If there’s one thing Dijon Honey know, that’s a way of hitting the club with style. The legendary DJ has spent decades at the heart where fashion meets music, from his early years on the Chicago basement scene to his latest role as music director for the Kim Jones collection at Dior Men. (If that’s not enough, in 2019 he is launched her own fashion line with Dover Street Market, to be precise titled Honey Fucking Dijon.)
So it’s no surprise to see Dijon arrive late Bottega Venetathe show series “salon” under the radar, which has consistently brought out the cream of the international music scene; Other attendees at yesterday’s presentation in Berlin included Virgil Abloh, Burna Boy, Skepta, and Slowthai. The Italian fashion house caused quite a stir earlier in the year after creative director Daniel Lee opted to remove the brand from Instagram and ignore a publicly-faced fashion show in the near future, opting instead to expand the narrative of each collection through a guest list presentation. and digital magazines.
While the exact outfit Dijon is in Berlin to watch on the runway may remain a mystery, his look-stopping traffic from the brand’s spring 2021 collection definitely isn’t. (The event was held at Berghain’s iconic superclub, where Dijon has turned the deck on numerous occasions, so it’s no wonder he feels right at home.) Wearing a cornflower blue bouclé jacket with a red striped bubble pattern, flared trousers, and a clutch bag to match, Dijon completes the look with a pair of ’90s Matrix– inspired sunglasses. Last touch? A pair of disco-ready platform sandals, ready to take Dijon from the sidewalk to the club – and perhaps a stop at fashion shows along the way.
Originally held annually on April 24, the date chosen to pay tribute to the victims of the collapse of the Rana Plaza garment factory in Bangladesh, Fashion Revolution Day is gradually being changed to Fashion Revolution Week (April 19-25, 2021).
The aim is to raise awareness among consumers, brands and public authorities about a more ethical and responsible fashion.
Traceability of clothing
Find out where the raw materials used in your favorite t-shirt design come from, find out who is weaving the skirt patterns you only wear on special occasions, or find out how your handbag got to the store where you bought it.
These concerns are of utmost importance to consumers, as shown by a recent survey conducted since the start of the pandemic.
But brands don’t systematically respond to these requests for more information. That’s where Fashion Revolution Week comes in, allowing consumers to ask brands directly about the origins of the clothes they wear every day.
Despite significant advances in recent months, the fashion industry remains one of the most polluting in the world, and among the least transparent.
Entitled “Rights, Relationships and Revolution”, Fashion Revolution Week 2021 will focus on human exploitation and ecosystem degradation, but also on the need for “radical changes” in “the relationship between brands and suppliers” to revolutionize the industry. and reduce their impact on the planet.
Hashtags to watch out for: #WhoMadeMyClothes
While you can use this week to reflect on your own clothing consumption, there are other, more impactful ways to participate.
The idea of Fashion Revolution Day – or Fashion Revolution Week – is to wear your outfit from the inside out for at least a day to highlight the label, and question its origins.
If you are not in a bold mood, you can simply take a picture of the label and post it on social networks with the hashtag #WhoMadeMyClothes and related brand names.
More than a simple day of awareness, it’s about questioning brands about the lack of transparency associated with some – or even all – of their outfits, and to stimulating conversation about the various production steps required before product sales.
In this pandemic year, hashtags must be used more than ever. To your keyboard! – AFP Relaxnews
After a flurry of closings that coincide with the end of the fiscal year for many fashion companies last month, if you look in the right place now there is a positive atmosphere.
For all the difficulties some sectors have experienced over the past year, others have charted an upward trajectory. In particular, pop culture themed merchandise has become a real success story.
The sweet spot seems to be a pop culture commodity that has become a nostalgic spot for young people with disposable income.
Case in point: the de facto symbol for Japan’s so-called lost generation, the anime franchise “Neon Genesis Evangelion,” whose long-awaited final work in the film series “Rebuild of Evangelion” is currently doing well in theaters national. To mark the occasion, there were lots of merchandise and collaborations, including Jun Takahashi, who presented his work. Undercover collection in Tokyo to coincide with the Rakuten Fashion Week Tokyo in March.
From the very first appearance, an ensemble inspired by plugsuits, mechas, and even the antagonist Angel from the iconic series lurked down the runway. The design exhibits a humble level of technical patterning prowess, as well as hands-on imagination.
Even better, if you cut out the headsets manufactured for runways and get rid of the black light trick, the collection is surprisingly wearable, even with a more literal manifestation of anime aesthetics than any designer would have tried in the last decade. From 2010 to 2020, designers generally aim for the subtlest references to source material possible, but recent market success has made them even bolder.
But not all success is the same. Unfortunately, when anime or video games start collaborating with brands above the upper echelons of the fashion hierarchy, there’s usually a “How many ?!” or “What a scam!” and so on from people who like original media, but resent the feeling that a part of the community is now off limits because of the entry fee.
The first culturally significant example of this reaction was most likely in 1999 (a pre-social-media-driven outrage) when Square Co., now Square Enix, produced the ensemble for Squall Leonhart, the hero of the video game Final Fantasy VIII, in original skin.
The combination of craft and quality – with a hefty price tag to match – is a breakaway moment for “geek chic” as a whole, but not everyone is happy to know that outside forces can change their fandom’s field of play. This phenomenon continues, but as more and more value is properly placed on pop culture mementos, hopefully we’ll start to see fashion as an enrichment of source material, and not an unwanted guest.
Undercover isn’t the only brand involved with the new “Evangelion” film. Bandai’s internal label, the Bandai Fashion Collection – who thought the words would ever be orchestrated – have teamed up with Anna Sui for a dark collection of franchise-inspired accessories. Throughout, Anna Sui’s signature butterfly and rose collided with the bloody spear and the battered face of the series’ titular mecha. Collection pieces will drop throughout the year, with some for pre-order at the Bandai online store now.
Anna Sui also matches the current anime, “Demon Slayer: Kimetsu no Yaiba”, because the mini collection that is expected to become so popular pre-orders is your safest bet to ensure ownership. Again, the Bandai online shop is your friend.
Even the two capsule collections barely scratch the surface of the pop culture paraphernalia for grabs. “Harry Potter” pairs up with the super cute Q-pot accessory brand for a collectable ornament-themed collection (as opposed to the clothes you can wear and wear). The series closes with a chocolate-themed Hogwarts randoseru backpack at a staggering 110,000 yen (tax included). Again, if this is something your primary school (or you) want, wise advance ordering is required either online or at Omotesando flagship Q-pot shop.
The separation of shopping from physical stores, and even the need to wear it, is an overall downside for fashion, but an appropriate strategy for brands aiming to outlast the current stay-at-home status quo. These well-crafted pop culture artifacts could play the part they sit in storefronts for now, but hopefully they’ll get their day to wear, and celebrate, out and about someday.
Nelson, New Zealand – Mima Osawa, 27, grew up dividing his time between New Zealand and Japan. After stumbling across a textile shop in Nagano Prefecture that specializes in die-cut fabrics, Osawa is inspired to start Handmade Mono, a specialty clothing line that puts forward fabrics, to do its part in making the fashion industry more sustainable.
1. Where did you grow up? I was born in Japan and raised in Aotearoa, New Zealand. Surrounded by nature (and sheep, of course), we had a lot of freedom and didn’t need much to be happy.
As you can imagine, New Zealand is the most beautiful place. I would immerse myself in nature by going camping with my family, and soaking up the sun on the beach with friends. My backyard is my escape.
2. What brought you to Japan? Raised in a culturally diverse family with Japanese, Maori and European backgrounds – the other half of my family is in Japan. Going back and forth between New Zealand and Japan has always been routine for me.
3. When have you experienced a “fast fashion revival”? During a visit to my grandmother’s hometown in Nagano Prefecture, I walked into a textile shop only to find that the collection of fabrics it provided were all dumped from other, larger manufacturers in the fashion industry. It was a shock to see the endless pile, all of which was in perfect condition, just sitting there gathering dust.
From then on, I started researching the impact of the fashion industry (on our planet), only to be more surprised by the data and statistics.
4. Did it inspire you to start Mono Handmade? Yes, 100%. If I had never set foot in that shop, I wouldn’t have realized this industry as it should be. This is also thanks to my mother, who had impeccable skills in making clothes; Her love for sewing must have rubbed off on me. As a result, the choice is simple for me to take sustainability into my own hands and create work with an environmentally conscious approach.
5. Is there a story behind the brand name? “Mono” means “one”. Every piece of Mono is handcrafted, making it unique. No two handcrafted items are the same.
6. How would you explain “deadstock” to someone who is unfamiliar with the term? “Deadstock” is the remaining inventory that is not used or thrown away. In the fashion industry, the main causes of deadstock can range from fabrics or clothing that have minor imperfections to companies that overvalue their orders.
7. What does the fashion industry need to do to be more ethical? We need to design new ways to produce and consume fashions that are exciting and inspiring without causing permanent harm to people and the environment. This involves considering key factors such as an ethical workforce, sustainable materials, a zero-waste philosophy, and so on. It’s important to build more awareness so that each of us has a better understanding of what we can do to help and contribute positively.
8. Where does Mono Handmade collect its fabric from? Currently, all fabrics are sourced from Nagano Prefecture. I live close enough to be able to handpick each textile, choosing high-quality materials. With suppliers having the same goal of reusing and giving this fabric a second chance, rather than wasting it, my relationship with the supplier has grown organically and naturally.
9. How do you make sure the deadstock fabric you source is high quality? One of the first things to understand about ensuring fabric quality is knowing that different types of fabric have different characteristics – so the standards apply differently to each. Some of the main areas I looked at included woven fibers and colors. High-quality fabrics accentuate tightly woven fibers, so I avoid fabrics with clear gaps or loosely packed threads that indicate weakness in fiber quality. I also ensure an even tone of color across the surface of the fabric, to avoid any scratches.
10. Who designed the pieces? I design all parts of Mono. In short, the process involves (a series) of steps ranging from brainstorming ideas with rough sketches to structuring the shapes – the design sampling stage – to finally testing durability, strength, comfort, and so on.
11. Do you have plans for future brand enhancements? Building this brand has been a natural process for me and I hope to improve it by doing my part in the industry. I’ll continue to play my part by creating sustainable work while creating more awareness about the impact of this industry – and we’ll see where that takes us!
12. Are there large stylistic differences between New Zealand and Japan? I think yes. Japan has a very lively fashion world, and I like that the people are very expressive through their fashion. At the same time, they are faced with the dangers of fast fashion, trends very quickly enter and exit.
The landscape in New Zealand is different. People are less expressive in what they wear, but more aware of sustainability. There are many small startups, including fashion businesses that focus on making a positive impact, something I really respect and admire.
13. How do you define “perpetual mode”? Timeless fashion is when a design lasts for decades and speeds up the fashion world. In today’s fashion industry, the four seasons have been changed to 51, so designs usually go out of style as soon as they enter. Timeless fashion, on the other hand, does not follow this trend or lose its value or allure.
14. Do you think COVID-19 has changed clothing trends? I think COVID-19 is increasing the fashion trend for the better. The fashion industry has been on the call to slow down, move away from mass production and take positive action. In addition, consumers buy comfortable loungewear to work from home and shop less.
15. What is the best thing people can do to prolong the life of their clothing? Garment care. Every garment will eventually wear out after repeated washing, but note that not all clothes need to be washed after every use.
Also, depending on the material, some are designed to be hand washed. If you must use the machine, use low heat and place a soft cloth in the laundry bag to reduce tearing.
16. What’s the one item everyone should have in their wardrobe? Linen clothes. I like items that the more you wear them, the better the results. Linen becomes softer, silky and forms beautiful, natural wrinkles after every wash. It’s also a natural fiber with low environmental impact, giving you peace of mind.
17. Did you collect something? I have a collection of fabric scraps. While I try to work deadstock fabric for all Mono pieces, the smaller pieces definitely still remain after production. Instead of throwing them away, I keep small scraps for smaller clothes like pockets and hair ties.
18. You must “KonMari“Your wardrobe and can hold three pieces. What are they? My classic, unassuming white t-shirt – one I can pick up in a hurry. This is a minimal outfit that accentuates statement pieces like patterned or colored trousers. Then, a high-quality comfortable coat that will stand the test of time. It proves the joy to be out of the wardrobe every winter. Lastly, the button-down shirt my mother made. It’s something I’ve always cherished, knowing the time and thought he’s put into it.
19. Is there anything you miss about New Zealand when you are in Japan? As well as friends and family, I miss Kiwi life – anything from eating fish and chips on the beach on summer evenings to enjoying the perfect flat white – New Zealand has great coffee.
20. What is your favorite word or phrase in any language, and why? My favorite Kiwi phrase – “He’ll be right” – means everything will be fine. This is a popular expression used in New Zealand to emphasize an optimistic attitude in life. I love the simplicity of this phrase; it helps me to see the light at the end of the tunnel.
The glamorous party canceled in 2020 due to the coronavirus pandemic is returning this year and the United States’ first youth poet, Amanda Gorman has been approached to host the ceremony.
According to Page Six, the Met Gala event which marks the opening of the Costume Institute’s annual fashion fair in the US will return on September 13 this year.
However, the big news that could have drawn even more attention to the event is that American poet Amanda Gorman, who caught attention with her inaugural poem at President Joe Biden’s inauguration ceremony, has been approached to host the Vogue 2021 star-studded ceremony.
Vogue’s ‘Oscar of Fashion’ initially takes place on the first Monday of May i.e. 3 May, according to the calendar, but keeps an eye on the infectious disease date set for five months later which is September 13, in the hope that life will return to something near normal by the time that.
A source told Page Six that it would not take place on the first Monday of each month as that date was already occupied by Labor Day.
“Even Anna Wintour can’t change federal holidays,” said the insider.
According to the source, the magazine has also approached Council of Fashion Designers of America (CFDA) chairman Tom Ford to act as co-host with Amanda.
Amanda, the 23-year-old runaway star in President Biden’s inauguration, is on the cover of the magazine’s May issue and the subject of a profile that shines endlessly in it.
Given her incredible appearance at the inauguration, the theme is a celebration of American and American designers, according to Page Six.
However, the format of this year’s event is still being kept secret.
The event is considered the biggest fashion night and features celebrities from Lady Gaga, Katy Perry and Kim Kardashian to CAA’s Jeff Bezos, Elon Musk, and Bryan Lourd.
In 2020, there is a virtual event in lieu of a physical event, where celebrities such as Priyanka Chopra, Roberts, and Amanda Seyfried show off their looks from home and stars like Mindy Kaling and Adam Rippon take part in #MetGalaChallenge, recreating performances from the past. then. year.