Capri Holdings Donates $3 Million to Coronavirus Causes

Capri Holdings, which owns Michael Kors, Versace, and Jimmy Choo, has announced that together its three brands will donate more than $3 million to aid those impacted by the coronavirus. “Our hearts and souls go out to those who are working on the front lines to help the world combat the COVID-19 pandemic,” says chairman and chief executive John D. Idol.

The Michael Kors company will divide a total donation of $2 million—$1 million from the company and $1 million from founder Michael Kors himself—between three New York–based organizations. NYU Langone Health and NewYork–Presbyterian Hospital will each receive a $750,000 donation, while God’s Love We Deliver and Vogue and the CFDA’s A Common Thread will each receive $250,000.

Versace, which already donated $1 million to the Chinese Red Cross Foundation in February, will donate an additional $400,000 to Milan’s San Raffaele Hospital and $100,000 to the Camera Della Moda to supply ventilators and medical equipment to Italian hospitals. In London, Jimmy Choo will donate $250,000 to the NHS and to the WHO’s COVID-19 Solidarity Response Fund.

Altogether, the companies’ donations will aid people around the world, echoing the ways fashion has banded together globally to combat this crisis. “This is clearly a time for people to come together in every way and on every level, because we are all stronger in our united resolve,” says Idol.

Source: Vogue

FASHIONADO

Ralph Lauren Will Contribute $10 Million to Coronavirus Relief Efforts

The fashion industry has felt the impact of the coronavirus pandemic at every level of its business, with charitable and legislative plans to support brands, retailers, designers, and employees that have been affected by the crisis emerging slowly but surely over the past two weeks.

Thursday, Ralph Lauren announced a major donation that provides serious support to his employees as well as global relief efforts. His Ralph Lauren Corporate Foundation set out a plan to give $10 million to four charitable organizations. Conglomerates like Kering and LVMH have donated millions of euros in cash in addition to producing masks and other equipment for European health authorities. Lauren’s, meanwhile, is the largest amount given in a single donation of any fashion company so far, and the kind of meaningful, major statement that many in the American fashion community have been waiting for.

“At the heart of our company, there has always been a spirit of togetherness that inspires our creativity, our confidence, and most importantly our support for one another,” Lauren, who serves as executive chairman and chief creative officer, said in a press release. “In the past weeks and months, that spirit has never wavered.”

In the release, Lauren outlined a plan to split the money between four major organizations, with the goal of providing relief to his own employees, support for global efforts to fight the spread of coronavirus, and financial assistance to American designers. The first organization is the Emergency Assistance Foundation, an American nonprofit that creates employee relief funds, and which will provide grants to help employees of Lauren’s corporation to assist with medical care or the care of family members. Sums will also go to the World Health Organization’s COVID-19 Solidarity Response Fund, and Ralph Lauren’s Pink Pony Fun for cancer research.

Lastly, $1 million dollars of the donation will go to A Common Thread, the initiative launched earlier this week by the Council of Fashion Designers of America and Vogue to support designers and those behind-the-scenes who have been impacted by the coronavirus.

The company’s release added that it is also exploring the production of medical-grade masks, gowns, and other personal protective equipment. As GQ reported yesterday, fashion designers’ production of much-needed masks has been riddled with roadblocks and red tape. Leadership from an organization of Lauren’s size could make the manufacturing of those supplies far more effective.

Source: GQ

FASHIONADO

OCTAVIUS MARISON DEBUTS FW 20/21 COLLECTION WITH FASHION DESIGN STUDENTS AT THE ART INSTITUTE OF ATLANTA

Photo Credits: Paras Griffin/GETTY and Art Institute of Atlanta’s Taylor Bareford; Phaedra Williamson

On March 14, 2020 the Art Institute of Atlanta made fashion history with their extraordinary, student-driven production which even made national headlines via E! News and Essence.com. The newsworthy event boasted a celeb-filled front row to include Eva Marcille, Angelica Ross, Dyllon Burnside, Terri J. Vaughn and Jamal Sims, who directed the show that provided the talented students of the Art Institute of Atlanta the experience of a real-world, first-class production. Students, faculty and administrators across all disciplines worked together in unison to produce the multi-media extravaganza: fashion design, photography, video & audio production, culinary arts, graphic design and interior design.

Sixteen fashion design students participated in the juried fashion premiere. They showcased capsule collections in menswear and ready-to-wear featuring a wide variety of genres, from eveningwear to gender-fluid fashion. It was evidently clear that the future of fashion is alive and thriving at the Art Institute of Atlanta. For added educational value and impact, the young designers were paired with professional fashion designers months before the runway show. The mentorship guided students to success while offering real-world working situations that included multiple fittings with professional models, critiques, garment mockups and working alongside industry professionals on all levels of production.

Visually, the fashion show was dynamic, from the set to the clothes to the choreography of the models. The set was designed and built by Carlton Lee Studios and featured two jumbo screens and a custom neon lit runway within the open air lower deck of the parking lot - think The Fast & The Furious, Tokyo Drift. To drive home the theme (no pun intended) Lexus sponsored the event with car placement - on the runway itself! The Lexus LC 500 and Lexus RCF Track Edition were positioned front and center becoming a focal point and anchoring the runway. Jamal Sims (Aladdin movie choreographer) directed the show to perfection. The culmination of movement, set design, hair and make up by Paul Mitchell Schools and of course, the fashion, made for a spectacular presentation.

Lastly but most certainly not least, Octavius Terry, the man behind the vision and the Art Institute of Atlanta’s Fashion Coordinator said this was a “dream come true.” Terry, who is a menswear designer, joined the Art Institute nearly two years ago and from the beginning talked about bringing together all departments for an all-inclusive, collaborative production that, under faculty guidance, would be 100% student driven and produced. His dream was realized and more.

Octavius Terry debuted his FW 20/21 menswear collection titled “Octavius Marison.” The fourteen look collection offered an elevated interpretation of streetwear meets sartorial elegance. “The mix of modern living and antiquated living (near the Wall of China)” was an inspiration said Terry. “Kill Bill came to mind because it is all about the underdog rising and that’s what I felt about our school, faculty, students and also myself.” The collection was rich in color and pattern. It was edgy yet wearable. An obsession-worthy key element to the collection were the various ponchos with bold zipper hardware. A definite must-have.

And just as we thought things couldn’t get bigger or better, the grand finale came with a Proclamation for Octavius Terry presented by Councilman Antonio Brown - an emotional highlight of the evening.

History was made at the Art Institute of Atlanta. On all levels.

BTS with Models, VIPs, Designers & Guests at the Art Institute of Atlanta

Dallas Christopher, Paul Mitchell Schools

Art Institute of Atlanta

Art Institute of Atlanta designers in sewing studio pre-show.

Cathy Lee (LEXUS) Octavius Terry & E. Vincent Martinez

Art Institute of Atlanta

E. Vincent Martinez & Alex Page

Art Institute of Atlanta

Art Institute of Atlanta Fashion Show Emcee, Regina Love (center)

(l-r) E. Vincent Martinez; Art Institute of Atlanta President Elden Monday

Tony Shorter & Terri J. Vaughn

Art Institute of Atlanta

Alex Page, Cathy Lee & Simply Buckhead's Joanne Hayes

Art Institute of Atlanta

President Elden Monday & Eva Marcille

Art Institute of Atlanta

Art Institute of Atlanta Dean Max Shangle has words of wisdom for high school fashion student.

Art Institute of Atlanta

Art Institute of Atlanta Fashion Faculty

Karron English & Dr. Priya Pandey

Octavius Terry

Art Institute of Atlanta

Jamal Sims

Art Institute of Atlanta

LEXUS makes its grand entrance.

Art Institute of Atlanta

FASHIONADO

Rick Owens Launches “Stripped-Down" SS20 Champion Campaign

First seen on the runway during Paris Fashion Week, Rick Owens has now officially launched his expansive, inaugural Champion collaboration for Spring/Summer 2020. A host of the American heritage label’s signature styles, including Reverse Weave hoodies and basketball shorts, are transformed in Owens’ image, described by the designer himself as “stripped-down togas, loincloths and robes.”

Select stores received the goods last month, but Owens is rolling out thematic imagery showcasing models layered up in the progressive garments. Champion’s sporty mesh, usually seen on jerseys and basketball shorts, now graces robe-like coats, tunic shirts and tiny loincloth-inspired skirts, alongside more conventional goods like hoodies and T-shirts. Similarly, Champion’s Reverse Weave textile informs both dramatically-revamped styles, including a lengthy pullover with between-the-legs snap closure, and accessible items like a zippered hoodie, all emblazoned with a co-branded star graphic indebted to Owens’ DRKSHDW sub-label branding.

The co-branding holds special meaning to Owens, who reportedly took cues from Champion’s script logo for his own mainline branding. “When I started my label in the Nineties,” he told WWD, “I hand-drew my logo as a cross between the Champion logo and a Jean Patou perfume label. They both had a similar vintage calligraphic flair.”

Source: Hypebeast

FASHIONADO

The 101: Vivienne Westwood

Everything you need to know about the ultra-influential punk designer.

The 101 is an ongoing series that provides a concise and informative breakdown of subjects that range from fashion brands to furniture.Of the fashion industry’s many dissidents few have proven as inflexible as the original punk, Vivienne Westwood. Dame Westwood’s contributions to fashion are so vast that several books have been assembled to properly assess her legacy.

However, it’s worth starting with one key point in her history: her provocative store co-founded with Sex Pistols manager and future husband Malcolm McLaren in the mid ‘70s. SEX — eventually renamed Seditionaires, then World’s End — was where Westwood first distributed her intentionally-shoddy handmade garments, ranging from graphic tees emblazoned with breasts, swastikas and religious symbols (since referenced by countless devotees) to bondage trousers (also frequently referenced).

Westwood and McLaren, 1977

The influence of Westwood’s punk-era designs ran in stark contrast to the fashion industry, but their influence still reverberated throughout. For instance, Yohji Yamamoto and Rei Kawakubo made their controversial Parisian debuts shortly after shopping at SEX, at least partially inspired by Westwood’s disintegrating knitwear and anti-establishment ethos. Indeed, Westwood’s Fall/Winter 1994 range showcased comically exaggerated anatomies merely three years before Kawakubo’s iconic Spring/Summer 1997 show, referred to by fans as the “Lumps and Bumps” collection.

Westwood’s same uprooting attitude fueled the subversive Ura-Hara movement, including the designs of Hiroshi Fujiwara and Jun Takahashi. years later, Westwood’s widespread influence was reaffirmed when even Dolce & Gabbana admitted to transparent imitation.

In an industry packed with legacy-hungry designers, few can claim more innovation than Westwood. Her legendary 1981 Pirates runway show predated Jean Paul Gaultier’s nautical dabbling later that decade, while her strappy, upcycled bondage trousers informed creations from the likes of Christopher Nemeth, Helmut Lang and Maison Margiela. Other inimitable creations include Westwood’s armor rings and signature rocking horse shoes — Westwood and McLaren also supported George Cox’s trademark creepers, which have since become a symbol of punk rebellion.

The visual language of punk isn’t Westwood’s alone to claim, but her skill in translating the movement’s attitude to wearables remains a lasting point of strength — what other living designer can say they effectively outfitted a musical revolution? Westwood’s take-no-prisoners attitude has never wavered, and the designer remains an activist and figure of change. Throughout the years, she’s donated to and promoted the UK’s environmentally-focused Green Party, launched Climate Revolution, publicly mocked Margaret Thatcher and and invited activists to perform during a runway show, to name a few notable acts. Westwood puts her money where her mouth is, catering to her deeply-held credo over fashion’s fickle tastes.

Though Westwood’s design acumen is far from negligible, her rebellious, headline-making designs are perhaps her best-known and most forward-looking. Prior to Westwood, designers like Pierre Cardin and Gaultier stirred up plenty controversy within the fashion system, but Westwood constantly battled conventionality and trends from the outside-in. Consider Westwood’s iconic mini-crini dress, revealed in Spring/Summer 1985 as a progressive revision of the stodgy crinoline dress, a symbol of 19th-century conservatism.

Similarly, her forward-thinking usage of tartan and Harris Tweed elevated Scotland’s traditional patterns and textiles from intentionally-unfashionable heritage into striking dresses for Fall/Winter 1987’s “Harris Tweed” collection. Or, examine her aggressive dissection of traditional fabrics for Spring/Summer 1991’s “Cut and Slash.” There, she reimagined violently-slashed fabrics of the 16th and 17th centuries in sleek satin rugged denim, predating the contemporary taste for distressed jeans.

When Pharrell wore a re-edition of Westwood’s enormous Buffalo hat, worn to the 2014 Grammys, was a dual moment of clarity. It both cemented his role as style-conscious statement-maker and affirmed Westwood’s ongoing relevance in the industry. Today, Westwood’s Harris Tweed-inspired Orb logo is nearly as recognizable as its forebear, with a new generation uncovering the British creative’s uncanny foresight and uncompromising garments. Recent collaborations with Vans skate shoes and ASICS runners have brought Westwood’s inimitable style to more approachable silhouettes, much like Westwood’s Anglomania x Lee partnerships did several years prior.

Westwood driving a tank to protest fracking

In recent years, household names have paid tribute to the world’s foremost British designer. Notably, Riccardo Tisci brought Westwood on board for a Burberry collaboration, upending traditional British staples with Westwood’s dramatic silhouettes. Ironically, with Westwood always a step ahead of the fashion industry, collectors are now looking backwards, with the Seditionaries and Anglomania designer finding new life on the secondhand market. Newfound interest from archivists has inspired the Westwood brand to reissue Orb jewelry and continue dabbling in doodled graphics — don’t be surprised when Dame Viv inevitably collaborates with a major streetwear brand, à la Gaultier x Supreme.

Andreas Kronthaler, who Westwood married in 1993, has aided the designer in bringing her namesake label into brave new frontiers since he began aiding her creative process in the ’90s; since 2016, his name has led her runway shows as a sign of his importance to the enduring Vivienne Westwood brand. However, Westwood’s legacy is hers alone, due to years of unwavering activism that cap her decades of boundary-pushing design. Climate concerns, struggles for equality and discordant fashion design all remain hot topics in the current fashion cycle, trails long-since blazed by Westwood, a patron saint for all conscious, idiosyncratic designers.

Source: Hypebeast

FASHIONADO

Virgil Abloh Shares Pics of His LV² Collaboration With Nigo

When Virgil Abloh announced his Louis Vuitton collaboration with Nigo in December, he gave props to the Japanese streetwear pioneer. “Me being at Louis Vuitton is directly attributable to work Nigo’s done in the past,” Abloh said. “A collab project with him—it puts his work in the right context.”

The French luxury goods house famously partnered with Supreme in 2017, when Kim Jones was still LV’s menswear designer, but this hookup is different. There are no logos for Nigo’s brand, Human Made, on these clothes and accessories. In fact, there’s not much streetwear in the collection at all. “Let’s not do the expected,” is how Abloh characterized the interaction between himself and his mentor and friend.

That rings true with a statement Abloh made in an interview Dazed published shortly after the Louis Vuitton and Nigo project was announced. “I would definitely say it’s gonna die, you know? Like, its time will be up,” was how Abloh summed up streetwear’s fate at the time. As offhand as the comment was (see below), it stirred up quite a lot of internet talk in the industry and beyond. Three months later, Abloh has some new thoughts on the topic. He shared them, along with photos of his collaboration with Nigo, exclusively with Vogue.

Tell me about your friendship with Nigo.

He’s among the first real mentors I had in fashion. Since my trajectory was different, had I been a quote, unquote traditional designer, I might’ve gone to New York and apprenticed under Donna Karan. But since streetwear is a new genre of fashion design, those earliest mentors, the Yves Saint Laurent or Balenciaga of streetwear, it’s Nigo, it’s James Jebbia, who founded Supreme. They took what was organically happening within culture—skate and street brands—and they made hard-core brands from that.

Nigo, I was fortunate over 15 years ago to have met him in Japan. He took us under his wing and showed us the ropes of how he was building the brand A Bathing Ape at the time.

What was the process of working with him like?

We met in his studio [in Tokyo]. He has a completely vertical fashion brand with Human Made. In one building, he designs, does the photo shoot, does the manufacturing. I was impressed by that. We had subsequent meetings in my studio in Paris. They were really hands-on. Our strongpoint is the art direction of the concept. What people might be most surprised by is that for two guys known for streetwear history and ability, the collection is completely the opposite. That was our starting point: Let’s not do the expected. Let’s not put streetwear in a box. That’s the epiphany within the collaboration.

You’re doing a lot of tailoring together.

Yeah. If you were to say our names and that we’re doing something at Louis Vuitton, you would almost be able to predict it. But to me fashion with a capital F, it’s supposed to take you on a journey, to lead. Last fall I did an interview where a quote was taken out of context; my sentiment was that streetwear will die.

Virgil Abloh says streetwear is dead. It was the quote heard around the fashion world…

I’m such a novice; I don’t realize that things can even go that far. I’m a little bit naive in that way. It was literally me in my kitchen just riffing on what I’d been thinking. I didn’t say it to be polarizing. I think that in the context of this conversation with Nigo—if you speak to anyone that’s been in streetwear for the last 15 years, it’s always had this sort of nine lives, dying and coming back, and dying and coming back. There’s so many first-generation streetwear brands, stores, and retailers. The market wasn’t as vibrant as it is now, so they went out of business and people don’t remember those. Nigo has had projects before; he’s had many a brand, many identities within streetwear. Partially what I meant that “it will die” is that new things like tailoring from guys like Nigo and me will be born from the regeneration of it.

Back to the collaboration. You’ve put the LV Damier check to good use. It’s not something you’ve touched on yet, right?

A hundred percent. I thought this was a perfect project to do things like that. The mood of the collection started off with our appreciation for the U.K. dandy and the mod era, Savile Row tailoring. That gave us the silhouette; but when it came to adding our own texture within the silhouette, that was very much using the codes of the house.

When I think of Japan, I think of denim. You’ve done some amazing things with the material here.

What the Japanese are known for is great archiving and reinterpretations of Americana. Nigo has one of the most formidable collections; he has some of the very early Lee and Levi’s pieces that were ever found. His personal style, he’s a true connoisseur. He buys his suits on Savile Row. He goes for the experience, the custom bespoke nature of it. Also, his personal collection of denim! When it was a matter of developing these pieces, I thought that was the most authentic [thing], using him as a muse.

So, his influence is in the bags?

He had this brand called Ice cream with this drippy signature. I thought, What if we made that playfulness a little more serious and merged it with the Louis Vuitton signature?

And I see you’ve done a hooded bomber with Mount Fuji on the back.

We would do those pieces in our sleep. But we didn’t want the collection to be 100% that. My program at Louis Vuitton, the overarching vision is father to son. So, having a portion of more mature pieces with youthful pieces.

Let’s talk about the LV² label. Is it only applicable to you and Nigo, or is it a new logo for you plus somebody else going forward?

It’s something for Nigo and me specifically. It’s like a new rap group. Nigo came up with the name of LV². We were from outside having an opinion and just styling it. Now we’re inside designing it and styling it.

What’s the most important thing you’ve learned from Nigo?

It’s a sense of detail, a Japanese precision. But also generosity. He’s extremely heartfelt. I’m American and I work a lot in Europe. In Paris fashion can be cutthroat. It can have this manic feeling. In America it’s very workhorse. Working with him and having him in the studio, seeing his disposition and how he was thinking of the challenge of making tailoring, of how to refine all these ideas, he did it in a very respectful, calm, polite, but very precise way.

So is it really just a one-off?

Yeah, but as we’ve finally finished, there’s already been talks that this could be an ongoing logic. I think both sides are open to it, so I wouldn’t rule out that other things could come. I can say the future will involve a way of activating this collection, when it comes time to release, that will be more immersive than just simply putting it out into stores. We both have a passion for eventizing these moments. It’s not just the clothes, it’s the context.

Source: Vogue

FASHIONADO

Fashion Veteran Octavius Terry and Top Atlanta Fashion Designers Guide Students of The Art Institute of Atlanta To Runway Success

Seventeen up-and-coming fashion designers to showcase their work

alongside Terry’s at a Japanese Street Racing themed show.

Fashion designer, Octavius Terry

On March 14, 2020, seventeen designers from The Art Institute of Atlanta will showcase the talent, determination, and creativity they’ve transformed into their Fall/Winter 20/21 and Spring ‘21 collections. The show will take place at The Art Institute of Atlanta located at 6600 Peachtree Dunwoody Rd, Atlanta, GA 30328. The evening begins with a VIP reception at 4 p.m. and followed by the runway show at 6 p.m.

The show is the brainchild of Octavius Terry, fashion designer and fashion design program director at The Art Institute of Atlanta. Current fashion students at the school vied for the opportunity to show their collections at the event. Designers were vetted and selected by the school’s fashion faculty and seventeen were chosen to proceed in designing a mini-collection of three to six looks based on the theme of “Tokyo Drift.” Each designer was mentored along the way by elite Atlanta fashion professionals Brandin Vaughn, Ismael Pacheco, Jasmine Elder, Kudzanai Karidza, and Reco Chapple. The seventeen student designers’ work will be shown alongside Terry’s Fall/Winter 20/21 collection titled “OCTAVIUS MARISON” at the event and promises to be a night to remember in Atlanta fashion.

“These designers understand that fashion is more than buzz worthy garments. It’s a process that involves inspiration, sketching, fabric selection, garment construction, and endless revisions before a creation can be shown,” said Terry. “They’ve overcome challenges and pushed their creative limits. Along the way, they’ve proven that they have what it takes to design and present a collection on the runway.”

The show is giving more than these seventeen students a glimpse into the life of fashion. “Current students in The Art Institute’s programs have helped to create an event that will wow the Atlanta fashion community and make the show an annual staple on the city’s fashion calendar,” said Campus President Elden Monday. “The filming, graphic design, catering, and audio for the event are all being handled by our students. Culinary students will cater the event, film and photography students will capture the evening’s excitement by camera, industrial design and graphic students have helped to design sets and materials as well. Across the campus, this event gives students the opportunity to work on a real-life project and make an impact in the arts.”

Carlton Lee Studios is assisting with set design and famed choreographer Jamal Sims is directing and co- producing for the event. Tickets for the VIP party and event can be purchased HERE.

FASHIONADO