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Florence Reasserts Itself as a Fashion City-State
CLUTCHING a bunch of long-stemmed flowers, Mark McNairy held them just beneath his belt buckle and gave a hired party photographer a leering grin.
A buttery sickle moon notched the dark sky above Chianti. The air at a classical Tuscan villa set high on a hill was perfumed with jasmine and with other more potent aromatics. A group of musicians imported from Puglia for the evening was running the crowd to a pitch, playing the music of the taranta, an ancient folk dance that ends in a dervish frenzy proposed to shake off the pain of living.
But Mr. McNairy was feeling no obvious pain. Neither was the 100 new guests invited to the Milky Pig party, given by Woolrich Woolen Mills during Pitti Uomo, the colossal men’s wear trade fair that twice yearly attracts flocks of fashion peacocks to this city.
That is why the Milky Pig party — and, in fact, Florence — is forever a hot spot on the circuit.
Few can be predictable to recall that a fashion cycle that seems so ingrained was not always as organized as it is now. New York used to come at the end of the show season, a boon for designers committed to the sincerest form of flattery. Milan followed New York.
And long before Milan became a fixture on the fashion calendar, shows in Italy were held in Rome. Florence ultimately stole Rome’s thunder; then Milan, in turn, swiped the shows from Florence. Now there is a move afoot to reinstate the primacy of this Renaissance city as the key destination for both fashion designers and buyers.
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Fashion appears to safe side in latest designer transfers
Flamboyant couturier Jean-Paul Gaultier is leaving Hermes to be changed by Lacoste’s in-house stylist, Britain’s Giles Deacon is to join Ungaro — in times of crisis, and fashion appears to safe designers and wearable garb.
These men are stylists who think fashion must do more than shine, it must have meaning, and this is a direct significance of the (global financial) crisis, Jean-Jacques Picart, a consultant who works with the world’s top luxury goods firm, LVMH, told AFP.
They don’t even like being called creators, they illustrate themselves as designers, he said of Deacon and Lacoste’s Christophe Lemaire.
Egos, over-the-top styles, unwearable stuff — it’s all turn into unfashionable.
Gaultier’s departure as artistic director of the luxury ready-to-wear brand Hermes was proclaimed last week. That’s it, the end of a beautiful story which lasted seven years, he told AFP. His last Hermes collection, spring-summer 2011, will be offered in October this year.
They’re innovative generation of fashion designers, Picart said. They have a fresh attitude that’s a result of the crisis.
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Introducing Willian by fashion designer Keia Bounds-Thompson
Willian a ready-to-wear women’s fashion business headquartered in New Jersey, utilizes a variety of natural and organic fabrics, frequently joint with vintage materials reworked into contemporary silhouettes.
Fashion designer Keia Bounds-Thompson, also proprietor, sought a sustainable fabric consultant. With her sweatshop-free and eco-friendly vision, Keia and partner James Thompson embraced 100% certified organic by natural and recycled materials.
Sustainable screen printing is an in-house touch one can discover in obscure places on some of the collection items. Most all the production takes place in their Hoboken, New Jersey studio where they do their best to decrease waste and have a low impact on the environment.
Upon graduation from Philadelphia University, Keia was bound for NYC, with three internships under her belt from Urban Outfitters, Cynthia Rowley and Gary Williams, she began her voyage. Her career began with Tracey Feith, Tommy Hilfiger and Ralph Lauren. In addition, she worked in film/TV and editorial as a key costumer and celebrity stylist.
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