June 9, 2021


The Milestone Presence of Indigenous Design at Australian Fashion Week Is a Reminder of Fashion’s Power

Australian Fashion Week started in a way it never has before—with a Welcome to Country, a ceremony held by First Nations elders, welcoming guests to Gadigal land. For the first time, a smoking ceremony— with burning eucalyptus leaves and a traditional dance by the Muggera dance company—was accompanied by fashion, with three Indigenous models, all newly signed to IMG, wearing designs from First Nations labels.

Wearing a jumpsuit from Aarli, wearable art from Penny Evans, a Ngarru Miimi dress, and scarves from Rujaki designs, models encircled the smoking leaves—a powerful visual symbol that signaled the milestone moment of change this

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The 2021 CFDA/Vogue Fashion Fund Grant Recipients Share Their Visions for Fashion’s Future

Congrats on receiving a CVFF grant! How do you plan to use this funding in the coming year?

We’re building an internship program with the explicit goals of increasing our capacity to realize different creative projects, as well as begin to create a pipeline and an access point for historically underrepresented folks to enter the fashion industry and play an essential role in our own process of envisioning a luxurious Black future.

What do you hope to learn from your mentors?

I think what I have learned to date is that there is a big gap between theory and practice.

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The Inside Track: Why fashion’s groupthink had to go

“If you’ve got a group of people who agree on something, others will agree even if it’s completely contrary to what their own senses tell them,” Dr. Nemeth told me when I phoned her this month at home, where she was recovering from a fractured hand. “As few as three people who all agree that blue is green will lead most people to agree that it’s green.”

So it doesn’t bend the mind to think that when three executives agree that fashion brands should produce eight collections a year, and 60 per cent of the runway collection should be directional

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Artisans in India struggle to survive in fashion’s ‘invisible supply chains’

Written by Oscar Holland, CNN

Before the pandemic, Gayatri Khanna’s Mumbai-based embroidery firm used to work on luxury garments and accessories for some of the world’s biggest fashion houses.

Now, she said, some of them won’t even answer her calls.

“These are people who we have spoken to for years and years,” she said during a phone interview. “And suddenly there’s no news, or even a ‘What’s going on?’ Or, ‘How is the business?'”

Amid a coronavirus crisis that is pushing India’s hospitals to breaking point, collapsing demand for apparel in the West is also having a devastating knock-on effect
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Pre-order is catching on as a solution to fashion’s overproduction problem

This story is part of Glossy’s Earth Week series, which spotlights sustainability efforts and topics across the beauty and fashion industries. You can read our other coverage here.

More than 100 billion articles of clothing are produced each year, with nearly 20% of them going unsold. Thanks to problems with accurate inventory estimation, which were exacerbated during the pandemic, brands regularly overproduce. And excess clothes are often discounted, landing in a landfill if never sold. In addition to being bad for the environment, overproduction means losing money on unsold product.

But there is growing interest among brands for

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Fashion’s takeback programs are complex and growing in popularity

Circularity has become a buzzword in fashion over the last five years, with more brands introducing ways to extend the life of a product or turn it into something else after it’s been worn. Brands regularly publicize what is done with products after they’ve been collected. But less is known about the process of getting those used products out of customers’ hands and back to the brand — it isn’t easy.

The takeback program can take many forms. Brands including Patagonia, Eileen Fisher and Cuyana have various methods for collecting and processing products. For example, the products are obtained via Read More..

Brooklyn-Based Designer on Her Brand and Fashion’s Future

Sade Mims’ pieces for her brand EDAS are more than just accessories.

“I grew up in an artist environment,” she explained. “My father had me in art classes since I was a kid, and sculpting and drawing and all that. So I think that that was my first thing, so I create and design with that in mind.”

The 29-year-old took part in New York Fashion Week. Her sustainably-made leather bags were on display at the Black in Fashion Council’s showroom at Spring Studios.

The council works towards the advancement of Black people in the fashion community.

“Black creatives, Black

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