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Gigi Hadid, Zayn speak to the gender fluidity of fashion: ‘It’s fun to experiment’

Covering Vogue’s August issue, Gigi Hadid and Zayn Malik don what was once thought of as menswear — button-up, collared shirts underneath blazers.

But members of the power couple, who previously posed for the magazine in Naples, believe clothes don’t have a gender.

“I shop in your closet all the time, don’t I?” Hadid asks her singer boyfriend, according to the fashion magazine. “Yeah, but same,” Malik acknowledges before bringing up an Anna Sui shirt he borrowed. “I like that shirt,” he says. “And if it’s tight on me, so what? It doesn’t matter if it was made for a girl.”

His supermodel girlfriend concurs. “Totally. It’s not about gender. It’s about, like, shapes. And what feels good on you that day. And anyway, it’s fun to experiment. . .”

View image on Twitter

.@GigiHadid and @zaynmalik star on the cover of our August issue! Read the full story here: http://vogue.cm/RrRxR3M 

She adds, “It’s just about, ‘Do the clothes feel right on you?’”

“With social media, the world’s gotten very small,” says Malik, “and it can seem like everyone’s doing the same thing. Gender, whatever — you want to make your own statement.”

Gigi Hadid has proven many times over that she’s a pro at unexpected hair makeovers. USA TODAY

Hadid also opened up about her relationship with Malik while fielding Vogue’s “73 Questions,” describing his most romantic gesture. “A couple years ago on Valentine’s Day we went on a boat trip,” she said, “and it was really nice.”

She also confirmed her beau also spends time in the kitchen, defying archaic gender norms. She says his chicken and sweet corn recipe is “like a hug.”

Melania Trump continues fashion tour de force at Eiffel Tower dinner

After earning praise for her elegance and knowledge of French style, Melania Trump continued her fashion tour de force in a custom Hervé Pierre dress for dinner at the Eiffel Tower.

The first lady joined her French counterpart, Brigitte Macron, President Trump and French President Emmanuel Macron for a cozy meal at the Jules Verne Restaurant in the Parisian landmark Thursday, showing her earlier outfit was not a one-off.

The slim-fit, knee-length dress tastefully highlighted the national colors for the two countries  — a fitting salute to France on the eve of Bastille Day, a national holiday akin to the 4th of July. And its made it all the more diplomatic when taking into account Pierre’s French heritage and recently-earned American citizenship.

The designer and stylist behind her inaugural gown also picked out her red Dior suit from earlier in the day, a lovely nod to the 70th anniversary of the famous fashion house.

Brigitte Macron, for her part, wore another French designer, in the form of a Louis Vuitton mini-dress.



Afro-Athleisure – fashion theme at Saturday’s

 The fashion challenge theme for the 2017 KZN Province Rural Horse Race Calendar including the Dundee July Rural Horse is themed “AFRO-ATHLEISURE”. Athleisure is the current trend in global fashion. It is inspired by the creative use of active or sportswear as everyday stylish clothing, resulting in the combination of two words; “athlete” and “leisure”.

As the fashion challenge theme for this year, “AFRO-ATHLEISURE” will inspire designers to come up with original designs to produce garments that embrace the traditional style of horse racing, paying homage to the athleticism and skill displayed by the jockeys. The expected result is an enchanted assembly of authentic Afrocentric garments that radically transform horse racing attire towards traditional cultural aesthetic.
According to Xolani Zulu, the interim Managing Director of the KZN Fashion Council, the fashion theme will be extended beyond the Dundee July to cover the entire rural horse racing calendar. This saw fashion designers from participating districts given training by the KZN Fashion Council, to interpret the theme and gave them guidance to create and style looks that will be of high quality and eligible to compete on any respected fashion platform.
The above mentioned theme is intentionally and specifically targeting both the commercial and the developmental opportunities presented by the event of the magnitude of the Dundee July, and by extension, the rural horse racing cluster in its entirety.
Selected designers from the fashion challenge will be targeted for further specialized mentorship and incubation, empowering them to supply rural horse racing uniforms and related promotional merchandise, in a partnership between the KZNFC, DSR, EDTEA and LED’s from participating municipalities.

Though it is based in Durban, with eThekwini Municipality as one of its founders, the KZN Fashion Council is also funded by the provincial department of Economic Development, Tourism and Environmental Affairs. This explains the busy calendar; after successful Durban July fashion shows with KZN Tourism, KZNFC has been preparing designers in uMzinyathi District Municipality for the upcoming Dundee July.



At the end of July the organization will be sending 15 designers to exhibit local fashion at Pure London , in the United Kingdom.
Zulu believes that empowering designers is at the heart of the Council’s operational strategy and as such, the platforms like the Dundee July do well to also prioritize designers and their creative work. “Our Dundee July activities and participation is well placed to develop, profile and empower our beneficiaries, they are the stars of the Dundee July 2017 Fashion Element and Show, “.

The End of an Era: Colette to Close Its Doors

PARIS, France — Colette, the renowned Parisian boutique, is closing down after 20 years.

“As all good things must come to an end, after 20 wonderful years, Colette should be closing its doors on December 20 of this year,” the company said in a statement. “Colette Roussaux has reached the time when she would like to take her time; and Colette cannot exist without Colette.”

Saint Laurent is in talks to take over the Rue Saint-Honoré location, the company said. “Negotiations are under way with Saint Laurent and we would be proud to have a brand with such a history, with whom we have frequently collaborated, taking over our address,” the statement read. “We are happy of the serious interest expressed by Saint Laurent in this project, and it could also represent a very good opportunity for our employees.”

The boutique was founded in 1997 by Colette Roussaux, and has been led by her daughter Sarah Andelman in recent years. Andelman also shared the news in a post on the Colette Instagram account this morning.


Andelman is famed for her discerning fashion edits and quirky mix of lifestyle products that have turned the store into one of Paris’ premiere fashion pit-stops. Drawn to an eclectic mix of high fashion and edgy street labels alike, Andelman regularly showcases designs from up-and-coming designers and was one of the first to stock collections by Proenza Schouler, Mary Katrantzou and Rodarte.

The three-storey, 8,000-square-foot space is a veritable destination for fashion fans and consumers. It sells everything from niche film camera to accessibly-priced souvenirs and T-shirts, and was the go-to for exclusive launches of brands, special products, independent magazines and the fashion incarnation of the Apple Watch.

Though Saint Laurent is set to take over Colette’s address, the relationship between the two companies hasn’t always been friendly. In 2013 Colette carried about 300 “Ain’t Laurent Without Yves” parody T-shirts, following Hedi Slimane‘s decision to change the company name from Yves Saint Laurent to Saint Laurent. Saint Laurent’s commercial director demanded that the shirts be removed from Colette’s online shop, and its chief executive sent Andelmen a letter “accusing her of selling counterfeit products that ‘seriously damaged’ the YSL brand and confirming the end of their business relationship.” Andelman, who sold the remainder of the offending t-shirts in-store but not online, said at the time: “We have been excommunicated.”

The wide range of products, including kitchenware, jewellery, books and toys made the retailer a location for multiple generations. “It’s the only shop where I go because they have things no one else has,” Karl Lagerfeld told BoF last year. “I buy watches, telephones, jewellery there — everything really! They have invented a formula that you can’t copy easily, because there is only one Colette and her and Sarah are 200 percent involved.”

Colette is also known for its combination of high-end ready to wear and streetwear, making it one of the first to embrace the fusion of luxury fashion with an edgy street aesthetic. “We started to work with people like Virgil [Abloh] before he started Off White, as well as OAMC’s Luke Meier when he came from Supreme, and with the whole wave of designers like Hood By Air,” Andelman told BoF last year. “At a certain point it didn’t make sense to have them on the ground floor anymore, so they went up with the designers.”

From around the clock dining in the Water Bar to a plethora of book signings, concerts and even panel discussions on sneaker culture, Colette’s status as a hub for genuine cultural “happenings” helps to sustain and propagate the store’s buzzy atmosphere, accented by the Givaudan-designed fig scent that wafts throughout the space and onto the street.

Earlier this year, H&M revealed a collaboration with Colette. The ‘H&M Studio x Colette’ line is expected to launch on 21 August and will be stocked in-store and online at Colette for two weeks, along with selected pieces from the main H&M Studio AW17 collection.

“We’ll launch the H&M capsule on 21 August,” she says. “And of course nothing change with our ‘Le Relais’ projects with Les Vacances de Lucien, Sacai, Thom Browne, Chanel and Saint Laurent on our first floor.”

Andelman says that colette.fr will also close and that she will be focusing on “turning the page.”

A former art student and Purple magazine intern, Andelman established Colette in 1997 alongside her mother Colette Roussaux, after whom the store is named. Andelman and Roussaux lived above the store.




48 Hours in Paris with Proenza Schouler

Jack McCollough and Lazaro Hernandez, the designers behind the fashion label Proenza Schouler, have flown the coop. When we meet before their show, it is in a raw concrete space in the 17th Arrondissement of Paris rather than in their SoHo studio in New York. Next to a Levi’s store and a stone’s throw from Bloomingdales, their SoHo home base is quintessentially New York. And while their address in Paris recalls their usual show spaces — the galleries around New York’s arty Chelsea — you can glimpse the Arc de Triomphe from the end of the street. McCollough and Hernandez are not only Americans — they’re bringing a little piece of America to Paris, too.

This is Proenza Schouler’s first show in Paris since Hernandez and McCollough founded the brand in 2002. Hernandez, 38, and McCollough, 40, met while studying at Parsons School of Design in New York, and have called that city home ever since. (They’ve shown in places as classically New York as the Whitney Museum, the Met Brauer and even a gutted office space on Wall Street.) Their creative synergy is exceptional: They give quick-fire interviews in tandem, batting ideas back and forth and finishing each other’s sentences. Talking through their collection, they each grab at similar pieces — a dress in what appears to be jacquard, but is actually lace bonded to crepe; a feather-embroidered skirt; a squishy cubic mink bag; a low, heavily beaded pump inspired, they say, by the ones created by Roger Vivier for Dior in the 1960s. “They kind of make a crazy jingle when you put them on,” says McCollough; Hernandez obligingly shakes the shoe.

Why Paris, and why now? One answer is the impending launch of their first fragrance with the French cosmetics company L’Oréal, which is slated for early next year — and which they hope will kick Proenza Schouler into another level of global recognition. Maybe a pending Paris-based perfume launch is a bit too obvious (read: commercial) a motivation for showing on the other side of the Atlantic — at least for a designer to admit. Nevertheless, the duo allow that their near-constant trans-Atlantic commute over the past two years to refine the scent (which is still under wraps) allowed them to consider Paris as a place to show their collection. That was compounded earlier this year by an invitation from the Chambre Syndicale, the governing body of Paris haute couture week, to present as part of the official calendar.

More fundamentally, with this show, the designers are trying to challenge fashion conventions — namely scheduling. Ready-to-wear designers normally show fall clothes in February and spring clothes in September, and the clothes arrive in stores roughly six months later. But Proenza Schouler is presenting its spring/summer 2018 ready-to-wear collection during the fall/winter 2017 haute couture season. (Though the brand isn’t haute couture, the designers are taking advantage of the fact the members of the press are in Paris to attend the couture shows.)


McCollough and Hernandez outside of their venue, the Lycée Jacques-Decour, a working high school in the north of Paris, close to the Gare du Nord. The show venue is outside. “You walk in o this garden, a courtyard,” McCollough explained on Saturday afternoon. “A veranda that wraps around the whole thing. So it’s outside the show, but it’s covered. Hopefully it’s not raining.” It was — but it didn’t dampen spirits. Just the audience, a little. Credit Hugues Laurent

What it means on a practical consumer level is that these clothes will be delivered earlier — hitting stores around November — and will stay available for longer. The brand will do away with the concept of precollections and will, from now on, create only two collections a year. “We’re consolidating pre and main into one collection,” says McCollough. “Precollection is when the bulk of the business is done — so why not show the things we pour our heart and soul into?”

Accordingly, this collection has been a labor of love: Rather than the six month lead time normally afforded a spring/summer collection, the designers and their team pulled this show together in just four. (They also transplanted their entire Manhattan staff to a Parisian atelier, which is no small feat.) Bigger, perhaps, than the shift of staff is the change in mind-set it represents for the designers. “We didn’t want to necessarily have a couture feel,” McCollough says of the collection — couture being fashion shorthand for anything embroidered, embellished or generally worked. Yet in this collection, there is a feathered jacket that took a week to make, while other pieces are created from hand-embroidered flowers, crocheted ribbon and devoré velvet bonded with chiffon. There’s lots of very French lace too — the color palette is dominated by black, white and rosé beige, the color of pink champagne. “There is always an element in every collection you do that’s more work or more embroidered or put together,” McCollough allows, standing in front of Proenza Schouler’s feathered jacket. “I mean, just coming here…” He stops, and Hernandez picks up. “It’s impossible not to be influenced or inspired by coming out here and knowing you’re doing a show in Paris,” he says. “And what came before us, what we looked at, everyone that we’ve ever been inspired by. Growing up, historically, contemporary, everything that’s interesting to us, happened here. So of course there’s that weight on you!” He smiles widely.


On the day of the show, preparations begin several hours before the official 11 a.m. start time. Backstage, Hernandez lays out a number of knitted garments, which form a major part of the collection. “I was thinking of jellyfish,” he says, of the dense ruffled skirts in knit viscose. Credit Hugues Laurent

Cut to 48 hours later, and their runway show — which is held in the cloisters of a 19th-century high school that is still in use today — is already over. In one corner, Hernandez and McCollough are being mobbed by a crush of postshow well-wishers, including Glenda Bailey, the editor in chief of American Harper’s Bazaar, and Stefano Tonchi of W magazine. The New York designer Tory Burch leaps into the throng, dressed in a posy-print Proenza Schouler dress, and kisses the designers. “The Americans invade Paris!” she cries out. It certainly seems that way.



Vogue: Why ‘posh girl exodus’ continues at fashion magazine


A number of senior figures have exited the magazine in recent weeks amid reports that its new editor is making some staffing changes before he officially begins on 1 August.

Edward Enninful is taking over from Alexandra Shulman, who announced in January that she was leaving after 25 years in charge.

He is the first male editor in the magazine’s history, and is already making a few tweaks (or, removing “posh girls”, as The Times put it) to the senior editorial team.

Since his hiring was announced, Vogue veterans such as Lucinda Chambers and Emily Sheffield have announced their departure as Enninful gears up to bring in his own team.

But it hasn’t been a smooth transition so far.

Lucinda Chambers
Image captionLucinda Chambers was Vogue’s fashion director for 25 years under Shulman

Chambers, Vogue’s former fashion director, was one of the first major figures to leave.

And she did so in style.

“Lucinda has announced that she is to step down from her position,” the magazine delicately said on its website in May.

“A month and a half ago I was fired,” she said in a candid interview with fashion blog Vestoj, published this week.

“Truth be told, I haven’t read Vogue in years. The clothes are just irrelevant for most people – so ridiculously expensive.”

There’s more.

“Most fashion magazines leave you totally anxiety-ridden,” she said, adding: “We are always trying to make people buy something they don’t need. We don’t need any more bags, shirts or shoes. So we cajole, bully or encourage people to continue buying.”

Alexa Chung
Chambers said she wasn’t happy with a cover shoot she did involving Alexa Chung

The comments echo what Shulman herself said earlier this year.

“At the end of the day, very few people have to have another pair of trousers, another skirt, another bomber jacket, so what you are doing as an industry is creating desire,” she said.

Hilary Alexander, editor-at-large for Hello! Fashion Monthly and trustee of Graduate Fashion Week, says there’s an element of truth in Chambers’s comments.

“There’s no doubt there are too many clothes in the world, and the number of collections being pumped out month after month, you could spend the entire year going from one Fashion Week to another,” she says.

“But at the opposite end of the scale, fashion is a huge industry that employs millions of people across the world, it’s worth around £28bn a year in this country alone if you include the retail sector.”

Susie Lau

The departure of senior figures like Chambers is to be expected, says Susie Lau, fashion blogger and journalist.

“From an industry point of view, it’s completely normal for someone like Edward Enninful to come in and say he wants a completely new team,” she tells the BBC.

“Especially at the senior level, he would want to have people that he feels can push forward the new editorial direction, and I think it is going to be a very different tone and feel to what Alex did.”

Chambers appeared to be pulling no punches with her rather honest interview, but not long after it was published, it was taken down… and then put back up again.

“Due to the sensitive nature of this article, we took the decision to temporarily remove it from the site,” Vestoj said in a statement.

“In terms of the reasons why it was removed, they are directly related to the industry pressures which Lucinda discusses in her interview.

“As you know, fashion magazines are rarely independent because their existence depends on relationships with powerful institutions and individuals. We created Vestoj to be an antidote to these pressures, but we are not always immune.”

Alexandra Shulman
Image captionAlexandra Shulman is leaving Vogue after 25 years as editor

You can see why some figures in the fashion industry may not have been best pleased with the Chambers article.

At one point in the interview, she said: “The June cover with Alexa Chung in a stupid Michael Kors T-shirt is crap. He’s a big advertiser so I knew why I had to do it. I knew it was cheesy when I was doing it, and I did it anyway.”

But Lau says the close relationship between advertisers and journalists has always been a fixture of the industry.

“[Chambers] has been in fashion for so long, she’s worked for a magazine where the commercial concerns are hugely important, and that’s not anything new,” she said

“Advertisers are of course given precedence, and maybe creative control has to be sometimes compromised – but it was ever thus. That’s part and parcel of working in a print landscape that has undergone so many changes.”

Emily Sheffield's tweet: Congratulations to my sister Samantha, on launching her brilliant fashion label, Cefinn, exclusive interview in VogueImage copyrightTWITTER
Image captionDeputy editor Emily Sheffield, sister of Samantha Cameron, is another big name who appears set to leave the magazine

She adds that Chambers’s comments in the interview are understandable given how long she has spent working at Vogue.

“I think when you work in the industry you do become quite jaded. When you’re dealing with the mainstream side of fashion and doing it in a very commercially-minded way, it can get cynical.

“There are wonderful creative and brilliant things happening, but I guess if your day-to-day isn’t about that any more, that can wear you down.”

Vogue’s replenishing continued on Tuesday with reports another senior figure announced she was exiting the publication.

Deputy editor Emily Sheffield, who is also the sister of Samantha Cameron, said she was leaving her role as Vogue’s deputy director “after a very happy decade”.

She might not have updated her Twitter biog yet, but the invitations for her leaving do have gone out so we’re pretty sure it’s only a matter of time.

“Emily Sheffield was suggested as a replacement when Alex’s retirement was announced, so it’s only natural if you’re thinking you might get the top job and someone newer and younger comes in, that you would feel there isn’t really a place for you any more,” Alexander explains.

Edward Enninful and Naomi CampbellImage copyrightGETTY IMAGES
Image captionEnninful (pictured with Naomi Campbell) was made an OBE last year

Both Lau and Alexander are looking forward to seeing what changes are made to the magazine when Enninful officially starts as editor.

“I’m excited because he is a brilliant stylist, I think Vogue will be a lot more diverse, I think we can expect surprises and shocks,” Alexander says.

“Perhaps there will be more focus on younger, newer designers, those who are working in unusual ways. I would welcome that, you don’t want to constantly read about the same old faces.”

Lau adds: “I know some of the people going in there [to Vogue], they haven’t been announced yet but I think it’s going to be a really exciting team.

“It won’t be quite as different as people are painting it, but there will be changes. Vogue is a barometer of our times, and I think it will reflect that.”




Emily Ratajkowski says fashion biz won’t support her big boobs

It’s not Hollywood that has a problem with Emily Ratajkowski’s body, it’s the fashion industry.

Days after she made waves after claiming she was too sexy to get work, the model-turned-actress, 26, turned to Twitter to explain that her burgeoning film career hasn’t been affected because her “boobs are too big” – only her modeling career has.

“FYI I was talking about the fashion industry not celebrating the female form, NOT Hollywood,” she tweeted.

Last week, Harper’s Bazaar Australia published an interview in which Ratajkowski, who rose to prominence after shimmying her way topless through the video for Robin Thicke’s “Blurred Lines,” strongly intimated that her career had been hampered by her looks.

“There’s this thing that happens to me: ‘Oh, she’s too sexy,’” she told the magazine. “It’s like an anti-woman thing, that people don’t want to work with me because my boobs are too big. What’s wrong with boobs?”

“They’re a beautiful feminine thing that needs to be celebrated. Like, who cares? They are great big, they are great small. Why should that be an issue?” she added.

While her modeling career may be in a slump, Ratjkowski, who appeared in the 2014 adaptation of “Gone Girl,” is still acting.

Last year, she appeared in an episode of the Netflix comedy “Easy,” and has also starred in two movies, “Cruise” and “In Darkness,” that are currently in post-production,according to IMDb.