RITU KUMAR | PAYAL SINGHAL | SANGEETA BOOCHRA | ASHIMA LEENA | AHILYA | SATYA PAUL | SHAZE | AZA | RINA DHAKA | GLOBAL DESI | ZARIIN |
---|---|---|---|---|---|---|---|---|---|---|
Dresses | Dresses | Designer Piece | Kurtas & Kurtis | Kadda | Sarees | Jewellery | Ethnic Wear | Designer | Women's Shoes | Sportswear |
Kurtas | Western Wear | Jewellery | Salwar Suits | BangleSet | Printed Sarees | Earnings | Sarees | Dress Material | Jewellery | Sports & Shoes |
Jackets | Tops | Bangles | Tops | Pendants | EmbellishSarees | Bangles & Bracelets | Kurtas & Kurtis | DesignerSaree | Fashion Jewellery | Gold jewellery |
Tops | Ethnic Wear | Coin & Bars | Leh Cholis | Kadda | Handbags & Clut | Rings | Salwar Suits | Blouses | Bridal Set | Pumps & Pee |
Skirts | Salwar Suits | Earings | Western Wear | Acessories | Bags & Luggage | Jewellery Sets | Chunnis & Dupattas | Gowns | Jeans | Spectacle |
Jumpsuits | Sarees | Chains | Dresses | Earings | Top-Handle Bags | Sunglasses | Bottom Wear | T-Shirts & Shirts | Jeans & Jeggings | Nightwear |
Tuesday, February 25, 2020
'कुंडली भाग्य' की प्रीता उर्फ श्रद्धा आर्या का हर स्टाइल है लाजवाब, इनसे लें स्टाइल इंस्परेशन February 25, 2020 at 06:51PM
19 Classic Black Bikinis To Kick Off Your Swim Collection With
Of course, selecting that one perfect go-to isn’t always as clear as black and
At Refinery29, we’re here to help you navigate this overwhelming world of stuff. All of our market picks are independently selected and curated by the editorial team. If you buy something we link to on our site, Refinery29 may earn commission
Like what you see? How about some more R29 goodness, right here?
7 Swimsuit Trends Taking Over Instagram
Nobody Does Dystopian Chic Like Marine Serre
Is it tacky to care about fashion in the midst of a global health crisis? Maybe. But also, as my mom always says, life is for the living; and by quoting her I mean to say that in order to have the strength to fight climate change and coronavirus and everything else, it’s important to remember why we love being alive.
Marine Serre’s fall ‘20 show allowed viewers to hold both feelings — fear of death and love of life — at once. The audience sat on benches so low, we were nearly on the floor; the space was dark and mirrored, other-worldly from the get-go. Imagining a future in which humans are spread out on inter-connected planets, the collection was grouped around the different cultures on our new hypothetical homes, and the individual environmental and metaphysical challenges they face. An all-white skirt and top, complete with silvery tights and a white face-scarf to protect from moonlight; a double-breasted, floor-length coat fit for battle. Puffer jackets with hoods that, structurally, extended from the torso like an insect thorax, to protect from extreme cold. A black dress with puffer sleeves and a ball-skirt made for time travel. Serre’s visual narrative was so convincing that these scenarios seemed completely within the realm of possibility.
Even though the collection was sci-fi, the extreme wearability of the vast majority of the pieces grounded this future in today’s reality: chic medical face masks; elegant means of sun protection; a tiny pink backpack strapped to a leg. There was even a perfectly tailored wide-legged black pantsuit, which I would like to put on right now and never take off. The clothes were all dystopian but also appealing. Perhaps we’re closer to a dystopian reality than we’d like to admit.
Nearly half of the collection was made from recycled fabrics, and the Frankensteining of materials was intentionally obvious, hinting at a future — and present — in which upcycling needs to become the norm. And speaking of the future, the last few looks of the show starred children, a metaphor for hope that was as optimistic as the fuchsia, frilly dresses she ended with. Despite the changing climate, the spreading disease, the political drama, life will go on.
Like what you see? How about some more R29 goodness, right here?
Milan Fashion Week Was As Extra As Ever
Dior’s Latest Feminist Uniform Is Cool, But Who’s Buying It?
Flashing in red, yellow, and green, three neon signs shouting CONSENT hung from the ceiling at the Bassin De L’Octogone in Paris’ Jardin des Tuileries. The floor was covered in newspaper print. Around the huge, octagonal space were even more brightly lit signs reading: “PATRIARCHY = C02” and “PATRIARCHY = REPRESSION,” as well as “WHEN WOMEN STRIKE THE WORLD STOPS,” “FEMININE BEAUTY IS A READY-MADE,” and, most puzzlingly, “WE ARE ALL CLITORIDIAN WOMEN.”
The space quickly filled with celebrities and fashion people for Dior’s fall ’20 show. A young man in black helped me find my seat. As we walked across the floor, he asked in a charming French accent, “Do you know what it means? ‘Patriarchy equals C02’?” I laughed nervously. He said, “I don’t think I agree with this messaging. Do you?”
The pavilion felt more like an arena than a runway, more conducive to a showdown between gladiators rather than models showing off next season’s fashions. But even if there weren’t any people about to engage in battle, those signs displayed fighting words: Flashing insistently overhead, the messages were impossible to ignore, an advertisement in the language of resistance. But, against what? It was unclear. Show notes revealed that “Clitoridian” was a tongue-and-cheek reference to Freud’s writing on clitoral orgasms, while “Patriarchy = C02” attributes climate change to male oppression. It was all a little Women’s Studies 101 by way of Pinterest signage. And yet, in a fashion month that was alarmingly light on real feminist messages, it felt like a relief to have the opportunity to think and ultimately talk about the problems of our times rather than just ignoring them.
And what are the biggest problems we’re facing? Consent, yes; climate change, definitely. But also, as I watched the models — all of them young and thin — marching beneath words related to power and pleasure, I found myself thinking about a different problem altogether: the hypocrisy of consumerist feminism. Because, this runway show sent a slightly different message than its designer and creative director Maria Grazia Churi intended: Empowerment, sure, but for whom?
Pop feminism — derisively called T-shirt feminism by critics — has become core to Dior’s brand under the creative direction of Churi, whose controversial $710 “We Are All Feminists” tees became a symbol of this consumer trend. And these signs, created by artist Claire Fontaine (and clearly inspired by artist Jenny Holzer’s text-based installations) were emblematic of this post-2016 identity. Meanwhile, the clothes themselves were a continuation of menswear references and school-boy cues like shrunken ties and tweed jackets, with repeating motifs like checks and, of course, fringe (find me a fall 2020 runway without fringe — I’ll wait). It was all very wearable, and certainly commercially viable, but I didn’t see anything that was as radical or insistent as the flashing words above it.
What did feel meaningful were the shoes, which were nondescript and utilitarian, and mainly came in flat combat boots and simple leather slides. The lack of heels was a feminist statement in and of itself, perhaps hinting at a new purpose for luxury, one that prioritizes practicality. Most notably, there were no show-stopping looks, no major closing gown moment — a metaphor for equality.
It remains to be seen whether the connection between Dior’s styling and feminist messaging will become more than just slogans. Can a luxury brand ever be truly feminist? I’m not sure. By definition, luxury is inaccessible, a fact that makes it inherently at odds with feminism’s core value of equality for all people, full stop. And then there’s the fact that despite the clear climate change reference, there was no information about the brand’s plan to become more sustainable. If the show’s point was to call out patriarchy, its choice to exclusively cast young, thin, normatively beautiful models was a tacit endorsement of the patriarchy’s oppressive ideas of what ideal women should be. Promoting consent is better than not doing so, but what would be even better is if the women modeling the clothes — who, we have to assume, are supposed to embody the messages that hung above them — were of different ages and body types. Surely plus-sized women and older women deserve consent and clitoral orgasms, too.
In 2019, Dior’s revenue was up 15% from the previous year. At a time when luxury brands are struggling to reach younger customers, Dior’s “We Should All Be Feminists” approach does seem to be attracting the kind of consumer who wants her clothes to reflect a political message. It’s also possible that corporate ideas of empowerment, and Dior’s feminism in particular, has become so commercially and aesthetically palatable that its political messaging has grown nearly meaningless, even for women who wouldn’t have described themselves as feminists a decade ago. For some, empowerment might mean nothing more than “I like being a young, thin, normatively beautiful woman.” And whether or not selling feminist-inspired fashion to feminist-curious women actually promotes the goals of feminism is another story.
Like what you see? How about some more R29 goodness, right here?
Milan Fashion Week Was As Extra As Ever
The Man Behind Your Favorite Fashion Shows Is Going Green
Rodarte’s acclaimed fall ‘20 collection was presented amidst a sea of flowers in St. Bartholomew’s Church, a Romanesque building on Park Avenue in Manhattan. The Tommy Hilfiger x Lewis Hamilton show turned the Tate Modern in London into a convincing hip-hop rave. Jacquemus held its spring ‘20 show smack-dab in the middle of a lavender field show in Provençe. Saint Laurent entertained showgoers with an Eiffel Tower-facing spring ‘20 show at Place du Trocadéro. Dior’s 2016 cruise show was hosted at “Palais Bulles,” the mid-century bubble house designed by renowned architect Antti Lovag.
There are certain fashion shows that are truly transportive, and it takes a master producer and set designer like Alexandre de Betak, and his team at Bureau Betak, to envision — and then execute — a ten-minute program that’ll have a lasting effect on people.
As a creative leader in the space, de Betak’s latest announcement may influence the industry in a different way. This morning, Business of Fashion released Bureau Betak’s ‘10 Commandments,’ a list of rules and regulations that the company will be following in an effort to reduce its carbon footprint.
In it, Bureau Betak promised to reuse materials, upcycle decor and set materials, eliminate the use of single-use plastic, incorporate water stations to cut down on single-use bottles, and provide responsible meals to minimize food waste. Crucially, de Betak has committed to reduce fossil fuel use by cutting down on non-essential travel and implementing an operational carbon compensation to PUR Project, which might mean a challenge to the industry’s tradition of hosting exotic destination shows. Additionally, de Betak is imposing a “1% Percent for the Planet” donation, which will give 1% of the company’s revenue to a non-profit organization in need.
View this post on InstagramA post shared by Bureau Betak (@bureaubetak) on Feb 24, 2020 at 11:29pm PST
De Betak was initially inspired to make this change after he realized just how sustainable the spring ‘20 Jacquemus was. “It was absolutely as low impact as can be,” de Betak told Business of Fashion. Using natural sunlight and easy-to-transport folding chairs, the show also mostly invited guests from Paris, rather than those from across the globe, which cut down on travel-based carbon emissions. “We really hoped it would help every designer and brand see you can do it like that,” de Betak said.
On top of the Commandments, de Betak is working to get certified for the International Organization for Standardization’s sustainable event management standard, which will require that his company follow a strict plan to reduce carbon dioxide emissions by 25% by 2022, among other guidelines.
While de Betak might be the first runway producer to integrate sustainability pledges into his business, climate-focused initiatives are happening across the industry. Copenhagen Fashion Week released its sustainability action plan, a commitment that promises a 50% reduction in carbon footprint by 2022, and plans to develop digital solutions to minimize travel. Following Copenhagen’s lead, designer Richard Malone outlined his own sustainable objections via his runway show in London.
Said de Betak, “I’ve worked all my life doing something that’s not good, but that’s behind me, and now I can use that to do good.”
Like what you see? How about some more R29 goodness, right here?
The RealReal Joins Gucci’s Sustainability Pact