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Alessandro Michele created a custom Gucci gown for Bjork’s new music video, ‘The Gate’, the first single from Bjork’s forthcoming album.

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The intricate pearl covered gown took approximately 550 hours to make and an additional 320 hours for the embroidery.

He also collaborated as the creative director of the music video which will be shown at The Store Studios in London.

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Legendary French fashion designer Pierre Cardin celebrates 70 years of creation. A global citizen, he remains a vital personality today, with an essential brand established in 110 countries around the world.

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This visionary couturier’s unique and futuristic creations, from the Bubble dress to the Cosmocorps line, testify to his fierce appetite for experimentation. The first couturier ever to transform his name into a global brand, Pierre Cardin’s varied and ambitious creative universe spills over to many other areas, from accessories, jewelry, and fragrance to home decor, fine restaurants, and an annual arts festival.

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Filled with fascinating images from the 1950s to today, this comprehensive anthology is the first to showcase the complete vision of Pierre Cardin from fashion to interior design, at a time when his creations are experiencing a resurgence. More than simply an album of compelling images, this impressive volume encapsulates Cardin’s entire oeuvre and portrays his daily life as a still-constant quest for new creative expression.

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With a degree in history, the author Jean-Pascal Hesse has been director of communications at Pierre Cardin for over twenty years. He has written several books in close collaboration with Cardin which also includes Pierre Cardin: 60 Years of Innovation (2010); Maxim’s: Mirror of Parisian Life (2010); The Palais Bulles (2012); and Donatien Alphonse François de Sade (2014).

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TARQ proudly present, This Burning Land Belongs to You, at Swiss Cottage Gallery, London, as a part of Camden Kalā, 21 September – 4 November 2017.

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The exhibition brings together the works of three contemporary Indian artists – Soghra Khurasani, Rithika Merchant and Ronny Sen, who work across printmaking, painting and photography respectively. While their mediums of choice vary, the artists’ distinct bodies of work come together in their enquiry of the contemporary moment that simultaneously has cultural and regional specificities as well as global commonalities.

With their distinct styles, the artists’ lives and individual practices are reflected in the works that are exhibited here. The three bodies of work explore different facets of the changing times in which we live. Ronny Sen’s photographs investigate the issue of environmental degradation that has made life unliveable in some parts of the world, Soghra Khurasani looks at the changing realities for minorities in the place of their birth while Rithika Merchant contemplates the journey of migration, putting forward the question – can moving from one place to the other save us?

Exhibition: This Burning Land Belongs To You
Preview: 20th September 2017, 5:30 pm – 7:30 pm
Dates: 21st September 2017 – 4th November 2017
Opening Hours: Monday – Thursday 10 am to 8 pm | Friday – Saturday 10 am to 5 pm
Address: Swiss Cottage Gallery, Swiss Cottage Library, 88 Avenue Road, London, NW3 3HA

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Nissan India launched the Nissan Micra Fashion -a limited edition car with exterior and interior styling aesthetics inspired by United Colors of Benetton. #MICRAXBENETTON, combines Benetton’s Italian fashion sensibilities and global taste with interiors brimming with structured patterns and a subtle array of colors.

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Colors, innovation and sustainability lie at the very foundation of Benetton’s design philosophy, creating strong synergies and making Benetton a befitting inspiration for Nissan Micra’s Fashion Edition, said Mr. Atul Garg.

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Based on the Micra XL CVT model, the Nissan Micra Fashion takes artistry and panache a notch higher with features such as new body decals on the side and roof; black door mirrors with designer stripes; new designer floor mats; Benetton-signature headrest covers; seats with orange stitching; and European black interiors with orange touches.

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The leading commercial fashion trade show Momad Metropolis, on the Iberian Peninsula which brought together the latest designs from over 700 well-known fashion and accessories brands ended its September 17 edition with more than 13,000 visitors, attracted a higher quality of professional showing a greater intention to purchase.

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In its fourth edition, Dynamic workshops on sustainable fashion, Digital Merchandising, Inbound Marketing, Instagram and Branding were held offering in-depth information on processes, products and brands accompanying meetings with influencers and bloggers in the fashion industry.

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“Although the dates, were very early, we are satisfied, since this edition of the show enjoyed an excellent reception by professionals, among whom we have perceived a greater intention to purchase than in previous editions,” said Jaime de la Figuera, director of MOMAD.

In addition, he also pointed out that MOMAD Metrópolis will maintain its commitment to Sustainable Fashion and the creation of a differentiated space for Men’s Fashion as a lifestyle, and points out that the Fair is working on a digitalisation project to help stores with this process”.

The domestic and international brands present at this edition of MOMAD Metropolis included Laurel, Escada Sport, E. Ferri, El Caballo, Oky, The Code, By Morgana Italy, Riverside, The Extreme Collection, M. de Miguel, Escorpión, Javier Simorra, Vilagallo, Alchera, Lola Lunares, Grand Soir, Sonia Peña, Carla Ruiz, Ada Gatti, Almatrichi, Molly Bracken, Orfeo, Best Mountain, Arena Negra, Lois Jeans, Maracuja, Bahiana, Alba Conde, By Handel, Fashion New York, NKN Nekane, Matilde Cano, María Coca, Tiffosi, Dinamic Moda, Albert S. Lasry, Lola Casademunt, Canadian Peak, Riverside and Vittorio & Lucchino Denim.

The show’s next edition will be held from 2-4 February and from 7-9 September 2018 respectively.

CNMI-featured

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From left to right: Tomaso Anfossi & Francesco Ferrari (CO|TE), Tiziano Guardini (Tiziano Guardini), Daniele Calcaterra (Calcaterra), Desiree Bollier (Chair, Value Retail), Mateja Benedetti (Matea BENEDETTI), Leo Macina (Leo Studio Design).

Matea Benedetti, Calcaterra, Coite, Leo Studio Design and Tiziano Guardini are finalists for The CNMI Green Carpet Talent Competition, as part of The Green Carpet Fashion Awards, Italia.

The inaugural competition – a partnership between Eco-Age, Camera Nazionale della Moda Italiana and Value Retail – challenged emerging designers to pair ethics with aesthetics by creating a bespoke look celebrating Italian craftsmanship and sustainable innovation.

Ten semi-finalists were reduced to five during a nail biting final round held in Paris. Emerging designers were required to present to a panel of fashion-industry grandees and had just minutes to make their impact and explain their interpretation of sustainability in fashion and how they had utilised the Made In Italy supply chain.

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Matea BENEDETTI has created a look crafted from Apple Skin- a leather alternative created from apple waste from the food industry. This fabric is a unique Italian innovation, created in Bolzano.

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CALCATERRA look features “feathers” made by weaving hemp rope, organic cotton organza and silk. Suiting made with TENCEL®, a fibre made from wood pulp, sourced responsibly from sustainable forest plantations and produced in a closed loop process to ensure virtually all water and solvents are continually re-used, powered by renewable energy.

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While CO|TE produced in Lombardy, Italy, features organic silk shirting and undergarments crafted from ECONYL- a yarn made from recycled fishing nets and carpets.

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Leo Studio Design look produced in Puglia features printed culottes, backpack and shoes made of ECONYL, a yarn made from nylon waste (including finishing nets and carpets). The printed skirt is made of organic cotton, using no pesticides or fertilisers in the process.

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TIZIANO GUARDINI created his look from organic peace silk and recycled nylon. The dress features hand embroidered “sequins” which are created using upcycled seashells and discarded CDs collected in Italy.

“Our goal through this emerging designer competition was not just to find the best talent but to plug that talent into a brilliant network of support and knowledge,” says Livia Firth, Founder and Creative Director, Eco-Age. “Through the mentorship scheme with Value Retail we’re offering our finalists, passionate about ecological and social justice a pathway to true sustainability: the ability to be able to grow and sustain their fashion business in the future. Many sustainable designers have not had these opportunities before so we’re hoping it’s a game changer for sustainable design in fashion”.

Carlo Capasa, Chairman, CNMI, said: “The CNMI Green Carpet Talent Competition is a beautiful and unique project representing the first part of the first Green Carpet Fashion Awards. This project includes an important educational aspect: sustainability must become one of the characteristics of the future of fashion, clothing and accessories. Must not only be beautiful and well made, but also sustainable!”.

The winner of the CNMI Green Carpet Talent Competition will receive FRANCA SOZZANI GCC AWARD FOR BEST EMERGING DESIGNER, in honor of the late Vogue Italia editor-in-chief who was dedicated to supporting new generations of talent. The recipient will be announced at The Green Carpet Fashion Awards, Italia on Sept 24 at La Scala and will have the invaluable opportunity to present at Milan Fashion Week in February 2018.

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Vivienne Westwood’s ‘Get a Life’ discussion at Bread and Butter by Zalando, Berlin, the legend spoke about the importance of art and literature while forging a path of inventiveness. It was a rare glimpse into the process and practice of one of the most prolific designers of our time alongside an entire exhibition dedicated to iconic Dame.

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I call the diaries Get a Life as that’s how I feel: you’ve got to get involved, speak out and act, says Dame Vivienne.

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While the diary was written, primarily, with the intention of warning people of the danger we’re in from climate change (a subject that feels particularly pertinent given fracking’s recent UK go-ahead, despite a rejection from Lancashire council), it is, as Vivienne puts it, also a great thing to do for yourself. “It marks your life, you know where you’re up to, and where you’re going,” she says. “You pin down your ideas, adjust and develop: a constant résumé and improvement”.

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Caroline Herrera will debut her Spring/Summer 2018 collection in the Abby Aldrich Rockefeller Sculpture Garden at New York City’s MoMA, which is staging its first fashion exhibition in 73 years this autumn.

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On Monday, September 11, the first runway show ever to take place at the cultural institution, although the exact location of where that collection will be shown within the museum given that the dead of winter does not make for comfortable sculpture-garden viewing.

Whilst Opening October 1,”Items: Is Fashion Modern?”, a collection of 111 iconic pieces of clothing and accessories from 20th and 21st centuries, will explore the relationship between fashion and everything from politics and technology to identity and economics.

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From its very beginning in the 1820s, BOVET captured the hearts of collectors around the world with the grandeur, finesse, and artistry of its handpainted timepieces. Thanks to their superlative quality and enchanting creativity of these miniature paintings, Edouard Bovet managed to distinguish his burgeoning House in China, a country hitherto closed to external trade, where his early clientele notably included the Emperor. One of the Emperor’s original BOVET timepieces sits enthroned in the central room of the Forbidden City to this day.

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The polished lacquer formula and technique now employed by BOVET 1822 was developed by one of its exclusive artisans and derives from the Maison’s famed historic methods of the various miniature painting techniques still practiced today, Chinese lacquer enables the most precise artistic definition, and it is also more shock-resistant than enamel.

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In their eager quest for perfection, BOVET artisans have developed new techniques in polished lacquer. To achieve a metallic effect in select designs, artisans incorporate gold leaf details, while in other cases, surfaces are adorned with gold or silver paillons (spangles).

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Kallol Datta presents Random Access, at Experimenter Gallery, that explores the deeply linked conceptual, material and technical aspects of Datta’s design practice. Twenty-four sculptural figures cover the gender-neutral, human-like figures,like a sculptor, Datta allows himself access to questions of material, form and structure reflecting on the complex 3-way interaction between the garment, the viewer and the wearer in Random Access.

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Throughout his career, Datta has been working towards understanding how the body adapts to the fabric form. Often, three dimensional, free flowing folds create shapes and silhouettes, against prescribed fits and desired proportions. Making structural experimentations in pattern cutting, Datta ‘skews’ traditional geometry to create garments, which collapse when not worn. The structure of the designs and the way they appear therefore, are interdependent on the body that wears it.

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Random Access, Datta’s first exhibition within the gallery in Kolkata, delves into conceptual frameworks that bind his work and reveals questions that confront Datta in his quest for understanding form. Equally interested in exploring material, Datta experiments with cottons and crepe silks, cutting them on their biases and placing them on their axis which still can hold the garment’s balance.

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Datta uses garbage bag fabric, treating reclaimed silk and cotton to give the appearance of the ubiquitous garbage bag in the garments at the show that appear to stand on mono dress forms. Appearing to have no material value on first encounter, the silhouettes created using the garbage bag material at Experimenter have an added plastic film, layered on the textile changing the behavior of the material furthermore. At one end of the gallery, a series of pattern-cut paper drawings resemble multi-layered collages and at the other end, metal panels hold folded fabric sculptural experiments. Brass miniature sculptures of the amorphous dress forms, invoke the relationship between the possible renditions of the form in other unexpected material.

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