Nordstrom Unveils New Fall 2017 Fashion Campaign

Retailer Showcases Fashion Through The Lens Of Photographer Max Farago And Director Clara Cullen

Today, Nordstrom, Inc. launched a new national brand campaign shot by photographer Max Farago with video by director Clara Cullen, which celebrates the best of fall fashion. The campaign will debut on August 7 in the U.S. and on September 4 in Canada with print, digital, social, out of home and video components.

Nordstrom Fall Campaign - Clara Cullen, Max Farago

Nordstrom Fall Campaign – Clara Cullen, Max Farago

The campaign vision and concept was developed by Olivia Kim, Vice President of Creative Projects at Nordstrom, who has set the creative tone for the retailer’s last five brand campaigns. Kim along with her creative team tapped Farago and Cullen, the husband and wife creative duo favored by the fashion world, to bring their vision to life.

Nordstrom Fall Campaign - Clara Cullen with her mother, daughter, sister + niece

Nordstrom Fall Campaign – Clara Cullen with her mother, daughter, sister + niece

The campaign features intimate and honest portraits of models and non-models alike, minimally edited and styled how people really dress to depict a modern and relevant perspective on a high-fashion campaign. The full campaign imagery and videos can be seen at Nordstrom.com/Fall2017. Highlights of brands featured in the campaign include 3.1 Phillip Lim Acne, JW Anderson, Simone Rocha, Studios adidas, Lemaire, Sophie Buhai, Alexander Wang, A.P.C., Levi’s®, Tibi, Dr. Martens, Molly Goddard, Tomorrowland, FRAME, Norse Project, Topman, Isa Arfen, Officine Generale, Ovadia & Sons, J.Crew, Vans®, Vejas, Richard Malone, and SATURDAYS NYC.

With her creative mind and unique perspective as a merchant, Kim took on the role of setting the vision for the company’s brand campaigns in Spring 2016, the retailer’s first in 15 years. Following her inaugural “See Anew” campaign, “We Are Here” from Fall 2016, and “Love, Nordstrom” from the holiday season, and the Spring 2017 campaign shot by Petra Collins. The Fall 2017 campaign marks Kim’s fifth developed for Nordstrom.

The cast includes:

Nordstrom Fall Campaign - Hailey Gates

Nordstrom Fall Campaign – Hailey Gates

  • Actress and television journalist Hailey Gates, host of VICELAND’s series States of Undress, in which she explores geopolitics through the lens of fashion. Her work takes her to conflict zones around the world for international fashion weeks.

    Nordstrom Fall Campaign - The Hiplets - Camryn Taylor, Lourdes Taylor, Nia Parker, Nia Lyons

    Nordstrom Fall Campaign – The Hiplets – Camryn Taylor, Lourdes Taylor, Nia Parker, Nia Lyons

  • Camryn Taylor, Lourdes Taylor, Nia Parker, and Nia Lyons, classically trained ballerinas of The Hiplet™ and the most senior dancers at the Chicago Multi-Cultural Dance Center. The Hiplet™ have appeared in a CFDA/Vogue Fashion Fund Show, TEDxSanFrancisco, the New York Times and CNN. Their YouTube videos have gathered over hundreds of thousands of views.
  • Homer Hans Bryant, the artistic director and founder of the Chicago Multi-Cultural Dance Center who conceived dance group phenom The Hiplet™ which showcases dancers en pointe interplaying hip-hop movements with classical styles.

    Nordstrom Fall Campaign - Saam Emme, Vejas Kruszewski

    Nordstrom Fall Campaign – Saam Emme, Vejas Kruszewski

  • Designer Vejas Kruszewski (in his collection) and Saam Emme, the creative team behind the label Vejas. Their designs redefine conventional streetwear, breaking borders and blending youth culture with studious fashion history. Vejas was awarded the LVMH Special Prize in 2016.

    Nordstrom Fall Campaign - Angela Goding

    Nordstrom Fall Campaign – Angela Goding

  • Contemporary art curator Angela Goding, who has a formidable reputation in the New York art world for her instincts and distinct fashion sense.

    Nordstrom Fall Campaign - Jane Moseley (1)

    Nordstrom Fall Campaign – Jane Moseley

  • Twenty-nine-year-old painter, sculptor, and model Jane Moseley, who spent six years in New York resisting the lure of the modeling industry, then became a fashion sensation after walking in Balenciaga’s fall 2016 show. She has a collection of horror-movie-inspired tattoos, and a dog, five cats, a lizard, a hedgehog and two pet rats.

    Nordstrom Fall Campaign - Creative Growth - Elizabeth Rangel, Tom di Mara, William Scott

    Nordstrom Fall Campaign – Creative Growth – Elizabeth Rangel, Tom di Mara, William Scott

  • Tom di Maria, director of Creative Growth Art Center, which provides studio space, representation, instruction and opportunity for personal expression to adult artists with mental, developmental or physical disabilities. Artists from the center exhibit in museums and esteemed collections worldwide.
  • Elizabeth Rangel, a self-taught artist, and designer who works in textiles and fashion.
  • William Scott, a self-taught artist whose work appears in the Museum of Modern Art in New York and the Oakland Museum of California.

    Nordstrom Fall Campaign - Ian & Marc Hundley (1)

    Nordstrom Fall Campaign – Ian & Marc Hundley

  • Marc and Ian Hundley, artists and twin brothers. Marc creates text-based posters incorporating references to literature, lyrics, and film; he also makes furniture. Ian constructs colorful, large-scale quilts based on topographic maps.

    Nordstrom Fall Campaign - Hayett McCarthy

    Nordstrom Fall Campaign – Hayett McCarthy

  • French-born Londoner Hayett McCarthy, a former dog groomer, record-label intern, bartender and sandwich-board carrier, now a model for top fashion brands including Hermès, ACNE Studios, Burberry, COACH, and Vetements, among others.

    Nordstrom Fall Campaign - Ebonee Davis (2)

    Nordstrom Fall Campaign – Ebonee Davis 

  • Twenty-three-year-old Seattle native Ebonee Davis, a model, and activist advocating for more diversity in the fashion industry. In a TED Talk, she discussed her path to self-acceptance and her case for creating positive, inclusive imagery.

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Swarovski Announces Partnerships & Collaborations for the New York Fashion Week Autumn 2017/Winter 2018 Shows

Swarovski Crystal Business continues its longstanding reputation as a key mentor of creativity and supporter of emerging talent in fashion through its partnerships and collaborations at the Autumn 2017/Winter 2018 fashion weeks in New York, London, Milan, and Paris.logo swarovski

Swarovski Crystal Business delivers a diverse portfolio of unmatched quality, craftsmanship, and creativity. Founded in 1895 in Austria, the company designs manufactures and markets high-quality crystals, genuine gemstones, and created stones as well as finished products such as jewelry, accessories, and lighting. Now run by the fifth generation of family members, Swarovski Crystal Business has a global reach with approximately 2,680 stores in around 170 countries, more than 26,000 employees, and revenue of about 2.6 billion euros in 2015.

tome-sketch-with-swarovski

Tome Sketch with Swarovski

Commencing at New York Fashion Week (starting today), Swarovski’s collaboration with cutting-edge designers will see the three US members of the Swarovski Collective program, Creatures of the Wind, Rosie Assoulin and Tome showcasing their latest collections. Swarovski will also partner with some of the most exciting names in fashion, including 2016 CFDA Swarovski Award for Emerging Talent winner Brandon Maxwell. Additional partners include Vogue Fashion Fund 2016 winners Brock Collection, Woolmark Prize 2016 winner Gabriela Hearst, Jason Wu, Adeam, Alexander Wang, Cinq à Sept, Sachin & Babi, Sally La Pointe, Sandy Liang, and Jeremy Scott, who will all be revealing crystal looks within their collections.

Swarovski will continue its support for the international fashion weeks with highlights including shows and presentations from Emilia Wickstead, Faustine Steinmetz, Mary Katrantzou and Sadie Williams, and notable newcomers A.V Robertson and Roberta Einer in London; Arthur Arbesser and Vivetta in Milan; and finally Aalto, Anne Sofie Madsen, Wanda Nylon and Koché in Paris.

Together with its sister companies Swarovski Optik (optical devices) and Tyrolit (abrasives), Swarovski Crystal Business forms the Swarovski Group. In 2015, the Group generated revenue of about 3.37 billion euros and employed more than 30,000 people. A responsible relationship with people and the planet is an integral part of Swarovski’s heritage. The global Swarovski Waterschool education program has reached 257,000 children on the world’s greatest rivers, and the Swarovski Foundation, set up in 2013, works to support culture and creativity, promote wellbeing, and conserve natural resources to achieve positive social impact.

Costume Institute’s Spring 2016 Exhibition At Metropolitan Museum To Focus On Technology’s Impact On Fashion

Costume Institute Benefit May 2 with Co-Chairs Idris Elba, Jonathan Ive, Taylor Swift, and Anna Wintour, and Honorary Chairs Nicolas Ghesquière, Karl Lagerfeld, and Miuccia Prada

Exhibition Dates: May 5–August 14, 2016
Member Previews: May 3−May 4
Exhibition Locations: Robert Lehman Wing and Anna Wintour Costume Center

The Metropolitan Museum of Art announced today that The Costume Institute’s spring 2016 exhibition will be manus x machina: fashion in an age of technology, on view from May 5 through August 14, 2016 (preceded on May 2 by The Costume Institute Benefit). Presented in the Museum’s Robert Lehman Wing and Anna Wintour Costume Center, the exhibition will explore the impact of new technology on fashion and how designers are reconciling the handmade and the machine-made in the creation of haute couture and avant-garde ready-to-wear.

Ensemble, Sarah Burton (British, born 1974) for Alexander McQueen (British, founded 1992), fall/winter 2012–13. Courtesy of The Metropolitan Museum of Art, Photo by Catwalking

Ensemble, Sarah Burton (British, born 1974) for Alexander McQueen (British, founded 1992), fall/winter 2012–13. Courtesy of The Metropolitan Museum of Art, Photo by Catwalking

Fashion and technology are inextricably connected, more so now than ever before,” said Thomas P. Campbell, Director and CEO of the Met. “It is therefore timely to examine the roles that the handmade and the machine-made have played in the creative process. Often presented as oppositional, this exhibition proposes a new view in which the hand and the machine are mutual and equal protagonists.”

manus x machina will feature more than 100 examples of haute couture and avant-garde ready-to-wear, dating from an 1880s Worth gown to a 2015 Chanel suit. The exhibition will reflect on the founding of the haute couture in the 19th century, when the sewing machine was invented, and the emergence of a distinction between the hand (manus) and the machine (machina) at the onset of industrialization and mass production. It will explore the ongoing rhetoric of this dichotomy in which hand and machine are presented as discordant instruments in the creative process, and will question this oppositional relationship as well as the significance of the time-honored distinction between the haute couture and ready-to-wear.

Wedding dress, Karl Lagerfeld, (French, born Hamburg, 1938) for House of Chanel (French, founded 1913), fall/winter 2014–15 haute couture, front view. Courtesy of The Metropolitan Museum of Art, Photo by Catwalking

Wedding dress, Karl Lagerfeld, (French, born Hamburg, 1938) for House of Chanel (French, founded 1913), fall/winter 2014–15 haute couture, front view. Courtesy of The Metropolitan Museum of Art, Photo by Catwalking

Wedding dress, Karl Lagerfeld, (French, born Hamburg, 1938) for House of Chanel (French, founded 1913), fall/winter 2014–15 haute couture, back view. Courtesy of The Metropolitan Museum of Art, Photo by Catwalking

Wedding dress, Karl Lagerfeld, (French, born Hamburg, 1938) for House of Chanel (French, founded 1913), fall/winter 2014–15 haute couture, back view. Courtesy of The Metropolitan Museum of Art, Photo by Catwalking

The Robert Lehman Wing galleries on the Museum’s first floor and court level will present a series of pairings of handmade haute couture garments and their machine-made ready-to-wear counterparts. The galleries will be arranged enfilade (an axial arrangement of doorways connecting a suite of rooms with a vista down the whole length of the suite.), with a suite of rooms reflecting the traditional structure of a couture atelier and its constituent petites mains workshops for embroidery, feathers, pleating, knitting, lacework, leatherwork, braiding, and fringe work. These will be contrasted with ensembles incorporating new technologies including 3D printing, laser cutting, thermo shaping, computer modeling, circular knitting, ultrasonic welding, and bonding and laminating.

Evening dress, Yves Saint Laurent (French, 1936-2008), 1969–70; The Metropolitan Museum of Art, Gift of Baron Philippe de Rothschild, 1983 (1983.619.1a, b) © The Metropolitan Museum of Art

Evening dress, Yves Saint Laurent (French, 1936-2008), 1969–70; The Metropolitan Museum of Art, Gift of Baron Philippe de Rothschild, 1983 (1983.619.1a, b)
© The Metropolitan Museum of Art

Dress, Silicon feather structure and moldings of bird heads on cotton base, Iris van Herpen (Dutch, born 1984), fall/winter 2013–14. Courtesy of The Metropolitan Museum of Art, Photo by Jean-Baptiste Mondino

Dress, Silicon feather structure and moldings of bird heads on cotton base, Iris van Herpen (Dutch, born 1984), fall/winter 2013–14. Courtesy of The Metropolitan Museum of Art, Photo by Jean-Baptiste Mondino

In a departure from previous exhibits, The Anna Wintour Costume Center galleries will present a series of “in process” workshops, including a 3D-printing workshop where visitors will witness the creation of 3D-printed garments during the course of the exhibition.

Coat, Paul Poiret, (French, 1879–1944), ca. 1919; The Metropolitan Museum of Art, Gift of Mrs. David J. Colton, 1961 (C.I.61.40.4). © The Metropolitan Museum of Art

Coat, Paul Poiret, (French, 1879–1944), ca. 1919; The Metropolitan Museum of Art, Gift of Mrs. David J. Colton, 1961 (C.I.61.40.4). © The Metropolitan Museum of Art

Designers in the exhibition will include Gilbert Adrian, Azzedine Alaïa, Christopher Bailey (Burberry), Cristobal Balenciaga, Boué Soeurs, Sarah Burton (Alexander McQueen), Pierre Cardin, Hussein Chalayan, Gabrielle “Coco” Chanel, Giles Deacon, Christian Dior, Alber Elbaz (Lanvin), Mariano Fortuny, John Galliano (Christian Dior, Maison Margiela), Nicolas Ghesquière (Balenciaga, Louis Vuitton), Hubert de Givenchy, Madame Grès, Lazaro Hernandez and Jack McCollough for Proenza Schouler, Yoshiki Hishinuma, Marc Jacobs (Louis Vuitton), Charles James, Christopher Kane, Mary Katrantzou, Rei Kawakubo (Comme des Garçons), Karl Lagerfeld (Chanel), Helmut Lang, Mary McFadden, Issey Miyake, Miuccia Prada, Paul Poiret, Paco Rabanne, Noa Raviv, Yves Saint Laurent (Christian Dior, Yves Saint Laurent), Mila Schön, Raf Simons (Jil Sander, Christian Dior), Maiko Takeda, Riccardo Tisci (Givenchy), threeASFOUR, Philip Treacy, Iris van Herpen, Madeleine Vionnet, Alexander Wang, Junya Watanabe, and others.

Traditionally, the distinction between the haute couture and prêt-à-porter was based on the handmade and the machine-made, but recently this distinction has become increasingly blurred as both disciplines have embraced the practices and techniques of the other,” said Andrew Bolton, Curator in The Costume Institute. “manus x machina will challenge the conventions of the hand/machine dichotomy, and propose a new paradigm germane to our age of digital technology.

Jonathan Ive, Apple’s Chief Design Officer, said, “Both the automated and handcrafted process require similar amounts of thoughtfulness and expertise. There are instances where technology is optimized, but ultimately it’s the amount of care put into the craftsmanship, whether it’s machine-made or hand-made, that transforms ordinary materials into something extraordinary.” (Apple is the main sponsor of manus x machina.)

In celebration of the exhibition opening, the Museum’s Costume Institute Benefit, also known as the Met Gala, will take place on Monday, May 2, 2016. The evening’s co-chairs will be Idris Elba, Jonathan Ive, Taylor Swift, and Anna Wintour. Nicolas Ghesquière, Karl Lagerfeld, and Miuccia Prada will serve as Honorary Chairs. This event is The Costume Institute’s main source of annual funding for exhibitions, publications, acquisitions, and capital improvements.


manus x machina is organized by Andrew Bolton, Curator of The Costume Institute. Shohei Shigematsu, Director of OMA New York, will lead the exhibition design in collaboration with the Met’s Design Department. Raul Avila will produce the Benefit décor, which he has done since 2007. The exhibition is made possible by Apple. Additional support is provided by Condé Nast.

A publication by Andrew Bolton will accompany the exhibition. It will be published by The Metropolitan Museum of Art and distributed by Yale University Press, and will be available in early May 2016.

A special feature on the Museum’s website, www.metmuseum.org/manusxmachina, provides information about the exhibition. (Follow on Facebook.com/metmuseum,
Instagram.com/metmuseum, and Twitter.com/metmuseum to join the conversation about the exhibition and gala benefit. Use #manusxmachina, #CostumeInstitute, and #MetGala on Instagram and Twitter.)

evian® And Designer Alexander Wang Release 2016 Limited Edition Bottle

Today, evian and New York-based fashion designer Alexander Wang unveil the 2016 evian Limited Edition bottle. Wang’s design features his signature bar code logo on two contrasting bottles, one black and one white. The purity of evian water is emphasized through clean graphics and highlighted by the play of the lines on the bottles. The 2016 evian x Alexander Wang Limited Edition Bottle will be available in 75cl glass bottles at evian.com and retailers worldwide beginning November 2015.
Since 2008, evian has worked with some of the world’s most prestigious designers to create a limited edition bottle. Through the creative vision of artists such as Diane von Furstenberg, Paul Smith, Jean-Paul Gaultier, Elie Saab and KENZO, each collaboration is a renewed celebration of purity and playfulness and a reinterpretation of evian’s spirit through art and design.

evian + Alexander Wang Limited Edition Bottle (PRNewsFoto/evian)

evian + Alexander Wang Limited Edition Bottle (PRNewsFoto/evian)


Wang applies the barcode logo in different ways and throughout different collections and seasons. Inspired by the unique purity of evian water, Wang put it into new context on its iconic glass bottle. The design is clean, simple and, at the same time, interacts with the dynamic reflections of water as a natural element.
In my approach to design, I have always had an un-precious outlook, focusing on the pieces that people wear every day, then tweaking them and elevating them to give a distinct point of view,” said Wang.  “evian water is something that is truly ‘every day’ yet precious by design. We used linear and strong graphics to give the brand’s iconic bottle our sensibility, and to create a new take on it.”
The architectural and minimalistic approach Alexander Wang brings to his creations really caught our attention,” said Olga Osminkina-Jones, Vice President of Marketing for Danone Waters of America. “His creations are iconic yet extremely inclusive and relevant today, pure interpretation of the modern audience values. The black and white color contrast, that Alexander Wang chose, makes a statement about evian purity in a very contemporary way.”

Spring/Summer 2015 Fashion Week Preview: The Swarovski Group Unveils The 2016 Finalists for The Prestigious Swarovski Collective Program

Just ahead of the New York Fashion Week-Spring/Summer 2016 Shows (which starts this Thursday) and the hard long slough that is the international Fashion Month (New York, London, Milan and Paris Fashion Weeks in quick, overlapping succession), Swarovski has announced the 15 designers who will form the year-long Swarovski Collective 2016. This group of exceptional design talents, which includes both new and established (and returning) names, will work in creative partnership with Swarovski for their Spring/Summer 2016 and Autumn 2016/Winter 2017 collections.

Founded in 1999 following Nadja Swarovski‘s collaboration with a young Alexander McQueen and Isabella Blow, the Swarovski Collective encourages emerging and established designers to explore the creative boundaries of crystal use and craftsmanship.

Over the past 16 years, the Swarovski Collective has supported over 150 designers. Previous participants include Alexander McQueen, (Joseph) Altuzarra, Proenza Schouler, Jason Wu, Wes Gordon, Rodarte, Alexander Wang, Hussein Chalayan, Viktor&Rolf, Christopher Kane, Erdem, Giles, Mary Katrantzou and Anthony Vaccarello.
The latest edition of the coveted Swarovski Collective program will span New York, London and Paris fashion weeks, offering the designers year-long financial and crystal product support, plus the chance to win the annual EUR25,000 Swarovski Collective Prize, the winner of which will be announced in May 2016.

Swarovski Collective-Tanya Taylor: Swarovski announces the 15 designers who form the year-long Swarovski Collective 2016 and will receive financial and crystal product support.  Tanya Taylor, a new partner to Swarovski, will show her collection during New York Fashion Week, including this look featuring Swarovski crystal.  Tanya Taylor's SS16 collection was inspired by a photograph she took in Kenya.  She was moved by the vibrant pigments, rich textures, and ornate architectural motifs which will be translated in Swarovski crystals among other methods. (PRNewsFoto/Swarovski North America)

Swarovski Collective-Tanya Taylor: Swarovski announces the 15 designers who form the year-long Swarovski Collective 2016 and will receive financial and crystal product support. Tanya Taylor, a new partner to Swarovski, will show her collection during New York Fashion Week, including this look featuring Swarovski crystal. Tanya Taylor’s SS16 collection was inspired by a photograph she took in Kenya. She was moved by the vibrant pigments, rich textures, and ornate architectural motifs which will be translated in Swarovski crystals among other methods. (PRNewsFoto/Swarovski North America)

The Swarovski Collective members for Spring/Summer 2016 and Autumn 2016/Winter 2017 are: Alexander Lewis, Christian Wijnants, Creatures of the Wind, David Koma, Emilia Wickstead, Esteban Cortazar, Haizhen Wang, Iris Van Herpen, Peter Pilotto, Rosie Assoulin, Tanya Taylor, Thomas Tait, Tim Coppens, Tome and Vivienne Huand will see debut collections for Rosie Assoulin, Thomas Tait, Tanya Taylor, Tome, Alexander Lewis, David Koma, Haizhen Wang and Vivienne Hu.

The Swarovski Collective designers will show their Spring/Summer 2016 collections during New York, London and Paris Fashion Weeks, which take place between September 10 and October 7, 2015. Swarovski will also support Collective members on promotional activities and creative projects throughout the year.


Nadja Swarovski, Member of the Swarovski Executive Board, commented: “It is a pleasure to build on the success of the Swarovski Collective with this new line-up of creatives, and our ongoing commitment to emerging talent with the Swarovski Collective Prize. This is an exceptional group of designers, and we look forward to seeing them innovate with crystal looks over the coming year.

Emilia Wickstead, a returning Collective designer commented: “It is such an honor to be a part of the Collective. Swarovski crystals add excitement and innovation while creating a point of difference.”

Rosie Assoulin commented: “We are so honored to be working with Swarovski and to have the opportunity to really dive into their treasure trove of materials and techniques, especially after the CFDAs.”

Thomas Tait, said: “I’m excited to be part of the Swarovski Collective and to be using crystals as a creative ingredient for the first time to add a new dimension to my collection.

Swarovski delivers a diverse portfolio of unmatched quality, craftsmanship, and creativity. Founded in 1895 in Austria, Swarovski designs, manufactures and markets high-quality crystals, genuine gemstones and created stones as well as finished products such as jewelry, accessories and lighting. Now celebrating its 120th anniversary and run by the fifth generation of family members, Swarovski Crystal Business has a global reach with approximately 2,560 stores in around 170 countries, more than 25,000 employees, and revenue of about 2.33 billion euros in 2014. Together with its sister companies Swarovski Optik (optical devices) and Tyrolit (abrasives), Swarovski Crystal Business forms the Swarovski Group. In 2014, the Group generated revenue of about 3.05 billion euros and employed more than 30,000 people. The Swarovski Foundation was set up in 2012 to honor the philanthropic spirit of founder Daniel Swarovski, with a mission is to support creativity and culture, promote wellbeing, and conserve natural resources.

The Museum at FIT Explores “Global Fashion Capitals”

Fashion & Textile History Gallery, June 2 – November 14, 2015
All photographs © The Museum at FIT
The globalization of fashion has given rise to new fashion cities that now annually host hundreds of fashion weeks around the world. Each city’s cultural identity and particular economic, political, and social circumstances combine to elevate its designers to international attention. Global Fashion Capitals explores the history of the established fashion capitals, Paris, New York, Milan, and London, and the emergence of 16 new fashion cities (including Tokyo, Antwerp, Stockholm, Berlin, St. Petersburg/Moscow, Madrid, Sydney/Melbourne, Mexico City, Sao Paolo, Istanbul and Mumbai).
A fashion capital is a city which has a major influence on international fashion trends and in which the design, production and retailing of fashion products – plus events such as fashion weeks, awards and trade fairs – generate significant economic output. The cities considered the Big Four fashion capitals of the world are: London, Paris, Milan and New York.
Fashion capitals usually have a broad mix of business, financial, entertainment, cultural and leisure activities and are internationally recognised for having a unique and strong identity. It has also been noted that the status of a fashion capital has become increasingly linked to a city’s domestic and international profile. Fashion capitals are also likely be part of a wider design scene, with design schools, fashion magazines and a local market of affluent consumers.
The exhibition (at The Museum at the Fashion Institute of Technology, Seventh Avenue at 27 Street, New York City 10001-5992) opens with a digital style map that geographically locates the fashion capitals and showcases their latest runway and street style photographs. Global Fashion Capitals continues city-by-city, starting with Paris, the birthplace of haute couture, represented by designs from Charles Frederick Worth, Gabrielle Chanel, Christian Dior, and the emerging couturier, Bouchra Jarrar.

Fashion has always existed at the crossroads of art and consumerism and never more so than in today’s society. The way we perceive our desires, bodies, and eras shapes fashion every season, as it shapes us. Paris fashion is at the center of it all. The French were the first to make an industry out of fashion, not just dress-making, and they have been exporting their style since the 17th century which is frankly before most of the world had even realized what fashion was. It all kicked off in the 17th century when the association of France with fashion and style was initiated by, surprise surprise, Louis XIV’s court.

The House of Worth, Cape, Circa 1890. Paris. Gift of the Estate of Elizabeth Arden. 69.160.9 Hip-length cape in cream lace with wide neckline border of black silk velvet; trimmed with black silk chenille bobble tassels

The House of Worth, Cape, Circa 1890. Paris. Gift of the Estate of Elizabeth Arden. 69.160.9
Hip-length cape in cream lace with wide neckline border of black silk velvet; trimmed with black silk chenille bobble tassels

The House of Worth, Cape, Circa 1890. Paris. Gift of the Estate of Elizabeth Arden. 69.160.9 Hip-length cape in cream lace with wide neckline border of black silk velvet; trimmed with black silk chenille bobble tassels

The House of Worth, Cape, Circa 1890. Paris. Gift of the Estate of Elizabeth Arden. 69.160.9
Hip-length cape in cream lace with wide neckline border of black silk velvet; trimmed with black silk chenille bobble tassels

The Sun King made it his business to be at the center of all that was beautiful in the world so the luxury goods industry in France became a royal commodity. The creation of the fashion press in the 1670s catapulted French fashion into the spotlight and the notions of different fashion “seasons” and the changing of styles became available to a bigger audience. Louis XIV himself was responsible for starting the trend for outrageous wigs of curled hair. The king was going bald so he over-compensated and the rest of the court followed suit.

Balenciaga , Cocktail dress , 1959, Paris. Gift of Kay Kerr Uebel. 75.170.1_20050512_01 Short evening dress in chartreuse ribbed silk with black chinÈ r; with bateau neckline; bubble skirt on hip yoke; and attached black satin ribbon tie; separate coordinating black satin ribbon sash

Balenciaga , Cocktail dress , 1959, Paris. Gift of Kay Kerr Uebel. 75.170.1_20050512_01
Short evening dress in chartreuse ribbed silk with black chinÈ r; with bateau neckline; bubble skirt on hip yoke; and attached black satin ribbon tie; separate coordinating black satin ribbon sash

In fact, he moved the needle towards extravagant fashion even more so because of his wigs. The French Royal court turned into a farcical game of one-upmanship where fashion was concerned – Whose wig is the tallest? Whose skirt is the widest and most covered in tiny bows? In Paris fashion big was the rage. This was most evident in the french movie, Ridicule, the 1996 French film set in the 18th century at the decadent court of Versailles, where social status can rise and fall based on one’s ability to mete out witty insults and avoid ridicule oneself, as well as one’s ability to be the most preening peacock in the room. The story also examines the social injustices of late 18th century France, in showing the corruption and callousness of the aristocrats.

The rebels were, of course, very quick to change all this and went very fast towards the opposite direction — what before had been of a baroque, almost decadent, excess, now everything was simple — as per the ideas of the era and also because hygiene had improved wonders by now and people had to buy more fabric to have at least one piece of clothing to wear while they cleaned the other one. And then the 1800s came and department stores were opened, giving a boost to Paris fashion. Instead of courtiers, France now had the bourgeoisie and, as the driving force that made the economy move from hand to hand (as in, they could actually move money around), French fashion found its way into society.

It wasn’t long until the couturier (designer) was born. It is, of course, as usually with designers, a controversial statement, but a man from England named Charles Frederick Worth is more or less accepted into the popular vernacular as the man who totally dominated the industry. He was the first to be considered a designer and not just a dressmaker – he invented the fashion show and the fashion label as a status symbol. He went on to become so successful and respected, in fact, that he earned the final say on whatever their customers were going to wear, regardless of their opinion. He also came up with the idea of actually sketching the design before producing an expensive sample garment. He was hailed as a genius for that.

In the late 19th and early 20th century, the French fashion industry exploded (Vogue was founded in 1892) and Jacques Doucet and Madeline Vionnet founded fashion houses. They were influenced by Art Nouveau and Orientalist trends and so finally women were “liberated” from corsets and heavy petticoats and instead wore their whimsical designs with flowing bias-cut dresses. In 1925 a little known designer called Coco Chanel first came into prominence and revolutionized Paris fashion and then the world’s.

In 1947, the world’s attention was on Paris once more as Christian Dior unveiled his “New Look” – the clinched in waists contrasted with majestic busts and full skirts delighted the post-war clientele in its femininity. Hubert de Givenchy and Pierre Balmain both opened fashion houses soon after and Paris was the center of the world again.

The 1960s saw the Parisian youth becoming disillusioned with French fashion, (apparently too elegant and elaborate) favoring instead the casual style seen in London. In 1966, Yves Saint Laurent put Paris in the spotlight again with his a prêt-à-porter (“ready to wear”) line which made fashion accessible to the masses. In fact, even though Paco Rabanne and Pierre Cardin pushed fashion towards the future, creating bold shapes they always had to stay under YSL’s shadow. He was undoubtedly king of the latter part of the century. He pioneered the tuxedo suit for women, seducing everyone with his androgynous style and Left Bank beatnik chic.***

The New York section begins with a circa 1938 iridescent evening gown by Nettie Rosenstein and ends with Alexander Wang’s sporty spring/summer 2015 neon orange dress. New York also includes styles by Claire McCardell, Halston, and Ralph Lauren.
Nettie Rosenstein, Evening dress, Circa 1938, New York, Gift of Gloria Carr de Veynac. 76.32.1

Nettie Rosenstein, Evening dress, Circa 1938, New York, Gift of Gloria Carr de Veynac. 76.32.1

Claire McCardell, Dress, 1954, New York . Gift of Sally Kirkland. 76.33.34_20080425_01 Sleeveless dress in beige muslin with black windowpane check; fitted midriff panel; calf-length flared skirt; wide wrap & tie sash

Claire McCardell, Dress, 1954, New York . Gift of Sally Kirkland. 76.33.34_20080425_01
Sleeveless dress in beige muslin with black windowpane check; fitted midriff panel; calf-length flared skirt; wide wrap & tie sash

Milan claimed its place as Italy’s fashion capital during the 1970s. Milan has established a long history within the fields of fashion, textiles and design in general. Throughout the late 19th century, the Lombard capital was a major production centre, benefitting from its status as one of the country’s salient economic and industrial powerhouses. Milanese fashion, despite taking inspiration from the leading Parisian couture of the time, developed its own approach, which was by nature devoted to sobriety, simplicity and the quality of the fabric. Throughout the 20th century, the city expanded its role as a fashion centre, with a number of rising designers contributing to Milan’s image as a stylistic capital. Following this development, Milan emerged in the 1970s and 1980s as one of the world’s pre-eminent trendsetters, maintaining this stint well into the 1990s and 2000s and culminating with its entrenchment as one of the “big four” global fashion capitals. As of today, Milan is especially renowned for its role within the prêt-à-porter category of fashion.

Milan’s fashion history has evolved greatly throughout the years. Milan began as a center of fashion in the Middle Ages and Renaissance, as in Venice and Florence, the making of luxury goods was an industry of such importance that in the 16th century the city gave its name to the English word “milaner” or “millaner”, meaning fine wares like jewellery, cloth, hats and luxury apparel. By the 19th century, a later variant, “millinery”, had come to mean one who made or sold hats.

In the mid-19th century cheaper silk began to be imported from Asia and the pest phylloxera damaged silk and wine production. More land was subsequently given over to industrialisation. Textile production was followed by metal and mechanical and furniture manufacture. In 1865, the first major department store in the country opened in Milan by the Bocconi brothers (which was called Alle Città d’Italia and later in 1921 became La Rinascente). This was regarded as a novelty at the time with regards to retailing in Italy. Though, traditionally, artisans would sell the items they made directly or to small stores, the opening of these new department stores modernized the distributions of clothes in the city.

In the 1880s and late 19th century, the Milanese style was partially inspired by French fashion, which at the time was still dominant in terms of influence, yet adapted according to local tastes; this included a generally somber and simple style, which was moderate in terms of decoration and ornamentation, and put an emphasis on the quality of tailoring and the different fabrics and textiles. The general Milanese interest in styling was reflected in the number of fashion magazines which circulated in the city at the time, as well as the fact that the people were ready to follow trends; nevertheless, the Milanese style was relatively traditional. The city had several tailors and seamstresses which in 1881 amounted to 249 and in 1886 to 383 (which were listed in guides).

In this period, the city was one of the biggest industrial powerhouses in Italy, and had a diversified fashion and clothing economy which was mainly based on small workshops rather than large companies (highlighted in an 1881 census). The importance of this industry continued in the city into the early 20th century, where 42,711 out of 175,871 workers were in the clothing sector in 1911.
However, in the 1970s, Milan’s fashion image became more glamorous, and as Florentine designs were deemed to be “very formal and expensive”, the city became a more popular shopping destination, with numerous boutiques which sold both elegant and everyday clothes. Milanese designs were known for their practicality and simple elegance, and became more popular and affordable than Florentine and Parisian designs. The city became one of the main capitals for ready-to-wear female and male fashion in the 1970s.  Milan started to become an internationally successful and famous fashion capital towards the late-1980s and early 1990s.
Milan has been home to numerous fashion designers, including Giorgio Armani, Valentino Garavani, Gianni Versace, Gianfranco Ferrè,Domenico Dolce, Stefano Gabbana, Miuccia Prada, Mariuccia Mandelli alias Krizia, Antonio Marras, Alessandro Dell’Acqua, Franco Moschino, Gimmo Etro, Mila Schön, Nicola Trussardi, Ottavio Missoni, Donatella Versace, Maria Grazia Chiuri, Pierpaolo Piccioli and Giuseppe Zanotti in addition to Fausto Puglisi, Francesco Scognamiglio, Alessandra Facchinetti, Gabriele Colangelo, Simonetta Ravizza, Stella Jean and Marco De Vincenzo, just to name a few younger designers.
Prada , Ensemble , Fall 2007, Milan, Gift of Prada, 2007.20.1 Coat with black textured wool blazer fringed with plastic strips, stitched to orange fleece skirt with rust pile hem band; red silk ribknit toeless stockings; black satin shoes with hardware buckle, high curved heel and back covered in taupe satin

Prada , Ensemble , Fall 2007, Milan, Gift of Prada, 2007.20.1
Coat with black textured wool blazer fringed with plastic strips, stitched to orange fleece skirt with rust pile hem band; red silk ribknit toeless stockings; black satin shoes with hardware buckle, high curved heel and back covered in taupe satin

Most of the major Italian fashion houses and labels are based in Milan, even though many of them were founded in other cities. They include: Armani, Bottega Veneta, Canali, Costume National, Dolce & Gabbana, Dsquared2, Etro, Iceberg, Les Copains, Marni, Missoni, Miu Miu, Moncler, Frankie Morello, Moschino, MSGM, N°21, Prada, Fausto Puglisi, Tod’s, Trussardi, Valentino, Versace, Giuseppe Zanotti, Zagliani, Ermenegildo Zegna, and the eyewear company Luxottica.
Christopher Kane, Dress, Fall 2014, London, Museum Purchase, 2015.15.1

Christopher Kane, Dress, Fall 2014, London, Museum Purchase, 2015.15.1

Christopher Kane, Dress, Fall 2014, London, Museum Purchase, 2015.15.1

Christopher Kane, Dress, Fall 2014, London, Museum Purchase, 2015.15.1

London captured international attention with “youthquake” fashions during the 1960s. Provocative designers such as Vivienne Westwood, John Galliano, and Alexander McQueen established London as a creative fashion hub during the decades since.

 

When selecting which emerging fashion capitals to include in the exhibition, the curators considered a number of indicators to show that a city’s fashion scene is growing. All the featured cities are home to forward-thinking designers who have achieved domestic success and attracted international interest. They also hold fashion weeks attended by international press and fashion buyers.

 

 

Several factors drive the development of a city’s fashion scene—politics, economics, and government support among them. For example, Johannesburg fashion blossomed during the post-apartheid era, led by designers such as Nkhensani Nkosi of Stoned Cherrie. Current events in Ukraine have ignited the creativity of designers such as Anton Belinskiy, who staged a photoshoot amid Kiev’s street protests.
China’s economic growth over the last decade created consumer demand for international fashion, developing into support for successful domestic designers, such as Shanghai’s Masha Ma. Nigeria’s economy, the largest in Africa, supports Lagos’ developing fashion industry and the growing international reach of brands like Maki Oh and Lisa Folwaiyo. The governments of Copenhagen and Seoul actively fund and promote their fashion industries.
On October 13, 2015, The Museum at FIT, in conjunction with CUNY Graduate Center, will host a one day symposium on the topic of global fashion capitals. The morning session will take place on the FIT campus and will consist of a student fair, where visitors can interact with members of the international fashion community. The morning will also include a fashion show featuring five designers from emerging fashion capitals and a panel discussion moderated by MFIT curators Ariele Elia and Elizabeth Way. The afternoon session will take place at the CUNY Graduate Center, details to follow.
Global Fashion Capitals is organized by Ariele Elia, assistant curator of costume and textiles, and Elizabeth Way, curatorial assistant, The Museum at FIT.

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Fall/Winter 2015 New York Fashion Week: adidas Originals x Kanye West YEEZY SEASON 1

Photography by Kevin Mazur and Theo Wargo/Getty Images for adidas

I don’t want the clothes to be the life. I want the clothes to help the life.” — Kanye West

For Autumn/Winter 2015, Kanye West and adidas Originals has unveiled a bold new proposition: YEEZY SEASON 1, a collection of apparel and footwear that proposes to “cherishes universality and timelessness” at Skylight Clarkson Sq on February 12, 2015 in New York City. Described by West as the world’s first “solutions-based” clothing line, the individual pieces seeks to define a style that matches the relentless pace of contemporary lives.

NEW YORK, NY - FEBRUARY 12: Kanye West on the runway at the adidas Originals x Kanye West YEEZY SEASON 1 fashion show during New York Fashion Week Fall 2015 at Skylight Clarkson Sq on February 12, 2015 in New York City. (Photo by Theo Wargo/Getty Images for adidas)

NEW YORK, NY – FEBRUARY 12: Kanye West on the runway at the adidas Originals x Kanye West YEEZY SEASON 1 fashion show during New York Fashion Week Fall 2015 at Skylight Clarkson Sq on February 12, 2015 in New York City. (Photo by Theo Wargo/Getty Images for adidas)

NEW YORK, NY - FEBRUARY 12: Models walk the runway at the adidas Originals x Kanye West YEEZY SEASON 1 fashion show during New York Fashion Week Fall 2015 at Skylight Clarkson Sq on February 12, 2015 in New York City. (Photo by Theo Wargo/Getty Images for adidas)

NEW YORK, NY – FEBRUARY 12: Models walk the runway at the adidas Originals x Kanye West YEEZY SEASON 1 fashion show during New York Fashion Week Fall 2015 at Skylight Clarkson Sq on February 12, 2015 in New York City. (Photo by Theo Wargo/Getty Images for adidas)

With this collection, West’s goal is to give consumers workable solutions to the ultimate daily question (What should I wear today?) by creating a line of high-quality essentials that can be freely combined in infinite ways—“like Legos,” he says. This means stripped-down, comfortable, and unpretentious clothes for a “modern jet-set couple,” pieces to be worn from the gym to the office to a meeting to the airport and everywhere in between. “I wanted something that felt like New York or Paris or Tokyo or Santa Barbara or Chicago—a worldliness and an ease.

The collection is defined by a silhouette of considered volume—billowing and oversize on top, tight and trim around the bottom—based largely on his personal sense of style. A study in contrasts like street-luxury and vintage-new, the clothing shapes a new modern wardrobe. For men, this includes MA-2 bombers with oversize flap pockets; washed cotton collarless blouson jackets; oversize sweats with distressed edges and worn, puckered hems; and perfect T-shirts in tones of camel, olive, blue-gray, and camouflage. Each piece is intended to be worn by any sex.

The women’s collection, however, clearly and intentionally shapes a feminine silhouette with high-waist, knee-length, body-conscious knit skirts; floor-grazing cotton tube dresses; tightly woven running tees; and stunning crop tops ingeniously crafted from adidas socks. “This is a challenge to where fashion is currently—a new feminine ideal,” West says, explaining the curve-hugging pieces.

For footwear, West and adidas presented further breakthroughs following the highly anticipated launch of the YEEZY Boost. Newly revealed shoes included woven lo-top sneakers for men and suede stilettos and platform snow boots for women—developed in close tandem with adidas’ products team. The designer expresses his gratitude to adidas for its unparalleled technical prowess. He says, “They are a super innovative company that gives artists a platform to create and dream.”

Presented during the Fall/Winter 2015 New York Fashion Week and just before the NBA All-Star Weekend, the show was conceptualized by West in close collaboration with renowned contemporary artist Vanessa Beecroft. Beecroft has shown internationally since 1993 and is known for her innovative performances and unconventional approach to the creation of images and communication (in that her live events are recorded through photography and film). Her works  is said to reside in the gap between art and life and her conceptual approach is most similar to the creation of a live painting.

Upon entering the venue, guests were lead into a dimly lit room, where 9 rows of models stood stoic still. As lights turned on with blinding intensity, each row of models progressed forward, lending the audience a full view of the clothes. Guests including Beyoncé, Jay-Z, Kim Kardashian West, Rihanna, Drake, Justin Bieber, P. Diddy, Kris Jenner, Kendall Jenner, Khloe Kardashian, George Condo, Anna Wintour, Spike Jonze, Russell Simmons, Big Sean, Pete Wentz, Pusha T, A$AP Ferg, Steven Klein, 2Chainz, Cassie, Alexander Wang, Kehinde Wiley, Tom Sachs, Gia Coppola, Travis Scott, A-Trak, Jeanne Greenberg Rohatyn, Hailey Baldwin, and adidas athletes John Wall and Von Miller. “Wolves” an unreleased track from West’s forthcoming studio album served as the soundtrack to this fashion spectacle.

(“Wolves” was written by Kanye West, Cashmere Cat, Vic Mensa, Sia, Mike Dean, Noah Goldstein; produced by West, Cashmere Cat, Mike Dean, Noah Goldstein, Plain Pat, with additional contribution from Vic Mensa and Sia)