Best-known for its strong music and healthcare industries, the city of Nashville is also poised to become a key player in the US fashion industry, according to a new report released today (25 January).
US speciality retailer Gap Inc has revealed Andi Owen, global brand president of its Banana Republic division, is to leave the company after agreeing with CEO Art Peck, now is an “appropriate time for a change in leadership”.
Apparel giant PVH Corp has inked a deal with Marcraft Clothes Inc to buy the licensed Tommy Hilfiger men’s tailored clothing business for North America.
A new GBP30,000 (US$37,700) initiative to help tackle the skill shortage in the UK’s fashion industry has been launched in West Yorkshire, the region identified as the most condensed area for textile manufacturing in the UK.
Samuel Drira’s multifunctional approach to dressing was less literal for pre-fall, focusing more on structure. His pared-back, contemporary interpretation of military themes was worked in an earthy palette of greens, browns, orange and beige and in a contrast between rounded, cocoon-like forms and sharper lines.
Egg-shaped coats in boiled wool ballooned out at the elbows, mirroring their overall silhouette, while zip features opened up the side of tailored wool jackets, offering practical and aesthetic opportunities. Rivets and elastic loops reminiscent of parachute gear and outsized flap pockets contrasted with the softness of certain designs. A khaki wool skirt cut to look like an Army coat from behind flapped over the front as the model walked, adding interest to an otherwise utilitarian shape.
Knitwear went along with the theme, as in a long khaki column dress with a ribbed panel that could be worn loose and draped or zipped around the waist like a cozy corset alternative.
Drira introduced his singular vision to eveningwear, inspired by the idea of offering Tilda Swinton — whom he said has become a fan of the understated label — something to wear on the red carpet. One example was a versatile black crêpe column gown with snap fasteners across the back
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Ingie Chalhoub strolled the footpaths of a winter garden for pre-fall, taking her inspiration from seasonal flora and working it into her motifs and color scheme. A beautiful Art Nouveau-style jacquard, with its black background and motifs in celadon green, coral pink, blue and gold, brought the collection together, and was worked in a range of shapes including a tailored coat and pants and a strapless cocktail dress.
The kaftan, an Ingie Paris signature, was reinterpreted in celadon or coral silk crêpe as a palazzo pant and flowing jacket combo with slit sleeve and a pearl button, a recurring feature punctuating the collection as a whole, and paired with a matching turban for a Seventies boudoir feel.
Chalhoub upped the glitz in several sequined items for evening — particularly appealing in deep forest green — and added glitter with two-tone Lurex metallic threads on chiffon blouses, dresses and long skirts, in an exclusive knit in burgundy, black and white with a tweed effect worked into a long cardigan coat with a fluid collar.
More minimal crêpe pieces completed the ensemble in a palette of burgundy and deep green, as in a simple yet elegant caped shift dress with a subtle ruffle on the shoulder.
For
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Creative director Rodolfo Paglialunga is closing his adventure at Jil Sander on a chic note. The designer, who will be succeeded by Lucie and Luke Maier after the women’s runway show next month, delivered an elegant, pretty pre-fall collection. Rooted in the brand’s signature minimalist approach, he filled the lineup with staples that showed both a unisex attitude and an extremely feminine, yet discreet and intellectual femininity. Cashmere coats, also shown with mohair touches, were cut in clean silhouettes, cotton shirts were designed as maxi Ts embellished with macro pockets, while pants, crafted from Japanese fabrics with a paper-like hand, featured wide legs. Paglialunga used leather for a super-soft trench coat, while a shearling jacket had an oversized fit. Silk dresses injected with an effortless sophistication revealed drapes that created functional pockets; knitted frocks were fluid and relaxed, and a dress cinched at the waist with a coordinated belt was made of a technical fabric with metallic gold coating for a touch of eccentricity. Everything conveyed a sense of comfort combined with an essential design and luxurious materials.
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Downsizing doesn’t mean downgrading. For pre-fall, Goga Ashkenazi delivered a concise collection that looked more cohesive than past efforts. She picked up signature elements of Madame Madeleine Vionnet’s original style and blended them into a fresh and modern wardrobe. An evening gown with ribbons wrapping around the waist, as well as plissé details that lent a 3-D effect to the elegant styles, were beautiful. Likewise the velvet robe coats and handkerchief dresses infused with a loungewear feel.
Denim, which first appeared on the brand’s catwalk last September, was crafted for a draped daydress and a bias-cut fringed skirt — the names of their technical elements, like “fringe” or “bias cut,” were embroidered or flocked on the pieces for a smart, ironic effect. A pop touch was introduced via multicolor polka-dots — inspired by aerial pictures of ski slopes taken from chairlifts — which were embroidered on tulle, lace and mesh tops and minidresses with a girly feel. This collection marked a good step in the brand’s maturation process. Vionnet in February will return to show in Milan after seasons in Paris.
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A slight Seventies’ inspiration ran through the Mantù collection, which offered a well-executed lineup of women’s staples with a contemporary twist. Rigorous, clean silhouettes — including a bouclé coat, cinched at the waist with a velvet belt, and a flared duffle coat worn over a turtleneck — contrasted with a flamboyant trench trimmed with maxi ruffles. Streetwear references emerged on a bomber jacket enriched by a rose gold metal zip, while cropped denim pants matched with a sweater and a shirt for a tomboy look — and it all contrasted with the Bohemian-chic attitude of a pretty black maxidress with contrasting colored stripes.
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Emerging Italian streetwear label GCDS has tapped singer and influencer Caroline Vreeland to appear in its spring advertising campaign. Photographed by Jason Lee Parry, the strong, provocative images portray Vreeland and model Adonis Bosso as a couple spending their honeymoon in a Los Angeles hotel, whose decor includes neon lights and retro phones. Something goes wrong as suggested by a picture showing Vreeland crying in a vintage pink car or sitting alone on a bed with her back to the viewer.
GCDS’s spring ad campaign
The pictures’ pop atmosphere is enhanced by the colorful clothes, including multicolor tops and bombers featuring floral prints, stripes and see-though details. Maxi logos inspired by the Nineties, such as the ironic “J’adore GCDS,” appear on several pieces, as well as on the bold silver accessories.
Caroline Vreeland in GCDS SS17 Ad Campaign.
Courtesy Photo
The advertising campaign includes a video, realized by the brand’s creative director Giuliano Calza, featuring Darlene Love’s “Today I Met the Boy I’m Gonna Marry” as its soundtrack. The video will be available at vimeo.com and at GCDS social accounts starting from Friday.
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