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H&M Studio channels the 1970s, with Irina Shayk, Jameela Jamil, Sasha Lane, Indya Moore

Filed by Lucire staff/September 24, 2020/14.24




The 1970s have well and truly returned, and we don’t just mean with the uncertain economic mood. H&M’s Studio collection for autumn–winter 2020–1 reflects this, too, with a collection called The Refined Rebel, inspired by the 19th-century writer, Violet Paget (who used Vernon Lee as her nom-de-plume), and her residence at the Palmerino villa in Firenze. Despite officially referencing Paget, the style is very much 1970s, with big lapels and a slight flare for suits, including some outlandish colours in green and blue; big-shouldered coats and dresses in a multi-coloured print resembling splashes of paint; recycled polyester frilled blouses; a grey deconstructed sleeveless coat; and chunky-heeled boots. The clothes are gender-fluid, suiting the times, but in the mode of 1970s David Bowie, who was there well before the mainstream. The colour palette is azure blue and malachite green, says H&M, with champagne pink and marbled prints.
   The campaign has been shot separately from different parts of the world, given distancing rules and travel restrictions in place. Barbie Ferreira, Veronika Heilbrunner, Celeste, Alton Mason, Young Emperors and Mia Kong have each done their own interpretations of the collection and the imagery brought together by H&M. Meanwhile, Irina Shayk, Jameela Jamil, Sasha Lane and Indya Moore have donned designs from the range in a series of celebrity images.
   Customers are invited to share their own images from the range.
   ‘The AW20 Studio collection muse is not afraid to challenge the status quo. This collection is for those that celebrate being oneself above all else. We hope our customers feel inspired to dress with a carefree, rebellious attitude,’ said H&M’s creative adviser, Ann-Sofie Johansson.
   ‘In keeping with H&M’s strive for innovation, the H&M Studio team experimented with an exciting new campaign format for AW20. Adapted for today’s climate, this new way of working gives our global cast the creative freedom to style, photograph and express themselves in the comfort of their own space. We hope the new collection and campaign encourages everyone to celebrate their style,’ said Kattis Bahrke, H&M’s head of creative marketing and communications.




 


Putting the brakes on fast fashion

Filed by Jack Yan/August 15, 2020/9.10

Lucire is UN Environment’s first fashion industry partner.

Abigail Beall’s statistics in a recent BBC report about clothing recycling make sobering reading. She writes, ‘Around 85% of all textiles thrown away in the US—roughly 13 million tonnes in 2017—are either dumped into landfill or burned. The average American has been estimated to throw away around 37kg of clothes every year. And globally, an estimated 92 million tonnes of textiles waste is created each year and the equivalent to a rubbish truck full of clothes ends up on landfill sites every second.’ Her other statistics show that only 12 per cent of the material for clothing gets recycled, and that the fashion industry is responsible for 10 per cent of all greenhouse gas emissions and 20 per cent of global waste water.
   Meanwhile, on the consumer end, our need for gratification (at least in the UK) has seen us buy 60 per cent more clothing than we did 15 years ago, and no one wants to wait six months after seeing something on the catwalk.
   Beall says that recycling is difficult because while there may be one dominant material, such as cotton, threads and labels are made from other materials. Jeans are usually made of cotton yarn blended with elastane. This makes them all difficult to recycle, and sorting textiles into different fibres is still usually done manually. Techniques to chemically separate blends without losing either natural or synthetic fibres are not yet scalable.
   And what’s donated to charity shops is now of poor quality, with most reaching Oxfam’s Wastesaver plant unsellable, and six tonnes a week are torn up to be used as cloths or stuffing.
   Many fashion labels are recognizing these difficulties, especially as consumers realize the harm the industry is causing the environment. Some have been choosing recycled materials, including ocean plastics that have been turned into new materials in clothes and shoes—over the years Lucire has devoted plenty of space to these. Others are inventing new, sustainable materials.
   There is some hope that the lockdowns that various countries have had to endure during the COVID-19 crisis might wake populations up to the preciousness of the environment. Many enjoyed watching nature return, something covered in an earlier issue of Lucire KSA. And, with many now opting to work from home—and companies adjusting to the new reality of allowing staff to work remotely—the need to dress up for the office has diminished. Casual clothes are very much the norm in many societies now. In such cases, people might not be quite as willing to push for the latest in attire if it isn’t going to be seen in public, and only in the virtual world. Might we embrace quality over novelty once more?
   Beall shows that the rise in consumption is a relatively recent phenomenon, something within living memory for most consumers. It can only be a good thing for the planet if we reduced our clothing consumption to the levels they were at 15 years ago, and even then labels were making money in the clothing business.
   We weren’t so obsessed with fast fashion, and while retailers like H&M and Zara were making headway around the world with cheaply made garments, there were still enough consumers happy to pay more for quality. Until 2004 there was a difference, too: high-end designer style hadn’t been democratized, not until Karl Lagerfeld began the first of many designer collaborations with H&M, giving rise to what this magazine called ‘accessible luxury’.
   We also weren’t as obsessed with the new. When Lucire was first established, some fashion labels were deeply wary of allowing online media to cover their catwalk shows. They were scared of counterfeiters: the sooner they could see something, the sooner the knock-offs would appear. The designers were used to having the advantage, and old media were willing to comply. Lucire, for its part, never ran the catwalk stories live: internet connections weren’t that great then, and neither was digital photography. By the time the film and prints got to New Zealand, and everything was manually laid out, there was a delay. But as coverage democratized, and as designers themselves delighted in showing every­thing live, often to “influencers” who beamed the shows instantaneously via social media, consumer demands also shifted. In an Instagramming generation, being seen with the latest is more vital than before—yet, again, one hopes that the perspective we’ve gained with the pandemic will put the brakes on that.
   We’re not exactly in Luddite position or pining for a return to the past. We’re excited about the innovations, such as Bionic, a polyester made from recycled shoreline waste that H&M, recognizing the shift, has promoted [Natalia Vodianova modelled one such dress three years ago, shown at top]; and the new sustainable materials that our clothes could be made from. But we would like to see the end of the race to the bottom which fast fashion and the insistence on novelty have driven, where garment workers are paid less and less to satisfy the profits of some brands and the appetites of some consumers.
   If we value good design, ethical sourcing and quality over novelty and low prices, then we may be able to reverse some of these frightening statistics. It might even be unfashionable, as the pandemic affects certain countries worse than others, to flaunt the fact you’ve been able to head out shopping (real or virtual) to get the newest. Influencers will need to find something else to promote.
   Even filmmakers are sensing it. The Michael Winterbottom-directed Steve Coogan–Isla Fisher comedy, Greed [covered earlier in Lucire], is a satirical tale about a thinly disguised version of Sir Philip Green, the head of Arcadia Group, who stood accused by British government committees of plundering British Home Stores while under his company’s control. Sir Philip also did not escape criticism in this magazine.
   Coogan plays Sir Richard ‘Greedy’ McCreadie, who spends his adult life pushing suppliers in Sri Lanka (with India standing in for the country in the film) into a race to the bottom. The last act wraps up the film neatly: namely that for all the lessons that we might have learned, the fictional McGready family ticks on, little changed. No, the outcome isn’t funny, but it is a call to action—it’s Winterbottom exercising pathos. Showing statistics about fast fashion, the income gap, and the single-digit earnings of Asian garment workers takes that one step further. Are we choosing to fund these lifestyles and the fast-fashion machine, or should we opt for the sort of designers often championed by this magazine, who work with Fair Trade, eschew seasons, and emphasize quality?
   With such a film part of our 2019–20 Zeitgeist, then it appears that we should call time on the excesses the industry has created, opening the door to those independent designers, many of whom have appeared in this magazine, who invest heart, creativity, and time to make quality fare.—Jack Yan, Publisher

 


Karlie Kloss, Kaia Gerber, Lewis Hamilton invest in W magazine

Filed by Lucire staff/August 14, 2020/23.09


Tim Walker

Dua Lipa, photographed in March 2020 for W.

W magazine, formerly at Condé Nast, is now under the ownership of a group of investors led by Karlie Kloss.
   Variety reported that editor-in-chief Sara Moonves said she had assembled a group of investors under a joint venture called W Media.
   Other investors include Kaia Gerber and F1 driver Lewis Hamilton, as well as producer Jason Blum, Kirsten Green, Dara Treseder, Aryeh B. Bourkoff, and a talent advisory firm, Copper.
   One more issue is planned for 2020, with six issues slated for 2021.
   W began life in 1972 at Fairchild Publications, where it was a sister publication to Women’s Wear Daily. Condé Nast acquired Fairchild in 2000. It sold W in 2019 to Future Media, which suspended publication earlier this year, citing the COVID-19 outbreak.

 


Quincy Brown fronts Coach’s new watch campaign

Filed by Lucire staff/August 3, 2020/14.43


Alessandro Simonetti

Actor and musician Quincy Brown is the new face of Coach’s watch collection.
   The first campaign featuring Brown broke Monday, as Coach launches its C001 watch line. Brown has been photographed by Alessandro Simonetti.
   The C001 range comprises six styles, with numerous options including rubber straps, and stainless steel and ionic-plated bracelets. All feature a unique world time analogue–digital movement, removable case-guard, and a layered dial.
   ‘Quincy is the perfect ambassador to represent this collection. In addition to being true to himself and his art, passionate, enthusiastic, and an all-around good person who cares about the world we live in, Quincy also embodies what Coach stands for: authentic style,’ said Dawn Hurley, vice-president of Coach Watches Movado Group.
   Brown added, ‘Working with Coach has been a dream because it’s about so much more than the æsthetic. We’re not only aligned on values—they’ve always allowed me to be the real me. Finding a partnership like that is priceless. I’m so proud to be part of the C001 watch campaign. In my opinion, time is the most valuable asset in our lives, especially now. We all have the same 24 hours, but it’s what you do with it that genuinely defines who you are.’
   Both Coach and Movado have made a donation to Feeding America to commemorate the launch.
   The watches are available exclusively at coach.com.

 


Cashmere knitwear label Malo opens new boutique in Verona on July 14

Filed by Lucire staff/July 11, 2020/10.22


Stefano Lanza

In another sign of Italy beginning to open up again in the wake of the COVID-19 pandemic, Malo, the Florentine cashmere knitwear brand, will open a new boutique in Verona, at 41, Corso Porta Borsari, behind Piazza della Erbe, on July 14. And it appears to be the first in a line of openings.
   ‘The opening of a new boutique in the historic center of Verona represents another important step for the company and also a strong sign of trust … By the end of the year, we also set another ambitious goal: the opening of a boutique in New York,’ says Malo president Walter Maiocchi.
   The Verona boutique is the second in the Veneto, with the first in Venezia.
   Maiocchi continues, ‘We are convinced that the “real” and online must go hand in hand, without one going to the detriment of the other. In December 2019, we launched the e-boutique on our website, and during the lockdown, it was a source of great satisfaction. However, in addition to this possibility, we want to offer our customers more and more boutiques where they can live the Malo experience, touching our fine yarns and our precious garments with their hands. A real sensory world that allows them to really perceive the quality of our “made in Italy”, which we love to define as “made in Malo”.’


Filippo P.


Stefano Lanza

 


Lady Gaga is the face of Valentino’s upcoming Voce Viva perfume

Filed by Lucire staff/July 10, 2020/23.22



Filippo Monteforte; Maria Moratti/Contigo

Lady Gaga is now officially the face of one of Valentino’s perfumes, the upcoming Voce Viva, by creative director Pierpaolo Piccioli with Valentino Beauty.
   The new campaign breaks in September with the perfume’s release.
   ‘Lady Gaga means freedom, self-consciousness, pure hear,’ said Piccioli. ‘Her participation in this campaign elevates the symbolic power of the project to the highest level. She is the icon of a generation. Her message of freedom, passion for art, self-consciousness and equality is the same our Valentino community stands for. I am so proud for having her in.’
   On the new scent, the house said in a release, ‘Imagined as a voice to spread a message around the world, Valentino Voce Viva invites everyone to touch hearts, inspire others and live their dreams. Expressing the Maison’s values of inclusivity and individuality, Voce Viva celebrates one of the women’s most intimate sense.’
   Lady Gaga, already a modern-day icon and the only artist to receive an Oscar, Grammy, BAFTA and Golden Globe in the same year (for A Star Is Born), has recently released ‘Rain on Me’, a duet with Ariana Grande, and created her own beauty line.
   The star said in the release, ‘Be yourself, love who you are, and never give up your dreams.’

 


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