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26/10/2017

Congolese Designers Display Pure Talent at Congo Fashion Week

Despite the ongoing political standoff between the government and the opposition, hundreds of Congolese people spared some time to attend the sixth edition of Congo Fashion Week held at Pullman Grand Hotel in the DR Congo’s capital Kinshasa last week.

The event, which took place from 11 to 14 October, is a platform designed to celebrate Congolese fashion designers by showcasing their creative talent to both local and international audiences.

Last week’s four-day event brought together fifteen Congolese fashion designers,including the popular fashion creator Zoe Eleng’Art, who got a rare opportunity to sell their fashion ideas and items to the rest of the world.

From renowned designers to upcoming stylists, the event was a perfect rendezvous for Congolese fashion artists.

The event featured an array of electrifying activities, including runway shows and exhibitions by local stylists.

Taking Congolese Fashion Global

Through the different catwalk shows, exhibitions and fashion talks, the annual event offers an ideal opportunity for the public, the media and retailers to discover the amazing fashion designs and trends in Congo and the African industry in general.

CFW event, which was founded by a Congolese Media consultant Marie-France Idikayi in 2011, helps to promote the unique Congolese fashion while giving the emerging and already established designers access to both local and international markets.

It’s a fairly new concept in the Democratic Republic of Congo born out of the desire to expose the country’s fashion to the world. As the fashion industry continues to grow, Idikayi hopes to use the annual fashion event to put Congo on the map.

She says the event is intended to not just showcase fashion items on the runway, but to also enable Congo achieve its dream of becoming a regional fashion hub.

CFW also plans to begin hosting fashion events with international stylists, media and buyers. These shows will include show room expos, allowing designers to display their work beside the traditional catwalk shows.

This, they hope, will offer an opportunity for professional exchanges between local and internationally-acclaimed fashionistas while creating a direct link between designers and buyers.Read more at:formal dresses online | evening dresses

08:28 Publié dans fashion | Lien permanent | Commentaires (0)

23/10/2017

About That Curvy Life Collective

Founded by Latasha Ngwube, the brand’s collective has achieved engaging Africa in the conversation about body positivity and size inclusion through the fashion week platform.

Ngwube, speaking on what can be expected from the ATCL collective this year, said, “We are extremely proud of the historical success The About That Curvy Life Collective achieved in 2016

“Launched at The Heineken Lagos Fashion and Design Week 2016, we made history as the first plus size fashion show on an international fashion runway in Africa.

“Pursuant, The Collective was featured across several international media outlets including CNN, BBC, Yahoo, and The Guardian. This eventually led to our invitation to make history in Ghana by taking The Collective to the Glitz Africa Fashion Week 2017, Accra, Ghana.

“Notwithstanding, we’ve had one year to grow and set new goals and we have taken that chance seriously. Some of the value adds include, but are not limited to, the following:· First, we’re working with two new designers will be debuted on the runway including Abuja based NORI by Uga Akinbode and Lagos based Osuare by Osuare Egbuonu.

“Alongside veteran Assian by Matthew Gordon, who debuted his brand at The Collective last year and has since gone on to showcase at several international fashion shows around the world, these three designers have an eye for the material best suited for a curvy consumer, as well as the elements that make any piece more suited for their bodies, such as colour and fabric.

“Their clothes are constructed with the body of the wearer in mind. Further, they have terrific personalities and work well as a team, which is integral to success of The Collective.·

“Also, we’re placing laser focus on creating market opportunities for participating designers. For the first time, we hope to take the designers on a continental roadshow. Thus, in addition to having noteworthy aesthetics and a point of view, our designers must demonstrate a capacity to scale up production to meet consumer demands.”

“When I look around at the women and men in my life, my parents, my siblings, my friends, I can’t help but imagine that a sizeable amount of that money can be attributed to sales from plus-size clothing.

“What strikes me even more is the possibility, in light of the dearth of plus size brands in the country, which the majority of money spent on plus size clothes are on imported items. As the nation looks to curb imports and promote exports, and as Nigerian fashion brands, in the midst of increasing competition, struggle to create and communicate unique value propositions, plus size fashion merits serious consideration.”

ATCL DESIGNERS’ PROFILES

1. Eponymous brand, Osuare, is a cosmopolitan African women’s wear brand that caters to the needs of women of all shapes and sizes. Osuare Egbuonu specialises in the use of hand-painted and hand-dyed prints. Her pieces are edgy, reflecting originality and heritage.

2. Owned by Uga Akinbode, Nori Clothing is a woman clothing brand based in Abuja. The brand specializes in ready to wear and bespoke. They cater for people of all sizes, and ages, and for the simple yet

sophisticated, fashionable and edgy woman.

3. Creatively led by Matthew Gordon, Assian is a contemporary plus size fashion and lifestyle brand that strongly believes in being size inclusive and operates based on the belief that “we all matter.”Read more at:vintage formal dresses | red formal dresses

09:16 Publié dans fashion | Lien permanent | Commentaires (0)

18/10/2017

Inspired by science, Iris van Herpen’s sculptural styles push fashion and technology forward

Is fashion art? That debate finally might be coming to a rest with New York’s Museum of Modern Art just opening its first clothing design show in more than 70 years. Now the Cincinnati Art Museum turns the question around and introduces a fresh discussion.

Iris van Herpen’s cutting-edge designs, some created with the aid of 3D printing, certainly are art. Are they fashion?

Cincinnati Art Museum Chief Curator Cynthia Amneus, who also is the museum’s curator of fashion arts and textiles, is responsible for bringing Iris van Herpen: Transforming Fashion to town. The touring exhibit, which originated in van Herpen’s homeland of the Netherlands in 2012, features 44 visionary outfits and nine pairs of fierce-looking shoes.

Amneus, who has proven the local popularity of clothing exhibitions with the bridal gown survey Wedded Perfection and the Rudi Gernreich showcase The Total Look, knows some visitors will shake their heads over the lack of wearable looks in this latest display. Clouds of “refinery smoke” billow from a dress and nearly engulf one mannequin. A barely-there skeleton clings to another form. Coils of dark acrylic encircle another torso like snakes. But even the wildest styles highlight van Herpen’s experimentation and likely influence on future fashion.

“I think of her as an artist who happens to make things that are on the body,” Amneus says. “We are an art museum, showing the most innovative and avant-garde examples of her work.”

In 2010, van Herpen became the first designer to send a 3D-printed garment down a runway, and the rippling top, intended to represent the limestone scales left when water evaporates, is included in the show. The 33-year-old draws her inspiration from nature and natural phenomena and turns to technology, nontraditional materials, architects and other collaborators as needed to make her ideas reality.

She has created many beautiful pieces — the visual energy of her black and white Voltage collection could make your hair stand on end — but van Herpen is more interested in figuring things out than making clothes pretty, Amneus says. In fact, Transforming Fashionhas much in common with the museum’s current Ana England: Kinship exhibit and that artist’s investigations of molecules, fossils and waves. Transforming Fashion is one part couture show, one part science fair. There’s even a station where visitors can touch some of the tantalizing 3D-printed materials, plastics and hand-burnished, hand-pleated steel mesh that van Herpen has used in her creations.

The names of van Herpen’s collections — for instance, Mummification, Crystallization, and Radiation Invasion — convey whatever science or phenomenon influenced her. She captured the emotions she felt while skydiving in a collection titled Capriole, a word meaning “leap.” Magnetic Motion was inspired by a visit to CERN (the European Organization for Nuclear Research) and the Large Hadron Collider. Her desire to represent the push and pull of those magnetic forces in a clear dress led to 3D printing of a transparent plastic — something she initially was told couldn’t be done.

One of her earliest collections, Chemical Crows, is based on a flock of birds near her Amsterdam studio. She made those dresses all by hand but was no less inventive, using the spines from children’s umbrellas to form collars that suggest patterns of flight.

“The way that she works is like an artist,” Amneus says. “She has an idea, a concept. ‘OK, how do I make this happen?’ ”

Van Herpen is not driven by technology, Amneus says. It’s merely a tool for her art. “She will play around with 30 or 40 different materials, 30 or 40 different techniques, and sometimes she will choose the handmade version over the technology, even though the technology might be faster, because the handmade technique brings to fruition what’s in her head.”

Visitors can play a guessing game over which pieces were 3D-printed. The big clear collar that mimics a cool splash? It’s handmade. In a video in the exhibit, art collector/designer/brewery heiress Daphne Guinness is repeatedly doused with black and clear water, and van Herpen chooses which still frame she wants to work with. We then see her using a heat gun, scissors and pliers on a sheet of PET plastic — the same material used in soda bottles — to recreate every drip. She is asked in the video how much she is willing to compromise. “I don’t like to compromise,” she responds.

But she does like to experiment. At one point, van Herpen talks about her appreciation of technology like 3D printing, as well as her fascination with nature and natural materials. “We are still wearing wools and silks,” she says, “but I really wonder if that is something we will still do in the future. It does trigger my imagination. What else can we wear?”

Van Herpen is marking 10 years since she launched her brand after internships with Alexander McQueen and the Dutch fiber artist Claudy Jongstra. “She was making fashion (in those internships) but wanted to build, to construct,” Amneus says. “She wanted to make things, not just sew. It was clear which way she was going.”

And van Herpen’s work is indicative of which way fashion is going, Amneus believes. Eventually, 3D printing and other technology will trickle down from haute couture to ready-to-wear clothes, she says.

She points to the prevalence of Fitbits and smartphones. “Who thought we’d be wearing technology? Who thought we’d have the internet in our pocket?” Amneus asks. Van Herpen, she says, is now looking at 4D printing of “smart cloth” that will warm up if it senses the wearer is cold.

“It’s coming. We will be wearing this stuff,” Amneus says. “I have no doubt about that.”Read more at:evening dresses | formal dresses

11:29 Publié dans fashion | Lien permanent | Commentaires (0)