 1961-1962. Image: Dior
Forever maintaining artistic ties, the Lady Dior bag is currently the focus of two creative projects. Firstly, the touring exhibition Lady Dior As Seen By, and secondly the Dior Lady Art project, piloted by Maria Grazia Chiuri, creative director of Dior, tasking a group of artists with reinterpreting the house’s essence through the re-imagination of the legendary bag.
At the Dior ateliers in Florence, the Lady Dior bag’s legacy has stood the test of time—24 years to be precise. Given new life in spring/summer 2019, in both patterned and classic versions, the bag crafted from 144 pieces remains Dior’s symbol of timeless elegance.
The sketch of the Lady Dior bag from the Dior spring-summer 2019 collection. Image: Pol Baril
This article originally appeared on Vogue.fr and was translated by Ashe de Sousa for Vogue.me
Also read:
5 things to know about Dior’s iconic Saddle Bag
From sketch to catwalk: The Dior spring/summer 2019 collection
These handbags are just as iconic as the women who inspired them
The post Why you need to know the story behind Princess Diana and this Dior bag appeared first on VOGUE India.
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Wednesday, April 24, 2019
Protected: Inside Coach’s spring/summer collection 2019 by Stuart Vevers
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Protected: Here’s the ultimate Mother’s Day gifting guide by Michael Kors
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Tuesday, April 23, 2019
Do’s and Don’ts of Shopping While Traveling
One of the things I love most about travel is that it offers an endless source of creative inspiration. Whether you’re in the U.S. or abroad, a stroll through a new city immediately exposes you to a different culture and its own unique take on everything from food to architecture and street style.
If you’re like me, you’ll be tempted to take back some souvenirs to remind you of your experience. The problem? There’s never enough space in your suitcase to hold every beautiful thing you find! And, to be honest, not all souvenirs are worth the splurge.
Over the course of my travels, I’ve found that some things are definitely worth making extra space for in your suitcase, while others should be left in the tourist shops (I’m looking at you, endless rows of shot glasses!). To avoid falling into the trap of buying random trinkets because you feel the need to bring something home, here are a few tips for shopping thoughtfully the next time you’re on the road:
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Monday, April 22, 2019
Sustainable Thinking: The latest in eco-fashion at Museo Salvatore Ferragamo, Florence
Covering everything from Salvatore Ferragamo’s ground-breaking designs to present-day “green” innovation, Sustainable Thinking is the latest exhibition to land at Florence’s Museo Salvatore Ferragamo (until March 8, 2020).
The show’s aim is to draw attention to a pressing theme, reflecting, through side projects, seminars and workshops, on sustainability—“the kind of development that meets the needs of the present without compromising the ability of future generations to meet their own needs”, in the words of a 1987 Brundtland Report by the World Commission on Environment and Development.
The exhibition—conceived by Stefania Ricci, the director of the Museo Salvatore Ferragamo and Fondazione Ferragamo—hosts works from international artists and fashion designers offering their own perspective on how to develop a thoughtful relationship with nature through organic materials and creative reuse.
“Fashion and materials, fibres and textiles are at the core of the exhibition, which examines new business and consumption models. It combines design and science, an aesthetic based on recycling and reuse, rejecting disposable culture,” says Sara Sozzani Maino, deputy director of special projects and head of Vogue talents at Vogue Italia.
“The talents we invited to take part in the project have their own distinctive characteristics,” she explains, “but they all embrace the same values underlying this new idea of sustainability.”
The designers created special garments for the exhibition representative of the sustainable principles at the core of their designs. “We have subdivided them into four distinct areas,” says Sozzani Maino. Trasformazioni (“Transformations”) is the section dedicated to recycling and reuse of discarded materials to develop new products. “Some designers recycled plastic bottles to create sweatshirts or sportswear pieces, others have retrieved fishing nets from the sea to create high-performance techno fabrics, or crafted vegetable faux leathers using waste from the production of wine, from apples or pineapple harvesting” she says.
Artigianalità e Moda Sociale is devoted to craftsmanship and socially conscious fashion, showcasing designers who have created refined pieces often using ancient techniques, while Innovation identifies brands using revolutionary techniques—from 3D-printing to the development of fibres from fungi and mycelium—to create cutting-edge garments.
Lastly, the Nature section features designers who are using organic yarns derived from pesticide-free cultivations and dyed using processes that don’t utilise heavy metals, and animal fibres that come from animals that are treated humanely.
We asked Sozzani Maino to walk us through the exhibition to meet the new generation of fashion designers who are putting sustainability top of the agenda.
The Trasformazioni Designers
Eileen Fisher
Eileen Fisher Felted Kimono Coat 2018. Image: Eileen Fisher
One of the first designers to talk about ethical fashion back in 1984, Eileen Fisher now runs a very successful brand with flagship stores across the US and the UK. In the beginning, she focused on the use of organic materials and ethical practices, and today the brand strongly embraces innovation. For the exhibition, four kimono-style coats were chosen from the discarded garments that customers returned to the brand’s stores after having worn them for years. The garments were regenerated and needle-felted in layers, creating unique pieces with striking shades of colour. Innovation and reinvention are at the core of these techniques.
Christopher Raeburn
RÆBURN by Christopher Raeburn REMADE total look 2011-2018. Image: Christopher Raeburn
The British designer came up with the RÆMADE concept, repurposing fabrics from military pieces, including discarded aviation parachutes, to make sporty, innovative, one-off garments with an ironic and irreverent twist. In 2018, the brand celebrated the 10th anniversary of its very first show at London Fashion Week where it presented a collection centred around innovation and second-hand materials. The designs created for the exhibition are a mix of key pieces from past collections, namely sweatshirts, T-shirts, jackets and panda- or monkey-shaped backpacks, crafted from Chinese MiG pilots’ uniforms, life rafts or army parka coats.
Ecoalf
Ecoalf “Because there is no planet B” 2017 silver coat. Image: Ecoalf
Javier Goyeneche’s brand aims to create high-performance textiles using fishing nets found in the sea. With his long-term project, Upcycling the Oceans, Goyeneche established partnerships with the main fishermen associations that trawl along the Levante Spanish coast to recover waste from Mediterranean shores. The oversized jacket on show is crafted from recycled nylon. Waterproof and super-light, it’s emblazoned with a slogan that resonates well with Ecoalf’s principles: “Because there is no planet B.”
Bottletop
Bottletop Tatiana Spring/Summer 2019. Image: Bottletop
The eco brand—established by Camerun Soul and Oliver Wayman—crafts plastic bottle caps and drink-can pulls into intricate textures to create coveted bags. The items are assembled by artisan cooperatives in Africa and Brazil where the Bottletop Foundation sponsors vocational training courses that create job opportunities for hundreds of local young people. The electric-blue bag created for the exhibition is made entirely from aluminium tabs and leather strips joined together using crochet. The leather is sourced from the Amazon forest, from supply chains committed to protecting the forests threatened by intensive livestock farming.
Bethany Williams
Bethany Williams No Address Needed to Join Coat 2018. Image: Bethany Williams
The socially-conscious British designer who collaborates with associations helping people in need is showing No Address Needed to Join, a multi-coloured coat made entirely from yarn, recycled ropes and discarded materials from publishing. Created in collaboration with The Quaker Mobile Library in London—a project that loans books to the homeless—and Hachette UK, it was crafted in the textile workshop of San Patrignano, Italy, where strips of magazine paper were hand-woven on artisanal looms by the residents of the rehabilitation centre.
Kuon by Shinichiro Ishibashi
KUON Up-cycled Boro Jacket Spring/Summer 2018. Image: Kuon
The Tokyo-based brand was established by Ishibashi, a passionate admirer of the ancient art of the boro and the sashiko, mending techniques used by Japan’s rural population to recover shreds of used linen which are then stitched together to create unique, mismatched garments. The same garments would be worn for years, so the idea of the boro is closely connected to a family’s history and memories. The traditional technique also encompasses key Japanese principles—understatement, the beauty of imperfection, simplicity, a no-waste approach, attention to resource and craftsmanship, and the reuse of everyday objects.
Lucia Chain
CHAIN tunic and trousers by Lucía Chain 2018. Image: Lucía Chain
Creating outfits from naturally dyed organic materials, the Argentinean designer chose to create a dress that evokes her own origins and her family history for the exhibition. Chain called the dress 23, the number of objects and garments her Hungarian grandmother packed in her suitcase when she left Europe for Argentina after the Second World War. The dress is made from different types of raw cotton and produced by Inimbò, a social cooperative in northern Argentina. Some of the details are embroidered and the buttons are made entirely from recycled wood and the pieces of her grandmother’s suitcase are displayed on the white cotton using organic black ink.
SO-LE
Maria Sole Ferragamo Artemisia long dress 2018. Image: Sole Ferragamo
Studio di Sole Ferragamo Maria Sole Ferragamo, the granddaughter of Salvatore Ferragamo, has transformed her family heritage into a new form of creativity, utilising discarded leather to create unique pieces and lightweight, ethereal jewellery. The Artemisia dress, created specially for Sustainable Thinking, is inspired by nature. Like a tree of life, it wraps around the body, protecting it.
The Artigianalità e Moda Social Designers
Cangiari
Cangiari Cappotto Kimono Peonia coat 2017. Image: Cangiari
The label was established in Calabria, Italy, as part of the GOEL social cooperative, a consortium that for years has been committed to offering job opportunities outside of unlawful circuits in the Locride area. The traditional hand weaving that originated in Magna Graecia has been revived by Cangiari, combining craftsmanship with environmental sustainability through the use of certified organic yarns to create new garments. The piece on display is a kimono-style coat and a good example of the skills of present-day “majistre”, the expert weavers in Calabria, who were able to write down the mathematical formulas behind each traditional texture, obtained through 1,800 warp yarns and handed down from mother-to-daughter through lullabies and chants.
Stella Jean
Stella Jean Ararauna dress 2018. Image: Stella Jean
Jean was discovered in 2011 with Who Is On Next?, the scouting initiative hosted by Altaroma and Vogue Italia that offers young designers the chance of visibility on an international scale. Jean’s multi-ethnic fashion is a success story that highlights the integration between Italy with Haiti, where the designer collaborates with artisans from indigenous communities in order to preserve the country’s valuable heritage and expertise. There, she helped set up new local enterprises to make the communities self-sufficient and independent from unsuccessful external aid. The Ararauna gown that Jean created for the exhibition is made from Italian viscose and features an Amazon Arara parrot appliqué, hand-embroidered and dyed in Italy by Umbria-born Ambra Lucidi, an expert 67-year-old artisan from a family of artists who have developed hand-painting-on-fabric techniques throughout the years.
Progetto Quid
Progetto Quid Mosaico bodice 2018. Image: Progetto Quid
A socially-conscious fashion cooperative created by Anna Fiscale, a young woman from Veneto, Italy, that has 75 employees and offers job opportunities to vulnerable categories—especially women—coming from challenging backgrounds. Progetto Quid uses fabric leftovers, often refined remnants discarded by major manufacturers. The dress created for the exhibition is called Mosaico as it combines all the signature elements of Progetto Quid. The base is made from upholstery fabric pieces, while the zips, layered and stitched together, make up the upper part of the dress; the gown is made from pieces of faux leather, furnishing canvas, gabardine, silk and other fabrics that seamlessly coexist, creating an enchanting blend of colours with a 3D effect.
Studio 189
Studio 189 Multicolour Masquerade 2018. Image: Studio 189
Founded by Rosario Dawson and Abrima Erwiah in 2013, Studio 189 is a platform that helps to establish a direct connection between producers and consumers, in order to promote African culture and support the development and financial independence of local communities. The brand aims to bridge the gap between traditional techniques and future technology. The enterprise supports and works with artisan communities, especially women specialising in a variety of techniques, from natural dyes to batik dyeing to “kente” weaving, used by the Ashanti people in Western Ghana to create a particular cloth made with woven strips of silk or cotton. The brand will showcase a shirt and a skirt called Multicolour Masquerade. The ensemble was inspired by the masks and costumes worn in tribal masquerades, as documented by New York photographer Phyllis Galembo in Nigeria during the Ngar Ball traditional dance (Eshinjok Village, Nigeria, 2004).
Katie Jones
Katie Jones Somewhere over the Rainbow jacket 2018. Image: Katie Jones
The English designer is known for her inimitable sense of colour and as an expert in the art of refined crochet. She learned the craft from her grandmother and today she creates unique and colourful patchwork pieces. Jones has crafted a crocheted jacket for the exhibition using leather leftovers in vibrant hues, inspired by the iconic 1938 Rainbow sandal by Salvatore Ferragamo.
Andrea Verdura
Andrea Verdura Love you Ocean boots 2018. Image: Andrea Verdura
Andrea Verdura’s commitment to sustainable fashion is real and tangible, and his artisanal craftsmanship is deserving of admiration. The Piombino-born designer began his artistic journey many years ago in Australia where, realising his sandals were broken, he decided to create a new pair out of the tyre of an old Fiat 500. That’s how he found his true calling—Verdura decided to devote his life to creating artisanal shoes made from sustainable materials, especially recycled refused materials and vegetable tanned leather. The boots created for the exhibition are made from discarded fishing nets rescued from the sea or found on the beach; he also makes sandals from the same materials.
Matteo Thiela
Following years of research, Milanese Thiela invented and patented Bombyx, an innovative technology inspired by the cocoon-making techniques of silkworms. In this case, silkworms are replaced by men, who weave silk threads directly on the body to create a piece that resembles an anatomical cocoon, which holds in shape and is not altered by washing. The creation on display is titled Lucciole (fireflies) and was made in 2018, using fibreglass, PVC, viscose, cotton and polyester; it’s a faithful rendition of the patent.
The Innovation Area Designers
Angus Tsui
Tsui is among the most exciting sustainable fashion designers. The Chinese designer established the ANCares charity project, which coordinates workshops, seminars and exhibitions on sustainability. The garment on display is part of the Xenomorph (Alien) collection and features 3D pleating, eco-printing and a zero-waste technique.
Hoh Pabissi
Hoh Pabissi Highway 2018 Gown. Image: Hoh Pabissi
London-based fashion label Hoh Pabissi focuses on ethical and flamboyant fashion made using entirely biodegradable materials handcrafted in the British capital. The piece on display at Sustainable Thinking showcases an urban landscape with skyscrapers, roads and even 3D cars crossing the city. The garments are made from biodegradable material and embellished with recycled denim bands that mimic roads and salvaged toy cars. The print transcends the standard limitations imposed by society regarding the functional aspect of a piece of clothing or accessory.
Flavialarocca
Flavia La Rocca dress 2018. Image: Flavia La Rocca
Flavia La Rocca believes in designs based around a modular theme and creates elements that can be used in endless combinations. Relying on a system of concealed zips, the components of each garment can be attached or dismantled according to the wearer’s interpretation, the mood and the season. The overall design is simple and minimal without compromising on femininity. Fabrics are recycled, natural or regenerated. The piece she created for the exhibition is made of five modules that can be combined in 30 different ways, joined by concealed zips. Sail rings and drawstrings allow each module to be worn separately, with straps and braces. The black dress fabric is eco-friendly Newlife polyester, and made entirely in Italy. The layered dress is made from organic cotton; appliques are made using small sail off-cuts sourced from a historic sailmakers’ shop; sequins are made from post-consumer aluminium scraps; and glass beading is excess salvaged from the production of figure skating leotards.
Hellen van Reese
Hellen van Rees Flows Follow Flaws 2018. Image: Hellen van Rees
Dutch fashion and textile designer van Reese believes in technology and innovation. Her garments are made to measure using specially designed textiles. They are seasonless pieces that combine traditional silhouettes, unique textiles, contrasting textures and innovative finishes. The outfit she created for Sustainable Thinking celebrates the beauty of recycled post-consumer textile waste, which—as stated by the designer—comes with its own faults and irregularities that add to its unique nature: “Creating new yarns (to use for weaving/knitting) from recycled post-consumer textile waste is a challenge, because the shorter fibres in recycled yarns makes them weaker, so they have to be combined with virgin material. The aim is to have the highest possible percentage of recycled fibres, while maintaining excellent quality”.
Riedizioni
Milanese-born Luisa Cevese has a background in textile research and development for some of the world’s most acclaimed fashion houses. Her creations have been displayed at prestigious museums such as the Cooper Hewitt Union, New York. In 1996 she founded a line of unique textiles and products made primarily from textile industrial waste and polyurethane. For the exhibition, she has designed three clear and iridescent raincoats in different shades, from a material she named ‘undici’ (eleven)—a combination of recycled post-production and post-consumer materials, resulting in a polyester, polyamide, viscose and polyurethane yarn. The lines are clean to create the impression of classic garments, which are nonetheless fashioned from unusual and innovative materials.
Rombaut
Mats Rombaut Rombaut Piñatex Cowboy Sneakers 2018. Image: Mats Rombaut
Belgian designer Mats Rombaut designs shoes in a cool, contemporary style, based on sustainable principles. He uses entirely natural and plant-based materials including stone, tree bark, natural rubber, cotton cellulose and coconut and pineapple fibres. All materials and fabrics used are sustainably engineered, which means there are no toxic or animal-derived substances. The futuristic, laser-cut boots he designed for the exhibition feature a silver Piñatex upper, leather created using the fibres from pineapple leaves, and a recycled rubber sole.
Nous Etudions
Image: Nous Etudions
An Argentinian vegan brand by Romina Cardillo, whose garments are characterised by her use of innovative materials, a monochromatic palette and oversized silhouettes. For the exhibition, she created a suit, called La biomìmesis, made from material derived from kombucha—black tea, sugar and microorganisms that ferment to create cellulose—and 100 per cent recycled cotton. The inspiration behind the piece is nature, which is also mirrored in the 3D texture of the fabric.
Heisel American
Sylvia Heisel expresses herself through technology and 3D printing. She designs innovative solutions for brands to be able to produce clothing with zero waste. Currently, she is working on developing a new manufacturing system for the clothing line, Names Dress, which the gown on display is also part of. It’s created from Willoflex, a bioplastic elastomer made from compostable source materials. As with many of her creations, the piece was designed using 3D software Morphi and Ultimaker 3D printers. The graphic pattern combines signatures of women who stood out for their innovative projects and ideas in the STEAM (Science, Technology, Engineering, Arts & Design, Mathematics, and Media) sectors.
Wrad
WRÅD Graphi-Tee endorsed Perpetua 2019. Image: WRÅD
The brand—founded by Matteo Ward, Silvia Giovanardi and Victor Santiago – was first started as a movement to raise awareness in fashion consumers. Then came the rediscovery of a dyeing technique used in the region of Calabria, which uses graphite and no water. Graphi-Tee was born: a T-shirt that stands as a manifesto for sustainable fashion in some of the coolest fashion stores in Italy.
The Nature Area Designers
Tiziano Guardini
Tiziano Guardini Mother 2018 dress. Image: Tiziano Guardini
One of the most established and talented Italian designers on the sustainable fashion scene, since his first collection in 2012, Guardini has shown that choosing sustainability does not mean forsaking the richness, creativity and charm of fashion. To Guardini, adopting a sustainable approach represents adding extra value via innovation and research, both cornerstones in fashion. In 2017, he received the Green Carpet Award at Teatro alla Scala in Milan in the Best Emerging Designer category. Many of his creations showcase quality artisanal crafts that are closer to haute couture than ready-to-wear. The dress he designed exclusively for Sustainable Thinking proves it: a cascade of animal-friendly green silk bands, where silkworms are not killed during the silk extraction process, but allowed to leave the cocoon and fly away as a butterfly.
Maria Cornejo
Chilean-born, Cornejo won the 2018 Fashion Group International Sustainability Award for her commitment to sustainable fashion, which sees her promoting partnerships with local weavers in Bolivia, while producing most of her collections as close to her New York home as possible, to support local industry there too. Ero Jazmin, the garment she designed for the exhibition features a viscose material that she named “eco drape” and employs a viscose yarn made from a blend of spruce and Scots pine wood pulp, sourced from certified sustainable forests in Domsjö, Sweden.
Laura Strambi
Laura Strambi Mother Earth dress 2018. Image: Laura Strambi
At her Milanese atelier, Strambi creates and produces sustainable collections, entirely made in Italy. She was among the first designers to talk about eco-friendly fabrics and has embraced this approach with conscience and coherency since 2012. The production processes behind her feminine, minimalist style are held to the highest standards in terms of water and energy saving. Close attention goes into the research for organic materials, dyed using natural colours, and she shows full respect for workers’ rights throughout the production process. Mother Earth, the dress for the exhibition, summarises everything the designer stands for.
Wyhoys
Wyhoys by Lilla Pápai Wear Your Heart On Your Sleeve 2016-2017 Coat. Image: Wyhoys
Pápai Lilla’s label closes this overview on sustainable fashion. It’s an innovative Hungarian brand, based in Budapest, which produces organic clothing made with organic fabrics and fibres. She collaborates with many designers and each collection is inspired by world environmental issues. For the exhibition, her AW17 Wear Your Heart On Your Sleeve coat was selected. The pattern on its surface hints at the catastrophic effects on nature and animals caused by oil spills in the ocean. It is made from merino wool, worked up according to traditional felting processes and the fabrics are dyed in the colours of the sea and oil to complete the distinct design.
Sustainable Thinking runs from 12 April, 2019 to 8 March, 2020 at Museo Salvatore Ferragamo, Florence
Also read:
Are direct-to-consumer brands the future for sustainable fashion?
7 simple hacks on how to be an ethical consumer
How Fashion Revolution India is changing the future for ethical fashion
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