カテゴリー別アーカイブ: fashion

On Saturday, the second day of the Mobicon gaming, sci-fi, horror, fantasy and comic convention, two iconic anime characters were joined together in mock holy matrimony in front of a crowd of Pokemons, demons and aliens.

But before we bring you into the raucous and quirky celebration at the Renaissance Mobile Riverview Plaza Hotel, a little explanation is in order for those unversed in the world of anime and fandom.

The marriage was between characters from Naruto, a mega-Japanese animation franchise encompassing manga (comic books), TV series, movies, trading cards, video games and more.

The protagonist of the series is teenage ninja Naruto Uzumaki. In the film “The Last: Naruto the Movie,” he and his longtime love Hinata Hyuga get married.

The Mobicon cosplayers staged their own version of the ceremony.

Naruto and Hinata were played by friends Kristina Guidry of Killeen, Texas and recent B.C. Rain High School graduate Tia Sewer. The two said they met years ago at a comic convention.

The audience burst into acapella renditions of Journey’s “Don’t Stop Believin’” and the theme song to the anime series “Sailor Moon” while they waited for the procession to begin. The fantasy wedding started late because Naruto was having real world car problems.

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Eventually, the groom arrived and the walk down the aisle commenced. Naruto waited at the altar while characters from the Naruto world- a couple of whom scattered red paper rosebuds on the ground – walked in pairs past the audience

Hinata elegantly entered the room in an exquisite beaded floor-length plum-colored gown. Purple is Hinata’s favorite color. The bride held a small bouquet of red, pink and white flowers.

When the couple came together at the front of the room, ordained minister Eric Balch got down to business.

“We are here to celebrate friendship, happiness, life, eternal matrimony and teamwork,” Balch said.

He then asked Hinata to recite her vows.

“Naruto, you have been my best friend since we were toddlers,” Hinata began. She continued with a beautiful tribute to their love.

“I didn’t write any vows, but I love you so much,” Naruto responded as the crowd went wild.

After a quick kiss and a big hug, Naruto swept Hinata up into his arms and carried her out of the room amidst cheers and hoots.

So, how did the happy couple feel after they were united?

“We’re fantastic,” Hinata said. “It’s about time.”

“No regrets,” Naruto said.

A few minutes later, Hinata returned to throw the bouquet. She turned her back to the flock of characters anxously awaiting the toss. Balch caught the bouquet.

Ocean Springs resident Tiffany Cox, 17, who came to the wedding in the guise of a legendary white Pokemon bird, was inspired by the ceremony.

“This is the type of wedding I want to have,” she said.

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From Opelika to New York and to Los Angeles, “Kevin” Cooper Ray is making his mark on men’s fashion everywhere.

Ray grew up in Opelika. He is the son of Aranell and Frank Ray. A 1982 graduate of OHS and a 1995 graduate of Auburn University, Ray said he has spent a lot of his life in Lee County, particularly Opelika.

Ray began his career in public relations. He freelanced in New York and was exposed to the fashion world.

“It was actually an accident,” he said. “ I was able to be around all the greats.”

Ray said writing was his first passion, and what he does with fashion now brings out the artist in him in a similar way that writing does.

Ray emphasizes the importance of being a classy man, and enjoys portraying that in his clothing. While living in L.A., Ray began writing a blog about living in The City of Angels and created a “modern guide to manners for men.” He would later publish a book called “The Bill of Rites for the American Man” that highlighted the same principles.

Ray first dipped his toe into the fashion pool when he collaborated with Brooks Brothers to design a line of bow ties.

“It was a tremendous success. We sold out of every season,” Ray said.

The bow ties even caught the attention of the Wall Street Journal.

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From there, Ray’s solo line Social Primer was born in 2013.

One year later, Ray signed on with Bravo to be a part of a reality television show called “Southern Charm.” The show goes inside Charleston, South Carolina’s rich society and chronicles the life of the “Charleston man.” “Southern Charm” recently renewed its contract for a third season.

Ray now resides in Charleston where he finds much of his inspiration everyday. The classy Southern culture of his city is incorporated into his clothing designs. He takes the European influences found in Charleston and washes them through a Southern viewpoint.

“ I am lucky to be here in Charleston. This is one of the few places in America where the guys are peacocks in the way that they dress, and they are not only encouraged, but almost expected to do that,” Ray said.

Social Primer is a line that consists of pieces like tuxedos, sports coats and bow ties. Ray described his line as the kind that would appeal to the “Southern frat boy,” which he said is his biggest audience.

However, Ray said his clothes can be versatile enough to fit the taste of a wide variety of men. His fashions can go from the streets of Charleston where the preppy style is in its purest form to Jordan Hare Stadium where the look can be adapted to the needs of the Southern frat boy. Ray wants to offer men a bright and flamboyant way of dress that can also give them comfort and the assurance of being appropriate.

As far as his personal style goes, Ray has the attitude of “why not?”

“I like to be the lead peacock in the room with all eyes on me, so other men will feel like they can take a chance, too,” he said.

Ray does not classify himself as a designer but a stylist because of the way he likes to work with what is already there and manipulate the look with different colors and shapes.

“I think designers are in a special little club that need to be respected, and I really don’t claim to be one of those,” he said.

According to Ray, Social Primer is similar to Ralph Lauren in the way it is styled and the way shapes and colors are used.

“I create what I need. I don’t set out to say ‘I want to be a Ralph Lauren’ I say ‘I made these ties because I couldn’t find them,’” Ray said.

He recently created a line of tuxedo “separates” made of different colors and materials that can be mixed and matched to avoid the standard black tuxedo that can be found at rental companies.

“So, if someone already owned a tuxedo, they could buy one of my jackets, trousers or waist coats just to give it a little bump,” he said.

It’s all about class for Ray. He describes Social Primer as “fresh but timeless.”

“That’s how I think men should dress. Invest in great pieces that can withstand the test of time. That’s why I’m such a proponent of preppy style, because it’s classic style,” Ray said. He has been referred to as the “prince of preppy hedonism.”

One main idea Ray wants to get across to consumers with his fashion line is that one does not have to be rich to have a great lifestyle. He encourages people to dress for the kind of life they want to live. He said he is the shining example of this concept because he is welcome in any society and hold his “Opelika own” anywhere he goes.

Ray said he considers himself a writer who is easily distracted by every shiny thing that floats by, and the most fulfillment in his career comes from the bliss that he feels when he is writing in a work environment when everything is “just flowing.”

“That is a rare and special place,” he said.

With designing, he enjoys the process of creating collections and deciding what will come next.

“Sometimes I will lock my door and sit down to pull everything together into a cohesive collection,” Ray said. “That is incredibly rewarding.”

Future plans of Social Primer include a lifestyle brand. Ray also wants to create a guide to being a gentleman.

Ray said he comes back to Opelika every chance he gets to visit his family.

“I treasure my time in Opelika. I love it there, and I am proud to be from Opelika,” he said.

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On Monday night around the fountain at Lincoln Center, two kinds of gowns flooded the plaza in a whirling mass: purple choir gowns, worn by graduating students of New York University, and pricey designer gowns, worn by patrons of the American Ballet Theater, arriving at the Metropolitan Opera House.

“I like my gown,” said Samantha Winer, who had just graduated from the N.Y.U. Silver School of Social Work.

“But you’re more interested in doing good than being rich,” her grandmother told her.

Who says you can’t do both? After all, this is a city that would be in big trouble without the blood sport it calls fund-raising.

And the American Ballet Theater wasn’t messing around with its 75th anniversary jubilee celebration. From the balcony of the opera house, women in gowns to rival the architecture looked down as more than 1,000 guests arrived.

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Who’s who from the week’s A-list dinners, celebrity gatherings and“I love people-watching from a balcony,” said Giovanna Battaglia, a fashion editor and stylist who wore a flowing Carolina Herrera ball-gown skirt that pooled behind.

Inside, as chimes rang out, guests including Gigi Mortimer, Indre Rockefeller, Muffie Potter Aston and Susan Fales-Hill drank Champagne and headed for their seats.

Hamish Bowles, the Vogue editor, dashed up to his parterre box in purple Manolo opera pumps and a matching velvet blazer. At his side, Amy Fine Collins wore a glittering floral jacket by Tom Ford. Several women were also dressed in traditional Japanese attire.

“They didn’t get the memo that it’s all about China right now,” a guest said.

Lauren Santo Domingo, or LSD as she is called by people who care deeply about a social figure who owns an Internet fashion company (Moda Operandi), looked hallucinatory in a flower-appliqué gown by Diego Della Valle. Photographers went wild.

“It’s a very New York moment,” she said.

As evidence, a huge promotional projection on the stage curtain unabashedly announced Escada as the sponsor of the evening, which raised $2.3 million. Caroline Kennedy appeared on a video screen to make a speech, as did Joel Grey; Sigourney Weaver did so in person.

The ballet company performed several excerpts, including one to the song “Brother, Can You Spare a Dime?” with choreography by Paul Taylor. It ended with a line of dancers, hands outstretched to the audience.

During intermission, and before guests stormed a party tent for dinner and dancing in the adjoining Damrosch Park, David H. Koch snapped a picture of the longtime ballet supporter Blaine Trump, as if he were a kid at a prom. (She wore “vintage something,” she said.)

Mr. Koch’s name appears on what was once the New York State Theater next door. He will soon be philanthropic neighbors with David Geffen, whose name is going onto the New York Philharmonic’s building in September. Mr. Koch also donates to American Ballet Theater.

“I’m the sugar daddy,” he declared about funding the company.

Brother, can you spare a million?

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The Korea-fication of high fashion: As Chanel launches its new cruise collection in Seoul, why designers are all looking east

Chanel unveiled it’s latest Cruise Collection this week with Kendall Jenner on the catwalk and actress Kristen Stewart sitting in the front row as a personal guest of Karl Lagerfeld.

Not unusual, you might think. Indeed, pretty typical. And yet, this was a show unlike any other for instead of Paris, it took place in Seoul’s futuristic Dongdaemun Design Plaza.

Now the third-largest market for luxury goods in Asia, South Korea is one of the fashion industry’s top targets and, as a result, is being courted assiduously by fashion’s heaviest hitters.

While Chanel is the first to take its Cruise collection to the country, other brands have also been targeting the shoppers of Seoul – all in the hopes of picking up a slice of the profits.

Part of the reason for this is that South Korean consumers are, according to consultants McKinsey, encouraged to indulge in subtle displays of wealth; branded goods being one of the most obvious ways to do so.

More pertinent is the booming economy which has been reeling in European, British and American brands ever since the 2008 financial crisis slammed the brakes on shopping at home.

Although the UK and the US are back in business, the stuttering financial performance in the Eurozone has left companies ever more dependent on Oriental consumers.

And of all the countries that the fashion industry wants a slice of, few come higher up the list than South Korea.

Already popular is Chanel, whose signature pieces, among them the eye-wateringly expensive 2:55 quilted bag, have become cult status symbols.

Hence the decision by bosses to relocate this year’s cruise show to Seoul – a move that follows shows held in Singapore and Dubai and perhaps signals, for now at least, the end of more traditional venues for cruise such as Cannes.

‘We chose Seoul for a few reasons,’ Chanel’s president of fashion, Bruno Pavlovsky, explained in an interview following the show.

‘Firstly, as an inspiration [but] there’s also a business reason. South Korea is a fast-growing market, a very interesting one, now also open to the Chinese and Japanese.’

Even more striking was the fact that the South Korean capital wasn’t just the venue, it appeared to have been Karl Lagerfeld’s inspiration as well.

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Present, although less prominent than usual, was Chanel’s trademark black and white, while nautical, always a staple in cruise collections, was given the flick entirely.

In its place were delicate cherry blossom prints, jackets in shimmering pink and a carefully calibrated update to the 2.55 bag – now available in bold bubblegum-pink.

Bold neons of the sort so beloved of Far Eastern consumers were present and correct, as were sharp geometric prints of the sort that can be happily clashed in a way frequently seen on the streets of Seoul but less so in Paris and London.

And it wasn’t just the fashion that was designed to appeal to local consumers: Sitting beside Tilda Swinton and Kristen Stewart were K-Pop favourites G-Dragon and Taeyang, practically unknown in the West but enormously popular at home.

Other heavy hitters to appear included acting stars Ah-Sung Ko and Jung Ryeo-Won, and the Japanese star, Rinko Kikuchi.

While Chanel is unlikely to relocate its main ready-to-wear or couture shows to the South Korean capital, the move is confirmation of the growing importance of the Far East – and is a new direction for cruisewear.

Originally designed for jetsetters expecting to spend their winters cruising in the Caribbean, hence the name, cruise collections traditionally focused on lightweight summer wear and nautical motifs.

Unveiled with little fanfare, until relatively recently, cruisewear slid into shops in January without fuss and barely noticed by mainstream consumers.

Today, things couldn’t be more different. Not only are cruise collections given the sort of flamboyant unveil previously reserved for the main line, they have spawned a sibling in the shape of pre-fall.

According to Pavlovsky, cruise offers the chance to appeal directly to Far Eastern fashion fans – and boost sales of the main line in the process.

Speaking to Business of Fashion, he added: ‘We can create a stronger relationship with our customers thanks to the cruise and the Metiers d’Art collections.

‘Twice a year, we travel somewhere different to be alone in a city and offer a special moment, a total Chanel experience.

‘I see that as the best way to introduce the brand to new customers. That is hard to achieve in Paris during the pret-a-porter calendar, where the show is one among a hundreds more.’

Last year, Burberry pulled off a similar trick with a lavish catwalk show and party in Shanghai to celebrate the launch of the British label’s multimillion pound flagship store.

Louis Vuitton has a huge presence in the Far East, as does Prada, Gucci and other blue chip fashion brands.

They can’t expect to have things all their own way though: with the boom in international brands has come a corresponding rise in homegrown talent – much of which is proving equally popular.

Nevertheless, while Chanel might be the first to show its Cruise collection in South Korea, it most likely won’t be the last.

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This year was Eleganza’s 21st birthday. Eleganza was founded in 1994 under the umbrella organization Harvard Black Community and Student Theater (Black C.A.S.T.) as a fashion show. Years later, Eleganza has evolved with a new twist. The show now focuses on charity, with all of its profits benefiting Boston Center for Teen Empowerment, a local organization that provides arts and mentorship opportunities to teens in high-risk areas. Eleganza is also a celebration of diversity—diversity of physical appearances, cultures, backgrounds, and forms of expression. Together, the three pillars of Eleganza are fashion, charity, and diversity. “All three of them are things often talked about here and at every school,” executive producer Preeti Srinivasan ‘16 says, “but I’ve never seen something that brings all of them together in the way that Eleganza does.” This three-pronged mission of fashion, charity, and diversity is perhaps what makes Eleganza such a resounding success, year after year.

Once again, Eleganza a huge success this year, successfully selling out the entire Lavietes Pavilion with over 1500 students, prospective students, VIPs, and family members in attendance. After a few opening remarks made by the executive producers, the show began with a spoken word piece written and performed by a talented student from the Center for Teen Empowerment. Zuri stood on the stage in an elegant gown, bathed in light before an enormous audience waiting with bated breath. She then launched into a powerful spoken word piece inspired by Michael Brown and police violence against blacks, a stirring piece about racism and cultural appropriation. Her performance elicited cheers of support, claps of agreement, and at the end, a standing ovation from the entire audience.

The spoken word performance framed Eleganza and made it clear that, though this was a fashion and dance show meant to entertain, it was also a celebration of diversity meant to educate and empower. “Eleganza taught me so much about diversity, in every sense of the word,” Srinivasan reflects. “Not just the physical sense of the word, but also emotional diversity—not just how people look, but how they think, act, and feel. I think a large part of that comes from the spoken word portion of the show. I think it’s absolutely beautiful that the show begins with a spoken word performance.”

After the spoken word performance, the music began to play, the lights began to flash, and the models began to strut onto the runway. The show had begun, with all of its components seamlessly working together to create an experience that was both overwhelming and impossible to look away from. The models were dressed in cutting-edge designs from some of the top fashion houses and designers like Vera Wang, Vineyard Vines, Nanette Lepore, Tadashi Shoji, and Kendra Scott. Tightly choreographed, they walked confidently in wave after wave onto the stage and paused at the ends to dance assertively, seductively, and powerfully. In this way, Eleganza blended a classic fashion runway show with a hip-hop and lyrical dance performance, creating a unique artistic experience. “I think there’s no other show quite like Eleganza in that it’s as much of a dance show as it is a fashion show,” executive producer Nancy Liu ‘16 says. “I’ve never heard of anything like it, even at other schools.”

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As a combination of a fashion and dance show, Eleganza requires an immense number of individuals to help organize and perform, this year united under the leadership of the three executive producers: Nancy Liu ‘16, Haylee Smith ‘17, and Preeti Srinivasan ‘16. For the executive producers, Eleganza was more than just a one-night performance; it was a project that they began working on at the beginning of the fall semester, recruiting board members, chose models, spread publicity, and planned logistics months in advance. A year-long endeavor that culminated in one night of adrenaline and joy as all their hard work finally came together, Srinivasan recalls, “When we stood on the stage and looked out at the audience, I thought to myself how incredible it was that we had been doing this for a whole year. It was absolutely magical.”

Eleganza has six boards: Community Service, Fashion, Finance, Production, Publicity, and Scene. Together, the board members work behind the scenes to make this show possible. A major part of Eleganza’s success comes from the production quality, complicated by the fact that the venue is a gymnasium filled with basketball hoops. “The lights, backdrops, and stage—basically all the equipment is contracted from outside,” explains Charlene Hwang ‘18, this year’s production chair. “Even though we use a gym as our venue, on the day of the performance, it doesn’t look like a gym at all. We pull out all the basketball hoops, paper the entire place, and set up backdrops and curtains and everything else that’s been brought in. Even the VIP chairs are rented.”

Eleganza also requires a great deal of paperwork—an aspect of the show that few people realize. “There are a lot of permits involved,” Hwang describes. “We need to fill out licensing paperwork and get approval from the city of Boston, the fire department, and the police. I’ve had to file entertainment licenses and electrical permits. But fortunately, because Eleganza is established, we have people on campus who can help me with all the paperwork.” The extent of the paperwork required for the performance to run goes to show just how much effort is needed behind-the-scenes.

But in the end, the models make this show truly unique. They aren’t just showing off fashionable pieces of designer clothing, they are also strutting and dancing and making this show the dynamic, energetic performance that it always is year after year. Eleganza’s model audition process is highly competitive, with over 400 students auditioning for the 50 model spots. This year, there were some Eleganza “veterans” in the lineup—models who had done the show for two, three, or even four years. But there were also some models who were doing the show for the very first time. One of those models, Mezu Ukah ‘18, did not intend to audition for Eleganzgo.” Eleganza attracts students from various backgrounds, and although many of the models have extensive dance experience or have done runway shows in the past, many models have considerably less experience. “I had no dance experience coming in, and to be honest, I still don’t,” Ukah claims. “I found the rehearsals challenging at first. I was lost for all of the first two rehearsals in terms of walks. But my scene director Kristen put up videos and those helped a lot.”

The rehearsals for the models are fast-paced, as the models need to learn and perfect a great deal of choreography in a relatively short period of time. The tightly-choreographed walks and dances would not be possible without hours of rehearsals. “Rehearsals start with some walks as a warm-up, followed by a run-through of choreography and some closing walks,” Ukah recalls. “They can range from one to two hours, depending on how much we have to get done. I found the pace of rehearsals to be a little fast at first, but all I had to do was pay more attention and get into it, and now learning new choreography is my favorite part.”

There is, clearly, a lot of time and effort that goes into the making of Eleganza. However, the end result is entirely worth it. “There are prefrosh every year who say that Eleganza was the deciding factor that made them choose Harvard,” Srinivasan says. “Nothing combats Harvard’s stereotypes more directly. We know what our school has a reputation for. At Eleganza, we get to see people who are talented and fierce, and it shows that Harvard students can still be fun and cool.” Liu explains further, “For prefrosh coming in, it really demonstrates the art scene at Harvard on so many levels. Eleganza changes their perception of Harvard as a stuffy place where people study all the time.”

But most importantly, Eleganza is a community for the board and for the models. The community aspect of Eleganza stems from the extensive period of time the board and models spend working with one another. Srinivasan explains, “The two events that market themselves as the largest student-run performances are Eleganza and Ghungroo, and though Ghungroo has a larger cast, we work with people for a much more extended period of time. For that reason, Eleganza becomes such a family, because you become so close to your boards.” Hwang attests to this, saying, “The best part of Eleganza has been meeting so many people I wouldn’t have necessarily met. We started working in October and it was a nice way to branch out early. I’ve really enjoyed the community of people I met through Eleganza.”

The community aspect of Eleganza is strong among the models as well. Liu reveals, “The models are really family. Once you get in freshman year, you come back year after year.” This explains the prevalence of “Eleganza veterans,” models who have come back each year to perform in the show. Srinivasan further explains, “There’s such a community among the models. The upperclassmen really take the freshmen under their wing.” Much more than just a one-night performance, Eleganza is a culmination of a year’s worth of hard work, friendships, and community. “It’s surreal right before the show, thinking to yourself, ‘Wait, this is actually happening right now,’” Hwang says. “I signed up back in October, so the show was always on the horizon, but I still couldn’t believe it when it was just a few days before the show. We ask ourselves if we’re ready, but we never quite feel ready until the day of the show. Until the day of, we think to ourselves, ‘We’re not ready, something’s going to happen.’ But everything catches up so quickly, and everything falls into place. And that’s when I think to myself, ‘I’m definitely going to do this again next year.’”

The show this year was phenomenal, made possible by a community of dedicated individuals, and there is no reason to believe the show next year will be any less remarkable. Eleganza has a bright future ahead, bringing to Harvard many more years of fashion, charity, and diversity.

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Earth Day was Wednesday, but it’s never too late to think about being a little more earth friendly. More specifically for this column, we can focus on taking a greener approach to style.

I recently attended the fourth annual Nashville Fashion Week and a big topic was the fashion industry’s responsibility to create more sustainable and eco-friendly products.

It may be hard to imagine, but our clothes and how they are made have a huge effect on the environment.

According to www.fibre2fashion.com, the clothes we wear and the textiles they are made from can cause a great deal of damage.

The following are examples of the impact the fashion industry has on the environment.

The pesticides that farmers use to protect textiles as they grow can harm wild life, contaminate other products and get into the food we eat.

-The chemicals that are used to bleach and color textiles can damage the environment and people’s health.

-Old clothes that we throw away take up precious space in landfill sites, which is filling up rapidly.

-Most of the textile machineries cause noise, sound and air pollution.

-Over-usage of natural resources like plants, water, etc. depletes or disturbs ecological balance.

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-The working conditions in the textile and clothing industry are of sub-standard.

-Exploitation of animals often goes hand-in-hand with intensive farming practices that damage the environment as a whole.

Sounds pretty bleak, right? However, there is hope, and the fashion world is embracing it.

The eco-friendly industry has grown tremendously over the past few years. Fashion designers such as Stella McCartney practice cruelty-free techniques and excludes the use of animals in her designs.

Eco-friendly brands have become more popular with the increasing awareness of sweatshops, animal cruelty and resource scarcity. According to style site thefashionglobe.com, our neighboring state Alabama is home to a lifestyle company Alabama Chanin, which produces everything from ready-to-wear to wedding dresses to quilts and placemats. They make clothes with organic and recycled material and utilize the slow movement, which promotes the wellbeing of society, individuals and the natural movement. More importantly, their clothes are made locally in the town of Florence, Alabama.

Florence is also home to designer Billy Reid, who is also eco-friendly and totally worth checking out.

There are also vegan shoes such as “Kailia,” an eco-friendly shoe brand created by designer Nancy Dong based in Bologna, Italy. The company collaborates closely with European family-owned factories for the creation of beautiful, handmade shoes. The factories use water-based glues and polyurethane soles rather than more toxic vinyl and PVC. Her shoes are also made with organic linen and cotton, a quality that other eco-friendly brands share.

Eco-friendly and organic beauty lines come from makeup artists such as Kate O’Brien, who was reluctant to let her daughter wear make-up due to the harsh chemicals, so she created Alima pure, a 100 percent pure mineral pigment makeup line.

Brands like Kailia and O’Brien are making a name for themselves by offering handcrafted and homemade items keeping Mother Nature in mind.

While all of these companies should be applauded for the eco-conscious efforts, I must warn you, the price for such items will leave you a bit weak in the knees and in the pocketbook. With the time, attention and earth-friendly care each of these items gets, there is a cost.

However, you also have the knowledge and comfort that you are doing something good for the earth by buying such items.

I would also like to think that if buying items like this becomes the norm, then price will become less of an issue.

So I hope I’ve given you some food for thought and a list of designers to Google in your free time. While I love a good bargain as much as the next fashionista, I also love Mother Earth, too. Here’s to a greener fashion industry.

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