Open Mode Festival: Young creative minds lay foundations for eco-responsible fashion - Fashion - FRANCE 24 |
- Open Mode Festival: Young creative minds lay foundations for eco-responsible fashion - Fashion - FRANCE 24
- How I Became… A Fashion Director and Stylist | Careers, Break Into Fashion | BoF - The Business of Fashion
- ‘In Pursuit of Fashion: The Sandy Schreier Collection’ Review: For Staring, Not Wearing - Wall Street Journal
- Social justice and sustainability at Men's Fashion Week in London - CNN
- 11 year old fashion designer hopes to inspire others - WTVY, Dothan
| Posted: 10 Jan 2020 08:38 AM PST  Issued on: Modified: They're between 19 and 30 years old and are determined to do things differently. They don't advertise in magazines, and don't even sell their clothes in boutiques - although they might make an exception for a pop-up shop! An impressive crop of young fashion designers recently came together to exhibit their creations at the third edition of the Open Mode Festival, at Paris's Grande Halle de la Villette. So what do this new generation of designers want? Here's a clue: eco-responsible fashion is centre stage!  |
| Posted: 10 Jan 2020 09:20 PM PST Follow in the path of fashion insiders: apply for your next job on BoF Careers now. MILAN, Italy — A self-prescribed "scrappy street kid" from Brooklyn, philosophy and photography graduate Julie Ragolia began her career in fashion by styling shoots for her roommate at Brooklyn College. Sticking close to her passion for music, Ragolia sent a portfolio to MTV, where she was hired as a staff stylist. Ragolia sought agency representation, sharing her portfolio with Streeters agency in New York who suggested she apply for an assistant role to W magazine's then fashion director Alex White. It was at W that "it clicked for me — that fashion is indeed an art form."  Julie Ragolia by Daniel Beres | Source: Courtesy Ragolia went on to work at the likes of Fader magazine, Man of the World and At Large. The stylist and fashion director has also worked and consulted with brands on advertising campaigns and the red carpet, as well as contributing to titles including 10 Magazine, Wall Street Journal, L'Uomo Vogue and GQ France. She styles runways for brands including Theory and Ermenegildo Zegna. Now, she shares her career advice. How did your career in fashion begin? I never intended to be in fashion. I thought I would be a curator, an art critic or a professor. Fashion was always intriguing to me, but I grew up a scrappy street kid from Brooklyn, with very modest means. At that time in my life, in that time of the industry, it didn't seem like my universe. I started as a film student at NYU, but I realised I didn't want to be a director. It was an expensive university, so I moved to Brooklyn College and studied philosophy and photography. I would do shoots with my roommate who was a budding fashion photographer and he said I could never make it in this industry, so I put a book together and sent a résumé to MTV. I followed my heart into music and it so happened that they had seen a shoot I had done so they hired me. The next thing I knew, I was styling some of their celebrity guests and DJs, but I still wasn't convinced I was working in fashion. I didn't see the art form yet. What encouraged you to stay working in the industry? People around me were talking about having agents so I thought I should do the same. I went to an agency called Streeters, feeling the most connected to them having grown up a street kid. They saw my portfolio and said I wasn't ready for representation, but that Alex White was looking for a new assistant at W magazine and I should apply. Working under [White] at W in those early days and seeing just how much work goes into making [it in the] fashion industry was when it clicked for me, that fashion is indeed an art form with a lot of social, political and cultural references. I saw how much art goes into the thinking process of making fashion editorials. It became a creative force in my mind, seeing the quest to understand society that can be found through fashion. What qualities made you stand out in your first job? Growing up shy and still being incredibly shy is my greatest asset in some ways because that stepping back enables me to see a bigger picture. I'm observing life and I've always had a sense of where things are going because I've always been a cultural observer. References of culture were always, and continue to be, the main force in how I think.
If you're working somewhere like MTV, if you're not observing culture, then what do you speak to? Growing up in deep Brooklyn is a place where you had every kind of music. It was all around me and it influenced me in a multi-cultural, multi-referential nature that has always been a part of who I am and my work. How has the fashion industry evolved over your career? When I started in menswear, I thought that world felt alive. There was something bubbling in New York with a few young designers, then all of a sudden, there was the emergence of menswear designers and brands having a voice, and male models were allowed to be themselves, whereas female models were not. There was more honesty for a while in menswear and I gravitated towards that.  L'Uomo Vogue cover image for May 2019 issue by Andreas Larsson, styled by Julie Ragolia | What I love about what's changing in the industry is that women now have this ability to be who they are. Female models are not just hangers for clothes, which might sound crude but that's how it used to be. It's no longer just the clothes — it's about the people who wear them. In a visceral sense, there's a greater interest in who the person on the other side of the page is and that's what's exciting about fashion. For someone like me to feel at home in this space now is exciting because I feel like all of my sides have a voice. There was a recent piece in Vogue by Slick Woods about her mum and being a mum. It was the first time that I felt truly connected to a magazine because growing up, I didn't see myself. People can start to see themselves in magazines and that for me has always been important. What's an essential ingredient to your work as a stylist today? I need to feel something from people as they walk. I never want to feel like they're just wearing clothes. If I can't believe it, then I can't do it, because I never want to feel dishonest. It's the same with editorials — I cast from a human perspective. The term "street casting" has always been funny to me because everybody is street cast. Even top models like Gisele were cast on the street. There's no difference in this type of person or that type of person — what's different is the kind of story you tell around each person. I'm grateful that the industry now is a place where we're all thinking that way. Are there any particular philosophies that have guided your career decisions? Always try and be as honest as possible, and never think that I know what I'm doing. If I'm lucky enough to be 70 in this industry, I will still feel like a 20-year-old kid who's trying to figure out what she's doing. I never want to lose that childlike manner of wonder, and I never assume that I've done something great, because then I can't get better. As a young person in the industry, I think the greatest lesson I learned was to really understand what my job was. If I didn't learn how to do budgets as a junior or ensure that I was organised, then I wouldn't have been able to style a major celebrity at the same time as styling a fashion show and working on three different editorials.
I'm also a really calm person when I work because I'm grateful for what I have. I grew up with nothing so to be in a position where I'm flying from New York to Milan, Paris to Mexico City to LA, just this month, is unbelievable. What makes a junior stand out to you? I've had interns and young kids ask me about taking styling classes, but I always advise them to concentrate on other aesthetic fields because you bring so much in from outside. This industry is about understanding how to read what is happening and anticipate what is about to happen. Spending time in galleries and museums was, for me, a way out growing up and through that, I learned that there was a bigger picture. Understand culture — really observe it. Sit on a bench and watch people. You'll learn a lot about how people move, how people think, how people dress. You then see those subtle cues from humans that are exciting. Observing is the best educational tool. What do you believe is essential for someone starting a career in fashion? Patience. Nothing happens immediately. Sometimes it seems like people are just coming out of nowhere, doing X or Y campaign or shoot. But they will have been planning it for a long time in their heads and hearts. Nothing just happens. These people have been working for it in some way or another for a long time.  |
| Posted: 11 Jan 2020 04:00 AM PST  New York Exhibitions based on the collection of a fashionista don't always thrill. Recalling the 2006 Met show "Nan Kempner : American Chic," I still see a floating rack bunched with way too many lunching-lady blazers. And the 2015 show on Jacqueline de Ribes, a countess who was a couturier for a time and deeply cultured, nevertheless smacked of society first, design second, which is why her own work went only so far. When you're too inside, you can't see how narrow your vision has become. "Rara Avis," a 2005 exhibition fashioned from the wardrobe of woman-about-world Iris Apfel, was inspiring because Ms. Apfel has kept herself outside, honing a textile-driven bohemian style that is wide-eyed (look at her signature eyeglasses—two big round O's), enlarged by historical and cultural references. The Met exhibition "In Pursuit of Fashion: The Sandy Schreier Collection" introduces us to another outsider. In Pursuit of Fashion: The Sandy Schreier Collection The Met Fifth Avenue Truth be told, the name Sandy Schreier—and the Ali Baba's treasure connected with it—has been reverently mentioned in fashion circles for decades, not least by museum curators. But Ms. Schreier lives way outside those circles, in a suburb of the city in which she was born, Detroit. Her parents moved there in the 1930s so that her father, who worked for the Manhattan specialty store Russeks, could manage the fur salon of the fledgling Detroit branch. All that auto-industry money! All those couture-wearing wives! When a new sister demanded her mother's attention, Sandy accompanied her father to work—she was only 3 or 4 years old—and pored over Vogue and Harper's Bazaar while experiencing hands-on the enchantment of French and American high design. No igniting moment, no epiphany. The little girl instinctively knew that fashion could be art and she would collect it. (New York's Museum of Modern Art still hasn't figured this out.) Ms. Schreier was not curating her own wardrobe—as another prescient girl, Marjorie Merriweather Post, decided to do back in the early 1900s—but preserving "beauty." The power of her passion led Detroit wives to give her their once-worn, still-perfect pieces. As she told the New York Times in July, "One Halloween my mother insisted I wear one of the dresses as my costume and I had a huge temper tantrum and refused. Even then, I didn't want anyone wearing them. I always said, 'If I owned a Picasso, it would not be on my back.'"  Piece by piece, her pristine "Picassos"—eventually numbering in the thousands—added up to one of the finest private collections in the country. Planning for the future, Ms. Schreier recently invited the Met's Costume Institute to choose "promised gifts" for its collection. The current exhibition displays 80 of the 165 pieces the Institute picked—all from the 20th and 21st centuries, many filling gaps in its archive—and they are choice. The garment that greets viewers as they enter the downstairs gallery sets the tone. It's a magnificent evening sheath circa 1923, a lace of pink silk gauze with Egyptian motifs in gold-metal thread; across the hips is the stylized image of a flying ibis rendered in pink and aqua stones. The dress was owned by Matilda Dodge Wilson, widow of the founder of Dodge Motor Co., and it speaks to the discovery of Tutankhamun's tomb in 1922, an archaeological find that had everyone buzzing. The ibis symbolizes fertility, so its spread-winged placement upon the pelvis is dramatically pointed, but it also symbolizes communication. One of Ms. Schreier's important early acquisitions, the dress is emblematic of her collecting criteria: expression on many levels at once—historical, poetic, social—with imaginative flight sewn in. Created by Madeleine & Madeleine, a short-lived Parisian house that most of us have never heard of, it's a first for the Met collection.  Organized by Andrew Bolton, curator in charge of the Costume Institute, associate curator Jessica Regan and assistant curator Mellissa Huber, this focused show, elegantly paced, is divided into four main areas of interest—Ms. Schreier's interests. The first section, "In Pursuit of Beauty: Origins of a Collection"—exquisite and allusive postwar pieces—holds the fewest surprises, though the late-Dior "Du Barry" dress (autumn/winter 1957-58) is scrumptious, and the juxtaposition of Charles James's floating black "Swan" dress (1952-54) and Jacques Griffe's pyramidal black taffeta (c. 1955) is fascinating for what they say about below-the-waist storytelling. "The Past Recaptured," in a word sublime, offers an array of Mariano Fortuny y Madrazo's jackets, tunics and pleated "Delphos" dresses alongside the work of the Italian designer, another name new to me, Maria Monaci Gallenga, who took inspiration from Fortuny and appears every bit his match. Upon velvet, both designers printed antiquity's brocade patterns in gold and silver, using secret processes that left the fabric supple and comfortable to wear. Gallenga's two evening capes, circa 1925, are mesmerizingly operatic—held notes scaled to history. "L'Esprit Nouveau: The Interwar Era" captures the swift cycling of silhouettes from the 1920s to the '30s—from the Lanvin and Boué Soeurs "robe de style" silhouette of flat chest and wide hips, to electrically beaded flapper shifts, to body-skimming gowns by Chanel and Vionnet. Perhaps the fourth section, "The Message Is the Medium: Fashion That Speaks," best captures Ms. Schreier's desire for articulate invention. Rudi Gernreich's trompe l'oeil, Christian Francis Roth's sunny-side-up surrealism, Patrick Kelly's silvery sleight of hand, Moschino's metaphor (a glove is a hand) and Philip Treacy's metamorphosis (a brainstorm of multicolored Monarch butterflies)—the room is alive with wit. The little Bes-Ben "doll" hat, circa 1946, with six small red-leather lobsters grouped on top, nods literally to the lobsters of Elsa Schiaparelli and Charles James—designers who consciously fused fashion and art. I'm guessing Ms. Schreier had to have it. —Ms. Jacobs is the Arts Intel Report editor for the weekly newsletter Air Mail. Copyright ©2019 Dow Jones & Company, Inc. All Rights Reserved. 87990cbe856818d5eddac44c7b1cdeb8  |
| Social justice and sustainability at Men's Fashion Week in London - CNN Posted: 10 Jan 2020 05:28 AM PST Gender fluidity, social justice and sustainability were all recurring themes at this season's London Fashion Week Men's. Several designers not only presented their sartorial vision, they used the catwalk to share political and social views as well. We went backstage to speak with three such labels, Art School, Bethany Williams, and Priya Ahluwalia, who are all using their skills to make collections that aren't just surface deep. Tom Barratt, one half of London-based Art School (with Eden Loweth) called the label a "queer luxury brand" that is "non-binary at heart." "Fashion has always been seen as lesser than art in culture but actually fashion is everything we do," Barratt said before the catwalk show for their new collection, Fearless Love. "Everyone wears clothes, everyone has bodies... and everyone has to live in a world dictated by fashion. That's why it's such a crucial political tool. You can't be apolitical." Bethany Williams, who last year was awarded the Queen Elizabeth II award for British design, used her show to bring attention to the issues faced by women and children living in temporary accommodation in the London borough of Newham. From sourcing to production to delivery, each step in the process of creating her collections is an opportunity for Williams to work with organizations fighting for social change. This time around these included the Manx Workshop for the disabled, the Quaker Mobile Library and Wool and the Gang's recycled wool program.  The Bethany Williams show on the first day of the Autumn/Winter 2020 London Fashion Week Men's. Credit: BEN STANSALL/AFP/AFP via Getty Images "Fashion has an ability to amplify ideas to a large audience," Williams said. Adding that she likes to steer clear of seasonality and trends because "it's not a very sustainable way of thinking." Up-and-comer Priya Ahluwalia, whose 1970s-inspired collection featured all repurposed or recycled materials, told us she is determined to find new ways to be a designer that don't rely on environmentally or socially damaging practices. "I'm trying to show you can make beautiful clothes but from better manufacturing processes," she said. "It can be a limitation to your design process because certain things will be available, certain things won't but then it pushes your creativity -- you've got to work with something you didn't think you were going to have to." Watch the video above to see more from the shows.  |
| 11 year old fashion designer hopes to inspire others - WTVY, Dothan Posted: 10 Jan 2020 07:12 PM PST  As an actress, model, and now fashion designer..... "I was always into fashion and I loved to put on clothes and take photos. I am an actress and my mom told me modeling is apart of being an actress so I was like okay I want to start fashion shows," Co-Owner of Dream Boutique, Marilyn Newman said. Since the age of 8, Marilyn has been participating in fashion shows - "She told me, I want to be the youngest fashion designer and I just looked at her, didn't take her seriously ya know like okay whatever and then February I asked her do you still want to be a fashion designer, the youngest fashion designer and she was like yes," Marilyn's mom, Lashanda Newman said. And after her first show, she knew this is what she wanted to do..... "I nailed it honestly, I nailed it. And then we did good in it and I wanted to do more, i wanted to continue doing what I love," Marilyn said. As the co-owner of Dream Boutique, Marilyn is now just one week away from her 7 day, 7 city tour - showcasing 8 selections from her "Dream Collection" line. "I hope that most girls notice that they don't have to be a pretty face, they don't have to be too skinny they can be any size height, I just want them to love themselves and that anything can happen if you let it," Marilyn said. But it's not all about fashion to this family.... "It's important you know not too many people can say they spend that time with their kids when their kids got careers that they're doing and trying to do. I'm just trying to boost them, I'm just trying to give them that little boost," Lashanda said. And for her future...... "It's just so much fun, its amazing I want to keep on doing it, I don't want to stop in the middle of my life even if I do want to concentrate more on acting, I really don't want to stop. I mean it's apart of my life, I just want to keep doing it and keep going," Marilyn said. Marilyn and her family are now working on a website to showcase all of their Dream Boutique merchandise.  |
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