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yesthatssadirichardslove · 6 months

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After health scare, Madonna launches tour celebrating 40 years as 'Queen of Pop'

LONDON

Three-and-a-half months after she was hospitalised with a bacterial infection that forced the cancellation of her 40th anniversary "Celebration" tour, Madonna returns on Saturday with the start of a 78-date tour.

At 65, the singer looks set to put her health woes behind her with a six-month-long tour of Europe and North America starting at London's 02 Arena.

The tour will also take in the Accor Arena in Paris on November 12, 13, 19 and 20 and the Bell Center in Montreal on January 18 and 20, before winding up at the Palacio de los Deportes in Mexico on April 24.

The show promises to be a "documentary through her vast career" drawing on archive footage and studio recordings from the four decades since her breakthrough single "Holiday" in 1983, according to her musical director Stuart Price.

"A greatest hit doesn't have to be a song. It can be a wardrobe, it can be a video, or a statement," Price told the BBC in an interview.

Madonna spent several days in intensive care in New York after being found unconscious in her New York apartment in June.

But the singer was back and fighting fit after her health scare, Price said.

"The person that is going to take the stage looks incredible, sounds incredible, performs incredible," he said.

The star's hospital stay meant that the North American leg of the tour -- originally due to begin on July 15 in Vancouver -- had to be rescheduled with the European leg opening as planned on Saturday.

"My first thought when I woke up in the hospital was my children," Madonna said in July in a social media post. "My second thought was that I did not want to disappoint anyone who bought tickets for my tour.

"My focus now is my health and getting stronger and I assure you, I'll be back with you as soon as I can!" she added.

The Grammy-winning icon behind classics including "Like A Virgin" and "Material Girl" has asserted incalculable influence as one of music's top stars.

Her decades-long career, which has also taken in acting, film directing and business ventures, has made her one of the wealthiest artists on the planet.

In 2020 she underwent hip replacement surgery following an injury sustained on her "Madame X" tour.

Madonna, whose full name is Madonna Louise Ciccone, was born in August 1958 in Michigan, to parents of Italian and French-Canadian origins.

After starting out as a dancer in the late 1970s in New York with $35 in her pocket, she went on to win seven Grammy Awards and sell more than 300 million records worldwide.

The show's setlist has been kept a closely guarded secret with scores of hits to choose from.

The show is expected to feature around 45 songs, 25 in their entirety and extracts of around 20 more.

"That was the big challenge," said Price. "In two hours, can you get all of it in? That's hard. But every great moment she's had, we took a bit of it."

The singer known for her sometimes provocative outfits such as the pink conical bra outfit by Jean Paul Gaultier, will be dressed by the Georgian Guram Gvasalia, director of the young label Vetements.

For the first time since her early days, Madonna will not be performing alongside an on-stage band, added Price.

"There are live musicians that perform at different parts of the show," Price said. "But what we realised is that the original recordings are our stars. Those things can't be replicated and can't be recreated, so we decided just to embrace that."

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kerrsstyles · 2 years

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burberry tops guard adopted from learning the

The front rows, as usual, made the headlines at the fall 2022 runway shows. Fashion conspiracy theorists, take note the designer had a Louis Vuitton tome sitting on his desk. No comic book anti heroine has the same cultural cache as Catwoman. Selena Kyle, Batman's on again, off again antagonist, has been a prominent figure in superhero media since being introduced in 1940. Demna Gvasalia, co-founder of Vetements and creative director of Balenciaga, appears to be the designer who reignited this trend, now seen on runways from Shanghai burberry bags outlet to Paris and Milan. A '90s dance anthem suddenly blared over the loudspeakers as the crowd dispersed, some wondering if there was an after party there was not.

It's actually more a symbol than a logo, she said. Miceli had it tranlated into enameled bracelets and metallic necklaces; into the outlined rubber soles of funny flip flops; into buckles decorating wooden clogs and high shine platforms; and into a cute bag shaped like a fish. It's something fashion's new burberry tops guard adopted from learning the rules and then breaking them on social media, launching their own communities and setting their own style agendas. During awards season, the brand's cross generational reach was especially evident.

Making desirable, as she said, to my 21 year old son's circle of girlfriends, as well as to my mother or to my millionaire copines, is part of Miceli's mission to balance sophistication with accessibility, offering pieces that can make an entrance while retaining ease and nonchalance. Being a skilled accessories designer, she has cleverly expanded the offer, working around the shape of two interlocked little fishes, playfully replicating the P in Pucci. However, the fair's loyal menswear enthusiasts are present and correct. Not to mention, fabrics that are associated with ballet - such as lace, bows and tulle - burberry shirts cyclically resurface on the runway.

His favorite part of the busy week, however, was working on his own designs during his downtime. I've got a collection I've been working on coming out soon and been sticking my head in all kinds of books, he says. We couldn't produce the collection in Ukraine, because a lot of production is now focused on soldiers' uniforms and equipment. But now that the season is over, what Vogue editors around the world can't stop talking about is the fashion. At one very memorable point in time, Juicy Couture tracksuits were synonymous with nearly every It-Girl of the 2000s. Now, Ganni is partaking in the timely trend of reviving the early aughts by teaming up with the iconic Cali brand on sustainable iterations of the beloved wardrobe staple.

#burberry

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generalfactory · 6 years

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Knock, Knock

Capturing international attention in footwear, ready to wear, and accessories, Balenciaga has the world waiting at bated breath for its next zeitgeist product. Since the appointment of Georgian-born Demna Gvasalia as creative director, the house has seen a a major revival in sales and influence in the global fashion conversation. Driving sales for Balenciaga is the booming millennial sector's absolute enthralment with luxury goods in the 21st century. While Balenciaga has propelled itself to all time high sales and desirability through products like the Triple-S sneaker, duvet-packaging handbags, and ill fitting suiting, its trajectory has left many baffled yet enamoured. Having forgone most pillars of luxury such as quality, refinement or subtlety, Balenciaga blurs all constructs of high end luxury but the price tag. Generating desirability, or “hype”, however, is something that Balenciaga, among other Kering-umbrella fashion houses, has done impeccably well in driving its new direction. The widely covered fashion shows, celebrity endorsements, the success of his actual output has kept the name Balenciaga on the tip of everyone's tongue without it ever quite becoming passe nor ever taking itself totally seriously.

Gvasalia's success relies on his heavy use of irony in his collections, presentations and general design ethos. His work at both Balenciaga and his own line Vetements are both highly referential to an array of cultures and subcultures.The Triple-S sneaker, partly an entry into the dad-shoe category, partly an indictment against high-end sneaker design ethos dominating at that time, is perfectly timed and placed irony. The Triple-S is bulky, heavy, cumbersome and at its core anti-fashion. Its proportions are difficult to work with and its weight can make your own feet feel foreign, yet they sell out before hitting shelves. His $300 dad caps continue to be hot sellers but are they anything more than a campy memento from a fishing trip? His $500 T-shirts mimic those you would get gratis in a case of beer or if you ate enough hotdogs in one sitting. Irony is decidedly the driving force behind the Bernie Sanders inspired T-shirts and hoodies, or the Croc-platforms, but wherein does it lie? In the idea that ugly can be beautiful or an the fact that the masses will covet and pay big bucks for otherwise uninspired commodities bearing a brand name? One thing is certain, for these wares, the demand far outweighs the supply.

Having spent many years working at Maison Margiela, designing collections steeped in irony and obtuse reference is familiar to Gvasalia. What Balenciaga has effectively marketed is an ironic take on the fashion industry's most fiercely guarded conventions. His use of senior models in his shows, his disregard for quality (moving production of the Triple-S from Italy to China, while maintaining the price), and his overt brand-jacking seem to work as an indictment on both the fashion world and its consumers. Having abandoned the couture-DNA of Balenciaga of old, many detractors claim that Gvasalia's success is fickle, shallow and as ephemeral as his latest T shirts. Designer Ralph Rucci was scathing in an online post, saying Gvasalia's output is “ such mediocrity, such tastelessness, such ugly ideas. Without balance, respect for proportion, without quality, without integrity – just the whorish greed to sell a gym shoe, a t-shirt, a back pack.” Beyond polarizing fashion consumers and critics, it seems Gvasalia wants to propel Balenciaga into some hyper modernity, distinct from avant-garde, but alongside it.

It seems that Balenciaga in the early naughts is product of the booming millennial sector purchasing in record amounts, and Demna's success in peddling cotton T shirts to novice luxury buyers through layers of pseudo-intellectual irony. Gvasalia's output is both compelling and boring, original yet referential, serious but tongue-in-cheek. Perhaps Balenciaga in 2018 is best explained as the dichotomy between modernity and banality. In a luxury market that is less concerned with quality and exclusivity and more with having the latest hyper-temporary viral obsession, Demna's Balenciaga certainly thrives.

The jokes on us but we don't care.

#Demna #Balenciaga #Rucci #Vetements

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i11matic · 5 years

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Vetements held their spring/summer 20 menswear show in a Paris McDonald's The Vetements spring/summer 20 show might just have been the most Vetements thing we’ve ever seen. From the branded condom invitation, through to the show notes which were stamped onto a napkin, to showing in a branch of McDonald’s on the Champs-Elysées, Demna Gvasalia turned the dial up to 11. Even the napkins hinted at what was to come: ‘Kapitalism’, ‘Global Mind Fuck’, and ‘Böse’, which translates from German as ‘angry’. The clothes, meanwhile, consisted largely of manipulated workwear in the most literal sense — think security guard jackets to McDonald’s manager uniforms — followed by fun-poking takes on familiar company logos, where PlayStation became PayStation, and the Internet Explorer ‘E’ became ecstasy. There were also a number of tongue-in-cheek takes on tourist tat, which included ‘I love Paris… Hilton’, to provide the LOLs. In typical Demna style, the everyday was memed as models picked at fries and the fashion set slurped on Coke or milkshakes. Since its launch in 2014, Vetements have continually challenged the fashion system from the inside. Whether they're cancelling shows or throwing real-fake market pop-ups, the now Zurich-based brand has always looked to dismantle the industry’s exclusionary structures and stimulate deep thought around fashion’s status quo and future. And building on last season’s celebration of fuck-the-system internet nerds, this season Demna has outfitted his disaffected youth with a two fingers up to the corporate world, on a site repeatedly targeted during Paris’ gilets jaunes protests. The activism may have faded from the streets but the anger remains -- and here, the clothes said it all.

#fashion #vetements #2019 #2020SS #paris #capitalism #catwalk #art #Demna-Gvasalia

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jessicakehoe · 5 years

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Vetements Was Once a Darling of the Fashion World. Are the Tides Turning?

Since its inception in 2014, French fashion label Vetements has been routinely drawing ire for what appear to be an elaborate set of jokes.

First they received global attention for purveying a t-shirt with the logo of logistics company DHL for $330. Following collections replicated stereotypes of goths and Heaven’s Gate cult members. The brand’s most recent collection was a sober articulation of the uniforms of capitalism, from security guards to police officers to corporate middle managers, and took place inside a McDonalds on Paris’ Champs-Élysées.

To distill Vetements essence into a single aesthetic would be impossible, but the closest might be “capitalist kitch.” Designer Demna Gvasalia draws inspiration from European underground party culture and repackages it into highly covetable, slightly askew versions of familiar things. Almost every single runway show has included some variation of a hoodie puffed up to thrice its normal size and waist-high boots that flop down the leg like flaccid penises. Vetements takes classic garments and inflates them to comical proportions – a rose-splotched Western jacket juts out at the shoulders like David Byrne’s big suit, a leather jacket that might look bespoke if worn by André the Giant rather than a willowy model. Vetements’ intentional ugliness seems to have sprouted from the decomposing corpse of normcore, building on its blithely unassuming aesthetic with the addition of blatantly confrontational elements.

Vetements’ intentional ugliness seems to have sprouted from the decomposing corpse of normcore, building on its blithely unassuming aesthetic with the addition of blatantly confrontational elements.

Inside the fashion press Vetements tends to be well-received, consistently receiving breathless reviews such as claims that the label is “hacking the fashion system.” Yet the label’s singular brand of sneering irreverence routinely draws ire from people whose purviews remain firmly outside the style section. Writing for the Toronto Star, columnist Vinay Menon described a pair of jeans that unzip to reveal a sliver of derriere as an “apocalyptic garment,” intuiting that the designers of said jeans must be “professional freaks.”

In a world where the Costume Institute is now one of the more popular reasons to visit the Metropolitan Museum of Art, Vetements reifies the distinction between the fashion industry’s true insiders and outsiders. Previously, its untranslatable language of ugliness arguably represented a bid for fashion to once again claim elitist space where it has eroded away, and shoo off anyone who isn’t sophisticated enough to understand. And while Vetements has been largely successful despite—or perhaps because of—its desire to upend and poke fun at the conventions of fashion, it appears as though critical consensus is beginning to shift in the opposite direction.

When it is finally revealed that Vetements was actually a long-form performance art piece intended to scam the fashion industry this whole time I'm going to feel so vindicated https://t.co/8AcxGJYLxV

— Tyler McCall (@eiffeltyler) June 20, 2019

vetements must be stopped at all costs pic.twitter.com/75L5AftVLG

— jeremy lin’s ring (@meaganrosae) June 21, 2019

Vetements’ most recent collection, men’s spring/summer ’20, contained the same inflated proportions and references to blue collar culture that characterized previous collections. Full-on corpse paint was juxtaposed with sporty nylon anoraks. Tracksuits appropriated the logo of the World Economic Forum, rejigging it to read “Global Mind Fuck.” The signature look in the collection was an oversize middle-manager shirt and tie with a nametag ‘Hello, I’m Capitalism” paired with work-inappropriate flip flops and a red baseball hat that read ‘For Rent.’ A replica of a T-shirt worn by journalists during the Israeli invasion of Lebanon in 1982 was accused by Vogue Arabia of “instigating regional upset.”

While previous Vetements bootlegs – the aforementioned DHL shirt and a $2,145 dupe of a canvas IKEA bag — were suffused with a sufficient sense of humour, this collection struck a deeply pessimistic tone. The message was bleaker than ever before. Police officers in riot gear glued to their phones, middle managers wearing flip flops and flannel pyjama bottoms broadcast an overarching sense of desperation. Political and environmental instability have forced the world into such a state of vulnerability that yes, anything can be fashion but none of it is fun anymore. We are forever trapped running the hamster wheel of late capitalism; fugitives in a world of our own making.

Political and environmental instability have forced the world into such a state of vulnerability that yes, anything can be fashion but none of it is fun anymore.

It’s tempting to write off Vetements as an elaborate scam run by two ferociously good-looking Georgian trolls (Demna’s brother Guram runs the business side of things), but their clever replicas of ‘90s-era Reebok jackets and security guard uniforms are arguably more akin to Richard Prince’s appropriation art than a counterfeit bag bought on Canal Street. In 1975, Prince gained currency in the art world for re-photographing existing photographs and passing the work off as his own. Like Prince, Vetements’ willingness to charge obscene amounts of money for a blatant facsimile contains an element of conscious goading.

One could argue that Vetements is the sartorial equivalent of Donald Trump refusing to pay his taxes because he’s “smart”; just because it’s self-aware doesn’t make it less of a racket. But Vetements consistently positions itself as outside the fashion system while remaining complicit with it. Sure, anyone who is willing to shell out $2000 for a ski jacket may be getting duped. But Vetements seems to acknowledge that they’re dupes for making the objects in the first place.

Gvasalia is unquestionably a deeply talented designer, but his vision is sometimes clouded and overwhelmed by his desire to shock his audience. We don’t live in that kind of world anymore. Shock value may have served its purpose — to force people to entertain perspectives different than their own — during the relatively comfortable 1980s and 1990s. But as despondency has replaced complacency as the cresting cultural zeitgeist, a more sensitive approach is required.

What we need right now is clothing that doesn’t sneer at the world, but hints at ways of making it better. We need a blueprint for how to hope, a natural human resource that currently exists in extremely short supply.

The post Vetements Was Once a Darling of the Fashion World. Are the Tides Turning? appeared first on FASHION Magazine.

Vetements Was Once a Darling of the Fashion World. Are the Tides Turning? published first on https://borboletabags.tumblr.com/

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newestcool · 2 years

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Vetements s/s 2023 rtw Creative Director Guram Gvasalia Photographer Filippo Fior IG

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titoslondon-blog · 6 years

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New Post has been published on Titos London

#Blog New Post has been published on http://www.titoslondon.co.uk/what-to-expect-from-the-autumnwinter-2018-shows-at-paris-fashion-week/

What to expect from the autumn/winter 2018 shows at Paris Fashion Week

Last September, the fashion world was all aflutter in anticipation of a slew of debut collections by designers for the grandes maisons of Paris. Exciting for some, and nerve-wracking for others, spring/summer 2018 signalled a changing of the guard—one that has now settled in (presumably) to their new positions in the upper echelons of the industry, alongside a crop of talents who have decamped from New York to try their luck in the City of Light. Though some think of fashion like a house of cards, the reality is a little more stable—and at this end of fashion month, labels are keenly investing for long-term gain—pouring new foundations, renovating, upscaling and toying with a ‘sea change’ in the fashion real estate game.

New foundations

French wunderkind Simon Porte Jacquemus kicks off the show season in Paris with his Monday night slot, the only show on a day when buyers, editors and the rest of the fashion pack are still transiting from Milan. On Wednesday, he unveiled via Instagram that his autumn/winter 2018 show ‘Le Souk’ (no prizes to whoever guesses that inspiration) will take place at the Petit Palais which, like last season’s Musée Picasso affair, is a serious step-up from his early show locations, which included a local swimming pool and games arcade. His hash-tagging of #newjob has fashion folk gossiping as to what he’ll unveil the day of the show, but with rumours of the Céline position clearly misplaced, the jury’s out on this one. Could he have been chosen to revive a slumbering fashion house, perhaps?

With Hedi Slimane’s appointment at Céline, Phoebe Philo’s coveted Sunday afternoon spot on the PFW calendar was up for grabs, as the house reshuffles for Slimane’s first show in October. Instead, Belgian entrepreneur Anne Chapelle (business partner to both Ann Demeulemeester and Haider Ackermann) seized the time slot for Poiret—the century-old French maison she has revived (thanks to financial backing from Samsung heiress Chung Yoo-Kyung) with Chinese couturier, Yiqing Yin at the creative helm.

Another newcomer on the schedule is the 2017 LVMH Prize winner Marine Serre. Since quitting her day job at Balenciaga to go solo, her printed body stockings and flouncy, voluminous gowns have been snapped up by the likes of Dover Street Market and Opening Ceremony. Serre will open the first full day of shows on Tuesday morning before big-ticket blockbusters: Dior by Maria Grazia Chiuri in the gardens of the Musée Rodin and—just hours later—Anthony Vaccarello for Saint Laurent.

Restoration and renovations

Autumn/winter 2018 is the season of the sophomore, as a trio of designers will each present their second collection at a Parisian house. First up is Natacha Ramsay-Levi at Chloé, who will be moving her second show to an as-of-yet undisclosed location after last season’s exclusive outing (60 per cent less seats!) inside the new, contemporary art-filled Maison Chloé. Later that day, Dior alumni Serge Ruffieux’s pretty, bohemian new vision for Carven will play out at a middle school in the 15th arrondissement, whilst Clare Waight Keller’s Givenchy show returns to the Palais de Justice on Sunday morning. After mixed reports of her first women’s and men’s ready-to-wear collections last September, Waight Keller made a splash at her first-ever haute couture show in January, leaving the ball in her court for a strong follow-up for the house that Hubert built.

The transatlantic ‘seachange’

Not only have designers been switching houses, but labels have been exploring the geographic limitations of when and where they show their collections. Despite their studios remaining in New York City, a handful of designers have decamped to join the Paris schedule, just as others (like Bottega Veneta and Esteban Cortazar) have been trying their luck with one-time-only fashion shows in the Big Apple. Following buzzy debuts in Paris last October, Thom Browne and Joseph Altuzarra will show once again on the official calendar this week. Also of note, Demna Gvasalia will show both menswear and womenswear at his Sunday show for the very first time.

Off-schedule mini breaks

Runway shows aside, Paris Fashion Week will play host to hundreds of presentations, cocktails, dinners and after-parties that cater to a broad cross-section of the fashion community. Highlights will include the semi-finals of the fifth 2018 LVMH Prize, a competition presided over by a prestigious jury including Nicolas Ghesquière, Marc Jacobs, Clare Waight Keller, Haider Ackermann, Karl Lagerfeld, Maria Grazia Chiuri and Jonathan Anderson. The 21 finalists (which this year include Eckhaus Latta, GmbH, Matthew Adams Dolan and Charles Jeffrey) will be whittled down to eight, with the winner announced in June. Finally, and for those seeking the veritable holy grail of fashion inspiration, the exhibition “Margiela Galliera” opens at the Palais Galliera museum on March 3, its last show before closing mid-July for renovations and the establishment of a permanent collection. The Margiela exhibition—curated by Alexandre Samson and instigated by outgoing director Olivier Saillard—includes more than 130 silhouettes by the seminal Belgian designer, and word has it his personal implication in the project has been considerable.

1/10 Jacquemus, spring/summer 2018

Image: Getty

Chloé, spring/summer 2018

Image: Getty

Givenchy, spring/summer 2018

Image: Getty

Carven, spring/summer 2018

Image: Getty

Thom Browne, spring/summer 2018

Image: Getty

Altuzarra, spring/summer 2018

Image: Getty

Beautiful People, spring/summer 2018

Image: Shoji Fujii

Marine Serre, spring/summer 2018

Image: Tanguy Poujol

The wife of the Parisian fashion designer Paul Poiret wearing a dress designed by her husband for 1919

Image: Getty

Martin Margiela, wigs and hairpieces jacket, autumn/winter 2009

Image: Stéphane Piera / Galliera / Roger-Viollet

The post What to expect from the autumn/winter 2018 shows at Paris Fashion Week appeared first on VOGUE India.

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fashionshoesworlds · 6 years

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Balenciaga’s Campaign Is All About Hiding From the Paparazzi — in Amazing Shoes

Demna Gvasalia and Kanye West are riding the same wavelength, it seems. The same day that West launched his paparazzi-style Yeezy Season 6 lookbook featuring close friends (and one Paris Hilton) made over into Kim Kardashian West clones, Gvasalia put forth a similar concept for the Balenciaga spring ’18 campaign. Shot by actual French paparazzi photographers Sebastien Valiela, Francis Petit, Nikola Kis Derdei and Cyril Moreau, the campaign mimics that of a classic stakeout, in which models, clad in head-to-toe Balenciaga, re-enact celebrities and their signature “don’t photograph me” poses as they run away from the cameras, trailed by hired security guards. It’s meant to frame “the customer as Balenciaga VIP.” Balenciaga spring 2018 campaign There are some classic poses, like the face-palm-to-the-camera gesture, but there are others that require a little more muscle, like the bag-as-shield maneuver. And while that spotlights the bags — like a luxe, charm-adorned shoulder bag, a classic quilted style or an oversize Balenciaga-stamped tote — we can’t help but draw our attention down to their footwear — because it’s really, really good. Balenciaga Spring 2018 Campaign Our immediate favorites are the dangerously spiky patent T-strap pumps seen on model Stella Tennant, who wears them with a newspaper-print top, a sweatshirt draped over

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sheetalmafatlalblog-blog · 7 years

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Fashion’s Game Of Musical Chair

Last two years have seen major change of guard at high fashion houses. The minimalist Raf Simons ended his three-and-a-half year collaboration with the storied French house, Christian Dior and joined Calvin Klein. Maria Grazia Chiuri left Valentino to become the first woman to helm the hallowed Dior. All eyes are set on her first collection, which will be closely observed, dissected and debated. Designer Anthony Vaccarello, who’s done some exemplary work at Versus-Versace and at his own label, joined Yves Saint Laurent replacing Hedi Slimane. It’ll be interesting to see if Vaccarello gives his magic potion and multiplies Hedi’s incredible turnover for the brand. Clearly he has some big shoes to fill! And this list seems endless! There’s Bouchra Jarrar who replaced Alber Elbaz, whose draped concoctions injected the much-needed newness into Lanvin. In a statement, Elbaz spoke of his departure as a result of “the decision of the company’s majority shareholder” without naming Shaw-Lan Wang, the Taiwanese publishing magnate, who recruited him to revive what she then described as a “sleeping beauty.” He also hinted at the reasons for his breach with Wang, holding out hope that the company “finds the business vision it needs to engage in the right way forward.”

His successor Bouchra’s debut resort collection for Lanvin elicited mixed reviews.

Also, Balenciaga and parent company Kering decided not to renew Alexander Wang’s contract at the company and Demna Gvasalia of Vetements was appointed. At Zegna, Alessandro Sartori replaced Stefano Pilati last year. Which brings us to the question what’s causing this unabated hiring and firing? Is it the unbearable pressure of bringing out spring summer, fall winter, resort, pre fall and couture that’s leaving the designers high and dry? Perhaps some designers want to focus on their personal labels. Or is it the constant demand for the coveted ‘it’ bag which we want every month? Has fashion industry forgotten that designers are artists too? Or should we blame it on fast fashion? There’s no one clear-cut answer as there are various reasons behind this complex phenomenon.

Going forward, it’ll be amazing to see how Raf, who’s worked at his own menswear label and at Jil Sander, reignites Calvin Klein with his modern minimalism. Fashion world’s whisperers are closely observing Yves Saint Laurent, which became a huge success thanks to Hedi Slimane’s subversive take on glam rock. His impeccably constructed leather jackets, sequinned dresses and platform shoes reaped rich dividends for the brand. It’ll be interesting to see how Vaccarello stays true to the heritage of YSL while making it of-the-moment with his unique vision. Maria Grazia Chiuri is also an interesting appointment at Dior as she’s worked at Valentino haute couture. One can’t wait to witness her individualistic take on Dior’s iconic bar jackets and bias-cut gowns. As fashion lovers, we can’t quarrel with the changing mores. In a scenario where the runway-to-retail format is being hotly debated, social media is becoming a big tool in accelerating sales and luxury and high street collaborations are proving to be hugely successful, one can see the birth of a new fashion order. One can safely deduce that it’ll be the survival of the fittest and the chicest in the long run.

http://sheetalmafatlal.com/

#fashion #fashionblog #sheetal #mafatlal

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