Stella McCartney Will Take Full Control of Her Fashion Brand

Stella McCartney Will Take Full Control of Her Fashion Brand
Stella McCartney will buy back the 50 percent stake in her namesake fashion brand owned by the French luxury group Kering, ending a 17-year partnership and establishing the British designer as a rare independent label in a rapidly consolidating market.
The deal, announced Wednesday, followed months of speculation that Ms. McCartney and Kering were negotiating a sale.
Ms. McCartney, 46, founded the brand in 2001 as a joint venture with what is now Kering. Together they positioned Stella McCartney as one of the first luxury brands with socially conscious values, including sustainable fashion, and built it into one of the most prominent names in British fashion.
Ms. McCartney built her reputation on chic contemporary tailoring designs for women and men, a refusal to use leather or fur in collections, her highly successful collaboration with Adidas on active wear, and fast-growing licensing deals for eyewear, swimwear, lingerie and fragrance lines. Now, in a display of confidence in its future, she has chosen to become her company’s sole owner.
“It is the right moment to acquire full control of the company bearing my name,” Ms. McCartney, a daughter of the former Beatle Paul McCartney, said in a joint statement from her and Kering. “This opportunity represents a crucial patrimonial decision for me. I am extremely grateful to François-Henri Pinault, his family and everyone at the Kering group for everything we have built together.” Mr. Pinault is the chairman and chief executive of Kering.
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ASU fashion program on the fast track for industry innovation

ASU fashion program on the fast track for industry innovation
Just months into its first academic track at Arizona State University, the newly established fashion degree program is already looking like a powerhouse for fashion education.
Unfolding since last August in the School of Art in ASU’s Herberger Institute of Design and the Arts, the program offers a kaleidoscopic range of topics and experiences that has been drawing students from an array of disciplines to the newly renovated Fashion Studio on ASU’s Tempe campus.
“We are trying to put together a program that is responding to a changing fashion industry right now,” said Dennita Sewell, professor of practice and fashion director at a benefactor event for the Arizona Costume Institute (ACI) on March 26.
“We are striving to see that whatever happens in this space will lead to students getting jobs with this equipment and this program. You can manufacture Donna Karan’s line in this studio with this equipment,” Sewell told attendees gathered at the Fashion Studio for the ACI event.
She thanked Herberger Institute Dean Steven Tepper and School of Art Director Joanna Grabski for their support in designing the fashion program’s first year at ASU. Tepper and Grabski also heaped praise on Sewell  for her vision and thought leadership.
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Alternative Fashion Mob ends fashion week by celebrating local artistry

Alternative Fashion Mob ends fashion week by celebrating local artistry
Alternative Fashion Week 2018 will close its finale runway show Saturday at Express Live by featuring the work of 17 local designers, and, for the first time, a marketplace featuring local vendors.
Kelli Martin, co-founder of Alternative Fashion Week, said the finale and marketplace will give emerging and local designers the chance to share their work with full creative control.
“This is a platform for emerging and independent designers,” Martin said. “Giving them a platform where they can express their creativity, but not limiting their creativity.”
Rachel Murdoch, front-of-house manager for Alternative Fashion Week, said people attending the finale runway show should expect to see talent many in Columbus likely didn’t know existed in the city.
“There is going to be great music, low prices, and a marketplace. There is something for everyone,” Murdoch said.
All the events during the week normally take about a year to organize, Martin said. This year’s finale will be run by five members of Alternative Fashion mob, a nonprofit organization that orchestrates fashion events all year, and two fashion designers.
Murdoch said there are about 100 volunteers and models in addition to the core team to make the event possible.
Martin said she got the idea to bring a fashion week to Columbus after she worked on fashion week events around the country.
“I wanted to create a fashion week for designers who might not be able to afford other events around the country,” Martin said.
To make sure that new designers without funds can participate in the event, the organization raises money to cover material cost and give scholarships to some designers, Martin said.
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Meet Marine Serre, The Radical Face of Fashion's Future

Meet Marine Serre, The Radical Face of Fashion's Future
There were a lot of small crescent moons in street style shots from the AW18 shows - red, black, as full sleeve prints or a discreetly placed logo. Fittingly cult-like when you consider the following that Marine Serre, the designer behind the motif, has quickly amassed.
You'll no doubt know of Nicolas Ghesquière, the creative director of Louis Vuitton, Phoebe Philo of Céline, and Karl Lagerfeld. Well, know that they're watching Marine Serre, having awarded her last year's €300,000 LVMH Prize fund.
A year later and Serre is making a mark, putting her investment to good use with her first runway show in Paris, and boundary-pushing techniques as she seeks to challenge our staid view of sustainability. She's also making her brand values clear with a number of international pop-ups, taking over retail spaces in China, London and Paris.
Dover Street Market is the latest store to feature an installation designed by Serre and close collaborator, Tanguy Poujol. And they were among the first to support Serre, picking up her first collection in AW17. 'I chose to champion Marine so early on simply because she has incredible talent,' said Adrian Joffe, President of the internationally renowned store. 'She has an incredibly strong vision.'
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We’ll always have Paris:

We’ll always have Paris: Taiwan fashion house woos Asia clientele by showing in ‘the top fashion city in the world’
Despite being rejected by many international department stores for its Chineseness and high price point, Taiwanese label Shiatzy Chen, founded 40 years ago, will persist with Paris shows, while launching a leisure line online
Known for its Chinese-inflected pieces that cater to a loyal clientele of luxury shoppers in Asia, Shiatzy Chen positions itself as a luxury brand, defying the notion that the label “Made in China” can’t be attached to high-end products.
Its price point is on a par with that of most European luxury companies, something that often doesn’t sit well with the global customers Shiatzy Chen has been chasing after for the past decade or so.
Henry Wang, the CEO of the company and the son of Madame Wang, is quick to point this out when we meet just before the autumn-winter 2018 show in Paris. “Lots of international department stores tell us that they don’t like the styling, maybe because it’s too Asian, too Chinese. The price range is also high,” he says.
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Fashion calls on nostalgia for the way forward

Fashion calls on nostalgia for the way forward
NEW DELHI: The universal nostalgia that we revel in as an antidote to an uncertain future, manifests itself in a vibrant mash-up with a 1970s and 1980s focus for fashion in Autumn-Winter 2018-19. Whether designers are looking back in order to challenge the world we live in or reclaiming their heady teenage days, it all plays into a wider search for meaning.
For some of us, our teen years had their share of traumatic moments, but the magic of nostalgia means that we can reconstruct them with a positive ending. In fashion, that could mean adding a witty layer of postmodern irony or applying a pair of rose-tinted glasses.
Oriole Cullen, the Victoria and Albert Museum’s curator for modern fashion has this to opine, “A lot of contemporary designers use imagery as a source of inspiration. We are very much an image-based culture, and I think it’s inevitable that designers would be inspired by former fashion.”
Nostalgia in fashion is not a new phenomenon. We can sit far back in the history of fashion, back to the early 19th century, which was a period of rapid industry and change, and see nostalgia for a preindustrial past, based on romantic notions of chivalry. Although nearly impossible to analyse each era’s influence on modern-day design, curators of Metropolitan Museum of Art, New York and Museum at FIT concur that the 19th century is perhaps the era richest in references. From the drape of a sleeve to the placement of a specific embroidery, the 1800s, were the true genesis of modern fashion as we know it today.
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New exhibit pairs

New exhibit pairs Mesa College fashion designers' work with San Diego History Center collection
he San Diego History Center has partnered with the Mesa College School of Fashion and Design for a new exhibit that will showcase work by local fashion students as well as the History Center’s extensive collection.
The exhibit — “Fashion Redux: 90 Years of Fashion” — continues through June 29.
“The History Center’s costume collection includes garments from the late 18th century to the present,” said History Center curator Kaytie Johnson. “Many of the pieces in the collection are singular in that they can be directly attributed to San Diegans, and show lifestyles in San Diego over time.”
Said Mesa College fashion professor Susan Lezear: “Our students are excited to have this kind of exposure and are confident the visitors who see this exhibition will learn something about the fabulous fashion trends that have characterized various eras in San Diego’s past. They will also get an intimate, up-close experience by hearing the stories of the students’ journey from concept to completion.”
Besides the exhibit, a “Fashion Redux Grand Reveal” on April 26 will include a reception, a fashion show and the announcement of the People’s Choice Award.
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What Will Selena Gomez's Coach Clothing Line Look Like? An Investigation.

What Will Selena Gomez's Coach Clothing Line Look Like? An Investigation.
elena Gomez is a woman of many talents. She sings! She acts! She dances! And now, apparently, she designs(!). Yesterday evening, Gomez revealed that she will be collaborating with Coach, the brand she's served as the official celebrity face of for the past year, on a line of ready-to-wear clothing for the Spring 2018 collection. Gomez has previously collaborated on accessories with the label, but this will be her first time tackling clothes for Coach. “I am so excited to be working with Coach again," she said in a statement. "Getting to create my own collection with Stuart [Vevers] has been such a fun process, and I can’t wait for everyone to see what we have been working on over the past several months.”
Now, when it comes to celebrity fashion collaborations, there is a whole spectrum of previous examples, all with varying degrees of success, mass appeal, and just general quality of design. While something like Gigi Hadid's four-season collaboration with Tommy Hilfiger yielded four very entertaining fashion shows and a return to Hilfiger's logo-mania days, we've also seen Lindsay Lohan's outing for Emanuel Ungaro, heart-shaped nipple covers and all. So what will Selena Gomez's Coach collection look like? Let's break it down.
Here's what we know: The collection will be designed in tandem with Vevers, the brand's creative director who has helped transform the brand's New York Fashion Week runway show into a must-see. Already off to a good start there. "I always look forward to designing with Selena because she has a strong point of view,” said Vevers in a statement. “We wanted to bring cool new ideas to the table and I loved getting her take on clothes as much as accessories this time around.” The line apparently also "reflects Gomez’s personal style, and each piece has touches that reflect her personality."
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KARLIE KLOSS SAYS VICTORIA'S SECRET IS STILL RELEVANT

KARLIE KLOSS SAYS VICTORIA'S SECRET IS STILL RELEVANT IN THE #METOO ERAKarlie Kloss believes that the Victoria's Secret Fashion Show is now more relevant than ever before.
In an interview with The Telegraph, the 25-year-old defended the runway show in light of the Time's Up and #MeToo movements.
"There's something really powerful about a woman who owns her sexuality and is in charge," the model told the publication. "A show like this celebrates that and allows all of us to be the best versions of ourselves."She continued: "Whether it's wearing heels, make-up or a beautiful piece of lingerie - if you are in control and empowered by yourself, it's sexy. I personally love investing in a powerful scent or piece of lingerie, but I ensure it's on my terms. I like to set a positive example, so would never be part of something I didn't believe in."
The 25-year-old's comments come after fellow model Adriana Lima declared that she will no longer take her clothes off "for an empty cause" in a candid Instagram post.
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Undercover to Quit Women's Shows in Favour of Men's

Undercover to Quit Women's Shows in Favour of Men's
Undercover's latest women’s show, an ode to the innocence of American youth, was its last — at least for the foreseeable future. Instead, Jun Takahashi, the label’s designer, is putting greater emphasis on his menswear and will begin showing his men's collection on the runway in Paris starting this June with the Spring/Summer 2019 season. Takahashi has previously staged runway shows for his womenswear, while presenting his menswear via a look book.
Although Undercover’s highly conceptual women's shows routinely garner critical acclaim, a small majority of the label’s business comes from its menswear, for which Takahashi has attracted a loyal following.
While I enjoy designing womenswear, for me creating a conceptual women’s show requires designing clothes that are rather extreme. It has been a tricky balance to make women’s clothes that are both creative enough to make a statement on the runway but also wearable," said Takahashi.
“Although it is important for me to make an impactful show, I would also like the clothes I design to be worn,” he continued. “Conversely, I feel like I don’t need to make extravagant menswear to make a conceptual runway show. I also feel confident that my menswear design has improved over the years. That is why I felt ready to do a show at Pitti Uomo,” he added, referring to the menswear show, influenced by Stanley Kubrick's 2001: A Space Odyssey, which the designer presented earlier this season at the Pitti Uomo trade show in Florence. Takahashi’s only other men’s show to date — staged in June of 2009 — also took place at Pitti Uomo.
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Paris’s Fashion Museum Gets a New Director

Paris’s Fashion Museum Gets a New Director
As director of the Palais Galliera for the last eight years, Olivier Saillard elevated the city of Paris’s fashion museum to must-visit status, thanks to programming that encompassed everything from performance pieces by Tilda Swinton to the first Azzedine Alaïa retrospective in the city. So the fashion community was stunned last summer when Mr. Saillard abruptly announced he was quitting in January to become artistic director of J.M. Weston, the French luxury men’s shoe company.
A guessing game about who might take his place followed. In December, the answer was revealed: a relatively unknown Spaniard named Miren Arzalluz.
A political historian by training and Basque by birth, the 39-year-old Ms. Arzalluz had honed her curating skills for eight years as the head of the Cristóbal Balenciaga Foundation in Getaria, Spain. She said she was hesitant to apply for the Galliera post (she had been happy in her most recent job, as director of the Etxepare Basque Institute, a cultural center in San Sebastián).
But she ultimately pursued it because, she said, “this job was really going back to my thing.”
So what is her thing? Here is her explanation:How did you end up in a museum, if you studied politics?
I studied history, worked at a British think tank, earned my master’s in comparative politics at the London School of Economics. It was just after 9/11. The world was in such turmoil. I started going to the Victoria & Albert Museum for fashion exhibitions. Then I remember walking into the National Portrait Gallery bookshop and seeing a whole section on fashion history. It was a revelation. When you study history, it’s to be a social or political historian. But fashion? That was something that I had never dreamt of. I went to the Courtauld Institute of Art in Somerset House for a master’s in history of dress, and fell in love with the subject. I thought: “Oh, this is what I want to do.”
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Is Time’s Up the End of Red-Carpet Fashion?

Is Time’s Up the End of Red-Carpet Fashion?
On the subject of men whose past behavior warrants reexamining in this new era of accountability in Hollywood, there’s one who may be due for a reckoning of a different sort. That would be the man known professionally as Mr. Blackwell.
For nearly 50 years, until his death in 2008, Richard Blackwell—a former eveningwear designer and onetime actor who became famous as an acerbic critic of fashion—published a satiric worst-dressed list that skewered women in harsh terms. He called Barbra Streisand “a masculine Bride of Frankenstein” and once said Meryl Streep looked like “a gypsy abandoned by a caravan,” to give you some idea of insults that, at the time, were treated as harmless dish. “I merely said out loud what others were whispering,” Mr. Blackwell said, arguing that it wasn’t his intention to hurt anyone’s feelings, just “to put down the clothing they’re wearing.”
But in many ways Mr. Blackwell and his colorful quips were precursors to a culture of red-carpet cattiness that flourished over the decades. From the late Joan Rivers and the Fashion Police to gimmicks like the Mani Cam and Glambot, the pageantry of awards season has turned into a form of blood sport. For years there have been protests and plenty of pushback against the inherent sexism of judging women (but rarely men) for their looks, yet very little has changed. Until now.
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