Description- The TV Advert titled Valentine's Day for Pandora It was released in the February 2018.
Director: Martin Werner
Production Company: Proppa
Description- The Web Film titled Miss Dior for Dior in France. It was released in the September 2017
Director: Manu Cossu
Production Company: Iconoclast
Director of Photography: Matias Boucard
Starring: Natalie Portman
Song: Sia - Chandelier
Description- TRUST Vetements and the brand's cultish cool to tackle the touchy subject of overproduction heads on. Launching today, four of Harrods’ store windows on Brompton Road will be dedicated to the Swiss label’s call for action. “We have the luxury of being a young, independent brand, which has the opportunity to speak out without being afraid of powerful backers,” its CEO Guram Gvasalia says over coffee in the suite of his Mayfair hotel. “The problem with sustainability today is that people look at it from the wrong perspective. Yes, where you produce and how you produce is super important. But what people are overseeing is something that’s right in front of our eyes: it’s about how much brands produce and how much consumers buy,” the 31-year-old brother of Vetements’ creative director Demna Gvasalia argues. “Since my first-ever interview I’ve been saying this: the basic thing of economics is the supply meeting demand. If you go to a shop and you see something on sale, it means it’s been overproduced.”
Over the past year, Vetements has been highlighting issues of overconsumption, staging waste-focused events at Maxfield in Los Angeles, Saks Fifth Avenue in New York, and Browns East in London. “But in this age, doing something once or twice isn’t enough. Our phone screens refresh so quickly that our attention spans have shrunk,” Gvasalia quips. He’s devoted the next twelve months to shining a light on the issue of overproduction with plans of fifty events worldwide starting with the windows at Harrods. Unveiled to the public this morning, they feature stockpile installations of clothes donated by Harrods’ four-thousand employees as well as original Parisian donation bins for charity, a regular occurrence on Instagram due to the "Vetements" logo featured on their fronts (simply meaning ‘clothes’). Throughout February, Harrods’ customers are invited to donate their own garments, the proceeds of which go to the NSPPC.
Gvaslia, who has been working on the projects for over a year, says he approached all the big fashion brands asking them to donate their stock. “Nobody wanted to take part. Not a single brand; really huge corporations. Everyone is afraid of admitting that they make more clothes than they can sell.” He spends his year travelling the world, trawling through department stores and boutiques, analysing the stock on display at various points of the season. “I find it particularly hard travelling in the United States during the sale, seeing all these luxury items on extreme discount,” he says. “There are mountains and mountains of clothes that were overproduced. Part of it is sold with huge markdowns, but what’s left becomes dead-stock. Statistically, thirty percent of what brands produce ends up in landfills. Garbage.”
What needs to change, Gvasalia explains, is the pride of the biggest companies in fashion, whose reported gross turnovers can only increase if they sell more merchandise. “At the end of the day, you only have a certain amount of people, who are actually willing to buy your clothes. No matter what you do, this number is limited. So instead, they have their own stores that they force their merchandise upon, just so they can increase their numbers.” In other words, the annual figures reported in designer interviews and reviews shouldn’t always be taken for granted. Nor should they necessarily be a source of pride. “For brands to become more sustainable today, they need to do one simple thing: have their supply meet their demand. It’s like throwing away food in a world full of hunger. Our planet is sick because of us, because we want more and more and more, without thinking of generations to come,” he reflects. And it goes for the customer, too. “Try to think, ‘Do I need all these clothes?’”
Gvasalia isn’t a big shopper himself. On this day – as any – he’s clad in his trusty uniform of all-blacks: jeans, a T-shirt and a hoodie. His wardrobe can be counted on a few hands, and whenever he acquires a new item of clothing he donates an old one to a relative. Asked if he publicises Vetements’ turnovers he rolls his eyes. “Of course not. It’s not the main goal. The goal is to create amazing clothes for people who want to buy them.” How do he and his designer brother take responsibility, then? “First of all we don’t have our own stores. Secondly, we don’t push stores with minimums. We’ve started to limit quantities,” Gvasalia says, admitting he sometimes puts a stop to buyers when they try to buy stock beyond their customer demand. “Of course, there are buyers that are amazing. Natalie Kingham bought 250 of our unicorn hoodies,” he says, referring to the buying director of MatchesFashion.com, “and they were gone in a day. But some buyers put debts on pieces that are just insane.”
What of all those coveted, perpetually sold-out it-items we hear about, then? “What brands do – which is very smart – is to limit the online stores, giving one store maybe forty pairs of the hottest sneaker. So of course it sells out,” Gvasalia explains. “I sold four-thousand pairs of sneakers on Ssense.com in four days, but this is not my goal anymore. It breeds greed. I’m not chasing numbers. I don’t need my company to be worth a billion. You can make money like that much more easily outside of fashion.” It’s perhaps an easy thing to say for the owner of a brand like Vetements, which sky-rocketed in sales just a year into their existence, in 2014, shifting hoodies at £600 and denim trousers – sustainably made out of recycled jeans, by the way – at £1200. “Our stuff is expensive because it’s limited,” Gvasalia asserts. “But then people go and buy the high street items that look like our work. I want to tell people: buy less, buy quality and buy long term.”
Last year, Vetements relocated their studios from Paris to Zurich in a move interpreted by some as tax conscious. Gvasalia begs to differ. “We moved the company to Switzerland because I wanted to protect myself from an industry I feel is toxic and wrong. I don’t want to be distracted by the wrong business strategies. I moved the company because I wanted to be left alone in a world where we can operate without distractions.” So there. Vetements, of course, stills show in Paris, like in January when the brothers borrowed an old flea market free of charge and invited guests to watch the show – styled in copious layers as a reflection of overconsumption – from market chairs already in place. “My show was completely sustainable,” Gvasalia nods. He says his commendable outlook is the result of age, of running a growing business, but also rooted in a childhood of extremes.
In the early 1990s, the brothers and their family fled their native Abkhazia amidst the Georgian civil war. “When you see stuff as six years old that I don’t even want to share as public knowledge, you start to appreciate life. You start to understand that if you have to cancel a T-shirt because of a minimum, you don’t have to care. It’s not the end of the world,” Gvasalia says, raising his eyebrows. “I appreciate life because I know that things can change in one second.”
Description- Aurore Demaizière Blanc, directrice de la division Assistanat & ADV, a rencontré Coline, ancienne assistante personnelle de Madonna à New York.
Description- sit down with Man Repeller's Leandra Medine, fashion critic Robin Givhan and chief curator Pamela Golbin as they discuss changing the fashion narrative.
Description- In the premiere episode of Elles, follow director Maurine Pagani as she meets two female designers changing the international fashion landscape: Isabel Marant and Mary Katrantzou.
Description- A new model has taken the spotlight and her name is Kaia Gerber. Her face looks familiar, why? Oh that must be because her mom is the ‘80s supermodel, Cindy Crawford! Her walk is already being praised and stands out amongst the popular models today. She’s only 16 but she’s about to take over the fashion industry so watch out world!
Description- The World's Highest-Paid Models,From newcomer Gigi Hadid to longtime top-ranked Gisele Bundchen, the world's 20 highest-paid models earned a combined $154 million between June 1
Gisele Bündchen,Gisele Caroline Bündchen is a Brazilian fashion model and actress. Since 2004, Bündchen has been among the highest-paid models in the world
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Karlie Kloss,Karlie Elizabeth Kloss is an American fashion model. Vogue Paris declared her one of the top 30 models of the 2000
Kendall Jenner,Kendall Nicole Jenner is an American fashion model and television personality. Originally known for appearing in the E! reality television show Keeping Up with the Kardashians
Rosie Huntington,Rosie Alice Huntington-Whiteley is an English model and actress. She is best known for her work for lingerie retailer Victoria's Secret, formerly being one of their brand "Angels
Gigi Hadid,Jelena Noura "Gigi" Hadid is an American model. She was signed to IMG Models in 2013
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HM: Kaia Gerber , Mckenna Hellam , Luna Bijl , Sora Choi , Kiki Willems , Jessie Bloemendaal , Grace Elizabeth , Teddy Quinlivan , He Cong , Selena Forrest.
Description- Every February and September, dozens of models take their first steps on the catwalks of New York, London, Milan and Paris. But that’s about the only aspect of modelling that has stayed consistent in the past decade. Today’s models are held to an entirely different standard than their counterparts in the past: excellent bone structure and a good walk are no longer a guarantee in an era when casting decisions can come down to follower numbers on Instagram. From fashion royalty following her mother’s footsteps, to trailblazers carving their own paths on the runway, here’s a recap of the most promising new faces.
Philosophy di Lorenzo Serafini
“Waves” by Aevion
“Bubblegum” by Jordi Rivera & Sonny Bass
(Spinnin' Copyright Free Music)
Video edited by Anna Davidsson
December 23, 2017
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