Delray Beach Fashion Week is getting bigger.
The spate of fashion shows, art exhibits, salon events and charity fundraisers takes place Jan. 25-29 along Atlantic Avenue in downtown Delray Beach.
This year, the week will include new venues such as Il Bacio/Prime, Che and Old School Square, as well as a pop-up shop.
Laura Simon, executive director of the Delray Beach Downtown Development Authority (DDA), explains other expansions: "For the fourth annual Delray Beach Fashion Week, we have a new 'Art Invitational Downtown Artists/Gallery Showcase' on display at the 'Evening in Downtown' runway show, a runway show and event exclusively featuring the local Delray designers at one of downtown's oldest night clubs, Il Bacio. And there is a new 'Fashion Week Boutique – Pop Up Shopping' event where attendees can purchase items seen on the runway all in one location."
Delray Beach Fashion Week was created in 2013. Ticket proceeds benefit the Delray Beach Achivement Center for Children and Families.
"Delray Beach is and has been a very sociable resort town over the past several years and has expanded its retail offerings and level of fashion," Simon says. "Fashion Week is perfect for downtown Delray because of its diversity and the amount of independent retailers and salon services that we have in our downtown. This is an initiative that is very important to the DDA and the city, to love on our small businesses and promote this unique experience that brings out that small-town vibe that is really important today."
According to Greg Corrado, a senior research scientist at Google:
“Before Internet technologies, if you worked in computer science, networking was some weird thing that weirdos did. And now everyone, regardless of whether they’re an engineer or a software developer or a product designer or a CEO understands how Internet connectivity shapes their product, shapes the market, what they could possibly build.”
It is that potential—it is this reality—that marks a major milestone in the personalization of technology because the subject itself is impersonal and abstract. Those scientists and entrepreneurs who manage to showcase the practical benefits of this shift, among those who convey this point to the public at large, will make all manner of software and customized search more accurate and exhaustive.
As Mike Yeomans, a post-doctoral fellow in the Department of Economics at Harvard University, explains in this article in the Harvard Business Review:
“Consider an online retailer’s database of customers in a spreadsheet. Each customer gets a row, and if there are lots of customers then the dataset will be long. However, every variable in the data gets its own column, too, and we can now collect so much data on every customer—purchase history, browser history, mouse clicks, text from reviews—that the data are usually wide as well, to the point where there are even more columns than rows. Most of the tools in machine learning are designed to make better use of wide data.”
Making better use of that data is the way companies can achieve greater connectivity—in every way—between themselves and the customers they seek to serve. In this regard, the impersonal nature of technology becomes the personal face of a collection of technologies that changes the binary language of so many ones and zeroes into the vernacular of the everyday consumer and the considerations of even the most discriminating buyers.
One pioneer at the forefront of these events is Jay Rao, Co-Founder of Obsessory, a platform that helps shoppers discover, compare and review everything—or almost everything—under the category of fashion. Rao says:
“Machine learning is the next stage in a much larger advance toward enhancing the depth and breadth of individual searches for various goods and services. By continuously refining these results, and by presenting users with the most relevant selection of items, consumers get what they want—they get what they would not otherwise know they want—from the cataloging of millions of products on a daily basis.
“The subsequent experience for users is an immersive one: It curates products, highlights each consumer’s favorite designers and even suggests styling looks. Call it data with its own designer, of proprietary algorithms and patented gowns and dresses.”
We should champion machine learning as a symbol of progress, which offers greater convenience and more accurate search results than the status quo.
These accomplishments are not fads, far from it, as they represent—and as I reiterate once more that they are—the fashion of the times.
Welcome to the triumph of technology.
An ode to Anne Cole, inventor of the tankini, the friendliest swimsuit to women
Swimsuit shopping is many women's idea of hell, right up there with public speaking, doing their taxes and a biennial pap smear.
I was 15 years old when I had my own swimsuit shopping nightmare. The family holiday was imminent and that cute boy from school was staying at the same resort as my family with his.
My body was still doing strange bodily things that 15-year-old bodies have a tendency to do.
Some sympathetic sales assistant took pity on me – or my mother – and suggested a tankini.
A singlet-style top with bikini bottoms, a suit that gives you the freedom to use the bathroom without totally undressing, a suit that can be mixed and matched with other styles and didn't look like you were about to jump in the pool to swim your bronze medallion. It was genius. I think we left the shop with three.
As an adult the tankini has continued to save me on many occasions when PMS strikes or I just don't feel like being ogled by hundreds of pairs of eyes as I walk from towel to tide.
On occasions when I have worn a bikini in the ocean, only to be dumped by a wave, emerging topless, embarrassed and in search of the offending top, I wished I had been wearing a tankini.
Or when I climbed all those steps of the waterslide in my one-piece, only to emerge at the bottom filled with adrenalin but with my suit up my butt for the world to see, I wish I had been wearing a tankini.
Anne Cole, inventor of the tankini, died this week, aged 90. While few women would recognise her name, many will recall a time her invention saved them from discomfort, embarrassment or a bout of low self-confidence.
Ms Cole, who died after a short illness, inherited her family's swimwear business and developed the suit in the late 1990s to address women's anxieties about swimwear and close the gap in the market between the bikini and one-piece wearer.
A post on the company's Instagram page on Thursday announcing her death said: "Anne once said, 'It took America's space program only ten years to land on the moon, but it took women's swimwear seventy years to move from the ankle to the crotch.'
"It was this sentiment that lead her to famously introduce the world to the 'tankini' in 1997. Her courage and contagious spirit will always be remembered and remains at the core of what we do."
The tankini has been a godsend for women whose boobs and butt aren't the same standard size (ie most of us), who've been pregnant, who've had a baby, or any other life event that changes our bodies in a way where putting on a swimsuit has been a burden rather than a welcome summer ritual.
While the one-piece is back in vogue and bikini styles vary from year to year, the tankini is a mainstay. It's the friendliest swimsuit to women, it's the one that truly says, "I am wearing this for no-one but myself."
And that's probably what Anne Cole had in mind when she designed her game-changing suit. Long may it be a feature on our beaches and at our pools over summer.
Rafferty Law looks casually cool in a black leather jacket as he models Tommy Hilfiger's latest designs at fashion presentation in Florence
In the few short years since he embarked on a career as a model, Rafferty Law has made huge strides for himself in the relentlessly competitive industry.
And on Tuesday, the handsome 20-year-old was back on the day job as he stepped out in Florence, Italy, for the Hilfiger Edition Fall 2017 fashion presentation.
Rafferty, whose parents are Jude Law and Sadie Frost, donned a red, black and white striped sweater under a stylish black leather jacket as he posed with fellow models.
Among the models making an appearance alongside budding DJ Rafferty were Stormi Brie, Lucky Blue Smith, Gabriel Kane Lewis and Presley Gerber, son of celebrated supermodel Cindy Crawford.
Away from modelling, Rafferty won't be following in his famous actor parents' footsteps, preferring to focus on a musical career instead.
The Dior model - who plays the guitar, piano, bass, drums and keyboard - is a big fan of clubbing and DJs in his spare time.
Busy writing with different musicians, he was formerly in the band The Dirty Harrys along with his best friend Marley, son of Pulp’s bassist Steve Mackey.
And the young musician puts his passion for music down to his parents 'playing wicked music from a young age'.
Meanwhile, Raffery modelled for Dolce & Gabbana in October alongside the sons of industry icons Daniel Day-Lewis, Cindy Crawford and Pamela Anderson for the brand's new campaign.
Showing off his model chops, he posed in a number of the Italian fashion house's finest evening wear alongside Gabriel-Kane, Presley Gerber and Brandon Thomas Lee.
Jude and Sadie, who ended their six-year marriage in 2003, are also parents to Iris, 15, and Rudy, 14 - while Jude welcomed his fourth child Sophia in 2009, following a brief relationship with American model Samantha Burke.
Ada, another daughter for the actor, was born in March 2015, following a fleeting romance with Catherine Harding.
Most of us are familiar with the cleanse, tone, moisturise approach to skincare, and have followed it since we started investing in our faces. With the introduction of serums and lotions, the last step has evolved quite considerably over the past few years. Yet while there’s nothing new about the idea of skincare layering, the concept can still seem mind-boggling. Do you apply an essence before a serum? How long do you have to wait until layering your face cream? Where do oils fit into it all?
“Layering is a great way to make sure your skin is getting sufficient, concentrated amounts of various nourishing ingredients,” says Paula Begoun, skincare expert and founder of Paula’s Choice. “Each formula can be applied in thin, sheer layers and you don’t need to worry about leaving time in between applications, as one product does not negate the other.”
In terms of applying your products in a particular order, the rule of thumb is to start with the lightest in texture and build up. For example, start with your essence or serum and finish with your cream to create a seal around your skin and lock in the water and nutrients.
If you’re using an oil, facialist Alexandra Soveral recommends you start with this. “Massaging a little oil on to the skin in upwards and outwards circles activates your circulation and makes your skin far more receptive to products,” she says. “Don’t forget to massage the glands behind your ears and neck to reduce puffiness.” If you’re in a hurry or your skin is feeling particularly dry, you can add a couple of drops of your face oil into your moisturiser, or your serum into your foundation.
There is one layer that should never be mixed though: SPF. ‘Mixing sun cream with another product, such as moisturiser, can dilute the protection you get, encouraging more wrinkles, sagging and brown spots,’ warns Begoun. Make your SPF your final step to ensure maximum protection.
London Men's Fashion Week kicks off this Friday, but much of the British fashion industry may be up north, in Liverpool, for the opening of "North: Identity, Photography, Fashion," an exhibition examining northern England's influence on fashion and visual culture at Open Eye gallery—and in the process making the case for the region as the country's true fashion capital.
“There is this kind of strange, London-centric approach to fashion,” SHOWstudio's Lou Stoppard, who curated the exhibition alongside the academic Adam Murray, said. “The bigger thing we’re thinking about with this exhibition is it’s not good for fashion to be in a bubble. Actually, people wear clothes across the U.K.”
After all, the likes of Gareth Pugh, who is from Sunderland, and the milliner Stephen Jones, from Liverpool—both contributors to the show—were raised elsewhere even if they ply their trade now in London. Along with the photographer David Sims's extensive print archives and Alasdair McLellan's original video commission, there will also be northern-facing editorials in early issues of magazines like like i-D and The Face; artworks by the likes of Turner Prize winners Jeremy Deller and Mark Leckey; and early photography by Corinne Day, Jamie Hawkesworth, and Glen Luchford, who contributed prints of his first-ever shoot: a 10-minute encounter with the Stone Roses, one of the most famous bands to come out of Manchester, a proudly northern city with a deep bench of famous bands.
And while musical icons like Morrissey, who's practically as much of a fixture of northern culture as football and sportswear, are present in the show, there are also plenty of outsiders, too. Take Raf Simons, who grew up in small-town Belgium making forays into Antwerp, but whose imagination was drawn to Manchester by the likes of Joy Division and New Order. Thanks to the graphic designer Peter Saville, who also hails from there, both bands would eventually turn up in Simons’ collections, like an album cover-adorned 2003 collection, some of which are on view in the exhibition in soccer locker room-like alcoves.
Meanwhile, decades later, the Off-White designer Virgil Abloh had a similar experience with Oasis, turning his musical obsessions into a collaboration with the architect Ben Kelly on a construction reminiscent of the Madchester movement club. It’s something he first learned about while growing up in Chicago—another place “slightly outside of the scene,” as Abloh described it to Stoppard, that developed its own subcultures, particularly in between industrial booms.
“There’s always this notion of the exotic, isn’t there?” Murray commented, likening the phenomenon to fashion's current obsession with another unexpected cultural mecca: Georgia and other post-Soviet countries, thanks to cult designers Demna Gvasalia and Gosha Rubchinskiy.
“And the authentic,” Stoppard added. “There's this irony as well, which is that someone like Gosha in turn references northern culture. All roads lead back
Find bridal dress inspiration for the big day at İzmir Wedding Fashion Fair
Many brides-to-be feel so much pressure to find the wedding dress of their dreams they may go slightly mad trying. Choosing the right dress is careful work, often requiring continuous visits to boutiques or wedding consultants.
Each year, thousands of visitors gather in the western İzmir province for IF Wedding Fashion, an international fair that takes place at the city's exposition center Fuar İzmir. Featuring solo fashion shows through to group catwalks, the fair will open its doors for the 11th time next month for buyers and soon-to-wed couples looking for bridal dresses, suits or evening gowns.
Exhibitors from throughout Turkey as well as various countries including the Netherlands, Italy, the U.S. and Middle Eastern countries here find the best opportunities to expand their business while networking with other regional and international industry professionals.
Prominent names in the fashion industry, like Italian designer Alessandra Rinaudo, will bring their own bridal dress collections to visitors, who will also be entertained by various workshops and talk shows.
As in previous editions, the fair will also organize a bridal design competition. This year, 120 designers will participate in the competition, including some from Germany and Serbia. More than 350 bridal dress designs will compete with the theme "Timeless Bridal Dresses." In the fair's opening days, the bridal dresses of 15 finalists will be introduced at a catwalk show. The winner will receive a cash prize as well as the chance to join next year's show as a solo designer.
Last year, the fair hosted around 24,000 visitors from 62 countries. Organized by İzmir Metropolitan Municipality and İZFAŞ, the IF Wedding Fashion Fair will begin on Feb. 7 and end on Feb. 11
Ariana Grande Defends Anti-Objectification Comments
After Ariana Grande shared a story about a fan objectifying her while she was out with boyfriend Mac Miller on Tuesday (Dec. 27), she received backlash for being a bit "hypocritical" — and the 23-year-old singer was quick to defend herself.
Grande revealed on Twitter that a male fan of Miller's told the rapper, "Ariana is sexy as hell, man; I see you, I see you hitting that," while she was sitting right next to him, a comment that made her feel "sick and objectified." She declared in an angry post that she is "not a piece of meat," to which some fans made comments that only furthered Grande's frustration.
"Seeing a lot of 'but look how you portray yourself in videos and in your music! you're so sexual!'" Grande later tweeted. "Expressing sexuality in art is not an invitation for disrespect !!! just like wearing a short skirt is not asking for assault ...You are literally saying that if we look a certain way, we are yours to take. But we are not !!! It's our right to express ourselves."
In her original post, Grande encouraged her fellow females to speak up whenever they felt uncomfortable about the way they are being talked to or treated, as objectification will only continue if they don't. She definitely kept her word.
The Versace empire is not known for doing things quietly - or with the most amount of tact. To wit, that safety pin dress. Or June's controversial campaign starring Karlie Kloss and Gigi Hadid - and Donatella Versace's reaction to criticism thereof.
(The campaign shots, supposedly of "diverse" families, were slated for bordering on racism and looking nothing like real families. Donatella explained away the stylistic oddities the way she knows best, by reminding us that the Versace family provokes, and wouldn't life be boring if we all did the same thing?)
Donatella might have to dig deeper, though, if a story coming out of California's Bay Area proves to hold up.
According to pop news website TMZ, a former Versace employee claims the Italian fashion house uses a code to alert staff and security when a black customer is in the store.
When the new employee was told about the code - known as a "D410", incidentally the label's code for a black shirt - he allegedly told his manager that he was African-American. Within two weeks, he was fired.
The news site quotes the complainant asking his employer: "You know that I'm African-American?"
After the revelation, the man claims to have been refused rest breaks and was then fired two weeks later. In the suit, he says he was told he lost his job because he hadn't "lived the luxury life."
According to TMZ, the man is seeking unpaid wages and damages. It reports that Versace is already seeking a dismissal of the suit, denying all the allegations.
When Franca Sozzani - who passed away yesterday - was made Knight of the Légion d’Honneur four years ago, a crowd gathered at the Italian embassy in Paris to toast the moment. Karl Lagerfeld, Domenico Dolce, Stefano Gabbana, Roberto Cavalli and Haider Ackermann were amongst those charging their glasses. Before they could raise them, Jonathan Newhouse, the chairman of Condé Nast International, made a speech in tribute to the woman who had become editor of Vogue Italia in 1988.
At turns both tender and funny, Newhouse’s speech covered his first impression when, in 1989, he first met “this tiny, fragile looking woman who could not have weighed more than 50 kilos.”
“45!” Sozzani interjected, to laughs.
Newhouse added: “A Hollywood director creating the image of a chic fashion editor could not have invented a more glamorous, arresting personification. Only Franca was the real thing.” He ran through just a few her achievements - noting a time when Giorgio Armani, no less, had waited in the corridor outside her office in the hope of showing her his latest samples - before concluding by describing her as: “the high priestess of Vogue and the Pope of fashion.”
If Franca Sozzani was the Pope of fashion then her rule was anything but Catholic - her 28-year-long editorship was consistently unorthodox, irreverent, and radical. Controversy often swirled around the editorials she commissioned from a close-knit camarilla of photographers to whom she gave total creative freedom and enduring support; these included collaborator-in-chief Steven Meisel, Peter Lindbergh, Paolo Roversi and Bruce Weber. While she never - she insisted - courted controversy for the sake of it, she was entirely undaunted when it arose. As she told WWD in 2011: “we can’t all agree; if we all did, where would controversy be? If there is no controversy, there is no opinion.”
That quote applied to the personal blog she wrote on Vogue.It, her title’s website, but Vogue Italia’s pages were no less opinionated. Fashion photography, however, is far less precise a vehicle for delivering opinion than language: furthermore what it lacks in precision it makes up for in its potential for visceral impact. Thus some of Sozzani’s most powerful Vogue Italia stories were also its most powerfully divisive.
Take Makeover Madness, a Steven Meisel shoot from 2005 that portrayed models including Linda Evangelista, Missy Rider and Jessica Stam wearing the season’s finest red-carpet fare while on the operating table receiving botox, rhinoplasty and liposuction. The following year Meisel’s State of Emergency story showed its models being aggressively body-searched by armoured police personnel and taking part in target practice alongside them. In 2007 Meisel produced Make Love Not War, a portfolio of soldier-surrounded models in some unnamed desert army base that was judged by The Guardian (with a tangible relish marred only by regret at being unable to show a gallery of the images themselves) to be “the most nauseatingly tasteless fashion pictures ever.” In 2010 Meisel’s Water & Oil shoot showed Kristen McMenamy as an oil-slicked seabird in human form, helpless on the seashore, even as 4.9 million barrels of crude was still leaking from BP’s Deepwater Horizon platform. And in 2014 the truly disturbing Meisel editorial Horror Movie was a sincere effort at decrying both domestic violence against women and its cultural normalisation.
All of these, and other Sozzani-conceived shoots, were variously condemned for "glamourising" - or sometimes sexualising - the very subjects that they were envisaged to parody or critique. Partly that was down to the differently set cultural barometers of Sozzani’s Italy compared to the US and UK (both reliably the source the most anguished criticisms). More significantly, it was due to a wider preconception - often shared by those who take their seriousness extremely seriously - that fashion must be inherently trivial: Sozzani consistently challenged that assumption, and provoked howls of outrage from those whose prejudice it offended.
Hairstylist to the Stars Ted Gibson Discusses Why He's Closing His New York Salon
It's the end of a chapter for Hollywood hairstylist Ted Gibson, who announced Wednesday via Instagram that he's closing his salon in Manhattan's Flatiron District.
Gibson's decision, made in partnership with his business partner and husband Jason Backe, comes at a time when up-and-coming hairstylists no longer look to work with established industry figures to build their careers, thanks to social media.
"Ultimately we think this model that we have at the salon is becoming a dinosaur. As entrepreneurs and leaders in the beauty industry, we are excited to rethink what the luxury salon experience is, and kick it into gear," Backe explained to The Hollywood Reporter of shutting down the space.
"When we opened the salon 13 years ago, there was no social media. The people creating were Gen X-ers. Gen X-ers had a work philosophy that was more in line with living to work. So when these kids moved to New York City to be hairdressers, they were moving for their career and they needed to do it in a name salon so they could build their clientele quickly," added Backe. "Now with social media, any kid can build a clientele really fast if they are a talented hairdresser."
Gibson, who has worked with Angelina Jolie, Leslie Mann, Debra Messing and Lupita Nyong'o, believes other establishments will eventually follow suit, given how the beauty industry is evolving.
"I think the luxury client experience has changed," noted Gibson, who is known for his $1,500 haircuts. "I'm finding my clients want even more of an elevated experience, so what that means to us and to them is that they are looking for something that is a little more curated."
Gibson explained how his salon originally opened with 12 chairs to create "more of a boutique idea," in contrast to the other locations that had 40-plus chairs at the time. "So when guests come in and sit next to 18 other people in a salon, the luxury experience is losing that kind of cachet," said Gibson, adding that they no longer need the 2,500-square-foot space because "the brand has its equity and we feel like it's changing, so we want to be leaders within that change."
Gibson is no stranger to being an industry pioneer. In 2012, he started a movement that led the Academy of Motion Picture Arts and Sciences to change its Oscar category title from best makeup to best makeup and hairstyling.
Despite the closure, Gibson and Backe will continue to focus on other projects, including the Ted Gibson Advanced Academy, which offers advanced education to licensed hairdressers, and a new product line called Starring that has been in the works for three years. They also will open another salon in the future, but they're in no rush.
"When we move forward, we're going to take as much time as we need for this reinvention," said Backe. "But what we're imagining now is a different neighborhood on a much smaller scale, maybe five chairs and a modern model that's going to be appealing to millennials and the luxury market."
The location for the next salon has yet to be determined, but Backe noted, "There's a couple of places we have in mind. We're innovators. When we moved into the Flatiron, there was no salon. But we knew the neighborhood was going to be hot." Added Gibson with a laugh: "There wasn't even a Starbucks." For the next space, Backe shared, "We're looking at some neighborhoods that have some really sexy, interesting energy that we think are going to be the next hot Manhattan neighborhood."
As the duo figure out how to redefine the hair salon-and-client experience, Gibson noted that social media has "leveled the playing field, if you will, because someone can come right out of beauty school that's really young and maybe not have a following at all, but put things on social media that people are attracted to, and end up becoming famous." Added Backe: "It's given people a platform ... it's opened up opportunities in ways that we could have never imagined 13 years ago."