by Rosie DiManno
Frou-frou, feathers and flounce.
Fashionista grade for figure skating at the Games: F, as in eff-ing ghastly.
Do they not have mirrors, these peacocks on ice who actually incorporate wardrobe matters into the figure they cut in competition? Presentation is all-encompassing in this Olympic sport and that means head-to-toe swish.
While those Norwegian curler pantaloons have been the talk of the town – yet weirdly popular already in online sale orders – at least they're tongue-in-cheek silly, a joke's-on-us statement by the rock'n'rollers.
For skaters, however, some of the jaw-dropping duds have been, well, duds.
Even setting aside gold medallist Evan Lysacek's oddly orange face (only Dutch speed skating fans can get away with that paint-on look), what was with the wicked witch wrist plumage? An uncharacteristic fashion flop from Vera Wang, the former U.S. national-level skater turned House of Wang designer. It was Wang who, in the '90s, dragged skating apparel into the realm of sophisticated couture: recall her wedding dress number and black-on-white chic for Nancy Kerrigan, cutting-edge creations that earned Wang a spot in the U.S. Figure Skating Hall of Fame. But that Lysacek Man-in-Black onesie was a horror.
Off the rack is how most figure skaters start out at the local rink. For those who reach the Olympics, though, attire becomes a big price-tag expense – up in $10,000 territory for gold-favoured Kim Yu-Na of South Korea – endlessly discussed in the design-and-fitting process.
"A good costume has to be comfortable, first of all, while emphasizing the lines and proportions of a skater," explains Josiane Lamond, the Montreal designer who spent weeks labouring over Vancouver outfits for Kim, as well as national champions Patrick Chan and Joannie Rochette, the latter a back-to-the-drawing-board revision (third time) because Rochette didn't like the look or hang-fit of her short-program costume at Canadians.
Runway ooh-la-la is as important as comfort – no wardrobe malfunction oopsies – for skaters pulling on their second skins. "I know I have to feel I'm looking good," says Canadian silver medallist Cynthia Phaneuf, competing here at her first Olympics, her winter-white long program costume studded with honking huge faux jewels.
Pairs skater Anabelle Langlois described the blue-to-pink shading on her costume (her own idea) as "very clean and pretty, like a sunrise."
Male skaters are not usually so preoccupied with the fashion details, yet Patrick Chan said his Phantom of the Opera vestments actually plumped up confidence for the free skate. "It's one reason I prefer the long program."
Lori Nichol, who choreographed that routine and stepped in as Chan's coach only in the last month, recalls the hot, itchy, non-stretching days of her own competitive career.
"Before Spandex, the dresses were woollen and I would have to hold my body in these twisted positions to keep the thing from pulling up. I could hardly lift my arms above the shoulders. To this day, I won't wear wool."
She also recalls flying to one competition, still madly sewing the beads on a dress. Often, in the old homemade days, moms would get that thankless assignment.
Nowadays skaters cut out red-carpet dresses from magazines and arrive at specialized costume-design ateliers with firm ideas about what they want, whether suitable or not.
"My goal has been to give skating more of a modern look rather than the tacky feathers and sequins," explains Lamond. "Some nice detailed beading for women but not too much, no stuff flying around, and a nice classic cut for men. There's less to work with on men, of course – you're basically talking about a shirt and trousers."
The International Skating Union also sets certain rules: no belly showing, no tights on men (thanks for that), no two-piece outfits for women, though many, especially ice dancers, skirt the rules by flashing pseudo-skin under flesh mesh.
A go-to costume source for many figure skaters in this country is the National Ballet of Canada, with its long expertise in theatrical wardrobe-making. Angela Arana spent 32 years as head cutter with the company before launching her own figure skating niche business. She's made outfits for Chan, American titleholder Jeremy Abbott and Kim, among many others. "A costume has to match the mood of the music and look good from a distance."
Leading fashion-house designers have got into the Olympics act in recent Games, for the cachet of it. Roberto Cavalli designed the lovely snowflake ensemble for European champion Carolina Kostner; Christian Lacroix did the honours for Surya Bonaly, French champion, at the '92 Games.
Not that the high fashion priests, men running with scissors, necessarily make ladies look beautiful. But left to their own devices, skaters can go fashion freaky, most especially in the always wingy ice dance category, with their swathing chiffon and tulle and strange thematic finery.
There's plenty of that on display through the ice dancing competition, always a notable fashion crime scene. While the flamenco-hot yet elegant Tessa Virtue and Scott Moir of Canada twizzled to interim top spot in Sunday's original dance – Virtue pretty in all-white as the couple went for gold in Monday's free skate – Russian world champions Oksana Domnina and Maxim Shabalin defied critics, stubbornly sticking to their hideous aboriginal getups in the OD. Meant as a homage to native culture, the dark skin-toned bodysuits, with leafy attachments, have shocked and offended aboriginals, who sense they're being lampooned. Quite apart from poor taste, they're All-Ugly Team hall of fame.
There's no do-over allowed at the Olympics. But a fashion makeover is urgently recommended for some skaters.
You never know what might come out of the wardrobe closet.
Crimes of Fashion in Vancouver Olympics
--
Does fashion do really matter in skating? I think it's not about making a statement; it's about making the colors come alive amidst the ice.
Sunday, February 28, 2010
Saturday, February 27, 2010
At New York Fashion Week, the Mini Is Out and Long Hemlines Are In
By Samantha Critchell
So long, miniskirts. The up-to-there trend gave way to longer hemlines at New York Fashion Week.
There were more pants, too, than in recent seasons when the dress ruled the runways. Even designers who showed shorter dresses paired them with leg-warmers for a less leggy look.
This week, Oscar de la Renta showed long slim skirts for daytime, while Michael Kors had the slim shape just below the knee as well as more free-flowing knits that grazed the floor.
The old saying that hemlines go up in a good economy and down in a bad one is not always the case, but many did see the longer hemline as a reflection of the Great Recession.
"There's a general growing up of fashion after a very difficult year," said Joanna Coles, editor in chief of Marie Claire magazine. "Women don't want dressing up to be so complicated. The hemline dropping is part of that."
MICHAEL KORS
Here's the recipe for glamour: a hearty serving of luxe cashmere, slim bodysuits, long skirts and crisp coats, with a few furs tossed in and a dash of sparkle. Add a little Michael Kors sizzle.
Kors is a favorite among the stylists, editors and retailers at the Bryant Park tents because he makes aspirational clothes - they look so rich and luxurious but they're also relatable.
There was nothing cryptic in his sporty-chic message for his fall collection, presented Wednesday with fans Molly Sims and Laura Linney in the front row. Sims took nine photos of outfits she wants, including the slouchy cashmere sweatpants with belts and the slinky gold beaded gown with a mermaid hem.
"It was so yummy," said celebrity stylist Rachel Zoe. "Michael really makes women look beautiful. Everyone wants to jump in the clothes from that show."
OSCAR DE LA RENTA
De la Renta has always catered to that well-heeled globe trotter, but did we know she was an international woman of mystery - maybe even a spy?
The fall collection had the underlying vibe of a Cold War espionage novel. His favored print, in fact, was called Astrakhan, the name of a Russian province. It's a velvetlike fur unique to the lambs of that region. The designer also made good use of his signature embroideries on a gray organza gown with a chiffon ruffled collar, and rich colors.
He did, however, tone down the volume that often comes with his clothes. Instead the skirts were long and lean, the gowns slinky with an old Hollywood glamour to them.
TORY BURCH
Burch's city-meets-country look, with sequin-covered tops and dresses, paired with slick waxed cotton jackets and lug-sole boots - high heel ones, of course - packed everything for a weekend getaway very nicely.
Burch, in her notes handed to the editors, retailers and stylists, said she used a palette with lipstick red, cobalt blue as well as must-have caramel, gray and black.
Minis Out, Long Hemlines In
--
Goodbye, mini-skirts. See you in a few years...
By Samantha Critchell
So long, miniskirts. The up-to-there trend gave way to longer hemlines at New York Fashion Week.
There were more pants, too, than in recent seasons when the dress ruled the runways. Even designers who showed shorter dresses paired them with leg-warmers for a less leggy look.
This week, Oscar de la Renta showed long slim skirts for daytime, while Michael Kors had the slim shape just below the knee as well as more free-flowing knits that grazed the floor.
The old saying that hemlines go up in a good economy and down in a bad one is not always the case, but many did see the longer hemline as a reflection of the Great Recession.
"There's a general growing up of fashion after a very difficult year," said Joanna Coles, editor in chief of Marie Claire magazine. "Women don't want dressing up to be so complicated. The hemline dropping is part of that."
MICHAEL KORS
Here's the recipe for glamour: a hearty serving of luxe cashmere, slim bodysuits, long skirts and crisp coats, with a few furs tossed in and a dash of sparkle. Add a little Michael Kors sizzle.
Kors is a favorite among the stylists, editors and retailers at the Bryant Park tents because he makes aspirational clothes - they look so rich and luxurious but they're also relatable.
There was nothing cryptic in his sporty-chic message for his fall collection, presented Wednesday with fans Molly Sims and Laura Linney in the front row. Sims took nine photos of outfits she wants, including the slouchy cashmere sweatpants with belts and the slinky gold beaded gown with a mermaid hem.
"It was so yummy," said celebrity stylist Rachel Zoe. "Michael really makes women look beautiful. Everyone wants to jump in the clothes from that show."
OSCAR DE LA RENTA
De la Renta has always catered to that well-heeled globe trotter, but did we know she was an international woman of mystery - maybe even a spy?
The fall collection had the underlying vibe of a Cold War espionage novel. His favored print, in fact, was called Astrakhan, the name of a Russian province. It's a velvetlike fur unique to the lambs of that region. The designer also made good use of his signature embroideries on a gray organza gown with a chiffon ruffled collar, and rich colors.
He did, however, tone down the volume that often comes with his clothes. Instead the skirts were long and lean, the gowns slinky with an old Hollywood glamour to them.
TORY BURCH
Burch's city-meets-country look, with sequin-covered tops and dresses, paired with slick waxed cotton jackets and lug-sole boots - high heel ones, of course - packed everything for a weekend getaway very nicely.
Burch, in her notes handed to the editors, retailers and stylists, said she used a palette with lipstick red, cobalt blue as well as must-have caramel, gray and black.
Minis Out, Long Hemlines In
--
Goodbye, mini-skirts. See you in a few years...
Friday, February 26, 2010
'McQueen is Dead. Long Live McQueen!' Fashion World Moves On
By Maeva Bambuck
Ten days after the passing of British designer Alexander McQueen, a stunned fashion world has gathered for the traditional autumn/winter collections in London. McQueen's suicide at age 40 shocked the fans of his clothing label, as well as the many friends he made over his career of more than 20 years.
"I think the death of Alexander McQueen has carved a big shadow on every one," said Vassi Chamberlain, Conde Nast fashion editor, in an interview with ABC News.
"He was probably technically the most creative designer. The construct of his clothes was incredible. It wasn't just about fairy tales, it was about something a bit stronger and longer-lasting, and we'll see his influence for a long time."
That thought was echoed by Brix Smith-Start, a singer and owner of London's Start boutique. "The mood is good but there is a cloud of sadness," she told ABC News. "But life goes on, fashion goes on, he would have wanted it to."
McQueen had often drawn on the macabre to inspire his collections. "I've always been fascinated by the Victorian period of death where they used to take pictures of the dead," he said when he showed off his spring/summer 2010 collection.
"Everything has an end. The cycle of life is a positive thing because it gives room for new things to come." McQueen was devastated by the death of his mother earlier this month, and took his life the day before her funeral.
On the board dedicated to him, the fashion community posted condolence messages. Among the notes of sadness and shock, some winked at the designer's talent.
"How will I look good without you?" reads one.
"Skulls are such an important part of my life because of you," read another, alluding to McQueen's trademark print.
Some expressed their gratitude for his work and some hailed his legacy: "McQueen is Dead. Long live McQueen!"
But despite the undertone of sadness at this year's London Fashion Week, it was hard to escape the head-spinning creative buzz. On Sunday, hundreds of fashionistas rushed to see British designer Richard Nicoll -- who, at 32, is already a veteran of London Fashion Week -- deliver simple checked skirts and ample trousers.
The same crowd stopped short of a stampede at the doors of Matthew Williamson's show. Williamson, also a Briton, offered block-color wool coats and used a much darker palette of colors than usual, which won the approval of British Vogue's Sarah Harris. "I love Matthew's fur pieces and this rich sweet chili color on his gowns," she told us.
A Head-Spinning Marathon
With venues scattered around The Strand, conspicuously-dressed fashion insiders hurried their way through London traffic, flagging cabs to get from one show to the next. Although the fall season is more relaxed than the star-studded spring/summer season, a few celebrities joined fashion editors on the front row, and the appearance of Janet Jackson threatened to steal the show at Todd Lynn's show.
But the Canadian designer's hunting-style ensembles and leather jackets commanded everyone's attention. "His collection was very spare and muted," said Chamberlain, the Conde Nast editor. "It feels like a new look is emerging."
Lynn was exhausted but pleased. "It was good," he told ABC News. "You just end up working day and night for months and months. The show lasts six minutes, you take a couple of days' break and go back and do it all over again."
Savannah Miller and her actress sister Sienna Miller delivered wearable looks, great for any girl's night out, and followed the trend of presenting their collection off the catwalk. Their models instead walked about and chatted casually on platforms, posing for photographers and answering journalists' questions about the garments.
"It was just a more honest format," Savannah Miller told ABC News. "When we did the catwalk, we were measured against hot-shot designers, and that's not what we were after."
The final show of the day introduced a new wave of talent, with students at Central Saint Martin's College of Art and Design presenting their graduation pieces. Students there, with fresh new looks to send down the runway, paused to pay homage to their school's late alumnus, Alexander McQueen.
Long Live McQueen
--
Alexander McQueen's contribution to fashion will nver be forgotten.
Ten days after the passing of British designer Alexander McQueen, a stunned fashion world has gathered for the traditional autumn/winter collections in London. McQueen's suicide at age 40 shocked the fans of his clothing label, as well as the many friends he made over his career of more than 20 years.
"I think the death of Alexander McQueen has carved a big shadow on every one," said Vassi Chamberlain, Conde Nast fashion editor, in an interview with ABC News.
"He was probably technically the most creative designer. The construct of his clothes was incredible. It wasn't just about fairy tales, it was about something a bit stronger and longer-lasting, and we'll see his influence for a long time."
That thought was echoed by Brix Smith-Start, a singer and owner of London's Start boutique. "The mood is good but there is a cloud of sadness," she told ABC News. "But life goes on, fashion goes on, he would have wanted it to."
McQueen had often drawn on the macabre to inspire his collections. "I've always been fascinated by the Victorian period of death where they used to take pictures of the dead," he said when he showed off his spring/summer 2010 collection.
"Everything has an end. The cycle of life is a positive thing because it gives room for new things to come." McQueen was devastated by the death of his mother earlier this month, and took his life the day before her funeral.
On the board dedicated to him, the fashion community posted condolence messages. Among the notes of sadness and shock, some winked at the designer's talent.
"How will I look good without you?" reads one.
"Skulls are such an important part of my life because of you," read another, alluding to McQueen's trademark print.
Some expressed their gratitude for his work and some hailed his legacy: "McQueen is Dead. Long live McQueen!"
But despite the undertone of sadness at this year's London Fashion Week, it was hard to escape the head-spinning creative buzz. On Sunday, hundreds of fashionistas rushed to see British designer Richard Nicoll -- who, at 32, is already a veteran of London Fashion Week -- deliver simple checked skirts and ample trousers.
The same crowd stopped short of a stampede at the doors of Matthew Williamson's show. Williamson, also a Briton, offered block-color wool coats and used a much darker palette of colors than usual, which won the approval of British Vogue's Sarah Harris. "I love Matthew's fur pieces and this rich sweet chili color on his gowns," she told us.
A Head-Spinning Marathon
With venues scattered around The Strand, conspicuously-dressed fashion insiders hurried their way through London traffic, flagging cabs to get from one show to the next. Although the fall season is more relaxed than the star-studded spring/summer season, a few celebrities joined fashion editors on the front row, and the appearance of Janet Jackson threatened to steal the show at Todd Lynn's show.
But the Canadian designer's hunting-style ensembles and leather jackets commanded everyone's attention. "His collection was very spare and muted," said Chamberlain, the Conde Nast editor. "It feels like a new look is emerging."
Lynn was exhausted but pleased. "It was good," he told ABC News. "You just end up working day and night for months and months. The show lasts six minutes, you take a couple of days' break and go back and do it all over again."
Savannah Miller and her actress sister Sienna Miller delivered wearable looks, great for any girl's night out, and followed the trend of presenting their collection off the catwalk. Their models instead walked about and chatted casually on platforms, posing for photographers and answering journalists' questions about the garments.
"It was just a more honest format," Savannah Miller told ABC News. "When we did the catwalk, we were measured against hot-shot designers, and that's not what we were after."
The final show of the day introduced a new wave of talent, with students at Central Saint Martin's College of Art and Design presenting their graduation pieces. Students there, with fresh new looks to send down the runway, paused to pay homage to their school's late alumnus, Alexander McQueen.
Long Live McQueen
--
Alexander McQueen's contribution to fashion will nver be forgotten.
Thursday, February 25, 2010
Designer Wows London Fashion Week With Ground-breaking Size 16 Fashion Show
by Shannon Moore
Student Hayley Morley stirred up a new flurry of excitement as she and a few fellow curvy models took to the catwalk. The size-14 model has become a muse for Canadian designer Mark Fast and appeared in his show on Saturday as part of his campaign to use "real-sized" women.
Morley, whose is originally from Surrey, began working for Fast in September when he hired several size 12 and size 14 models for a show.
Fast discussed his decision to use fuller models, saying, "It is important for me to continue using curvier models because there needs to be an understanding that my clothes are for all body shapes. There are real women out there that want to be able to escape into the fantasy of fashion just like everyone else regardless of their size."
Morley told reporters, "I had hundreds of messages of support from young girls and young women, saying thank you for being a more real model. I think that finally there is someone young and they can relate to more than a size six model. It makes me proud."
Morley will graduate in May and doesn't intend to continue working in the fashion industry. In the meantime, she's a hot commodity on the fashion market. She recently modeled swimwear for French Marie Claire and shot a campaign for plus-size High Street retailer Evans.
Real-sized Women in the Runways
--
I wonder what size I am. But real-sized women doing runways would somehow help women who are undergoing low self-esteem.
Student Hayley Morley stirred up a new flurry of excitement as she and a few fellow curvy models took to the catwalk. The size-14 model has become a muse for Canadian designer Mark Fast and appeared in his show on Saturday as part of his campaign to use "real-sized" women.
Morley, whose is originally from Surrey, began working for Fast in September when he hired several size 12 and size 14 models for a show.
Fast discussed his decision to use fuller models, saying, "It is important for me to continue using curvier models because there needs to be an understanding that my clothes are for all body shapes. There are real women out there that want to be able to escape into the fantasy of fashion just like everyone else regardless of their size."
Morley told reporters, "I had hundreds of messages of support from young girls and young women, saying thank you for being a more real model. I think that finally there is someone young and they can relate to more than a size six model. It makes me proud."
Morley will graduate in May and doesn't intend to continue working in the fashion industry. In the meantime, she's a hot commodity on the fashion market. She recently modeled swimwear for French Marie Claire and shot a campaign for plus-size High Street retailer Evans.
Real-sized Women in the Runways
--
I wonder what size I am. But real-sized women doing runways would somehow help women who are undergoing low self-esteem.
Wednesday, February 24, 2010
Vivienne Westwood and Naomi Campbell join forces for Fashion for Relief/Haiti
By Hilary Alexander
Vivienne Westwood joined forces with British supermodel, Naomi Campbell, for a second time, at London Fashion Week, last night, to help raise funds for the thousands of desperate women, babies and children, who have been left destitute by the Haiti earthquake disaster.
“Naomi is the most incredible woman,” said Dame Vivienne of Ms Campbell, who in the last two years has become one of the most visible charity campaigners on Planet Fashion.
“When she asked me to help, I was more than happy.”
The result was a Fashion For Relief/Haiti T-shirt, named for Ms Campbell’s current charity initiatives, proceeds from the sale of which will go towards the White Ribbon Alliance.
The prime minister’s wife, Sarah Brown, is a patron of this charity which benefits safe motherhood, and Ms Campbell is one of its global ambassadresses.
The T-shirt, first unveiled at the Fashion for Relief/Haiti fashion show which opened London Fashion Week last week, got its second catwalk airing at Westwood’s Red Label catwalk show, held in the gothic splendour of the Halls of Justice, last night.
The T-shirt, worn by models including Pixie Geldof, appeared with pink tartan kilts, tweed coats, and blanket capes, accessorised with pink pirate boots, chunky, wool leggings, and floral bonnets.
Ms Campbell was among the front-row celebrities, together with Janet Jackson, Jo Wood and Tracey Emin.
Ms Campbell revealed she has been invited to stage her Fashion For Relief/Haiti show, in Moscow, and also hopes to take it on to Dubai.
“We want to raise millions of pounds,” she said.
Fashion for Relief/Haiti T-shirt
--
I want to have that Fashion for Relief/Haiti T-shirt.
Vivienne Westwood joined forces with British supermodel, Naomi Campbell, for a second time, at London Fashion Week, last night, to help raise funds for the thousands of desperate women, babies and children, who have been left destitute by the Haiti earthquake disaster.
“Naomi is the most incredible woman,” said Dame Vivienne of Ms Campbell, who in the last two years has become one of the most visible charity campaigners on Planet Fashion.
“When she asked me to help, I was more than happy.”
The result was a Fashion For Relief/Haiti T-shirt, named for Ms Campbell’s current charity initiatives, proceeds from the sale of which will go towards the White Ribbon Alliance.
The prime minister’s wife, Sarah Brown, is a patron of this charity which benefits safe motherhood, and Ms Campbell is one of its global ambassadresses.
The T-shirt, first unveiled at the Fashion for Relief/Haiti fashion show which opened London Fashion Week last week, got its second catwalk airing at Westwood’s Red Label catwalk show, held in the gothic splendour of the Halls of Justice, last night.
The T-shirt, worn by models including Pixie Geldof, appeared with pink tartan kilts, tweed coats, and blanket capes, accessorised with pink pirate boots, chunky, wool leggings, and floral bonnets.
Ms Campbell was among the front-row celebrities, together with Janet Jackson, Jo Wood and Tracey Emin.
Ms Campbell revealed she has been invited to stage her Fashion For Relief/Haiti show, in Moscow, and also hopes to take it on to Dubai.
“We want to raise millions of pounds,” she said.
Fashion for Relief/Haiti T-shirt
--
I want to have that Fashion for Relief/Haiti T-shirt.
Tuesday, February 23, 2010
Burberry To Screen London Fashion Show In 3D
by Lorna Blount
Fashion house Burberry will today become the first major design house to screen a catwalk show in 3D across the world.
Footage will be shown at custom-designed spaces in some of the world's most fashion forward cities, including New York, LA, Dubai, Paris and Tokyo.
Guests at each location will have a virtual front-row seat, with 3D glasses allowing people to see the texture of fabrics.
Burberry's chief creative officer said the 3D show, which is being produced in collaboration with Sky, was evidence the label has embraced the technology of the 21st century.
"This unprecedented event will allow people to experience the energy and atmosphere of this event from around the world," Christopher Bailey said.
"3D will bring out global audience into the London show space, allowing them to see the colour, fabrics and be a part of the moment when it all comes together."
Burberry's autumn/winter 2010 event will take place later today as part of London Fashion Week.
Burberry, founded in 1856, is famous for its classic looking designs.
Burberry Fashion Show in 3D
--
Burberry Fashion Show in 3D? This is another milestone in technology and fashion. I wonder if others will follow.
Fashion house Burberry will today become the first major design house to screen a catwalk show in 3D across the world.
Footage will be shown at custom-designed spaces in some of the world's most fashion forward cities, including New York, LA, Dubai, Paris and Tokyo.
Guests at each location will have a virtual front-row seat, with 3D glasses allowing people to see the texture of fabrics.
Burberry's chief creative officer said the 3D show, which is being produced in collaboration with Sky, was evidence the label has embraced the technology of the 21st century.
"This unprecedented event will allow people to experience the energy and atmosphere of this event from around the world," Christopher Bailey said.
"3D will bring out global audience into the London show space, allowing them to see the colour, fabrics and be a part of the moment when it all comes together."
Burberry's autumn/winter 2010 event will take place later today as part of London Fashion Week.
Burberry, founded in 1856, is famous for its classic looking designs.
Burberry Fashion Show in 3D
--
Burberry Fashion Show in 3D? This is another milestone in technology and fashion. I wonder if others will follow.
Friday, February 5, 2010
Olympic Games' tortured relationship with fashion won't change in Vancouver
by Robin Givhan
The fashion world has always had a tortured relationship with the Olympics. And the Winter Games in Vancouver, which begin Feb. 12, promise no significant improvements.
It's easy to understand why designers would be attracted to the Games. They're populated by athletes -- many of whom have jaw-dropping, drool-inducing physiques -- and they attract an international audience. The Games also provide one of the largest red-carpet spectacles -- the Opening Ceremonies and the Closing Ceremonies -- that any designer could want. An estimated 2 billion people worldwide watched the Opening Ceremonies of the 2008 Beijing Summer Olympics, for instance. Brands seeking a global audience might be well advised to chase Olympic athletes with the same gusto they reserve for starlets.
In matters of style, the figure skaters are the star attractions of the Games. They edge out their summer cousins, the gymnasts -- with their sparkle-dusted skin and superhero leotards -- to achieve an unparalleled degree of flamboyance: Vegas feathers meet runway esoterica meet Sports Authority spandex.
Pure ostentation would be easy to digest and dismiss from the figure skaters if the point was just the showmanship. But there's usually so much more. The activity takes itself very seriously -- perhaps because the practitioners are constantly trying to convince nonbelievers that theirs is a sport rather than a subjective display of athleticism -- and so there are always self-conscious references to such highfalutin subjects as opera, world cultures and such.
The most recent example of figure-skating fashion gone terribly wrong comes courtesy of Russian ice dancers Oksana Domnina and Maxim Shabalin. The two recently won the gold in ice dancing at the European Figure Skating Championships. They are Olympic medal contenders. And their calling card is a number inspired by traditional Australian aboriginal culture.
The quality of the skating is not in question, but rather the wisdom and taste-level of the concept.
The ice dancers have chosen to emulate the dark skin of Australian aborigines by wearing unitards in varying shades of brown. The costumes have white swirls to mimic body paint. Faux leaves dangle from their limbs and torso. They're also wrapped in bits of red fabric that are supposed to represent loincloths but that resemble poorly made skorts -- a garment that no man should ever wear, not even male figure skaters who, over time, have managed to get away with everything from gauntlets to ruffled epaulettes. Serious folks who represent the aboriginal culture have announced to the media that they are offended. As well they should be, if for no other reason than the costumes are hideous. But the bigger issue is whether the idea itself is offensive. Should Russian skaters be using Australian aboriginal culture at all? Is any sort of appropriation inherently mocking?
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It's one of those questions that comes up with frequency in the fashion industry where designers believe they have the creative license to borrow freely from everyone and anything. The list of cultures that have been ransacked in the name of style is long and includes African American, Jewish, Indian, Caribbean, Native American, Middle Eastern, African and so on. No one is off-limits. Occasionally, designers have been inspired to glorious effect. Almost a decade ago, Jean Paul Gaultier debuted a ready-to-wear collection in Paris that was a pastiche of African and black American style. His models looked glorious and noble. And the clothes, in velvet and jewel tones, were breathtaking.
Gaultier's wisdom was in using the specific cultures as merely his starting point; his creative process took flight from there. He wove an elaborate and enticing fantasy out of reality. He created something wholly new that was, itself, worth celebrating. In contrast, the ice dancers' costumes attempt to re-create something that they simply cannot. Cultural markers are etched out over generations. They can't be stitched up in a few hours. These costumes don't embellish on reality; they don't transform it. The unitards, with their ridiculous greenery, are like cheap, lazy Halloween costumes without the plastic mask.
While the Russian ice dancers' costumes are accused of being a cultural offense and are certainly an aesthetic one, other skaters have certainly committed their share of sensory assaults. Vera Wang and Christian Lacroix are two of the most famous designers to have bravely outfitted skaters. Wang, a former champion figure skater herself, brought her signature illusion netting to the costumes she created for Nancy Kerrigan. And Lacroix brought his signature everything-but-the-kitchen-sink ethos to his costumes for Surya Bonaly. Wang managed to bring a degree of sophistication to figure-skating costumes, but considering the standards, the mere fact that her work did not involve feathers, beads, fringe and various forms of trussing in a single spandex package made it exceptional. Lacroix, on the other hand, continued the longstanding tradition of skaters as bedazzled peacocks.
The most successful merging of fashion and athleticism has always occurred during the Opening and Closing Ceremonies. Giorgio Armani created ensembles for the 2006 Winter Games in Turin and even ran with the Olympic torch. Ralph Lauren dressed American athletes in Beijing and will continue that tradition in Vancouver. (He has also signed on to dress them for the London competition in 2012.) Lauren tends to dress the Olympic contenders like gentleman athletes, folks who'd wear actual cotton tennis sweaters during a match rather than something lightweight, wicking and synthetic. He envisions skiers at a lodge in Aspen, not hurtling off a cliff in freestyle fearlessness. Lauren weaves a fantasy of Americana and sporty elegance around the athletes and perhaps that's why he has excelled at the Olympic conundrum. He leaves the performance sportswear to those who do not have to concern themselves with weaving a narrative from wool and cashmere.
It's tempting to wish that Canadian designers Dan and Dean Caten had been commissioned to dress a figure skater or two. The brothers, who produce their DSquared collection out of Milan, are known for clothes that are both witty and sexy. It would be fun to see what they could come up with for these high-level Ice Capades. It's easy to imagine them taking one of their recent wilderness-inspired collections and using that as the basis for some flannel, faux fur-embellished skating costume. Surely, they would include a matching trapper hat.
Instead, they will be outfitting the entertainers for the Opening and Closing Ceremonies. They've dressed performers such as Britney Spears and Madonna in the past. The designers love a micro-mini and a pair of seriously low-slung jeans. They can appreciate a plunging neckline. There's probably no need to worry about cultural insensitivity. One can only hope, for the performers' sake, that the stadium is well-heated.
--
The tortured relationship may have been there for years. It may take a long while to heal wounds.
Olympic Games' tortured relationship with fashion won't change in Vancouver
The fashion world has always had a tortured relationship with the Olympics. And the Winter Games in Vancouver, which begin Feb. 12, promise no significant improvements.
It's easy to understand why designers would be attracted to the Games. They're populated by athletes -- many of whom have jaw-dropping, drool-inducing physiques -- and they attract an international audience. The Games also provide one of the largest red-carpet spectacles -- the Opening Ceremonies and the Closing Ceremonies -- that any designer could want. An estimated 2 billion people worldwide watched the Opening Ceremonies of the 2008 Beijing Summer Olympics, for instance. Brands seeking a global audience might be well advised to chase Olympic athletes with the same gusto they reserve for starlets.
In matters of style, the figure skaters are the star attractions of the Games. They edge out their summer cousins, the gymnasts -- with their sparkle-dusted skin and superhero leotards -- to achieve an unparalleled degree of flamboyance: Vegas feathers meet runway esoterica meet Sports Authority spandex.
Pure ostentation would be easy to digest and dismiss from the figure skaters if the point was just the showmanship. But there's usually so much more. The activity takes itself very seriously -- perhaps because the practitioners are constantly trying to convince nonbelievers that theirs is a sport rather than a subjective display of athleticism -- and so there are always self-conscious references to such highfalutin subjects as opera, world cultures and such.
The most recent example of figure-skating fashion gone terribly wrong comes courtesy of Russian ice dancers Oksana Domnina and Maxim Shabalin. The two recently won the gold in ice dancing at the European Figure Skating Championships. They are Olympic medal contenders. And their calling card is a number inspired by traditional Australian aboriginal culture.
The quality of the skating is not in question, but rather the wisdom and taste-level of the concept.
The ice dancers have chosen to emulate the dark skin of Australian aborigines by wearing unitards in varying shades of brown. The costumes have white swirls to mimic body paint. Faux leaves dangle from their limbs and torso. They're also wrapped in bits of red fabric that are supposed to represent loincloths but that resemble poorly made skorts -- a garment that no man should ever wear, not even male figure skaters who, over time, have managed to get away with everything from gauntlets to ruffled epaulettes. Serious folks who represent the aboriginal culture have announced to the media that they are offended. As well they should be, if for no other reason than the costumes are hideous. But the bigger issue is whether the idea itself is offensive. Should Russian skaters be using Australian aboriginal culture at all? Is any sort of appropriation inherently mocking?
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It's one of those questions that comes up with frequency in the fashion industry where designers believe they have the creative license to borrow freely from everyone and anything. The list of cultures that have been ransacked in the name of style is long and includes African American, Jewish, Indian, Caribbean, Native American, Middle Eastern, African and so on. No one is off-limits. Occasionally, designers have been inspired to glorious effect. Almost a decade ago, Jean Paul Gaultier debuted a ready-to-wear collection in Paris that was a pastiche of African and black American style. His models looked glorious and noble. And the clothes, in velvet and jewel tones, were breathtaking.
Gaultier's wisdom was in using the specific cultures as merely his starting point; his creative process took flight from there. He wove an elaborate and enticing fantasy out of reality. He created something wholly new that was, itself, worth celebrating. In contrast, the ice dancers' costumes attempt to re-create something that they simply cannot. Cultural markers are etched out over generations. They can't be stitched up in a few hours. These costumes don't embellish on reality; they don't transform it. The unitards, with their ridiculous greenery, are like cheap, lazy Halloween costumes without the plastic mask.
While the Russian ice dancers' costumes are accused of being a cultural offense and are certainly an aesthetic one, other skaters have certainly committed their share of sensory assaults. Vera Wang and Christian Lacroix are two of the most famous designers to have bravely outfitted skaters. Wang, a former champion figure skater herself, brought her signature illusion netting to the costumes she created for Nancy Kerrigan. And Lacroix brought his signature everything-but-the-kitchen-sink ethos to his costumes for Surya Bonaly. Wang managed to bring a degree of sophistication to figure-skating costumes, but considering the standards, the mere fact that her work did not involve feathers, beads, fringe and various forms of trussing in a single spandex package made it exceptional. Lacroix, on the other hand, continued the longstanding tradition of skaters as bedazzled peacocks.
The most successful merging of fashion and athleticism has always occurred during the Opening and Closing Ceremonies. Giorgio Armani created ensembles for the 2006 Winter Games in Turin and even ran with the Olympic torch. Ralph Lauren dressed American athletes in Beijing and will continue that tradition in Vancouver. (He has also signed on to dress them for the London competition in 2012.) Lauren tends to dress the Olympic contenders like gentleman athletes, folks who'd wear actual cotton tennis sweaters during a match rather than something lightweight, wicking and synthetic. He envisions skiers at a lodge in Aspen, not hurtling off a cliff in freestyle fearlessness. Lauren weaves a fantasy of Americana and sporty elegance around the athletes and perhaps that's why he has excelled at the Olympic conundrum. He leaves the performance sportswear to those who do not have to concern themselves with weaving a narrative from wool and cashmere.
It's tempting to wish that Canadian designers Dan and Dean Caten had been commissioned to dress a figure skater or two. The brothers, who produce their DSquared collection out of Milan, are known for clothes that are both witty and sexy. It would be fun to see what they could come up with for these high-level Ice Capades. It's easy to imagine them taking one of their recent wilderness-inspired collections and using that as the basis for some flannel, faux fur-embellished skating costume. Surely, they would include a matching trapper hat.
Instead, they will be outfitting the entertainers for the Opening and Closing Ceremonies. They've dressed performers such as Britney Spears and Madonna in the past. The designers love a micro-mini and a pair of seriously low-slung jeans. They can appreciate a plunging neckline. There's probably no need to worry about cultural insensitivity. One can only hope, for the performers' sake, that the stadium is well-heated.
--
The tortured relationship may have been there for years. It may take a long while to heal wounds.
Olympic Games' tortured relationship with fashion won't change in Vancouver
Thursday, February 4, 2010
Nationalistic fashion gains popularity in Philippines
by Christine Ong
MANILA: More and more Filipinos are wearing their love for their country on their chest.
From t-shirts, to bags, to pillows, and even wall clocks, Filipinos just cannot seem to get enough of nationalistic yet fashionable items.
"We are an all-Filipino brand," said Rhett Eala, creative director of Collezione C2. "Hundred per cent of our products are made in the Philippines. So we wanted a symbol representing Filipinos. So we decided on the (Philippines) map, put it on the shirt. We decided on a gold map first and then it just snowballed from there to an entire collection."
Also flying off the shelves are trendy shirts bearing the face of the country's national hero, Jose Rizal.
Mon Punzalan, founder of Team Manila, said: "We made a design where Jose Rizal is wearing aviator shades because he represents the modern Filipino. The sunglass-wearing Rizal is an icon now."
The huge popularity of these iconic apparels are also attributed to the millions of Filipinos working and living abroad.
Joey Qua, chief executive officer of Collezione C2, said: "When Filipinos are living abroad for many, many years because of their work, they want to have something that will remind them of where they came from and their roots, and they want to represent our country well, in wherever location they are around the world, and they want to let people know that they are Filipinos."
Designers refer to this growing pop culture trend as fashionalism. By combining fashion, art, and nationalism, designers hope that they would be able to inspire a young generation of Filipinos to do their share for the country.
With the 2010 elections just around the corner, Filipino designers said that it is crucial to inspire nationalism and pride in every Filipino.
"If you see some of the t-shirts in our store right now, we have designs like 'Protect the Ballot Boxes', 'We Need More Heroes', something related to the upcoming elections," said Punzalan. "We are very concerned about what will happen next year about the elections."
By incorporating current nationalistic issues into fashion statements, Filipino designers are ensuring that fashionalism will be more than just a fad.
--
Nationalistic fashion. I really do hope it's not a fad.
Fashionalism in the Philippines
MANILA: More and more Filipinos are wearing their love for their country on their chest.
From t-shirts, to bags, to pillows, and even wall clocks, Filipinos just cannot seem to get enough of nationalistic yet fashionable items.
"We are an all-Filipino brand," said Rhett Eala, creative director of Collezione C2. "Hundred per cent of our products are made in the Philippines. So we wanted a symbol representing Filipinos. So we decided on the (Philippines) map, put it on the shirt. We decided on a gold map first and then it just snowballed from there to an entire collection."
Also flying off the shelves are trendy shirts bearing the face of the country's national hero, Jose Rizal.
Mon Punzalan, founder of Team Manila, said: "We made a design where Jose Rizal is wearing aviator shades because he represents the modern Filipino. The sunglass-wearing Rizal is an icon now."
The huge popularity of these iconic apparels are also attributed to the millions of Filipinos working and living abroad.
Joey Qua, chief executive officer of Collezione C2, said: "When Filipinos are living abroad for many, many years because of their work, they want to have something that will remind them of where they came from and their roots, and they want to represent our country well, in wherever location they are around the world, and they want to let people know that they are Filipinos."
Designers refer to this growing pop culture trend as fashionalism. By combining fashion, art, and nationalism, designers hope that they would be able to inspire a young generation of Filipinos to do their share for the country.
With the 2010 elections just around the corner, Filipino designers said that it is crucial to inspire nationalism and pride in every Filipino.
"If you see some of the t-shirts in our store right now, we have designs like 'Protect the Ballot Boxes', 'We Need More Heroes', something related to the upcoming elections," said Punzalan. "We are very concerned about what will happen next year about the elections."
By incorporating current nationalistic issues into fashion statements, Filipino designers are ensuring that fashionalism will be more than just a fad.
--
Nationalistic fashion. I really do hope it's not a fad.
Fashionalism in the Philippines
Wednesday, February 3, 2010
Emma Watson weaves fashion magic as she unveils her new fair-trade clothing range
by Amy Williams
Glance at a recent copy of Vogue, any of 2009’s best-dressed lists or front row at the shows, and one fact is unmistakable: the fashion world just can’t get enough of Harry Potter star Emma Watson. She may have grown up in a Hogwarts uniform, but she’s blossomed into everyone’s favourite British starlet and looks set to spend her 20s dressed top-to-toe in Burberry and Chanel (she has contracts with both brands).
Frankly we wouldn’t blame Miss Watson if she chose to spend her Harry Potter afterlife as a full-time clotheshorse, but instead she has chosen to flex her considerable fashion flair creating a range for the ethical clothing brand People Tree. This is in between studying English literature at America’s Brown University and filming the final Harry Potter movie.
It’s a savvy move by Emma – People Tree has some serious fashion cred, having teamed up with designers Richard Nicoll and Thakoon (a favourite of both Michelle Obama and Anna Wintour), and never before has clothing with a conscience felt quite so on trend.
But before you roll your eyes at the thought of yet another pretty celebrity face putting her name and a few hours’ work to an of-the-moment brand, believe us, this really is a collaboration of creativity rather than convenience. The People Tree team tell us that they were wowed by Emma’s commitment to the project: ‘I was amazed at how many hours Emma put into this collection,’ explains founder of the brand Safia Minney.
‘We’d often go to her home in the evening after she finished filming to go through ideas, or she’d come to the studio laden with her own artwork – it was extremely impressive.’
The aim was to create a range for teenagers that appealed to their consciences as well as their sense of cool. ‘We’re not asking for the sympathy vote,’ says Safia. ‘Our designs need to hold up against the high street but also have that level of quality and integrity that you just don’t get from fast fashion.
Emma may not be your average teenager – I’ve not come across many 19-year-olds who have a work ethic like hers – but her eye for what teenagers want has been invaluable and it shows in the range. She got all her friends involved in the ideas process and was serious about getting everything right.’
We visited the brochure shoot for Emma’s spring/summer People Tree collection to chat to her and give you an exclusive preview of the range and a glimpse behind the scenes. You can almost smell the summer…
You’ve done acting, modelling, and now you’re designing. Is this the future for Emma Watson?
Oh, I don’t have any plans to be a designer. I’m doing this range because I really care about fair-trade and ethical fashion. I’m so pleased that I got involved, but I don’t want to take all the credit for being the designer because I haven’t trained as a designer or even gone to art college – in fact, I had no idea about the amount of work involved at the outset!
So this is not an Emma Watson clothing line?
I didn’t want this collection to be all about me. This is not a celebrity endorsement, it is about creating something that is genuinely a great idea and about making a difference through fashion.
How did the collaboration come about?
It was all because my friend, Alex Nicholls, was wearing this great People Tree T-shirt one day, which I liked. He then told me all about the company – he knows Safia and said that I should meet her. He set up an introduction and Safia and I just clicked. A couple of weeks later she got in touch with the idea of a teen range – they were doing older ranges and baby clothes but nothing in between – and asked if I’d like to help put it together. I said yes straight away.
Wise move, People Tree – every teen wants to dress like you!
I am very interested in fashion and I’ve been working a lot in the fashion world recently – it’s such an influential industry, so I knew that trying to help people, trying to alleviate poverty through a fashion line, could work. Fashion is a great way to empower people and give them skills; rather than give cash to charity you can help people by buying the clothes they make and supporting things they take pride in. It’s that simple.
Where did you get your design inspiration for the range?
I went through my summer wardrobe and thought, ‘If I filtered this
so that it was just the very basics, what would I want to keep?’ The answer was cotton vests, easy T-shirt dresses, nice scarves to accessorise with and some lovely linen pieces. For the boys’ range I’ve done hoodies, which I know they’ll love. The clothes are very British, which is why we shot them in an English country garden – it’s all very strawberries and cream and tennis.
We particularly like the T-shirts printed with slogans such as ‘I’m not toxic’ and ‘Please don’t panic, I’m organic’.
I was keen not to preach – you don’t want to be too serious or heavy. I also came up with a daisy print which I’m really proud of – it’s fun and messy. I just wanted to make clothes that are wearable, cool and easy.
What is your favourite part of the collection?
I would wear all the clothes, which are made in Bangladesh, India and Nepal, and there is also some amazing jewellery – especially a necklace made from recycled sweet wrappers, which is made in Bangladesh. It comes in a box also made of sweet wrappers. Brilliant!
It must have been a fast learning curve for you, being on the design side of things for the first time…
It was such fun going through all the Pantone colour books with Safia, but yes, I had to learn quickly – the colours on the page don’t always look the same on the fabrics, so you have to be patient. It’s a case of learning as you go along, and it’s all massively time consuming! When we did the first set of samples some of them looked great but others needed altering a lot.
If the reaction on the shoot is anything to go by, these clothes are going to be out of stock long before spring is here!
I really enjoyed the shoot. All the models are friends of mine: my housemate Sophie, my brother Alex. I basically called in favours – a lot of the crew are friends too. They are all super-talented, so I am very lucky that they were prepared to help out. I asked Andrea Carter-Bowman to do the photos as I just love her work, and she’s young. So this really is a collection for young people put together by young people. And I’m so proud of it – it’s exactly how I intended it to look.
You are something of a fashionista, but were you completely new to fair-trade fashion?
The first time I heard about fair trade was during a geography coursework project, and I remember thinking, ‘Why isn’t everything fair trade?’ Everyone knows about fair-trade bananas and coffee, but of course anything can be fair trade. Fair-trade fashion costs a bit more but allows those who make it to earn a decent living; to be able to take care of their families and live with dignity.
But do you think it is possible to enjoy high-street fashion and also support fair trade?
It’s important to differentiate between fast fashion, which is made very quickly for a very small price, and fair-trade fashion. So if you buy a T-shirt for £2, you just have to do the maths and work our how much the person who made it is being paid.
How realistic is it that the Primark generation will buy into this range and concept?
It sounds like a cliché, but we are the future. The earth is ours and will be our children’s, and I think that more than any other generation we are aware of environmental and humanitarian issues. That’s why it’s so great that People Tree is doing something aimed at people of my age – because we do care and we will buy with a conscience. I hope that more companies will follow People Tree’s example.
--
Emma Watson seems to be a nice girl. She is on the right track, just like her Hermione character in Harry Potter movie series.
Emma Watson's line
Glance at a recent copy of Vogue, any of 2009’s best-dressed lists or front row at the shows, and one fact is unmistakable: the fashion world just can’t get enough of Harry Potter star Emma Watson. She may have grown up in a Hogwarts uniform, but she’s blossomed into everyone’s favourite British starlet and looks set to spend her 20s dressed top-to-toe in Burberry and Chanel (she has contracts with both brands).
Frankly we wouldn’t blame Miss Watson if she chose to spend her Harry Potter afterlife as a full-time clotheshorse, but instead she has chosen to flex her considerable fashion flair creating a range for the ethical clothing brand People Tree. This is in between studying English literature at America’s Brown University and filming the final Harry Potter movie.
It’s a savvy move by Emma – People Tree has some serious fashion cred, having teamed up with designers Richard Nicoll and Thakoon (a favourite of both Michelle Obama and Anna Wintour), and never before has clothing with a conscience felt quite so on trend.
But before you roll your eyes at the thought of yet another pretty celebrity face putting her name and a few hours’ work to an of-the-moment brand, believe us, this really is a collaboration of creativity rather than convenience. The People Tree team tell us that they were wowed by Emma’s commitment to the project: ‘I was amazed at how many hours Emma put into this collection,’ explains founder of the brand Safia Minney.
‘We’d often go to her home in the evening after she finished filming to go through ideas, or she’d come to the studio laden with her own artwork – it was extremely impressive.’
The aim was to create a range for teenagers that appealed to their consciences as well as their sense of cool. ‘We’re not asking for the sympathy vote,’ says Safia. ‘Our designs need to hold up against the high street but also have that level of quality and integrity that you just don’t get from fast fashion.
Emma may not be your average teenager – I’ve not come across many 19-year-olds who have a work ethic like hers – but her eye for what teenagers want has been invaluable and it shows in the range. She got all her friends involved in the ideas process and was serious about getting everything right.’
We visited the brochure shoot for Emma’s spring/summer People Tree collection to chat to her and give you an exclusive preview of the range and a glimpse behind the scenes. You can almost smell the summer…
You’ve done acting, modelling, and now you’re designing. Is this the future for Emma Watson?
Oh, I don’t have any plans to be a designer. I’m doing this range because I really care about fair-trade and ethical fashion. I’m so pleased that I got involved, but I don’t want to take all the credit for being the designer because I haven’t trained as a designer or even gone to art college – in fact, I had no idea about the amount of work involved at the outset!
So this is not an Emma Watson clothing line?
I didn’t want this collection to be all about me. This is not a celebrity endorsement, it is about creating something that is genuinely a great idea and about making a difference through fashion.
How did the collaboration come about?
It was all because my friend, Alex Nicholls, was wearing this great People Tree T-shirt one day, which I liked. He then told me all about the company – he knows Safia and said that I should meet her. He set up an introduction and Safia and I just clicked. A couple of weeks later she got in touch with the idea of a teen range – they were doing older ranges and baby clothes but nothing in between – and asked if I’d like to help put it together. I said yes straight away.
Wise move, People Tree – every teen wants to dress like you!
I am very interested in fashion and I’ve been working a lot in the fashion world recently – it’s such an influential industry, so I knew that trying to help people, trying to alleviate poverty through a fashion line, could work. Fashion is a great way to empower people and give them skills; rather than give cash to charity you can help people by buying the clothes they make and supporting things they take pride in. It’s that simple.
Where did you get your design inspiration for the range?
I went through my summer wardrobe and thought, ‘If I filtered this
so that it was just the very basics, what would I want to keep?’ The answer was cotton vests, easy T-shirt dresses, nice scarves to accessorise with and some lovely linen pieces. For the boys’ range I’ve done hoodies, which I know they’ll love. The clothes are very British, which is why we shot them in an English country garden – it’s all very strawberries and cream and tennis.
We particularly like the T-shirts printed with slogans such as ‘I’m not toxic’ and ‘Please don’t panic, I’m organic’.
I was keen not to preach – you don’t want to be too serious or heavy. I also came up with a daisy print which I’m really proud of – it’s fun and messy. I just wanted to make clothes that are wearable, cool and easy.
What is your favourite part of the collection?
I would wear all the clothes, which are made in Bangladesh, India and Nepal, and there is also some amazing jewellery – especially a necklace made from recycled sweet wrappers, which is made in Bangladesh. It comes in a box also made of sweet wrappers. Brilliant!
It must have been a fast learning curve for you, being on the design side of things for the first time…
It was such fun going through all the Pantone colour books with Safia, but yes, I had to learn quickly – the colours on the page don’t always look the same on the fabrics, so you have to be patient. It’s a case of learning as you go along, and it’s all massively time consuming! When we did the first set of samples some of them looked great but others needed altering a lot.
If the reaction on the shoot is anything to go by, these clothes are going to be out of stock long before spring is here!
I really enjoyed the shoot. All the models are friends of mine: my housemate Sophie, my brother Alex. I basically called in favours – a lot of the crew are friends too. They are all super-talented, so I am very lucky that they were prepared to help out. I asked Andrea Carter-Bowman to do the photos as I just love her work, and she’s young. So this really is a collection for young people put together by young people. And I’m so proud of it – it’s exactly how I intended it to look.
You are something of a fashionista, but were you completely new to fair-trade fashion?
The first time I heard about fair trade was during a geography coursework project, and I remember thinking, ‘Why isn’t everything fair trade?’ Everyone knows about fair-trade bananas and coffee, but of course anything can be fair trade. Fair-trade fashion costs a bit more but allows those who make it to earn a decent living; to be able to take care of their families and live with dignity.
But do you think it is possible to enjoy high-street fashion and also support fair trade?
It’s important to differentiate between fast fashion, which is made very quickly for a very small price, and fair-trade fashion. So if you buy a T-shirt for £2, you just have to do the maths and work our how much the person who made it is being paid.
How realistic is it that the Primark generation will buy into this range and concept?
It sounds like a cliché, but we are the future. The earth is ours and will be our children’s, and I think that more than any other generation we are aware of environmental and humanitarian issues. That’s why it’s so great that People Tree is doing something aimed at people of my age – because we do care and we will buy with a conscience. I hope that more companies will follow People Tree’s example.
--
Emma Watson seems to be a nice girl. She is on the right track, just like her Hermione character in Harry Potter movie series.
Emma Watson's line
Tuesday, February 2, 2010
Fashion's farewell to frugality
by Justine Picardie
Front row in the Paris couture shows, and the chit-chat seems to be as frothy as the creations on the catwalk – clouds of cream puffery and rose-tinted tulle, petals of embroidered silk and trails of pale lace.
There is much talk about who is wearing what, and why: Anna Wintour in a black and navy tweed Chanel dress, looking positively benign without her dark glasses; Kylie Minogue cheerfully bare-legged in a short silvery-grey Dior outfit with peep-toe shoes, despite the sub-zero temperature on the streets. Still, at the end of the Dior show – wherein John Galliano cited as inspiration the ethereal Belle Epoque gowns of a near-forgotten British couturier, Charles James – Minogue remarked with a wistful sigh: "Now we have to go back to the real world."
But if the world of couture is fantastical – a realm in which a few hundred women buy hand-made clothes that start at £20,000 apiece, and rise to 10 times the price – it nevertheless reflects larger economic realities.
There is an often-quoted truism that hemlines rise in line with the stock market and fall with a crash – hence the little black dresses of the Roaring Twenties, and the shift to long satin evening gowns in the subsequent years of Depression; or the miniskirts of the Sixties' boom, followed by the maxis of the Seventies' bust.
As a forecasting tool, fashion can be as inaccurate as a long-range weather report. Even so, Paris couture is, among many other things, a way of taking the temperature of a recovering global economy, as well as being an indicator of where the billion-dollar fashion industries might be heading in the future.
Couture, then, is not simply about its clients – although they matter hugely. Indeed, the subtle changes in their ranks have always been representative of the shifts in the world order, as the European aristocrats and American heiresses were joined by Middle-Eastern princesses; then the wives and mistresses of Russian oligarchs, the daughters of Indian and Taiwanese tycoons, and now the new super-rich, from China. They were not sufficient to have saved Christian Lacroix's couture house from closure, but their presence in Paris this week at the twin pillars of fashion, Christian Dior and Chanel, was of enormous significance.
And while some commentators are quick to dismiss couture as irrelevant to the major sources of the luxury brands' revenue – the perfumes and lipsticks, handbags and shoes – its role in the equation of profit and expansion is increasingly important in an industry that relies on couture to reveal fashion at its most exquisitely beautiful, to a new generation of foreign consumers.
According to Sidney Toledano, the president and chief executive officer of Christian Dior, couture is "so strategic today because, more and more, the emerging countries are becoming sophisticated in a very fast way". In an interview with Woman's Wear Daily last week, Toledano emphasised that the influx of younger couture clients from the developing Asian markets were vital, ensuring that couture remained "the backbone of the company".
But quite aside from new customers, there is also a sense that existing American and Russian clients are spending again, albeit in a very discreet way.
In a climate where financiers and bankers are regarded with a mixture of distrust and downright dislike, being seen to spend on obvious symbols of wealth is likely to attract even more hostility. Nevertheless, as the couture-clad wife of one Russian businessman remarked to me in Paris this week: "The rich are still rich enough to buy couture, but they don't want to be seen to be covered in logos."
Hence her enthusiasm at the Chanel collection, which showed an exquisite rainbow of sherbet-coloured chiffon and silks, yet with very little of the usual signifiers of traditional status and wealth. Karl Lagerfeld himself admitted: "It's the first time in my entire career I've done a collection without black or navy. There's not one gold button."
Lagerfeld's right-hand woman, Amanda Harlech, reiterated the message that conspicuous display was not necessarily the prime aim of the Chanel couture collection. "Real luxury is always discreet," she said. "A couture piece is as exquisite on the inside as it is on the outside – every seam is perfectly cantilevered and calibrated to the shape of your body, so it feels like the most wonderful protection you could ever have. Of course, it's an extreme and infinitely refined vision of how a woman can look beautiful, which touches on very rarefied desire – but this was also a collection that was serenely happy in its mood. Wearing it is like putting on a pair of wings."
These, therefore, are clothes that represent escapism – indeed, there was a silvery, romanticised space-age feel to some of the pieces at Chanel, and a not dissimilar mood at Armani Privé, where Giorgio Armani said he had been inspired by the moon: "I was thinking about something romantic and dreamy, far away from our everyday life – something less harsh."
This might sound like typical fashion-speak – so removed from daily reality that it can have no lasting impact – and yet its very escapism is perhaps a reflection of what luxury retailers have dubbed "frugal fatigue". After a year of austerity, and a long, cold winter that has left us longing for an upbeat spring, the super-rich are getting ready to spend their bonus money.
While the vast majority of us are still worrying about how to pay back what we spent at Christmas, and tomorrow's looming tax bill, the catwalk collections came less than a week after Morgan Stanley's announcement that it was setting aside $14.4 billion (£9 billion) for bonuses, and Goldman Sachs's admission that it would pay an average of $498,000 (£311,000), with senior employees earning well into the millions.
True, the Paris couture shows happened to take place at the same time as the World Economic Forum in Davos – Valentino presented an Avatar-inspired collection, with lots of wispy chiffon on Wednesday; the very day that Davos participants were predicting a slow recovery, and possible setbacks to recent shifts out of recession.
But despite these cautionary messages from Switzerland, Paris couture is playing to a different kind of audience, which includes the vastly powerful band of Hollywood celebrities and stylists that can launch a billion buys on the back of a single red-carpet appearance. They may not constitute the kind of lasting and balanced growth sought by the sages of Davos, but they do fuel global sales, from Moscow to Mumbai.
Hence the presence in Paris of an American stylist such as Caroline Sieber, who advises Harry Potter actress and face of Burberry Emma Watson among others, and called the Chanel show "an intoxicating mix of space age and fantasy in a delectable colour palette that reminded me of Ladurée macaroons. I adored the pronounced prettiness of the liquid satin evening columns."
Anne Hathaway's attendance at Armani Privé was also significant for those who read the Hollywood runes: she will be presenting the Oscars, and if, as seems likely, the actress chooses to wear Armani couture, the resulting publicity will be worth millions to the fashion house.
If there is one clear message to be taken from the couture shows, it is that black clouds have been replaced by blue-sky-thinking: the gothic dark shades of winter swept away for a palette of pastels. It's too soon to say if fashion is predicting a barbecue summer, but a distinct taste of candyfloss seems likely this spring.
--
Is couture really just a fantasy? You decide.
Fashion's farewell to frugality
Front row in the Paris couture shows, and the chit-chat seems to be as frothy as the creations on the catwalk – clouds of cream puffery and rose-tinted tulle, petals of embroidered silk and trails of pale lace.
There is much talk about who is wearing what, and why: Anna Wintour in a black and navy tweed Chanel dress, looking positively benign without her dark glasses; Kylie Minogue cheerfully bare-legged in a short silvery-grey Dior outfit with peep-toe shoes, despite the sub-zero temperature on the streets. Still, at the end of the Dior show – wherein John Galliano cited as inspiration the ethereal Belle Epoque gowns of a near-forgotten British couturier, Charles James – Minogue remarked with a wistful sigh: "Now we have to go back to the real world."
But if the world of couture is fantastical – a realm in which a few hundred women buy hand-made clothes that start at £20,000 apiece, and rise to 10 times the price – it nevertheless reflects larger economic realities.
There is an often-quoted truism that hemlines rise in line with the stock market and fall with a crash – hence the little black dresses of the Roaring Twenties, and the shift to long satin evening gowns in the subsequent years of Depression; or the miniskirts of the Sixties' boom, followed by the maxis of the Seventies' bust.
As a forecasting tool, fashion can be as inaccurate as a long-range weather report. Even so, Paris couture is, among many other things, a way of taking the temperature of a recovering global economy, as well as being an indicator of where the billion-dollar fashion industries might be heading in the future.
Couture, then, is not simply about its clients – although they matter hugely. Indeed, the subtle changes in their ranks have always been representative of the shifts in the world order, as the European aristocrats and American heiresses were joined by Middle-Eastern princesses; then the wives and mistresses of Russian oligarchs, the daughters of Indian and Taiwanese tycoons, and now the new super-rich, from China. They were not sufficient to have saved Christian Lacroix's couture house from closure, but their presence in Paris this week at the twin pillars of fashion, Christian Dior and Chanel, was of enormous significance.
And while some commentators are quick to dismiss couture as irrelevant to the major sources of the luxury brands' revenue – the perfumes and lipsticks, handbags and shoes – its role in the equation of profit and expansion is increasingly important in an industry that relies on couture to reveal fashion at its most exquisitely beautiful, to a new generation of foreign consumers.
According to Sidney Toledano, the president and chief executive officer of Christian Dior, couture is "so strategic today because, more and more, the emerging countries are becoming sophisticated in a very fast way". In an interview with Woman's Wear Daily last week, Toledano emphasised that the influx of younger couture clients from the developing Asian markets were vital, ensuring that couture remained "the backbone of the company".
But quite aside from new customers, there is also a sense that existing American and Russian clients are spending again, albeit in a very discreet way.
In a climate where financiers and bankers are regarded with a mixture of distrust and downright dislike, being seen to spend on obvious symbols of wealth is likely to attract even more hostility. Nevertheless, as the couture-clad wife of one Russian businessman remarked to me in Paris this week: "The rich are still rich enough to buy couture, but they don't want to be seen to be covered in logos."
Hence her enthusiasm at the Chanel collection, which showed an exquisite rainbow of sherbet-coloured chiffon and silks, yet with very little of the usual signifiers of traditional status and wealth. Karl Lagerfeld himself admitted: "It's the first time in my entire career I've done a collection without black or navy. There's not one gold button."
Lagerfeld's right-hand woman, Amanda Harlech, reiterated the message that conspicuous display was not necessarily the prime aim of the Chanel couture collection. "Real luxury is always discreet," she said. "A couture piece is as exquisite on the inside as it is on the outside – every seam is perfectly cantilevered and calibrated to the shape of your body, so it feels like the most wonderful protection you could ever have. Of course, it's an extreme and infinitely refined vision of how a woman can look beautiful, which touches on very rarefied desire – but this was also a collection that was serenely happy in its mood. Wearing it is like putting on a pair of wings."
These, therefore, are clothes that represent escapism – indeed, there was a silvery, romanticised space-age feel to some of the pieces at Chanel, and a not dissimilar mood at Armani Privé, where Giorgio Armani said he had been inspired by the moon: "I was thinking about something romantic and dreamy, far away from our everyday life – something less harsh."
This might sound like typical fashion-speak – so removed from daily reality that it can have no lasting impact – and yet its very escapism is perhaps a reflection of what luxury retailers have dubbed "frugal fatigue". After a year of austerity, and a long, cold winter that has left us longing for an upbeat spring, the super-rich are getting ready to spend their bonus money.
While the vast majority of us are still worrying about how to pay back what we spent at Christmas, and tomorrow's looming tax bill, the catwalk collections came less than a week after Morgan Stanley's announcement that it was setting aside $14.4 billion (£9 billion) for bonuses, and Goldman Sachs's admission that it would pay an average of $498,000 (£311,000), with senior employees earning well into the millions.
True, the Paris couture shows happened to take place at the same time as the World Economic Forum in Davos – Valentino presented an Avatar-inspired collection, with lots of wispy chiffon on Wednesday; the very day that Davos participants were predicting a slow recovery, and possible setbacks to recent shifts out of recession.
But despite these cautionary messages from Switzerland, Paris couture is playing to a different kind of audience, which includes the vastly powerful band of Hollywood celebrities and stylists that can launch a billion buys on the back of a single red-carpet appearance. They may not constitute the kind of lasting and balanced growth sought by the sages of Davos, but they do fuel global sales, from Moscow to Mumbai.
Hence the presence in Paris of an American stylist such as Caroline Sieber, who advises Harry Potter actress and face of Burberry Emma Watson among others, and called the Chanel show "an intoxicating mix of space age and fantasy in a delectable colour palette that reminded me of Ladurée macaroons. I adored the pronounced prettiness of the liquid satin evening columns."
Anne Hathaway's attendance at Armani Privé was also significant for those who read the Hollywood runes: she will be presenting the Oscars, and if, as seems likely, the actress chooses to wear Armani couture, the resulting publicity will be worth millions to the fashion house.
If there is one clear message to be taken from the couture shows, it is that black clouds have been replaced by blue-sky-thinking: the gothic dark shades of winter swept away for a palette of pastels. It's too soon to say if fashion is predicting a barbecue summer, but a distinct taste of candyfloss seems likely this spring.
--
Is couture really just a fantasy? You decide.
Fashion's farewell to frugality
Monday, February 1, 2010
Fluff flies as fashion writers pick a cat fight with bloggers
By Susie Mesure
They were fashion's Young Turks: the scant few voices of criticism in a sea of superficiality. But fast forward one season, and fashion bloggers are facing a backlash for falling under the spell of the big design houses they set out to debunk.
Enthusiasm has waned for bloggers such as Tavi Gevinson, the 13-year-old wunderkind who waltzed into the front row of the biggest catwalk shows, as former fans complain bloggers have been "bought off" by the industry.
An online spat broke out last week after Tavi's giant bow-shaped headpiece obscured the view of one of British fashion's most senior writers, Grazia magazine's style director Paula Reed, at the Christian Dior haute couture show in Paris. Grazia claimed it had "started the Tavi backlash" after Reed tweeted a picture of the Dior collection – as seen through Tavi's bow.
The fashion world rushed to take sides. "Oh, the irony of a grown-up correspondent's view of the runway being blocked by someone little older than a child and no taller than Frodo," wrote The Clothes Whisperer site.
Tavi, who is from the suburbs of Chicago, hit back on her blog, The New Girl in Town: "I had no intentions of blocking the views of people behind me but it didn't block any views – I'm SHORT, so watching the show behind me would be like watching it through a regular-sized adult, but better, because adult heads do not have holes in them.... But also, I am really curious as to when news websites will write about something interesting, i.e. not what someone wore to a fashion show."
Sarah McCullough, Selfridges' creative concepts manager and an avid blog reader, said: "It's mind-blowing that bloggers like Tavi are at the couture shows and being showered with all kinds of gifts. It has soured things a little bit for me."
Senior fashion insiders believe blogs have turned into little more than mouthpieces for fashion brands, which are increasingly using bloggers to regurgitate their press releases. Dolly Jones, editor of Vogue.com, said: "PRs plant stories with certain bloggers who are influential. Those have a ripple effect. It's a really powerful selling tool."
Robert Johnson, associate editor at the men's magazine GQ, said: "Bloggers are so attractive to the big design houses because they are so wide-eyed and obsessed, but they don't have the critical faculties to know what's good and what's not. As soon as they've been invited to the shows, they can no longer criticise because then they won't be invited back."
--
Bloggers fighting against each other. Why can't they just get along? We all love fashion, anyway.
Fashion Writers vs. Bloggers
They were fashion's Young Turks: the scant few voices of criticism in a sea of superficiality. But fast forward one season, and fashion bloggers are facing a backlash for falling under the spell of the big design houses they set out to debunk.
Enthusiasm has waned for bloggers such as Tavi Gevinson, the 13-year-old wunderkind who waltzed into the front row of the biggest catwalk shows, as former fans complain bloggers have been "bought off" by the industry.
An online spat broke out last week after Tavi's giant bow-shaped headpiece obscured the view of one of British fashion's most senior writers, Grazia magazine's style director Paula Reed, at the Christian Dior haute couture show in Paris. Grazia claimed it had "started the Tavi backlash" after Reed tweeted a picture of the Dior collection – as seen through Tavi's bow.
The fashion world rushed to take sides. "Oh, the irony of a grown-up correspondent's view of the runway being blocked by someone little older than a child and no taller than Frodo," wrote The Clothes Whisperer site.
Tavi, who is from the suburbs of Chicago, hit back on her blog, The New Girl in Town: "I had no intentions of blocking the views of people behind me but it didn't block any views – I'm SHORT, so watching the show behind me would be like watching it through a regular-sized adult, but better, because adult heads do not have holes in them.... But also, I am really curious as to when news websites will write about something interesting, i.e. not what someone wore to a fashion show."
Sarah McCullough, Selfridges' creative concepts manager and an avid blog reader, said: "It's mind-blowing that bloggers like Tavi are at the couture shows and being showered with all kinds of gifts. It has soured things a little bit for me."
Senior fashion insiders believe blogs have turned into little more than mouthpieces for fashion brands, which are increasingly using bloggers to regurgitate their press releases. Dolly Jones, editor of Vogue.com, said: "PRs plant stories with certain bloggers who are influential. Those have a ripple effect. It's a really powerful selling tool."
Robert Johnson, associate editor at the men's magazine GQ, said: "Bloggers are so attractive to the big design houses because they are so wide-eyed and obsessed, but they don't have the critical faculties to know what's good and what's not. As soon as they've been invited to the shows, they can no longer criticise because then they won't be invited back."
--
Bloggers fighting against each other. Why can't they just get along? We all love fashion, anyway.
Fashion Writers vs. Bloggers
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