Fashion is a huge weapon, because we are all connected to the clothes we
wear,” Livia Firth, Eco-Age founder, told press this morning. “Sadly, today the
industry is dominated by rapid markets and decentralised supply chains producing
high volumes of cheap clothes through an overwhelmingly female, low-wage
“By utilising the common wealth… and through the potential of the artisan
fashion trade (which will be highlighted in the exhibition) we can have a
positive impact on female empowerment and poverty reduction,” Firth
In an industry estimated to be worth more than £120 billion, sustainability
is a major concern," added the Right Honourable Patricia Scotland QC,
secretary-general of the Commonwealth. "It’s a challenge and an opportunity for
all involved in the fashion sector, and the focus of this project is on
supporting sustainable designers and artisans, and on our Commonwealth
priorities of gender equality, ethical production and supply chains, innovation,
economic growth and poverty reduction.”
Following the London Fashion Week showcase, which the Duchess of Cambridge
and Countess of Wessex will attend, the exhibition will be made public at
Australia House on February 21. Digital partnerships with Matchesfashion.com and
Google Arts and Culture will mean those who cannot make the London presentation
will be able to engage with the Commonwealth Fashion Exchange via online
platforms, and start conversations on how to take the initiative further.
Vogue Editors’ New Year’s Resolutions: What to Wear to French Class
Last May, I found myself sitting in a classroom for the first time since
college, awkwardly introducing myself to my new classmates. Things were slowing
down at work, summer was just around the corner, and my then-colleague Sophia
had somehow convinced me to sign up for French class at Coucou French Classes.
Looking back, I don’t know how she got me to give up my Wednesday evenings,
which I typically enjoyed at home with a Seamless order and mindless Instagram
I stuck with it through the summer, got through level two and the irregular
verbs. Then came Fashion Week in September—the deadlines, the last-minute
shoots—and by the time December came around, I had skipped a handful of
level-three classes. What was supposed to be a fun new hobby was starting to
feel like a chore. Not to mention the fact that every class was BYOB, and I
drank to relieve my anxieties over learning a new language and mispronouncing
words in front of a group of strangers. I would roll up to work every Thursday
morning hungover. So on the last day of level three earlier this month, I was
ready to quit and find a new way to “focus on myself” in the new year.
But I began to have second thoughts about quitting my one hobby to go back to
doing, well, nothing again. “Five years from now, are you going to remember
urgently requesting samples at your desk at 9:00 p.m. on a Wednesday night? Or
are you going to remember sitting in this classroom with us, drinking wine, and
joking about how avocat means both avocado and lawyer in French?” Sophia
challenged me. She wasn’t wrong. After all, I probably wasn’t going to stick to
my new workout plan anyway—so why quit French now? I signed up for level
Coveteur Cofounder On Her Path From Side Hustle To Digital Fashion
This is the first in a four-part series taking a look at what it’s like to
work at an emerging fashion media company from a variety of employee
perspectives. Coveteur was founded by Stephanie Mark and Jake Rosenberg in 2011
to tell the stories of the fashion elite, tastemakers and celebrities through
their closets. We applied the Coveteur approach to their new office space. Just
as a closet can reveal much more about a person than what they wear, so can an
office reveal the lessons learned, productivity hacks and inspirations of the
people who inhabit it.
Founder: Stephanie Mark, cofounder and editor-in-chief, Coveteur
Funding: Privately held
Hometown: Toronto, Canada
Education: Dallhouse University, Halifax, NS; Parsons School of Design, New
What I wanted to be when I was a kid:
There was never any option for me to do anything except something in fashion.
Always. It was the only thing I cared about; the only thing that I wanted to do.
My grandparents owned a women’s clothing store in Halifax, Nova Scotia. When we
visited I would sit in the store for hours, fascinated by the women
shopping.Read more at:chiffon
bridesmaid dresses | silver
Puberty is awkward for almost every teenager. As a young girl growing up in
the suburbs of Detroit, Melanie Elturk noticed that hijabs were becoming an
issue in her community, "not only for the girls who already wore it and
struggled to keep it on, but for girls who didn’t wear it and had no desire to
put it on," she says. "At that time, there were no real hijab fashion influences
one could look up to for inspiration." Fast-forward to 2010, and the former
civil rights attorney launched Haute Hijab, an e-commerce site and community
resource that sells high-quality hijabs for women. Today, the brand breaks into
an entirely new category with a collection of luxury hijabs, aptly called the
Luxury Collection. We caught up with Elturk to talk about her new line, stigmas
toward Muslim women, and her end goal for the brand.
What was the impetus for creating the new line? It came out of a real need
for formal hijab options. When I reflect back at the most special moments of my
life—my law school graduation, my engagement, and especially my wedding—I didn’t
have appropriate formal hijab options that corresponded with my outfit (I
literally cringe when I look back at my engagement photos—what was I thinking
with that poly chiffon!?). We put so much time and effort into our actual outfit
but due to lack of options—our hijab often becomes an afterthought. As such, we
set out to create a new category in the hijab space with a luxury line for the
special moments in a woman’s life.
Meet the promising design winners of 2018’s International Woolmark Prize
Using a combination of long-established artisanal techniques and 21st-century
tailoring, New Delhi-based Bodice and London Fashion Week: Men’s veteran Matthew
Miller each take home the 2017/18 International Woolmark Prize.
It’s the opening night of the Pitti Uomo in Florence, and a crowd has
gathered in the Stazione Leopolda to celebrate the winners of the International
Woolmark Prize. Inside the dark exhibition hall, flood lights shine on rows of
models displaying the finalists’ collections, as industry members, fresh off the
plane from London Fashion Week: Men’s, talk shop and patiently await the news.
Soon, the prize organisers take to the stage to reveal this year’s two big
winners: Indian womenswear designer Ruchika Sachdeva of Bodice and British
menswear designer Matthew Miller, each of whom will take home $200,000. American
menswear brand Dyne is then awarded the inaugural Innovation Award, a prize of
The Woolmark Prize began in 1953 as a platform to showcase emerging fashion
talent and to promote the usage of Australian Merino wool, which remains one of
the country’s chief exports. During its sophomore year, a 21-year-old Karl
Lagerfeld and 18-year-old Yves Saint Laurent were each awarded the prize for
their innovative use of wool — forever establishing Woolmark as one of the most
important contests for young designers. After a hiatus that spanned decades, the
Prize was successfully relaunched in 2012. Today, it’s more global than ever,
spotlighting designers from six territories and over 60 countries, who take part
in regional design competitions before a select few ascend to the final round.
This year, the jury comprised designer Phillip Lim, Vogue Italia Editor-in-Chief
Emanuele Farneti, and models Amber Valletta and Liya Kebede, who spent the day
reviewing the final collections in Florence.
Prepare to Be Obsessed With Vejas Kruszewski’s New Label, Pihakapi
Vejas Kruszewski’s new project, a men’s and women’s collection called
Pihakapi, will debut to the world today, and in advance of the presentation he’s
shared a couple of images exclusively with Vogue. If the tone of the imagery and
the 30-minute chat I had with the 21-year-old designer are any indication, there
will be no logo tees or clickbait athleisure-inspired subversions here.
Kruszewski is too talented a constructor with too elevated an eye to do
something that easy. Instead, he will continue what he started at his eponymous
brand, twisting such mundane items as trench coats, moto jackets, and tees into
serenely beautiful ready-to-wear that has few contemporary peers.
Now, I know what you’re thinking: Why would a former LVMH Special Prize
winner put his own brand on hold and agree to be the creative director of a
project with a nearly unpronounceable name? It comes down to production. By the
time Vejas’s Fall 2017 collection came to be, the designer had outsourced
manufacturing to the Italian leather manufacturer Pellemoda, which also owns
other woven-centric factories in Italy. “Around the time we entered into that
agreement with them, Pellemoda started asking about this new venture that they
were starting,” Kruszewski told Vogue over the phone from his Montreal studio.
That new venture was an in-house brand called Pihakapi. To Kruszewski, the
timing was right. “When many small brands start out, their biggest challenge is
supply chain logistics, manufacturing, and delivering good quality product on
time. Pellemoda was smart enough to realize that as a manufacturer they can
bypass all those roadblocks to growth with this brand,” he said
Red Cross designer bridal dresses star in fashion charity show
AS speculation grows over who will design Meghan Markle’s wedding gown, a
small charity shop in the heart of Edinburgh has quietly been attracting
brides-to-be to its unique bridal boutique full of designer wedding dresses.
Now bridal dresses donated to the British Red Cross charity shop in
Stockbridge - the charity’s only bridal shop in the UK - is about to hit the big
time after been asked to showcase its wares at a prestigious wedding venue in
Star turn at the charity’s fund-raising Bridal Fashion Show on 18 January
between 7pm-9pm at the Royal College of Physicians of Edinburgh (RCPE) at 9
Queen Street, is a £14,000 cream couture ballgown by Phillipa Lepley, who was
hot favourite to design Kate Middleton’s gown.
Chelsea-based Lepley has created a host of luxury gowns for society weddings,
Queen Charlotte’s Ball for debutantes and showbiz celebrities including
designing wedding dresses for former Spice Girl Geri Halliwell, Ali Astall who
is married to Declan Donnelly of Ant and Dec, and model Jacqui Ainsly, bride of
Madonna’s former husband Guy Ritchie.
V&A’S LATEST EXHIBITION REVEALS THE FASHION INDUSTRY’S ETHICAL FUTURE
If it seems like fashion owns the world, one thing’s for certain: fashion
owns animals in more ways than one — from leather and fur to feathers and bones
— animals aren’t just on our tables; they’re in our closets, too.
Now, the topic of sustainability and promoting vegan materials is set to be
the focus of the Victoria & Albert Museum’s next major fashion exhibition –
Fashioned from Nature, which will feature 300 items on display showing the
trajectory of fashion from its exploitive roots to its ethical future.
Some historic items on display include 1870s earrings made from the whole
heads of red-legged honeycreeper songbirds, a cape of cockerel feathers, a pine
marten fur hat, and a muslin dress adorned with the wing cases of hundreds of
green metallic beetles.
Andrea Moore fashion label in liquidation - expansion, road works cause
Iconic Kiwi fashion brand Andrea Moore has gone into liquidation after nearly
20 years in business.
The label's managing director, Brian Molloy, said "highly damaging" late
deliveries, crippling creditor payment defaults and extensive roadworks outside
both its Auckland and Christchurch stores constrained trade for months.
The company hit a "perfect storm" in 2017, Molloy said on Tue
"Though we have a loyal customer base of over 30,000 our problems will be
familiar to anyone conversant with the hugely capital-intensive nature of the
industry which has become very discount driven affecting valuable margins."
* Kiwi fashion designer Andrea Moore's new clothing line to be sold in
* Andrea Moore takes glamour to the max
Andrea Moore has seven stores across Auckland, Wellington and Christchurch
and employs 22 staff.
A show of power, not fashion: dressing for the post-Weinstein Golden
This Golden Globes red carpet was not a fashion show, but a show of power.
The cynics dismissed a black dress code as a lazy form of protest against
harassment and gender inequality, but when it happened, many of those watching
felt the impact. With an almost airtight blackout and a sea of Time’s Up pins,
the images from this year’s ceremony spoke of women in terms of power and
solidarity rather than glamour or competition.
This was a dazzling kind of blackout. There was Angelina Jolie in
feather-trimmed black tulle, arm-in-arm with her teenage son Pax sporting his
Time’s Up pin. Reese Witherspoon and Emma Stone stood (bare) shoulder to
shoulder with Billie Jean King, founder of the Women’s Tennis Association, whom
Stone portrays in Battle of the Sexes. Claire Foy and Mat Smith, stars of The
Crown, wore matching tuxedos; Laura Dern, in black Armani, stood with Monica
Ramirez, a campaigner who fights sexual violence against farmworkers.