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2015年5月3日星期日

Senior year mostly lost time for honor students at Normandy

Cameron Hensley is an honors student atNormandy High School with plans for college. But this year his school quit offering honors courses. His physics teacher hasn't planned a lesson since January. His AP English class is taught by an instructor not certified to teach it.
The first-period English class is held in a science lab because the room across the hall smells like mildew and lacks adequate air conditioning. Stools sit upside down on the lab tables.
On a recent day, Hensley looked at an assigned worksheet. He wrote "positive" or "negative" beside 15 statements, depending on their connotation. "This is pretty easy," he mumbled.
When Missouri education officials took over the troubled Normandy School District last summer, they vowed to help its 3,600 students become more college- and career-ready. About a quarter of the enrollment had already left for better schools under the controversial Missouri school transfer law, extracting millions of dollars from Normandy in the form of tuition payments to more affluent districts.
Even so, state education officials promised a new dawn in the district, with new leaders, better faculty and an unprecedented degree of attention from their department in Jefferson City.
But Hensley's experience suggests things have gotten worse for many students who remain in Normandy schools.
Hensley, 18, began his senior year to find his favorite teachers gone. Electives such as business classes and personal finance were no longer offered.
He has written no papers or essays since fall, he said, aside from scholarship applications. He started reading a novel that the class never finished. Partly because of a lack of electives, he ended up taking fashion design first semester. He has no books to take home. He's rarely assigned homework.
His one challenging class is precalculus.
"Last school year I was learning, progressing," Hensley said. "This school year, I can honestly say I haven't learned much of anything."
Demetris Drummer, the AP English instructor, re-entered the classroom to see whether students had questions about the worksheet. Then he left again.
"Snatching all the old teachers, putting in the new — it didn't turn out so good," Ariauna Carver, also a senior, said after Drummer was out of earshot.
Drummer is one of the new hires brought in by the state. Before Normandy, he taught for one year at Roosevelt High School, a low-performing school in St. Louis. Drummer is not certified to teach AP English, which is supposed to be a college-level course. Students initially were taking the class on computers. After a few weeks, Hensley and his classmates marched down to Principal Derrick Mitchell's office and demanded that an instructor teach them.
Drummer said he likely won't be returning in the fall. He expressed frustration with his students, who have "gone off on me a couple of times." He also said he understands where they're coming from.
"They've missed out on a quality education," he said. "And it's not their fault."
"This is unacceptable for the children served by our district," wrote Interim Superintendent Charles Pearson, wrote in a letter posted on the district's website Saturday. "Regardless of how long it has taken for this situation to develop, regardless of the good intentions of some, it is inexcusable that any child should have to endure such a learning environment."
In 2014, Normandy High was the worst-performing high school in Missouri, earning just 8.6 percent of the points available on the state's annual performance report. Its enrollment is almost entirely black. The students come from a patchwork of 24 tiny municipalities in north St. Louis County with sagging income levels and employment rates.
By the time Normandy students reach their senior year, the chasm between their achievement levels and those at wealthier, more diverse schools is vast. Last year, nearly 40 percent of the class of 2014 failed to graduate. While some seniors are reading at a 12th-grade level, teachers say others have reading skills similar to a typical third-grader.
Hensley's mother, Gloria White, said she believes the state set up Normandy schools for further failure. Her sentiment is shared by parents throughout the district who have spoken at public forums.
But the district's problems did not begin last year. In 2010, the state closed Wellston's failing schools and assigned those children to Normandy schools, which had been slipping for two decades. Normandy lost accreditation three years later. This history sits at the core of parents' anger.
Early this school year, parents, teachers and students spoke out about escalating problems, such as classroom disruptions, inconsistent discipline and ineffective teachers.
In October, Hensley stood at a microphone in the cafeteria of Lucas Crossing Elementary School, where Normandy's newly appointed board gathered to hear from parents and students.
"This year, it's like everything that was said about my school has come true," Hensley said. "Nobody — kids, me — we really don't have purpose coming to school. . I love my school, but I've been discouraged in my school."
Hensley now says he feels like those words fell on deaf ears.
"Everything I've said hasn't made a difference."
Nearly a year ago, members of the Missouri Board of Education convened in Jefferson City to remake the school system. They renamed the district the Normandy Schools Collaborative. They replaced the elected school board with a five-member state-appointed panel, which now has full oversight of the school system. They directed all teachers and principals to reapply for their jobs.
State education officials helped determine which teachers would stay. Ultimately, 48 percent of the staff was replaced.
The Missouri school board president said at the time that Normandy students deserved nothing less than the highest standards.
"As long as it's tough," Peter Herschend said. "It's got to be tough."
Teachers have described environments that have left them exhausted and demoralized. New teachers have struggled with managing their classrooms, which are larger in size and lack the support of teachers aides.
Some said they often spend their planning periods subbing for teachers who quit or didn't come to school. They work a longer school day and stay after school twice a week for 90 minutes of state-mandated training.
"Complete waste of time," one high school teacher said, asking not to be identified. "I could have spent that time planning something for them (students) to do."
The lack of learning in many classrooms has fueled behavior problems.
Normandy Middle School suspended nearly a third of its students one day in the fall. The high school did the same. District numbers show discipline incidents have dropped significantly since then.
However, when asked whether classrooms have been any less disruptive, about six high school juniors shook their heads as they ate lunch last week in the cafeteria.
"We haven't really learned anything," Deboney Cherry said.
Across the table Tyron Jones added, "That's why we entertain ourselves."
Hensley considered transferring but chose to stay. He'd been in Normandy schools since kindergarten. He played tuba in the band. He thought many in the region had a misperception about Normandy High, and he wanted to prove them wrong.
Instead, he said, he was proved wrong.
Graduation is five weeks away. Hensley is deciding between Southern University in Baton Rouge, La., and Jackson State in Mississippi. He wants a career in computer science.
Like many in the class of 2015, he would be the first in his family to earn a college degree. His mother works as a seamstress in Brentwood. Hensley has a part-time job as a cashier at the Family Dollar on Natural Bridge Road — a job that he'd prefer not to have beyond his teenage years.
Hensley sat down in front of a computer in the counselor's office. His jazz band instructor hadn't shown up for second-period class. Hensley typed his password and pulled up his grades.
"A's," Hensley said. And one B. Yet Hensley scored a 20 out of 36 on his ACT. Automatic admittance to the University of Missouri system requires a 24.
"If I wasn't raised the way my mother raised me, I don't think I'd be going to college," Hensley said. "A lot of seniors have part-time jobs, and they want to stay there because they don't think they'd make it in college. I put that on this school."
Mostly, he puts it on his teachers. Teachers often put it on Normandy parents. The level of distrust between school and the community is high.
When the buzzer sounded to mark the start of third period, Hensley took a seat in the second row. Other students trickled in several minutes later, including Carver, who shares most of Hensley's classes.
"Third period is nothing to expect," she said after she sat down. "She doesn't take attendance. No work at all. No intent to do any work."
The instructor, Ivy Word, sat in the front corner looking at her computer screen. She's a substitute teacher who's been in charge of the class since the start of the school year.
Some students sat at the back of the room, ear buds in their ears. Some slept. Carver and four other girls talked about prom. Carver took out a comb and began braiding a classmate's hair. Another girl began gluing fake eyelashes.
In classes where teachers have given up, students have, too. They spend the hour texting friends, snapping photos and sending them by social media.
Interim Superintendent Charles Pearson listened to a general description of the scenes in some Normandy High classrooms. He took his glasses off, looking grim.
"I would offer no excuse for that," he said. "I have not seen all flawless. I have not seen all horrible. I have to be candid — what you have described I have not seen. What you have described is plain unacceptable. It's immoral. It's unethical."
In a telephone interview, Missouri Education Commissioner Margie Vandeven called the atmosphere "absolutely not acceptable. I'm sad about what you described."
She pointed out that her department has not been in Normandy schools since giving full oversight to the appointed board in January.
Across the Normandy Schools Collaborative, teachers in some classrooms are succeeding. Pearson calls them "pockets of success."
"There are some strong teachers, and there are some teachers getting stronger," he said.
For example, Angela Lao has every kindergartner in her class at Lucas Crossing Elementary reading simple sentences, based on a recent visit to the school. This is in spite of the fact that almost none of them began the school year knowing the alphabet or having attended preschool.
At the high school, Winifred Deavens left retirement to teach math. Last week, at the start of fourth period, she ordered two students who weren't supposed to be in her room to leave. She worked with Hensley and about six of his classmates on logarithms, a mathematics function usually introduced in eighth- or ninth-grade algebra. The college-bound group practiced the work. Those not interested in learning sat listening to music.
There's only one set of books in precalculus. Students cannot take them home.
Despite state intervention, there was no additional money to pump into Normandy schools, aside from $450,000 that the Legislature approved to support literacy. The district remains financially fragile.
In many ways, the fate of Normandy lies with the Legislature. Lawmakers are considering a bill to modify the school transfer law. But that bill would not place limits on the amount of tuition that area districts may charge for transfer students.
"It's hard for anybody to say it's a stable situation," Vandeven said, later adding: "More money is going out the door (per student) than is coming in."
Meanwhile, the number of students who have applied to leave Normandy schools for more successful ones in the next school year has climbed 50 percent to 639 — a number that Vandeven doubts Normandy can afford at current tuition rates.
Regardless, district officials are planning to operate schools next year. Honors classes and AP courses are to be restored at the high school. Teachers will be trained in June to teach them, Pearson said.
Vandeven said Normandy needs more resources to address the needs of its best and most-challenged students.
"We've learned many lessons throughout this year," Vandeven said. "I'm sure there are things we'd do differently."
Drummer, Hensley's AP English teacher, said he didn't want to defend how the year has gone for these students.
"I understand why they're frustrated," he said. "I don't feel like they have had the quality education they should have to succeed. I don't know if I should attribute that to the state or just the genuine feeling that the teachers don't care about the students."
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2014年11月10日星期一

HOW RIHANNA'S GO-TO DESIGNER ADAM SELMAN IS MAKING IT IN FASHION

Designer Adam Selman’s breakout moment was the dress seen 'round the world. It was hard to miss the over-230,000 Swarovski crystals hugging every curve of Rihanna’s body for her crowning as a CFDA Fashion Icon this past June. It was certainly a look, and it put Selman on the radar of everyone in fashion in a big way.
The moment came after the 31-year-old Belton, Texas native had been working with the pop star on both on- and off-stage looks for years. The buzz continued to build around him up until his spring 2015 show in New York in September, which included a nod to the now-famous, see-through frock -- and an appearance by Rihanna herself.
“I was going to make Rihanna a pearl option for the CFDA [Awards] as an extra piece,” Selman explained to us in his Garment District design studio recently. “We ended up making it and having it beaded in the same technique, but it just wasn’t right [for the event]. It was obviously all about the Swarovski dress in the end, so I took that and expanded on it. I knew that I wanted a 'wow' piece in the show, but done in my way. So it wasn’t about a gown, it wasn’t full length; I just wanted to make it cute and I knew people were going to want that from me.”
A look from spring 2015. Photo: John Lamparski/Getty Images
It, along with the rest of the collection, was definitely what people wanted. Since last season, Selman has brought on The Grocery Store in San Francisco, Net-a-Porter and Intermix as stockists, adding to influential names like Opening Ceremony, Browns of London; K3, Candy and Whim Gazette all in Tokyo and Rare in Seoul. It’s been a bit of a slow build: Selman launched his eponymous line in 2013 after over a decade working in the custom sphere, designing costumes for everyone from Michael Jackson to Britney Spears, The Scissor Sisters, Lady Gaga and, of course, Rihanna.
Now, Selman is choosing when and how to grow his label. With three collections already under his belt and a fourth in the works, we chat with the designer about transitioning from costumes to ready-to-wear, his next collection and why fans and supporters (like Rihanna) keep coming back.
When exactly did the “fashion bug” bite?
So I originally was going to go to school for sculpture, which is why I went to Pratt. My parents were like, ‘You need some sort of business’ so I was like, fine I’ll do fashion. I had done theater and all that nonsense. My mom taught me how to sew at a really young age because I really wanted a vest growing up so it was just like a natural progression. I never really knew about 'fashion' fashion, but it was just a nice transition. I learned more about fashion whenever I got to New York.
Did you end up learning that business that you were supposed to at Pratt?
Not at all really. But I wasn’t really looking for that either. I was like, ‘I’m a creative guy and I don’t need that. I’m an ideas man.’ So all the business end has just come from working on it and just being hands-on and cognizant of what is happening around me. I try to pick up tips as I come to them and as I grow.
What is one major lesson that you took from your time at Pratt?
I think the biggest advice that a professor gave me was that there are so many powerful stylists in the world and styling is such a powerful profession and they do such amazing things with clothes that you always want to make sure to design your clothes like you would want them styled. So if you don’t want it to be worn backwards, make it so it can’t be worn backwards. Just make sure to drive the point home; don’t just say, 'I’ll style it later.' That’s not designing; that’s styling. Just make sure to design it how you want it to be worn.
So you interned as most people do. Who were you working for then?
Well I started at Nicole Miller and then a professor told me that a friend was looking for an intern and that turned out to be Desi Santiago, who was like a performance artist and jewelry designer. We would, like, make bamboo cuffs and sit around and eat fried chicken and make jewelry out of the bones. He introduced me to Zaldy and I interned for Zaldy after that and I worked for him for 10 years.
Those internships obviously influenced your progression.
Definitely! I think like those internships, working, school, living in New York and going out played a part. Going from Nicole Miller, I really wanted to do corporate fashion and athleticwear and things like that. That’s why I went down that road but when I met Desi and Zaldy, that’s when I switched to nightlife and the legendary club scene. It just made me look at fashion in a whole new way and also the possibility in New York that you don’t have to take a particular road; Just because you want to be a fashion designer, it doesn’t mean you have to take the most corporate position. That was my New York dream.
Did you find that going out was a big part of your development?
Yeah, I was definitely never a big party boy but I was always going out. I think it just helped me define my style. You can get away with a lot more after midnight than you can at noon. I would always wear like denim head to toe: skin tight jeans, cowboy boots, denim, denim, denim. Or like denim Daisy Dukes. It really just helped me develop my own voice like ‘this is me, this is who I am and who I want to portray.’ That was always evolving, but that’s what I learned about myself. Plus, you meet fun people and you just end up having a lot of fun.
So at what point did you decide you wanted to go into costume design?
Well I always knew that I wanted to be my own boss and I worked freelance for Zaldy, so I was my own boss in a way. He had a fashion collection for like four years and he stopped doing that and started doing the custom stuff, which I had a huge part to do with. We had like RuPaul, Michael Jackson, Britney Spears, Rufus Wainright and the Scissor Sisters. I went on tour with the Scissor Sisters for two years and was sort of like their ‘wardrobe boy.’ I really learned what worked on the road and what worked for stage -- that was a huge thing, just learning what worked.
After that, we were working on Britney Spears for Zaldy; and Mel Ottenberg, who was my boyfriend at the time [and still is], got the job [styling] Rihanna and he had never done stage/performance stuff, so he asked could I help. Originally, I was just going to consult and keep working with Zaldy on the Britney tour, but the next thing you know I’m doing half the costumes in a super tiny space with a friend of mine. It was so surreal. It just happened, it was never like ‘I need to branch out, I need to leave.’ It just organically happened.
Why do you think Rihanna has kept working with you all of this time?
I think the Mel connection didn’t hurt. But also, I think it was because we really worked on it together. Even when other people were making custom things, I’d have a voice in that as well to make sure it was the right fabric and the right fit. But I think my motto, especially with Rihanna, is that a lady likes options. So if they asked for a red dress because they were going to shoot a video, or there was one reference that they really liked, I would show up with that red dress and three other red dresses and then I’d throw some wild card in there. I just wanted to keep it going so that she’d be like, ‘oh wow I have to keep him around,’ and she did. I just wanted to show her that I was always pushing and I wanted to show her what I could do. I mean, I really needed that job.
Did you employ that same strategy of creating lots of options when you started doing your own collection?
Definitely! I like playing with pattern and playing with shape, so a lot of things will be the same pattern but I’ll make it in silk and I’ll make it as a sweatshirt. That way I’ll see which one works better and sometimes they both look great or only one looks great. I like to give myself options too to make sure I’m doing the right thing. Sometimes I present that to buyers but sometimes it’s like, that was an epic fail. But that’s fun too, though.
Is it just you making that selection process or is it your whole team?
It’s really my whole team. That’s everyone in the studio like Marley [Glassroth] and Bri [Magnificio] -- I rely on my girls heavily -- but I also get Mel involved and Jen Brill, who helps me with creative and I like to get her opinion on the clothes as well because she’s my kind of girl. But it’s really just getting all of them involved.
So when you’re coming from not getting too much of the business side in school and then doing one-off, custom pieces, what is going into the buying process like?
I really like it because I love feedback. I like to hear what people are saying. I did my sales the first season and I was like ‘OK, I never want to do that again.’ I hired Goods and Services because Joey, who owns it, is a friend of mine. They’ve been great in helping me shape my collection. They’ll give good advice like ‘maybe you want to think about this,’ or ‘don’t go too far down that development road, you should focus on this.’
Each season I’m trying to grow a little bit. So this upcoming season is knits and this past season was this “denim not denim” story. So each season I’m trying to capture a little bit more. With sales and press and buyers, it all plays in.
With that last “denim not denim” collection, is there a reason you decided to finally do a runway show? Even though it still had the feel of a presentation, it was really a small runway show.
I wanted it to be really fun and really intimate and I also wanted the pictures to be great. I wanted to make sure that I had really clear shots of the clothes on the runway and also in the vignettes. The inspiration for the set really came from Laura Mars and just those vignettes from the movie. That’s what I live for in fashion, it’s that moment. So I wanted these groupings of girls, under my name, giving you a moment.
When you’re going to design, how do you shift from designing for one person to designing your line.
I still keep my sensibilities, but if it’s for, like, Amy Sedaris, I know she likes pom poms and [a particular] fit of something, so I’m always thinking about her. That goes for Amy, Beyonce, Lorde; I’m thinking about them as opposed to the idea that I’m trying to get across and the clothes that are going to do well in stores and the overall feeling of the collection and the mood of it all.
So thinking about the future, where are you looking to expand to?
Well I’d love to do men’s! I’d also love to do accessories -- well more accessories -- and bags. I don’t really want to do an ‘It bag’ situation but each season I do a bag. I did a jumbo backpack and then I did a boucle backpack. This time, I did these baby bags and these little raffia bags. I mean everybody needs a bag.
Next time I might do a little evening but for the most part I think evening and gowns are more of an earned thing for a designer. So before I do evening I want to make sure that the clothes are in the stores and are selling well. I’ve already got great celebrity things. I mean, I want that and obviously need it but I’m not focused on getting a celebrity in my clothes, I’m more focused on getting the clothes in the stores and just getting them on girls.
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2014年10月31日星期五

Meet 13-Year-Old Fashion Designer Isabella Rose Taylor

Isabella Rose Taylor is a high school grad, college student and already an accomplished designer. Did we mention she's also only 13 years old? Seriously. The young fashionista, artist and entrepreneur has accomplished more than many design hopefuls twice her age. We chatted with Isabella about her road to success, designing clothes for other girls her own age and why she thinks it's important for girls to build and create things.
Isabella recently made her New York Fashion Week debut, and her designs are currently sold onNordstrom. The Texas native says she's always been creating art, but she became interested in sewing when she was 8 years old.
"I'd been painting for a while, but that was when I started sewing. So I went to sewing camp and just sort of fell in love with it, because it's like 3D art and it's really an art," said Isabella. "So that's sort of how I got into it and then over the years it slowly grew into a business."
DELL Presents NYFW Debut Of The Isabella Rose Taylor Collection With Special Performance By Recording Artist Olivia Somerlyn - S
The coolest part about Isabella's designs are that they are made for teen girls by a teen girl! She creates pieces for girls her own age.
"I think one advantage I have designing for the junior demographic is that all the other designers are older designing for this age group," said Isabella. "So I sort of design for myself in a way and my peers."
However, being one of the youngest fashion designers at her level in the field does come with some challenges.
"There were definitely a lot of challenges. It was a lot of trial and error and learning from my mistakes, but the main problem I had was fabric sourcing, that was a huge one and still is kind of a problem for me now and that's actually why I started designing my own textiles, which was sort of a blessing in disguise, because that makes me unique from other designers. No one else will have the textiles, because they're something I created," said Isabella. "So it's just another way to incorporate my art, which is a nice thing to do."It's no surprise Isabella has already found so much success at a young age, because she is one smart cookie. She graduated high school at age 11 and is currently taking college classes.
"I'm in my second year of college right now. I've always been accelerated academically, so once I graduated high school, college was the next step for me."
Isabella is all about being creative, whether it's with fashion or art.
We had to ask: Why do you think it's important for girls to build and create things?
"I think it's important just because even if you aren't maybe a creative person [or] you aren't interested in the arts, [you can] find that mind-set for what you are interested in whether it's math or science. Just having that sort of [creative] mind-set is just really important," said Isabella. "Entrepreneurship is a great sort of equalizer for girls and you have to be creative to start your own business."
Isabella has already accomplished a lot, and she's only 13. She opened up about her future goals and ultimate dream in fashion.
"[My ultimate goal] for my brand is definitely to be a global brand and expand to accessories that can really complete my look, and also mentoring some girls," said Isabella. "I feel that it's so important to offer any advice I can to other people who are interested in the same industry I am and try to pay it forward, so they can have some of the same opportunities I did."
What advice does she have for other girls who have big dreams they want to accomplish?
"I would say, 'just do.' I know it's sort of a basic thing, but I mean the act of doing is what makes you better. And also asking for help. I would not be where I am if I hadn't asked people," said Isabella. "You'd be surprised at how many people will give you the time, they will give you great advice if you let them."Since Isabella is a fashion guru, we had to get her take on the latest fall trends. Check out our style Q&A with Isabella below.
Cambio: Do you have a favorite piece from your line?
Isabella: My buffalo flannel jacket is one of my favorites if I had to pick one, but I like all of the pieces in my collection!
Cambio: What's your favorite fall trend?
Isabella: I love fall because of layering. Monochromatic pattern mixing is also one of my favorite things this season, but layering is sort of always relevant, not just in the fall.
Cambio: What's your must have accessory?
Isabella: I really like chokers. That's probably what I wear the most.
Cambio: What's your best piece of style advice for girls?
Isabella: I would say: simple and accessorize. Accessories jazz up any simple outfit.
Cambio: Who do you look up to?
Isablla: I love Nasty Gal. I think that she [Sophia Amoruso] really did an amazing job of growing her business and in a relatively short amount of time, so I really look up to her. Donna Karen, as well, for the business side of things.
Cambio: Where are your favorite places to shop?
Isabella: I really like Urban Outfitters and Nordstrom.
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2014年10月17日星期五

Home-grown fashion leaders offer a message with style

"I just saw Kevan at the White House,'' says fashion designer Tracy Reese. "It was like a mini-reunion. At the White House of all places."
Yeah. At the White House of all places!
Two people who got their start in Detroit --Tracy Reese and Kevan Hall -- are now among the nation's top fashion designers. And they were both at the White House, among a select group of fashion designers honored recently by Michelle Obama.
Reese, now of New York City and Hall of L.A., who've each established their own fashion empires, happened to be in the D this week for separate events.
Reese was the featured guest Thursday at FashionSpeak, an annual conference on the fashion business presented by the Detroit Garment Group Guild.
dfp fashion royalty (3).JPG
Hall will be honored Saturday at the Galaxy Ball of the nonprofit Black United Fund at the Detroit Marriott Renaissance Center.
Both Hall and Reese credit their families and their teachers at Cass Tech High -- notably arts educator Cledie Taylor-- with giving them their start.
Interestingly, before Taylor, both had considered architecture. Neither saw the fashion industry as an option.
"I didn't realize fashion design was a career. I thought it was a hobby," says Reese, who graduated from CT in 1981.
Hall, who graduated from Cass in 1975, said Taylor took him on his first trip to New York City to see the Parsons School of Design and the Fashion Institute of Technology.
He would go on to earn a degree from FIT and Reese earned a degree from Parsons.
The vibe and style of Detroit molded him, says Hall who grew up near what was then the Avenue of Fashion, a string of popular clothing shops on Livernois on Detroit's west side.
And, of course, there was Motown, a musical dynasty of charm, talent and style.
"They were all incredibly groomed and looked good when they were on or off stage," Hall says. "So Detroit and Motown is central to my eye and design."
Asked to name his favorite Motown artist and song, he said Marvin Gaye, and Martha Reeves and the Vandellas "Dancing in the Street."
Reese's favorite song would have to be the Temptations "Ball of Confusion."
"It was the first record I owned. My sister bought it for me," she recalls.
Reese and Hall offer clear messages for students today sitting at the school desks they sat in a few years ago.
"You have to have passion," says Hall who pointed out that he started his business by packing his car with 15 pieces of his clothing and driving to stores to try to get them to buy his line, a line now sold around the world and worn by the likes of Angela Bassett, Celine Dion and Sharon Stone.
"You have to have a gift and an education," Hall says. "And surround yourself with people you can work with and learn from. Keep looking at the big picture. Don't focus on the problems, but focus on the goal."
Reese's message is similar.
"It's really about researching and preparing," Reese says. "You have to be patient. You have to be tentacious. You have to make it happen. Things aren't going to fall into your lap. If you're waiting for an opportunity, you'll continue to wait."
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2014年9月15日星期一

Colin’s Column | Hussein Chalayan, London’s Most Radical Fashion Designer

Hussein Chalayan is a unique talent. As London’s only really radical fashion designer, he holds an honoured but precarious position in a fashion scene where original thought and commitment can often come second to sales. The fact that Chalayan has, at times, had financial troubles is as much an indictment of the fashion industry as it is a badge of his integrity. In fact, in my 40-year search for a designer with real intellect, he alone stands out. I would wager that if anyone in a century’s time shows the slightest interest in today’s fashion, it will be Chalayan’s thoughtful approach that intrigues them.
Chalayan does not compromise, nor has ever done so throughout a career that began with a bang. His graduate collection at Central Saint Martins, entitled “The Tangent Flows,” contained clothing he had buried in the ground then exhumed, just before the show, in a ritual of resurrection. It provoked shock, even outrage, along with a great deal of sceptical merriment. But, importantly, it also attracted the attention of influential London boutique Browns, who displayed the collection in its windows, and Hussein, steadfast in the face of criticism, weathered the storm, because even then he knew his worth.
“My brand has given a lot to fashion and I believe fashion has not always reciprocated. I chose fashion over other forms of creativity because I thought I could bring something different to it, a new way of thinking,” says the designer. “As it is, I have tried to broaden fashion beyond simply clothes. I think it is important to recognise that, intellectually, fashion is a small world.”
Hussein Chalayan, Spring/Summer 2009 | Source: Hussein Chalayan
Indeed, Chalayan’s work — which will soon be shown as part of “The Politics of Fashion / The Fashion of Politics,” a group show at Design Exchange in Toronto — often merges clothing and the human body with technology, science, architecture, music and cinema. It has been referred to as wearable art, rather than fashion; his shows can be more like performance than traditional catwalk presentations.
“He is the penultimate artist,” says Shauna Levy, president of Design Exchange. “He happened to choose fashion as his platform, but the reality is that he probably would be equally as successful if he had chosen any another platform simply because he is so multi-dimensional. His collections are truly an intersection of creativity — be it fashion, architecture, lighting design, multimedia or otherwise.”
All of which hasn’t made things easy commercially. “I must admit that it has been a long and, at times, slow journey,” says Chalayan. “After 20 years, I can say that my work has been a complex combination of difficulty and joy. In this business the restrictions of money and time can make the job of an independent designer very difficult.”
When he was young, Chalayan’s life was divided between Cyprus and England, though Istanbul, the centuries-old crossroads of the world, was always his magic city and still feeds his imagination now. Indeed, it is his eclectic background, married to his endless curiosity, that keeps Chalayan’s creativity rich enough to simultaneously inform the direction of sportswear brand Puma, where he is creative director, and historic fashion house Vionnet, for which he designs demi-couture — all alongside his work on his own label (in which Puma now owns a majority stake). Personally, I hope that Chalayan stays at Vionnet as long as Galliano did at Dior because I feel that he has the tact and understanding to make the house his own, whilst respecting the aesthetic of the founder, much as Galliano did.
Chalayan is one of a small band of true fashion thinkers that includes Rei Kawakubo, Gareth Pugh and Rick Owens: people who are not just making clothes to sell but, despite huge commercial pressures, using clothes as an artistic instrument. Like them, Chalayan has creative will made of iron, but he can also be besieged by doubts and questions. He is never complacent and rarely relaxed. Friends say he has a wry, down-to-earth sense of humour. But when he is working, it’s all-consuming.
“For me, the fashion show is a manifesto and that in itself is my way of following my heart and my brain,” says Chalayan. “Although the starting point of all new collections is the last collection, moving on from there is a bit like the weather — there is no pattern and no predictability. There’s a sense almost as if there is another law, another reality, out there in the air and I bring it down to earth where it develops into a wondrous bubble; one that was there all the time, waiting for me to activate.”
“I am a compositional designer,” he declares. “I play compositions on the body with my clothes through the fabric. I am interested in the relationship between form and body. A good design relates to the body; a poor design just sits on the body. This is in my mind all the time.”
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2014年9月11日星期四

New software streamlines fashion department

Baylor’s apparel design and merchandising students will soon have the chance to bring their designs to life with the latest software in visual fashion design.
Fashion-design majors entering the spring semester of their senior year work with fabric design and bring their imagination and creativity to the forefront using the new Optitex 3D software.
Students put their designs on a 3D avatar, displaying what the clothes will look like on the body. Students can choose the height, weight, skin color and even the hair color of the avatar wearing their designs.
The software holds many benefits and advantages for Baylor fashion students, one being it allows students to have faster, more efficient work.
Apparel design and merchandising students will improve the quality of their designs with the help of a new software called Optitex 3D. The program allows users to display clothing designs on a 3D customized model.Constance Atton | Lariat Photographer
“For the design students, their first sample will be of better quality, because they’ll be able to see mistakes on the avatar,” said Jaynie Fader, apparel design and merchandising senior lecturer. “Merchandising majors will also find the software extremely helpful because of the marketing aspect.”
Academy Sports and Outdoors donated the funds for the software this summer, after specifically choosing Baylor to receive the store’s assistance.
Academy released its plans to assist Baylor fashion in the spring.
“They chose Baylor and came to us,” Fader said. “They really like our undergrads, and many are employees or interns.”
The Optitex 3D software is not the first technological advance Baylor fashion has held over other universities. Baylor is already one of the only universities to have a fabric printer, various Adobe products, Gerber WebPDM, which is an online product data management software, and many storyboard and catalog pages.
“With having a top-notch technology aspect to our programs, Baylor is ahead of the curve when it comes to the latest technology and procedures that companies have,” said Dallas senior Kendal Carse, fashion student ambassador.
Fashionista rated Baylor in the top 20 fashion departments in the nation in 2011, while Fashionschools.org rated Baylor 35th of 75 apparel and merchandising programs within the nation.
Fader said she believes the fashion department’s technology lab is what has landed Baylor in the prestigious university ranking it holds.
“I’ve been here for nine years, and our technology is the reason for our top listings,” Fader said. “Usually we’re one of the only schools within the Midwest to be listed.”
The fashion department’s lab and climbing ranks have led many students within the department to come on board for the program.
Stony Point, N.Y., senior Madison Zucker said she was one of those students.
“Learning about these rankings is actually what led me to look at Baylor in the first place,” Zucker said.
Students have recognized the technology lab the Baylor fashion department possesses, and are thankful for the advantages it gives them, Carse said.
“Because of its lab, Baylor has built a reputation among companies that seek after and hire Baylor graduates,” Carse said.
www.queenieaustralia.com/semi-formal-dresses

2014年9月2日星期二

New York Fashion Week Guide: Who and What to Know

As the United States Open winds down to its final chaotic days, another late-summer New York spectacle takes its place, one with its own crowds, prized seating spots, celebrity sightings and, of course, winners and losers. Yes, we are talking about New York Fashion Week. The spring/summer season is upon us, with more than 100 shows taking place between now and next Thursday, followed by the same again in London, Milan and Paris until the first week of October. Fashion month has become a cultural phenomenon as globally pervasive as the ginkgo tree. You can’t avoid it, so you may as well embrace it, and find out what you should be ready to discuss during cocktail parties and water cooler conversations everywhere. Indubitably, questions of geopolitics and the stagnant European economy are more important, but think of it this way: What happens at fashion week will inform in large part the shape — literally — your identity will take six months from now. So in the interests of self-awareness (plus useful banter), following is my crib sheet for what to watch, who to know and where to focus during the collections.
While you can’t blame fashion’s ever-increasing move into entertainment on Ari Emanuel, the fact that the Hollywood agency William Morris Endeavor, which Mr. Emanuel co-runs, bought IMG last December, and along with it ownership of New York, London and Milan fashion weeks (among others), is surely speeding along the transformation. As it happens, Mr. Emanuel will be in the New York Fashion Week audience this season (the William Morris folks tell me he is very excited to come to shows) in part because fashion week will move out of Lincoln Center at the end of 2016, and the powers that be are beginning to think about what shape it will take next. In the meantime Mr. Emanuel should not feel too much like a fish out of water, as this season a number of collections are taking an alternative approach to their presentations that may seem more familiar to him than to the fashion pack. (Maybe they are thinking of it as an audition?)
The London designer Gareth Pugh, for example, who normally shows in Paris, is coming to New York as part of the Lexus Design Disrupted program, and promising “an immersive live performance” to open the week on Thursday. It’s unclear exactly what that means (you have to see it to understand, I guess), but according to the designer, it will involve dancers and video.
Then, on Sunday, a mere few days after Mr. Pugh’s happening, Opening Ceremony will debut a 30-minute one-act play directed and co-written by Spike Jonze, featuring their costumes — sorry, collection. And on Monday, there’s a double bill. First, Olivier Saillard, the curator of the Palais Galliera in Paris, the city’s fashion museum, is putting on a piece of performance art in conjunction with the Alliance Francaise and MADE Fashion Week. Entitled “Models Never Talk,” it will feature seven French supermodels telling stories about extraordinary dress they have worn — giving voice to fashion’s normally voiceless. Next, a few hours later, Polo Ralph Lauren will hold an unspecified “fashion event” (note: not show) in Central Park.
Forget the often complained about reality-TV-ification of fashion week courtesy of the street style craze; this takes the concept to a whole different level. It’s like “House of Cards” versus “America’s Got Talent.”
Names to Know
In New York, Michael Herz will debut his first runway collection as artistic director for Diane von Furstenberg. Mr. Herz was formerly co-creative director of Bally, and he met Ms. von Furstenberg when he curated her 40th anniversary “Journey of a Dress” exhibition in Los Angeles. This is something of a watershed moment for her — post-anniversary, she has an autobiography being released this autumn, and a reality TV show on E! — and one of the questions hovering over the brand is what happens next. The show, to be held Sunday, may provide some answers.
Also bowing behind-a-brand in New York this season is Anthony Vaccarello at Versus Versace, the latest hipster name to collaborate with the brand, a.k.a. be crowned as a hot-up-and-comer by Donatella Versace. In this, the 30-something Belgian-Italian designer, who shows his eponymous line, known for its ‘80s-edged micro-hemlines and slick tailoring, in Paris, follows JW Anderson and Christopher Kane, both of whom have now hooked up with luxury conglomerates (LVMH and Kering respectively). Draw your own conclusions.
Meanwhile, industry watchers will also be looking for answers at Proenza Schouler, thanks to recent rumors — thus far unsubstantiated — that LVMH is interested in buying a stake in the brand. If one of the group’s well-known executives were to show up in the audience, it would likely set off a firestorm of renewed speculation.
In London, eyes will be on Christopher Bailey, making his debut as both chief executive and chief creative officer at Burberry. At issue: whether the added pressures of being a chief executive have had any effect on the aesthetic direction of the brand. In the game of Who’s Wooing Who? Simone Rocha, known to be a designer atop the wish list of many a large group, will likewise have an audience to watch (ooh ... is that a Kering talent spotter I see? An LVMH executive?). And it will be interesting to parse the difference LVMH mentorship and money (300,000 euros) has made for Thomas Tait, recipient of the Group’s first Young Designers Prize.
As for Milan, the new name on the schedule, or behind an old name on the schedule, is Jil Sander’s Rodolfo Paglialunga, who has the unenviable task of reviving a house that became something of a fashion punch line when its founder left last October for the third time (an anonymous team designed the collection for autumn/winter). His only competition for buzzy-generating brand of the week is, perhaps surprisingly, Roberto Cavalli, whose long journey toward selling a minority stake appears to finally be coming to fruition. Will some new investors be in the front row? This is the question.
Which brings us to the last leg of the marathon (phew!) otherwise known as Paris. There the debuts to watch will be Jonathan Anderson at Loewe, where a wholesale revamp and up-tiering of the brand seems to be underway; David Koma at Thierry Mugler; and Julie de Libran at Sonia Rykiel. All three are tasked with breathing new life into floundering names whose to-ing-and-fro-ing under various designers for the last few seasons has been meaningfully eroding their brand equity.
Finally, a farewell of sorts will take place at Hermès, where Christophe Lemaire will reveal his swan song for the brand (he is leaving to concentrate on his own line). He hasn’t been there that long — only four years — and he never really rocked the aesthetic Birkin boat, so audience tears will probably not be forthcoming à la Tom Ford departure from Gucci, but they will be watching the faces of family members CEO Axel Dumas (chief executive) and Pierre-Alexis Dumas (artistic director) to try to understand whether Mr. Lemaire left on the best, or slightly less salubrious, terms. Fittingly, it is the last big show of not only Paris, but the whole season. From endings come new beginnings.
Trend to Know: Tech
While changes in silhouettes and skirt length will indubitably occur thanks to all of the above, some of the loudest style buzz is actually emanating from the fashion/tech arena. This week, Intel is set to unveil its smart bracelet, a bangle studded with semiprecious gems, designed by Opening Ceremony’s Humberto Leon and Carol Lim, while at Vivienne Tam’s show on Sunday, a self-charging iPhone case created in collaboration with wireless specialist Zeusé will appear on the runway. But the Internet is rife with speculation that at their event on Tuesday in Cupertino, Calif., Apple is finally going to reveal its long-awaited foray into wearable tech, complete with creative mock-ups of what it may look like. The company is not saying anything other than, and I quote the invitation, “wish we could say more.” But if they fulfill expectations, it may well be the biggest fashion event of the season. Even if it is taking place on the opposite coast from Lincoln Center and an ocean away from the European style capitals. This season, the runway increasingly seems like a state of mind.
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2014年8月27日星期三

13-year-old Texas fashion designer finds success

At the age of 9, Isabella Rose Taylor—a painter since she was 3—took a week-long sewing class with an eye toward incorporating textiles into her artwork. She quickly discovered a love for fashion design as well, taking the class twice more that summer. Now, at 13, her line is debuting at Nordstromstores this fall and she's set to hold her first show at New York Fashion Week.
"It just started out as a really fun hobby and it grew into a business over the years," Taylor said at her Austin, Texas, home, where she's converted one room into a studio and another into an office. She added, "I just really fell in love with it the way I fell in love with art, and I realized that I just had so much fun connecting the two."
With inspiration from an abstract mixed media painting she did when she was younger that includes reds, grays, blues, mustard yellow and neutral earthy tones, Taylor created a fall line with a "street grunge vibe" and "modern hippie" inspiration. "It all started with the colors of the painting for me," Taylor said.
Isabella Rose Taylor, 13, poses with her art work and clothing designs at her home, in Austin, Texas, August 14, 2014.
Jennifer Jackson Brown, a corporate merchandise manager for Nordstrom, said Taylor's line was a good fit for their juniors section. She said that at the same time she was contacted by Taylor's camp, her team had been trying to track Taylor down after seeing her on a television appearance.
"What we really liked about her is that she is actually the age of customer so there's that relatability factor that she has," Jackson Brown said. "And on top of it, she's quite aspirational for them at the same time."
Jackson Brown said they were not only impressed with her "keen sense of creating," but also with her ability to explain how each piece works with the others and how the collection came together. "She's actually quite a visionary at the age of 13," Jackson Brown said.
"I think sometimes what a designer misses is that people want to understand how to dress head-to-toe and she was able to do that," Jackson Brown said.
Taylor's fall collection includes "shorties," high-waisted shorts made of a soft knit that can be paired with leggings and boots. There's also a flannel jacket featuring one of the details she likes to include: a tiny American flag button on the pocket. A jersey baby doll dress and a henley tunic dress feature the painting that inspired the collection.
Taylor said that after taking the sewing classes, she gradually got more serious about fashion, making clothes for friends, designing a collection and eventually getting a handful of items produced and selling them online and at trunk shows. Her line is now produced in Los Angeles.
Taylor went to school on an accelerated schedule, graduating from high school at 11 and now attending community college.
Sherri Taylor said it was apparent early on that her daughter had an aptitude for art. "When she was really young we really noticed how she played with colors and it was just very unusual," she said. "We knew that something was happening so we just kept buying her more colors."
"She's tried a lot of different things and some things stuck and something things didn't, but art and fashion have been consistent," she said, adding that her daughter's fashion career "just kind of snowballed."
Jennifer LaTorre-Daly, a 20-year veteran of the fashion industry, joined Taylor's team last fall as the New York-based strategic planning director, focusing on getting Taylor's clothes in major retail outlets. "It's a great concept: She's designing for her peers," LaTorre-Daly said.
Taylor said that even though her schedule can be hectic, she enjoys it and feels like she has a good balance of school, art, fashion and just hanging out with friends. And she points out that she has friends who are just as busy with interests like acting or dance.
"The way I see it is I get to follow my dream and be a teenager at the same time. I think I'm pretty lucky in that respect," she said.
www.queenieaustralia.com/orange-formal-dresses

2014年8月25日星期一

Mercedes-Benz Start Up names three finalists in emerging designer contest

Three designers based in B.C., Ontario and Quebec have made the final cut in a national contest for emerging Canadian designers.
Vancouver Island's Eliza Faulkner, Alberta-born, Toronto-based Sid Neigum and Montreal-based Valerie Tolila of the label Vaiken are finalists in the Mercedes-Benz Start Up program.
The trio will take part in the national finale at Toronto's World MasterCard Fashion Week in October, with each vying for a prize package that includes a $30,000 bursary and a fully produced runway show during Fashion Week next March. Three additional wild card finalists will be announced next week.
This will be the second consecutive Start Up final for womenswear designer Faulkner, who recently blogged about and posted a photo of Oscar winner Marisa Tomei wearing one of her designs.
Mercedes-Benz Start Up names three finalists in emerging designer contest
Neigum showcased his fall-winter collection during Toronto's Fashion Week last March and already has another emerging designer award to his credit as winner of the TFI New Labels contest in 2012. Womenswear designer Tolila is a graduate of Montreal's LaSalle College and has styled for magazines in Montreal and Lisbon.
Designers competing in Start Up must have a registered Canadian business that has been operating for less than five years. This marks the fourth year in the nationwide search for Canada's up-and-coming fashion talents. Semi-final runway shows were held this month in Victoria, Gatineau, Que., and Burlington, Ont.
The cash award is a new addition to the Start Up initiative. But rather than cutting the designers a cheque, the funds will be administered by a mentoring team.
"Helping them to manage their finances is part of the mentorship and we feel that this is going to be the best way forward," said Jarrad Clark, vice-president and global creative director of IMG Fashion Events & Properties, whose organization spearheads Fashion Week and Start Up.
"There are programs out there that just give cash to the designers, and I've known on a number of occasions where that's just meant that's a wonderful holiday or just paid off their credit card and that's not what this is about."
Clark said while Start Up wasn't created to be a cash prize property, industry feedback revealed that a number of younger designers require a certain level of seed funding support.
Designers will still have to go through the process of submitting why money is required as part of their business plan, he noted. "It's actually going to be made sure that it's in the development of their brand and their collection."
Clark said designers will continue to benefit from mentorship until the fall finale, which includes getting suggestions and even critiques on their collections as they're in development.
"It's a real world experience because the Holy Grail is to present your collection in a way that you want to see it presented. And this way, they get to have their hand held, so to speak.
"Some need it more than others, some have got a very clear vision in what they need. It means that they get the chance to tap into experts in their area of expertise."
Previous Start Up winners include design duo Danielle Martin and Pao Lim of Martin Lim and Montreal's Duy Nguyen. The prize was most recently shared by co-winners Cecile Raizonville of Montreal-based label Matiere Noire and Edmonton's Malorie Urbanovitch.
www.queenieaustralia.com/plus-size-formal-dresses

2014年8月11日星期一

Fashion that makes the grade

Whether or not school will actually start on time this September, at least your kids’ fashions will be right on schedule
Even if there is no good news on the teachers’ strike, there is at least good news on the style front — this fall sees lots of great clothes that kids will find fun to wear, yet are practical, affordable and nice enough that parents won’t mind spending money on them.
After all, says Tina Barkley, the back-to-school specialist for Target Canada stores, “It’s such an expensive time of year. It’s stressful and it’s expensive.”
Back-to-school shopping is not only a big spend, it’s also a big time commitment: On average, Barkley says, parents make four trips each summer to the mall for back-to-school clothes, accessories and supplies. The key, then, is to make the whole experience as painless as possible.
What parents are looking for, says Joseph Mimram, creative director of Joe Fresh, is both fashion and function.
Savvy Style: Fashion that makes the grade
“They want their kids to look great, but also be able to run around the playground comfortably,” he says. “And they want prices that if an arts and crafts project winds up all over a new blouse and it’s unsalvageable, it’s not a huge loss.”
Here are just a few ideas to get you shopping.
For boys:
“Everyone always thinks that there’s nothing fun for boys, but that’s just not true,” Barkley says.
That’s definitely the case this year, when we’re seeing a rainbow of bright, cheerful colours for boys of all ages, as well as jaunty graphic tees, athletica-inspired gear and practical, preppy wear, all combined in easy layers.
“It’s kind of a mishmash ... a real play between athletic and casual,” Barkley says
Adds Emily Scarlett, spokeswoman for H&M: “For boys, you’re going to see everything from that 1950s preppy look with chinos and varsity jackets, to a throwback to that 1990s hip-hop vibe. I think that athletica is a really big trend for both adults and kids. A lot of that has to do with that homage in fashion to 1990s style.”
Expect to see graphic tees, sweatpants in black, grey and white, cute letterman jackets, collegiate sweaters, camouflage patterns, loads of denim, colourful sneakers and plenty of yellow, red, blue and orange for boys of all ages.
For younger boys, you’ll see more licensed characters like superheroes and this season’s trendy Teenage Mutant Ninja Turtles; for older boys, it’s more about chambray shirts and chinos. “The basic trends are the same, though,” Barkley says.
Ultimately, Mimram says, “There are a lot more options for boys these days, but boys’ clothing is still a lot about functionality.”
For girls:
For girls, this season is one of mixing sweet and tough pieces in truly wearable style.
“Back to school is a fun season to blend different styles and trends,” Mimram says. “This fall we are mixing softer and more edgy styles. Pairing printed blouses with faux leather moto jackets, graphic sweatshirts with A-line skirts, lace peplum blouses with riding boots.”
If all that sounds a bit familiar, well, it is.
Barkley points out that a lot of trends are carrying over from last season (which is good news if the clothes still fit), but girls’ fashion is also offering nods to trends we last saw in the 1980s and 1990s, especially the grunge trend that’s making a surprise comeback this season.
“For the girls you’re seeing lots of 1990s fashion, that grunge influence with micro floral prints,” Scarlett says. “And contrasting that, the punk rock influence.”
Think floral baby doll dresses, jackets and tops mixed with plaid shirts, camo pieces, pleather moto jackets and ankle booties.
“A lot of the trends are similar (between younger and older girls). It’s just playing with length and silhouette, how it’s being worn at different ages,” Scarlet says.
For instance, high school girls might take an edgier approach, perhaps with a jean jacket tied around the waist and a pair of Doc Martens boots. “For little, little girls, it’s Hello Kitty,” Barkley says. “When you get into the older kids, there’s more sophistication.”
In addition, animal prints are everywhere, and not just in the hues you see in nature, but in bright, vivid colours and in exotic prints like zebra and giraffe. Find them on shoes, jackets, dresses, backpacks, binders and just about everywhere.
“We’re also seeing a lot of embellishment,” Scarlett says. “A lot of appliqué, also a lot of embroidery detail on jeans, embroidery detail on jackets.”
“We’ve seen a lot of lace and we’re going to see more and more of it,” adds Barkley. Also expect to see sequins, bows, plaid, camo and trendy hues of pink, mauve, purple, teal and turquoise.
For both:
On both girls and boys, one thing you can expect to see plenty of is denim.
“Denim vests, denim shirts, denim pants, denim jackets. Tons of denim,” Scarlett says. Adds Barkley: “For the boys, it’s denim-denim. For girls, it’s the patterned and coloured denim.”
For both, it’s the return of the “Canadian tuxedo.”
“We’re feeling denim on denim this season,” Mimram says. “Mixing styles and washes in a playful way. We have embellished denim shirts, jean jackets, tunics, dresses and jeans in a ton of styles and washes.”
For both boys and girls, you can also expect to see an echo of grown-up fashions, what Scarlett calls “the mini-me trend.”
“It’s definitely an evolution. There’s a trickle down from the big fashion influences,” she says. “It starts in ladies wear and then it trickles down to kids’ and teens’ wear.”
“A lot of the trends are parallel, but children’s clothing tends to be more playful,” Mimram adds. “You’ll find the standard striped tees, distressed denim, and plaid shirts for both adults and kids — but also graphic prints for boys and sparkle accents for girls to give off a more youthful vibe.”
www.queenieaustralia.com/purple-formal-dresses

2014年8月8日星期五

Meet The Nigerian Fashion Designer Building Africa's Hermès

Kunmi Otitoju, a 30-year-old Nigerian fashion designer and entrepreneur, holds two Computer Science degrees – a Bachelor of Science degree with first-class honors from Howard University and a Master of Science degree from Virginia Tech. But her first love was Fine Art. As a high school student in Lagos, she won the Fine Arts prize at school every year – for 3 years.
Having moved to the U.S. when she was 17, and then to Europe at the age of 25, Otitoju found herself deeply enmeshed in western culture. Keen on preserving her Nigerian identity and eager to propagate facets of Nigerian culture, she conceived the idea of lining high-quality leather bags with Aso-oke fabric, a hand-loomed cloth woven by Nigeria’s Yoruba people.
In 2011, after stints at Goldman Sachs and a few other internationalcorporations, Otitoju established Minku, a fast-growing high-end Afro-centric brand that produces luxury bags, wallets and other fashion accessories for men and women by subtly blending Aso-oke into contemporary Spanish leathers to present a transcontinental finish.
Kunmi Otitoju
All Minku’s products are hand-made at a workshop in Barcelona, Spain, but they are sold at high-end stores in Nigeria and on the company’s website.
Otitoju recently spoke to me about her journey, her future plans, and the state of luxury goods in Africa.
Why Aso-Oke?
For me, Aso-Oke is luxury. It is hand-woven, the weaving is dense, in the imperfection of the weaving lies evidence of the human touch, and it comes in sophisticated colours and patterns. What is luxury afterall? For me, it is the finest aspects of one’s culture, distilled, packaged, presented to, and accepted by the rest of the world. For example, Italy has leather and coffee as some of the finest aspects of its culture, and that is evident with the luxury companies out of Italy. Same with Switzerland and watches. Africa was a bit late to the branded luxury game, but we are catching up. Aso-oke lets me contribute to this in a small way.
Are you expanding into other goods and services?
Yes. We now offer a personalization service that lets our clients customize a purchase with their name/initials/message embossed onto the leather. It is a nice way to personalize one’s Minku bag, or just to include a message that is a reminder of love or a feeder of good vibes.
In our latest collection, I introduce bracelets for men. Men’s bracelets have gained wide acceptance among males, from surfers in Cape Town to investment bankers in New Jersey. I personally buy into the idea of a man wearing a beaded bracelet — it tells a story of travel and daring, and it alludes to an open mind. So combining precious metals — 18kt gold, sterling silver — with powder glass beads hand-made by the Nupe people of Nigeria, I created a collection of men’s bracelets. Each bracelet comes in an Aso-Oke lined watersnake leather drawstring pouch of varying designs. The pouches double as key-chains.
You have been running Minku for three years now. How is it received?
Minku has been well received. Like any other entrepreneur, I have had some discouraging moments. But many good opportunities have also arisen, sometimes unexpectedly, and it is those that have helped Minku to grow. So I work hard on product and marketing, but I have also learned that serendipity is part of entrepreneurship.
Are there any specific experiences that shaped your resolve to be an entrepreneur?
My parents have been entrepreneurs for most of my life, so I had exposure to the idea of becoming one, quite early on. In 2010, I was accepted to Stanford University to study product design under the Stanford Mechanical Engineering Masters program. This was a dream come true for me because I love Formula 1 and I wanted to study how to design faster cars (I still do; I love working with constraints, and Formula 1 car design provides constraint sets that fascinate me). However, I had just moved to Barcelona less than a year earlier, and did not yet want to leave.
So I had a hard question to answer: if I didn’t go to Stanford, could I still do good design, at a level similar to if I was a Stanford Product Design grad? I was not sure, but I decided to try. I think a lot of the courage to set out and start Minku came from desperately wanting the answer to that question to be a ‘yes’.
What do you think about the luxury market in Africa?
I think there is a fast-growing market for African-made luxury goods in Africa. Building this market to last will take a paradigm shift as to why it’s as cool to own a leather bag designed by a Nigerian or Kenyan luxury house as it is to own one from an Italian powerhouse. But it also takes much product/service refinement on the part of African designers and manufacturers. Recently, African designers have been hitting the mark on product refinement, even with local production. This has been producing results, and needs to continue. International gatherings like the 2012 IHT Luxury Conference also help to focus on Africa’s capacity for luxury creation and consumption. I like the idea of Africa as a destination for handmade luxury.
As a person running a business, what are some skills or attributes that you have found to be indispensable?
As a person running a business, I have found that optimism has helped me get far. If you combine an optimistic disposition with research and hard work, you can do great things.
As a creator of quality leather goods, what are some skills or attributes that you have found to be indispensable?
The main skill for me is creativity. I will go meta and say that an indispensable skill has been knowing how to get myself into my best creative mode.
Where do you see Minku in 5 years?
I try not to plan ahead much, because there are too many factors beyond my control. At the moment, growth for Minku is centered on making the most desirable products I can conceive. I am working with unusual materials: Aso-oke from Nigeria, and leather. So there is already some novelty there, but I am interested in seeing just how much excitement I can wring out of people, both men and women, on the mundane topic of bags. So much of my current focus is on that.
I belong to the generation where the most successful social network was started out of a dorm room, so for me, having a small atelier for working and an online storefront has not been unusual, and I am lucky that this model has been well-received. In five years, I would love to have a flagship store for Minku, perhaps in Lagos or New York City.
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2014年6月22日星期日

Feminism in Fashion

Fashion has often been labelled the antithesis of gender equality. Increasingly, women are attacking each other for approaching feminism the 'wrong' way: for wanting to be a stay-at-home mother, for being too vocal or not vocal enough about gender issues, and, indeed, for how they look and dress. But is there only one fit of feminism?

Pehaps it’s more important how we think of ourselves and behave towards each other. Recently, an author wrote that she used to be made to think she wasn’t a real feminist because she liked frivolous things like lipsticks and heels. Gloria Steinem, labelled ‘the original’ feminist for redefining feminism to include men, was criticised for “playing on her looks”. Meanwhile, Michelle Obama, who has been a tireless advocate of women’s rights, has been accused of being a “feminist nightmare”. But the idea that being fashionable and sexy is incompatible with being a feminist is wrong. Feminism should not be about judgement and competition, but about maximising women’s choices and their freedom to pursue these choices.

Model Karen Elson, as a proud feminist herself, warns that, “If you assume that models [...] can’t have strong opinions and beliefs, you’re just falling prey to the popularly held misogynist view that beautiful women are stupid.” More than that, clothes have long had power to facilitate and accompany change. We need only to look at the suffragette movement, the famous flapper dresses and miniskirts that shocked the social order when they first came out, and the more recent Pussy Riot, who used their clothing as a way to send their message out, loud and clear.

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Liking fashion does not have to mean ignoring the problems that the industry poses for the feminist cause, through their promotion of a specific body shape (read: super skinny) or the fact that the whole industry exists to tell us how women should dress, while we are perfectly capable of making this choice ourselves.

Feminism and fashion are actually becoming increasingly interlinked. Frida Kahlo, the feminist Mexican artist, is the inspiration behind various SS’14 collections: richly embroidered gowns at Valentino and Dolce & Gabbana, tassels at Dries Van Noten and Oscar de la Renta, as well as a swathe of high street stores. We should move away from criticising lifestyles when gender inequality affects actual lives.

Laura Bates, founder of the Everyday Sexism Project, commented that we are "facing a worldwide crisis of violence against women," in reaction to the killing spree by Elliott Rodgers in California last month. Many women die every day, around the world, because of FGM, because of imposed social barriers, because of domestic violence – stepping back, we can see how an interest in fashion is not an issue that should be prioritised in the feminist agenda.

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2014年6月16日星期一

Olivier Theyskens Exiting Theory

Olivier Theyskens announced today that he is leaving Theory. Theyskens has been with the brand since 2010, when he designed a hit capsule collection, Theyskens' Theory. This past February, Theyskens showed his first Theory runway show after Theyskens Theory was discontinued. The Belgian-born designer made headlines when he first joined the company, bringing his dramatic, moody aesthetic to the minimalist, tailored, contemporary sportswear brand. “I am grateful for Olivier’s extraordinary contribution to Theory over the past three and a half years, and I am particularly excited to see what he does next. While he has already accomplished so much, I am confident in the power of his artistic skill and believe his future will be very bright,” Andrew Rosen, chief executive officer of Theory, told WWD. (image: formal dresses sydney) Theyskens said, “It has been an amazing opportunity to work with Andrew and to benefit from his knowledge in this dynamic segment of fashion. I will always cherish our friendship.” According to WWD, Theyskens plans to pursue other design projects. Pre-spring 2015 will be his final collection for Theory. Theyskens came to Theory from Nina Ricci, where he was artistic director for two years. Previously he helmed Rochas for four years as creative director, a post he took after designing his own namesake collection. Read More: red carpet dresses

2014年6月7日星期六

Susquehanna Township High School grad heads to fashion school with backing from benefactor Katz

Two years ago, Luis Hernandez had little hope of attending college. Now, thanks to lessons in paying it forward from a dedicated teacher and the late philanthropist Lewis Katz, the Susquehanna Twp. High School graduating senior is heading to the nation's most prestigious fashion-industry school.

Hernandez, the son of Jose and Olivia Hernandez, was born in Mexico and has attended Susquehanna Twp. School District for most of his school career. He studied fashion design under designer Richard Andries in Susquehanna Twp. High School's School of the Arts.

His sophisticated creations wowed officials at the Fashion Institute of Technology in New York City and won his acceptance there. Through a connection made by Andries, Katz offered to pay his tuition.

Hernandez – voted best-dressed by his STHS classmates – said he always got good grades and had an interest in fashion, but by 10th grade, he "had no idea how to go to college" or become a designer.

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"In 10th grade, students start talking about college, but I felt really out of it," he said. "I had no direction. I wasn't motivated."

A friend who shared his interest in fashion convinced him to enroll in Susquehanna Twp. High School's new School of the Arts. By his senior year, Hernandez's portfolio of fashions – from a showstopping women's gown to a men's suit in black-and-white tiger stripes -- won a Gold Key in the Scholastic Art & Writing Awards.

As part of a Gold Key exhibit, Hernandez exhibited his favorite design, a kimono-cape hybrid in black and gold, at the State Museum of Pennsylvania.

Andries, known for such designs as Pennsylvania First Lady Susan Corbett's inauguration ball gown, said he recognized a bit of himself in Hernandez, trying to overcome stigmas about men working as fashion designers.

Katz entered the picture, offering to pay Hernandez's tuition, when an Andries acquaintance forwarded a note about Hernandez to the businessman and philanthropist.

Katz grew up in modest circumstances, raised by his widowed mother in Camden, N.J. Four days before his May 31 death in a plane crash, he and a partner won a bidding war to buy the Philadelphia Inquirer.

After his death, Katz was remembered for his generosity to causes big and small, from a $25 million donation to Temple University to a Super Bowl trip for a coffee shop worker. At his memorial service, Gov. Tom Corbett cited Katz's support for Hernandez as an example of his generosity.

After Katz offered to pay Hernandez's tuition, the pair met during a trip the philanthropist made to Harrisburg. Entering the room where the meeting was held, Katz immediately asked, "Where's Luis?" Andries said that Katz told them he was paying forward a favor done for him, paying his tuition to Dickinson School of Law when he had no money.

"And that is the one thing he asked of Luis, that when you're there, you pay it forward," Andries said. "That's what we do. You pay it forward with whatever little that you have."

When Hernandez learned of Katz's death, "this young man never once was concerned about what was going to happen to him," Andries said.

"Not even a mention," he said. "He was heartbroken, because here was this man who hugged him. Loved him almost immediately."

Hernandez inspires his fashion school classmates by his focus and his quiet way of handling things, said Andries. Friend Nick Brown, a junior, said Hernandez told him to be the class leader next year.

"He told me I need to step up," said Brown, who also hopes to study at FIT or Parsons The New School for Design. "All around, he's a really good person to be with. He's very positive."

Andries is "convinced wholeheartedly" that Hernandez will succeed, especially because of a work ethic that has kept him at school many days until 6 p.m. to finish his creations.

In a group that includes four other seniors heading to college to study fashion, Hernandez won't admit to being an inspiration for his classmates, but he hopes he has set an example for "just working hard, and everything you hope for will come true."

One of his "biggest personal goals" is someday paying forward the generosity of Lewis Katz and the support he has received from Andries, his family, and others.

"I'm not really motivated by the money," he said. "If I keep working hard, I know it's going to take me to big places. Hopefully one day, I can say I'm in a good situation financially, and I can give back to those who helped me and those who need it, because years from now there might be another student who can't afford college or can't afford fabric, or can't afford class, and I can be there for them, because they're going to be the future."

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2014年5月30日星期五

Thomas Tait Wins First LVMH Prize

Thomas Tait was crowned the winner of the inaugural LVMH Young Fashion Designer Prize, a project that has shone a spotlight on a swath of indie labels and their challenges.“Congratulations,” said a beaming Delphine Arnault as she handed the slender Canadian women’s wear designer a golden helix of pearls wrapped around a star. The trophy by artist Jean-Michel Othoniel comes with a cash prize of 300,000 euros, or $409,270 at current exchange, plus a year of coaching from LVMH Moët Hennessy Louis Vuitton executives.

Arnault said the winner was selected on the basis of talent, creativity and potential for development.

Tait said the funds and advice would be a major boost for his London-based label, which sells to about 10 specialty stores.

LVMH Delphine Arnault Thomas Tait

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“It really will benefit every area of the business,” he told WWD, flanked by models in his minimal, otherworldly dresses. “Financial struggle is something I’m very familiar with as an independent designer.”

The announcement was made at LVMH’s headquarters here after 11 finalists had made individual presentations to a jury stacked with the conglomerate’s designers. It was an Instagram moment of historic proportions as Karl Lagerfeld, Marc Jacobs, Nicolas Ghesquière, Raf Simons, Phoebe Philo and Riccardo Tisci, along with Kenzo’s Humberto Leon, stood in a row for photos.

“He’s an artist in a way,” Lagerfeld said of Tait. “He sketches very well, and as you know, I like sketches.”

Lagerfeld handed over a booklet showing Tait’s delicate, X-ray-like etchings with a superhero undercurrent.

Tait is already something of a designer’s designer with his innovative pattern-cutting, exaggerated silhouettes and occasional Bauhaus and Constructivist touches. Architect Zaha Hadid is among aficionados of his sculptural, yet streamlined clothes.A native of Montreal and a graduate of its Collège LaSalle, Tait went on to receive an M.A. in fashion from London’s Central Saint Martins. He has shown his collections during London Fashion Week since 2010, when he won the inaugural Dorchester Collection Fashion Prize.

Arnault, the force behind the initiative and a key talent scout at the luxury group her family controls, also sat on the jury, along with Pierre-Yves Roussel, chairman and chief executive officer of LVMH Fashion Division, and Jean-Paul Claverie, adviser to LVMH chairman and ceo Bernard Arnault.

She surprised the audience of assembled journalists and LVMH bigwigs by unveiling two additional jury prizes, each greeted with a roar of applause.

Shayne Oliver, the designer behind the New York label Hood by Air, and Miuniku, by Mumbai-based sisters Nikita and Tina Sutradhar, are each to receive 100,000 euros, or $136,400, plus a year of mentoring.

The other finalists were CG by Chris Gelinas, Gabriele Colangelo, Simon Porte Jacquemus, Tillmann Lauterbach, Tim Coppens, Simone Rocha, Vika Gazinskaya, and Suno by Erin Beatty and Max Osterweis.

Julien Dossena, initially among 12 finalists with his brand Atto, was disqualified from the competition when he decided to shutter the nascent label and focus on his work as creative director for women’s wear at the Paco Rabanne fashion house.

Arnault also handed out 10,000 euro ($13,640) scholarships to three fashion graduates, who each get a one-year post in the design studio of a fashion house at LVMH, home to such brands as Fendi, Loewe, Pucci and Donna Karan.

The winners are Peter Do from Fashion Institute of Technology, who is bound for Céline; Teruhiro Hasegawa from Central Saint Martins, who will work at Givenchy, and Flavien Juan Nuñez from La Cambre in Brussels and the Institut Français de la Mode in Paris, who is to join Simons at Dior.

Arnault noted that each school that produced these graduates is to receive 10,000 euros to “symbolize LVMH’s support” of education that encourages fashion renewal and excellence.

There were moments of nerves and excitement earlier in the day as jurors trickled into the LVMH courtyard, where the finalists displayed their designs in a showroom setup. Assistants in Rocha’s booth carefully brushed dark coats with a lint roller.

Finalists were unanimous that the prize brought a windfall of attention and professional contacts, critical currencies in a competitive industry dominated by giants.

“It’s been exponential, really,” marveled Gelinas, two seasons into his CG line after working behind the scenes at Marc Jacobs, Proenza Schouler and Balenciaga. “The biggest challenge when I started was visibility, because in New York there’s a saturation of labels.”

He said the two-step judging process, with an expert panel whittling down from 30 finalists during a Paris showroom session in February, brought a deluge of sample requests and opened doors to key retail contacts, who have confirmed appointments to preview his spring 2015 range.

“It can really change the trajectory of an emerging brand,” Gelinas said.

The panel — roughly 40 prominent figures from retail, publishing and image creation, including Marigay McKee of Saks Fifth Avenue; Sarah Andelman of Colette in Paris; Natalie Massenet of Net-a-porter; stylist Olivier Rizzo; makeup artist Pat McGrath, and art director Fabien Baron — each voted for their 10 favorites, and a four-way tie bumped up the number of finalists to 12.

“This has been like fuel for us,” said Tina Sutradhar, revealing plans to move their business from Mumbai to London, and start showing in the English capital as early as February. “It’s really motivated us to see what’s out there and pushed us to raise the bar.”

The graduates of London College of Fashion are among designers tapped by Vogue Italia to produce a capsule collection for Pepsi, and they will travel to Dubai to present their designs next spring. “It gives us a lot of hope for the future,” Sutradhar stressed.

“It’s good to know that you’re being heard, and people are taking your work seriously,” said Oliver, confessing that the LVMH recognition changed his perspective, earned him more credibility at home, and prompted him to “take it more seriously.”

He said Hood by Air has been invited to show during Paris Fashion Week this fall. The plan is to present “wardrobe essentials” during New York Fashion Week and “artisanal, directional items” in the French capital.

“We have double the press requests we had before,” marveled men’s wear designer Tillmann Lauterbach, who plans to show his spring 2015 collection in Milan rather than Paris next month.

Participating designers cited a warm camaraderie among their peers, and they relished the chance to share war stories.

“Everyone is under pressure, no matter where they are,” said Rocha, a rising star in London whose most recent collection riffed on Elizabeth I. “It’s great to meet all your peers and you can see everyone striving for the same thing.”

Echoing other designers, Rocha said the prize has highlighted how “young designers all over the world have the potential to grow into serious labels.”

In a separate interview earlier in the day, Tait confessed that he was not aware that there were so many independent labels. “It’s nice to see this network of fashion around the globe,” he said, also hinting that the LVMH exposure yielded “some external projects.”

These are vital to support nascent labels, with German-born, Paris-based Lauterbach noting he recently took on a consulting gig in Korea, in addition to the work he does for Chinese brand JNBY, to support his signature line.

“When you start as an independent designer, you struggle. I did it,” said Tisci, who ran his signature label on a shoestring before being plucked from obscurity in 2005 and named the couturier at Givenchy at age 30.

Asked what guided his choice for the victor, Tisci had one word: “Emotion.”

Underscoring the popularity of such fashion contests — and suggesting budding talents are hungry for funding and business advice — 1,221 designers applied for a chance to win, as reported.

The LVMH competition is unique in its global scope, online-only registration and nomination process, plus a gradual elimination process. The competition was open to any designer between the ages of 18 and 40 who has presented and sold at least two collections of women’s or men’s ready-to-wear.

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2014年4月23日星期三

Anti-Semitic Designer Galliano Gets Dumped During NYC Fashion Week

John Galliano the clothing designer who was famously fired by Christian Dior after spewing anti-Semitic remarks at a Paris café in 2011 apparently won’t be getting a permanent gig with designer Oscar de la Renta either. The team at Oscar was not willing to put up the money that Galliano needed for his design team. Galliano who had gone through about two years of silence addressed his hurtful remarks in an interview to Vanity Fair magazine last year.

"It's the worst thing I have said in my life, but I didn't mean it... I have been trying to find out why that anger was directed at this race. I now realize I was so f---ing angry and so discontent with myself that I just said the most spiteful thing I could.”

In February 2011, Galliano was arrested for allegedly attacking a couple in Paris and using anti-Jewish insults, in addition to making his infamous comments like "I like Hitler" which eventually led to his dismissal from Dior.

Anti-Semitic fashion designer John Galliano will have to find a new home after failing to come to terms with Oscar de la Renta.

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Galliano blames his despicable rhetoric on an on-going battle with alcohol and addictions. In his own words Galliano said “I was either going to wind up in jail or dead.” As time has passed and de la Renta allowed Galliano to show some of his collection this past year he stepped out in what appeared to be a Hasidic-themed outfit and everything fell apart again.

The controversial outfit, which Galliano wore the day of his big Oscar de la Renta comeback this week, reignited the conversation around the designer's ill-advised behavior and his subsequent forgiveness. Barneys Creative Ambassador-at-Large Simon Doonan and stylist Mary Alice Stephenson both argued that Galliano did not intend to offend with his questionable outfit. "I mean, John's dressed like that for the past 25 years," said Mary Alice. "I think it was innocently done," added Simon.

The New York Post blasted the designer's fashion statement, splashing the photo across the front page with the headline "SHMUCK! Jew-bash Designer's Costume Mocks Faithful." "He’s trying to embarrass people in the Jewish community and make money on clothes [while] dressed like people he has insulted," Williamsburg community leader Isaac Abraham was quoted as saying.

Around the same time that Galliano was suspended over the multiple incidents at a Paris bar, NY Mag's The Cut interviewed "a source" who'd "worked closely with Galliano on several projects" who said: "I'm an observant Jew, and I know from my own experiences with him that there's no way he hates Jewish people. He's incredibly gentle."

Galliano who insiders say has been getting sober has been focusing his talents in London. He has also been mentoring fashion students at Central Saint Martin’s College of Arts and Design.

Although no permanent deal could be struck with de la Renta the fashion icon released this statement: “John and I have known each other for many years, and I am a great admirer of his talent.” “He has worked hard on his recovery, and I am happy to have given him the opportunity to re-immerse himself in the world of fashion and re- acclimate in an environment where he has been so creative.” Sources say Galliano is in talks concerning multiple fashion projects.

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2014年4月13日星期日

Fashion Designer Finds Shen Yun Costumes Amazing

The costumes “were just amazing,” said fashion designer, Rossalia Almeida, when she saw Shen Yun Performing Arts for their final performance at the ASB Theatre, in the Aotea Centre, on April 12.

“Everything was really colourful and the colours came out together really beautifully. And the silks as well were just amazing,” she said.

“The shades of the colours were just perfect, definitely. They really did an amazing job.”

Shen Yun is based in upstate New York and according to their website “Every costume in a Shen Yun performance is presented with brilliant colors, displaying a splendid spectacle—from the Tang Dynasty’s “Raiment of Rainbows and Feathers” to imperial dragon robes, phoenix coronets, and cloud capes; from the civil official’s headdress and robes to the warrior’s helmet and armor; and from the traditional rightward cross-collared Han clothing to the ethnic attire of the Manchurian, Tibetan, Dai, Mongol, and Uyghur ethnic groups.”

Rossalia Almeida shares her Shen Yun experience at the ASB Theatre, on April 12. (Courtesy of NTD Television)

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As a notable fashion designer Ms. Almeida has an eye for all the subtleties in the costumes’ colours and designs.

“I think looking at the Chinese culture, the costumes and the colour really spoke about the culture and brought the culture we could see through the designs, definitely,” she said.

“I was actually surprised with the colours that were picked for the costumes.

“I thought they were very creative, they used shades I’ve never expect, shades of each colour that I never expect them to use. Light pinks, and light greys, aqua colours, so I was a bit surprised, but I think it was just amazing, it was amazing really.”

Classical Chinese dance is the heart of Shen Yun but it also includes folk and ethnic dance as well as mini-dramas bringing legends and myths to life.

There were many aspects Ms. Almeida loved.

“It was amazing, it was really one of the best shows I have ever seen, was really good,” she said.

“It was perfect!

“Everything, the screen, the timing, the dancers, everything came together so perfectly, I was really amazed by that.”

Ms. Almeida was already making a list of people she would invite to come and see Shen Yun next year and excited about what next year’s performance might look like.

“They must see it, they must, they must see it,” she said.

“Not only in New Zealand, if they have the chance to see the show anywhere around the world they have to do, they have to see it.”

In summing up Ms. Almeida said Shen Yun is “Unforgettable.”

Ms. Almeida is originally from South Brazil and has worked in fashion for ten years, following her passion and her blood rather continuing in physiotherapy.

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