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The Spring 2021 Paris Digital Fashion Week Recap You Need to See | Runway Recap | WWD

Maybe I don’t have to go to shows. Maybe I just can sit here in my apartment in New York City and I can play with my cat, break for lunch, and take a phone call in the middle of it. Hi, guys. My name is Alex Badia, I’m the style director of Women’s Wear Daily. And we’re going to be speaking about Paris highlights and trends, from the first Paris digital fashion week. I mean, to be honest with you, I’ve been going to Paris for 19 years. And this is the first time that I’m not going. But to my surprise, I have to say that, this has been a very interesting project and process for me too. Witnessing what all these designers have to say in a digital forum has been very interesting. Paris, obviously great trends, great clothing. But when it came to videos and the way they were created, it felt an art form on itself.

See, over the years, I’ve been becoming more and more enamored with Rick Owens and his aesthetic. I mean, obviously, he is basically street Goth designer. But I think that he is one of the best designers at present. The fact that I can mention the brand, Rick Owens, in the same sentence with Hermès as trends and direction. It shows you how insightful and smart Rick Owens is to bring the underworld to the forefront. The main inspiration of themes for the Rick Owens show, for spring/summer, was Phlegethon: it’s one of the rivers—one of the five rivers on Dante’s “Divine Comedy.” But it shows you that he’s never far away from darkness.

The whole thing was inspired by a California surfer, meet a futuristic heavy metal Kiss band costume fanatic. He loves Kiss—the band. It really translated this season in some things that are very trend-focused for the season. Like relaxed tailoring, elongated silhouettes, for this kind of, I want to say, relaxed elegance that is really defining the season. When it came to the video that really—there was something that I really loved about this.

It was basically Rick Owens shooting his look book with his model muse, Tyrone Dylan Susman. They are obviously good friends. And you can see that back and forth banter, when they both are shooting and trying clothes on, and that kind of conversation had a great voyeuristic feel to it that made it so exciting and enjoyable. Another one of my favorite shows was Loewe.

I thought this was so smart. Jonathan Anderson, the designer, sent what he called “Show in a Box” prior to the show. He sent it to me. And it had different things. It had fabric samples, a maquette of the set, and even a sunglass prototype in cardboard. Among many other things. There’s a filing system in it. I hope you can see it properly. But the first thing that I saw that I thought it was hilarious, and super fun, basically the set. It’s kind of like, again, interesting volumes. It looks like a planet Earth, futuristic place? I don’t know what it is, but it’s very abstract, but I love it. As I said, there’s different things. These are different dolls that you can build. These are basically the fabrics of the garments that you can actually touch. And this is a graphic of one of the sweaters. The leathers, the shibori prints, that is a Japanese tie-dye technique that it was very relevant and directional for the collection. These waving technique. A lot of the clothes have these big volumes, the graphic shibori, and also there was a hint of this kind of futurism from the Sixties, from Pierre Cardin.

A lot of the pieces were cut in circles It became sort of like an abstract geometry piece that it was, you know, at times breathtaking. And one of my favorite pieces were a very intricate, woven leather pieces that they felt museum-like. They were seen one of a kind. Another brand I want to talk to you about is called Casablanca. It’s the brainchild of Moroccan French designer Charaf Tajer. It has a big element of humor. This collection is called ‘After the Rain “Comes the Rainbow.” And think about soft tailoring. Think about “Miami Vice.” Think about gender-bending, but extremely masculine and campy. And a total resort, total vacation, escapism collection. I want to show you a shirt that I have from last season. So this is basically a traditional Casablanca silk shirt with really fun prints. As you can see, it’s like the moon. The sky on it—the sky. Palm trees. The beach. But this season, he took it even further. And the video is kind of hilarious. It’s a fake set of a sunset. And you see these models, they are perfectly casted, in pearl necklaces, and suits, and pajama dressing.

Anything to me that is taking preppy, or even Lilly Pulitzer references, and turning them on its head. It’s a guilty pleasure. And I love it. OK, so me saying that Hermès was a chic collection, it’s nothing new, obviously, because Hermès is chic by nature. But this collection specifically had a lot of soft tailoring and very interesting pant volumes. I do think the idea of shirt fabrics used as blazers, and super ultra-thin shirt jackets used layering pieces, felt very Hermès, but very now. I do think that the aesthetic of Hermès designer Véronique Nichanian feels very relevant right now.

If you look at the collection there were the traditional tie-dye in sweaters. I think that prints in sweaters, artistic prints, is a big trend as well. The overall color palette of the collection was, you know, soft tones, earthy, and a little bit of pastels. But Véronique injected, all of a sudden, bright yellow neon. That’s sort of like it was a punch of energy. So I do think that that mixture of the color palette, and the construction, and the lightness of the fabrics really felt this kind of perfect feeling for spring 2021. When it comes to the video, I thought that was very interesting. They re-created a backstage moment before the show.

Something called “first looks.†First looks is nothing else than the first seven to 10 looks. When the models get dressed, there is that sense of excitement. And then they normally are being shot backstage. The designer, looking at the first looks, right before. And those are the first 10 looks of the collection. And they really pay attention to everything, but particularly those are really important looks. The video was filmed by video artist Cyril Teste and everything was shot in one take. This idea of following designers, and Véronique, and the fast-moving pace of the backstage, all in one take, really gave you the feel that you were there. And it was kind of really exciting—that together with the flowy, and soft, and elegant collection made Hermès definitely a highlight, digitally and creatively. I want to talk now about Dior. It’s always a highlight because Kim Jones, has been there since 2018, he’s really a great designer. He normally collaborates with an artist every year, contemporary artists. But the artist that he chose this year. His name is Amoako Boafo, he’s an African designer, felt really special. We need to remember that Kim Jones grew up in Africa.

They both met at Art Basel Miami, I was there covering it for Women’s Wear Daily, and Kim Jones chose Miami to present one of his men’s wear collections. At the same time, Boafo was having a residency at the Rubell Museum. And the Rubell Museum was physically next door to where Kim had the actual show. And I think it’s interesting because that connection really developed in a full-fledged collaboration that really transformed into basically using a lot of the portraits of Boafo. And again, the coloring, it’s this vibrant colors that you see in a lot of Boafo’s paintings are throughout the collection. And a lot of the trends were present. You had the chic utility, that we’ve been talking about, appears in short shorts, the elongated silhouettes, also, in the use of trenchcoats. They use a Teva sandals with socks, gave you that youthful and fun energy that’s also happening.

Some of the prints are also palm prints, florals, are very youthful and fun. A little bit of the pajama reference with the silk. Dior, the house, made two videos to show the collection. But the second one is the one that really stole my heart. It was done by video artist Chris Cunningham. And he showed Boafo’s work. Cunningham went to Ghana, where Boafo is from and show how he paints—the whole technique. And shows the subjects. It’s all fingerpainting. It was really insightful. And at the same time, you had Kim Jones share some of his feelings of the paintings.

And I watched that probably two or three times, the video. And I really felt, “Oh, maybe, maybe this “fashion week is great after all. “Maybe I don’t have to go to shows.†It might be easier. But when everything is said and done, here comes Jacquemus with a show. Jacquemus, the last day, says he’s having a fashion show an hour outside Paris. A physical show in a wheat field. And he was able to build a 600 meters of runway. Just to tell you, that’s a long runway. And it was sort of like a movie. The way it was filmed. When it came to the fashion, it was subtle, it was charm, it was perfect for summer. The slipdresses, pencil skirts, high-waisted pants, bra-like tops. Very Jacquemus for women’s wear. For men’s wear, again, the printed shirts that we talk about, the pajama bohemian, loose tailoring and fluid. Again, very summery fabric. Total escapism. It just really made me so upset for not being there.

And I really sort of—I left it thinking I need to be at shows. And there is nothing like a physical show. A lot of designers want to go back to the physical runway. But everybody has learned a valuable lesson that you can have great messaging, great artist collaborations, doing these digital videos. And I do think that a lot of these brands will maintain an element of digital video Even doing this video right now, I realized in the process, that one thing that has been extremely enriching is about the element of storytelling. Being able to be centered and understanding the story behind the collection. I gained a very good understanding of the overall process and the message of each brand. And I feel that I’ve learned more, and I’m able to gain a different perspective, of brands that I thought I knew really well.

And don’t forget to check for breaking news and the latest reviews. And I hope to see you in person come September. Bye, guys..

Read More: Tod’s Мода оÑень-зима 2020/2021 в Милане / Одежда и акÑеÑÑуары

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MARCELO BURLON Full Show Autumn Winter 2015 2016 Milan Menswear by Fashion Channel

  <br><p><span style="background-color: rgb(249, 251, 253);">MARCELO BURLON Full Show Autumn Winter 2015 2016 Milan Menswear by Fashion Channel</span></p><br><br><a href="" target="_blank" rel="noopener">As found on YouTube and published by Fashion Buyers Network Interns, Members and Staff</a></body></html>
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Mister Triple X and The Black Tape project on the runway

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Looksgreat New Designer Awards 2016: Rixo

hello my name’s Henrietta hi my name’s ora and where the two fighters at Berkeley London rixel is advised making really amazing product we don’t really follow any trans we just are really vintage inspired Word ray is really influenced and by the vintage eras and 22 the 70s and then we like taking elements from different eras you really wanted to be a ground where anyone of any age from any background good where I think about offerings think different as well so customer that wants something a little bit more special in the high street and a goal and blue brick sale in the future is to really focus on our product and the print think that’s know that we want to become known for.

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Hidden Gem Alert!!! NEW Salvatore Ferragamo Pour Homme OUD


talk about a under the radar fragrance guys i did an unboxing for you guys i think about a week ago  i did some voting i you know posted something in the community here on youtube and you guys voted  many of you said please i want to see a full review and i want to do a full review anyway  because i was blown away by the first sniff but we’ll just leave it at that if you want to learn  all about the new salvatore ferragamo ud por um be sure to stay tuned because the review is up next  welcome back to another fragrance review today it’s all about the new salvatore ferragamo  por on ud or ud porom which was released last year sometime mid last year mostly in europe in  the middle eastern market it really didn’t make it here to the u.s it was really under the radar you  know which is one thing that i love to do is blind by myself i know it’s not something i condone  because you can always it can always backfire but this was a pleasantly a great surprise that i did  with my first unboxing first impressions i have the dried down here on a piece of paper but before  we get into the scent itself let’s talk about the presentation it’s really really nice you have this  golden slash copper you know embellishments here in this black box which has also some nice cool  tri-ball slash flowers i don’t know if you can capture that on camera or not but it’s a really  well made box really nice you know bottle as well i love the contour here which is really cool  it’s got this nice you know twist and turn shape sabatore ferragamo at the top also embossed on the  glass itself uh the cap is heavy plastic it’s not metal it’s not magnetic the sprayers are actually  pretty good you get a nice distribution and descent we’ll even talk about the scent very soon  the great thing about this of course was maybe an exclusive to the middle eastern market it’s an ood  fragrance if you will didn’t quite make stores here saboteur ferragamo it’s not really a brand  that normal or regular general stores do carry but and it smells so good i can’t wait to talk about  the scent with you guys you can actually find this at fragrance by dot state for heavily discounted  i think the retail for this was about 150 130 msrp but you can find this fragrance for about  less than 50 right now they still have it in stock by the time i’m filming this  um i don’t know in the next couple days if it’s still going to be available but right now as  of the time i’m shooting this which is early november this still available at the website  for under 50 bucks so i’ll have the link below if you guys want to check it out there’s also a sale  going on right now fragrance by commemorating their um anniversary sale i don’t know by the  time i’m actually posting this video if the sale is still going to be up but enough of  that let’s get into the scent itself so let’s talk about the scent itself i have it on this  test strip right here the dry down it is my scent of the day i will do a quick spray here as always  talk about the opening and my god this opening is bold it’s brash it’s bodacious it’s one of those  fragrances that at hello it’s definitely going to scream quality this could have  easily been a niche fragrance if this was bottled by let’s say tom ford private blend  and they would ask 300 bucks for a 50 mil all of us will probably pay happily because this stuff is  just amazing it smells just so good it starts off sweet and spicy so you’re going to have a  ton of spices going on here there’s definitely a booziness going on which is like a cognac slash  rum kind of a cord which is really boozy really um just captivating right up top that booziness here  will stay throughout the scent until about midway point once you get into the heart of the fragrance  that booziness from the cognac slash rum is going to fade away to make room for the leather  uh the spices will come to play which will become a little drier of a fragrance  uh the food is just going to peak its hat it’s not really a predominant food  even though it’s called por um i don’t even listed as a note i do get a tiny bit of a  little bit animalic slash smokey food facet in the fragrance but it’s ever so slight ever so smooth  ever so in the background the most predominant feel here it’s going to be this animalic leathery  feel if you guys are familiar with bellamy you know the classic incredible air mass fragrance  bellamy the original this has a very uncanny familiarity with that fragrance so if you like  fragrances of old you know classic traditional timeless classics you’re going to really enjoy  this especially with the modern twists and turns that they add here i love the lather here i love  the booziness the cognac the rum the spices and the tobacco there’s also a really really nice  tobacco i love tobacco especially full in winter i think it’s perfect for tobacco and this is a  gorgeous combination of leather tobacco and spices when you get into like 35 minutes or so right into  the heart of the fragrance it takes a little turn again it goes from the boozy sweetness that  you get from the beginning into this dry leather tobacco spicy woodsy kind of a dry down which is  really good in my opinion this is what you get now from the heart which is going to be  what is going to stay throughout the remaining life of the fragrance which is actually  quite good we’ll get to performance in a second but i love what i get from the beginning and i  love that transition from that boozy sweet uh creamy fast that turns into this dry  almost rough and tumble leather kind of a feel dark spicy bold you know i think you need to like  fragrances of old that has that traditional that timeless beautiful leather facet that i love which  is almost animalic and kind of rough and not for everyone but it also adds this nice creaminess  which is quite modern almost like a honey accord with that tobacco which gives the  fragrance a nice modern feel so don’t think that this is going to be aged because it has  a perfect combination perfect balance like i said before this would have been a great niche release  and i have to tip my hat off to salvatore ferragamo for putting such qualities so  in the heart it’s going to be mostly that spicy leather dry facet that i get in this fragrance as  you get to the dry down about 40 minutes into the fragrance this is where it’s going to be magical  because on top of the lather and top of the spice there’s a little bit of an ooh that i get  the leather will be enhanced by two things benzoin which you guys know benzoin has this vanilla  kind of a vibe which is also a little bit resinous and very creamy and also has a white wood presence  that adds this nice suppleness this nice soothing and and smooth um you know round to the fragrance  so it really dries down incredible you’re going to have the lather the tobacco with a little bit  of hint of the wood that i talked about the spices it is rather dry but you do have a smooth creamy  component added by the benzoin and the guayaq wood so all in all a great fragrance from beginning to  end just very enjoyable great for the seasons we have going right now i think this is great for  date scenarios i think this is more fitting for evening wear and dressier occasions but i most  definitely think that you can pull this off during the day for the office i think this would be great  for meetings if you’re a ceo type of guy or if you’re somebody who wants to convey  a very well-rounded vibe about yourself that you’re somebody who knows where you’re going  knows what you want i think this is like a boss ceo type of a vibe type of ascent this is a  attention commanding fragrance if i had to say you know the perfect way to describe this is a  fragrance that will turn heads as you walk into a room it’ll leave a tremendous siage if you want a  fragrance that projects really well for the first couple hours and leaves a great ciash this will  be a great one now as far as the performance as we talking about that i think it is great when  it comes to the projection it pushes really nice for the first hour and a half two hours  leaves an incredible siege especially if you spray your clothes but as far as the longevity  itself on skin i got about seven to eight hours at the most um if it was really cold out i had to  really go crazy on the sprayers meaning i had to do four to six sprays if i did about three to four  it would be around the six hour mark which is really not bad i mean if you spray your clothes  you’re gonna get that tremendous size that i talked about so performance is definitely above  average and for a fragrance of this quality of this you know kind of scent profile just below  50 i think it’s a complete steal if you have a taste like mine if this all sounds interesting to  you i think it’s definitely a great pickup a lot of people when i did the first impression asked me  hey max is this a safe blind buy i don’t think any blind bites are safe no difference here but if you  have a taste like mine and if everything i talked about in this video sounds interesting to you  this would be a great pick up a great addition to your fragrance wardrobe especially at this  time of year if you’re looking for a great fall slash winter fragrance to rock for the  next few months i know i will definitely one of my favorites from salvatore ferragamo a total  hidden gem and one that you can most definitely expect to see in my top videos in the upcoming  seasons for the next few months definitely make some top videos for sure this stuff here is fire  three words that are used to summarize sabatore fergamo por om ud or wood peron this is leathery  it’s spicy and it’s warm so if you like those kind of fragrances this is definitely a must try  so my final assessment for salvatore ferragamoud prom this is a great release from 2019-2020 um  it’s a shame that fragrances like this and here’s another one too guys if you like  noir umbra from esimiaki you’re gonna love this because they share a lot of the similar  uh spicy components a lot of creaminess some ambree facets so if you like that fragrance  this is a great one to check out and again going back to what i was saying i think it’s a shame  that fragrances like this remain under the radar unless we bring it forth once we talked about it  kind of hard to find them in in the u.s especially i think they stay you know close to the european  market the middle eastern market and this is the stuff i love to see from the designer house  kudos to salvatore ferragamo which i put it right up there with isimiyaki and right up  there with cafe i think they’re always giving us some really daring and unique fragrances that are  off the beaten path case in point right here guys so as always let me know if you have tried this  one what are some other hidden gems that you guys have found and discovered this year so far please  be sure to comment below go crazy i want to maybe check out some new ones some some things that i  haven’t tried yet and i want to definitely uh see what you guys have found that maybe i’ll  find my next best hidden gem so go ahead leave your comments below let me know if you’ve tried  salvatore fergamo ud prom wherever you are in the world maybe you have access to this please  let me know your thoughts on this if you like this video if you took anything of value please leave a  like touch that subscribe button for me and touch the little bell icon so you get videos like these  hidden gems top videos straight into your feed as always remember fragrance is emotional emotion  it’s an extension of your character so be sure to choose your fragrance wisely and where  which really moves you i’ll see you right back here again real soon take care

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Stella McCartney on Fake Fur, Rihanna, and Good-Fitting Bras

what’s happening is that the reality of what’s happening over there where are you cropping can you crop above my head I’m a mysterious so like we’ve interviewed cell from a great height top of my head I’m Xing Xing and today broadly meet Stella McCartney I’ve come to Harrods to meet with Stella she’s launching a new area in one of the world’s most luxurious department stores she’s an outspoken fashion designer and daughter of a pretty famous rock star interning with Christian Lacroix aged 15 and heading up French brand Chloe by the age of 25 it has been a pretty charmed rise the other fashion ranks and she now runs her own label she’s a child of two celebrity vegetarians her mother Linda was a staunch animal rights activist and creator of the world’s most famous vegetarian sausage this has had an impact on her entire career and she’s not afraid to blast the fashion industry for the use of leather and fur and has even fronted videos for animal protection charity patter she’s brought a fresh perspective to fashion and design as blazed a trail in promoting ethical sustainable fashion I wanted to find out how she squares these principles with running a successful global business I’ll let you hide hey how are you miss Ct should I see you at the BRIT sister did seem Prince’s come out to a little redeye thing happening today I’m a huge fan of your bags because you look at them and you think yeah but it feels so soft and it feels so real yeah how much work goes into a bag like that oh my god I think it’s one of the most sort of intensive parts of the process for us from day one the manufacturer of it you have to just approach in a completely different way so we make all of our accessories in Italy and the finest factories but in the places that make leather do you meet a lot of resistance from people who are like wouldn’t it be 100 times easy if you just went and used leather you know I think you know I was – oh it’s funny I had a CEO who said to me well you know you’ll never have an accessories business right he’s like you know and I was that huh really I’m Jagga didn’t really think that was the case actually if you look at the big fashion houses they really only sell bags or shoes you know there actually is very little ready-to-wear in their stores our accessories business has just been growing and growing and we’ve got a hit bag the Falabella I know it seems so self-evident to you now but talk me through why you decided to take an ante leather anti-fur stands from an early age I was encouraged to be a little bit more sympathetic to our fellow creatures I didn’t even have to think about it was just like if I go in whatever cure I go into of course I’m not gonna kill animals in the process it’s actually our point of difference weirdly enough you know I was ridiculed for many many many years what do you mean by ridicule I find you know where people so kind of dismissive I just think it’s anything different in an industry you kind of normally made to feel a bit ridiculous and also people you know they’re they don’t like um they don’t always like people that are different do they yeah Sabrina so I know you designed some faux fur and I saw that in your autumn winter collection last year do you not think that designing stuff that looks like fur and behaves like fur do you not think that encourages to use you know actual fur I thought about that a lot you know the pieces of fate for I was seeing they were so lifelike that I was like I don’t want to use this stuff because it looks like real fur and people are gonna think real furs acceptable so I created a label called furfrou fur so that you could see it wasn’t real fur and actually in my mind if you see that in the street you’re gonna go that looks like fur that’ll keep me as warm as fur and fur feels really wrong so I’m gonna get that instead I think that the fashions do you can get away with a lot and it is getting away with murder fur is the most unnecessary thing in the world that those animals aren’t eaten if they try and pretend that the fashion industry animals are a by-product which by the way they are not they are bred to be killed been made into bags the fashion she is supposed to be modern and I think that working the same material for thousands and thousands of years when it’s not environmentally friendly and it’s not needed I think it’s really old-fashioned I like you lot oh bloody solving my head what is that Yuri and I won oh right yeah I fell asleep with that in my head anyway let’s go come on let’s go we could all hang out tonight I wanted to just kind of take it back and ask you did your parents expect you to go into fashion at all well I was pretty kind of adamant that I was gonna do it quite early on so by the time you got to Sint Maartens and you did a graduate show and you had Kate Moss and Naomi Campbell modeling for you which is amazing which is very unusual it feels like so long ago Matt yeah I did didn’t I mother they were my friends we were hanging out in London with they still are my friends and I was kind of in this situation I was like I’ve got a graduate show and I’ve got to get models and you’re all my mates I’m hanging out with you 24/7 and is it weird that I don’t ask you or I know I’m gonna get killed if I ask you but do I care if I get killed and anyone else in my college if they could get Kate Moss to model in it they’d ask em you know damn I think they’d jump at the chance so I kind of mulled it over and then I just thought yeah I think it just happened that I had a very famous set of parents which didn’t particularly go down well has that been more of a hindrance when you were starting out for instance was that more of an obstacle for you to overcome no you know I think about that a lot it’s been with me my entire life and it didn’t sit very well with me great you know when I was younger I mean it’s one of the reasons I went into fashion because I didn’t want to be put into a box and kind of be judged I think you can be the kid of a famous person or a very successful person or a wealthy person and you can work and that’s great you know or you could not work right yeah you were never gonna be the kind of person who sort of lives on a tropical island and that’s it now that sounds quite good no no right Inc of it right before Paris fashion yeah I might just go to Japan so you were only 25 when you were appointed the head of Chloe and that must have been an enormous amount pressure for a young woman how did you deal with that you know I think I dealt with it in a way that I kind of had that wonderful naivety of being 25 honestly I was like I’ll just nip to Paris work at this place for a little bit then I’ll you know come back would you say that was the biggest risk you’ve taken as a designer just like leaving the label that you started and then going over to Chloe no I don’t think I think there’s been many risks I mean I think I’m yeah I’m full of risks I mean leaving Chloe was more risky yeah then leaving my brand because Chloe was doing great you know I was leaving a major hit and then I was coming back and starting the brand that you know that maybe was not going to be a major hit one of the big executives there he said well you know name me one brand that has a woman designing for it that has a global success like naming one as if to kind of scare me out of my decision to leave them is it just kind of just say okay well good luck you’re gonna fail because you’re a woman that’s actually and you’re British she was like in an immune British brand I think Anna Wintour she said once that you were significant as a female fashion designer because there were so few female fashion designers working on a luxury level is it still the case there you know do you still feel like it’s a man’s world when it comes to luxury design I mean you know I like to think it’s it’s less the case I think that it’s quite hot to be a woman designing now for women I think people see that there’s a connection there and it makes sense like wow that would took a long time to figure out you know I think at the end of the day if you’re good you shouldn’t be sort of judged on your sex you should be judged on your work and in terms of you know other stuff we’ve done outside of Stella McCartney the house you’ve done loads of things you’ve done D dhis you’ve designed the uniforms for Team GB for the Olympics so how important is it to you that you have all these fingers in different pies so to speak the the added us that came about because I love sportswear I love the sort of technical side and I love that I can’t do that in my ready-to-wear I don’t have access to those materials to that kind of extraordinary athletic technology that just feels right you know I’m also a woman that exercises and I really at the time was over eleven years ago or something women’s athletic wear was absolutely rubbish you know rubbish with a capital R and men’s was great I was slightly offended you know doing lingerie I wear lingerie I really feel strongly about lingerie for women being you know technically amazing the fit being amazing yeah I think the unique thing about your designs that you design for women in real situations you don’t just design for say women who are size zero and come from Eastern Europe is that fair to say yeah I mean I think the most important thing for me is to serve women that’s what I do that’s my job and I’m not ashamed to say I’m very proud to say it so at the end of the day I want all women of all shapes and sizes all ages and nationalities I want them to feel good about themselves that was great thank you so much oh darling sighs do you think leave include certain having been to Mosquitia her ng like the moon okay like it I love it I usually lows from kids we got to our

Read More: Empowering Women in Business & Management (long version)

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Stuart Weitzman: Secrets From A True (Rue) Insider – promoted by the intern pirate team from Seton Hall

I’ve been with stuart weitzman for 21 years and we’ve seen a lot of changes it’s really easy for designers that come up with beautiful items but to come up with a beautiful item that you can wear all day or dance all night or to get married in and you know keep on your foot all day that’s something that Stewart really strives for and he spends 20 hours a day 7 days a week 365 days a year you know in the factories out of a passion I mean he just loves making shoes that are beautiful but not only beautiful but are comfortable I mean I always marvel at designers that are men where you know you’re not walking in my to survive it like how does he gather the necessary information to make the right decisions for upcoming collections I would say with stewardess actually in his DNA he’s a second-generation shoemaker his father was a shoemaker in New England and you know he grew up in the business and he just always kind of had a natural ability to actually design patterns what make Stuart so unique in regards to designing women shoes the fact that you know he’s a technician he’s a pattern maker and now he’s a designer and the combination of the three is a very very rare thing in the industry can we talk a little bit about technology and the construction of the shade you happen to be wearing one of our beautiful new fall shoes today the boo that you’re wearing right now is filled with all this amazing technology not only to make you feel sexy and feminine but also to make you be able to walk the streets all day so this material which is a leopard print which is one of the key stories of the season you know everything from the jungle from snake to leopard to you know anything that kind of herbs roars boot has a stretch elasticized sway that if you notice hugs are like nicely and if you can’t get that magical item for whatever you’re paying for and we’re all day and be comfortable you just don’t me almost feel like you’re cheated yeah and so you know what his passion and mission is is to find unique ways to make a flat book for example is its kind of it makes me feel like I can is she and comfortable and technology has advanced so much in the last two years that you can make gorgeous prints like for example something like this which is looks like it’s a genuine python yet it actually is made from calfskin its hand scored to have skills of a Python and it has you know kind of the marbling that you would see in a genuine python so all the Ballet’s that we’re making are made on something called a California construction there is no shank which is a metal piece on the bottom of the shoe so it makes the shoe holds its shape but we found a way to come up with a construction that they make slippers on and you know invoke them into ballets which gives you just a complete comfort of experience so between the stretch collar the California slipper construction the ultra suede I mean have an item that amanha leads as chic as can be as well as being on trend but has amazing comfort features I think really one of the things that all of us take pride in is when we’re traveling and walking down the city streets and we recognize one of our shoes and somebody’s foot you know we don’t say well we are we said how do you like your shoes and when we get the answer the most comfortable thing I’ve ever worn you know that’s really kind of what you know gives everybody in the organization satisfaction thank you so much waiting for allowing us entrance into your awesome showroom and always for your partnership because it’s a great thing we’ve built and we will continue to build with straight legs right that’s our pleasure we love came with rue la la you have been shredded partners for us we love satisfying our customers and hopefully you’ll keep buying our shoes and keep giving you great choices to your consumers

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Fashion Culture | Thom Browne in conversation with Stefano Tonchi

[Emma McClendon] Good evening. Welcome to The Museum at FIT’s Fashion Culture Special Program series. Tonight it is our sincerest pleasure to welcome Thom Brown in conversation with Stefano Tonchi. Thom Brown received the CFDA Menswear Designer of the Year award in 2006, 2013, and 2016. He also received the GQ designer of the year award in 2008 and the Cooper Hewitt national design award in 2012. He began his business in 2001 and introduced his ready to wear collection in 2003. His traditionally based hand made suits have been recognized by museums around the world including the Costume Institute at The Metropolitan Museum, the Victoria & Albert Museum, and the Fashion Museum in Bath. Stefano Tonchi has been editor in chief of W magazine since March 2010. Under his direction, W has been a finalist 11 times for the prestigious ASME awards and has received 20 medals from the Society of Publication Designers. Prior to W, Mr. Tonchi was the creator and editor in chief of T, the New York Times Style magazine. From 1998 to 2003, Mr. Tonchi was the fashion creative director for Esquire. He is co-author of Uniform, Order, and Disorder among other publications. Please join me in welcoming Thom Browne and and Stefano Tonchi.

[applause] [Browne] Thank you. [Tonchi] Thank you. Oh, the lighting. The lights are great actually because I can not see you. That makes me feel much more comfortable. Thank you for being with us tonight. I don”t know how you voted and what you did and how you spent the night but [Browne] We all look really tired. [Tonchi] Yes, exactly and there is a reason we were up. I suppose many of us are fairing through the night but here we are. I think there is no better subject to start the new political age than uniforms, and power of uniforms, and the meaning of uniforms.

I will start with something personal. I mean sure, I think you have all seen the exhibition that is next door. Uniformity where you can see kind of the importance of uniforms and the history of dressing. The evolution and the application of uniforms in so many different fields of dressing. I think we all know in this room how important they are and what the history be behind each one of them. So I wanted to start with something kind of personal because lets try to have kind of a good time and a personal time. I have known Thom for many, many years and I think from any of my memories and I am talking about really fifteen years or more. I remember him wearing his own uniform, a uniform that he created for himself.

A button down shirt with a grey tie and a suit that is maybe a little lighter. A lighter tone of grey in the summer and a little darker and heavier in the winter but it is his uniform. Uniforms are usually say are a fashion in a capsule. What I mean is that they are used to signify what group do we belong to and who we want to be apart from. My question for Thom is like how did you come to this uniform and who do you identify yourself with? [Browne] I mean for me the conversation really comes down to I think its both uniforms and uniformity. For me the initial uniform was basically just my designing something that I wanted for myself. The idea of uniformity for me was there is something that is an idea that I feel speaks to power and individuality and I think that surprises some people when you say individuality and you think uniforms but I think there is a true individuality when it comes to somebody that can adopt a uniform for themselves that really makes them a real, true individual as long as it is really personal to them and it is very real.

And that is what my uniform as been from the beginning It is something that I have always wanted myself and it is what I think that people saw after awhile that it was real. It wasn’t something that I had thought up and thought “oh I am going to do this because I wanted to make a uniform for myself.” It was very genuine, it was very simply something I just wanted for myself and also to it was something that for me personally, simplied the act of getting dressed in the morning. I could get dressed in the dark, it is very easy.

[Tonchi] We are all very curious to know what your wardrobe looks like. Is it like an American cycle like white shirts, grey ties [audience laughs] [Browne] Yeah, it is not that unified. But it is very… I like one thing and I do really like that aesthetic and I like the idea of it. But more importantly than just the uniform, I think me being in the world of fashion You know I really didn’t think of myself as entering the world of fashion at the beginning I just wanted to make really well made clothing and reintroduce tailored clothing to guys and to girls in a way that was one, really well made because I think sometimes the most really fashionable things are something that is beautifully made but also two, that played with proportions so that you saw something that was very classic but you saw it done in a way that I wanted to show people. And I think that there was something really strong about the message of it being a very singular story.

[Tonchi] Yeah I think the thought about making it something that has a lot of meaning for you but also can talk to people and communicate some sense of belonging is so important. I mean we are clearly talking about modern uniforms; civil uniforms. This uniform they somehow made, that is a great suit that became part of the male wardrobe in the nineteenth century. Men were very colorful and their wardrobe was much similar to the female wardrobe in the sixteenth and seventeenth century but later became this uniform. like for a dark suit that is somehow connected to the military uniform that is really probably the beginning of the modern male dressing for sure. If you have looked at the history of uniforms through your work I mean behind us we have images that show a lot of the evolution coming from military uniforms as a prototype and as a starting point. [audience commentary inaudible] [Tonchi] Ok, sorry. I will do my best. So I was talking about…should I repeat or? I was just talking about how military uniforms are the roots of any type of civil uniform that we wear today.

Clearly when we were talking about Thom’s uniform we were talking about a civil uniform more than a military uniform. But still, military uniform has been very important in the evolution of the point and the things that Thom has been presenting. [Browne] Yeah I mean, for me through different collections I have explored the idea of more military type uniforms but for me, the idea of…then a lot of people have explored military uniforms… and for me the idea of uniformity and taking I guess a more non-military form idea and making it a uniform idea is a lot more interesting in the way I approach a lot of my other collections. or it is really sometimes the collections don’t speak to uniforms at all but the idea of the way that the collections are designed are in a very organized, very uniform way. so it is not only [Tonchi] And presented in a very or more military formation. [Browne] Like even in this show you see here, I mean of course there is forty different plaid fabrics and based on the classic ideas of what my clothing has been based around but there was such a uniform and such a strong individual story that went into that collection and the way that it started and of course there are some not uniform ideas to make that uniform more interesting.

[Tonchi] So in a certain way you can think that kind of creativity that you put in every single piece of your collection but presenting in a very uniform way. You are in a very military way. [Browne] Yeah I think that even to my last point, the way that we all work in the office I think it is a very personal way for me of working in a very uniform way.

There is something I like, I swam growing up so there was a lot of discipline in my life when I was a kid in regards to my life being very organized and I think there is something very comforting for me in regards to working that way and even the collections are designed, they are really designed from head-to-toe at the beginning and I feel like that uniformity is very important because I know that the story that I am telling will be exactly the story I want people to see.

Because of how militant I am…in the way of working. [Tonchi] How focused. [Browne] I am not as boring as it sounds but it [laughs] but it keeps it easier. [Tonchi] Well I mean I think you always leave space to imagination and also interpretation. You know, I mean often it shows of yours and different people have completed different read of what you want to say. [Browne] Yeah, well even in that I do love when people do interpret the shows in different ways and I think that that is very interesting to me. I think it is nice to put ideas in front of people and for people to have different experiences and I think that that is one of the most important things that I like to express in the shows.

[Tonchi] Talking about the shows and talking about the clothes, talking about menswear, uniforms I mean there is something that is typical of uniforms but is also typical of any of the fashion garments that we look at and for sure many of the clothes that you design is need for theatre and in need for function. On one side, that is what uniforms wear in like in history when you think of the king of Prussia and German uniforms and that need for scaring people, for creating drama you know I think about the hat, the feathers, and the bright colors or dark colors and on the other side, you have the functionality of uniforms that were the first form of ready-to-wear I mean, also they had to respond to different kinds of weather conditions, different situations, different movement, different bodies.

So when you build clothes I think you want one and the other in a certain way and in that sense you are building uniforms, you are building clothes that in a certain way have to talk to you and create emotions. And on the other side, have to be functional. [Browne] Yeah. [Tonchi] How do you play these two? [Browne] Well I think the most important thing is to approach it, I kinda think that everybody approaches it differently I definitely approach my collections from a more provocative point of view.

I do like to make people think and I like to tell a story and I like to entertain and you know some collections are more provocative than others but the most important thing for me is that people see things in a different way and it makes people think and you know some people hate them, some people like them and I think I would rather those different opinions as opposed to somebody just liking them. I think the most important thing to in regards to as provocative as you get is the function and the way that something is made and I think that I would never put something in a collection in front of people as provocative as the idea is I would never just jury rig something together for shop value. You know I have done things in my collections. I have done three-legged trousers and things like that and you know it was as seriously thought out as a classic pair of trousers. So I think it is really important when you want to especially in regards to being theatrical or being provocative.

I think that it does have to be followed through with some type of function. [Tonchi] Yeah because I have in mind so many shows where your clothes had incredible theatre presence . You know, I remember one in Paris where they were incredible uniforms really. The construction was so strong and so important that it was almost difficult for the movement. [Browne] Yeah. Well between the fabric and the…yeah. [Tonchi] So sometimes you do in sue that they are, you know? A little bit… [Browne] Well yeah, but I mean I also approach these shows to, from truly a design and provocation end. Of course you have some people that are like “who would wear that” or you know, “how many will you sell” and that is not always the point. It is really… [Tonchi] Yeah, I agree. [Browne] If you were to see in the showroom there are versions of that that are more wearable and you know, express the idea that you see but that piece is literally not always the one that is going to sell but we do surprisingly sell most of them.

[inaudible] [Tonchi] And how do you feel innovation and technology is taking an important role in your work? I mean especially working with in your collaboration with Moncler, there is a lot of technical developments that you do with them and sometimes I know that Remo, that is the owner of the company, and he always talks about your imagination and pushing the boundaries of what can be done. [Browne] I think that you know you always have to look for what is happening next and how you can push. Especially when you base a collection in classic ideas. You have to make sure that you do introduce them or reintroduce them in ways that are relevant because there is nothing worse than doing something that is classic and it is still classic and you know there is no reason for people to see it over again.

So I think every collection there is, in different ways whether it is fabric or whether it is different shapes or even the way that the collection is shown is important to make it seem like you are thinking about keeping things moving. [Tonchi] Mhm. Do you think that innovation comes more from the fabric, from the research of fabric and yarns or more from researching forums? I mean what interest you more deeply these days in particular to I don’t know, I am very fascinated by the fact that Nike is saying that everything will be knitted in the future and they will be more… [Browne] They will be more what? [Tonchi] Knitted, from shoes to garments. Every new garment that they are putting out is basically knitted. [Browne] Yeah I think I couldn’t say that one thing is more interesting than the other. I think all of it is in, you know, we work with so many good people that introduce different ideas in regards to everything. I think that is what makes every collection you know as interesting as the last.

I think sometimes at the end of one collection you always think like “what am I going to do now?” And it seems like there is always new things happening that are introduced that can change even the most basic idea into something really interesting. [Tonchi] Well I mean looking at your work and this is a very personal opinion, I think you have shown innovation can come just from the change of proportions. I mean the first discovery that I had of your work was just very per say, traditional suit but those proportions of that suit would change erratically and actually that little change of proportion, you know the shortening of the jacket, the pants, the waist point, and all of that really changed the history of menswear for the last ten years. I mean I have to give credit to Thom for changing the shape of menswear in the last ten-fifteen years.

And really I mean holding that point for all your career I think. I want to talk about something else for a minute, actually the show that is across the street Uniformity and in one of the notes they are to say that uniforms are the opposite of couture. Somehow and like really uniforms are the opposite of couture because they are the first application of ready-to-wear. It is the place where we look for kind of where sizing happens and like where savings in fabrics and mass production happens through history. So in your work you have been always kind of walking on the line between couture and something that is more like ____ or like ready-to-wear. Can you talk a little bit about this line? [Browne] Yeah I think it could be simply said that I really approach very uniform ideas from a, and I would never give myself credit to say at the couture level but at the best level that I can really achieve.

And I think that is what makes that uniform idea more interesting because it is very important to me on the level of quality of how the collections are put together and like I said it is basically that. [Tonchi] Well it is like that idea of uniform doesn’t become uniformity because each piece very often, especially in your runway collection becomes unique because there is so much work, it is really like a couture piece. I mean think about the embroidery and the work on the fabrics. [Browne] Yeah so it is really more the idea of because the first menswear week here in New York I did a show really bringing back the idea of just the best handmade tailoring that you can make here in New York. And it was all thirty of the exact same suit but there were all you know thirty different fabrics and so it was a very uniform idea but it was at the level of the best hand tailoring in the world.

So it is speaking to that, it is speaking to a very uniform idea at the best level. [Tonchi] I love that definition of uniform couture. [laughs] [Browne] It is really more the mentality than it is what the actual garment is. [Tonchi] So you started your women’s collection, when was it [Browne] Well I have been doing womens really from when I was down under the West 12th Street. So I have been doing the tailoring for womens from really the beginning but the first true collection was maybe four years ago? Yeah. [Tonchi] And do you find working on women very different in terms of like how men do like to buy the same thing over and over especially if they find kind of security with that kind of fit and they get very kind of upset if they can not find that fit anymore. If something changes in their favorite shoes or in their favorite toothpaste for that matter. So women are much more adventurous and I think that changes part of the way of thinking in a certain way, absolutely.

How do you approach womenswear in a different way from menswear? [Browne] I approach women’s the exact same way as men’s but it is certainly a different audience and I think that everybody that works with me I am sure could tell you a story. I think there is such power in that uniform idea for girls as well. Actually I think that it is more powerful for you know, in the women’s world and I think because there is so much out there for girls and I think there is so much choice, and I think there is so much reason for them to be able to try different things, and I think the idea of adopting a uniform in regards to the women’s world, I think there is something so powerful because I think there is something so powerful about somebody that looks like they have found their really true, sense of their own style and they stick to it day-to-day.

As opposed to them thinking they may want to change and Monday they may want to look like this, or Tuesday [drifts off] I mean I couldn’t imagine doing that myself and I do understand that [Tonchi] but boys do it too [Browne] Yeah, I know boys do. So it is a very personal thing and it is a very personal approach too and I think it is something that I have a lot of conversations with women in the women’s world but I think the best collection in the world and the best designers that have been designing in the last one hundred years you know what they have done, you have an image in your head of what they stood for and I think that is the true sense of a uniform idea.

It wasn’t that they were wearing the same thing every day but like you know when you think of Chanel you have an image in your head of Chanel and when you think of Muche, you have an image of what that is. Armani, you have an image in your head. [Tonchi] Sensibility, yeah. [Browne] So it is like it is more that sense of… [Tonchi] It is not necessarily the clothes. [Browne] Yeah, it is more establishing a uniform aesthetic. [Tonchi] And do you think that those clothes are merging between men and women as we see more and more clothing that is not exactly unisex but dual gender in terms of things that pass from his wardrobe to her wardrobe and so on? [Browne] I think so.

I think, well for one, I love tailoring on women so I think there is something really beautiful about the two collections. [Tonchi] Well I mean you clearly have not been afraid in many of your men’s collections. You use a lot of the women’s vocabulary I think in terms of the cut, or in terms of color, or in terms of like prints and things like that. So you see a certain kind of fluidity. [Browne] Yeah. I really do I think it really speaks to real confidence and true indiviuality because it has nothing to do with a trend. It has nothing to do with anything other than somebody having a true sense of themselves and true sense of sometimes having more interesting things to think about other than clothes.

[Tonchi] Mhm. So you feel, I mean do you have a sense of comfort or a panic when you see like one of these sci fiction movies where everybody is wearing the same leotard? [Browne] laughs. [Tonchi] What is your reaction? [Browne] I love like those type of ideas so I think it is the movies though. No, I mean I have done shows that basically could be you know that type of movie so I love the idea of you know, multiplication and… [Tonchi] But in a very couture way. [Browne] In a very well-made way. But the last time we were in…the last time, I was only in Saint Petersburg once but the one time we were there, we have an interesting story.

We got off the plane and we were standing waiting for our luggage and there were twenty of the exact same bag that came off the belt and I said somebody has to take a picture of this because it is the coolest thing I have ever seen. There is something very personal and it is something that I love, the idea of that aesthetic. [Tonchi] Going back for a minute to a kind of military and military influences … well the Diana Vreeland said that uniforms are the sportswear of the twentieth century, alright? [Browne] Who said that? Diana Vreeland.

[Browne] Oh. [Tonchi] I think that more than ever, I mean that kind of military uniform inspiration is everywhere in fashion. You have never seen so many like peacoats, like trench coats, and army pants and lots of things you don’t do by the way. [Browne] Yeah. [Tonchi] Even if you have a little fascination with camouflage or you have had some. So why are we still so fascinated by this wardrobe? Is it the power of memory, is it the power of film icon? [Browne] I think it is familiar and I think there is something very comforting for people in something that is familiar and I think it is as simple as that. I mean I have used those references a lot in collections too but I also want to make sure that its not something that looks so literal to that reference.

But I think there is a familiarity that is comforting to people and I think that is especially important when if you are going to put some type of provocative idea in front of people, you do have to ground it in something. [Tonchi] Mhm. [Browne] That they understand and I think that the military reference, whether it be the fabric of the camoflage or you know [Tonchi] The shapes. [Browne] or some other type of shape. I think people will understand why you are doing it as provocative as it is and it may not be for them but there is comforting in that familiarity.

And understanding too. [Tonchi] Yeah I mean for sure it is one of those subjects, there is themes that you can not escape. There is not a collection, menswear or womenswear, where they are not very clear reference to military kind of code and fabrics and containers. Yeah I mean sure, I think there is this idea of comfort the idea of something that is tradition but you can play with… [Browne] Well also I think to your point of unisex too. I think it does play very well for both men and woman. [Tonchi] Yeah, and you can mix it with anything and suddenly it becomes laid back and except the…yeah.

Which one, I mean we were going through your fashion shows, which one of your fashion shows has left a strong memory in this many years of shows? I mean do you have one show that you cannot forget? Or one that you want to forget? [audience laughs] [Browne] No, I can’t say there is one. You know, I have always loved my shows and I sometimes think I love my shows more than anybody else which I think is important because I feel I would never want to put something in front of somebody that I wasn’t in love with myself and I think that is important but in regards to one being better, I mean it’s like asking a parent who’s your favorite child. [Tonchi laughs] [Browne] The show in Pitti (Uomo) that of course I think was important because it was the first show in Europe which introduced what I did to Europe. [Tonchi] It was an incredible location I think. [Browne] Yeah the location, everything just came together really well.

But I think every show, they are very individual and they are a different story but they all are based on really where it started and they are based on that classic idea where its that grey suit that started ten-thirteen years ago. [Tonchi] Yes. Good. I think that we can open the room to some questions if we want to. [Browne] We can’t see you so I don’t know how we are going [laughs] [laughs] Ok guys, any questions? [audience question and commentary inaudible] [Browne] It is really important. We definitely don’t approach it from a small, medium, large. It all depends on how you approach it. I mean different people will approach it differently but I know how I approach the proportion and the sizing is a lot more individual than small, medium, large. So I don’t know if I answered your question, but yeah. [audience question and commentary inaudible] [Browne] Sorry so I can’t, I didn’t hear [audience question and commentary inaudible] [Browne] Um… [audience question and commentary inaudible] [Browne] The question was what is my market positioning and who is my competitor? [audience laughs] [Browne laughs] You know of course it is important to think of those type of things but I have to be honest, I really feel like…

[Tonchi] He is a designer, it is not like the CEO of the company. [Browne] I mean I am very conscious of you know the positioning is I do tailored based clothing for men and women that are playing with proportion and provocative ideas so I guess that’s my positioning? And competitors, I never think of competing with anybody. I think that everybody should just stay true to themselves and I think the worst thing you can start doing is competing with somebody else. [Tonchi] I have some questions here from the audience. Ok, this I think is a nice one. [Browne laughs] [Tonchi] What is the greatest change you think fashion needs to see today? [Browne] I think probably the most important thing is that designs approach more individualistic individually as opposed to I think there is to much of the same out there and I think there needs to be some more unique approaches to design.

[Tonchi] Well I think I could echo you in that. Saying that I think somehow we need to reduce the quantity of fashion that we produce because that could make the thing produced more valuable, more special, more unique, more also time sensitive in a certain way. You know, what happens when you really want something that is always available? You really don’t want it anymore somehow and that is what is happening. I mean now you just go online and somewhere, somehow they will find anything your size and that kind of destroys the desire I think. I mean make things more desirable, that is really what I think has to change in a certain way. We produce to much, there is to much out there and I think it is about limiting the production and making things that can have more value, less I would say fast fashion and more meaningful fashion. [Browne] Yeah, quality. Just the attention to quality.

[Tonchi] Another question that always comes in and is who are your favorite designers? [laughs] [Browne] You could ask a lot but more me I respect anybody that really approaches their collections and their designs in truly their own way and that is the most inspiring to me is somebody that is very true to themselves and just approaches it that way. [Tonchi] Do you see your work as art? Oh, that is open-ended… [Browne] That is for other people to say. I love designing collections and I love making clothing and you know that type of question I think is up for other people. More like Stefano or for Andrew to say. [Tonchi laughs] And this one I think is interesting, why the red, white, and blue as your _____? How did it come up actually? [Browne] It is one of those like simple, starting your own business stories that I was at ____ one day and looking for ____ to put in the sleeve in some of my jacket and I happened to like the red, white, and blue and it stuck.

[Browne and audience laugh in unison] [Browne] So there is no grand story, no political story, and there is no…yeah. It is just something that I found. [Tonchi] Something about vintage that I think is kind of interesting. Can you talk about your views on vintage or the idea of clothing with multiple lives. [Browne] Well I think, I have done a collection very recently on the idea of clothing that sometimes I think gets better and better with age and I think there is something really beautiful when you walk into a store and speaking to your point about what we need now more is clothing that can actually have more lives because I think for one, its importance from a sustainability point of view is that its important that we make things really well so that its something worth spending the money on and also two, it is something that you can have forever or if you don’t, that then somebody else can actually enjoy it.

[Tonchi] Another one here that comes up very often and is very practical actually. What made you decide to start your own brand? And what kind of advice would you have for a fashion student? And we can talk about that, as it is such a topic. [Browne] Well I think the most important thing, I really started because I was working at Club Monico and I was learning a lot in regards to the business but you know the level where it was wasn’t very personal to me and I started my own collection for very personal reasons, was I wanted to do tailored clothing at the best level that I could find and so in regards to, that is how I started and for anybody else, I think the most important thing is to just be really true to yourself because it is so easy for people to give you advice and for them to make you second guess what you are doing but I think if you do something that is so true to who you are and what you want to put in front of people, it is never going to happen overnight and if you are in the business to make money or to be famous then you are in the wrong business I think it is important to just really love making clothing and putting interesting ideas in front of people at a level that the quality is as good as you can get.

[Tonchi] I think that you were working somewhere and you were making your kind of experience. I think it is very important for a student to work in a studio and to kind of learn a little bit from the inside. I think there is a little bit to much of a rush to go on your own and to start your own company and fall into this kind of vortex of experiences and trying to be commercial because you have to ___ or you can put together the next collection. I think there is a value in education in schools as in ___ and places and also trying different experiences in different places. I mean you want to work maybe, you know, for some years in a great tailoring house and then for a few years in a great knitwear factory or like learn how to make great shoes so you have a little bit of a knowledge and then you can decide where you really want to be and what you really want to do. I think especially here in this country, I have seen like this kind of ___ like a race against age and I don’t think its paying off somehow because it takes time to build your brand and it takes time to have your identity build and I think that is what Thom has been talking about.

When you go on your own you have to be really, really strong and resilient and stay faithful to what you believe in and not bend to many suggestions and many commercial like will try to push to the left, to the right and that would bring you like very far from where you wanted to be so I think working with mature people and learning and a little bit of humility I think can pay off in the long run. I don’t know, there are so many questions here. [Browne laughs] [Tonchi] And I think we will take… [Emma McClendon] We are actually out of time, unfortunately. I am sorry to cut off all this but it has been such a pleasure and I really hope that all of you will join me in welcoming so much… [Tonchi] and again, thank you for being with us and taking our mind away from everything else [audience applauds] [Browne] Thank you.

[audience applauds].

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