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ladystylestores · 4 years

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Brands Supporting Essential Workers – theFashionSpot

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Carolina Herrera Spring 2020; Image: Imaxtree

We’re all grateful to all the essential workers out there who are treating our family and friends, delivering groceries, teaching classes online, collecting our garbage and much, much more. So we decided to say thanks by paying tribute on our site to all of their efforts. As part of our #WeSayThanks campaign, we’re offering a totally collectible T-shirt and donating $5 per shirt to various COVID-19 charities. So buy one for yourself, another for your BFF, a couple for your neighbors…

In the same vein, we decided to highlight other brands that are doing their part to give back to the essential workers on the front lines. Here’s a breakdown of how many beauty and fashion brands are giving back during the current health crisis. We encourage you to support them so they can continue to support essential workers and their families.

Acaderma: Donating 150 bottles of its The Oasis moisturizing serum to hospitals across the United States.

Adam Lippes: When you purchase two of the designer’s famous T-shirts, he’ll donate one to a medical hero. You’ll even receive an extra tee as a thank you.

Alexander Wang: Donating 20 percent of the proceeds from its online pop-up archive shop to the United Nations Foundation’s COVID-19 Response Fund.

Allbirds: Supplying shoes to health care professionals and other essential workers.

American Eagle Outfitters and Aerie: Plan on donating over 1 million masks to public health workers in vulnerable communities.

Anne Klein: The company delivered 100,000 masks to essential workers in the United States.

Augustinus Bader: The brand plans on giving away 2,000 units of its The Rich Cream to hospitals around the world. It’s also donating 20,000 units of its own hand sanitizer to hospital workers.

BABOR: Producing hand sanitizer disinfectant at its Aachen, Germany facility and distributing it to police officers, nursing homes and medical facilities in the Aachen region.

Blenders Eyewear: Delivered 10,000 goggles to frontline medical workers at hospitals across Southern California, including UCLA Medical Center, Sharp Memorial Hospital and Scripps Medical Center.

Brandon Maxwell: Producing PPE, including gowns.

Bvlgari: Manufacturing several hundred thousand bottles of hand cleansing gel with sanitizer to be distributed to all medical facilities through the Italian government.

Carolina Herrera: Making both hospital gowns and masks for sanitary personnel and food manufacturers.

Catbird: Giving $10 of the purchase price from its Mother of Pearl Love Token to Direct Relief.

Chanel: Plans on producing over 50,000 face masks and gowns for France’s essential workers, like health care professionals and police.

CHI: Donated $1 million worth of its hand sanitizer to the cities of Houston and Tomball, Texas.

Christian Dior: Using its workshop to produce masks for exposed essential workers like supermarket cashiers.

Christian Siriano: Started making face masks to help deal with the shortage.

Collina Strada: Producing masks in conjunction with Masks4Medicine.

Coty: Donated $1 million for protective gear for health care professionals. It also teamed up with Kylie and Kris Jenner to produce hand sanitizers for hospitals in Southern California.

Curls: Donating N95 ventilator masks, gloves and hand sanitizer to health organizations across the country.

Dr. Barbara Sturm: Held a maskathon to raise funds and awareness for the World Health Organization and First Responders First.

Draper James: Handed out free dresses to teachers.

DROMe: Making protective masks for Italian hospitals.

Endure Beauty: Partnered with luggage brand Zero Halliburton on care packages as a way to say thank you and provide comfort to frontline workers who are away from home.

EOS: Donated 50,000 units of its Shea Better Hand Cream to some of New York City’s hospitals and health care workers. It also donated another 50,000 hand creams to support health care workers across the United States.

ÉTICA: The sustainable lifestyle brand shifted production to exclusively produce FDA-approved medical and non-medical grade masks and PPE. It has produced over 4,000,000 units for various governmental and health agencies since late March.

Fleur du Mal: The brand is earmarking 10 percent of online proceeds for NYC Health + Hospitals.

Fresh: Delivered thousands of skin care products to health care professionals in many New York hospitals.

Fur: Offering a full-size Fur Oil to help all those on the front lines take care of themselves after a long day of work.

Garnier USA: Making its own hand sanitizer and plans on handing out 2 million units to frontline retail employees across the country.

Giorgio Armani: Making protective gear for health care workers.

GLAMGLOW: Donated units of its Bubblesheet and Thirstymud masks to 1,000 health care workers across the country.

Glow Recipe: The brand is giving away full-size Blueberry Bounce cleansers and a one-month supply of Banana Soufflé Moisture Cream to health care providers.

Graff: The fine jewelry brand donated $1 million to the Solidarity Response Fund.

Guerlain: Producing hand sanitizer for French health care workers and hospitals.

H&M: Producing PPE for hospitals and health care workers.

Herbivore Botanicals: Created Hand Hero, a rinse-free, hand-purifying gel with 75 percent alcohol, and donated 50,000 units to United Way in the Seattle area and 25,000 units to hospitals across New York City.

Hermes: Donating 31,000 masks and 30 tons of hand sanitizer to public hospitals in Paris.

Kate Spade New York: Set to donate $100,000 to Crisis Text Line to help provide mental health counseling and emotional support to doctors and nurses.

KES: Donating face masks to medical facilities and organizations serving the homeless in New York City for every mask you buy.

Kinkō: Created nearly 10,000 bottles of Prebiotic Hand Purifier to donate to Texas hospitals, medical facilities and homeless shelters along with essential small businesses in need.

La Perla: Donating 10 percent of proceeds to the COVID-19 Solidarity Response Fund hosted by the United Nations Foundation and Swiss Philanthropy Foundation in support of the World Health Organization. It also donated 10,000 masks to frontline workers in Bologna and another 10,000 masks went to the Porto City Hall Field Hospital in Portugal.

La Roche-Posay: Donated almost 1 million purifying hand gels to hospitals and clinics throughout the world.

Loewe: Donating 100,000 surgical masks to the Spanish Red Cross.

L’Oréal: Dedicating $720,000 to the Chinese Red Cross Foundation to be spent on medical supplies like masks and protective gear for medical professionals.

LoveShackFancy: Plans on handing out 300 face masks to those working on the front lines.

Mane Club: For every hair mask purchased on the brand’s site, $1 will be donated to A Million Masks to help provide US NIOSH-approved N95 Respirators and KN95 Respirators from CE-certified factories to New York City’s busiest emergency rooms and intensive care units.

Michael Kors: Donating $750,000 to NYU Langone Health and $750,000 to NewYork-Presbyterian Hospital.

Michael Stars: Making non-medical masks for health care workers.

Milk Makeup: Collaborated with the Wu-Tang Clan to raise over $100,00 for New York City’s COVID-19 Emergency Relief Fund. It also donated $250,000 worth of skin care products to New York City first responders across city hospitals.

Monbouquette Jewelry: The brand donated 15 percent of new necklaces purchased to Direct Relief, a nonprofit working within the United States and internationally to equip doctors and nurses with lifesaving medical resources.

Nike: Teaming up with Good360 to donate over 140,000 shoes, apparel and equipment to health care workers around the world.

Nili Lotan: Opening up its archive for customers to buy past pieces for up to 70 percent off retail with 10 percent of the site’s monthly profits going to charity (starting with NYU Langone Health).

Noon By Noor: Donated 20 percent of April sales to the COVID-19 Solidarity Response Fund.

NUDESTIX: The brand is donating 20 percent of each Sun & Sea Palette purchased to the COVID-19 Solidarity Response Fund.

PCA SKIN: Donated 100 percent of April daily care mask sales to FABRIC’s Arizona Apparel Foundation to ramp up production of PPE.

Prabal Gurung: The high-fashion brand gave N95 respirator masks to New York City hospitals and frontline medical personnel.

Prada: Produced 110,00 face masks and 80,000 medical garments for Tuscan hospitals.

Puma: Giving away more than 20,000 pairs of sneakers and over 5,000 pieces of apparel and accessories to health care workers.

Pyer Moss: Allocating $10,000 to purchase necessary supplies for medical workers. The brand is also making 1,000 mask covers for frontline workers.

REEF: The brand pledged 5 percent of online sales to the National Association of Emergency Medical Technicians (NAEMT Foundation) to support EMTs and first responders across the country.

Reformation: Producing face masks for health care professionals, grocery store employees and food delivery workers.

Retrouvé: Donated a percentage of its April online sales to the Frontline Responders Fund to help get PPE to the people who require it most.

Rowing Blazers: Making face masks and donating some to workers at New York City’s Food Bank.

Roxanne Assoulin: Donating 10 percent of proceeds from its Remind Yourself bracelet to the COVID-19 Direct Relief Fund.

Sandro: Delivered 1,000 masks to a French hospital in Aulnay-sous-Bois with more to come. The brand also plans on giving masks to other hospitals all over Europe and in New York City.

Sant and Abel: The luxury sleepwear brand launched a “buy one, give one to a frontline hero” initiative. Until the end of May, shoppers can gift a set of Sant and Abel pajamas to a frontline hero of their choosing when they purchase a pair of pajamas.

SEEN: The hair care brand has donated more than $5,000 worth of product (like gentle shampoo and conditioner to help tackle skin issues from PPE) to frontline health care workers at hospitals in New York, New Jersey and Texas. It’s also offering a Buy a Bundle/Donate a Bundle program on its site.

SeneGence: Created and donated over 2,000 hand sanitizers to organizations in need in California and Oklahoma. It will also donate 500 lip balms, hand creams and sanitizers to hospitals across the United States.

Skylar: Launched its own brand of hand sanitizer and donated 20 percent of the initial production to UCLA Medical Center in Los Angeles and Mount Sinai Hospitals in New York City to aid health care professionals.

Stella & Dot: For every Care Pouch (boasting EVER, KEEP and Stella & Dot products) purchased, it will donate a Care Pouch of similar or greater value to the GLAM4GOOD Foundation that will distribute the pouches throughout the year to frontline workers and communities most impacted by COVID-19.

StriVectin: Donated 2,000 hand creams to health care workers throughout the country.

Tanya Taylor: Made 5,000 non-medical grade masks for New York City hospitals. Plus, for every purchase of an item in its archive sale the brand will produce and donate five additional masks.

The Body Shop: Donating care packages to hospitals in the United Kingdom and 30,000 units of cleansing products to shelters and senior citizen communities.

The HydraFacial Company: Distributing reusable medical masks to those working in health care, public safety and emergency personnel environments.

ThirdLove: Donating 1,000 sets of bras and underwear to the nurses, doctors and health care workers at the University of California San Francisco and several hospitals. That’s on top of the 2,000 surgical masks it donated to the university.

Tommy Hilfiger: Handing out over 10,000 white T-shirts to health care workers in Europe and the United States.

TOMS: Started its own COVID-19 Global Giving Fund and it’s donating one-third of net profits to support workers currently on the front lines. So for every $3 TOMS makes, the brand will donate $1 to the fund.

Tory Burch: Teamed up with 1199SEIU United Healthcare Workers East to supply $5 million worth of scrubs, sneakers and more to health care workers. The brand is even giving 3,000 yards of fabric to Catholic Health Services of Long Island to make face masks and hospital gowns.

UGG: Delivering robes, slippers and more to frontline workers and first responders staying at hotels.

UNIQLO: The brand donated 20,000 units of AIRism innerwear to Montefiore Health System and NYC Health + Hospitals.

Universal Standard: Giving a free piece from its Foundation collection to medical workers.

Veil Cosmetics: Plans on donating over $15,000 in beauty products to hospitals, including Mount Sinai and NewYork-Presbyterian.

Vera Bradley: Making masks for essential workers and passing out other much-needed gear like scrubs.

Vince: Donated 30,000 face masks to New York and Los Angeles hospitals.

Wander Beauty: Donated a Good to Go Mini Hair Essentials Kit to a health care worker for every purchase of a full-size skin care, hair or body product from April 1 through April 3.

Join Evolve Media’s #WeSayThanks campaign to show support to essential workers and thank them for their selfless acts of kindness and heroism. To learn how to get involved, please visit https://www.evolvemediallc.com/wesaythanks/ for more information.

Why Scalp Exfoliators Are the Secret to Gorgeous Hair

Morgan C. Schimminger

As passionate about feminism as she is about fashion, Morgan C. Schimminger spends much of her time writing and editing pieces on everything from celebrity style to the fight to keep funding for Planned Parenthood. She earned her bachelor’s degree in English from the University of California at Berkeley and a master’s degree in publishing from Rosemont College. Morgan has contributed to a variety of publications, including StyleBakery, Uptown, metro.pop and Sister 2 Sister. Every week for theFashionSpot, she profiles the Top 10 Best Dressed Celebs and provides a daily dose of stylish stars via Look of the Day.

Read more about Morgan C. Schimminger articles…

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thissismydestiny · 4 years

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front row at Pyer Moss. your snow was in.cred.ible. thank you for your art.

#ryan destiny #nyfw2018 #nyfw #new york fashion week

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montrealtimes · 4 years

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The Man Behind the New Front Row

In the fashion world, there are a bunch of rules. Most people are scared to break them, sometimes for good reasons, other times not.

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#arts #Books #Dance #Design #Fashion Design #Lifestyle #Love #Magazine

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front-row-at-dior · 5 years

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Kendall Harrison @ Pyer Moss Prêt-à-Porter Spring 2020

#Pyer Moss RTW Spring 2020 #New York Fashion Week #Spring Summer 2020 #Ready To Wear Spring Summer 2020 #S/S20 #Runway #Menswear #Kendall Harrison #Black Male Models #Models Of Color #Fashion #Fashion Week #Fashion Blog #front-row-at-dior #My Posts

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mastcomm · 4 years

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The Man Behind the New Front Row

In the fashion world, there are a bunch of rules. Most people are scared to break them, sometimes for good reasons, other times not.

About a year and a half ago, Kerby Jean-Raymond, the creative director of the fashion line Pyer Moss, led subway-challenged fashion editors to Crown Heights in Brooklyn for a show called “American, Also.” A fantasy of black life free from the threat of racism and police brutality, it featured a 40-person gospel choir, artwork by Derrick Adams and references to “The Negro Motorist Green Book,” a pre-civil rights era travel guide.

For reasons that extended beyond wokeness, Mr. Jean-Raymond’s show was one of the most acclaimed of the season. Then he followed it up with a decision to toss out the fashion calendar, in favor of showing just once a year.

A select group of established designers had begun this move a few seasons before, but Mr. Jean-Raymond was arguably the first who made that decision just when he was poised for stardom.

Was he nuts? Some thought so.

Fashion insiders have a tendency to forget that the biggest designers usually rise by upending convention rather than upholding it. In that way, the naysayers are a little like veteran political pundits whose pontifications about electability don’t mention that our two most recent presidents made it to the White House by positioning themselves as disrupters of Washington tradition.

Nate Hinton, the founder of the Hinton Group, a two-year-old fashion P.R. firm, understood the logic behind Mr. Jean-Raymond’s move. Mr. Hinton is his publicist and, therefore, a chief enabler, a guy whose job undoubtedly includes a certain amount of implementing the client’s wishes.

Still, sucking up wasn’t principally what was going on when he helped Mr. Jean-Raymond arrive at the conclusion that the fashion calendar was a relic.

First, said Mr. Hinton, who is 39 and looks closer to 26, there was the cost of staging a show twice a year (usually $150,000 each time, at minimum). That made sense a decade ago, when having a fashion week slot was the only accepted way for a designer to build heat around a collection.

Back then, sites like Style.com ran pictures within a day or two — but hardly anyone saw them so the clothes weren’t old news when they hit store shelves, and fashion magazines, several months later.

Instagram changed that. Yet designers, egged on partly by the publicists who made money publicizing those shows, kept going broke trying to keep up.

“It makes no sense,” Mr. Hinton said during one of several interviews over the last week. “It cripples young designers.”

That is particularly true for his clients, many of whom are people of color in an industry that just five years ago had barely any brand-name black designers.

But now, Mr. Jean-Raymond’s approach to fashion week is spreading throughout the industry, along with an obvious question: What if Mr. Hinton, as one of fashion’s most promising young image makers, reaches the top tier of the fashion heap by helping to kill fashion week?

WHEN PEOPLE DISCUSS publicists — an admittedly small group — conversation usually centers on whether they lied on behalf of a client or said yes or no to a journalist’s request for an interview.

Fashion publicists operate differently.

At KCD, the industry’s most august firm — which was started in the early 1980s — the founders Paul Cavaco and Kezia Keeble used their previous work as fashion stylists as the building block for their company.

Its principals today are certainly capable of doing media strategy for designers clawing their way out of catastrophe (see: John Galliano), but they also produce scores of fashion shows (Marc Jacobs, Versace), manage brands’ social media (Balmain) and broker partnerships between mass retailers and luxury designers (see: Target and Missoni).

That makes them something like a fashion hybrid of a P.R. firm and a Hollywood agency. (Their all-black suits even match the ones favored by agents at CAA and William Morris.)

For many years, KCD’s chief competitor has been PR Consulting, whose founder, Pierre Rougier, is largely inseparable from Nicolas Ghesquière and Raf Simons, two erstwhile fashion darlings. Where friendliness was KCD’s corporate mandate, PR Consulting helped create an air of exclusivity for Mr. Ghesquière and Mr. Simons by dismissing those perceived as wannabes (or worse, middle market.)

Mr. Hinton worked for both firms, and his solo career seems like an attempt to meld the friendly demeanor of Ed Filipowski (his boss at KCD, who died in January) with the clubby synergy that exists between Mr. Rougier and the curated circle of designers he represents.

“That’s how Kerby and I relate to each other,” Mr. Hinton said. “It’s part of why I understand his vision and what he wants. We know the same people, we share friends, we hang out.”

BACK WHEN MR. HINTON entered the industry, there wasn’t just a dearth of black designers. There were few black behind-the-scenes people in positions of authority. “I don’t even know if I can think of one,” said Mr. Hinton, who has a level of candor, even chattiness, that for better and perhaps for worse, is uncharacteristic of publicists.

Mr. Hinton grew up in Norfolk, Va. His mother was an anesthesia technician, and his father wasn’t around, he said.

“There was never enough money,” Mr. Hinton said. “That’s part of what motivated me.”

At Booker T. Washington High School in Norfolk, he staged fashion shows in which students modeled borrowed street wear from Iceberg and Girbaud.

At Shaw University, a historically black college in Raleigh, N.C., he studied physics, but protons didn’t capture his attention quite like Tom Ford did.

In 2003, Mr. Hinton graduated with a degree in business administration. He moved to Washington, D.C., for a job at Federated, the department store conglomerate.

A year later, he moved into an apartment in Paterson, N.J., and commuted to New York City, where he was hired as the sample supervisor at Prada (that’s fashion-speak for running the company closet). From there, he moved into the brand’s public relations department.

In 2011, he was hired by Mr. Rougier at PR Consulting.

In 2012 he was fired by him after a dust-up whose central elements — operatics and pettiness — sit atop fashion’s periodic table.

The end came after the actress Emma Watson picked a dress for the MTV Movie & TV Awards. It was made by a little-known brand called Brood, whose account representative at PR Consulting was Mr. Hinton. “It was like my first V.I.P. moment,” he said.

On the day of the show, Mr. Hinton got what he described as a violent flu and failed to get the news release out before his trip to the emergency room. People magazine was among several outlets that published pictures of Ms. Watson without naming his client.

“I’m, like, slightly incapacitated,” Mr. Hinton said. “I can’t really respond to emails and texts. And so Pierre calls me, and he’s going off on me.”

Looking back, Mr. Hinton realizes it would have been smart to text Mr. Rougier and say he was in the hospital; that not informing him had a flaky millennial quality.

Still, Mr. Hinton said the final straw was the apology he didn’t deliver. “I was fired for my reaction to that call, which was just as saucy as his,” he said. (Mr. Rougier, asked about this, called Mr. Hinton “a great guy.”)

Soon after, Mr. Hinton was hired by KCD.

Two of the firm’s clients were Maxwell Osborne and Dao-Yi Chow, who, as the creative directors of Public School, were among a tiny group of well-known minority designers.

“Nate really got close to them and became part of their team and their circle, and I think that opened his mind to what he really wanted to do,” said Rachna Shah, a partner at KCD who served as his immediate supervisor.

In 2016, Mr. Hinton received a phone call from one of Mr. Rougier’s top aides. She informed him that Raf Simons was taking over Calvin Klein. Might Mr. Hinton come to work on the account?

Mr. Hinton said he would, seeing it as an opportunity “to sort of clear my record with Pierre, if you will.”

“Also,” he said, “it was Raf, and being able to order his clothes at a discount was great for me.” (Mr. Hinton was kidding. But also not.)

IN 2018, RUMORS began to spread that Mr. Simons’s days at Calvin Klein were numbered. When it became clear the prophecy was true, Mr. Hinton started plotting his next move.

Through Antoine Phillips (a vice president of brand and culture engagement at Gucci) and Laron Howard (a marketing manager at Burberry), Mr. Hinton met Mr. Jean-Raymond, who had recently held his much discussed Crown Heights show and was looking for a publicist.

“I went to all the big firms,” Mr. Jean-Raymond said in an interview at his Chelsea offices.

One told him they already had “one black designer” and didn’t need another, he said. Others proposed exorbitant monthly fees.

Having a person who was affordable, black and understood his message was the logical step, so he called Mr. Hinton.

For a few weeks, Mr. Hinton fretted about whether to start his own agency. Then Mr. Osborne and Mr. Chow of Public School called to say they were leaving KCD and wanted him to do their P.R. under the table. He replied that there was no need to work surreptitiously since he was about to start his agency.

Mr. Jean-Raymond gave Mr. Hinton and his five-person team desks in the Pyer Moss offices in Chelsea. According to Mr. Jean-Raymond, Mr. Hinton will also be getting equity in the company, though when and how much isn’t totally clear. “It’s in process,” Mr. Hinton said.

A number of clients Mr. Hinton later signed up failed to pay their bills; fees usually run about $7,000 a month. They parted ways with Mr. Hinton, and others joined up.

One is Sergio Hudson, a Gianni Versace-obsessed African-American designer who made the pantsuit Demi Lovato wore to sing the national anthem at the Super Bowl. Another is Claudia Li, a New Zealander of Chinese descent whose clothes have a Comme des Garçons on the Q Train to Fort Greene vibe.Last week, she and Mr. Hinton stood in a conference room at her sunny garment district office preparing the seating chart for her Feb. 8 show.

Ms. Li, 31, wore a white hooded sweatshirt and a pleated yellow and blue skirt she designed. Mr. Hinton had on a black Aliétte hoodie, Acne Jeans (“my faves”) and Rick Owens sneakers that look like Converse All Stars and sell for about 30 times the price.

While Mr. Hinton moved around color-coded Post-its, Ms. Li talked about how lucky she was to work with him.

For one, she said, her previous P.R. personcost too much. For another, Mr. Hinton “recognized the establishment without being enslaved by it.”

Mr. Hinton chimed in about the importance of speaking directly to consumers and building community around brands. “But we’re not trying to say, ‘Screw everyone,’” he said. “We’d love to have Anna Wintour at her show.”

“I’d literally faint,” Ms. Li said.

I asked Mr. Hinton if he was in a position to call Ms. Wintour and plead Ms. Li’s case.

“I can call her,” he said. “Would she answer the phone? Hell, no!”

Of course, Mr. Hinton encountered Ms. Wintour when he worked the red carpet at the Met Gala for KCD. And he sort of knew her before that.

“At Prada, I was responsible for delivering her clothing orders,” he said.

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soph-okonedo · 5 years

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Justine Skye and Normani Kordei Hamilton attend the Pyer Moss front row during New York Fashion Week: The Shows at Kings Theatre on September 08, 2019 in New York City

#justine skye #normani #normani kordei #normani kordei hamilton #normani hamilton #nyfw #pyer moss #melanin #black girl magic

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the-fashion-folder · 8 years

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Fall Couture 2021

~~browse season~~

| street style | front row |

Designers

Alexis Mabille

Armani Privé

Azzi & Osta

Chanel

Christian Dior

Elie Saab

Fendi

Iris van Herpen

Luisa Beccaria

Pyer Moss

Rahul Mishra

Stéphane Rolland

Tomo Koizumi

Ulyana Sergeenko

Valentino

Zuhair Murad

browse season

~~~~~~~~~~~~~~~~~~~~~~~~~~~~~

—back to seasons

back to Index

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worlddaily · 4 years

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The Man Behind the New Front Row

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In the fashion world, there are a bunch of rules. Most people are scared to break them, sometimes for good reasons, other times not.

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#fashion #Style

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jessicakehoe · 5 years

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How Pyer Moss is Restoring the Legacy of Forgotten Black Designers

Reverend Al Sharpton, the civil rights activist, was in the room when Kerby Jean-Raymond, the 31-year-old designer behind Pyer Moss — a label he describes as “Black as hell” — won the CFDA/Vogue Fashion Fund Award, on Monday. Sharpton was a guest of Anna Wintour, and his presence in that space, at first, seemed like a strange and magnanimous one, at once swallowed up in the septic history of an industry which, too many times over, has written Black people into its margins.

It wasn’t strange. Whatever alchemical forces brought fashion and politics together, overtly, early last year, might also have guided the Reverend to this moment. He would not witness that routine erasure. Instead, a Black designer known for addressing the mundanities of American racism — often to the detriment of his bag, his profit — would receive the most prestigious and lucrative award a young American designer can get. This moment wasn’t decided by serendipity, but by preterm legacy. Just five short years into its life, Pyer Moss has already become far more than a fashion label. It has become a culture.

When Donald J. Trump became President Donald J. Trump in January 2017, the fashion industry underwent a particular metamorphosis. Many designers who had previously kept their fashion and politics separate, in a kind of personal secularism, abandoned this methodology. “This election has coloured everything we do,” said the designer Tracy Reese. “We wanted to use our voices, something that was new for a lot of us”

But this was not new for Jean-Raymond. Pyer Moss arrived at all of this long before the president became the president. The luxury to compartmentalize work and personal politics is not, it appears, equally distributed. The brand is not subtle. It is assertive — brazen, even. When Jean-Raymond hauls an audience to Weeksville, to showcase a collection exploring the Negro Motorist Green Book, fashion is not the goal, but the medium. Perhaps it’s more fitting to see Jean-Raymond as a sort of historical conspirator, or an archeologist: he is interested in expanding a canon and restoring the legacies of those forgotten Black originators.

When Jean-Raymond presented his SS16 collection, three Septembers ago, he placed himself within a canon of fashion designers — Alexander McQueen, Hussein Chalayan, Telfar — whose brands offer far more than just good clothing. Yet his is a different kind of nuance. At that show, he screened a 15-minute video of prominent celebrities discussing police brutality, interspersed between those eerily familiar clips, produced by the spasmodic onlooker, of Eric Garner, of Tamir Rice, of Walter Scott. Models wore shoes spattered with fake blood, and some garments were scrawled with the names of dead Black citizens. Magazine editors did not sit front row; families of those victims did.

Jean-Raymond’s politics are more existential than they are reactive. He has been called — in a rapturous confluence of nobility and responsibility — the fashion industry’s conscience.” His was not a knee-jerk response to a white supremacist’s election into the highest office in the land; white supremacy had existed long before that bureaucratic appointment. And so had Pyer Moss’s addressing of it.

But fashion’s embrace of Pyer Moss cannot entirely vindicate the industry of its failures to support many other Black designers. Jean-Raymond is only the 16th Black designer to join the CFDA’s membership roster, which consists of over 500 people. And as an astute witness of history, Jean-Raymond seems to understand the dizzying reason why labels like Sean John, or FUBU, or Cross Colors, in spite of their cultural relevance and material success, were constrained to a particular moment, and have long since capsized. He understands that to adore those brands today is to be retrophilic. And that, of course, has everything to do with the fact that those designers were Black.

It took Telfar Clemens 15 years to be noticed by the CFDA, and even then, he was considered an “emerging designer.” Dapper Dan, the legendary Harlem couturier, only recently absorbed a love that began as a theft, 30 years into his career. And what happened, I wonder, to Charles Harbison, the brilliant designer who launched a collection in 2013, whose clothing was worn by Beyoncé and Solange, who was featured in Vogue’s September issue and whose company is now on hiatus, unable to secure adequate funding to stay afloat? “The fact that I’m not showing new work every season with my name on it, yes I do mourn that. It’s my heart calling,” Harbison told Business of Fashion, in June. It is not the responsibility of the industry to sustain these designers, but history interferes with such pragmatism.

The promise of Pyer Moss, and the fashion industry’s embrace of its racial vantage point, and its newfound position in the cultural conversation, are all part of a slow march of progress. It helps that the clothing is captivating. A Pyer Moss show is a sensory experience: Gospel choirs, swathed in white, sing “Be Real Black For Me,” or “Every Nigga Is A Star,” as the rain pours. Jean-Raymond recently introduced womenswear, and has already proven to be fluent in its beauty. At his last collection, the second instalment of his American, Also series, he showed ecclesiastical garments scrawled with short missives: “SEE US NOW?” one read, and another, “Stop calling 911 on the culture.” It isn’t hard to imagine the place Pyer Moss might have had when the CFDA/Vogue Fashion Fund was created, in 2003. It doesn’t matter. We’re here now.

The post How Pyer Moss is Restoring the Legacy of Forgotten Black Designers appeared first on FASHION Magazine.

How Pyer Moss is Restoring the Legacy of Forgotten Black Designers published first on https://borboletabags.tumblr.com/

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fashion-sight · 5 years

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Who is Kailand Morris? Everything You Need to Know About Maddie Ziegler's New Boyfriend - Seventeen.com

Seventeen.com

Who is Kailand Morris? Everything You Need to Know About Maddie Ziegler's New Boyfriend Seventeen.com Since then, he has made a name for himself in the fashion world and has walked in various fashion shows for big names like Dolce & Gabbana and Pyer Moss. He recently walked in Milan Fashion Week and was seen in the front row of several shows during ...

#D&G #Fashion #Hautecouture #Fashionweek

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cowgirluli-blog · 6 years

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What Fashion Week is like for a Black writer

“Every year the women of New York leave the past behind and look forward to the future. This is known as Fashion Week.” Those words were uttered by Carrie Bradshaw in Sex and the City, and there's no denying that New York Fashion Week is pretty electric. Designers show their wares and tell us what's hot for the next season. All the pretty people peacock around in hopes of getting their picture snapped, and spotting your favorite celeb in the front row is enough to make even the coolest influencer fangirl out.

But if you're a Black woman in the fashion industry or in the media, the feeling of Fashion Week can be a bit different. Often times, it can mean being looked up and down by publicists who give you that “who the hell is she and how did she get in here?” look.

As a fashion writer and on-air host with 10 years' experience, attending shows and previews is part of what I do. It's usually to learn about new trends, develop relationships with brands, and network in rooms with people who have the careers I crave. I'm hyper visible even at non-Fashion Week events, meaning I am the the only Black woman or one of a few Black women in the room. Or I might be completely invisible: Just last week, I left a press preview after a few minutes when the publicists interacted with everyone else in attendance, but apparently I wasn't worthy of the same greetings or engagement.

But there's something about Fashion Week that heightens this disrespectful behavior.

Randy Brooke/WireImage)

Ask any Black woman who has attended Fashion Week if she gets those stares, if she is conveniently omitted from guest lists while her white, junior colleagues are ushered in, or if she has to watch from the third row, without a single Black or brown face in the entire front row.

When you're either constantly ignored, you start to feel paranoid. At least that's how I internalized it.

During my first two New York Fashion Weeks, I remember thinking, “is it me?”

Maybe I wasn't dressed the part. So I stepped it up and wore outfits that were a bit more daring, and wobbled on the train from Harlem to midtown in the most uncomfortable heels. Even then, I'd see white women dressed in far more basic clothing get treated like royalty, while my vintage designer threads meant nothing. One season, I even straightened my kinky hair thinking it would give me a more professional look and I wouldn't stand out so much. Still, no dice.

Daniel Zuchnik/Getty Images

It was only after asking a few of my fellow Black writers, bloggers, and editors what their experiences had been like that I was convinced I wasn't crazy or overly sensitive.

One friend told me about a show she attended where the publicist couldn't find her name. She stepped to the side so the young PR woman could check other people in. After a few minutes, the publicist finally turned to her and said, “Yeah, I just found your name on the list. But the show is starting now, so we're closing the doors.” Before my friend could even reply, the publicist walked away. Her two colleagues looked embarrassed at how the situation was handled; one of them said she could do standing room, but she couldn't have a seat-despite the fact that she had a seat assignment.

I was pissed when I heard my friend's story because I knew it all too well. I asked my friend why she didn't say anything. She responded, “So I could be the angry Black woman? And why would I want to stand when I arrived on time and already had a seat?”

Her story had similar threads to others: Showing up to a space you were invited into, but where you really aren't wanted.

Maybe it's a product of me getting a little older, but I'm just over it. The anxiety and embarrassment of will-they-or-won't-they let me in; the wondering of what microaggressions I'll face even if I do get in-I literally can't stomach it any longer.

So now when I see people gleefully going on about Fashion Week, I can't help but roll my eyes. As a blogger, writer, and on-air style expert, I should be attending Fashion Week. But I had to sit this one, just like last year's, out. And I don't know if I'll ever return.

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We strived to make this year's fashion show more inclusive of all body types. We are so proud of the beautiful bodies represented at tonight's @loft Fashion Show! Did you enjoy tonight's show? #theCURVYcon

A post shared by theCURVYcon (@thecurvycon) on Sep 7, 2018 at 6:02pm PDT

On a hopeful note, I have been happy to see the success of CurvyCon. Though not an official New York Fashion Week event, the three-day conference embraces women of all sizes, compared to runway shows and street style selects that will have you thinking everyone is at least 5'8″ and a size 2.

And just this past weekend, Pyer Moss held a show that actually made me upset I wasn't in attendance. While many shows are in Manhattan with an occasional show in Brooklyn, this event was in BK at Weeksville Heritage Center. Founded in 1838, the neighborhood was one of the largest free Black communities. In addition to the historic site, designer Kerby Jean-Raymond sent clothes down the runway that featured phrases like, “Stop Calling 911 on the Culture” and “See Us Now?”

A message worth wearing from Kerby Jean-Raymond at ⁦@pyermoss⁩ #NYFE pic.twitter.com/nqplJqX0AW

- Vanessa Friedman (@VVFriedman) September 9, 2018

New York Fashion Week, Milan Fashion Week, Paris Fashion Week: do you see me? Do you see us now? We're the writers, stylists, designers, models, and editors who add to the richness of any art.

While I've given up on Fashion Week, I'll continue to create my own lane and root for those who still have some fight left in them.

The post What Fashion Week is like for a Black writer appeared first on HelloGiggles.

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ungracefulswan-blog · 6 years

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What Fashion Week is like for a Black writer

But there's something about Fashion Week that heightens this disrespectful behavior.

Randy Brooke/WireImage)

When you're either constantly ignored, you start to feel paranoid. At least that's how I internalized it.

During my first two New York Fashion Weeks, I remember thinking, “is it me?”

Daniel Zuchnik/Getty Images

It was only after asking a few of my fellow Black writers, bloggers, and editors what their experiences had been like that I was convinced I wasn't crazy or overly sensitive.

Her story had similar threads to others: Showing up to a space you were invited into, but where you really aren't wanted.

View this post on Instagram

A post shared by theCURVYcon (@thecurvycon) on Sep 7, 2018 at 6:02pm PDT

A message worth wearing from Kerby Jean-Raymond at ⁦@pyermoss⁩ #NYFE pic.twitter.com/nqplJqX0AW

- Vanessa Friedman (@VVFriedman) September 9, 2018

New York Fashion Week, Milan Fashion Week, Paris Fashion Week: do you see me? Do you see us now? We're the writers, stylists, designers, models, and editors who add to the richness of any art.

While I've given up on Fashion Week, I'll continue to create my own lane and root for those who still have some fight left in them.

The post What Fashion Week is like for a Black writer appeared first on HelloGiggles.

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