Walking Away from the Runway
Total Page:16
File Type:pdf, Size:1020Kb
Load more
Recommended publications
-
Chic Street Oscar De La Renta Addressed Potential Future-Heads-Of-States, Estate Ladies and Grand Ole Party Gals with His Collection of Posh Powerwear
JANET BROWN STORE MAY CLOSE/15 ANITA RODDICK DIES/18 WWDWomen’s Wear Daily • The Retailers’TUESDAY Daily Newspaper • September 11, 2007 • $2.00 Ready-to-Wear/Textiles Chic Street Oscar de la Renta addressed potential future-heads-of-states, estate ladies and grand ole party gals with his collection of posh powerwear. Here, he showed polish with an edge in a zip-up leather top and silk satin skirt, topped with a feather bonnet. For more on the shows, see pages 6 to 13. To Hype or Not to Hype: Designer Divide Grows Over Role of N.Y. Shows By Rosemary Feitelberg and Marc Karimzadeh NEW YORK — Circus or salon — which does the fashion industry want? The growing divide between designers who choose to show in the commercially driven atmosphere of the Bryant Park tents of Mercedes-Benz Fashion Week and those who go off-site to edgier, loftier or far-flung venues is defining this New York season, and designers on both sides of the fence argue theirs is the best way. As reported, IMG Fashion, which owns Mercedes-Benz Fashion Week, has signed a deal to keep those shows See The Show, Page14 PHOTO BY GIOVANNI GIANNONI GIOVANNI PHOTO BY 2 WWD, TUESDAY, SEPTEMBER 11, 2007 WWD.COM Iconix, Burberry Resolve Dispute urberry Group plc and Iconix Brand Group said Monday that they amicably resolved pending WWDTUESDAY Blitigation. No details of the settlement were disclosed. Ready-to-Wear/Textiles Burberry fi led a lawsuit in Manhattan federal court on Aug. 24 against Iconix alleging that the redesigned London Fog brand infringed on its Burberry check design. -
Grin and Bear It
AMERICAN ANTHEM MADE IN THE USA IS SEEING A RESURGENCE AND IT’S A KEY POLITICAL ISSUE. SECTION II MALE MAKEOVER BERGDORF GOODMAN UNVEILS A REMODELED MEN’S DEPARTMENT. PAGE 3 LUXURY LAWSUITS Hermès Sues LVMH, LVMH Sues Hermès By JOELLE DIDERICH PARIS — Let the hostilities resume. Hermès International and LVMH Moët Hennessy Louis Vuitton said Tuesday they were heading to court over their ongoing dispute regarding LVMH’s WEDNESDAY, SEPTEMBER 5, 2012 ■ $3.00 ■ WOMEN’S WEAR D acquisition of a 22.3 percent stake in the maker of Birkin bags and silk scarves. WWD Hermès confi rmed that on July 10, it lodged a com- plaint with a Paris court against LVMH, which sur- prised markets by revealing in October 2010 that it had amassed a 17.1 percent stake in Hermès via cash- settled equity swaps that allowed it to circumvent the usual market rules requiring fi rms to declare share Grin and purchases. The world’s biggest luxury group has since steadily increased its stake, a move seen by Hermès offi cials as an attempt at a creeping takeover, despite reassur- Bear It ances from LVMH chairman and chief executive offi - cer Bernard Arnault that he is not seeking full control. With more than 50 “This complaint concerns the terms of LVMH’s ac- quisition of stock in Hermès International,” Hermès collections under her low- said in a two-line statement. It is accusing LVMH of slung belt, Donna Karan, insider trading, collusion and manipulating stock shown here in her studio, prices, according to a source familiar with the issue, who declined to be named for confi dentiality reasons. -
Paris Fashion Week | Fall Winter 2017/2018 Fashion Brands & Designers
support Fashion Brands & Designers from Japan & Paris Fashion Week | Fall Winter 2017/2018 ロゴデータ Blended and gleaming on your skin, this jewelry We make works inspired by our travels around This delicately formed jewelry is paved in has a contradictory allure. Its quiet presence the world and the impressions left on us by tiny stones. Our craftsman adds a special shines, luring others by sharply focusing their all of the people, things and ideas that we embellishment called Tamabori to its surface. senses. Merely wearing it will give a woman encountered along the way. A theme of this season is «Space.» Ayami is courage and let her shine. This is jewelry to wear From 2012, we have been making dresses inspired by mysterious matters and phenomena with a sense of fun, and a fine and discerning from hand-spun and hand-woven Indian such as the creation of nebula and galaxies like mind. «khadi”hadin «khadie have been making our milky way. These products are all made in dresses from hand-spun and of that used in Japan. antique dresses from the Victorian era by Indian artisans. Première Classe Tranoï - Palais de la Bourse Première Classe Ms. Matchiko Kusaura Mr. Mitsunori Ishimat Ms. Miki Hamano [email protected] [email protected] [email protected] www.19un-neuf.com www.aodress.com www.ayamijewelry.com It is my ambition to design and produce things The Japanese fashion label COOHEM was «DAUPHINE’s Muse» describes a dignified and that stimulate a smile and conversation when launched in 2010 by a knit-manufacturing graceful woman. -
Press Release for the Paris Fashion Week
Press Release for the Paris Fashion Week Paris Fashion Week: The cosmetics brand CATRICE is continuing its collaboration with Kaviar Gauche - Défilé à Paris 2018 - After nine successful seasons at the Berlin Fashion Week, CATRICE is now conquering the Paris Fashion Week for the third time. This season, the cosmetics brand will once again collaborate with the Berlin couture fashion label Kaviar Gauche as its official make-up partner. On the 29th of September, the design duo will be presenting their new collection for 2018 at the Fondation Mona Bismarck venue in Paris. Both CATRICE and Kaviar Gauche are absolutely delighted to be working together again in an international capacity for this engagement. “We are very happy about this latest collaboration with Kaviar Gauche: just like CATRICE, the designer label stands for a love of detail, simple elegance and modern glamour – a perfect unity of fashion and beauty. Whilst creating the Beauty Looks for the show, we can let our creative passion unfold – and show the world how creativity can be made in Germany,” states Dagmar Riedel-Keil, Director of CATRICE. Twice a year, the cosmetics brand updates 25 % of its range in order to capture the latest colour trends from the international catwalks in addition to classic shades. The high-quality products are available in over 50 countries around the world. For the Paris Fashion Week, CATRICE will be collaborating with the successful make-up artist Loni Baur as Head of Make-up to develop and realise the trendsetting beauty looks for Kaviar Gauche. Kaviar Gauche has already established itself in Paris and currently exclusively presents its designer collections in this fashion hotspot in front of an international audience. -
Passion for Fashion (123) Tue, 8Th Dec 2020 GMT/BST Viewing: for More Information on Viewing Appointments, Please Call the Office
Passion for Fashion (123) Tue, 8th Dec 2020 GMT/BST Viewing: For more information on viewing appointments, please call the office. Lot 116 Estimate: £4000 - £6000 + Fees A fine Balenciaga couture yellow satin sheath, Autumn- Winter 1962-63, Paris labelled and numbered 82706, of brilliant Chinese- yellow Duchesse satin, the sculpted, boned bodice with upwardly-curved front panel cut in one with the bodice front and looped, low shoulder straps which culminate centre-back in a cascading looped satin streamer which descends to the hem and conceals the rear zip and hook closure, low scooped U-shaped rear waist seam, in which the skirt is gently gathered, integral ivory grosgrain silk corset with wired, plush-trimmed breast cups, bust 81cm, 32in, waist 56cm, 22in Literature: A photograph of the House model wearing an identical dress (no 191) is illustrated in 'Balenciaga & Spain', p223. A similar dress with rear bow to closure is illustrated in 'Balenciaga', Cristobal Balenciaga Museo, p272. This dress combines spectacular colour with an ingenious sculpted shape and superb construction. For Spring 1962, Cristobal Balenciaga and his close friend Hubert de Givenchy, tired of the Paris Fashion Week circus and annoyed with detrimental comments in previous seasons made by the fashion press, controversially decided to show their collections a month later than everyone else. Admittance to the salons (both Houses faced each other on the George V) was strictly controlled. They admitted first their important private clients, overseas buyers, agents and last of all - the press. Balenciaga's collections were sometimes considered by the fashion press to be too avant-garde (however strange that may seem to us today) and the journalists occasionally made disparaging comments that could put off potential buyers. -
The Creative Talents of the Lvmh Group VIRGIL ABLOH
The creative talents of the lvmh group VIRGIL ABLOH MEN’S ARTISTIC DIRECTOR LOUIS VUITTON Born in rockford, illinois in 1980, Virgil Abloh is an artist, architect, engineer, creative director, and designer. After earning a degree in Civil Engineering from the University of Wisconsin Madison, he completed a Master´s Degree in Architecture at the Illinois Institute of Technology in a curriculum founded by Mies van der Rohe. It was here that he learned not only about modernist design principles but also about the concept of multi‐ disciplinary working. Virgil Abloh’s brand Off‐White c/o Virgil Abloh™ was started in 2012 as an artwork titled "PYREX VISION." In 2013, the brand premiered a seasonal men's and women's fashion label showing runway collections during Paris Fashion Week since 2015. Abloh has also presented his work at major design institutions around the globe by the likes of Harvard Graduate School of Design, Columbia Graduate School of Architecture, Planning and Preservation and the Rhode Island School of Design. In 2019 he will have a major exhibition of past and current work at the Museum of Contemporary Art of Chicago, Illinois. In 2015, Virgil Abloh for Off‐White c/o Virgil Abloh™ is among the finalists of the LVMH Prize. He has been awarded various prizes, most recently winning the British Fashion Awards Urban Luxe award and International Designer of the Year at the GQ Men of the Year Awards in 2017. © Louis Vuitton JONATHAN ANDERSON CREATIVE DIRECTOR LOEWE Born in 1984 in Northern Ireland, lives in London, Madrid and Paris. -
Issue No.3 Bpmcorp.Com.Au BPM HEAD OFFICE 332 South Road Hampton East VIC 3188 WELCOME Telephone +613 9555 9821 Facismile +613 9555 9824 a Note from BPM
Issue No.3 bpmcorp.com.au BPM HEAD OFFICE 332 South Road Hampton East VIC 3188 WELCOME Telephone +613 9555 9821 Facismile +613 9555 9824 A note from BPM. www.bpmcorp.com.au SENSORIAL PUBLISHER The BPM paper is published twice yearly by 3 Deep Design Pty Ltd under the ECONOMY Neue Luxury masthead. 3 Deep 35A/91 Moreland Street OF LUXURY Footscray, Victoria 3011 Australia Telephone +61 3 9687 4899 Facsimile +61 3 9687 5133 Email: [email protected] Web: www.3deep.com.au Welcome to our time issue. EDITOR IN CHIEF Brett Phillips Many say that time is the ultimate luxury—the only truly limited resource we [email protected] INSIGHT By Peter McNeil German Baroque cabinet-making; arms and armour; and 17th century tables possess. But what influences our relationship to time and how and when did Telephone +61 3 9687 4899 —caskets from Augsburg and Antwerp. Artefacts from the previous century time become central in our reading of and engagement with luxury? We live in a very anodyne world and frankly it’s bland. Eccentricity is not well were now to be appreciated more than ever, with many collections flowing EDITOR Influenced by culture, philosophy, science and religion our understanding Roj Amedi regarded. Women no longer walk pet black pigs in Hyde Park with their trotters from the Old World towards the United States, filling the mansions created of time has been influenced by many things over the centuries—from the [email protected] gilded—as some did before the First World War—or dye their doves rain- by figures such as Henry Clay Frick, the Havemeyers, Henry E Hunting- movement of planets and the flow of water, through to man made devises such bow colours, as did Lord Gerald Berners at his country home. -
Fashion in Motion
FASHION IN MOTION: JENNY PACKHAM Jenny Packham celebrates 25 years with free catwalk shows at the V&A Friday 19 July; 13.00, 15.00, 17.00, 20.00 Admission Free; booking essential www.vam.ac.uk/collections/fashion @V_and_A #FashionInMotion The V&A’s next Fashion in Motion will celebrate the 25th anniversary of designer Jenny Packham. On 19th July the Museum will host a series of four free catwalk shows in its Raphael Gallery, presenting highlights of Packham’s collections to date. On graduating from Central St Martins with a first class honors degree in fashion, Jenny Packham went on to establish her own design house in 1988. Today the Jenny Packham label is one of the UK’s most successful independent fashion brands with showrooms in London, Paris and New York. Known for her glamorous evening dresses and bridal wear with luxurious embellishment, Packham’s designs are favoured by Hollywood stars and royalty alike. The catwalk shows at the V&A will include a full length tulle dress with cutaway black lace, modeled by Erin O’Connor for the Autumn/Winter 2005 Collection, alongside a shocking pink silk chiffon dress from Spring/Summer 2009. Jenny Packham said, “ Our 25th year provides the perfect timing to take part in Fashion in Motion, which will present looks from past collections and include some of our most iconic pieces. It’s a pleasure to be able to present these within the inspiring space of the V&A’s Raphael Gallery ”. V&A Fashion in Motion curator Oriole Cullen said, “We are delighted to be showing the work of Jenny Packham at the V&A, to reach 25 years is a real achievement and a great success story for British Fashion. -
Info Pack Ethical Fashion Hackathon 6Th May 2020 Fashion Weeks
Fashion Weeks Info pack Ethical Fashion Hackathon 6th May 2020 Fashion Weeks Introduction Fashion weeks expose the enormous flaw at the heart of the fashion industry business model: the cost to people and the planet. In the last 12 months, the fashion show circuit (NY, London, Milan, Paris) emitted 241,000 tonnes of CO2. The equivalent of lighting up Times Square for 58 years. In 2020, is this still justifiable? Huge swathes of our industry flying across the world to view a 12 minute runaway show featuring collections that will mostly be displayed and sold online? These events are moments of both celebration of beauty and art as well as commercial platforms to feed a hungry business model, structured in an organisational form that pays no attention to sustainability. They run one after the other, forcing industry staff to travel frantically from here to there (via land, sea and air), while producers work in emergency-like conditions to have products ready for the shows, causing an imbalance in personal health and mental well being. In the meantime, consumers are bombarded by a mountain of images and faces of influencers, very few of whom acknowledge how these goods are made or their impact on people’s lives and on the natural world. All this while our planet risks extinction. Asks ● For editors and buyers being present in the physical space of a live show is “the experience”. The multisensory journey to see, touch and feel the collections and interacting with designers is paramount. Can digital, AR and VR replace this “experience”? Is it only a generational issue or does it go deeper? ● How could we recreate the “buzz” of fashion weeks --the exclusivity, celebrity, networking i.e. -
AN EXAMINATION of VANCOUVER FASHION WEEK by Vana Babic
AN EXAMINATION OF VANCOUVER FASHION WEEK by Vana Babic Bachelor of Arts in Political Science, European Studies, University of British Columbia, 2005 PROJECT SUBMITTED IN PARTIAL FULFILLMENT OF THE REQUIREMENTS FOR THE DEGREE OF MASTER OF BUSINESS ADMINISTRATION In the Faculty of Business Administration © Vana Babic 2009 SIMON FRASER UNIVERSITY Summer 2009 All rights reserved. However, in accordance with the Copyright Act of Canada, this work may be reproduced, without authorization, under the conditions for Fair Dealing. Therefore, limited reproduction of this work for the purposes of private study, research, criticism, review and news reporting is likely to be in accordance with the law, particularly if cited appropriately. Approval Name: Vana Babic Degree: Master of Business Administration Title of Project: An Examination of Vancouver Fashion Week Supervisory Committee: ________________________________________ Dr. Michael Parent Senior Supervisor Associate Professor Faculty of Business Administration ________________________________________ Dr. Neil Abramson Second Reader Associate Professor of International Strategy Faculty of Business Administration Date Approved: ________________________________________ ii Abstract This study proposes a close examination of Vancouver Fashion Week, a biannual event held in Vancouver, showcasing local and international talent. It is one of the many Fashion Weeks held globally. Vancouver Fashion Week can be classified in the tertiary market in terms of coverage and designers showcased. The goal of these fashion shows is to connect buyers, including but not limited to boutiques, department stores and retail shops, with designers. Another goal is to bring media awareness to future trends in fashion. The paper will begin with an introduction to Fashion Weeks around the world and will be followed by an industry analysis. -
The Ethics of the International Display of Fashion in the Museum, 49 Case W
CORE Metadata, citation and similar papers at core.ac.uk Provided by Case Western Reserve University School of Law Case Western Reserve Journal of International Law Volume 49 | Issue 1 2017 The thicE s of the International Display of Fashion in the Museum Felicia Caponigri Follow this and additional works at: https://scholarlycommons.law.case.edu/jil Part of the International Law Commons Recommended Citation Felicia Caponigri, The Ethics of the International Display of Fashion in the Museum, 49 Case W. Res. J. Int'l L. 135 (2017) Available at: https://scholarlycommons.law.case.edu/jil/vol49/iss1/10 This Article is brought to you for free and open access by the Student Journals at Case Western Reserve University School of Law Scholarly Commons. It has been accepted for inclusion in Case Western Reserve Journal of International Law by an authorized administrator of Case Western Reserve University School of Law Scholarly Commons. Case Western Reserve Journal of International Law 49(2017) THE ETHICS OF THE INTERNATIONAL DISPLAY OF FASHION IN THE MUSEUM Felicia Caponigri* CONTENTS I. Introduction................................................................................135 II. Fashion as Cultural Heritage...................................................138 III. The International Council of Museums and its Code of Ethics .....................................................................................144 A. The International Council of Museums’ Code of Ethics provides general principles of international law...........................................146 B. The standard that when there is a conflict of interest between the museum and an individual, the interests of the museum should prevail seems likely to become a rule of customary international law .................................................................................................149 IV. China: Through the Looking Glass at The Metropolitan Museum of Art.......................................................................162 A. -
Australian Fashion Week's Trans-Sectoral Synergies
Beyond 'Global Production Networks': Australian Fashion Week's Trans-Sectoral Synergies This is the Published version of the following publication Weller, Sally Anne (2008) Beyond 'Global Production Networks': Australian Fashion Week's Trans-Sectoral Synergies. Growth and Change, 39 (1). pp. 104-122. ISSN 0017-4815 The publisher’s official version can be found at http://dx.doi.org/10.1111/j.1468-2257.2007.00407.x Note that access to this version may require subscription. Downloaded from VU Research Repository https://vuir.vu.edu.au/4041/ Citation: Weller, S.A. (2008). Beyond "Global Production Network" metaphors: Australian Fashion Week's trans-sectoral synergies. Growth and Change, 39(1):104-22. Beyond “Global Production Networks”: Australian Fashion Week’s Trans-sectoral Synergies Sally Weller Centre for Strategic Economic Studies Victoria University PO Box 12488 Melbourne, Australia Ph +613 9919 1125 [email protected] Beyond “Global Production Networks”: Australian Fashion Week’s Trans-sectoral Synergies Sally Weller* ABSTRACT When studies of industrial organisation are informed by commodity chain, actor network or global production network theories and focus on tracing commodity flows, social networks or a combination of the two, they can easily overlook the less routine trans-sectoral associations that are crucial to the creation and realisation of value. This paper shifts attention to identifying the sites at which diverse specialisations meet to concentrate and amplify mutually reinforcing circuits of value. These valorisation processes are demonstrated in the case of Australian Fashion Week, an event in which multiple interests converge to synchronize different expressions of fashion ideas, actively construct fashion markets and enhance the value of a diverse range of fashionable commodities.