"Look up, you never know what unusual finishing touches you will spy! I'm smitten with these charming shepherdess-head shutter stops that I spotted at our holiday gîte in Charente-Maritime, France, earlier this month."
The Scene Bag follows Sennott, as herself, around New York City as she tries to get herself invited to the Met Gala. The first episode, which was released online yesterday, is less than three minutes long, but includes plenty of star-studded cameo appearances from Sandra Bernhard, Francesca Scorsese, and True Whitaker.
The pop-up is structured as a composed interior with garments, furniture, artworks, and editorial elements, allowing each to contribute to a unified reading of the brand.
'People tend to stick to the routines they're used to,' explained Gwil Snook, Washing Machine Expert at AO.com. 'But a lot of the time those habits don't match how clothes are designed to be cared for, or how washing machines are designed to help you get the most out of your clothes.'
Participating in London Fashion Week is not a luxury but a necessity for any emerging brand aiming to go global. It's your ticket to the world of international fashion. - Katie England, Creative Director of Topshop and curator of the New Generation program
Not just any algorithm, mind you, but the most devilish metric devised to date. Because it finally translates the old publicity strategy of fame once governed by unquantifiable guesswork into money. No, it isn't (black) magic, just computerized math: by analyzing and comparing quantitative and qualitative data, the program in question calculates and assigns an economic value to these star appearances based on their public performance.
"They're everyday professionals who simply don't have the time to shop the traditional way," said Kneen about J. Hilburn customers. Instead, stylists manage fit, fabrics and wardrobe planning, effectively outsourcing the entire process for busy professionals.
In the show, "dirty" extends to anything that breaks fashion's pact with propriety. Here are clothes caked in grime, blotted with makeup, stiffened by salt, pieced from trash, frayed, and faded. The garments span decades, from the 1980s through the mid-2000s, when the likes of Vivienne Westwood and Jean Paul Gaultier built their fame on defying convention, to today, when corporatization has made such daring increasingly rare. But forgoing practicality frees certain designers from the demands that the body be polite-and thereby policed.
Last year, traditional luxury brands struggled to keep the attention of aspirational shoppers, and it was their lower-priced counterparts that swooped in to fill the gap. The formerly squeezed middle of the market - sitting below pure luxury labels but above mass-market brands - was able to capitalise on luxury's ever-growing prices and perceived lack of innovation. Tightening consumer budgets also played a part.
