Tag Archives: documentary

Fashion provocateur Edwin Mohney creates experimental fantasy outfits | Instant News


That CSM Graduated Edwin Mohney famous for her whimsical silhouettes, creations worthy of headlines (which remembers inflatable swimming pool dresses and “Trumpettos” from his MA collection?) and bespoke clothing for the like Beyoncé, Frank Ocean and Christina Aguilera . However, over the past year, it was forced to adapt to the industry challenges posed by pandemicThe Buffalo-born, LA-based fashion designer has shown that there is more to this brand than that.

First come avatar model, explore the possibilities of the new frontiers of digitally led fashion. Then, in the midst of a pandemic, Edwin turned his hand redesigning the PPE line hospital attire for frontline workers, which overcomes some of the shortcomings of existing uniforms. While Edwin’s work consistently displays exceptional craftsmanship, its unpredictable trajectory also keeps it interesting: for his latest project he’s teamed up with an Australian photographer Edward Mulvihill in a book exploring the outside of 3D modeling.

In response to a series of renders of an imaginary fantasy world created by Edward, Edwin has created six dresses that are incorporated in their design approach and which will ultimately be photographed in this imaginary setting. With the book due later this year, Edwin shares his new design with iD – picked up by Edward about new star Ajok – for an exclusive early preview.

We called Edwin to chat about his new project and his desire to “catch the wind and turn any moment into an unforgettable experience.”

Edwin, how would you describe yourself and your job?
I will describe myself as an artist working in the mediums of fashion, costume and design. I love the diverse aspects of these disciplines and how they continue to develop. There are always new techniques or completely opposite skills to explore. One minute I can express myself through pictures, then sew clothes, experiment with resin, be on set, or finally design characters on my computer. The integration of all these aspects feels generous and futuristic. I am interested in forging a path at the intersection of all my passions while remaining true to myself.

It makes a lot of sense in the context of your design. List your Instagram bio: couturier, customer, artist, tailor, tailor and stylist as your specialty. Why limit yourself ?!
Exactly. This description includes all versions of the ideal of myself that I see exist. One day I woke up and wanted to role-play Dior and Gaultier. The next day I distributed the Rauschenberg. To produce good work, in my opinion there is an element of performance and pretending to be involved. It comes from how I played as a child and I think that always lightens my mood when making things.

What inspires you the most?
Life, friends, love and family. Of course there are always literal references like imagery and music, but conversations with my best people inspire me more than anything.

Ajok wore Edwin Mohney by Edward Mulvihill for iD

How do you think growing up in America affected your job?
Enduring my teenage years really shaped me. I was consistently bullied and grew up as a strange, non-binary kid in rural America. I’m either too sensitive or too gay or too, dare I say, extraordinary for vanilla people. Creativity is my escape from pain that grows difficult and also a source of strength. Not much has changed in the way I practice. I still use my work to bring ideas to life and build more beautiful gifts. I learned a lot about my tenacity, passion, and identity through that experience.

The dresses here are made for your new project by photographer Edward Mulvihill. How did this come alive?
Planets and stars align. When many new ventures started, Edward and I were introduced Instagram. I have admired his work for some time and he came up with ideas for collaboration. I am so excited! It’s really something straight out of the universe because as I learn more about Edward’s ideas I realize I’ve started with dresses that feel in line with their virtual integration approach and textures. I keep expanding my early wardrobe ideas into a few more and here we are.

Ajok wore Edwin Mohney by Edward Mulvihill for iD

How do you make it and what is it made of?
I’m a big vintage collector. My favorite thing to do, when there’s no pandemic, is hunt for antiques. I have quite an archive of pleated cuts and jerseys from fabric stretch experiments. I didn’t find the technique, it was Pierre Cardin, but I created a silhouette which is my aesthetic using the stitched boning.

You’ve created clothes for some amazing artists including Christina Aguilera and Beyonce. Is this something you will continue to pursue?
It is the performative aspect of clothing that has inspired me from a young age. I love how the dress will change my mother’s mood or change her actions. It felt like magic. I ended up trying to help the wearer become the most confident version.

How would you describe what you are trying to share with the world?
If I can make something that makes someone smile or gives them life, that’s enough. The taste changes, my taste changes. I’m not interested in projecting my aesthetic in a deliberate way. Instead, I focus on catching the wind and turning the moment into a memorable experience. My goal is to unite people with this experience, whether they like it or not.

Ajok wore Edwin Mohney by Edward Mulvihill for iD
Ajok wore Edwin Mohney by Edward Mulvihill for iD

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Netflix and Amazon series exploring a revolutionary era in Germany | Film | DW | Instant News


It all started with Germany 83, and now the story continues, rushing to its historical climax. Now accidental secret agent Jonas Nay is struggling both with the impending destruction of the German Democratic Republic (GDR), and his opportunistic aunt Lenora, described by the recent Emmy award winner, Maria Schrader.

On September 25, it coincides with the 30th anniversary German reunification on October 3, the Amazon Prime streaming platform was released Germany 89, continuation of the German breakout series’ Germany 83 and Germany 86.

In its final sequel, three more years have passed in which the GDR has not been able to solve its foreign exchange problems. The number 89 in the title points to the fateful year that marked the fall of the East German state, suggesting that this will be the final installment in Martin Rauch’s tale of the adventures of the two Germans.

Embedding fictional material in a historically faithful setting is a well-established approach that sells well if the plot can relate to true historical events and remain entertaining. Series like Babylon Berlin, against the background of the collapse of the Weimar Republic, and Weissensee, set in East Berlin in the 1980s, has been very successful inside and outside Germany.

Documentary or fiction? “Die Getriebenen” (The Driven Ones) reconstructs hours before the decision was made to admit refugees to Germany

History in a few seconds

A film can instantly immerse an audience in the past in the way that books envision and therefore may not have the same historical precision. That could explain the period drama boom in the international streaming market, including in the US where the series also retained the Cold War (American), or the recent US war on terror (Homeland).

More recent history has also been part of several German productions. That is pushed (The Driven Ones), ARD (German Public Broadcasting) based production book of the same name, and the film ZDF (Second German Television) Hours of decision making (Hours of Decision), they trace the story of Angela Merkel’s decision to accept refugees to Germany in September 2015.

The problem with the documentary / hybrid fiction format: Because it produces a behind-the-scenes look, it creates facts and interpretations and has the potential to exaggerate the dramatic effect.

Actress Maria Schrader (Picture of Imago)

Emmy award-winning Maria Schrader (left) and Florence Kasumba star in the international hit, “Deutschland 86”

True Evil? Sounds interesting

The more realistic the format, the more detailed it will be. Four part series Rohwedder – unity and murder and freedom (Rohwedder – Unity and Murder and Freedom) is another production released on September 25 via Netflix that is set in Germany’s turbulent pre-unification era. This has to do with the unsolved murder of Detlev Rohwedder, then the chief Treuhand, the agency responsible for liquidation the physical assets of the former communist state and turn it into a capitalist company.

With contemporary classic documentaries that include elements of entertainment, this production is marketed under the section name “true crime”. Opening credits remember the crime series 4 Blocks more than straightforward documentaries. The reconstructed scenes alternate with interviews with current witnesses. It is a dramatic approach patterned after a filmed reconstruction of scenes from an unsolved murder mystery in a German TV series. File number XY … unsolved (File XY… Unresolved).

Author Rohwedder tackles the murder of its protagonist by following the “third generation” of the Red Army Faction, the 1970s left-wing terror organization that claimed responsibility for its actions in 1991 – although doubts about their involvement remain. The crimes were committed with military rigor, leading some to believe that elements of the former East German State Security continued to exist and were behind the killings, perhaps because Rohwedder was hunting down the agency’s hidden financial assets.

Man points to a large projection of a typed message with the RAF logo on the bottom (Netflix)

In the Netflix documentary “Rohwedder,” an investigator at the Office of the Chancellory displays a letter from the RAF claiming responsibility for the murders.

Recipe for thriller

Mystery, whether related to terrorists or secret agents, is an important ingredient. As Rohwedder rehabilitated or dissolved 15,000 companies facing bankruptcy, West German politicians and businesses were attracted to the GDR’s economic assets. After his death, they were privatized and turned into profitable objects for investors.

The more realistic the story, the greater the desire for confrontation. Strict accusations were leveled that despite the grave danger, Detlev Rohwedder had not been adequately protected. Politicians and agencies who assume responsibility were not interviewed.

With Rohwedder, Netflix takes certain risks. Will the case attract an international audience? Amazon’s fictional product appears to be a safe bet: Germany 83 took the Emmy as Best Drama of 2016.

Adapted by Rick Fulker

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MCM Celebrates ‘The Remix: Hip Hop x Fashion’ With Various Curations by Mass Hylton | Country | Instant News


NEW YORK, July 29, 2020 / CNW / – The Remix: Hip Hop x Fashion is an award-winning documentary that tells the fearless contribution of Mass Hylton and April Walker in a male-dominated industry.

To celebrate the global launch of The Remix: Hip Hop x Fashion on Netflix, MCM is working with Global Creative Partners, Mass Hylton, to create The Remix Shop by Mass Hylton, various special curations of MCM style. As part of the collaboration, MCM supports The Mass Hylton Fashion Academy.

A variety of limited editions are available online and in selected stores now. It contains a mixture of core and newcomers from the MCM Autumn / Winter 20 collection.

“With my various favorite MCM styles, I want to express the importance of women as the power of fashion and also show the key role that MCM plays in sharing our work with a wider audience,” said Mass Hylton, MCM Global Creative Partner.

“MCM is involved with the international community of creative thinkers from various backgrounds and disciplines. Mass is one of the pioneers of that culture. Our goal is to provide a platform and sound to showcase his work and spread his message,” said Dirk Schönberger, Global Creative Officer MCM.

WWW.MCMWORLDWIDE.COM

Contact:
[email protected]

About MCM (Modern Creation Munich)
MCM is a luxury lifestyle item and a fashion house founded in 1976 with an attitude defined by the German Zeitgeist culture and heritage with a focus on functional innovation, including the use of sophisticated techniques. Today, through its relationship with music, art, travel and technology, MCM embodies the brave, rebellious, and aspirational. Always paying attention to distractions, the driving force behind MCM is centered on revolutionizing classic designs with futuristic materials. Appealing to 21st Century Global Nomad generations – original, creative and digital dreamers – Millennial hearings and Gen Z MCM are genderless, youthful, empowered and not limited by rules and boundaries.

MCM is currently distributed online and in 650 stores worldwide including Munich, Berlin, Zurich, London, Paris, New York, Hongkong, Shanghai, Beijing, Seoul, Tokyo, the middle East and others. For more information about MCM: www.mcmworldwide.com.

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Meet six students from the BA Fashion Class LCF in 2020 | Instant News


This year is like no other for fashion graduates, no matter where they are in the world. Pandemic, naturally, has thrown a number of curveballs, denying final-year students the opportunity to physically showcase their work – something that for many has become a childhood dream.

London College of Fashion (LCF) who passed the BA Fashion class, of course, were no exception to this solemn rule. Like their friends at CSM, RCA and elsewhere, the lack of access to the facilities and workshops that they relied on previously created unexpected obstacles, forcing them to test the limits of their minds. Some work with materials they have to deal with immediately, while others even do physical garment manufacturing, producing their final collections using skills acquired quickly in computer programs such as CLO 3D.

But it’s not just the ongoing pandemic that made this year very different for this talented fresh plant. They left the school shelter at the time of the conversation about social justice and equality, only to be ignited by Black Lives Matter movement and campaign for fair rights and protection for trans people, has never been prominent on the cultural agenda. The fashion industry, as a result, now assesses its role in upholding oppressive structures implicitly and explicitly. As the latest to enter the fold, it is now more important than ever for students who graduate to show awareness of, and involvement with, the conversations that define this generation. After all, being a fashion designer in 2020 isn’t just about making beautiful clothes – commenting on the world as it is and, perhaps, offering proposals about what you think can be just as important.

That is what has been done by LCF graduates this year, grappling with issues that include disappointment in city life under late capitalism, presentation of the sensuality of East Asian women, and the experience of modern refugees. Here, we learn more about the final collection of five Class 2020 schools.

Aaron Esh, Men’s Clothing BA

Aaron Esh BA Collection

Daniele Fummo Photography

“Completing the collection separately prompted me to find a new solution. Working remotely really encourages new collaboration with people close to me; my friend Charlie Parker demonstrated for me, we did the fitting in FaceTime. My flat friend Daniele Fummo shot my appearance book in our little flat in Haggerston with a piece of calico on the floor and no lighting equipment. Fiona Hartley 3D printing the jewelry from his home printer. All of these aspects really contributed to the new energy from the collection that I had never anticipated.

“My BA work explores alienation and the burden of being in the capitalist system, but now there is a real revival in society about why we live it, and for whom. The BLM movement was increasingly mobilized by the pandemic. A locked and non-working world has allowed us to dedicate our time to protest and think freely. This liberation has given way not only to a deeper understanding of systemic racism, but also to capitalism as a way of life and the demands it makes for us all. “

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Seo Kim, BA Fashion Design Technology: Women’s clothing

“In baths, women are almost non-existent – they are silhouettes of a feminine curve. They wipe their bodies dynamically and carefully, and they look very comfortable and beautiful. In the baths, the concept of bathing is only interpreted not only as an act of self-washing but also as an act of self-care that is sensitive. I want to design clothes for a woman who embraces her feminine and active self, illustrating sensuality and sporty alignment.

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“I plan to make a complete line and present a physical showcase in London, but because of the coronavirus, I can’t use an industrial sewing machine. Instead of making clothes, I prepared a virtual showcase for my last collection, which allowed me to improve my digital software skills. It’s fun to experiment, and it also allows me to play with fabric properties and realize my last collection in 3D.

“Fashion is important for women’s sexual liberation, and I am greatly influenced by female sexuality. In terms of inspiration, I am very interested in the work of Korean photographer Hwaya Park. This prompted me to further research lingerie, the female body, and to explore ideas about female meat exposure and sexuality. Through my last collection, I felt that I had developed my design identity. As a women’s fashion designer, I aim to explore the relaxed balance of womanhood and sensitivity. “

Rana Mohamed

Rana Mohamed, BA Women’s Clothing Technology Design

“My collection is called” What is your Qabil? (Suku) ”, and that reminds the experience of my mother’s refugee who was forced to leave her home in Somaliland, who was only 18 years old after the civil war. I will reuse the traditional clothes my mother had when she first settled in Amsterdam, evoking transfer and healing.

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“Because my collection is about culture, diaspora, refugee experience and sustainability, racial and political issues are central to my work. It’s important to have this kind of conversation. I feel they are not recognized enough. Being Somali is an important part of my identity. That’s all I want to know more about, because I feel like I was not exposed to Somali culture as a child. This collection has been a real advantage for me to find out more about my culture and my mother’s story.

“The pandemic has opened the eyes of many people and created a ‘new normal’. As a final year student, working from home is difficult for me to adjust to. I live with family, which means lack of work space and access to facilities. That said, one pro has learned to use new resources to find ways to create fashion. We were taught how to use a program called CLO 3D, which allows you to make patterns and make clothes on avatars using tools that we normally use in real life. I also really enjoyed making prototypes at home, using clothes from my closet, or even blankets, to hang on to the mannequins. It shows how things we have at home that we think are useless can be useful at times like this. “

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Minghao Tang, Men’s Clothing BA

“My collection,” Nonsense Makes Sense “, draws inspiration from my childhood memories of Mo Lei Tau, a Hong Kong subculture featured in director Stephen Chow’s films. They showed the commuter of the Hong Kong office addressing social problems in their daily lives. I have composed the Mo Lei Tau style scenario and followed the storyline day to night. The aim is to make a set of clothes with a unique aesthetic that is also practical for office commuters today.

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“I am interested in how they can overcome the problem of social suitability and authoritarian workplaces. When traveling to school during rush hour, I will observe how the passengers dress for work. Inspired by this, I try to introduce designs that can simplify their daily routines and empower commuters to deal with this problem. One way I try to achieve this is by identifying how to combine the function of casual clothing with the details of finishing formal wear. I am also interested in the relationship between Cantonese cultural identity and contemporary fashion. Studying abroad for the first time, I felt a little alienation because I felt people had little knowledge of my culture.

“It is more important than ever for my generation to talk about current social problems. Fashion can have a positive influence in raising awareness about civil rights. Coming from an Asian background, I feel more comfortable discussing these issues such as gender diversity and sexuality in schools. Even though I am a menswear designer, I do not have the mindset that my clothes should tend towards men. People should not feel pressured to choose clothes that fit the binary gender category. My graduate collection aims to empower people to express their identities, especially in more conventional social situations. I am passionate about exploring my Cantonese cultural identity and try to include references to this in my work. “

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Linnea Nordquist, Men’s Clothing BA

“For my collection, I used the method of repurposing materials that used to be very important, but eventually lost their value. Nylon tights and wedding gowns are at the core of this collection, as are the performative actions of dressing for a wedding – this is closely related to my love of performance and the joy of dressing. With my childhood memories of the Eurovision and ABBA Song Contest on stereo, it combined my first fashion memories with my love of traditional craftsmanship.

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“Because my method is based on the materials I use, the limitations that come with working from home during locking are not a big problem for me, and I spend my time working with what I have. I used used nylon tights as a yarn for my knitwear in the collection. The process is time consuming but feels very important in these times where we really need to give objects more value and value. A wedding dress riding a bicycle is another important component, representing the time and love that is put into a special day. I feel very beautiful to continue the garment story by reusing cloth, giving life to objects that are usually only used once.

“Every fashion brand now needs to develop new methods and alternative work environments. [Brands should hire] young designers who come with fresh perspectives [because] many young people can see the industry with fresh eyes and focus on what needs to be changed. The importance of creative collectives is key in the work environment and that the community needs to work with diverse groups of people to achieve the best things. I want to be a part of this, and I can’t wait to be able to show people what I can do. “

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– You should lower your expectations: top tips from Indian matchmaking | television and radio | Instant News


“Withompromise and adjust-that’s what I tell all my clients – you have to lower your expectations,” says Seema Taparia. Speaking via video link from Mumbai, one of India’s best known matchmakers tells me that I probably needed to hear if I’m to find a wife.

Taparia was the courtship of a wealthy Indian individuals over the last 15 years around the world, counting about 800 families in its database and the result is more than 125 marriage. Her arranged marriage service, the use of the practice of mating parents of adult children with other trusted families, as a rule, such as class and caste. Her process of capital she visits her at home clients, interviewing their needs and lifestyles and also speak with their parents, before turning to an astrologer for their horoscope, and then to apply this information in its database to find a potential pair. Taparia significantly commercial practices of South Asian aunties, and grandparents around the world, forever bragging to their younger relatives.

Now she is the subject of the eight-serial series Netflix, Indian Matchmaking to remove it the process of pairing prospective couples across India and USA. Where Netflix hits such as Love Is Blind took the concept of an arranged marriage to the extreme that the Director of Smriti Mundhra hopes that her reality show will clear up the stereotypes surrounding the practice. “It’s not like Bachelorwe’re not trying to make a spectacle of people’s lives,” says Mundhra from Los Angeles. “I want to show the nuances and subtleties of our culture and the value of the process, especially in the era of online Dating.”

Mundhra initially approached the topic from personal experience. “The closer I get to 30, the greater the pressure was to get married,” she says. “My family use a number of resources to try to find me potential partners from the marriage announcements in the times India for [popular arranged marriage website] Website shaadi.com. And then in 2008 I came Seema.” Within 18 months, Mundhra went on a few dates, but met her future husband in 2010 without the help of a matchmaker.

Watch Indian matchmaker, process, like, all the anxiety and often impossible demands of online Dating, with additional pressure input of parents. Taparia clients such as United States counsel Aparna, need a partner who will be as successful as it is possibly not more successful, someone with a sense of humor but not the loudest person in the room, someone interested in sports, but not to bring her along to the matches. Meanwhile, her mother wants her to find someone who can support her.

“Young people are more discerning and more independent now,” says Taparia. “Therefore, adjust your expectations is important because all of these things, they think they want, means nothing if there is no chemistry. Marriages are very popular in India, but its success is still destiny.”

And 2013 The Ipsos Survey found that 74% of 18-to 35-year-old Indians prefer marriages in the so-called “love marriages”, so arranged-marriage culture is clearly still deeply ingrained. “There seems to be more guarantees in a marriage of convenience,” Taparia says. “I can reassure parents that their children were compared with another suitable family that will fit their criteria, not just boy or girl themselves. I treat them all as if they were my own children.”

Why such the importance of family? “In India, marriage is still very much a contract between two families,” says Mundhra. “Traditionally, a young woman will live with the family of her husband. So inspection is very important, you must know what you are going to marry him, and that their child likes”.

It may seem old fashioned, but Mundhra believes that the attitude in the US, the Indian Diaspora is increasingly in favour of such an approach. “People resort to traditional methods when they realize how difficult it can be to find something more serious with someone when the entire Internet is in your hands,” she says.

However, work Taparia mainly used for upper layers of the middle class and families with gay marriage is still illegal in India, it is dealing only with heterosexual clients. Mundhra agrees there’s a way to go before the arranged marriages, equitable and modernized. “We show this process without any airbrushing, so I hope that it starts conversations around the changes that need to be done and questions the pressure that parents, like me, still put on the institution of marriage,” she says.

“It was very difficult to get people to agree to be on the show and I hope we can have more variety to his movement forward. We’d like to do more, to be critical of caste, color start, and the class, otherwise we are not fully presenting challenging differences in Indian culture”.

Until then, the cost of Taparia for her clients lies in her instincts. “SIM-like supercomputer,” says Mundhra, “she remembers everyone she met and she never stops working, trying to bring people together.” And as Taparia adds: “it’s All about communication. “People believe in me and every day I have them asking me to help them find a partner so I can’t stop – there are just too many people who need a match.”

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