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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. . .”

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.@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.

 

SHOPDEALMAN

Five Tech-Savvy Fashion Labels To Watch From Asia

In a world where technological advancements are rapidly evolving, fashion – a multi-billion-dollar industry – is not about to shy away from innovation.

While there is much allure and satisfaction to be found in the old school, traditional way of designing clothes, there are a small group of designers who are breaking the mold, determined to mesmerize consumers with novel and futuristic creations. Ultimately, the future of fashion is about to be more than just simple textiles and serve more than just the typical purpose of clothes.

With everything from interactive fabrics to 3D printing, specialized lighting and utilitarian wizardry to serve us in this brave new world, here are 5 cutting-edge labels in Asia who’re spearheading this fashion tech frontier.

Ying Gao – China

Ying Gao's dress has pins that moves when triggered by ambient sounds.

Ying Gao

Ying Gao’s dress has pins that moves when triggered by ambient sounds.

The China-born designer, Ying Gao, attended university at the Haute École d’arts Appliqués in Geneva, Switzerland and pursued a Master’s Degree in Multimedia at L’Université du Québec, where she increasingly focused her design efforts on merging style with technology.

Her range of interactive apparel is crafted in such a way that they respond to different elements in the environment – including sounds, gaze and the human presence. For instance the moment she saw how dressmaker pins made certain sounds when being moved on a fitting mannequin, she was inspired to create a dress where the pins moved in a similarly fluid motion when triggered by ambient sounds.

Besides creating these impressive sound-activated garments, Ying Gao has also dabbled with eye-tracking technology and apparel that interact solely with human presence. Her experimental and out-of-the-box ideas merge technology with style, and are always intended to wow audiences.

Junya Watanabe – Japan

Charge your smartphones on-the-go with this nifty coat by Junya Watanabe.

Highsnobiety

Charge your smartphone on-the-go with this nifty coat by Junya Watanabe.

Apprentice to Rei Kawakubo, founder of the label, Commes des Garçons, Junya Watanabe can be heralded for his impressive use of innovative fabrics and textures. Through fabric manipulation, Watanabe effectively translates futuristic ideas into wildly creative designs earning him the title, ‘techno couture’ designer.

With a keen focus in synthetic and technologically-advanced materials, it’s safe to say his collections are always hotly anticipated each season.

Take, for example, one of his most talked about innovations – a solar powered trench coat that provides on-the-go charging for a smartphone, created for his Fall/ Winter 2016 collection. Not only is the coat innovative in concept, it also serves to address a very real modern day problem – fueling a constantly drained smartphone.

Issey Miyake – Japan

Issey Miyake’s innovative 3DStretchSteam utilizes stretchable threads that react to steam. (Photo by Patrick Kovarik/AFP/Getty Images)

As one of the early pioneers of incorporating technology in garments, Japanese designer, Issey Miyake is one to watch. Whether it’s creating an entire collection from one roll of cloth to textile technology, the 79-year-old strongly believes in the many possibilities tech has to offer the fashion industry.

One of the brand’s latest innovations is the 3DStretchSteam, which is a type of fabric that contracts into 3D patterns when exposed to steam. Creating this involved computer software that calculated the composition of different cotton and polyester weaves. The result is origami-esque clothing that gives the illusion of being folded by steam. 

Despite being a strong supporter of technological innovation, Miyake toldCNN that he still aims to “combine [fashion] with traditional handcrafts, and in fact use technology to replicate dying arts so that they are not lost.”

Vega Wang – China

Vega Wang's captivating luminescent designs.

Vega Wang

In a mystical blue hue, Vega Wang’s captivating luminescent designs were oddly mesmerizing.

Coming from a family of electronic engineers, the Beijing-based designer, Vega Wang is no stranger to technology. For her senior collection while at Central Saint Martins, she was inspired by the creatures in BBC’s Blue Planet documentary series to create luminescent designs by usingelectroluminescent technology. The project also offered an opportunity for her to stay close to – and collaborate with – her parents.

Wang’s design aesthetic carries a bold, distinctive charm that is visually captivating and speaks volumes of the sheer creativity and intricacy involved. Alongside her unique interpretation of the human form, geometric shapes and cultural references, she has developed an impressive following in the field – a worthy achievement in and of itself.

Melinda Looi – Malaysia

Inspired by birds, Melinda Looi's 3D designs

Melinda Looi

Inspired by birds, Melinda Looi’s intricate 3D designs were the talk of the town.

Though the Malaysian fashion designer doesn’t incorporate technology in all of her collections or designs, Melina Looi was a key part of the team behind Asia’s first 3D printed fashion show. Working in conjunction with a Belgian-based additive manufacturing company, the show featured 5 avian-inspired works – from a skirt, to shoes, cape, necklace and wedges – which took a team of 6 to 8 people months to complete.

From this, Looi has found a new love for marrying fashion with technology while still creating a collection that is very natural and organic.

DEALMAN

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.

https://www.instagram.com/p/BWcOkz-lGc_/embed/captioned/?cr=1&v=7&wp=570#%7B%22ci%22%3A0%2C%22os%22%3A14629.000000000002%7D

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.

 

 

DEALMAN

London Fashion Week Switches Up September Schedule

 

 

ALL CHANGE: What a difference a day makes.

The British Fashion Council is singing the praises of the CFDA, which has agreed to leave a full day between the end of New York Fashion Week, and the start of the London showcase.

For the first time in a long time, editors won’t have to climb on to the red eye to London after the final shows end in New York. Instead, New York will wrap up on Sept. 13, and London Fashion Week will begin on Sept. 15.

“Hats off to the CFDA,” said Caroline Rush, chief executive officer of the BFC, which for years had watched as exhausted members of the fashion press skipped Friday’s shows altogether or slogged through the day half-asleep.

“The move will strengthen the Friday and also allow young talent to see buyers in London at 180 Strand,” the BFC’s official show venue and exhibition space, Rush said. The BFC is set to release the provisional September schedule on Thursday.

As reported, the five-day week will have an international flavor, with Emporio Armani staging a show at 7 p.m. on Sept. 17, followed by a party to mark the unveiling of the newly renovated Emporio Armani Bond Street store.

Last year, the designer showed the Emporio collection in Paris. The last time Armani showed in London was during his “One Night Only” event in 2006.

Tommy Hilfiger, meanwhile, will close London with a see-now-buy-now runway event that’s previously taken place in New York and Los Angeles.

Hilfiger will stage his TommyNow experiential runway event on Sept. 19, at 7 p.m. at the city’s Roundhouse concert venue.

In other news, Burberry has switched its show to Saturday night at 7 p.m. while Roland Mouret, who shows the following day, will be marking his 20th anniversary in fashion during the week. Nicopanda will be showing for the first time in London, at 6 p.m. on Saturday just before Burberry.

The showcase will open on Friday with catwalk shows by NewGen funding recipients Paula Knorr and Richard Malone, while labels including Shrimps, Faustine Steinmetz, Roberta Einer and Ashley Williams will also show on the day.

 

SHOPDEALMAN

 

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.)

Photo

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.

Photo

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.

SHOPDEALMAN