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Thema: Paris Fashion Week: the highlights

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Paris Fashion Week: the highlights Heute, 04:44 Forum: Probleme & Feedback

Paris Fashion Week: the highlights

Paris: home of the world’s finest fashion. After three hectic weeks in New York, London and Milan, we all eagerly await the Paris collections. From Chanel to Miu Miu, Vuitton to Balenciaga, this is the biggest week of Fashion Month. After the positive and excitable collections of the three previous cities, Paris chose to stick to its guns; “fashion is made to make more fantastic what’s ordinary,” said Valentino’s Pierpaolo Piccoli, and that’s just what it did.

Christian Dior

A year has passed since Maria Grazia Chiuri’s debut collection for Dior and we’ve come a long way from the hotly-contested $600 ‘We Should All Be Feminists’ t-shirts. About this controversy, Chiuri said, “These are my values! Did they really believe I was trying to capture a trend? These are strange fashion times we’re living in. There’s something wrong.”

Nonetheless, Chiuri has been undeniably successful at Dior. This season has been inspired by feminist artist Niki De Saint Phalle, who wore Dior designs by Marc Bohan in the Sixties. This notion of the Sixties and Seventies was felt this season in fringing, mini dresses, lashings of leathers and polka dots in washes of black, white and denim. Chiuri brought the past into the present, mixing these odes to her adolescence with the modern, sleek tailoring which gives Dior its timelessness.

Where, last year, elements of Chiuri’s work at Valentino pervaded her collections, this time they were metamorphosed into something entirely new; there were elegant dresses comprised of sparkling silvers, ruby reds and pale pinks juxtaposed by masculine trench coats and boxier silhouettes. Overall, it was a signal of positive change at Dior and while Chiuri may have taken time to find her feet, it was certainly worth the wait.

Read more at: http://www.queeniebridesmaid.co.uk/grey-bridesmaid-dresses-uk

Thema: After the Weinstein scandal, is the fashion industry next?

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After the Weinstein scandal, is the fashion industry next? 16.10.2017 04:43 Forum: Probleme & Feedback

After the Weinstein scandal, is the fashion industry next?

In the continuing fallout of the Weinstein affair, it was inevitable that the fashion industry would begin to engage in some collective throat clearing.

Sure enough last Tuesday, Cara Delevingne, who had previously written on her Instagram account about several encounters she’d had with Harvey Weinstein at the start of her acting career, declared this was only the beginning. “In every industry, “ she wrote, “...men abuse their power, using fear and get away with it. “

The inference that she was pointing the finger at fashion was inescapable. It prompted Cameron Russell, a successful model who has walked in shows for Victoria’s Secret, Louis Vuitton, Versace and Chanel to post the following on her instagram account: “a brave model asked that I share her words here because the photographer still works in the industry.

She wants to encourage other women to speak up.” Russell, who’s known for...

Read more at: http://www.queeniebridesmaid.co.uk/white-bridesmaid-dresses-uk
Thema: This is what Bella and Gigi Hadid wore to celebrate Bella's 21st

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This is what Bella and Gigi Hadid wore to celebrate Bella's 21st 13.10.2017 04:17 Forum: Probleme & Feedback

This is what Bella and Gigi Hadid wore to celebrate Bella's 21st

On October 9, Bella hit the streets of NYC to celebrate her 21st in utmost style. Wearing a sleek black satin dress that laced all the way up her side and paired with black strappy heels, it’s safe to say the beauty kicked off her birthday extravaganza in the most fashionable of ways.

Joined alongside her mother, Yolanda Hadid (who was also dressed head-to-toe in black), it was Gigi’s sky blue Pamella Roland outfit, paired with Stuart Weitzman custom dyed satin Curvia pumps that earned our best-dressed rating.

Black or blue, there’s only winners in the Hadid style game.

This is the first time in eight years that H&M has partnered with a British fashion designer for its collaboration. In 2009, Matthew Williamson used the platform to fly the flag for the boho-chic style of loose muslin, kaftan shapes and hummingbird motifs then in vogue. The hype that surrounds the H&M collaboration increases every year – in 2015, jackets from the Balmain x HM collection were resold on eBay at 10 times their retail value, making them as expensive as real Balmain. It will bring the global spotlight back to British fashion this autumn, and bring into focus the new generation’s appetite for formal partywear. That Erdem is a consistent favourite wardrobe of the Duchess of Cambridge can only fuel the fervour.

Read more at: http://www.queeniebridesmaid.co.uk/gold-bridesmaid-dresses-uk
Thema: The 7 women's fashion items that men hate

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The 7 women's fashion items that men hate 11.10.2017 04:37 Forum: Probleme & Feedback

The 7 women's fashion items that men hate

You may have noticed the short trousers (cropped kick flares, in fashion terms) Theresa May wore at the Tory Party Conference this week. You may have thought, "Good for you, TM, some fashion-forward trews". More likely you did a double take, tried to defend her ringing the changes ("She's got the legs for it") and then gave up, because frankly they did look all wrong.

I tell you who will not have appreciated these trousers, and that is men. Some, after suppressing the urge to shout "Kirk to Enterprise!" might have tried to get their head around them. The rest will have been thinking: "Aren't they too short? (Answer: yes)" or. "Are those culottes? I hate culottes." The overwhelming response will have been bafflement because cropped flares are firmly in the category of Clothes Men Will Never Like (excepting architects and people working in fashion).

The items on this list barely vary from one decade to the next. Women's taste in fashion changes and adapts but men's doesn't budge: they have a fixed shortlist of things that provoke a visceral negative reaction, and another list of things they like, without knowing why.

This must be connected to anxieties about rogue dental assistants, Nurse Ratched, and memories of colonoscopies. We think they're fresh and Swedish, but men genuinely find them disturbing. On the plus side, they really like anything khaki and militaryesque, particularly jumpsuits (it's a Hot Lips thing, or possibly a Maverick/Goose thing).

By which we mean high-waisted jeans. High-waisted anything makes them nervous, perhaps because to carry it off you have to have a really small waist. Mom style, otherwise, they secretly like... as in those Sixties fitted cotton dresses Jessica Raine is wearing in The Last Post, swooshy Carmen-rollered hair, and matching feminine undies (minus rust stains

.Read more at:http://www.queeniebridesmaid.co.uk/yellow-bridesmaid-dresses ] http://www.queeniebridesmaid.co.uk/yellow-bridesmaid-dresses [/URL]
Thema: Balenciaga under fire after more model mistreatments claims

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Balenciaga under fire after more model mistreatments claims 09.10.2017 04:55 Forum: Probleme & Feedback

Balenciaga under fire after more model mistreatments claims: “I am not a coat hanger”

If being a model wasn't tough enough already, this latest news might just be enough to turn some models-to-be away for good.

Calling out French brand Balenciaga via Instagram over the weekend, model and artist Louise Parker has condemned her poor treatment from the French brand, accusing the label of model exploitation and shining a light on fashion show casting process.

Writing about her experience of being cast in Balenciaga’s spring/summer ’18 show in Paris, Parker shared her thoughts on Instagram, and then in an open letter published on New York Magazine’s The Cut, both times describing how she travelled 12 hours and cut her hair, only to be told she would no longer be walking the show.

“It feels great to take a 12 hour trip for a client, be fitted after waiting for hours, agree to have your hair cut for their show, only to be cancelled the following day. Now that you're finally paying attention to "model's rights" (I also got that doctors note to confirm a healthy BMI) maybe I'd feel better if I met with your so called therapist that's on call 24/7. Thanks for the haircut,” she wrote on Instagram alongside a photo of herself giving the middle finger.

Parker then wrote an open letter to The Cut, confirming she wasn’t calling out the haircut specifically — as many on Instagram had written in the comments — but rather the bad practice from Balenciaga and the industry as a whole.

“I allowed them to take advantage of my time and my body. I wanted the job, I tried to make it work, and did my best to be polite and flexible,” Parker wrote. “Designers, stylists, casting directors, etc. need to recognise their position of power. It is not unreasonable for one to assume that after a flight, a fitting and a haircut that one is confirmed for a show. The fact that this is not the case is painful and confusing. Industry wide guidelines need to be implemented in order to provide models true clarity on these sorts of situations, especially when it comes to changing someone’s physical appearance.”

It isn’t the first time models have hit back against Balenciaga, with prominent casting director James Scully calling out the brand in March after 150 girls reportedly waited in a dark stairwell for three hours while casting directors went out to lunch. The staff in question were later fired, and a new ‘Charter on Working Relations With Fashion Models and Their Wellbeing” was established by LVMH and Kering (owner of Balenciaga). However, it seems the charter might not be working as well as it should be, if Parker’s post is anything to go by.

Ending with a powerful quote — “I am not a coat hanger” — Parker’s letter hits a chord within the industry, which proves there’s a long way to go towards progressing model rights.

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Thema: Talulah-Eve Calls the Fashion

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Talulah-Eve Calls the Fashion 30.09.2017 04:34 Forum: Probleme & Feedback

Talulah-Eve Calls the Fashion Industry Out About Tokenism in Open Letter

or Teen Vogue’s inaugural open letter series, we asked influential figures to address issues that plague the fashion industry, including racism, cultural appropriation, xenophobia, transphobia and size discrimination. Throughout Fashion Month, we will feature an open letter urging the fashion industry to take a stand against bigotry. The below letter was written by Talulah-Eve, the only transgender model to walk at London Fashion Week.

"Fresh face? Fresh vision!" Fizzy sherbet and mustard were amongst the popular shades boasted at London Fashion Week this season, alongside over-the-top ruffles and tiny sunglasses. However, the one thing we didn't see is diversity.

I was fortunate enough to walk for Giles Deacon this season. But why was I the only transgender model to walk at all this season at LFW?

Our demand for change in the fashion industry is answered with the rare designer or brand that features a black model, a plus-size model, or even less likely, a transgender model, every now and then.

The answer to change isn't tokenism: casting one model from a marginalized group, or doing a one-off show that highlights a marginalized group. It's by regularly championing diversity, by making it the norm.

Read more at: http://www.queeniebridesmaid.co.uk/gold-...maid-dresses-uk

Thema: Sense and sensuality: Dior embraces female artists while Saint Laurent sparkles

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Sense and sensuality: Dior embraces female artists while Saint Laurent sparkles 28.09.2017 04:47 Forum: Probleme & Feedback

Sense and sensuality: Dior embraces female artists while Saint Laurent sparkles

The careers of Christian Dior and Yves Saint Laurent were intimately intwined in the 1950s, but the megabrands that live on in their names – both of which presented their spring/summer 2018 collections on Tuesday in Paris – have developed quite different approaches to fashion.

At Dior, the tone was set by a copy of Linda Nochlin’s groundbreaking 1971 feminist essay Why Have There Been No Great Women Artists? left on every seat. That treatise on art history and the patriarchy became a key part of the show, its title used as a slogan on a Breton T-shirt worn by the first model.

Explorations of female power have particular resonance at Dior, whose founder famously redrew the lines of femininity in the post-war era with the New Look, and which has recently appointed the first female creative director in its 70-year history, Maria Grazia Chiuri.

The show had a second high-brow reference in the artist Niki de Saint Phalle, whose aesthetic also featured heavily, with motifs based on her brightly coloured sculptures and mirror mosaics echoing throughout the collection. “She was a rebel,” said Chiuri. “She was a very revolutionary woman, really inspiring was really strong in her self.”

Saint Phalle’s own dress sense – her trademark little blue veiled berets was on the catwalks, seen also in Wednesday Addams-esque outfits, such as a striped shirt with sharply pointed collars worn underneath a black corset dress, that Saint Phalle might have worn in her more emo moments. There was a lot here that felt a bit Beetlejuice, including checkerboard prints on coats and bags and black and white striped knee-high socks and hot pants trimmed with Christian Dior branding, that were visible under the pretty tulle dresses that have become Grazia Chiuri’s Dior calling card.

This is not the first time that Chiuri has created a feminist T-shirt: the stand out item from her debut collection was the Chimamanda Ngozi Adichie quote “we should all be feminists”. Chiuri’s silhouettes tend to be straightforwardly flattering – a corset top nipped in at the waist with a layered tulle skirt – rather than the sort of awkward highly-styled designs that win critical plaudits at other houses.

She has received some critical flak for her accessible approach but has remained doggedly true to her trademark tropes regardless. Like those quotes, her brand message is straightforward, upbeat and globally digestible by fans such as those at the show who sat eagerly taking in their Dior berets taking photographs of the cover of Linda Nochlin’s essay and posting it on Instagram.

Backstage, Chiuri’s description of the relationship between women’s lives and their clothes was convincing: “Sometimes we think that fashion changes women but what really happens is the opposite. Women change, and so fashion has to change as well.”

Later on Tuesday night, the presentation of Saint Laurent’s spring/summer 2018 collection felt more like the set of an incredibly chic sci fi movie than a fashion show. It was staged outside, in an epic runway built in Paris’ historic Place de Varsovie. Dry ice wafted through the air as the Eiffel Tower lit up and sparkled in background.

It was the guests who really brought the otherworldliness to proceedings, however, with the brand’s fans, such as Lenny Kravitz and Lou Doillon, decked out in outfits including sleek black tuxedo jackets with glittering silver lapels, thigh-high silver disco boots with cone heels and mini dresses with extended crystal shoulders that gave their wearers the air of intergalactic power dressers.

Anthony Vaccarello, Saint Laurent’s creative director of three seasons, took a rather more sensual tack than his peer at Dior when describing his collection, describing the Saint Laurent woman as “a dark angel with a sensual allure [who] drapes herself in black-sequinned dresses, shining like the asphalt after the rain”.

On a practical note this meant legs for days (Kering and LVMH’s pact to stop using size zero models – and underage models – on the catwalks and in advertising campaigns does not seem to have led to a huge amount of size diversity yet) and a piratey silhouette of shorts with blouson tops closing by a brilliant – if difficult to imagine wearing to the shops – parade of huge, 80s-influenced bubble dresses.

There were quotes on every seat, in tribute to Pierre Berge, Saint Laurent’s former lover and life-long business partner, who was in attendance at the last Saint Laurent fashion show in February but died, at the age of 86, in September.

Read more at: http://www.queeniebridesmaid.co.uk/grey-bridesmaid-dresses-uk

Thema: What I wore this week: orange

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What I wore this week: orange 26.09.2017 04:23 Forum: Probleme & Feedback

What I wore this week: orange
Close your eyes and think of the 1970s. Or, more specifically, a living room from the 1970s. The wallpaper is geometrically aligned, the lava lamp present and correct, and the Papasan chair in the corner is looking strangely unwelcoming. Now, open your eyes. Everything was a gelatinous shade of orange, right? The orange of E-number-laden ice lollies and MSG’d sweet-and-sour chicken.

And that’s the problem with wearing orange – you risk looking like a barrel of Sunny Delight that’s wandered on stage during a Top Of The Pops Christmas special from 1976. Menswear usually plays it so safe that you’re basically hiding in the undergrowth, cowering and gently rocking to yourself, so any shade you might associate with a box of crayons is normally balked at.

Still, the 1970s has been a key influence on menswear of late, from velvet and corduroy to florals. So it feels inevitable that the colour so synonymous with a decade of wrongness should return. But do we have to be tied to a vision of the past when we wear orange (worst-case scenario: Oompa-Loompa vibes at a 1990s rave. Best-case scenario: easyJet employee gone rogue)? No, we do not. As Liam Gallagher recently proved with his One Love stagewear (a bright orange parka), orange can be pulled off as a piece of trendy daywear.

The key thing about wearing bright colours is that all the other bits of your outfit have to be played dead straight. Even a sneaky statement sock or a jauntily patterned handkerchief can have you looking like Screaming Lord Sutch on election night. You’ve got to temper your brightness with a bit of dowdiness to pull off a look that won’t scare your friends: it’s the clothing equivalent of Dido featuring Ol’ Dirty Bastard.

Here I’m wearing a jumper roughly the colour of Kia-Ora, but have combined it with earth-coloured chinos (very accountant binge-drinking at the weekend) and Drake-ish canvas shoes. You may still get the odd sarky comment (OI! YOU’VEBEENTANGO’D Mcool , but that’s the thing about orange: like its spiritual home, Halloween, it’s a bit scary at first, then you realise it can be child’s play.
Read more at: http://www.queeniebridesmaid.co.uk/orange-bridesmaid-dresses-uk
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Thema: What I wore this week: a double-breasted blazer

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What I wore this week: a double-breasted blazer 22.09.2017 04:28 Forum: Probleme & Feedback

What I wore this week: a double-breasted blazer

Adouble-breasted blazer was the first thing I bought for this new season. Heretically, I don’t adhere to the industry edicts about snapping up coats at the end of July. My back-to-school moment happens at New York fashion week in early September, which is invariably roasting hot and yet wall-to-wall with women showing off their new outerwear. This season it was oversized teddy-bear, faux-fur coats in lipstick red. Which are divine, and I absolutely want one – but not yet. Some showgoers manage to pull them off – perhaps if you are truly, glacially ultra-cool you can lower your own body temperature – but for me they are out of the question until it’s actually cold enough. Being comfortable in your clothes is sometimes framed as the polar opposite of chic – the elasticated waistband, let-yourself-go look – but to me, it works the other way around. Great clothes are the ones that make your day feel easier and lighter, not the ones that are a burden.

Not that I am pretending to be immune to that late-August hunger for Something New. Far from it. This season, I absolutely had to have a double-breasted blazer the moment I got back from holiday. A lightweight jacket is the most direct way to ring seasonal changes, because it shapes the most visible part of your silhouette as well as fitting the climate. The jacket had to be a blazer, because I suspect that this autumn I am mostly going to be wearing longish, loose skirts and fluid trousers, and a blazer is the most elegant complement to that.But why double-breasted? Isn’t that a bit naff? Just a tiny bit… wrong? Yes. That’s exactly why I want one. I am militant about being physically comfortable, but open-minded about clothes that test the psychological comfort zone a little bit. Actually, more than open-minded. I am positively in favour of it. Clothes only count as fashion, as opposed to just clothes, when they do this. You have to be careful not to confuse clothes that are a healthy psychological challenge with those that are literally problematic. If you do, you end up with a cupboard full of shoes that made you feel amazing when you tried them on but which are too high to actually wear (take it from one who knows). A double-breasted blazer is just far enough from the comfort zone to feel like fashion. But not enough to bring you out in a sweat.

Read more at: http://www.queeniebridesmaid.co.uk/orange-bridesmaid-dresses-uk

Thema: Olivia Palermo's rules and warnings for wearing ugly shoes

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Olivia Palermo's rules and warnings for wearing ugly shoes 20.09.2017 07:39 Forum: Probleme & Feedback

Olivia Palermo's rules and warnings for wearing ugly shoes

When it comes to a fashion faux pas, letting Olivia Palermo down is up high on that list.

No one wants to have Palermo cast her astute eye at their outfit only to have it dismissed, which is why her latest sartorial advice is worth noting down.

In an interview with E! News Palermo has revealed how to make the ‘ugly shoe trend’ work for you, not against you.

“Ugly shoes are a mistake women make,” Palermo told the publication. “You need to make sure the proportion of your shoes are the most flattering for your leg.”

Hear that?

Ensure the chucky, clunky, oversized proportions of your ‘ugly shoes’ work in harmony with your legs.

How does one do that exactly?

If you’re petite, stay away from an ugly shoe that climbs above your ankle (no one wants to shorten their legs) and opt for chunky sole or an extra buckle or two instead.

On the tall side?

Embrace colour, embellishment and texture – feathers? Jewelled crocs? Why not.

Read more at: http://www.queeniebridesmaid.co.uk/green-bridesmaid-dresses
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Thema: The great cover up: why ​we're all dressing modestly now

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The great cover up: why ​we're all dressing modestly now 18.09.2017 08:04 Forum: Probleme & Feedback

The great cover up: why we're all dressing modestly now

Do you prefer midiskirts that cover your knees to minis these days? When you wear a slip dress, do you sometimes layer a polo neck underneath it? On a lunchtime browse, do you find yourself drawn to a voluminous sleeve? If you are reading this, then the answer is probably yes. The look of 2017 is notably more demure than that of a decade ago. Hemlines have dipped a crucial few inches, from just above the knee to just below it. A collar up to your chin is the norm. Party dresses have sweeping sleeves, rather than plunging necklines. Or, to put it another way: for the simple reason that you are engaged with fashion, you have become a modest dresser.

When Victoria Beckham launched her fashion house a decade ago, her style had already left the Wag days behind. Cleavage and Daisy Dukes had been replaced by neat knee-length dresses whose necklines exposed only the clavicles. Since then her wardrobe – one of the most photographed and most influential in the world – has evolved further. Her clothes are now loose and fluid, concealing the shape as well as the surface of the body.

Meanwhile at Paris fashion week, the signature Valentino look has exerted a powerful slow-burn influence on fashion in the five years it has defined the house. Long, fluid, with a slender shape that hints at the body but doesn’t cling, it is a romantic silhouette – part Brontë heroine, part Renaissance principessa – that has proved catnip to modern party girls bored of LBDs.

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Thema: Ashish: 'I just want to tell everyone: “I’m an immigrant''

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Ashish: 'I just want to tell everyone: “I’m an immigrant'' 15.09.2017 04:56 Forum: Probleme & Feedback

Ihave a Leigh Bowery quote up in my studio that says: “The reason I use sequins at the moment is because if I cannot cast the light at least I can reflect it.” When I first set up my label in 2001, it really inspired me – I was in a dark place at the time, I was struggling with depression, trying to move to the UK and having a very tough time getting a work permit. One of the reasons I love sequins so much is because, for me, they are an escapist, magical thing – they became a protest against the shittiness of life, the banality of the everyday. Fashion can drive good things – they always say that the best art comes with the darkest times, when things are depressive, and I don’t see why fashion can’t be the same.

I don’t set out to be political with my designs. When I wore a T-shirt that read “Immigrant” to my London fashion week spring 2017 show, I didn’t expect anything specific to happen – I wore it because I was so disgusted by what was going on. Brexit ruined my summer and the day before the show I was feeling so annoyed. I thought, I just want to tell everyone: “I’m a fucking immigrant.” I moved from Delhi, where I grew up, to the UK, where I didn’t have any family or resources, but I’ve run a fashion company for over 15 years now. I offer jobs to people, I pay taxes in this country.

I don’t like to call the issue of immigration political. My grandmother was eight months pregnant with my mother when she had to flee Pakistan during partition. I grew up with the story of her and my grandfather arriving in Delhi by train and moving into a refugee camp – for me that is a human story. You can make it into a political thing, but I don’t think it should be.Slogans can be an agent of change. Words are very powerful – they can be used for and against people. I don’t like it when people say, “We’re really tolerant of immigrants”, for instance. I think the word “tolerant” denotes something unpleasant that you don’t really want to put up with. I think the world has become so accustomed to hearing words used in certain ways that it’s really important to stop and actually think about words very carefully.

One of my favourite slogans, which I put on a top for my A/W 17 collection, is “As often as possible, be gentle and kind”. That’s important to say because after Donald Trump got elected, I felt there was a loss of empathy, of kindness and basic humanity. I wanted to remind people that it’s OK to be gentle and it’s OK to be sensitive – it doesn’t make you weak. It takes more strength to be kind than it does to be cruel.

I think fashion is so much better when it engages with the zeitgeist, when it leads rather than reflects – fashion is boring when it stays in a bubble. I hope “wokeness” is more than a trend and is indicative of times to come – whether that be in terms of diversity, standing up for what you believe is right and for people who don’t have a voice. I hope the industry will galvanise and try to improve things.

It’s great that we’re now having conversations about diversity. Fashion is meant to be aspirational, so if you’re going to just have white models in your campaigns and on your runways, what message is that sending to young people? We need to change that stereotypical idea of what beauty is.

I remember a few years ago I did a show where I only used black models. Many journalists came up to me after the show and asked me why I did that. And I said, “Have you asked any of the designers who used all white models why they did that?” And of course diversity is not just about black models, it’s about Asian models, South Asian models. People need to talk about that; true diversity is all-inclusive.

The issue of cultural appropriation is also linked to this. For many years there used to be fashion shoots where a white model would be flown to some exotic location and surrounded by the locals – I always found that so inappropriate. You’ve got an industry that is so lacking diversity but then you’re trying to pass this kind of thing off as cultural appreciation – who thinks that is OK? Wouldn’t it be better if you had more representation of those people within your industry? Then perhaps it would genuinely be seen as appreciation and not a novelty fun gesture you’ve done to sell a cute outfit.

When I did the Indian collection, some people said, “Oh my God, is that cultural appropriation?” I can’t appropriate my own culture. I think it’s all about an understanding of where something comes from. When I see a white girl wearing a bindi, for instance, I think: “Do you really know what that means? Do you know about colonisation?” But fashion is a good place for driving these debates.

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Thema: Would he have signed it?

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Would he have signed it? 11.09.2017 05:15 Forum: Probleme & Feedback

Would he have signed it?

He hesitates for a few seconds: “Temporarily, maybe. Sure.”

Many people see an inherent contradiction between Charney’s indefatigable championing of workers’ rights and his equally energetic pursuit of his female employees. But for Charney, the through line is obvious: he is, essentially, a libertarian who thinks there should be no boundaries, national, professional, sexual.

“Look, let’s say this first: I abhor all forms of sexual harassment, period. But it’s unrealistic for the government to interfere with people’s private lives, and that’s it,” he says.

I ask if he’s still sleeping with employees. “That’s private!” he retorts.

Charney talks about his firing with obsessive fury, raging about how his business was “stolen from” him. But does he regret the behaviour that led to his sacking? “Not at all! Sleeping with people you work with is UNAVOIDABLE!”

But “employees” are not people you work with – that’s colleagues. An employee is someone who works for you, I say. “Yeah, but that’s – OK, I’ll say this, I never had a romantic relationship with a factory worker. Ever! It wouldn’t be possible! But a creative equal? Yeah! And if anything, I’ll tell you, I don’t know who was the predator – you know what I’m saying?” he laughs.

“Take yourself,” he continues. “You’re well-spoken, well-educated, you decide to work here. And we develop a romantic interest in each other. We could say, ‘OK, we’re attracted to each other, but it’s better we just work together.’ OK, we could try that. And that may work. But if the attraction is so intense, eventually we’re gonna give up! We’ve tried to avoid it, but we’ve decided that we’re going to get involved.”

But could he really not have changed his behaviour to stay in control of his own company? “Never! Out of the question. It wouldn’t be good for society! It wouldn’t advance the rights of workers.”

But it would have kept your workers employed.

“No, no!” He is exasperated that I’m still not getting the truth here. “You think, I was just supposed to stand up straighter, not allowed to wear [just] my underwear? No! [The board] wanted control! It was all a hoax.”


But even if it was all a hoax, even if the board just wanted to seize the company, didn’t he leave himself vulnerable to it?

“Maybe, a little bit, probably. But I think my real mistake was that I was too trusting. I should have removed some of the board members.”

“I think Dov is irrepressible,” says Mayer. “He is who he is and he sincerely does not see that he did anything wrong, so it’s hard to see why he would change.”

There is no doubt Charney is, when it comes to retail and workers’ rights, something of a visionary. But if you are not willing to keep it zipped to pursue your dreams, you will only run so far before tripping over your trousers. You can insist that this is just about society’s hypocrisies and limitations all you want, but if you’re not willing (or able) to compromise at least on this issue for the greater good, then people will wonder what your priorities actually are. But to Charney, his story exemplifies how hysteria about sex and gender can obscure the real issues.

“Like with Trump, OK? It disgusted me when they made a big deal about the Billy Bush episode. The man’s a terror because he’s anti-worker, anti-immigrant, a nationalist, hostile to environmental ideology and knows nothing about how to bring manufacturing back. He has no ideas! That’s what matters! Liberals lost on ideology!”

And of course, he’s kind of right, and just as I find myself nodding along he adds, “That stuff he said to Billy Bush [about grabbing women by the vagina] – who cares? If you recorded all the things I said about women in the past 10 days it would be no different.”

Interview done, he gives me one last tour of the factory. He is a ball of energy; you’d never guess he’d been talking pretty much non-stop for three hours as he chatters away to suppliers, workers and employees, talking on this phone, texting on that one. I tell him I’m going to call a cab and wait out front. A few minutes later, he suddenly appears next to me. “So are you hanging round in LA for a while?” he asks, and he has a shy smile on his face.

I say I am.

“What are you up to?” he asks.

I tell him I’m doing another interview, I might go check out some museums.

“Uh-huh,” he says, still smiling.

I mention I also want to pick up some American toys for my kids.

“Right,” he says, smile disappearing. “OK, bye.”

And just like that, he disappears, already on the move again.

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Thema: Does fashion care about disabled people and the purple pound?

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Does fashion care about disabled people and the purple pound? 07.09.2017 05:21 Forum: Probleme & Feedback

Does fashion care about disabled people and the purple pound?

Since childhood, fashion has always given me joy. It has allowed me to present myself to the world as the person I am and strive to be, irrespective of the physical limitations of my disability. But in the five years since severe illness forced me to use a mobility scooter to get around, online retailers have become my primary access to new trends, owing to poor accessibility on my local high street. Recently, I heard about a disability charity’s campaign to improve shop access and wondered whether navigating luxury fashion stores on four wheels would be any less challenging. It seemed logical that designer labels, which often shell out millions to create opulent showrooms, would invest in basic equipment for access. So I ventured into Mayfair – one of London’s most expensive areas to shop – to explore the AW17 collections up close.

From the moment I rode out on to New Bond Street, I was beset by obstacles. It started with attempting to enter a designer store with a stepped entrance, then performing a red-faced U-turn outside because sales staff couldn’t provide a ramp. As I continued around Mayfair, I discovered boutique after boutique with stepped entrances and no access ramps. Often staff delivered this information with an expression of bewilderment as to why anyone would require one, and nearly half of the shops I visited said they didn’t have lifts to access upper floors.

Outside one store, however, I experienced the other extreme. A trio of sales staff emerged to offer assistance, WhatsApp numbers (“should you need any help in the future”) and a ramp, ceremoniously placed to help me up the vertiginous steps.

Instead of having the freedom to choose where I shopped, these vastly different attitudes predetermined which labels I can and cannot wear.

In July, We Are Purple began its campaign, Help Me Spend My Money, to raise awareness of the obstacles facing disabled shoppers and promote disability awareness training for retail staff. Purple’s Mark Flint explains that the initiative aims to “transform thinking” and “illustrate that becoming disability-friendly is not just morally right, but makes complete business sense”. I ask whether the campaign has had any interest from luxury fashion retailers. Flint stresses that it remains in its early stages and they are “having conversations” with a number of brands. It’s not exactly a resounding yes.

Britain’s 11.9 million disabled people are acknowledged to have a spending power of £80bn. Known as the purple pound, it represents the largest untapped consumer market. A recent study by the Extra Costs Commission has found that 75% of disabled customers have left a shop because of poor service or access, and that British companies risk losing £420m a week in sales. These challenges are not unique to luxury shopping, and are a daily occurrence on high streets and in shopping centres across the country. “Recently, I was trying to help my little sister buy a dress for a dance,” says Quin, a 19-year-old wheelchair user from Canterbury, “but all the shops had items too close together for me to navigate. I was forced to sit by the door and watch as my sister walked around. It seems as though there’s an attitude that disabled people would never come in. We need and want things just the same as abled people.”

Angie, a 39-year-old with epilepsy and arthritis from Warwickshire, says that sales assistants are rude and unaccommodating towards her when she struggles to move around the shop floor on crutches. “It’s often an anxious experience, as you don’t know how you will be treated by shop staff, and, when people tend to be negative rather than helpful, it’s easier not to go out and shop online [instead]”.

Lily, a 22-year-old from south-east England, doesn’t use any aids such as a wheelchair, so it’s not always clear she has a disability. “When I’m at the till and struggling to get money out because my left hand doesn’t work as well as my right, I feel embarrassed. I usually apologise even if I know I shouldn’t.” She now looks at every shop she visits to check it has adequate provision for disabled customers. If not, she will email the company or speak to them on social media.

My impossible shopping trip underlined the radical disconnect between the real-life experiences of disabled shoppers and the fashion industry’s very visible fascination with inclusion. Diversity is the hashtag du jour in fashion circles, with many designers talking fluently about their respect for a breadth of cultures and life experiences, and using models who do not conform to the tall, slim, white, cisgender, able-bodied archetype.

Edward Enninful, British Vogue’s new editor, has expressed frustration with the industry’s reluctance to create sustainable changes in reflecting the diverse identities of its consumers. His principles on ethnic diversity – “you put one model in a show or in an ad campaign, that doesn’t solve the problem”– also apply to disability representation. Although some designers have embraced disability models – most notably Alexander McQueen in the late 90s – the fact remains that, when disabled customers are prohibited from shopping, due to stairs, lack of seating or insufficient sales support, it is hard not to draw the conclusion that the catwalk trend for disabled models is nothing more than that. It is the metaphorical millennial pink, soon to be consigned to the back of our closets.


Debate surrounding the use of disabled models was reignited at Teatum Jones’s London fashion week show earlier this year, as Kelly Knox emerged on to the catwalk in a rust-hued dress knotted at the elbow to silhouette her amputated lower arm. The label’s AW17 collection presented disability models as emblems of a backlash against ideas of the perfect form: “Why do we look at ourselves in the mirror and see ugly instead of valuable? What are you looking at?” bellowed the disabled motivational speaker Nick Vuji
i on the soundtrack. After reading reports describing the show as a “spectacle” and “attention-grabbing”, I approached Catherine Teatum and Rob Jones to find out whether their interest in the disabled body ran deeper than aesthetics, and found both to have a positive understanding of the practical issues affecting disabled shoppers.

In a joint statement, they say that retail accessibility should be a democratic experience: “Imagine telling a group of people that they were not allowed into your retail space because you hadn’t thought it through in the design stage? Or because you simply forgot about them or didn’t consider their spending power? You’d feel pretty awful, and so would they.” They observed that, although many designers strategically position themselves as radical: “when a fashion audience is actually faced with the reality of physical difference, there is sometimes tendency to feel uncomfortable”.While the designers don’t believe luxury brands are actively disengaging disabled shoppers, they agree that more can be done and see e-commerce as having a wealth of applications for the disabled and able bodied alike: “This should be a conversation about inclusivity, after all.”

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Thema: Bella Hadid wants us to know she’s definitely not dating any of her friends

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Bella Hadid wants us to know she’s definitely not dating any of her friends 05.09.2017 05:29 Forum: Probleme & Feedback

Bella Hadid wants us to know she’s definitely not dating any of her friends

When it comes to being obsessed with celebrity relationships, Bella Hadid tops our collective list as a person of extreme interest.

Which is why her latest tweet had us listening.

Taking to Twitter to shut down any rumours, Hadid cleared up her relationship status, reminding us she’s very much single.

“Just to be clear...i'm STILL not dating any of my best friends, y'all! In a committed relationship with myself & my happiness for now,” the tweet reads.

Sparked by reports Hadid was dating DJ Daniel Chetrit - thanks to a photo of the friends holding hands - we’re glad to see Hadid has cleared up any misconceptions.

Thanks, Bella.
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Thema: Creeping Into The Zeitgeist

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Creeping Into The Zeitgeist 02.09.2017 09:51 Forum: Probleme & Feedback

Creeping Into The Zeitgeist

That Reformation has become so popular, while still being environmentally aware, is what Aflalo calls their “differentiator.” Mainly it has to do with the fact that her “vintage-inspired” pieces don’t look like they’re blah reinterpretations of something you would find in your great grandmother’s closet, but modern versions of what’s trending now: crop tops, off-the-shoulder blouses, two-piece sets, and deep-V high-slit wrap dresses. Consider denim which they launched earlier this spring. The first delivery sold out immediately simply because Aflalo and her team tested the product—novel approach, sure. Even their front-to-back 180 degree zipper jeans, “their riff off the viral Vetements jeans from a few seasons ago," is currently out of stock with a never-ending waitlist. “We’re never going to launch a category, hire a big team, put a lot of marketing dollars behind it, hire an expensive model, and put it everywhere. We never do that. Never,” she says. Denim came about more organically — they had been slowly testing their in-house styles for eight under-the-radar months before proliferating it. “A typical company will start with one really great jean and go from there, we’re like, ‘Let’s start with 30 jeans and work our way down to four,'” she explains.

Aflalo is planning to launch at least two categories a year with the brand, and is even more eager about continuing its retail footprint. Seven Reformation stores have opened this year, with a third New York location on Bond Street up next (for what it's worth, Aflalo plans to open eight to 12 stores a year for the next five years). And her investment in brick and mortar (she developed her forward-thinking tech heavy concept, complete with touchscreen dressing-room mirrors in February), is Aflalo’s way of saying traditional retail isn’t going anywhere. “Brick and mortar isn’t bad, it’s an important part of the consumer experience,” she says. “I think as more direct to consumer brands offering good value move to traditional brick and mortar, you’ll see brick and mortar do well again. Warby Parker is doing really well at retail; Reformation is doing really well at retail.” It’s a pretty strong comparison considering Warby Parker is expected to rake in $250 million in revenue this year, but like the direct-to-consumer eyewear company, Reformation boutiques are filled with a set of Cool Girls™ waiting for their turn in the mirror.

Such great success in such a short amount of time has also yielded numerous wannabe competitors; new labels like Rouje and Réalisation Par, seem to want a piece of the Reformation pie, but Aflalo reveals she kind-of expected it. “I see a lot of copycat brands and sometimes I’ll order them and then I’ll be like, ‘Ok! I feel better!’ It’s not a good fit or the fabric qualities are bad. You can copy something, but I don’t think our principles are there,” she says.

Scale and growth continue to be number one for Reformation as Aflalo reaches her goal to bring sustainable fashion to the masses, a thought previously unheard of. “We’re not the cool little brand anymore that a few people know about and there are people that only want to wear those types of brands,” she says. “We’re bigger now and that’s okay. We’re not a secret.”

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Thema: Melbourne’s Sofitel hotel is launching Dior-inspired cocktails

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Melbourne’s Sofitel hotel is launching Dior-inspired cocktails 25.08.2017 09:40 Forum: Probleme & Feedback

In celebration of the National Gallery of Victoria’s The House of Dior: Seventy Years years of Haute Couture exhibition, Sofitel Melbourne on Collins has announced the launch of four couture cocktails set to coincide with the opening of the showcase.

Inspired directly by the French fashion house, the ‘Code of Conduct’ cocktails will be made available from Thursday September 1 – which just so happens to line up with Vogue American Express Fashion’s Night Out, taking place across the CBD – to Saturday November 4.

Curated by mixologist Marc Dasan, the first cocktail was inspired by the original Miss Dior perfume and combines Remy Martin VSOP, Tanqueray gin and earl grey syrup with a hint of Pernod and grapefruit bitters, served in a glass perfume bottle. The second cocktail references Dior’s love of 18th century French history with its incorporation of Kettle One vodka, Crème de Cassis, Crème de Mure with lime juice, white chocolate and Persian saffron fairy floss.

“The deep red colouring with gold accents resembles the opulence of the 18th century, whilst the fairy floss pays homage to Marie Antoinette’s most famous hairstyle – the pouf,” explains Dasan.

Playing on the fashion house’s iconic silhouettes, the third cocktail will consist of spiced rum, Pedro Ximenez and Mozart Dark which will be garnished with fresh fig and served in a structured martini glass. Finally, the fourth cocktail incorporates elements of the flower – a symbol which inspired the structure of Dior’s garments – with its use of Grey Goose Le Citron, Lillet Blanc, Crème de Violette and rosewater-infused ice spheres and frozen pink roses.

Also as part of the exhibition, as NGV’s official accommodation partner Sofitel will be offering two tickets to the exhibition, overnight accommodation and breakfast for two at No.35 Restaurant via it’s ‘So Cultural’ package.

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Thema: Couture, pearls and a Breakfast at Tiffany's script: inside the private collection of Audrey Hepburn

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Couture, pearls and a Breakfast at Tiffany's script: inside the private collection of Audrey Hepburn 23.08.2017 09:07 Forum: Probleme & Feedback

Footsteps and the purposeful thrum of air conditioners are the loudest sounds in Christie’s Park Royal warehouse on the day of a recent visit. Beyond two leopard-print chaises longues and a phalanx of vacant plinths and pedestals is Adrian Hume-Sayer, director of private collections at the auctioneer’s, busying himself with Audrey Hepburn’s trove.

Most of it remains packed away, arrayed on tidy shelves or on scores of velvet hangers. One rolling cart heaves with straw bags, carefully coiled belts and individually bagged pieces of jewellery. Nothing has been photographed. "We’ve had tremendous trouble getting mannequins for the clothes because she was absolutely tiny – I mean, sub-zero," he says.

The auction, which will take place at Christie’s in September, includes a selection of Hepburn’s clothing, accessories, film memorabilia and photography that she left to her sons, Sean Ferrer and Luca Dotti. The collection shows the personal, domestic side of a woman whose impeccable taste had as its corollary a lack of interest in material wealth for its own sake.

"She was just innately elegant in every aspect of her life. It permeates everything she touched," Hume-Sayer says.

"I think the sale will deepen the public vision of Audrey, and shed new light on her thought processes," he continues. "These items let us see behind the scenes of the life of Audrey Hepburn, which is a pretty amazing thing."

The star of Roman Holiday, Funny Face and Breakfast at Tiffany’s didn’t invent the little black dress (that distinction belongs to Coco Chanel), but she wore it better than anyone has before or since. And the ballet pump and the polo neck and the cigarette pant.

Born in Brussels in 1929, to a Dutch baroness and a British businessman, Hepburn moved between Belgium, England and the Netherlands during her childhood.

Although she spent the Second World War in the Netherlands (her mother having made the grave miscalculation that it would remain safe and neutral through the conflict, as it had in the First World War), in 1948 she returned to London to study at the Ballet Rambert.

When Marie Rambert gently told Hepburn that she would never make it as a prima ballerina, Hepburn turned to acting, initially in West End chorus lines. It was during a shoot for a small film in Monaco that Colette, the French author, spotted Hepburn on set and, enraptured, declared that this girl and no other must star in her Broadway production of Gigi.

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Thema: Anna-Alexia Basile Shoots Fashion at SF Color Factory—Be Still Our Hearts

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Anna-Alexia Basile Shoots Fashion at SF Color Factory—Be Still Our Hearts 18.08.2017 08:25 Forum: Probleme & Feedback

There may be nothing more au courant in San Francisco than the wildly popular Color Factory—the 12,000-square-foot rainbow-bright art installation that has the city's designistas Instagramming up a storm—and those who didn't get to see the sold-out phenomenon turning pale from FOMO. A new fashion shoot from behind the kaleidoscopic ribbons is sure to dial up the mania.

"Stepping into the Color Factory is like stepping into another dimension," says Anna-Alexia Basile, who photographed the Fall 2017 collection of cozy knits and leather jackets for the New York–based fashion house Veda. "I chose the Color Factory because color is the primary force that drives my work"—a truth that's easy enough and quite beautiful to behold in the local creative maven's own Instagram gallery.

The project makes marvelous use of color, both in monochromatic and contrasting fashion: An ever-so-green leather bomber against a wall of other verdant shades sparks the imagination, while a royal blue velvet dress against a pink velvet chesterfield sofa makes less of a statement about color than it does about texture.

"We were really excited to have her shoot at the Color Factory," says Kim LoCicero, marketing director for Veda, which has collaborated with Basile this past. "Anna's photography brings a playful aspect to the brand and it's fun to see the juxtaposition of the environments she chooses with the fabrications and colors used in our collection."

On Thursday, August 17th, Veda and Basile will host at a trunk show at Mission boutique Le Point to debut the fall collection, as well as a special Untitled zine showcasing the Color Factory shoot.

"Jordan Ferney, Leah Rosenberg and Erin Jang—the masterminds behind the [Color Factory], did an incredible job of creating a dream world that is both impactful and engaging—exactly the kind of place where I enjoy making images the most," says Basile. "Merging the relationship of art and fashion within a physical space felt natural, and the clothes really vibed with the surrounding environment. Have a look for yourself…"

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Thema: Fashion Photography as Social Commentary

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Fashion Photography as Social Commentary 16.08.2017 08:34 Forum: Probleme & Feedback

When Vogue Italia published a spread by Steven Meisel that was inspired by the deadly Deepwater Horizon oil spill of 2010, it provoked criticism. Bloggers and fashion critics called it tasteless and exploitative, given the devastation to the Gulf of Mexico’s ecosystem. This was neither the first, nor the last time that the publication sparked controversy, and it reinvigorated the debate over what is and isn’t acceptable in fashion photography.

That discussion will continue at the second Photo Vogue Festival, where an exhibition titled “Fashion & Politics” brings together some of the magazine’s most tendentious shoots. “Fashion is not as frivolous as a lot of people might think,” said Alessia Glaviano, the magazine’s senior photo editor, who co-curated the show with her colleague Chiara Bardelli Nonino. “And, as an industry, we’re partly responsible for this perception because we rarely engage in a critical discussion of our work.”

While she welcomes criticism, she notes that because she sees fashion as political, fashion photography can and should offer social commentary. One needs only to attend protests and rallies to see how clothes helped people proclaim their ideals. The “pussy hat” became the symbol of the Women’s March while Trump supporters sported red caps reading “Make America Great Again.” Shirts declaring “The Future Is Female,” “Nevertheless, She Persisted” and “Nasty Woman” face off with those still demanding “Hillary for Prison ’16.”

“The way we dress is intrinsically tied to identity and culture,” Ms. Glaviano said. “We put on clothes every day to communicate something about ourselves.”

Caring about one’s looks when participating in acts of civil disobedience is not new. During the civil rights era, nonviolent protesters were told to wear their Sunday clothes to create jarring contrasts, while the Black Panther Party asserted its presence through a uniform that underscored the group’s revolutionary discipline. And the outrage Beyoncé encountered when she performed at the 2013 Super Bowl in an outfit inspired by the Panthers is a testament to an ensemble’s provocative power.

Thinking about the ties between clothing, photography and politics, Ms. Glaviano recalls Jonathan Bachman’s photo of Ieshia Evanscalmly facing the police during a Black Lives Matter protest in Baton Rouge, La. “Part of its power comes from the contrast between the way she appears, graceful in a long summery dress, and the hefty gear of the riot police,” Ms. Glaviano said. “It could be a fashion spread.” Yet, when Pepsi alluded to that moment in an ad starring Kendall Jenner, the public outcry was so intense that the company was forced to pull the commercial.

“When a business co-opts a political movement, that’s when it becomes blurry and messy,” Ms. Glaviano said. She believes the images featured in Vogue Italia belong to another category: more art than advertising. “We need to question this notion that because we’re in the business of promoting garments, we can’t comment on what is happening in our societies,” she said. “True, while the magazine is on stands, you can find the designs in stores, but three months later, that’s no longer the case: The clothes go, the photographs stay. The photographers we work with are artists. As such, they have a point of view, a perspective and a vision to share. They use clothes merely as a tool to tell stories, much like a movie uses costumes.”

Caring about one’s looks when participating in acts of civil disobedience is not new. During the civil rights era, nonviolent protesters were told to wear their Sunday clothes to create jarring contrasts, while the Black Panther Party asserted its presence through a uniform that underscored the group’s revolutionary discipline. And the outrage Beyoncé encountered when she performed at the 2013 Super Bowl in an outfit inspired by the Panthers is a testament to an ensemble’s provocative power.

Thinking about the ties between clothing, photography and politics, Ms. Glaviano recalls Jonathan Bachman’s photo of Ieshia Evanscalmly facing the police during a Black Lives Matter protest in Baton Rouge, La. “Part of its power comes from the contrast between the way she appears, graceful in a long summery dress, and the hefty gear of the riot police,” Ms. Glaviano said. “It could be a fashion spread.” Yet, when Pepsi alluded to that moment in an ad starring Kendall Jenner, the public outcry was so intense that the company was forced to pull the commercial.

“When a business co-opts a political movement, that’s when it becomes blurry and messy,” Ms. Glaviano said. She believes the images featured in Vogue Italia belong to another category: more art than advertising. “We need to question this notion that because we’re in the business of promoting garments, we can’t comment on what is happening in our societies,” she said. “True, while the magazine is on stands, you can find the designs in stores, but three months later, that’s no longer the case: The clothes go, the photographs stay. The photographers we work with are artists. As such, they have a point of view, a perspective and a vision to share. They use clothes merely as a tool to tell stories, much like a movie uses costumes.”

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