Header Ads Widget

Ticker

6/recent/ticker-posts

Diesel Joins Fashion Pact - WWD

MadamFannie Kasım 04, 2021

Diesel Joins Fashion Pact - WWD

Diesel Joins Fashion Pact - WWD

Posted: 12 Feb 2020 10:00 PM PST

MILAN — Diesel will reveal on Thursday that it has joined the Fashion Pact, taking its commitment to environmental goals one step further.

In January, during Milan Fashion Week Men's, the Italian fashion group launched its "For Responsible Living" strategy with Eco-Age founder Livia Firth.

The Fashion Pact's 63 signatories have committed to achieving practical objectives in three areas: climate, biodiversity and oceans.

Renzo Rosso, founder of Diesel and president of its parent company OTB, said, "To change the way we do business, collaboration is key. We have been working with Camera Nazionale della Moda Italiana to progress the sustainability conversation in Italy for a long time, but we recognize our industry's global footprint."

Rosso added that he was "looking forward to working with these stakeholders who believe that the future of fashion, and of our planet, lies in uniting under a common goal and setting out clear and actionable steps to leave a better world to next generations."

The "For Responsible Living" strategy rests on four pillars: Be the Alternative, creating alternative and responsible products; Stand for the Planet, committing to climate action by minimizing greenhouse gas emissions, water footprint and improving recycling rates; Celebrate Individuality, developing a sustainability culture within the company, honoring employees' rights and their diversity, and Promote Integrity, committing to the highest standards enhancing the traceability of products and promoting positive practices among suppliers.

"The goal is to implement a responsible business strategy that is respectful of people and the environment," Rosso said at the time. "Diesel will define measurable targets for the future — tracking progress — and Eco-Age will guarantee control."

You May Also Like

6 Emerging Designers to Know This Fashion Month - The New York Times

Posted: 12 Feb 2020 09:03 AM PST

Image
Credit...Portrait by BFA/Zach Whitford. Photo by Hatnim Lee.

Kenneth Nicholson, 37

Kenneth Nicholson debuted his namesake brand in January 2016, with an offering of subtle, nontraditional men's wear: sand-colored linen tunics, wide-cut white linen trousers and billowy cotton button-downs in soothing earth tones. This week, he showed his first women's pieces with a joyful mixed-gender runway show in New York. "From the beginning, women have bought some of my men's pieces," he says, "So it was a natural evolution." Nicholson, who is based in Los Angeles, grew up in Houston, Texas, and knew from a young age that he wanted to be a fashion designer — although he arrived at this goal by an unusual path. After studying at the Academy of Art University in San Francisco, he joined the U.S. Navy in 2004 and worked on a military base in Afghanistan for a year; he later spent a brief spell in Phuket, Thailand, where he worked as an interior design consultant. These travels have deeply influenced his men's wear, which has become known for its loose silhouettes, soft hues and fluid interpretation of masculinity. Nicholson's new women's pieces, which demonstrate his taste for unusual textiles, include a draped one-shouldered top made from soft-pink terry cloth patterned with white stars, a flared knee-length khaki skirt finished with a fringe of wooden beads and a matching white mesh top and skirt trimmed with a shaggy high-pile fabric that resembles upholstery fabric. The collection, which explored notions of home and heritage, was appropriately titled "From Grandma's Couch."

Wei Ge, 26, and Aoyu Zhang, 35

The idea for KEH was born in 2017 when friends Wei Ge and Aoyu Zhang were waiting in line at the opening of the Dover Street Market boutique in Singapore. The long queue gave the duo, both designers, a chance to discuss the next steps in their respective careers — and their shared ambition to start their own label. They'd met five years before at the Academy of Arts and Design, Tsinghua University in Beijing. Ge went on to become an assistant designer at the popular Chinese label Zuczug while Zhang earned a master's degree in business from Nanyang Technological University in Singapore. After two years of development, the pair launched their own brand — choosing the name KEH simply for its pleasing sound — in New York in March 2019. From the beginning, they wanted to create gender-fluid clothing that represented what they and their friends wanted to wear. As Ge says, "KEH deconstructs and mixes elements from both men's wear and women's wear." The brand's fall 2020 collection, which the designers showed in New York this season, was inspired by the photographer Nick Knight's surreal images of roses and includes tailored garments made from environmentally friendly cotton as well as a cape constructed from pieces of mottled gray wool arranged to resemble the petals of a flower.

Claire McKinney, 26, and Sophie Andes-Gascon, 27

Claire McKinney and Sophie Andes-Gascon both moved to New York in 2011 to study fashion design at the Pratt Institute in Brooklyn. McKinney grew up in Portland, Oregon, where, as a child, she would make costumes using pillowcases and blankets borrowed from the family's linen closet. Andes-Gascon was born in Manaus, Brazil, but later moved to Maryland, where her father taught her how to sew and knit. For a time, the two classmates shared an apartment, and in 2015 they both landed jobs as design consultants for the brand Maryam Nassir Zadeh, where they still work. They each continued to create their own clothes on the side and eventually formed a partnership; in 2019, they launched SC103, which specializes in custom dyes and handcrafted elements, with a runway show in downtown Manhattan that was, in a departure from the traditional fashion presentation format, open to the public. "We reject the idea of exclusivity and embrace an open and democratic policy," says McKinney. "We want to share this experience with people outside the fashion world." The name SC103 is a nod to the pair's personal bond: It's derived from the first letters of their names, combined with the building number of their first shared apartment and studio. For fall 2020, the designers will show brightly colored hand-knits paired with workwear-inspired trousers, armor-like garments made from linked leather panels, and shrunken sweaters and pants designed to mimic ones that have been washed on too high a heat.

Nensi Dojaka, 26

Nensi Dojaka graduated from Central Saint Martins less than a year ago but is already presenting her third collection in London. She was one of five designers selected by Fashion East, a nonprofit organization that cultivates and promotes young brands. Born in Tirana, Albania, Dojaka grew up with a deep-rooted love of art; her family didn't live near institutions with regular exhibitions, so she created her own imaginative drawings. Those early works tended to depict colorful panels arranged in puzzle-like formations, and you can see traces of similar abstract patterns in her clothing today. Dojaka moved to the United Kingdom in 2009 to attend high school and later studied at both the London College of Fashion and Central Saint Martins. Last March, her graduate collection — which comprised deconstructed dresses made from layers of different types of sheer fabrics — caught the eye of the Canadian luxury retailer Ssense and, with the store's encouragement, Dojaka decided to continue and build her namesake label. "My woman is complex, she embodies a perfect marriage of severity and delicacy," says Dojaka of her ideal wearer. "I try to translate this idea into my clothes, creating delicacy from severity and vice versa." Her fall 2020 collection will include draped black jersey dresses cut to give them a subtle movement, and a series of mini dresses with thin straps and cutouts. The designer frequently turns to '90s-era magazines for inspiration and nods to that decade will be as present as ever this season.

Amy Trinh, 28, and Evan Phillips, 28

Since meeting at Central Saint Martins, Amy Trinh and Evan Phillips have built impressive resumes: Trinh interned at Louis Vuitton, Craig Green and Stella McCartney; Phillips assisted Richard Quinn with his first collections before working on development at Simone Rocha. Both of their careers shifted course, though, when Trinh got engaged in 2018 and discovered that the type of unconventional wedding dress she wanted didn't exist. "I realized there was something missing," she says, "namely, dresses that could be worn more than once." She reached out to Phillips to help her create a dress, and that conversation became the starting point for their bridal-inspired ready-to-wear label WED, which debuted last year. The pair's goal is to create garments that can be worn both on and long after a person's wedding day. "It's about making bridal wear more sustainable and changing the mentality that a wedding dress should be boxed up and never worn again," Phillips says. The pair also want to reimagine what wedding attire means in a world where the concept of marriage is changing and becoming more inclusive. Their new collection, which will be their second to date, will be shown by appointment in Paris. "The garment drapes are based on a swirling movement," explains Phillips of the pieces, which include an A-line taffeta skirt with a dramatic spiral-like silhouette. This season, the designers have also collaborated with the 300-year-old English mill Stephen Walters, and have repurposed many of the company's dead-stock fabrics, from a quilted jacquard to a striped satin.

Shuting Qiu, 25

Shuting Qiu was born in Hangzhou, China, and began dreaming up ideas for fantastical garments as a young child. Hoping to make those early designs a reality, she moved to Antwerp at 18 to study at the prestigious Royal Academy of Fine Arts. There, under the instruction of the designer Walter Van Beirendonck, the head of the school's fashion department, she cultivated her eclectic tastes and love of unusual combinations of colorful prints. The collection she presented at the end of her bachelor's degree in 2017 — defined by extravagant silhouettes and loud clashing patterns — was selected by the online fashion platform and store Vfiles to appear in its spring 2019 runway show during New York Fashion Week and she launched her own brand not long after. If there is a common theme between each of Qiu's collections, it is references to travel and the traditional clothing she's seen in parts of Africa, India and Southeast Asia. Accordingly, her prints — which range from floral motifs to vibrant checks and plaids — come in rich contrasting colors and are often finished with intricate embroidery. She will show her latest collection, which will include faux fur, by appointment in Paris.

What Makes Sustainable Fashion? - The New York Times

Posted: 12 Feb 2020 05:33 AM PST

For all that the climate crisis has been at the center of the international conversation; for all it has been at the forefront of the Democratic presidential debates; for all the talk about it around the Oscars; for all that it was one of the biggest trends to emerge from the shows last season — for all that, as the New York collections draw to a close, the question of sustainability has been strangely absent from the catwalks. (So, for that matter, have most issues.)

Admittedly, paper invitations have largely given way to digital ones, and designers have hinted at the subject: At Sies Marjan, Sander Lak claimed inspiration from a Guggenheim exhibition by Rem Koolhaus opening next week entitled "Countryside: The Future," about — yes — the ecology of the outdoors. (Mr. Lak is a sponsor, so he's putting his money where his mind is.) Then he used material science to bring it in: embedding leaves in cloudlike white dresses and suiting; adding tendrils of root systems to a big black overcoat; felting and fraying wool so it looked like mossy fungus.

But it was Gabriela Hearst who put waste front and center. Sort of.

Ms. Hearst, who last season announced a carbon-neutral fashion show, has long been one of the most vocal designers in the city about climate change and fashion's responsibility therein. This time around she had borrowed giant bales of scrap paper from a recycling plant in Brooklyn and installed them as a backdrop, turning her store into the setting for a peculiarly urban hoedown — and raising expectations. Would the whole show be about garbage? How enticing! (That is not sarcasm.)

Well, no. And yes. Ms. Hearst had, indeed, been thinking about repurposing and its role in a collection. She had sourced antique rug remnants from a Turkish market and turned them into a terrific woven jacket and sweeping greatcoat. She had gone through her storeroom and found two groups of unsold coats in her trademark exacting tailoring — one camel, one navy — cut them up and blanket-stitched them back together into two-tone cool. She had placed a big bet on some bolts of dead stock and sewed it into a slick tuxedo suit seamed in braid and a one-shoulder dress caught up with a brass buckle on the collarbone.

But these were only a fraction of what was shown, sandwiched between swishy, deep-pile corduroy suiting with nipped-in waists, big pleated pockets and epaulets on the shoulders; extravagantly fringed chunky knits and hand-painted leathers.

That can make the upcycling and the bales seem like decoration — a superficial gloss laid atop a story that is actually same old/same old, no matter how tangibly desirable. It can expose fashion to oft-repeated charges of hypocrisy. But that kind of criticism, easy to make, actually misses the point.

One that is rarely discussed, but that the non-upcycled bits of Ms. Hearst's collection made clear: If you make something signature, something women love, then you have made a sustainable garment because you have made something non-disposable.

That should be the yardstick against which all else is measured. That is the difference between an heirloom and landfill. And that should be the goal of all designers all the time, whether or not they are measuring their carbon imprint or researching materials made from pineapple.

So though it was easy to see the flower boas and headdresses made from live orchids at the Rodarte show and think "What an unnecessary sacrifice," and while that was true, it is also true that the designers Kate and Laura Mulleavy make singular, fantastical garments. The sort of garments that blossom in the imagination and exist outside of time and trend: polka-dot 1940s tea dresses and witchy white robes corseted in crystal spider webs; royal brocade rocker trousers and Midsummer Night's Dream bias-cut silks.

(A sorcerer's vibe showed up, too, in Vera Wang's Gashlycrumb Tinies-in-a-sex-shop combinations of delicate slips trailing wings of tulle atop tailored shorts, thigh-high socks and towering platforms — a nod to magical thinking, perhaps.)

And similarly, it was easy to see the plethora of leather — leather culottes and leather shirts and leather coats — and fuzzy, collaged shearling at Coach and raise an eyebrow, since the brand enthusiastically got on the anti-fur bandwagon in 2018. Yes, as the designer Stuart Vevers said backstage after the show, these skins are byproducts of the meat industry, but yes, leather production is also chemical-intensive, and if you're going to feel bad for the animals, maybe you should think about their habitat, too.

Yet it is also true, as Mr. Vevers pointed out, that leather tends to be kept and gets better with age. And that in their unforced tactile detail and connection to Coach's legacy past, these qualified as investment pieces.

That's what Michael Kors was thinking about, anyway, when he revisited a cape (one of many in this collection, mixed in among the paisley pleats and hammered metal sequins, the organic denim and shearling) he first made 21 years ago. Originally modeled by Naomi Campbell, it was later worn by Joan Didion in a portrait by Tina Barney and now reimagined in an enveloping, striped cayenne pepper-colored cashgora — part security blanket, part urban cowgirl. That's what he was thinking when he paired almost every look with Wellie-like riding boots, just as he did in his first collection, almost 40 years ago.

It's this kind of signature that was missing from Prabal Gurung's uptown amalgamation of snazzy white tuxedos, leopard print, diva dresses draped on the hip, explosive peplums and feather fripperies. Each look on its own with a champagne polish, but lacking identity. And thus, staying power.

Which is why the kitchen-sink craftiness of Eckhaus Latta, awkward and alluring at the same time, has so much resonance. There's something entirely personal about its weird juxtapositions and connections, even as the results have become more sophisticated: high-waist acid-washed denim jeans with pockets placed back to front; irregular patchwork knits and slithery magenta nylon; cropped triangular jackets over shrunken pleated miniskirts; and juicy orange and blue sheaths with space age-y oval cutouts at the clavicle. They are unmistakably clothes to live in over time.

Oh, and by the way, those runway shoes? They were Prada, Fendi and Gucci, secondhand, sourced from the resale site The RealReal. And they will be resold accordingly.

Coronavirus is throwing fashion's supply chain into disarray - Quartz

Posted: 12 Feb 2020 12:40 PM PST

From our Obsession

Global Economic Disruptions

Globalization, automation, and inequality—oh my!

China's outbreak of Coronavirus has fashion companies scrambling. The store closures and travel restrictions it's causing are already putting a dent in sales inside and outside the country. Just as disruptive may be the impact the virus is having behind the scenes in global supply chains.

China is the world's largest garment producer, and fashion companies around the world rely on it to make a substantial share of their clothes. But even companies doing their cutting and sewing elsewhere often depend on China for fabrics and trims such as the cords, appliques, and more needed to finish products before they're ready to sell. Factories around China have closed due to the virus, however, creating production delays likely to have effects even after the epidemic has subsided and stores there welcome shoppers again.

Right now, it's anyone's guess when factories will fully reopen. "The answer is no one knows," Edward Hertzman, founder and president of fashion trade publication Sourcing Journal, said on a call about coronavirus's supply-chain impact hosted by investment bank Cowen and Co. yesterday. Sources he spoke with in countries such as Vietnam and Pakistan were suffering too, he said. Even though fashion companies might shift more sewing from China to those locations, they're often still reliant on China for their materials.

China is the world's largest textile exporter by a wide margin, accounting for about 38% of the global total in 2018 according to World Bank data. Hertzman noted footwear and athletic companies, which use a lot of technical fabrics such as high-performance stretch materials, will have the hardest time finding alternatives.

Under Armour addressed the situation during an earnings call with investors and analysts yesterday. "From a supply chain point of view, there could be challenges that develop from the material, factory, and logistics perspective," CEO Patrik Frisk said. He added problems sourcing fabrics, trims, and packaging "could prove to be difficult in the second half of the year." Meanwhile, the factories it relies on for manufacturing don't know when they'll reopen, leaving Under Armour to figure out how it will fulfill orders and which products to prioritize making.

The fashion and footwear industries have been looking to factories outside China to assemble more of their goods in recent years, but China's extensive network of fashion manufacturing infrastructure has left many still leaning on the country. PVH Corp., the giant behind Calvin Klein and Tommy Hilfiger, said in a statement it makes roughly 20% of its products in China. Wells Fargo Securities estimated similar numbers at other companies in a recent research note to clients, and far higher for shoe makers Steve Madden and Skechers.

It's only a matter of time before the factory shutdowns become noticeable in stores. "The next few weeks should be critical, as further delays in the restart of production could begin to result in out-of-stocks at US shelves as early as mid-April," Wells Fargo analyst Edward Kelly wrote in the note.

One factor that could help is a number of companies have already produced their clothes for the spring and summer. Workers often go home on vacations around Chinese New Year, which was Jan. 25 this year—just ahead of the outbreak—so companies plan for a production slowdown around that time. But not all companies are so punctual.

Wells Fargo also noted many finished products are currently stuck in China because little is being shipped out by water or air. It's an issue that will have its own ripple effects. "Once labor does return, high ocean demand and limited air availability create other challenges," it said. "Our logistics contacts compared the issue to a port strike; every day of inactivity from here could delay an order by up to a week."

What's certain is that fashion isn't anywhere near done sorting through the consequences of the outbreak.
Tags:

Yorum Gönder

0 Yorumlar