Tag Archives: documentary

The film tells how the Goshen family helps save Jews from Nazi Germany | Public | Instant News

GOSHEN – Genocide is not a “one-time” event and history repeats itself in the most gruesome ways, says a descendant of the family who saved Jews from the Holocaust.

Steve Gruber, an Elkhart resident and grandson and great-grandson of Sid and David Plaut, talked about why locals should watch the new documentary, “Vital Passage”.

The film was shot over four years with contributions from 20 Goshen College students who volunteered for more than 1,000 hours under the direction of faculty members and directors Kyle Hufford and Gruber.

The film will premiere Friday at 7 p.m. at the Goshen Theater for private audiences, due to COVID-19 restrictions.

The Plaut family owns the Plaut Dry Goods Shop at 121 S. Main St. The shop is now home to the Twice As Nice resale shop. The family had Jewish roots, according to Gruber, and became concerned about the salvation of European Jews as Fascism and a foundation of anti-Semitism.

David Plaut and his wife Betti experienced a bit of anti-Semitism firsthand when they booked a delayed honeymoon trip to Italy in 1937.

“They just saw an indication that something bad was going to happen,” said Gruber.

After disembarking from a luxury ship in Italy and en route to Germany, reality hit the couple.

“My grandfather was profiled while at the Swiss-to-Germany train stop,” said Gruber. “The SS officer wanted to release him because at that time there were wealthy German Jews who had gone from Germany to Switzerland to deposit their money and return. She just thought my grandfather’s US passport was fake. And my grandfather told me, ‘Stevie. He looked at me as if I was a piece of rotting flesh. ” ‘

“So, my grandfather, who immigrated to the US from Germany when he was 18 years old, realized that (German fascism) is a machine; it’s very dangerous, “said Gruber.

After a trip to Europe, David Plaut committed to helping German Jewish refugees to America. Gruber said he and his son Sidney spent the equivalent of $ 3 million dollars today on legal fees, bribes, permits, transportation and support for refugees.

Although Gruber knows his family history of helping refugees, Sidney Plaut never talks about it to the public. Instead, through years of questions and answers from a curious grandson, he is telling a part of the family’s story. Then, in 2001 a key box was found in the basement of the former Plaut shop and handed over to the family. It contains official documents that reveal how involved the family was in saving Jews from the Holocaust over a period of nine years.

Goshen College students and staff were then involved in the research assistance provided by Plaut and the filming of the documentary.

A news release about the film stated, “… Examining wartime immigration barriers, anti-Semitism prevailing in the US at the time and the significant challenges in obtaining visas. It also records the rise of the Plaut family’s wealth when David (1865-1942), who had arrived in the US as an 18-year-old immigrant who spoke no English, became a successful businessman and philanthropist.

“We are very excited about the opportunity to finally tell this story not only to our local Goshen community but also to the world”, said Kyle Hufford, Goshen College Associate Professor of Communications and Executive Director of FiveCore Media. “This documentary started out as a 10-15 minute short film made over one summer. But as we peeled off the layers of the onions, we realized that this story needed more attention, research and time on our part to do it fairly. I am honored that we are trusted with this story by descendants of the Plaut family, and I am proud of the work our students have done to put this story together. “

‘Vital Passage’ is not just a story of saving the Holocaust, but reconciling the anti-Semitism and immigration policies that were widespread in America in the years leading up to the entry of the United States into World War II. The documentary also provides a clear depiction of the life of German Jewish immigrants before World War II, the release said.

Asked what message he hopes the public will absorb when watching the film, Gruber said, “My great-grandfather was hooked on the idea of ​​self-determination. That in this country you really can do it. It was the gift that he thought was the most important, his freedom. So takeaway in this era of quick decisions, commit to your goals, whatever they may be. The other thing is that the genocide did not just happen once. The Holocaust is one of the biggest; Rwanda; Khmer Rouge; Stalin’s slow famine of nearly seven million Ukrainian farmers; anyone with totalitarian control can do this kind of horror, and it’s not just in a foreign country. It can happen here. “


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Claudia Skoda knitwear revolutionized fashion in 70s Berlin | Instant News

Claudia Skoda on the fabrikneu roof in knitwear from the “Shake your Hips” collection, 1976 © Claudia Skoda

At the beginning 1970’s, Germany mode designer Claudia Skoda join the experiment Berlin collective. Based in the abandoned Kreuzberg factory, their studio space, ‘fabrikneu’, is very similar to Andy Warhol, with the turnstiles of cool beginner freaks: the models who pose for Helmut Newton, an artist who went on to gain international acclaim and percussion for the bands Tangerine Dream and Iggy Pop, to name a few. However, Claudia’s specialty is something one might find less anarchist: knitwear.

Completely self-taught, Claudia has recently started playing with flatbed knitting machines 1960’s, when she couldn’t find the kind of clothes she wanted to wear anywhere else. Although knitting was not always the medium associated with counter-culture, Claudia designed smoothly and freely, creating clothes that were synonymous with the times and would earn her a reputation as the “queen of textures” (PAPER, 1985). Dress for Sensation, a new exhibition at Kunstbibliothek in Berlin, check out these striking fashion releases throughout the 70s and 80s – lots of graphic bodycon pieces with slouches that are immodest – and West Berlin’s lush creative scene.

“Knitting is often associated in a clichéd way with housewives and eco hippies,” co-curator of the event Marie Arleth Skov show in the exhibition catalog, “[but it can] making statements about oddities, or pushing gender stereotypes to the point of absurdity. ” Designating artists such as Rosemarie Trockel, Louise Bourgeois, Tracey Emin, and Mike Kelley, Marie asserts that, on the right hand, knitting can invalidate “certain notions of household / female existence. Elsewhere in her design, Claudia makes front trousers and wide-collared jackets for men, and women’s tights in latex and Lurex. She staged elaborate and disruptive fashion shows to showcase this progressive outfit; the kind that models will see. hatch from a giant egg, for example.

With the exhibition opening this week, we called Claudia to discuss the pros and cons of Germany’s previous isolation, the allure New York City and the art of translating moods inward music.

The portrait series of Claudia Skoda, Tabea Blumenschein, and Jenny Capitain ca. 1977/78

** What state is your archive located in? Did you feel the story you wanted to tell for the exhibition, or did you find it along the way?
** Two years ago, the curator and I discussed it all. I want to do a [full] retrospective but once we started we realized I had too much material – so we stick with the 70s and 80s. At first, I worked with different materials and styles; it wasn’t until the mid 80’s that I developed a knit that I still work on to this day.

** How is your brand formed by fabrikneu? Sounds very collaborative.
** I try to include all creative and energizing contacts [from the studio] in my presentations, fashion shows and photos. We were like the center of a scene in Berlin; most of the artists living in this abandoned factory are with us. There’s a lot of stuff going in and out, and New York people will stop by for a music session. I make short films, and I catalog my creations. In Berlin, there aren’t many brands: just a few designers, mostly haute couture. It’s an open world: we do shows in our factories, and clients come from all over Europe. In the beginning, we made a lot of things; then we chose something. It’s not very economical! We went to fashion fairs – in Dusseldorf, Milan, Paris – and then took orders in advance.

Silke Grossmann, drawing for Claudia Skoda, collaboration with Cynthia Beatt, antique silver gelatin mold, 1983, © Silke Grossmann

Silke Grossmann, photo for Claudia Skoda, in collaboration with Cynthia Beatt, 1983, © Silke Grossmann

** Some pop culture icons put on your clothes: David Bowie wore your trousers in the 1980 music video “Ashes to ashes, “and clients at your New York boutique include Cher and Donna Summer. How do celebrities sign you up as a designer?
** We live on some sort of island – Berlin is closed, and we’re having a hard time connecting. That’s why I decided to open my shop in New York [on Thompson Street in SoHo]. David Bowie is our friend, and he said: “You have to go to New York or London or Paris.” That was in 1981; in 1982, we opened a shop. The Vivienne Westwood shop is across my street, so I can always see what he is doing. I love the way he displays his own style and the way he works in the industry. I travel between Berlin and New York all the time. In New York, I met people and realized what my position was – I couldn’t find out in Berlin!

** What is your position?
**Good, [seeing] how other designers work, that’s a completely different way of doing business in America. It also completely changed my style. It became a more international influence: American showbiz, but also Japanese designers [Comme des Garçons opened a store in the neighbourhood]. New York is about high sophistication – it’s also about streetwear. And it makes me think not only about evening gowns or ball gowns, but clothes that can be worn for the day that are also awesome. It was a new ‘measure’: that an item of clothing had to be special, international, wearable. I transferred that influence to Berlin.

Gertrude Goroncy, Untitled (Deep Dive for the Whales, Deutsche Guggenheim), C-Print, 1997, © Gertrude Goroncy

Gertrude Goroncy, Untitled (Deep Dive for the Whales, Deutsche Guggenheim), C-Print, 1997, © Gertrude Goroncy

** How did you get into fashion design? You worked in publishing at first, but your father was a tailor, and you grew up in a relationship with textiles.
** My dad was a “real” tailor – like the Savile Row style. As a child, I would sit in his workshop and think how difficult it was to work in a coat or overcoat jacket. I can’t imagine doing that. In the mid 60’s, young people came to Berlin, but there was nothing they could buy. I go to London, or Paris, or Amsterdam for clothes. I go to thrift store, and my inspiration is fashion from the 20s. I thought, ‘it’s hard to find good clothes in Berlin’ so I started making them, using a knitting machine. I love knitting as a medium because I can play around with color, shape, and transparency. That’s how I found my way forward. And vintage inspiration [confirmed] my aesthetic – whatever I make looks like it comes from a department store.

Rich Richter, Untitled (New Game Fashion Show, new), antique silver gelatin mold, 1976, © Rich Richter

Rich Richter, Untitled (New Game Fashion Show, new), antique silver gelatin mold, 1976, © Rich Richter

** How has your relationship with music developed? You do your own electronic experiments, and make friends with the people who make up the world of music. How many people can say that the guys from Kraftwerk created the visuals for their first record!
** Music is always at the factory. There is a girl who lives there [Esther Friedman] who is dating Iggy Pop. When I play music, I don’t dare consult a big star like Iggy or David – it’s just for fun. All around electronic music started in Germany. America first pop culture, but in Berlin, musicians found their own style. I do a lot of things with my friends; I started my own label. I recorded an EP with Manuel Göttsching, “Ich bin a Domina” (I Am a Dominatrix).

I worked on it for three years and then felt like I had to decide between fashion and music. I decided that I was a music consumer and not a music maker. My fashion shows always feature live music. I have friends “translate” the vibrations I imagine, and they will interpret it in their own way.

Rich Richter, untitled (Jenny Capitain in Claudia Skoda, Pablo Picasso fashion show, new), antique silver gelatin print, 1977, © Rich Richter

Rich Richter, untitled (Jenny Capitain in Claudia Skoda, Pablo Picasso fashion show, new), antique silver gelatin print, 1977, © Rich Richter

** Which other designers have you attracted to?
**Eckhaus Latta – I see a lot of similarities to how I was when I started. And they also do a lot of crocheting. I used to like Pierre Cardin; he put modernism into vogue at the time. And Rudi Gernreich. Today, I like it JW Anderson for what he did for Loewe. Big brands don’t really appeal to me. Big houses work with young designers and envelop them. I mostly see what other designers are for not to do – because it’s already out there. My biggest challenge has always been doing something that has never been done that way before.

** Having been in the business for decades, how do you feel about a certain aesthetic revival? Is it part of a natural cycle or is it an easy reference?
** I am a modernist. I wanted a modern style, one that doesn’t look back in a nostalgic way. As a consumer, I prefer real vintage as opposed to vintage remakes done by big brands. I am very inspired by the architecture and artists working now and the materials they use. There are changes in terms of knowledge of how to make fashion, such as the approach Iris Van Herpen, which I really like. But I am too old to think of new discoveries. Me, I still use my hands.

Claudia Skoda on the roof of the fabrikneu in knitwear from the collection

Claudia Skoda on the fabrikneu roof in knitwear from the “Shake your Hips” collection, 1976 © Claudia Skoda

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Dress for the gods: how alt-fashion became orthodox | Instant News

Cottagecore, dark academics, New Age Guidance, Soviet potpourri… Over the past year, we have seen the emergence of alternative fashion and cultural trends that have completely changed what it means to be ‘traditional’. Though stylistically different, the essence of each is a call to, well … reject modernity, embrace tradition. Or even institutional religion, as is evident in the case cool-girl-go-quasi-catholic which has dominated our passes of late. Granted, alt frameworks have always had the habit of reviving an anachronistic style, but today’s execution feels more like an earnest homage to source material than subversion. So, how does being ‘trad’ become an alt?

It is important to first understand how alternative fashions have changed over the past decade. Ten years ago, alternative fashions were largely informed by (and sold back to) the subcultural figures of the day, hipsters. Hipsters, usually white and upper middle class, were very popular “Playing India” – They wear ambiguous Monday-Friday tribal sweaters and furry headdresses for special occasions (Coachella, warehouse party, Burning Man). But by the time the 2010s rolled around and the brand started off Urban Outfitters to Victoria’s secret receiving a backlash over the insensitive use of traditional Indigenous motifs, hipsters slowly wake up, hang up their headdresses, and turn to less controversial pastures.

“The habit of tasting food has become a magnet for forms of deprivation with no clear racial ties.” – Samuel marion

The appropriation of minority cultures is not simply a reflection of the hipster rights of the aughts era – it is built into how subcultures, timeless suppliers of alternative fashions, have worked historically. Even the original hipsters of the ’40s, one of the first modern youth subcultures, were a bunch of white kids who literally stole their swag from Black jazz scene. However, in reaction to cultural deprivation swelled in the late 2010sThe days when whites wore bindis and box braids to music festivals were officially canceled. But being an alt, or at least seeing it, didn’t come out – in fact, it became more lucrative and status-worthy than ever. While avant-garde designers have been turning subcultures into couture over the decades, this process has accelerated and is becoming more and more ubiquitous throughout the fashion industry – especially as the locus of the underground movement moves online and symbols become easier to obtain. Just see how the designers like it Hedi Slimane in Celine and Ludovic de Saint Sernin was immediately included e-girl/ e-boy fashion in recent years into their collection.

Effectively, alt whites must adapt and find new ways to differentiate themselves from the sea of ​​norms and basics. Trendssetter began to avoid ripping off the styles of people of color (lest they end up being humiliated by Diet Prada) and a new reservoir of ‘unproblematic exotics’ was fostered and added to the alt lexicon. Their pursuit of Strangeness now takes place within the tight confines of the familiar and ancient horizon. “The habit of tasting tastes has become a magnet for forms of appropriation that have no open racial ties,” said Samuel Marion, an artist who is drawn to online culture, from contemporary alt fashion, “hence Dickies blue collar charms, normcore, LARPing Cowboy, Cosplay Walden, ”and now, a new genre of alt girls posting merchant memes while listening to Bladee.

One of the most interesting characters to emerge from the alt-trad ether is the postmodern Catholic schoolgirl, who is especially popular with young people, the super-online fashion crowd and designers they worship as much as they memes (including Rick Owens, Whose latest collection inspired by biblical stories). Her slip dress and cross necklace are in the “Like a Virgin / Prayer” -era lineage Madonna and the pleated skirt and rosary closely resemble the uniform of the heretical Catholic schoolgirl, as defined in the 90s through cult classics such as Craft. But the approach is softer, and reads more like saving innocence than that iconoclastic subversion. Of course, people always seek God in times of crisis, whether in the stars above or now, in the possibility of personal branding tinged with orthodoxy below. Liberty McAnena, a fashion researcher and archivist based in London, believes that the rise of alt-trad fashion reflects this Gen Z and Millennials’ search for the meaning of “given the clarity experienced by many young adults, [which is] arguably linked to the astrological boom of the last few years, and even the popularity of philosophy [and] meme account theory. “

It is easy to see how a girl getting her star tattoo tattooed on her wrist in 2019 could turn into a trade signal in 2021 – under the often spiritually saturated aesthetics of is the sideline longing for the sensible divine order of the existing world. cruel and unpredictable. And while playing with Catholic imagery may be controversial, it is less problematic than doing it with non-western religious symbols. Such signals can also serve as signs of mystical virtue in a world where more emphasis is placed on how we represent our values ​​online. “Perhaps religious iconography shows a certain ‘kindness’,” says Liberty, “which may appeal to young people who feel they hold increasingly high standards on public-facing platforms.”

The larger trade-off of alternative aesthetics can also be understood as a reaction to the liberal stance’s unique brand change, which was largely catalyzed during the Trump era. Once upon a time, looking weird could act as a visual counter to hegemony, but now we have “Bushwick First Princess” and the Democratic Senate candidate skateboard on television, having a lot of prickles and bright green hair is not the subversive move it used to be. “As ‘wokeness’ as an ideology shifts from marginal ‘Tumblr politics’ to teleprompter texts for mainstream liberalism,” suggests Samuel, “the visual identity synonymous with the doctrine suffers from disengagement from subcultural associations.”

“[The] the dialectic of irony and sincerity makes the culmination of alt-trades difficult to predict. “

The label that appears Pray – famous for their bikini strings imprinted with the words ‘Father’, ‘Son’ and ‘Holy Spirit’ – gives us an idea of ​​what alt-trades look like when formulated into a brand. Despite the simple design, the bikini’s explicit reference to the Holy Trinity makes it more provocative than even the most minimalistic influencer-engineered swimsuit. But Praying is not about disrespectful blasphemy; they also make various streetwear with semi-genuine motifs an important verse from the book of Corinth. This dialectic of irony and sincerity is what makes the top of the alt-trade difficult to predict. Its origins, however, are easier to find: the success of such a brand Clothes and Pale white in the mid-2010s created a taste for a kind of Dadaist street fashion – one playfully evasive meaning to everyone except the rough-and-tumble. There are ghosts Virgil AblohThe trademark use of text in Praying’s serif-font print, but the absence of the signature quotes adds a layer of solemnity that invites further reflection. So, should we expect an evangelization of prayer in the near future? Maybe they’ll learn some catechisms, but they probably won’t stand in line to join the monastery. Jason Steidl, a Catholic theologian and lecturer at St. Joseph’s College New York tells me he doesn’t see “a lot of embracing young people [Catholicism], except maybe as aesthetic, or ironically, or maybe because it gives them a sense of familiarity or comfort. “

“Pluralism and a society that encourages everyone to choose their own spiritual path can help here,” explained Jason, “If anything works, then Catholicism, too, can be accepted as a path or part of the path.” Postmodern spirituality is like a trip to an old candy shop, where you get your bag and fill it with whatever sweet mix you want – the taste doesn’t have to make sense to anyone else as long as it tastes. good for you. The same is true of alt-trad fashion – things that were once sacred and things that were once subcultural turn into free floating markers mingling with one another.

A dose of Christian iconography (or other trade signal) on immodest clothing may be a good faith exercise, a call for comfort, or a series of subcultural cultural references turning into fantastic pop. “Certain rosary wearers may not think much of Christianity at all, referring instead to Lana del Rey or Sarah Michelle Gellar in Cruel intentions, “Liberty reminds us, and others may choose to supplement with holiness for the sense of serenity it offers. That is of course valuable, but so is awareness of the fact that gaining metaphysics through matter will not change the conditions that lead to such a state of spiritual loneliness. Wrapping ourselves in clothes that are considered relics is unlikely to get us on the path to a holy future; at best, it offers a moisturizer for life in a world that too often feels like hell.

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Free money and Loewe eco-chic: What’s in fashion? | Instant News

After months of drinking the latest fad like an insatiable sponge, finally Paris Fashion Week often feels like a faucet that has suddenly been turned off. But this time, things were a little different – just like everything else in life. More than a week after the closing of the official calendar, new collections – incl AW21 shipment from the queen London scene Supriya Lele and Harry Styles‘favorite SS Daley – many and fast.

Today’s summary also includes a glimpse of the unexpected-yet-truly-extraordinary collaboration between MilanRevered Japan’s most luxurious and avant-gardist home, and news that the label is based in LA Amiri want to give you FREE MONEY! There is, of course, a small catch … but I guess you’ll just have to read on to find out what it is. This is what is in fashion!

Gray Sorrenti’s Photography. Image courtesy of Loewe

Josh O’Connor takes a walk on the wild side for Loewe

Another plus of spending the last year cooped up inside is the respect we all develop for nature. The gardens and forests near our homes that we once neglected have become valuable sources of rest from our long confinement, fueling a collective desire to flee into the wilderness once we are permitted. When will it be, to be precise, remains a mystery, but in the meantime, you can live representative through the photographer Gray Sorrenti and actor Josh O’Connor, the star of SS21’s new Eye / Loewe / Nature campaign.

Shot in the ocher yellow sands of the Baja California desert, the timeless Loewe muse features a collection of eco-conscious Spanish homes for solo trips across the Mexican dunes. “The great outdoors, even the wilderness, offers context and stimulation for what we do,” he wrote Jonathan Anderson, and “nature is also an ideal backdrop for a collection of pragmatic works”. Drawing on vintage reference collections and workwear, hooded jackets given a built-in backpack, parkas patched from poppy blankets, and reversible jackets recycled from ancient Mexican rugs – each piece is testament to the fact that “the collection is designed to dive into. nature must be created with respect for the environment, “said Jonathan.

It’s not just lip service – for every Eye / LOEWE / Nature product sold, € 15 will go to ‘A CASA for birds’, “a project that aims to create semi-natural habitats for endangered wildlife species”. Beauty that is eco-friendly and charitable at its best. MISS

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Oliver Hadlee Pearch Photography. Image courtesy of Supriya Lele

Supriya Lele is back with another sexy and slinky fashion style

Have you also been bothered by the feeling that you missed something in the past few weeks? There’s a lot more to the AW21 collection than we can count, but something is wrong. Don’t worry, we found it! Past Supriya LeleThe AW21 collection is exquisite, of course. This Birmingham-raised designer is back with another spin of his sleek, sari-inspired work. 00’s-Inflected fashion. And it’s so sexy – beautiful and sexy, even … This time, there’s a halter-necked top with deep décolletages, a gauzy dress sliced ​​down to the thighs, a pudding ‘V’ waistline trousers, lots of ruched miniskirts (we said they’re experiencing a revival) and slip dress inspired by underwear. That’s our goal outside-out the wardrobe sorted, then. OA

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William Waterworth Photography. Image courtesy of SS Daley

The categories are: Reality of public school children!

If the thought of school uniforms triggers negative associations, then let Harry Styles’ fave SS DaleyThe AW21 collection is the thing that changes that. Exploration of “the language of masculinity and dress in the Harrow and Eton schools from the point of view of my own working class,” says Steven, The Cloakroom becomes a Garden is “about boys suddenly having free time, intimacy about how they enjoy their free time”. Instead of lauding this incubator of rigid, high-class mores, markers of old-world masculinity synonymous with both schools are crafted with clever, subversive queues. There’s a louche flair for fluffy striped trousers with cricket-padded buttons and a smocked satin shirt, cream wool shorts, and a striped rower singlet. Elsewhere, there are hand-knitted Harrovian boat hats, foppish stitches, and floral prints all unsuitable for the Sunday Chapel. Think of public school kids, but make POP. MISS


Inez & Vinoodh Photography. Image courtesy of Chanel

As if you need to be reminded, Chanel bags are always in style

Is there anything more classic than Path handbag? We don’t think so. The new French home campaign, titled ‘The CHANEL Iconic’, stars the 11.12 handbag – a leather chain wallet with a gold interlocking C – and a supporting cast of beautiful women such as Anna Mouglalis, Rianne van Rompaey and Imaan Hammam take a walk around Saint-Germain-des-Près, carrying an umbrella and bicycle. Photographed by Inez & Vinoodh – both of whom had been Virginie Viard’s secret weapons during her nascent tenure – it is fundamentally slick.

The kind of OG Parisian chic that’s comfort in itself, like fresh white linens, morning croissants, or chic red lipstick – or, for that matter, a Chanel handbag! “I think every girl’s biggest dream is to have a Chanel bag,” says Imaan Hammam. “I was able to buy my first Chanel bag when I was 17, and I remember saving so much for it, it was a mini version of 11.12, black on black, and I still have it.” Come on, treat yourself. It’s practically cheap in terms of cost per outfit. OA

a model wearing palmwine ice cream

Image courtesy of PalmWine IceCream. Kofi Duah Photography. Creative Directions & Styling of Kusi Kubi. Giselle Ali’s Make-Up / Care. Producer Bright Boakye Danquah at Ludu Production. Baingor Joiner, Brown Ting, Emmanuel Agboka, Jennifer Nyamekye, ShineOrGoCrazy, Wehndie.

PALMWINE IceCREAM drop lookbook for their second collection

PALMWINE IceCREAM is the Ghanaian label of Manju Journal’s stylist and fashion director, Kusi Kubi. Designed and manufactured Accra by an all-Ghanaian team, Kusi describes the finished product as “a blend of taste and feeling, not always meant to be combined, but once put together exudes a new and foreign taste”. Using a mix of reclaimed clothing – many of which are sourced from Kantamanto Market, West Africa’s largest thrift market – their first product introduced a mix of changing styles in one collection.

For their second season – presented here in a lookbook picked up by Kofi Duah – expect plenty of linens, sheer materials and embroidery; “Recalling the origins of the West African tropical brand.” “I named this collection the Kuku Hill crescent moon,” Kusi added, “after the street in which I was born. That’s where my life started, right down to where I am now. It has been an interesting life journey with many different experiences that have helped shape me. “Follow their Instagram for further updates here. RW

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Talia Byre answers your late night prayers

Just like all of us, Talia Lipkin-Connor, founder of a young London label Talia Byre, have had many sleepless nights due to the lockdown. “I basically wake up consistently at 4 am for months,” he says, “asking myself questions like ‘What am I going to do next? What can I hope to continue and move forward? ” ‘For some, reading alone triggers a deadly existential fear. However, for Talia, these twilight reflections are a source of hope and inspiration, paving the way for her AW21 collection, 4. Prayer AM.

“There is something very forward-thinking about prayer,” he said of his chosen title, “you hope for the future, rather than change the past.” Much can be said about her practice, which, while firmly rooted in her own family’s fashion history, is anything but nostalgic. This season, Talia has made tight edits of clothing that go beyond linear time travel, reimagining pieces that are passed down from generation to generation for the present and present. A bright cashmere blend knit patched into an off-shoulder top and a sexy tank dress; and knife-pleated wool skirts and button-down gowns cut from poppy satin and light wool manufactured in collaboration with a North English factory. Consider the answered midnight prayer! MISS

You won’t believe this collaboration is really happening …

Not since that announcement Miuccia and Raf will join if we are truly shocked by the fashion collaboration … However, in an unexpected turn of events, Junya Watanabe and Donatella Versace – yes, you read that right! – has made our hearts pound with this extraordinary partnership. This is a match made in fashion heaven, at least because the two cannot be further separated. The first is AsJapanese deconstructionist-approved, the latter is a major symbol of blonde Italian glamor. The AW21 Junya collection features several prints of Versace’s iconic Rococo, put together with punk motifs (safety pin: the great Junya x Versace equalizer!) As well as various band shirts and alt-trad school uniforms. The full details are yet to appear, so pay attention to this space and count your lucky stars, you will be able to get your share in the fall. OA

Amiri wants to give you $ 100k

Who wants a cool, selfless $ 100k ?? OK, here’s a bit of a hurdle – you have to be an independent apparel business owner based in the United States, and be between one and three years old. If that applies to you, read on! Introducing The Amiri Prize, an annual award and fashion incubator for America’s undiscovered fashion talent. Spearheaded by Mike Amiri, founder a luxury label based in LA, this prize is specifically aimed at fashion entrepreneurs whose trajectory does not follow the industry’s conventional route – “who may not have the means for education, or the privilege of establishing relationships,” the release reads. Judged by the covering panel Y / Project and Diesel creative director Glenn Martens, stylists Karla Welch and Mike himself, winners of The Amiri Prize will receive $ 100,000 USD and a year of mentoring from Amiri’s own founders. Ready, get ready … APPLY!! MISS

Alighieri Jewelry

Image courtesy of Aligheri

Alighieri makes jewelry that makes you feel good

During the lockdown, sales of luxury jewelery skyrocketed – up 380 percent in Matches Fashion, for example. Why? Well, this is a quick solution to distract from months without salons, beauticians, and dress our bottoms on Zoom calls. However, on a deeper level, jewelery is answering the call in 2021 for a sense of protection. Magpie-eyed style experts have been drawn to the ancient practice of wearing jewelry as amulets and a source of protective energy, spiritual protection to complement hand sanitizers and face masks. And nothing does it better than Rosh Mahtani of Alighieri, who has just released a new collection of mixed metal jewelery imbued with spiritual charm. To mark the occasion, he created a zine (keeps his self-portrait) serving as a scientific report of his hidden treasure, complete with a periodic table of each artifact-inspired talisman. Going scientifically? Let’s just say we gooped and choke. OA

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Loewe AW21 Paris Fashion Week Collection Review | Instant News

Roll over, roll over! To AW21, Loewe canceled. At least that is the headline in the thousands of newspapers that Spanish homes have printed and circulated today in weekend editions of newspapers around the world. The specially produced Loewe newspaper was included Le Figaro, The New York Times, Le Monde et al with the title ‘THE LOEWE SHOW HAS BEEN CANCLEDLED’ on the front page. Now it will reach millions of unsuspecting readers. And therein lies his genius Jonathan Anderson. She’s Cassandra’s fashion; Warhol belongs to well-dressed women. Over the past year he has come up with inventive alternatives to the physical fashion show, and in doing so has broadened their appeal, turning them from industry insider events making brief splashes on the timeline to physical artifacts that can be enjoyed at home, symbolic signs of the seismic changes we have experienced over the years. kuncitara. Jonathan summarizes Marshall McLuhan’s mantra that the medium I s message. And in her view, the fashion show was canceled – in any sense of the word.

“What I like about the newspaper idea is that sometimes we are so fixated, as a society, with a headline – but that’s not what the headline meant,” explained Jonathan. “In the end, what we have protected from fashion is this situation I s canceled. We’re adapting to it, and the idea that we’re going to waste ourselves on ideas about digital reality is not a long-term solution. “

It is interesting that Jonathan chose the word “canceled” which in itself has become a cultural phenomenon in itself. “Cancel cultureHas become a term that has divided generations and political ideology. Even more interesting, he chose the newspaper format, which is either a vital source of truth or something very untrustworthy, depending on who you ask. Today, newspapers look like relics of the past – even though they are present-day records. “Is anyone still wearing hat?Singing Elaine Stritch. Today, does anyone still read the truth paper? Of course Jonathan does, because he’s all about tactics. “Sometimes when I read it, it ends up turning into a ball and I enjoy it,” he joked. “I like to stay away from digital screens, especially in the morning, because they make you wake up slowly.”

“News” also implies new. To be precise, Jonathan also published an excerpt from Danielle Steel’s latest novel, An affair, which centers on a heroine who is the editor of a fictional fashion magazine. For those who may not know, Danielle is the queen of romance and the world’s best-selling author (800 million copies and counting), publishing about six steamy books a year – nearly as many collections as Jonathan designs each year.

“I like him being very productive,” said the designer. “There is something about the idea of ​​’mass’ that I find very interesting. In fashion, we have rejected the idea of ​​mass information or mass consumerism. We want it to address one group of people – fashion shows are tailored to that idea – and sometimes that can be an echo space. “Of course, a newspaper is the mass it gets, as are the Danielle Steel books. But the choice is exactly what it is fashion documentary, movies like The devil is wearing prada and TV shows like Emily in Paris has broadened the public’s perception of an industry previously considered a special interest. Jonathan plays with all kinds of mass ideas about what fashion is, and with whom fashion can – and should – talk to.

At one point, Jonathan might offer an independent film as a reference for his collection. You know, a lot more MUBI than, say, Netflix. Right now, he’s all about mass – that’s a word he’s repeated over and over again during our interviews. She also quips that “TV series are new movies”, adding that their strength is to keep you watching, even if you’re tired, almost like a drug. “And news is the biggest TV series of all,” he added.

In the end, Jonathan seeks a connection with the audience, rather than just entertaining them with a shiny layer of exclusivity – which many fashion houses are staking from simply holding online catwalk shows without an audience. “I don’t know Emily,” said Jonathan Mariah Carey. “I watched the series to kill time, but I didn’t Tofu his. In fact, a fashion show that is converted into a digital format for a show, is a barrier to the reality of how you perceive the garment. In the end, you get stuck with entertainment, but how do you get the reality? “

The answer is to do a project like this one, which doesn’t require an editorial guest list and exclusive VIPs. “We need to add another layer to give more,” he continued. “It’s about a video explaining what you’re trying to do, printing something to go with it, getting quality touch, so it doesn’t just evaporate into a digital void. I’m in Paris right now and empty, this is it not fashion week. “

The collection could fool us. Mass? Not. It’s a capital-F fad to get, perhaps as a gateway to Loewe’s new mass audience. At this point, you don’t need an editor to tell you about it – you can watch Jonathan talk about it himself on YouTube, but here’s my opinion. This is a collection full of everything that catches the eye of fashion experts: colors, shapes, silhouettes, textures. There are acrylic hues in graphic compositions and abstract silhouettes that define attention, as are sensational headlines. There is an alignment of linear curves and angles; muted electric and neutral hues; there are fringed and tufted seams and sharp, carved stitches; slender trousers and insanely puffed sleeves. It has everything, all in perfect harmony. Everything for everyone. Mass, maybe. Yet it satisfies real fashion junkies – that is Freja Freakin ‘Erichsen model, the bouffant styled by Guido and his face is painted Pat ‘Mother’ McGrath, photographed on Blue Train, A restaurant in the hall Gare de Lyon in Paris, a choice of cognoscenti fashion for a steak frites before boarding the Eurostar.

You have to give to him. Jonathan is a designer who not only survives, but thrives in these strange times. “This is the most exciting moment for creative people, especially in fashion, because it does exist only opportunity, “he said. “It’s an equal playing field – you can be the biggest or the smallest. I can see it with younger people, and the people around me. People are eager to have a tactile relationship with the world. “

He’s smart, he realizes that if you can keep people’s attention during a lockdown, then you are the priority in ending it. “Whatever happened before, if not good will not last,” he theory. And he didn’t look back. “I think fashion is better off and that is fashion week does not exist because then he can be reborn from the ashes of something, “he said. Welcome to Loewe’s brave new world.



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