The Obstacles to Reporting on Black Representation in Fashion - The New York Times

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• The Obstacles to Reporting on Black Representation in Fashion - The New York Times
• 10 Best Fashion Movies to Watch in 2021 - Gotham Magazine
• After the Beirut Blast, Elie Saab Talks Rebuilding and Fashion - The New York Times
• From Stevie Wonder to sunsets: this week’s fashion trends - The Guardian
• With tradition and new tech, these Japanese designers are crafting more sustainably made clothing - CNN

The Obstacles to Reporting on Black Representation in Fashion - The New York Times Posted: 19 Mar 2021 02:15 AM PDT Leaders in the fashion world have pledged to address racism in their business. But to determine whether anything is improving, reporters for The New York Times felt they needed a concrete set of data about the current state of Black representation in the industry. Reporters asked prominent brands, stores and publications to provide information about the number of Black employees and executives in their ranks — including those who design, make and sell products; walk runways; appear in ad campaigns and on magazine covers; and sit on corporate boards. But of the 64 companies contacted, only four responded fully to a short set of questions. In a recent article, a team of reporters published the responses from the companies, along with personal comments from Black stylists, editors and publicists. Below is an edited conversation with those journalists: Vanessa Friedman, Salamishah Tillet, Elizabeth Paton, Jessica Testa and Evan Nicole Brown. What was the biggest challenge in telling this story? VANESSA FRIEDMAN The absolute lack of consistency. You're dealing with global organizations that speak to a variety of markets, tapping into a whole bunch of different kinds of cultural areas. They're headquartered in different countries with different demographics, different histories, different issues with racism and different laws. We had one set of very simple questions, less than 10, that felt like the most basic, obvious things everyone could answer. But only four companies out of 64 answered completely. When did you realize the inability to answer the questions was the story? FRIEDMAN You write what you find, and we felt that it was important to get across that if you have that level of chaos in the basic information, until you can make that into a clearer picture, you can't actually know when progress is happening. Why weren't the companies able to answer these questions? ELIZABETH PATON Every company had its own reservations and issues and reasons. I think, to a degree, it had to do with culture. For example, how the Italian brands perceived what we were trying to do was different than the Americans. I mean, legal reasons were part of it, but the American companies notably provided more information than the European companies did. I actually think that America is in a slightly different place in its conversation about race at the moment. JESSICA TESTA It was almost surprising how reluctant some of the magazines were about participating because their numbers were the ones that were actually going to reflect well on them. I do feel like we were getting resistance from all sides, but one thing we did hear was, "I'll be interested in participating next time." What has the response been like to the story? PATON The majority of brands do understand the work that we're doing, even if they found the questions really uncomfortable. A couple of brands were disappointed that their efforts were not more recognized, even if they hadn't given us full answers. I haven't heard any brand telling us that we made a mistake in trying to undertake this project. They recognize they need this scrutiny to change. You also interviewed people about their experience working in the industry. What did you take away from that? EVAN NICOLE BROWN It was important to me to find the intersections, but also the differences, in what Black professionals in this space felt. Sometimes people in the past have been asked to comment on things, and there has been a fear that might work against them, or their concerns would be misunderstood, but I feel like this project did a really good job at making people feel comfortable to speak. I think that this platform was appreciated, and it felt like there was no fear in terms of just sharing those really honest experiences, which definitely helped the piece and helped confirm the data or lack thereof. What questions remain really interesting to you? SALAMISHAH TILLET For me, how do you continue to diversify the leadership at the top? And then what are the structures and what are the assumptions that happen in those spaces that prevent that leadership from becoming more and more diverse? Because we would like to continue to change all aspects of the industry and all levers of the industry, but if the top remains monolithic, then really they're the ones who are determining how the other aspects of the industry are also changing alongside it. BROWN I was really interested in the tension of where classism comes up in this conversation as it relates to representation. Even if representation in the fashion industry improves on the race front, there's still work to be done on the socioeconomic front. Through this reporting, that was illuminated more for me — which communities are being reached and what the ideal consumer is for so many of these places we're discussing. What do you want readers to take away? FRIEDMAN I think we learned a lot about where the sticking points are and the need for a clear picture of what is going on. You cannot move forward until you know where you are. And it is just time for us all to know where we are with this industry.

10 Best Fashion Movies to Watch in 2021 - Gotham Magazine Posted: 18 Mar 2021 10:44 AM PDT Rihanna at the Met Gala as seen in the film "First Monday in May" What separates a fashion designer from a fashion icon? Is it work ethic, vision, legacy? Maybe it's character or dedication. Whatever it is, we can't get enough. If you've ever wondered what goes on behind the scenes of the world's most famed fashion houses, take a look at this list of must-see fashion documentaries. See how these famous figures went from aspirations to domination, from taking a chance with fashion to becoming the face of fashion itself. Dior, Valentino, Westwood, McQueen and more have all opened their doors to documentary cameras. Watch and learn how these fashion leaders have adapted and evolved over the years, because if you're going to binge-watch anything, binge-watch genius. See also: 10 Fantastic Fashion Podcasts to Binge in 2021 Westwood: Punk. Icon. Activist. Explore the life of the one and only, rebelliously-iconic Vivienne Westwood. The figure that ignited the punk revolution in her time continues to create spunky and distinguished looks that keep the world on its toes. Follow Westwood's journey as she created a new wave of fashion and cultural importance. She continues to thrive and expand her legacy with the same flair and enthusiasm that she rocked the fashion industry with when she first began her career. Watch via Amazon McQueen Released eight years after the legendary designer passed away, archival footage and interviews with Alexander McQueen's friends and family give insight into his life as a powerful, boundary-breaking fashion figure. Experience the life of a man that changed the fashion world through his risky, seductive and limitless designs. His name and designs live on as the Alexander McQueen fashion house continues to carry out his visions. Watch via Hulu Issey Miyake Moves This documentary takes you into the design studio of Japanese fashion designer Issey Miyake. Famous for his uniquely-textured work, the film showcases his uncommon methods of forming character and creating patterned wrinkles in his pieces. An architect of fabric, Miyake desires to ground his work by bringing the clothing and fabrics closer to earth with a variety of textures on his looks. Watch via Vimeo The First Monday in May Take an exclusive look into the high-end annual event that gathers some of the most influential figures in the fashion, art, music and film industries. This picture takes you behind the scenes of the 2015 Met Gala, showcasing an exhibition of Chinese-inspired western pieces of fashion, named "Through the Looking Glass." Featuring iconic looks from Rihanna to the co-chair herself, Anna Wintour, this film is the next best thing to an invite. Watch via Hulu Valentino: The Last Emperor See through the eyes of celebrated designer Valentino Garavani and his partner Giancarlo Giammetti as they prepare for the 2006 Spring/Summer collection in Paris. Chronicling years of Valentino's works, sketches, business decisions and changes, the film journeys from fashion capital to capital as the Valentino name rises to fame. Even though the prodigy has retired, the fashion industry is still under his reign. Watch via Apple TV See also: See Louis Vuitton's Fall/Winter 2021 Collection Diana Vreeland: The Eye Has to Travel Diana Vreeland was one of the most influential fashion editors. Follow her inspiring story from youth to her eventual emergence as the editor of Harper's Bazaar, and editor-in-chief of Vogue. The documentary takes you through her life's journey, highlighting the path she took to becoming a legendary columnist in the fashion industry. Watch via Pluto TV Saint Laurent Born in Algeria, Yves Saint Laurent moved to Paris to pursue his career in fashion. In the end, he built one of the most recognizable brands in the world. This film explores the designer at the height of his career and depicts his difficult personal journey toward becoming an icon in the fashion industry. Watch via Apple TV The September Issue Unfold the mystery of the woman behind the sunglasses. R. J. Cutler follows Vogue editor-in-chief Anna Wintour, one of the most powerful, polarizing and inspiring figures of fashion today. Look behind the scenes as Wintour prepares for the release of American Vogue's 2007 September Issue, an annual edition which marks the start of the new year in the fashion industry and therefor sets the trends for months to come. Watch via Apple TV Dior and I Raf Simmons was appointed creative director of Dior in 2012, and this documentary was filmed right by his side, following Simmons in the creation of his first haute couture collection. Take an exclusive look at the colorful, luxurious and sometimes stressful environment that takes place inside The House of Dior. Watch via YouTube Lagerfeld Confidential One of the most iconic figures of fashion, Karl Lagerfeld made waves throughout the industry. Unlike his famed designs, which were publicly displayed runway after runway, Lagerfeld led a very private life. Recounting his upbringing in Germany, this documentary follows a personal journey as he moved to Paris to begin his career in fashion, as well as exploring how he ultimately became a highly-respected designer around the globe. Watch via YouTube Photography by: YouTube video

After the Beirut Blast, Elie Saab Talks Rebuilding and Fashion - The New York Times Posted: 19 Mar 2021 02:50 AM PDT The Lebanese designer Elie Saab is no stranger to devastation. He began his namesake business in Beirut in 1982 at the height of the Lebanese civil war, later becoming a Hollywood favorite thanks to his fairy-tale red carpet gowns. The last year, however, has brought fresh strains for both Mr. Saab and his country. A financial crisis sent the Lebanese economy into free fall and fueled large street protests even before the coronavirus pandemic began. Then, on Aug. 4, a catastrophic explosion in the main Beirut port killed hundreds of people and caused billions of dollars' worth of damage. This week, Mr. Saab and his son, Elie Saab Jr., the chief executive of the family company, spoke to The New York Times about the future of the city and what may come next for its fashion scene. The interview has been edited and condensed. What is life like in Beirut right now? Elie Saab Jr.: This is a city known for its vibrant culture and lifestyle, its hospitality and its joie de vivre. But the events of the last year have damaged Beirut, and the situation is getting worse by the day. People are on the streets, and they are furious. Elie Saab: This is such a difficult period for our city, and it is getting increasingly hard for people to stay here and make a life for themselves. It is so very sad and not the image of Lebanon we want people to see. Where were you when the explosion happened? ES: I was in the office with my team working on the next collection. At first, the blast was so strong that I didn't know what was going on. It took me a minute in the dust and glass to realize where I was. Every single door and window in the building had been blown out, and there was debris everywhere. My main concern was to make sure everyone who was in the building with me was safe, as well as my parents, family and friends. I found out that my home had been completely gutted — and all our local neighborhoods. It was such a tragic day. But to be honest, in those early hours, I just thanked God that I had lost only material things. ES Jr: I was also in the office but on a different floor from my father. I was having a business meeting when the blast took place. Lots of us were cut by the glass. We were convinced, because of the density of the damage, that it must have come from right beneath us. Then my uncle called from the other side of the city saying his building had also been destroyed, so we thought perhaps we had been bombed by air. There was so much uncertainty, so much panic for others and those you love, and for some time we had no communication with the outside world. We couldn't reach people. It was so dreadful, the damage and the loss of life. I pray that no one has to witness something like that again. The explosion happened in August, yet weeks later you produced a collection. Why was that so important? ES Jr: Lebanese people are known for being very resilient. We don't look back or give up — we move on. It took us 10 days to reopen the atelier and for work to start again. And we did it because we had a lot to do, providing work to our staff and honoring commitments to clients. It wasn't easy, but we needed to be like Beirut — every time dusting itself off and returning to the way it was. This time, though, it has almost been too much for our city. And that was why we made the September collection a homage to Beirut, and to give hope to a future of possibilities. Elie Saab is known largely for fashion that's meant for life's great celebrations. But in the last year few weddings, red carpet events and galas have taken place. What has this meant for your business? ES Jr: A lot had to be put on hold due to security measures to avoid the spread of infection. But we tried not to see it as an obstacle and instead to re-evaluate how we were operating. We still launched five collections during this tough period. We also launched furniture and homewares lines and kid's wear. I truly believe that, as vaccines are rolled out and the end gradually comes into sight, people will want to go out and live and celebrate together and throw all the events that were postponed, making for a strong 2022. How is the fashion scene in Beirut rebuilding itself? ES Jr: Despite the current situation, we have a new showroom and flagship store opening in Beirut. We still believe in this country and want to be present here in a meaningful way. When it comes to crafts and culture, the Lebanese have great talent and, if supported, will continue to offer us a competitive advantage. ES: The world loves Lebanese designers. We, the established ones, are so grateful for that support. But I worry about new and emerging designers here. It is so tough for them right now, and there is so much global competition. They know there is a lot to do, and I think social media helps them get their message and designs out internationally. I have faith in them. And advice: You have to constantly compete and bring something new. Don't give up. You can never give up. Especially in a city like Beirut.

From Stevie Wonder to sunsets: this week’s fashion trends - The Guardian Posted: 19 Mar 2021 12:00 AM PDT Going up Thursday Release date of the new +J Jil Sander for Uniqlo collection. The last one had fashion insiders hitting 'refresh' for the puffers. Adidas Sambas Because Frank Ocean says they're back. Puppets Shockingly, the Lou Reed puppet in the Liz Phair video is not giving us the heebie-jeebies. Daisies Surprisingly versatile – on Holly Willoughby's dress and Lazy Oaf's shoes. 'Pretty frock' or 'club kid' vibe, it's up to you. 'It is what it is' Due a comeback with the return of Love Island this summer. Stevie Wonder circa 1974 Baker boy hat and shades. Surely Anderson Paak's inspo for the cover of Leave The Door Open. Top of the pops.. Photograph: David Redfern/Redferns Going down Socks What you need is 'hero socks' according to Vogue. Think the pink Gucci ones, as worn by Sarah Jessica Parker, and avoid bobbles at all costs. This time last year posts on Instagram Really not helping matters, we think you'd agree. Sunsets They "say very little" according to Gilbert & George. Roadmap countdowns to beer A watched kettle, and all that. Cats and dogs It's all about amphibians thanks to North West's acquisition of Speed, a lizard with its own custom-made Skims outfit. Hats, gloves, scarves It's fair to say, we're over it. Spring is officially here.

With tradition and new tech, these Japanese designers are crafting more sustainably made clothing - CNN Posted: 18 Mar 2021 05:43 PM PDT Written by Lena Vazifdar, CNN In Japan, the term "mottainai" -- loosely translated to "what a waste" -- has deep roots. Originating from a Buddhist belief that every object has intrinsic value and should be utilized for its full life cycle, the credo has been threaded throughout national culture for centuries. "Mottainai and handmade culture is everywhere in Japan," said Kaoru Imajo, director of Japan Fashion Week Organization, said in an email. Sake lees (the residual yeast left over from the fermentation process), he points out, has long been used as a cooking ingredient, and discarded orange peels have been reduced to fibers and turned into paper. Brands like Nisai, in their Autumn-Winter 2021 collection shown at Tokyo's Rakuten Fashion Week (pictured above), upcycle used clothing to design "one-of-a-kind" looks. Then there's the case of boro textiles -- fabrics that are often worn out, but then repurposed, patched together to create new garments. "We have been fixing old carpets, clothes and fabric so we can use (them) as long as we could," he said. "Now, boro textiles are traded very expensively and known as a 'Japanese vintage fabric.'" Today, a number of Japanese fashion labels are channeling these traditional ideas in the name of sustainability, embracing centuries-old garment production techniques and pioneering new technology to reduce waste and lessen environmental harm throughout the production process. An exhibition featuring garments made of boro textiles at The Museum of East Asian Art in 2015. Credit: Brill/ullstein bild/Getty Images Innovation from nature At Shohei, founded by creative director Lisa Pek and CFO Shohei Yamamoto in 2016, sustainable decision-making starts with the dyeing process. Pek says the brand, which operates out of Japan and Austria, has been working with a Kyoto-based artisan to procure textiles dyed using traditional kakishibu methods. During the kakishibu dyeing process, textiles are immersed in the fermented juice of unripe persimmon fruit -- an alternative to popular synthetic dyes, which can be damaging to soil and waterways. After the dyeing process, the fabric is tanned in the sun, creating orange hues. The kakishibu dyeing process also creates a water-resistant effect when oxidized in the air, and provides antibacterial properties. "This is something you might find in a tech fabric," Pek explained in a video call, "but it's already there in nature." This Shohei garment was dyed using the traditional kakishibu method. Credit: Courtesy Shohei Collection/Stefan Reichmann The brand also uses another traditional dyeing technque, called shibori, in its fabrics. Credit: Courtesy Shohei Collection/Yuji Fukuhara Shohei also sources fabric dyed using shibori -- a hand-dyeing technique that dates back to the eighth century -- from a family-run business in Nagoya. Like kakishibu, shibori uses natural dyes (typically derived from indigo) and is less harmful to the environment than its synthetic counterparts. In a similar spirit of eco-friendly production, Japanese designer Hiroaki Tanaka, founder of Studio Membrane, has been working with biodegradable protein resins derived from wool -- the basis for "The Claws of Clothes," a collection of avant garde, architectural womenswear unveiled at the 2018 Eco Fashion Week Australia in Perth. Created in collaboration with Shinji Hirai, a professor at the department of sciences and informatics at Hokkaido's Muroran Institute of Technology, Tanaka likens the protein resin's texture to a human fingernail, and its durable texture to plastic. An image capturing the protein resin process. Credit: Studio Membrane/Hiroaki Tanaka Hiroaki Tanaka of Studio Membrane used resins derived from wool as accents in his "The Claws of Clothes" collection. Credit: Studio Membrane/Hiroaki Tanaka "I wanted to make totally biodegradable clothes," Tanaka said over Zoom, through a translator. "Because it's just made of wool, it's very (ecologically friendly)." However, Tanaka admits that his protein resin is better suited to wearable art than everyday clothing. When the resin is wet it reverts to its usual wool form, and loses its structure. However, since wool is biodegradable, he believes the material could be used to replace certain disposable items, such as diapers, that are currently filling landfills. Using tech to combat waste As fabric choices are integral to sustainable fashion, new technology and machinery is also at the forefront of this environmental movement, decreasing the amount of fabric wasted during pattern-making, sampling and sewing. In this arena, Japanese manufacturer Shima Seiki has set the standard with its computerized Wholegarment knitting machines. Unlike the traditional way of producing knitwear, where individual pieces are knitted then sewn together, Wholegarment items are seamlessly knitted in their entirety in a singular piece. With Shima Seiki's computerized Wholegarment machine, a whole garment is knitted in a single seamless piece. Credit: Courtesy Shima Seiki Mfg. Ltd According to Masaki Karasuno, a Shima Seiki spokesperson, up to 30% of fabric is wasted in standard production, when individual pieces of pattern are cut from bolts of fabric before being sewn together. "All of that is eliminated when an entire garment can be knitted in one piece directly off the machine," he said in a phone interview. Wholegarment's machinery gives brands the option to produce clothing on demand -- another way to reduce industry waste. "Mass producing garments based on projected demand tends to overshoot actual demand (and is the reason) why there's a lot of overstock... which results in waste," Karasuno explained. "Wholegarment can produce the number of garments that are required, when they are required." Nisai, a brand that upcycles used and vintage clothing, shows at Tokyo's Rakuten Fashion Week on March 15. Credit: Japan Fashion Week Organization Another look from Nisai's Autumn-Winter 2021 collection that was featured at Tokyo's Rakuten Fashion Week. Credit: Japan Fashion Week Organization In 2016, Fast Retailing Co., the parent company to fast fashion giant Uniqlo, started a strategic partnership with Shima Seiki called Innovation Factory, where they produce a variety of Wholegarment knits for the Uniqlo brand. Since then, Italian fashion label Max Mara and American clothing brand Paul Stuart have also turned to Shima Seiki's Wholegarment technology. Shima Seiki also offers a virtual sampling platform which provides realistic renderings of individual garments -- alternatives to the physical samples that are produced as a collection is developed. Often, sampling is an iterative process, with factories sending new, tweaked versions of a garment until the designer is content with the final product. While the process is helpful for designers, allowing them to adjust for factors like fit, placement and quality, these prototypes often end up landfills. "Each of those samples that gets wasted requires time, cost, material and energy to produce ... and all of those are just thrown away," Karasuno said. Shohei has been partnering with No Form, a digital design studio, to produce realistic 3D images of some of their garments using tech similar to Shima Seiki's virtual sampling platform. These renderings can be used in their online store in place of photos of samples. "It's the same as when you think about architecture, where you create a model... before building it," Pek said. "It's also another way to be environmentally friendly and save costs." Related video: The artisan making warrior prints for modern Japan Christina Dean, the founder and board chair of Redress, an environmental charity that aims to reduce textile waste, believes the steps taken by Japan's fashion industry is setting a positive example for a healthier fashion ecosystem internationally. "I think it's very interesting how islands deal with innovation. If you have a country that can't have endless landfills, and you can't ship all your waste and dump it somewhere else... it drives innovation," she said in a phone interview. "When you go to Japan it's a beautiful, considered, minimalist, cultured society, and if you couple their traditional past with the fact that they are very high tech, the textile industry in Japan is a champion in terms of technology."

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