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Disability rights organisations ‘welcome’ Tommy Hilfiger’s new clothing collection for disabled adults
American designer Tommy Hilfiger has announced plans to expand his fashion collections and offer sartorial solutions for disabled adults - a proposal that has received a great response from leading disability rights organisations in the UK.
Hilfiger’s new ‘Adaptive’ offering, which is available now on the US website and is intended to eventually roll out worldwide, consists of 37 men’s and 34 women’s styles with features like velcro and magnetic fastenings to eliminate any difficulties users may have faced with buttons or zips, as well as adjustable openings and seams on legs and necklines to accommodate different body shapes and prosthetic limbs.
The pieces are also designed to help carers - anyone helping a disabled person to get dressed in the morning could find it easier to pull on the garments.
Tommy Hilfiger Expands Fashion Line for People With DisabilitiesWith retail traffic slowing and apparel brands fighting harder than ever for customers, Tommy Hilfiger is going after a largely untapped market: people with disabilities.
The fashion brand owned by PVH Corp. is launching an adult clothing line with adjusted seams and openings that allow caretakers to dress the wearer -- a move to build on a collection it created for kids last year. The company also has added magnetic closures to the clothes, making it easier to pull them over the head or get dressed with one hand.
Making clothes for disabled shoppers may seem like a niche market, but there are millions of potential customers in the U.S. and around the world -- and they get short shrift from most brands. Hilfiger, 66, describes the effort as part of “the democratization of fashion.”
The so-called adaptive clothing line, announced on Tuesday, consists of 37 men’s and 34 women’s styles based on its sportswear collection. Pants will have Velcro closures and magnetic flies and zippers, as well as adjusted leg openings and hems that accommodate leg braces and orthotics
Georgina Chapman: no longer behind Harvey Weinstein, still behind a global brand
Only days ago, Harvey Weinstein insisted that his wife, Georgina Chapman, “couldn’t be standing behind me more”. Now, after a deluge of allegations against Weinstein culminated in accusations of rape, Chapman has decided she cannot stand behind him any longer.
On Tuesday, the 41-year-old British fashion designer confirmed she had left the film producer, saying: “My heart breaks for all the women who have suffered tremendous pain because of these unforgivable actions.”
Her announcement ends a 10-year marriage. But while the scandal engulfing Weinstein, 65, has made him the inevitable focus in recent days, once the dust has settled Chapman – who has two children with Weinstein, India Pearl and Dashiell – will go back to a lucrative career of her own, as co-founder of the designer label Marchesa.
The brand is a global powerhouse, claiming to be the most worn label on the red carpet last year. The supermodel Karolína Kurková wore a Marchesa frock to the Met Gala, Heidi Klum wore one to the Oscars, and Katy Perry chose Marchesa for the Cannes film festival.
But with her clothes having been highly visible at movie premieres, the question now is whether one of the biggest scandals in Hollywood’s history will affect Chapman’s business.
Chapman, who met Weinstein at a party in 2004, launched her label the same year. It made its worldwide debut at the premiere of Bridget Jones: The Edge of Reason the same year, when Renée Zellweger wore an embellished red bandeau sari dress. Shortly after, the previously unknown British label was sported by numerous other high-profile Weinstein associates, including Cate Blanchett at the Rome premiere of The Aviator.
But within two years, Marchesa was named one of the CFDA/Vogue Fashion Fund’s top 10 finalists, and the dresses were featured in Vogue spreads. The brand endured. “If it floats, swishes or clings to an actor’s hips like beautiful glue … chances are it’s a Marchesa gown,” wrote the Guardian fashionteam on the label’s 10th anniversary.
“When you see her beautiful work, you feel like you’re witnessing a craft that doesn’t exist any longer,” Blake Lively, who wore Marchesa to wed Ryan Reynolds, once said. “The only designer that really makes you feel like a princess.”
Chapman was educated at Marlborough College, a private boarding school in Wiltshire, before attending the Chelsea College of Art and Design, where she met her future business partner, Keren Craig. She studied for a degree in costume design at Wimbledon School of Art (now Wimbledon College of Arts), graduating in 2001.
Former Condé Nast chairman, Samuel Irving ‘Si’ Newhouse, has passed away at the age of 89.
Owner of Vogue, The New Yorker, Vanity Fair and GQ among others, Newhouse inherited the publishing powerhouse from his father, who founded Advance Publications in 1922.
Newhouse ran the magazine arm of Condé Nast until 2015, and was responsible for making publications such as Vogue and Vanity Fair into the juggernauts they are today.
“Si Newhouse was the most extraordinary leader,” Anna Wintour said in a statement released via Vogue US. “Wherever he led, I followed, unquestioningly, simply because he put as much faith in me as I had in him.”
Going on to recall his leadership and flair for creativity, Wintour joins the rest of the Condé Nast family (including Vogue Australia) in remembering Mr Newhouse for his dedication for fashion honouring the legacy he leaves behind.
“Si never looked at data or statistics, but went with his instincts and expected his editors to do the same. He urged us to take risks and was effusive in his praise when they paid off. Every time I’d preview the latest issue of Vogue with him, he’d encourage me to go for the less expected cover, the more compelling image,” she says.
Retiring in 2015 after 40 years of service to publishing, Mr Newhouse’s contribution to magazines, fashion and publishing, will not be forgotten.
From red to cord: five autumn/winter 2017 trends decoded
Bit sick of pink, millennial and otherwise? Us, too. Enter red – the colour of AW17, and one that has been associated with, over the years, the Labour party, Campbell’s soup tins and Netflix. What the emergence of red means is unclear, but it’s a satisfying full-stop kind of colour to wear, a statement for time-poor people, if you will. This adorable Chloé dress is one of the pieces of the season.Fashion is smartening up: the suit is back, often in check. This isn’t the 1980s, so discount Melanie Griffith’s office look in Working Girl and think of the slightly off note of sneakers with a pencil skirt. Raf Simons’ collection at Calvin Klein paired checked suits like this with cowboy boots. Or try over-the-knee boots, as at Vetements. Workwear that’s NSFW? That’s about right.Cardigans have been in the fashion wilderness for the last decade. No longer. Ditch the hoodie and the alpha sweater for this, and the more vintage-y (technical term) the better. Lust after this one by Prada, make do with a beaded number from eBay, or wear as a twinset with a pencil skirt in the style of a high-school senior in the late 50s.Strokability is guaranteed in fashionable circles this autumn, with cord back on trend. Moving on from the thrift store so-fashionable-I-can-be-a-geek ironic appeal it had in the 90s, corduroy has been given catwalk spit and polish by blue-chip labels such as Marc Jacobs (seen here), Prada and Mulberry. The geography teacher is now a fashion muse. Who knew?Sister Sledge namechecked disco’s key fashion labels in 1979’s He’s The Greatest Dancer as “Halston, Gucci, Fiorucci”. Fast-forward to now and they might also have to add Saint Laurent (seen here), Mugler and Versace – labels where disco’s razzle-dazzle, out-and-out glamour rule. Saint Laurent’s disco boots, as worn by Rihanna, are the alpha footwear of the season, and demand a dancefloor with every step.
Fashion: Boohoo sees sales rocket
The group reported a 106 per cent increase in sales to £262.9m in the six months to August 31 as pre-tax profit rose 41 per cent to £20.3m.
Growth was helped by the recently acquired PrettyLittleThing, which clocked up a 289 per cent rise in sales to £72.7m.
Joint bosses Mahmud Kamani and Carol Kane said that the stellar results gives the firm “confidence to raise guidance for the full year”.
Boohoo now expects group revenue growth to come in around 80 per cent up on last year, an increase on previous guidance of 60 per cent.
Mr Kamani and Ms Kane said: “Boohoo’s revenue has continued to grow across all geographies, with international growth being strongest as we continue to increase our market share overseas, and the newly acquired PrettyLittleThing brand has exceeded our growth expectations.
“PrettyLittleThing is fast gaining recognition amongst our target consumers as a highly desirable fashion brand in the UK, and its international growth is very encouraging, confirming its considerable potential.”
They also pointed to the success of boohooMAN and Nasty Gal, another of its sub-brands.
The firm has gone from strength to strength of late, with its market capitalisation closing in on £3bn.
Earlier this year Boohoo raised £50m to help fund a new warehouse in a bid to keep up with soaring demand.
The “automated super-site” will provide Boohoo with more than £2bn of sales capacity.
Why even London’s art world just can’t stop keeping up with the Kardashians
In February 2007 Britney Spears entered Esther Tognozzi’s salon in Tarzana in Los Angeles, grabbed a pair of clippers and shaved her head, citing the waiting paparazzi as motivation. Four months later the iPhone launched. The following month the first episode of Keeping Up with the Kardashians aired on US TV.
There is no doubt it was a Damascene year for celebrities and social media, and while these three events might seem unrelated, they mark the starting point for an exhibition at the Saatchi gallery in London over the past two days to mark 10 years of the Kardashians’ reality TV show. “If Britney can get through 2007, you can get through anything!” read the opening text of the exhibition in neon, as if to acknowledge the baton.
Like everything else about the Kardashians, E! Entertainment Television’s Keeping Up with the Kardashians: 10th Anniversary exhibition was anything but modest. Occupying two rooms at London’s Saatchi’s gallery it was an immersive experience rather than artistic celebration and gave a clear narrative of how the family have played the media.
In the last decade, KUWTK (an acronym coined by fans on social media) has evolved into a compelling, high-profile, high-concept document of what makes someone famous. It is aired in 160 countries, is the longest running docusoap in the history of television and has become a blueprint for reality TV. E4’s Made in Chelsea and ITV’s The Only Way is Essex were born in its wake.
Like its most famous byproduct, Kim Kardashian, the show has become masterful in its reinvention. For every resolved drama – the family always hug at the end of an episode – a new one is teased out of the mundane reality of ordinary life.
Celebrity reporter Olivia Foster cites the Kim Kardashian rule – that if you compare pictures of Kim taken two weeks apart, there would always be something different. “There is always Kim Kardashian ‘news’,” she says. “Even if it’s just about different coloured hair.”
The Saatchi gallery might have seemed an unusual place to chronicle this anniversary – on Wednesday it hosts a retrospective of the American sculptor Alexander Calder – but the two are behemoths within their respective industries. And in recent years the art world has found commercial success celebrating the careers of cultural figureheads.
In 2013 the V&A’s David Bowie Is became its fastest selling exhibition, and the museum is currently near the end of a similar homage to Pink Floyd. Which suggests that the world is keen to explore what – or rather who – constitutes art?
At the Kardashian exhibition the answer was “contouring booths”, a white rose backdrop for re-enacting Kim and Kanye’s wedding photo, and a wall of Kardashian selfies. Most curious was a neon timeline of the show’s ascent, modestly contextualised within major world events, pasted across one wall.
Regardless of where you stand on the Kardashian phenomenon it is simply that, and the exhibition was testament to it – tickets sold out almost as soon as they went on sale. To understand the success of the show is to understand the Kardashian-Jenner family.
KUWTK follows the lives of the Kardashian-Jenner family – Kim, Kourtney, Kylie, Kendall, Khloe, Rob, their mother Kris and a rotation of partners and parents – news of Kylie’s pregnancy has just broken on TMZ – as they buy, shop, overdose, divorce and, most compellingly in the case of one family member, transition. It has been met with a wall of criticism. Derided for monetising their babies – and promoting conspicuous consumption, the series has arguably shifted the concept of what reality TV can do within the confines of its genre.
“The Hills and The Osbournes always seemed stilted and set up,” says Issy Sampson, the former news editor of Heat magazine. KUWTK, by comparison, is hyper-reality television. There is nothing you don’t see.
The family first entered the cultural psyche after Robert Kardashian, the former husband of matriarch Kris, gained notoriety for defending OJ Simpson in his murder trial, turning his family into “Calabasas celebrities”, named after the suburb of Los Angeles they called home. But it wasn’t until Kim Kardashian, then a 26-year-old stylist, found herself embroiled in a sex tape scandal that conversations about the TV series started.
Psychologist Susie Orbach is among those wary of this culture. “[The Kardashians] seem to be an example of the dangers of the self-representing the body,” she says. “Observing oneself being observed – that is a tragic diminishment. But it also the commentary of our society right now and she [Kim], and they, are perpetuating that.”
But all this isn’t new. Historian Stephen Greenblatt describes this as “self-fashioning”, a way of composing one’s public persona according to a set of socially acceptable standards.
At Grazia magazine, about five years ago, there was an initial reluctance to put Kim Kardashian on the cover. But the magazine took a risk and found her image sold issues. “We were surprised because she seemed a bit low-rent at the time,” says one former employee. “But back then people seemed to care about Kim’s life, her marriage, her babies, and obviously her bum, and regardless of what we thought, she was like media glue. Once she was in, it was impossible to look beyond her.”
Kim Kardashian’s success came from her selfies. “She was putting out the image she wanted to put out. Everything else just followed,” says the employee.
Sampson agrees: “Magazines are still obsessed. [The Kardashians] still shift copies in a rapidly declining market. I don’t think there was one day in my entire Heat career I didn’t talk about Kim or her family – and I can only remember one issue that she didn’t appear in.”
But the sticking point with the exhibition was that it was about
television, a medium that could be considered outdated in our social media
world. KUWTK TV viewing figures have been largely in decline since 2014,
including a controversial episode that followed a “badly shaken” Kim after
thieves had tied her up and held her at gunpoint in her Paris apartment before
making off with her jewellery. The issue is, one TV editor said, “that the media
had been so oversaturated with the minutiae of this event that by the time we
watched Kim on screen, we felt like we had already gone through it all
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Style vixen Lottie Moss channels her inner prom queen in a slinky silk dress and coiffed up-do as she attends amfAR gala at Milan Fashion Week
She's got fashion in the family, as the half sister of iconic model Kate Moss.
But Lottie Moss experienced a rare fashion misstep on Thursday night as she joined stars at the glittering amfAR gala in Italy.
Turned out in a backless silk gown with a coiffed updo, the 19-year-old model was more prom queen than style queen.
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The blonde bombshell was sporting a mass of curls on the top of her head, that were loosely falling down to frame her pretty face.
Her slinky dress was backless, save for a strappy back, and featured a deep plunge in the front, which served to showcase her cleavage.
It clung tightly around her pert behind as she peeped over one shoulder, pursing her lips for the cameras.
Inside the event, Lottie was not able to raise a smile, choosing instead to show off her beautiful features with a pout.
She joined A-listers including Alessandra Ambrosio, Jourdan Dunn, Hailey Clauson and Hailey Baldwin, inside the fashion extravaganza.
Instrumental in the fundraising effort, the Italian fashion houses are strong in their support for amfAR during the bi-annual celebration of Fashion Week in Milan.
To date, amfAR Gala Milano has raised over $12 million for amfAR's lifesaving research.
Past events have been chaired by the likes of Sharon Stone, Dakota Johnson, Heidi Klum, Rosario Dawson, Juliette Lewis, Karolina Kurkova, Jeremy Piven, Coco Rocha, Michelle Rodriguez, and Irina Shayk.
Lottie has been partying non-stop since Fashion Week entered its second week in London, which has now continued onto Milan.
Just the previous evening, the model was a guest at the Bvlgari bash, a brand for which she serves as an accessories ambassador.
This time, she wore striking red in an example of her typically polished and enviable red carpet credentials.
Why is Kaia Gerber suddenly the centre of the fashion universe?
I rather enjoy, Roger, that you thought it easier to write to me with this question as opposed to typing into something I believe is called – reaches for old lady spectacles – “Google”. And jolly glad I am that you did, too, because Kaia Gerber relates to quite a few things that I’ve been wanting to talk about for a while, including and not limited to celebrities, parents, teenage girls, fashion, tabloids, exploitation and more. It may turn out to be that Kaia Gerber is now the centre of the universe, which would explain quite a lot about this universe. Because Kaia Gerber is a 16-year-old girl.
In fact, she has just turned 16 and pretty much as soon as Kaia blew out the candles on her cake she was shoved on to every other catwalk at New York fashion week. An exciting start to the autumn for a fresh-faced teenager you may, or may not, be thinking. But this was not young Kaia’s first encounter with fashion. She has already appeared in several fashion magazines and campaigns, starting with a Versace campaign when she was 10, a French Vogue cover with her mother a few years later and her first solo magazine cover when she was 14. Tabloids have been running pap photos of her for years, doing everything from going shopping with her mother when she was 14 (“with long limbs to rival her mother’s”) to putting petrol in a car when she was 15 (“Her slender model figure was covered in a mini white bandeau top and high-waisted jeans”).
The media coverage of her 16th was, shall we say somewhat thigh-rubbing, with the British tabloids in particular barely able to control their excitement that young Kaia is now legally of age – in the UK anyway, if not in her home state of California.
Perhaps you are thinking that this seems a little OTT for your run-of-the-mill pretty teenage girl, which it is. But – and you might have seen this coming – the key detail here is that Kaia is a celebrity offspring. She is the daughter of Cindy Crawford and the rather amusingly named Rande Gerber, who is also, it turns out, George Clooney’s best friend, neatly proving this column’s theory that all famous and vaguely famous people know each other.
There is a sharp divide among celebrities between those who put their kids in the limelight, and those who very much don’t, and I’m always intrigued as to which celebrity chooses which path. Because, contrary to what you might think, celebrity children don’t have to be famous: the parents just have to choose to keep them away from red-carpet events, to get their lawyers to threaten tabloids that publish unobscured photos of them and not to pose with them on the cover of French Vogue. And if you don’t believe me, think of Matt Damon: Damon has four kids and I have not a clue even what their names are and it is kind of my job to know stuff like that. Or Christy Turlington, for that matter. Does Christy have kids? Probably, but I wouldn’t recognise them if they sat next to me on the bus. By contrast, the Crawford-Gerber children, rather like the Beckham children, are by now almost as familiar to me as my own offspring, such is the amount of time they’ve spent in the spotlight. Kaia and her 18-year-old brother, Presley, have been in front of the cameras since they were little and, between the two of them, have 2.2 million followers on Instagram.
Cindy Crawford didn’t become a model until she was 19 so it’s striking that she decided to let her daughter model from the age of 10. It’s not like history is littered with successful tales of high-profile celebrity children, and the few who do end up happy and well and accomplished – Michael Douglas, Stella McCartney – were kept out of the limelight by their parents and then encouraged to make their own way, not just use their family connections. I get that all parents want to give their kids the best childhood, and a lot of people do equate “fame” with “the best”. It’s just weird when famous people do it because they, of all people, should know that being a celebrity ain’t, actually, all that great. So maybe Cindy and Rande have had nothing but positive experiences of fame. If so, they are next to unique.
As it happens, new father George Clooney has been talking about this quite a lot recently in regards to his twins, Ella and Alexander. “We didn’t want to give them one of those ridiculous Hollywood names that don’t mean anything,” he said recently, perhaps unaware that his best friend’s kids are called Kaia and Presley. Clooney added that his own children “are going to be born into a place of privilege and so they’re going to have to learn that it’s just by accident.” I’m guessing this probably means Clooney’s not going to put his kids in movies when they’re 10.
So is Clooney making a dig at his friends here? Isn’t 16 still a little young to be the star of New York fashion week, given Kaia is still in high school? These are questions we may never be able to answer in full. But good luck, Kaia. You are (nearly) an adult now, and not just your mother’s daughter, so don’t let other adults tell you what to do, OK?