Fashion Show Fashion Show

tinadress

Native Designers at SWAIA Haute Couture & Pret-a-Porter Fashion Show 2016

Some of the best Native designers will again do a whirlwind tour de force runway exhibit in about an hour or so on the first day of SWAIA’s Indian Market. The third annual Indian Market Fashion Show highlights Native designers who push the creative exploration of original and unique fashion as inspired by their diverse backgrounds.

marieprom evening dresses

The show is an innovated expression of fashion, design and art, featuring award winning and internationally recognized Native designers. The exhibit is both Haute Couture, a designer line of high-end customized fashions, and Pret-a-Porter, what is better known as Ready-to-Wear, lines of standard size fashions ready to purchase and wear.

Fashion has become a touchstone of all things Native American. You can start by calling fashion self-expression and from there it branches out, pride, tradition, family, contemporary, modern, avant-garde, chic, but also outspoken, street, natural, elegant, comfortable, simple and beautiful. Try to avoid trendy which can become appropriation but it is always self-expression and so you have to own it and might as well flaunt it.

Many of the artists are also represented atNative Fashion Now, a major touring fashion show initiated at the Peabody Es*** Museum in Salem, MA by curator Karen Kramer. It is now showing at thePortland Art Museum, will travel to the Philbrook Museum in Tulsa and end at the National Museum of the American Indian in New York City. If you cannot make one of the venues, I highly recommend purchasing the exhibit catalog as a teaching tool and important contemporary cultural document.

Designers at SWAIA 2016 Haute Couture Show

Jamie Okuma(Luiseño/Shoshone-Bannock) began bead working as a child creating her own dance regalia for powwows near her home, on the La Jolla Luiseño Reservation. At the age of 22, Okuma became the youngest artist in the history of Santa Fe Indian market to win Best of Show, which would become the first of her four Best of Show awards: two from SWAIA and two from the Heard Museum Indian Fair and Market.

Orlando Dugi(Navajo) designs work that embodies a fresh statement through beads and fine materials such as silks, crocodile leather, crystals, feathers, velvet, gold and gems. Ideas of elegance, fashion, and creativity are evident in every piece of evening wear and accessory he creates. Most of his work is a single bead stitch technique utilizing the smallest beads, drawing attention to detail and precision.

Sho Sho Esquiro(Kaska Dene/Cree) is an award winning artist who is inspired by her Native North American roots and respect for nature, which is derivative of her upbringing in Yukon, Canada. Esquiro uses organic fabrics, as well as recycled leathers, furs, and trims, in vibrant colors. Resulting in melding her passion for hip-hop culture with her aboriginal heritage to create a unique, fresh look with an urban-Native twist.

Patricia Michaelsis a Traditional Native woman (Taos Pueblo) who is a style-maker at the forefront of modern fashion design and aesthetics. She creates boldly hip designs with a quality of timeless elegance. In 2012, she was asked to join the Season 11 cast of Project Runway.

Dorothy Grant(Haida) has been an internationally renowned contemporary fashion designer for over thirty-two years. In 1988, Grant became the first designer to merge Haida art and fashion utilizing her formal training at the Helen Lefeaux School of Fashion Design. After seventeen years in retail and manufacturing, Grant has transformed her entrepreneurial focus to Native art market trade shows and online sales through her website.

Pamela Baker(Kwakwaka'wakw/Squamish) As a single mother, Pamela moved her two children down to Los Angeles, California to study at Otis College of Art and Design where she obtained her degree in Fashion Design. Her newly acquired degree provided her with the technical skills and business acumen to focus her efforts on designing a future that would honour her ancestors. Baker is the creator of Touch of Culture, where modern technology blends with style and traditional values and symbols.

Blue Wedding Dress - Pamela Baker

Blue Wedding short prom dresses - Pamela BakerCrystal Rose Demientieff Worlis Tlingit Athabascan from Raven moiety, Sockeye Clan, from the Raven House. She is a child of a Thunderbird and from the Chilkat region in Southeast Alaska. Raised between Fairbanks and Juneau, she was introduced at a young age to her traditional arts, practices, and storytelling. Crystal experiments with kiln-cast glass, printmaking, painting, and silversmithing. She recently began working with fish skin, seal gut-skin, and furs.

David Gaussoin, born in Santa Fe, New Mexico of Picuris Pueblo, Navajo, and French descent, stems from a long line of artists on his mother's side with various silversmiths, painters, rug weavers, sculptors, and woodworkers. Gaussoin works with gold, sterling silver, and various precious and semiprecious stones, as well as incorporating materials not necessarily associated with jewelry, such as steel.

Wayne Nez Gaussoin, born in Santa Fe, New Mexico, is from a family of artist who taught him the art of silversmithing. Nez Gaussoins’ style is a mix of traditional Native American applications with a contemporary flair. He experiments with non-traditional materials in a progressive sense of design that incorporates his interest in art, photography, music, and fashion design.

Celeste Worl(Tlingit) is a visual artist and DJ, from the Northwest Coast, she was surrounded by a family of totem pole carvers, basket weavers. In 1980, Celeste and her family founded the Alaska Native Magazine (ANM). The magazine served as an educational, political and informational medium as well as reintroduced old ways of life and art into the Native struggle for survival in a new system. Celeste worked as the magazine's graphic artist, art director and its publisher.

Amber-Dawn Bear Robe(Blackfoot/Siksika) is an art curator and art historian who teaches at the Institute of American Indian Arts in Santa Fe. She has been called on again by SWAIA to be the Fashion Show producer and head wrangler of designers, artists, models, photographers, makeup and hair artists, DJ and sound crew.

The event takes place on Saturday August 20 at the Santa Fe Community Convention Center, starting at 1:00 pm. copy0 tickets for up front seating, and free standing room.

Read more at:short cocktail dresses


برچسب:
امتیاز:
بازدید: 152
+ نوشته شده: 1395/6/13 ساعت: ۰۷ توسط:tinadress :

L.A. Swim Week returns Tuesday with a swimwear fashion show — and a pop-up shop

you didn’t travel to Florida for Miami Swim Week, then get a seat for the Los Angeles version. Returning for its second year, L.A. Swim Week — actually it’s only a one-day event — will paddle into the S******ball Cultural Center on Tuesday, and organizers are hoping the style event makes a splash on and off the runway.

Models at the Lybethras swimwear show in Miami Beach, Fla.

photos:prom dresses 2016

The day-long event will feature a pop-up shop with 20 brands selling swimwear and beauty products. An 8 p.m. fashion show is set with models who will wear swimwear from 10 designers.

“The meaning [of the event] is to bring together designers of different cultures,” said Connie Borja, executive producer of the event.

She moved to L.A. from Colombia 25 years ago and got her start in the fashion industry when she began designing baby clothes in 2003.

Eight years ago, Borja mentioned the idea for the swimwear event to Elizabeth Zoraida Cardoza, who oversees marketing for L.A. Swim Week.

“She had this idea, and for it to come from concept to fruition, she has had to do a lot of sacrifices, a lot of networking in a different language — in multiple languages,” Cardoza said.

Borja said she ultimately created the event, in part, to be a showcase for her swimwear line called Amour.

Swim Week is “about beauty and passion and *** appeal and health,” Cardoza said, adding, “It’s really describing what I think California was to [Borja].”

Cardoza said future plans include expanding Swim Week to show lingerie and sportswear.

Last year, about 550 people came to Swim Week, and Borja said she expects the audience number to grow to 600 to 800 people this year.

Tickets for the pop-up shop and the platinum-level seating for the fashion show are sold out. As of this afternoon, $30 general admission tickets for the fashion show were available online.

L.A. Swim Week 2016’s pop-up shop is open from 11:30 a.m. to 4:30 p.m. Tuesday. There will be a red carpet event from 6:15 to 7:30 p.m. and a fashion show from 8 to 10:30 p.m. at S******ball Cultural Center, 2701 N. Sepulveda Blvd.

Read more:MarieProm prom dresses 2016


برچسب:
امتیاز:
بازدید: 84
+ نوشته شده: 1395/5/5 ساعت: ۱۱ توسط:tinadress :

The Future of the Fashion Show: Adrian Joffe

When Comme des Garçons held its once-every-three-years Super-Market-Market sale in a westside warehouse space last month, shoppers lined up by the hundreds (celebs included), street style photographers descended, there was even a DJ. With Comme des Garçons and labels stocked at the CDG-owned Dover Street Market—J.W.Anderson, Gosha Rubchinskiy, Craig Green—at 70 to 80 percent off, it was a can’t-miss event.

photos:backless evening dresses

The general consensus is that it’s grim out there for retailers. Where so much else is going wrong, Comme des Garçons designer Rei Kawakubo and her husband, Adrian Joffe, the president of both CDG and DSM, are doing something right. Which is why I wanted to talk to Joffe about the fashion subject du jour: the future of runway shows. Comme des Garçons’s are famously exclusive and famously well-regarded. How does Joffe view the see-now-buy-now trend? Where does he stand on consumer-facing shows? Will we ever see a CDG show in virtual reality? Joffe answered my questions via email. Read on for his outspoken replies.

2016 is shaping up to be a year of fashion disruption. You’ve got major designer departures, some brands rethinking delivery schedules, others combining men’s and women’s collections. I’m interested in your perspective on the changes as the president of Dover Street Market and CDG.

Fashion, like life, is about constant change. Recently for sure there have been more changes than usual, but I am not sure we can say fashion is in crisis or that it matters. In a way we should welcome big changes and even revolutions because the status quo is never that interesting or positive. Disruption can perhaps pave the way for more creative thinking and less boring clothes.

As for Comme des Garçons and Dover Street Market, we just get on with what we do and don’t really take into account or change according to trends. We are our own microغير مجاز مي باشدm.

Knowing shoppers as well as you do after years of running DSM stores around the world, how excited are you about the idea of see-now-buy-now collections? Do you think direct-from-the-runway collections can help the flagging retail scene?

I’m not at all excited. It’s an unimaginative marketing idea that will, if anything, kill off retail even quicker. It smacks a bit of totalitarianism. I feel it takes away the freedom of the buyer and herds the consumer even more into what is supposed to be hot and enforces the idea that instantaneousness is the new paradise. Individuality and choice are reduced. Where is the suspense, the patience, the surprise, the happy accidents? Where is the art, where is the risk, and where is the space for creation to flourish in the see-now-buy-now mind-set?

Labels big (Gucci) and small (Vetements), both of which DSM stocks, have announced plans to combine their women’s and men’s collections. As a retailer, what do you see as the pros and cons, both big picture and on the ground, in terms of store buyers’ schedules? Also, has Team CDG given any thought to combining women’s and men’s collections?

Of course this will never happen for CDG. Men’s and ladies’ CDG have completely different starting points, although as with anything in CDG, they share the same values. But for Gucci and Vetements and anyone else to do [it] is, of course, no problem for us, and we wish them luck. Scheduling, of course, is always a bit of a nightmare but no big deal. We’ll get to see what we want to see.

In my interviews with others on the future of fashion shows, the subject tends to turn to retail. I’ve heard a lot of complaints about the a-seasonality of deliveries—i.e., Spring arrives in January, Fall collections in July. Why does this situation persist?

I am not sure, really, but I think it is something to do with large fabric manufacturers and the spiral of earlier and earlier bargain sales by depressed American department stores. It is very silly, though, to get Spring/Summer clothing just as winter is beginning to dig in its heels.

Last month, Business of Fashion had an editorial about broken department stores. What strategies have you used at DSM to avoid this fate?

We just do what we do, and don’t take notice or be affected by what is happening out there. We only aim to make an exciting and stimulating retail experience through beautiful chaos. I think also creating a community of relationships is what is important, between suppliers and us and between us and consumers. It is hard to have synergetic relationships online or with corporate machines.

Getting back to fashion shows, of all the changes being discussed and put into action this year, which do you think has a chance of sticking?

I have no idea. It’ll be interesting to see.

CDG has always staged very intimate shows. With all of the interest in the collection, they could easily be twice or three times bigger. Can you weigh in on why this formula works well for you?

Rei likes the audience to see the clothes close up.

I’m guessing you have very little interest in staging public-facing shows.

Maybe one day!! Who knows . . .

What do you think of the strategy for other brands?

Everyone should be free to do what they want. But remember, democracy can lead to the lowest common denominator syndrome.

CDG has, to my knowledge, never staged a pre-season show or presentation.

We are not organized to do so. We have 15 to 16 brands, each with their own concept, and deliveries throughout the season. We don’t need pre-collections. Our clients don’t demand it of us.

What’s your opinion on the pre-seasons?

There’s nothing wrong with them for those that do them. It’s nice to get early deliveries sometimes . . . I don’t much like it, though, when the pre-collections have nothing to do with the main collections . . .

Would it have been smarter not to publicize them and post collection photos online?

I have no idea. That’s not our world.

Do you have any interest in virtual shows?

None whatsoever.

Is a live experience still essential?

Absolutely . . . Live anything is essential. Virtual shows are virtually soulless.

If you could change anything about fashion shows, what would it be?

They are changing anyway. Let them find their own way . . .

Read more:backless prom dresses


برچسب:
امتیاز:
بازدید: 178
+ نوشته شده: 1395/3/18 ساعت: ۱۰ توسط:tinadress :