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Will Diet Prada Save Fashion From Itself?

Fashion is in a state of emergency and, like with many major conflicts throughout history, there's a radical whistleblower demanding the industry right its wrongs.

Diet Prada, Instagram's unofficial authority on "ppl knocking each other off," has recently risen to the forefront of fashion as a relentless watchdog calling out copycat culture — something they argue is needed now more than ever. "I think the industry has been lacking in a voice that doesn't fear speaking the truth," DP says. To that end, the anonymous founders (there are thought to be two of them) use their account to call out imitations or appropriations in order to push fashion through this bleak era they describe as "peak sameness."

Before creating DP, the handle's co-creators had worked together for 5 years in the business. During this time, they began to take notice of striking similarities between new collections they'd see on the catwalks and older collections they recalled from previous seasons or more recent lines made by younger, more obscure designers who did not have the same platforms. "We started making side-by-side collages to see how accurate we really were with the 'inspirations' we remembered," DP says via Google Hangouts, their preferred channel for communicating and maintaining anonymity. The earliest iteration of their "pet project" was on a private Pinterest, where the two would chronicle various fashion copycats and circulate the boards throughout their office at work. "Some of them were so spot-on that we shared them around. The reaction was always really positive, so we decided to put it on Insta."

When their Instagram account launched in late 2014, the format was critical to its success. By being anonymous, the Instagram had no relationships to maintain, regardless of how powerful the person being targeted was. "Anonymity can definitely help for those who fear repercussions," DP says. "Because a lot of what we post is based on visual evidence, we don't have too much fear in tackling most of the subjects we post about." No one's safe. Not Alexander Wang. Not Dior. Not even Gucci, who's become seemingly untouchable under creative director Alessandro Michele. Despite their ferocity, DP's still managed to garner a serious industry audience, from The Business of Fashion founder Imran Amed to Instagram's head of fashion partnerships Eva Chen and even Michele himself. Celebrities like Gigi Hadid, Dua Lipa and Pharrell Williams are also among DP's followers.

An increasing emphasis on transparency online, DP's own continued anonymity notwithstanding, has made it easier to hold industry gatekeepers accountable. Though as of late, the pair has been accepting fashion show invites, but attending completely undercover and documenting — or policing — the catwalk for their hundreds of thousands of followers. While this risks their anonymity (and, potentially when they're accepting invitations from the fashion brands directly, their impartiality), it's vital to being involved in the fashion conversation real time. "Fashion has its merits," DP says, "but it's also an extremely self-protective industry that's built on exploitation of all sorts, not just design and IP theft, but also unfair labor, model abuse, [and] environmental impacts."

Many of these types of exploitation can be found at fast-fashion companies, which have experienced a massive surge within the last decade, including a 21 percent growth in the past three years alone. This shift has coincided with the spread of social media, which trains users to think in shorter cycles. Social media has also had a big effect on the fashion media industry, previously the gatekeepers of trendcasting and telling readers what to wear. Nowadays, the world of magazines photographing runway looks and publishing them for their readers to see six months later has basically become irrelevant, replaced first by digital fashion show photo hubs like style and Vogue Runway to now, of course, Instagram. With more and more people able to go on social media and see collections as soon as models walk off the catwalk, the demand to buy these runway looks immediately has only grown. While certain luxury labels have been playing with the 'see now, buy now' model, where their collections become instantly available, there is a far bigger market for affordable knock-offs that hit stores weeks after the fashion shows end (if not sooner). With less time to create original outfits, fast fashion must seek inspiration from the source, and oftentimes lift full outfits from designer runways. "Everyone has to ramp up the pace to try [and] keep up," DP says. "It's causing a huge toll to the environment, to the people who make the clothes, to the consumer who feels like they have to keep up."

It's often difficult to differentiate between two racks of fast-fashion retailers, because they're both pulling from the same ideas and ultimately feeding the same customer. Today's restless fashion clock has destroyed personal style and eradicated subcultures, according to DP. "I've heard theories that emo was the last true subculture before most styles got pretty homogenized," they say. "You see the same images of Kim, Kendall and Bella circulating to everyone around the world, and that affects retail in a huge way. Before you know it, you're seeing all the same things in the stores and on your friends' Instas."

But the problem doesn't stop at fast fashion. DP argues the contemporary market has also fallen victim to a similar cycle. "Now the runway looks at the street, fast fashion and contemporary look at the runway, and everything just churns," they say, citing LPA's version of a designer Gucci jacket as a prime example. "I saw a group of friends in the city yesterday and two of them had it on," DP says, making sure to clarify that they were not DP's friends, but a group of NYC tourists. They also reference Tibi, "and other 'tribute brands'" that completely overhaul their look each season, as copycat criminals. "Tibi was literally Céline for a few years, and is now suddenly Balenciaga." And even luxury brands can occasionally find themselves in Diet Prada's crosshairs, especially when they're accused of ripping off younger, less-established designers.

The decision to call anything out on DP's page is a careful, educated process. The two admit there's a line line between a blatant copy and a tactful reference, which they consider long before posting anything onto Instagram. "A lot of it has to do with intent," DP says, referencing when Jacquemus name-checked Christian Lacroix as chief inspiration behind the shawl collars and raised-waist matador pants throughout his Fall 2017 collection. "But when you see someone that has identified a design or a formula that works, and they're trying to ride that success for commercial gain, that deserves to be called out."

Fashion has always been referential, but it's where the references are taken "that make or break it as a new original interpretation," DP says. Marc Jacobs has notably been a designer that leans into his references, and yet he's rarely criticized for making a direct copy of something else. "You can tell he loves fashion history, and finding new context for and reinterpreting historical styles," DP says. For his last collection, Jacobs brought together an exaggerated mix of inspiration, from '80s haute couture houses like Mugler and Ungaro to Vidal Sassoon's architectural cropped hairstyles of the '60s. While Jacobs' allusions were clear, they were also balanced and redefined for a new generation.

"There's a difference between being inspired and trying to pass something off as your own," Jacobs says, recognizing that he's been "very unapologetic" about his own inspirations. Still, the designer says it's tricky in today's industry, where "everyone is crying appropriation and culture vulture," to fully understand the intentions behind a brand's work before labeling it a blatant copy. Jacobs says he always returns to a Chanel quote — "He who insists on his own creativity has no memory" — and uses that motto to create referential fashion without it being counterfeit. "I'm inspired by Elsa Schiaparelli and Perry Ellis," he says. "Saint Laurent has been the biggest influence to me, but it's never a life-for-life copy — it's the designers' codes, characteristics or hallmarks inspiring me in the moment."

For every Jacobs, who uses his position of power to breathe new life into fashion, there's an industry gatekeeper keeping things stagnant, feeding today's cycle and ultimately taking up space. DP says if more young designers were given proper support to elevate their original ideas, this could help alleviate the pervasiveness of copycat culture. "The industry needs to figure out how to support better new talent," DP says. "A lot of the resistance probably stems from the risks again. They want someone they know is marketable and commercial, and so you end up with a lot of the same design references year after year." They cite the industry's extreme barriers to entry and the significant funds required to successfully launch a brand. "The powers that be with the money to help make these new designers viable sometimes look too hard at whether they think the merch would sell."

Matty Bovan, a rising British designer, has managed to captivate industry attention while still thrusting new ideas onto the catwalk — a rarity DP says is supported by him having "that desirable element, but with a fresh vision behind it." However, not all young designers have Bovan's same creativity. DP has frequently gone after CFDA/Vogue Fashion Fund-nominated Vaquera and the ways the New York collective lifts from vintage looks. They've accused the underground darlings of stealing Yohji Yamamoto's 2003 houndstooth suit, as well as the Japanese designer's iconic purse dress. After calling Vaquera out on Instagram and sparking a debate in the comments, DP says they've seen a shift in their design approach. "I think this most recent season, they did break away from the replicas," DP says, before adding a bit of inevitable criticism. "The homage portion was a little on the nose with the designer portraits. Hopefully they will nd a way that works for them because they obviously have a lot of enthusiasm, which is more than a lot of people can say."

DP reiterates that "no one is safe" in their tireless quest to call out the fakes — but it's not to be a bully, it's simply because they love fashion and "want to be able to love it without feeling guilty," they say. "We're giving a voice to a lot of people who don't have the platform or fear speaking up about important issues."Read more at:cocktail dresses | bridesmaid dresses


03:19 Publié dans fashion | Lien permanent | Commentaires (0)


Barneys Wants to Tell a Memorable Story With VR, Fashion and Dance

Luxury retailer Barneys New York seeks to tell a story shoppers will remember in its new VR experience.

In partnership with electronics company Samsung and contemporary dance troupe the Martha Graham Dance Company, Barneys released its 11-minute movie, Mantle, which was filmed with 360-degree camera technology. The film incorporates four principal dancers, whom Barneys says “embody character archetypes representing parts of the human psyche: Power, Ethereal, Possessed and The Cleaner.”

According to a blog post on Barney’s content hub, The Window, the film is the result of more than a year of work and intends to put the viewer at the center as dancers look inward toward a central focus point where the camera was placed.

“Every aspect was specifically designed as an interaction between the performers and ‘an audience of one,’” Barneys said in the post. (The brand did not respond to a request for comment.)

The cast wears—and, Barneys says, “bring[s] movement to”—clothing from designers like Prabal Gurung, The Row, Rick Owens, Loewe and Craig Green. The apparel, which ranges in price from a $330 T-shirt to a $4,000 dress, is also highlighted on the blog post in a section called Shop the Story.

The experience can be viewed on Samsung headsets at Barneys’ Madison Avenue, Downtown and Beverly Hills flagships, as well as via the Samsung VR app and on

“Barneys’ mission is to allow people to interact with our creative content in as many ways as possible, and technology can bring this dance piece to life in an unprecedented way,” said Barneys creative director Matthew Mazzucca in the post. “Within VR and 360 environments, as well as through the variety of formats we’ve created, no two viewers will have the same experience of the dance, and that’s exciting.”

It’s also an experience Mazzuca hopes viewers will remember, the post said—and it’s certainly possible, according to Dario Raciti, director of Zero Code, the interactive entertainment division of media company OMD. Raciti, who is not a part of this activation, said VR has become a platform that deliver memorable experiences, if done well.

“What they’re trying to do here is deliver something memorable and presented in a different way than what they’ve perhaps done in the past on a rectangular TV screen,” he said. “VR is such a flexible platform. … Looking at that dance on 2D screen would have been less memorable to a user than seeing it in a VR headset. That’s the element VR brings to the table, whether interactive or linear: the level of memorability of an experience that is higher.”

There are a range of potentially memorable applications for VR in retail. Walmart, for example, has not disclosed specific plans, but called out enhanced product testing, interactive ecommerce experiences and the ability to anticipate consumer needs and establish trust as potential uses for VR.

Meanwhile, research from mobile retail app developer GPShopper found that 46 percent of respondents want to use VR to try on clothing and accessories without going into a store. About 42 percent want to use VR to see where and how a product was made, while 23 percent want access to a personal shopper in a virtual environment.

That said, consumers have high expectations for both VR and AR, said Joey Camire, principal at consultancy Sylvain Labs.

“Obviously, you can add value in myriad ways,” he said. “If the experience is truly unique and special, but only providing entertainment value, that can still be worth doing. But the expectations will be high. One of the things that has plagued VR is that based on portrayals in popular culture, expectations are just so high. Even when something is an incredible feat of production and technical expertise, it can still fall flat to someone who doesn’t have an eye or background for that.”Read more | evening dresses

03:36 Publié dans fashion | Lien permanent | Commentaires (0)


Beauty Hacks Which You Must Follow In 2018

Here are some simple beauty hacks which you should definitely follow in 2018 :

1. Removing Make-up before sleeping should be the mantra of your life

No matter how tired you are, do remove your make up before sleeping to make your skin look young and energetic in long-term. Makeup makes you look beautiful but can also harm your skin if not removed properly.

2. Healthy Diet

Yes, we know it is one of the most clichéd things ever which our moms also keep telling us. But they are clichéd because they are absolutely true! Include a lot of green vegetables and fruits in your diet, and you will notice the glow in your skin in just a few weeks. You can thank us later!

3. Pay Attention to your lips

Chapped lips can spoil anybody’s looks because they look very unattractive. We sometimes take our lips for granted and don’t take care of them. That is exactly where we go wrong! Use a gentle scrub for your lips and keep them hydrated with a lip balm ALWAYS. In fact, we would suggest you always carry a lip balm with you!

4. Beauty Sleep is IMPORTANT

Do not ever underestimate the importance of a proper 6-8 hour sleep every night! A proper sleep rejuvenates our skin, making it look clear and healthy. So please, give your phone also some rest at night (yes, phone is the ultimate culprit behind the bad sleeping habits!) and take your beauty sleep!Read more at:long evening dresses australia | red carpet dresses

09:38 Publié dans fashion | Lien permanent | Commentaires (0)