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Five takeaways from Milan fashion week



Here are five takeaways:


It may have been only February but the northern Italian city famed for its grey skies was in full bloom: there were blossoms across the board on dresses, skirts, coats and scarves, from Gucci and Fendi to Alberta Ferretti and Fausto Puglisi.

Dolce & Gabbana models not only had roses on their frocks but fresh petals and leaves in their hair, while Marras went so far as to have his models carry potted plants down the runway.


Thought bras were for your eyes only? Think again. Underwear is leaving the bedroom and hitting the streets. Luxury underwear brand La Perla got the ball rolling with its catwalk show in New York, where corsets met ready-to-wear.

And in Milan, Prada offered a crochet bra worn with nothing but trousers, Marni brought us bras and bikinis stitched over the top of dresses, and Philosophy Di Lorenzo Serafini offered a fearsome looking bra-corset hybrid.


That staple of every wardrobe -- the little black dress -- is being usurped by its racy cousin: slinky red dresses are the must-have for the coming season.

Karl Lagerfeld brought us a see-through number for Fendi worn with a thonged-leotard guaranteed to get the pulse racing. The less brave could plump for the No. 21 offering, worn with small shorts underneath. Or Max Mara’s forgiving, oversized version which swaps sexy for elegant.


There were moments when the fashion circus appeared to have transformed into a fashion zoo. Whatever your favorite animal, you will likely find a designer who slapped a picture of it on his fall-winter creations.

Gucci’s Alessandro Michele brought us bats, foxes and wolves on clothes as well as cat-headed canes and fox rings. Vionnet, showing for the first time in Milan, went with bird prints on silk dresses. D&G favored cats and bears.

The week also starred several canine fashionistas: a small white dog raced with the models around the catwalk circuit at the end of the Marras show, a model at D&G carried a tiny pooch with her down the runway, and a pup in white sunglasses and a dapper purple jacket became a social media hit after it was snapped trend-spotting outside the Gucci show.


New York fashion week proved a stage for political slogans, and Italy’s designers were not to be left behind.

Missoni ended her show with supermodels clad in Pussyhats, the pink protest symbols of women’s rights.

Fashion queen Donatella Versace used one-word logos splashed across hats, scarves and the back of shirts -- “Unity, love, loyalty, power” -- to challenge attempts to turn back the clock on feminism.

And the star face on the Marras runway was Italy’s 73-year-old radical feminist and model Benedetta Barzini.Read more at:cheap prom dresses


07:35 Publié dans Fashion | Lien permanent | Commentaires (0)


The Limits and Ambitions of the Fashion Industry's Protests


Fashion has always been about standing out, with designers forging innovative ways to separate themselves and their art from the rest of the crop. But now, it seems, designers are opting to come together and embrace gestures of solidarity. Tommy Hilfiger, Prabal Gurung, and Tadashi Shoji sent models down the runway with white bandanas tied to their wrists, a symbol of the #TiedTogether campaign's message of "unity and inclusiveness." Anna Wintour, Tracy Reese, and Diane von Furstenburg all showed up with Planned Parenthood pins, in accordance with a partnership between the organization and the creator of New York Fashion Week, the Council of Fashion Designers of America.

Anti-fur activists protest outside the show for fashion house Max Mara during the Women's Fall/Winter 2017/2018 fashion week in Milan, on February 23, 2017.

This was the first fashion week since the election, so the anticipation for designers to make a statement was palpable. Fashion's matriarch, Anna Wintour, has been an active Clinton supporter, while designers like Marc Jacobs and Diane von Furstenburg contributed to Clinton's campaign last year with custom-designed T-shirts. But participation in protest doesn't necessarily mean alliance with one party or another; Hilfiger was also one of the few designers who openly declared he'd be proud to cocktail dresses Melania, and many in the industry remained silent following Trump's travel ban.

This doesn't say much about the industry's hypocrisy. Fashion-week shows capture the mood of the season, and if future trends can be deduced from runways, then it's clear that protest — or the spirit thereof — is in style. Mara Hoffman opened her show with the organizers of the Women's March, while Prabal Gurung's models wore T-shirts saying "This Is What a Feminist Looks Like," as Huma Abedin looked on from the front row. A recent story on the Guardian claimed that brands understand that sex doesn't sell anymore, but activism does. During the Super Bowl, for example, commercials from Airbnb to Coca-Cola used diversity and inclusion as main themes. It seems that the fashion industry — an industry that's mastered the art of selling sex — has come to the same realization.

Walking through the streets of Soho, I can't quite tell whether a throng of loud young women are convening for a Planned Parenthood protest, or a Kylie Jenner pop-up shop. Political and social statements in fashion can be powerful, but the industry's inherently commercial pull ensures that any critique can be countered.广告

Ring of Honor WrestlingTICKETSSat., Mar. 4, 7:00pmIn this divisive climate, neither politics nor companies can get away with not choosing a side. Not reacting to the travel ban can get a designer in trouble, and offering to cheap cocktail dresses Melania Trump might do the same. Fashion magazines have already taken their cue: Vogue featured the organizers of the Women's March in a photo shoot, while Teen Voguehas developed into a reliably critical voice, spearheaded by editor-in-chief Elaine Welteroth and driven by writers like Lauren Duca, who infamously took on Fox News.

Cynics believe that nothing can take down global neoliberalism, while pragmatists are convinced that, no matter how fraught the system, every little contribution helps; in between these two extremes is a space where we can separate what fashion can accomplish as an industry and how fashion can function as art.

Fashion, as an industry, is no less damaging than the sharing economy that abuses its workers or the oil companies that pollute the earth. Whatever protest the industry mounts, the effort may seem bleak. Initiatives were put in place after the Rana Plaza collapse in Bangladesh that killed over one thousand garment workers, yet very few believe conditions have actually improved, or if fashion companies even intended them to. In this case, fashion operates within the framework of capitalism: Should we be surprised when an industry preserves business and profit, whether it's protest-flavored or not?

But fashion is also a mode of expression, a collection of symbols sitting at the intersection of individual identity with markers of the times. After the French Revolution, Parisian youths from elite families started wearing exaggerated shapes to go against the revolutionary spirit. The black and ripped clothes of punks in the 1970s projected the discontent of the youth. In contemporary Iran, where women are required to be veiled by law, the position of a headscarf or the length of a coat can be a subtle act of political subversion. An example closer to home is Raf Simons's spring 2002 collection, "Woe Unto Those Who Spit on the Fear Generation… the Wind Will Blow It Back," reflecting on post-9/11 culture.

Fashion has always been used as a tool to express dissent in fraught times, and it will continue to be used as such. One of the most memorable images of the Women's March is of the pink pussy-hats, donned with pride and defiance, but it shouldn't be forgotten that it was the individual marchers who knitted and wore them. Fashion as an industry can only sense where the public taste is shifting. What happens with the symbols that it produces is up to us.


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Chezem -- Bridgewater


Chelby Cinnamen Chezem and Ethan Michael Bridgewater, both of St. Louis, were married Oct. 8, 2016, at The Jewel Box of Forest Park in St. Louis. Ruth Ellen Hasser performed the ceremony.

Chelby is the daughter of Jay and Toni Chezem of Jackson. Ethan is the son of Terry and Ellen Bridgewater of Festus, Missouri.

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The matron of honor was Alana Bey of St. Louis, friend of the bride. The man of honor was Zach Whelan of Jefferson City, Missouri, cousin of the bride. Bridesmaids were Kelley Breihan of St. Louis, friend of the bride; Michelle Bridgewater of St. Louis, sister-in-law of the groom; and Lauren Bridgewater of Festus, sister of the groom.

The ringbearer was Carter Bridgewater, nephew of the bride and groom.

The best man was Jon Roth of Arnold, Missouri, friend of the groom. Groomsmen were Bud Lanzone of St. Peters, Missouri, friend of the groom; Zack Bridgewater of St. Louis, brother of the groom; and J.D. Chezem of Jackson, brother of the bride.

The wedding reception was held at Andre's West in Fenton, Missouri.

The bride received her Bachelor of Science degree in education that included early childhood and elementary education certification from Southeast Missouri State University in 2012. She earned her master's degree in early childnood special education from the University of Missouri - St. Louis in 2014. She is a first-grade teacher at Festus Elementary School.

The groom received a Bachelor of Science degree in business administration in 2012 from Southeast Missouri State University. He is a financial adviser at Bridgewater Wealth Management Group in Festus.

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