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C.P. COMPANY X SEBAGO  PRESENT CINQUANTA CHAPTER 05
1606

C.P. COMPANY X SEBAGO PRESENT CINQUANTA CHAPTER 05

Fashion Icons are not immediate. They require visionary design but also visionary consumers. For a short, but intense, period in the 1980s, future icons of C.P. Company and Sebago were purchased, traded, worn, and repurposed by a group of young Italian fashion cognoscenti whose choices created the first streetwear movement in Italian fashion history.     Years later, the two brands join forces to celebrate 50 years since Massimo Osti launched C.P. Company and the concept of Italian Sportswear.     The capsule collection pays homage to those aesthetic references of one the most influential Italian subculture. The C.P. Company M.t.T.N. windbreaker jacket, in 3 color ways (yellow, red and blue), is an updated replica of an archive item from mid-1980s, which has been one of the first experiments by C.P. Company in dyeing a garment in nylon and cotton. While dyeing, the nylon is completely dyed whereas the cotton on the inside is “soiled” by the dye and assumes a lighter tone.     The Sebago shoes is the Docksides, one of the most iconic shoes of the brand. Launched in 1970 it has always been the symbol of saltwater, air, sun and adventure. For this special capsule, it has been created in a limited edition, manually overdyed in the same windbreaker's colours.   50.cpcompany.comsebago.com Icons are not immediate. They require visionary design but also visionary consumers. For a short, but intense, period in the 1980s, future icons of C.P. Company and Sebago were purchased, traded, worn, and repurposed by a group of young Italian fashion cognoscenti whose choices created the first streetwear movement in Italian fashion history.     Years later, the two brands join forces to celebrate 50 years since Massimo Osti launched C.P. Company and the concept of Italian Sportswear.     The capsule collection pays homage to those aesthetic references of one the most influential Italian subculture. The C.P. Company M.t.T.N. windbreaker jacket, in 3 color ways (yellow, red and blue), is an updated replica of an archive item from mid-1980s, which has been one of the first experiments by C.P. Company in dyeing a garment in nylon and cotton. While dyeing, the nylon is completely dyed whereas the cotton on the inside is “soiled” by the dye and assumes a lighter tone.     The Sebago shoes is the Docksides, one of the most iconic shoes of the brand. Launched in 1970 it has always been the symbol of saltwater, air, sun and adventure. For this special capsule, it has been created in a limited edition, manually overdyed in the same windbreaker's colours.   50.cpcompany.comsebago.com

C.P. COMPANY X SEBAGO  PRESENT CINQUANTA CHAPTER 05
1606

C.P. COMPANY X SEBAGO PRESENT CINQUANTA CHAPTER 05

Fashion Icons are not immediate. They require visionary design but also visionary consumers. For a short, but intense, period in the 1980s, future icons of C.P. Company and Sebago were purchased, traded, worn, and repurposed by a group of young Italian fashion cognoscenti whose choices created the first streetwear movement in Italian fashion history.     Years later, the two brands join forces to celebrate 50 years since Massimo Osti launched C.P. Company and the concept of Italian Sportswear.     The capsule collection pays homage to those aesthetic references of one the most influential Italian subculture. The C.P. Company M.t.T.N. windbreaker jacket, in 3 color ways (yellow, red and blue), is an updated replica of an archive item from mid-1980s, which has been one of the first experiments by C.P. Company in dyeing a garment in nylon and cotton. While dyeing, the nylon is completely dyed whereas the cotton on the inside is “soiled” by the dye and assumes a lighter tone.     The Sebago shoes is the Docksides, one of the most iconic shoes of the brand. Launched in 1970 it has always been the symbol of saltwater, air, sun and adventure. For this special capsule, it has been created in a limited edition, manually overdyed in the same windbreaker's colours.   50.cpcompany.comsebago.com Icons are not immediate. They require visionary design but also visionary consumers. For a short, but intense, period in the 1980s, future icons of C.P. Company and Sebago were purchased, traded, worn, and repurposed by a group of young Italian fashion cognoscenti whose choices created the first streetwear movement in Italian fashion history.     Years later, the two brands join forces to celebrate 50 years since Massimo Osti launched C.P. Company and the concept of Italian Sportswear.     The capsule collection pays homage to those aesthetic references of one the most influential Italian subculture. The C.P. Company M.t.T.N. windbreaker jacket, in 3 color ways (yellow, red and blue), is an updated replica of an archive item from mid-1980s, which has been one of the first experiments by C.P. Company in dyeing a garment in nylon and cotton. While dyeing, the nylon is completely dyed whereas the cotton on the inside is “soiled” by the dye and assumes a lighter tone.     The Sebago shoes is the Docksides, one of the most iconic shoes of the brand. Launched in 1970 it has always been the symbol of saltwater, air, sun and adventure. For this special capsule, it has been created in a limited edition, manually overdyed in the same windbreaker's colours.   50.cpcompany.comsebago.com

Filling Pieces opens brand new Flagship Store in the heart of Amsterdam
1607

Filling Pieces opens brand new Flagship Store in the heart of Amsterdam

Fashion Amsterdam fashion brand Filling Pieces has opened a new Flagship Store. Located underneath their head office at Spuistraat 168, the brand’s Flagship retail space will offer the full brand experience, complemented with music, events and special collaborations.     “In a time where retail is facing immense pressure, it is forced to change drastically in order to survive. With our Flagship Store we are reshaping the conventional notion of the retail experience by translating our brand values into a space, and turning it into a community hub where we can bring like minded people together. It is, quite literally, the center of the Filling Pieces universe.” - Says founder and creative director Guillaume Philibert.     After opening their first Satellite store in the 9 streets in Amsterdam last year, Filling Pieces continues their physical retail expansion with a fully flexible retail space. Like their Satellite Store, the Flagship is designed by former Filling Pieces Art Director Daniele Misso, who continues the aesthetic of the Berenstraat store into the Flagship via hard contrasts between products and materials, using metal and concrete, with bright colour accents throughout the space.   “For the Flagship Store design, we drew inspiration from the Italian Superstudio movement, which emerged in the late 60s. It’s design methodology is based on partitioning a space via grids, and using them as a guideline for incorporating certain design elements. The light installation was designed to give the store a sense of continuity, and the feeling of one big space which holds smaller, strategically placed elements and structures. The open retail floor, for example, has grids which hold seating areas where people can interact with each other, as well as a mix of sculptural art installations and product displays. The rear grids of the space, which hold the lounge area and fitting rooms, were used to create yet another, more intimate experience using a sheltered structure and rich material textures. As a whole, the store projects the feeling of a contemporary art gallery; where all the elements become sculptural at the service of the Filling Pieces collections, yet at the same time provide a social setting for the brand’s community”, explains Daniele Misso.     CREDITS: Design: Daniele Misso  Photography 1: Ewout Huibers (@ewouthuibers) ​Photography 2: Daniele Misso (@daniele.misso) Amsterdam fashion brand Filling Pieces has opened a new Flagship Store. Located underneath their head office at Spuistraat 168, the brand’s Flagship retail space will offer the full brand experience, complemented with music, events and special collaborations.     “In a time where retail is facing immense pressure, it is forced to change drastically in order to survive. With our Flagship Store we are reshaping the conventional notion of the retail experience by translating our brand values into a space, and turning it into a community hub where we can bring like minded people together. It is, quite literally, the center of the Filling Pieces universe.” - Says founder and creative director Guillaume Philibert.     After opening their first Satellite store in the 9 streets in Amsterdam last year, Filling Pieces continues their physical retail expansion with a fully flexible retail space. Like their Satellite Store, the Flagship is designed by former Filling Pieces Art Director Daniele Misso, who continues the aesthetic of the Berenstraat store into the Flagship via hard contrasts between products and materials, using metal and concrete, with bright colour accents throughout the space.   “For the Flagship Store design, we drew inspiration from the Italian Superstudio movement, which emerged in the late 60s. It’s design methodology is based on partitioning a space via grids, and using them as a guideline for incorporating certain design elements. The light installation was designed to give the store a sense of continuity, and the feeling of one big space which holds smaller, strategically placed elements and structures. The open retail floor, for example, has grids which hold seating areas where people can interact with each other, as well as a mix of sculptural art installations and product displays. The rear grids of the space, which hold the lounge area and fitting rooms, were used to create yet another, more intimate experience using a sheltered structure and rich material textures. As a whole, the store projects the feeling of a contemporary art gallery; where all the elements become sculptural at the service of the Filling Pieces collections, yet at the same time provide a social setting for the brand’s community”, explains Daniele Misso.     CREDITS: Design: Daniele Misso  Photography 1: Ewout Huibers (@ewouthuibers) ​Photography 2: Daniele Misso (@daniele.misso)

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Louis Vuitton presents the "Charlie sneakers"
1608

Louis Vuitton presents the "Charlie sneakers"

Accessories With its eco-responsible design made of 90% recycled and bio-sourced materials, Charlie, revealed on 12th November 2021 is the first ever unisex sneaker by Louis Vuitton. Charlie introduces new perspectives to the world of nely crafted eco-designed sneakers.     Staying true to its innovative mindset, Louis Vuitton presents Charlie, a sneaker model vibrating at the pace of modern times. Available in sizes 34 to 47 (3 to 13 in US sizes) in a low and high-top version, this new must-have for all wardrobes, regardless of gender, is ideal for an everyday life encompassing mobility, comfort and high quality, values dear to the House. Charlie marks an important step forward in terms of eco-responsibility, as it challenges all the current standards thanks to its eco-conception featuring 90% recycled and bio-sourced materials.     The concept of circular creativity has been applied in a holistic way, from the studio sketches to Louis Vuitton's shoes workshop in Fiesso d'Artico, northern Italy. This is how Charlie’s sole — which accounts for 50% of the sneaker's weight —, made up of at least 94% recycled rubber, is record breaking while remaining supple and shock-absorbing. The upper part is composed of smooth and grained synthetic material, produced from recycled polyester and a layer of Biopolioli, a corn-based plastic. The entirely recycled laces echo the tongue patch made with ECONYL®, a 100% recycled and 100% recyclable nylon derived from nylon waste, also used on the back of the Charlie and for the House’s signature. The inside sole and lining are respectively composed of recycled polyurethane and recycled polyester.     Pushing this approach even further, Louis Vuitton has redesigned the traditional packaging, protecting Charlie with a felt made with TENCELTM , branded fibers originated from renewable wood sources certified by FSC®(Forest Stewardship Council). FSC® (Forest Stewardship Council) certified. The shoe box, made up of 100% recycled cardboard, becomes a bag, transportable thanks to a handle, also in TENCELTM wood based fibers, thus making it possible to save around 70% of materials for the two available sizes. The use of plant-based inks as well as the shoe box’s interior, which has been left in raw kraft paper, also reduce the impact to the minimum of this innovative packaging.     “Our committed journey” is Louis Vuitton’s sustainable development plan, in line with the LIFE360 (LVMH Initiatives For the Environment) plan. Through six lines of action, it aims to preserve natural resources (sustainable supply of materials, contribution to climate protection, circular approach of creativity) and to have a positive impact on society (diversity and inclusion, commitment to local communities, development of know-how).     Find out about their commitments, targets and news on louisvuitton.com With its eco-responsible design made of 90% recycled and bio-sourced materials, Charlie, revealed on 12th November 2021 is the first ever unisex sneaker by Louis Vuitton. Charlie introduces new perspectives to the world of nely crafted eco-designed sneakers.     Staying true to its innovative mindset, Louis Vuitton presents Charlie, a sneaker model vibrating at the pace of modern times. Available in sizes 34 to 47 (3 to 13 in US sizes) in a low and high-top version, this new must-have for all wardrobes, regardless of gender, is ideal for an everyday life encompassing mobility, comfort and high quality, values dear to the House. Charlie marks an important step forward in terms of eco-responsibility, as it challenges all the current standards thanks to its eco-conception featuring 90% recycled and bio-sourced materials.     The concept of circular creativity has been applied in a holistic way, from the studio sketches to Louis Vuitton's shoes workshop in Fiesso d'Artico, northern Italy. This is how Charlie’s sole — which accounts for 50% of the sneaker's weight —, made up of at least 94% recycled rubber, is record breaking while remaining supple and shock-absorbing. The upper part is composed of smooth and grained synthetic material, produced from recycled polyester and a layer of Biopolioli, a corn-based plastic. The entirely recycled laces echo the tongue patch made with ECONYL®, a 100% recycled and 100% recyclable nylon derived from nylon waste, also used on the back of the Charlie and for the House’s signature. The inside sole and lining are respectively composed of recycled polyurethane and recycled polyester.     Pushing this approach even further, Louis Vuitton has redesigned the traditional packaging, protecting Charlie with a felt made with TENCELTM , branded fibers originated from renewable wood sources certified by FSC®(Forest Stewardship Council). FSC® (Forest Stewardship Council) certified. The shoe box, made up of 100% recycled cardboard, becomes a bag, transportable thanks to a handle, also in TENCELTM wood based fibers, thus making it possible to save around 70% of materials for the two available sizes. The use of plant-based inks as well as the shoe box’s interior, which has been left in raw kraft paper, also reduce the impact to the minimum of this innovative packaging.     “Our committed journey” is Louis Vuitton’s sustainable development plan, in line with the LIFE360 (LVMH Initiatives For the Environment) plan. Through six lines of action, it aims to preserve natural resources (sustainable supply of materials, contribution to climate protection, circular approach of creativity) and to have a positive impact on society (diversity and inclusion, commitment to local communities, development of know-how).     Find out about their commitments, targets and news on louisvuitton.com

In conversation with Lewis Tan
1605

In conversation with Lewis Tan

Film We are excited to share our next digital cover star, Lewis Tan, lead of the hit blockbuster film, Mortal Kombat. Best known for his exemplary martial art skills, he has been making his mark in the film and tv industry. This is just the beginning of an exciting career to watch, Lewis is here is stay. Mortal Kombat is now available on all platforms.      PHOTOGRAPHER: JONNY MARLOW  STYLIST : JORDAN BOOTHE  TALENT: LEWIS TAN  HAIR / MUA: CANDICE BIRNS  STYLE ASSTANT: CHRISTIAN SMITH  EDITOR: TIMI LETONJA      Could you tell our readers a bit more about yourself first?    I was born in England, spent my childhood raised between Europe and the USA. My father has a long history in legendary action films such as Batman, Indiana Jones and the Temple of Doom, Willow, Inception, just to name a few. Because of that, I grew up learning martial arts and the art of filmmaking, I was enamored with make-believe, the sets, costumes, and exotic locations. I knew from a young age this was what I wanted to do, make films and travel the world. That desire only became deeper as I got older, I have to say, I am terribly obsessed.    What is your first memory when it comes to acting?   I remember watching my father in Tango and Cash, there is a scene where Kurt Russell is interrogating my father and is choking him by sitting on top of him with a chair on his throat. I would cry to everyone I would see that scene, he explained to me he was only acting and demonstrated how it was done. That is a weird feeling as a kid, knowing you can play pretend for a living. I began to watch all the  other films I could get my hands on and study the actors, at that time there wasn't really any Asian actors in western cinema so I just watched Steve McQueen, Cary Grant, Marlon Brando, Peter Sellers, I would memorize the scenes and try to mimic them, that was my first acting class.      How did your background and experience in martial arts help you to build up your career as an actor?    Martial arts is expression. It is no different than acting, you act with your body, with your words, with your energy, it is different outlets for the same purpose, storytelling. Although the one thing it has taught me was discipline and gave me tough skin. There is nothing like having your ego checked when you train in a martial arts gym. Martial arts teaches you to check your ego at the door and flow. I try to use that in my work. Even if I am not doing an action in a scene, I approach it the same way, what is my body language saying? I always ask that question, never just stand there and say the lines that are not acting, anyone can do that, discovering truth and expressing it in every form is the goal.      What drew or inspired you for a career as an actor eventually?    I never wanted to just be an actor. I am inspired to be a complete filmmaker. I write, direct, act, choreograph, perform my own fights.  People like to put you in a box, define you. It makes it easier for them to process, I don't limit myself when it comes to what I do.  I am working on my directing debut, it is the fourth script I have written and in a few years, I will be juggling both acting and writing/directing career. When I was younger, no one wrote good roles for a half Asian actor, and only those with really progressive thinking hired me for a role originally written for a white actor. Forest Whitaker and Nina Yang Bongiovi cast me in my first lead role as a football player in a thriller called "Sacrifice". There was no martial arts, no fighting, it was just a well-rounded character with deep emotional issues, and look at the work they went on to create. Yet, even so, it is few and far between, so you have to create things for yourself if no one is going to give you that chance. I am not waiting around, you have to create, and next thing you know, people that see the vision want to work with you.      Who is the one voice that has inspired you the most in your personal life and career?    My parents have been a grounding element that has helped guide my life. I also listen to that voice inside, the quiet one, call it your intuition, your insight, your heart, whatever you want to call it, that voice is terribly precious. When that voice is dulled down it can be a really scary thing, you can be swayed so easily, you have to train yourself to listen to it and trust it. Similar to a muscle, it has to be used and exorcised, then it will grow and become a valuable ship to navigate the storms. If you close your eyes, remove yourself from all distractions and judgments you can feel and hear, then soon it becomes second nature.      You played the lead role Cole Young in Mortal Kombat which came out this year. You did all the action sequences on your own. How did you deal with all the physical and emotional pressure that comes with that?    It is my first leading role in a film of this magnitude, so I decided early on that I would give my best effort to lead by example. Never quit or make excuses no matter how draining the process was going to be. Physically, I have been training for 20 years so I knew I had what it takes to deliver an authentic action performance, the endurance to perform all the fights myself however can be hard, every day performing at such a high level for 10-14 hours a day. For example, at the beginning of the film I fight in the cage with a guy named Ian Streetz who is a real fighter, has done MMA, bare-knuckle, and much more, we fought for two days straight for about 12 hours a day without taking breaks or really even sitting down. In the end, we were both banged up, bleeding and bruised. He told me when he trains for a fight, at most it will last around 25 minutes, he said he can't imagine how I am going to continue for the next few months at this same pace. You would be surprised what can happen if you have the right mindset, it was the biggest challenge to date, but thankfully I was supported by a great stunt team and amazing cast who became like a family on a crazy adventure.      How do you prepare for action roles in general? When do you start preparing and what’s your routine?    I stay training. It can not be done any other way. There is no off-season. I stay learning and training with people who are better than me so I can progress. The idea of starting to train after you are hired for an action film is insane to me,  these actors should just use a double, you will never be able to accomplish what takes 20 years of experience, sure you can quickly learn and do the best you can but at most it will be average or below average and now the director is forced to cut around you, chopping the scene to pieces or using expensive CGI face replacement to compensate. If you want to do action films you should be constantly training, sounds obvious but really no one does it, the ones that do you can tell right away. I do my best to push the boundaries of action each time I do a new project, that takes extreme dedication like an athlete training for a professional sports event. That is how you should look at it, on top of doing all the work emotionally. Anything less I am not interested in watching.    As an advocate and leader for the Asian-American population, you are breaking boundaries when it comes to Asian stereotypes in our film industry. How is your experience?    I am just doing whatever I can to be the best artist possible. I back up what I say with my work and I do what I can to be an inspiration to the future generation, but I am just one person. If I can inspire more people to want to create films or have confidence when they walk around or take up martial arts because they watched one of my films then that will hopefully add to the change we need. It is a collective effort, it is a long battle to create lasting change. It isn't just in a sense of cinema either, the way cinema reflects the world has a psychological effect on the culture, society watches films and in return "see" themselves in the characters or relate to situations that make them either feel more united as humans or more isolated in some ways, we aim to create unity and confidence in all races, genders, and backgrounds.    Among all the roles you have played so far which one embodies your personality the most?    They all have a part of me, sounds pretentious and very active, but if you don't put some of yourself into the character, then I am not doing the work. At least in terms of understanding, empathizing with them, even if they are a crazy person or a serial killer, we are all human and at some point we had were a baby and had a mother, we all have felt insecure, pain, love, trauma to each person it is different levels and different understanding which can in some cases lead to catastrophic mindsets but at the core of it all, we can at least try to understand each other, that is the key to getting rid of ignorance, which is the foundation of all hate.    On what projects are you working on right now and anything exciting coming out soon?    Currently sitting onset (the first time really sitting down on a film set in the last two years) in Boston filming a romantic comedy with Emma Roberts called "About Fate". I have a TV series I am producing and starring in with Tony Krantz called "Quantum Spy" which is an action spy thriller. I am developing my feature debut script with Nina Yang which will be the story of my father's life growing up in London during the disco era in the late 1970s, dealing with racism while competing for the martial arts championship. An indie action horror with Japanese star Rola called "Badfish" and a few other great projects I am developing. I still want to do something big with DC and have my own action franchise where we can have my creative control when it comes to designing never-before-seen sequences. Also later this year, I have a special action film releasing on Netflix called "Fistful of Vengeance". We smashed up half of Bangkok and I’m excited for everyone to see this next level of fights.      What do you envision your life to look like in the future?   I hope to be continuously challenging myself, taking risks, and living without fear. I spend time in different parts of the world, developing films with people I love to create with. You create the future by the things you do now, daily. If you remember that and be disciplined in your daily practice, I believe you can have whatever you desire, there is no limit.      What would be your advice to young actors who are aspiring for a career in action movies?   Find a good massage therapist, you are going to need it.  We are excited to share our next digital cover star, Lewis Tan, lead of the hit blockbuster film, Mortal Kombat. Best known for his exemplary martial art skills, he has been making his mark in the film and tv industry. This is just the beginning of an exciting career to watch, Lewis is here is stay. Mortal Kombat is now available on all platforms.      PHOTOGRAPHER: JONNY MARLOW  STYLIST : JORDAN BOOTHE  TALENT: LEWIS TAN  HAIR / MUA: CANDICE BIRNS  STYLE ASSTANT: CHRISTIAN SMITH  EDITOR: TIMI LETONJA      Could you tell our readers a bit more about yourself first?    I was born in England, spent my childhood raised between Europe and the USA. My father has a long history in legendary action films such as Batman, Indiana Jones and the Temple of Doom, Willow, Inception, just to name a few. Because of that, I grew up learning martial arts and the art of filmmaking, I was enamored with make-believe, the sets, costumes, and exotic locations. I knew from a young age this was what I wanted to do, make films and travel the world. That desire only became deeper as I got older, I have to say, I am terribly obsessed.    What is your first memory when it comes to acting?   I remember watching my father in Tango and Cash, there is a scene where Kurt Russell is interrogating my father and is choking him by sitting on top of him with a chair on his throat. I would cry to everyone I would see that scene, he explained to me he was only acting and demonstrated how it was done. That is a weird feeling as a kid, knowing you can play pretend for a living. I began to watch all the  other films I could get my hands on and study the actors, at that time there wasn't really any Asian actors in western cinema so I just watched Steve McQueen, Cary Grant, Marlon Brando, Peter Sellers, I would memorize the scenes and try to mimic them, that was my first acting class.      How did your background and experience in martial arts help you to build up your career as an actor?    Martial arts is expression. It is no different than acting, you act with your body, with your words, with your energy, it is different outlets for the same purpose, storytelling. Although the one thing it has taught me was discipline and gave me tough skin. There is nothing like having your ego checked when you train in a martial arts gym. Martial arts teaches you to check your ego at the door and flow. I try to use that in my work. Even if I am not doing an action in a scene, I approach it the same way, what is my body language saying? I always ask that question, never just stand there and say the lines that are not acting, anyone can do that, discovering truth and expressing it in every form is the goal.      What drew or inspired you for a career as an actor eventually?    I never wanted to just be an actor. I am inspired to be a complete filmmaker. I write, direct, act, choreograph, perform my own fights.  People like to put you in a box, define you. It makes it easier for them to process, I don't limit myself when it comes to what I do.  I am working on my directing debut, it is the fourth script I have written and in a few years, I will be juggling both acting and writing/directing career. When I was younger, no one wrote good roles for a half Asian actor, and only those with really progressive thinking hired me for a role originally written for a white actor. Forest Whitaker and Nina Yang Bongiovi cast me in my first lead role as a football player in a thriller called "Sacrifice". There was no martial arts, no fighting, it was just a well-rounded character with deep emotional issues, and look at the work they went on to create. Yet, even so, it is few and far between, so you have to create things for yourself if no one is going to give you that chance. I am not waiting around, you have to create, and next thing you know, people that see the vision want to work with you.      Who is the one voice that has inspired you the most in your personal life and career?    My parents have been a grounding element that has helped guide my life. I also listen to that voice inside, the quiet one, call it your intuition, your insight, your heart, whatever you want to call it, that voice is terribly precious. When that voice is dulled down it can be a really scary thing, you can be swayed so easily, you have to train yourself to listen to it and trust it. Similar to a muscle, it has to be used and exorcised, then it will grow and become a valuable ship to navigate the storms. If you close your eyes, remove yourself from all distractions and judgments you can feel and hear, then soon it becomes second nature.      You played the lead role Cole Young in Mortal Kombat which came out this year. You did all the action sequences on your own. How did you deal with all the physical and emotional pressure that comes with that?    It is my first leading role in a film of this magnitude, so I decided early on that I would give my best effort to lead by example. Never quit or make excuses no matter how draining the process was going to be. Physically, I have been training for 20 years so I knew I had what it takes to deliver an authentic action performance, the endurance to perform all the fights myself however can be hard, every day performing at such a high level for 10-14 hours a day. For example, at the beginning of the film I fight in the cage with a guy named Ian Streetz who is a real fighter, has done MMA, bare-knuckle, and much more, we fought for two days straight for about 12 hours a day without taking breaks or really even sitting down. In the end, we were both banged up, bleeding and bruised. He told me when he trains for a fight, at most it will last around 25 minutes, he said he can't imagine how I am going to continue for the next few months at this same pace. You would be surprised what can happen if you have the right mindset, it was the biggest challenge to date, but thankfully I was supported by a great stunt team and amazing cast who became like a family on a crazy adventure.      How do you prepare for action roles in general? When do you start preparing and what’s your routine?    I stay training. It can not be done any other way. There is no off-season. I stay learning and training with people who are better than me so I can progress. The idea of starting to train after you are hired for an action film is insane to me,  these actors should just use a double, you will never be able to accomplish what takes 20 years of experience, sure you can quickly learn and do the best you can but at most it will be average or below average and now the director is forced to cut around you, chopping the scene to pieces or using expensive CGI face replacement to compensate. If you want to do action films you should be constantly training, sounds obvious but really no one does it, the ones that do you can tell right away. I do my best to push the boundaries of action each time I do a new project, that takes extreme dedication like an athlete training for a professional sports event. That is how you should look at it, on top of doing all the work emotionally. Anything less I am not interested in watching.    As an advocate and leader for the Asian-American population, you are breaking boundaries when it comes to Asian stereotypes in our film industry. How is your experience?    I am just doing whatever I can to be the best artist possible. I back up what I say with my work and I do what I can to be an inspiration to the future generation, but I am just one person. If I can inspire more people to want to create films or have confidence when they walk around or take up martial arts because they watched one of my films then that will hopefully add to the change we need. It is a collective effort, it is a long battle to create lasting change. It isn't just in a sense of cinema either, the way cinema reflects the world has a psychological effect on the culture, society watches films and in return "see" themselves in the characters or relate to situations that make them either feel more united as humans or more isolated in some ways, we aim to create unity and confidence in all races, genders, and backgrounds.    Among all the roles you have played so far which one embodies your personality the most?    They all have a part of me, sounds pretentious and very active, but if you don't put some of yourself into the character, then I am not doing the work. At least in terms of understanding, empathizing with them, even if they are a crazy person or a serial killer, we are all human and at some point we had were a baby and had a mother, we all have felt insecure, pain, love, trauma to each person it is different levels and different understanding which can in some cases lead to catastrophic mindsets but at the core of it all, we can at least try to understand each other, that is the key to getting rid of ignorance, which is the foundation of all hate.    On what projects are you working on right now and anything exciting coming out soon?    Currently sitting onset (the first time really sitting down on a film set in the last two years) in Boston filming a romantic comedy with Emma Roberts called "About Fate". I have a TV series I am producing and starring in with Tony Krantz called "Quantum Spy" which is an action spy thriller. I am developing my feature debut script with Nina Yang which will be the story of my father's life growing up in London during the disco era in the late 1970s, dealing with racism while competing for the martial arts championship. An indie action horror with Japanese star Rola called "Badfish" and a few other great projects I am developing. I still want to do something big with DC and have my own action franchise where we can have my creative control when it comes to designing never-before-seen sequences. Also later this year, I have a special action film releasing on Netflix called "Fistful of Vengeance". We smashed up half of Bangkok and I’m excited for everyone to see this next level of fights.      What do you envision your life to look like in the future?   I hope to be continuously challenging myself, taking risks, and living without fear. I spend time in different parts of the world, developing films with people I love to create with. You create the future by the things you do now, daily. If you remember that and be disciplined in your daily practice, I believe you can have whatever you desire, there is no limit.      What would be your advice to young actors who are aspiring for a career in action movies?   Find a good massage therapist, you are going to need it. 

VALENTINO DES ATELIERS
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VALENTINO DES ATELIERS

Fashion A Haute Couture collection. A community of artists. A dialogue of inspirations. A project by Pierpaolo Piccioli Curated by Gianluigi Ricuperati     With the artists Joel S. Allen, Anastasia Bay, Benni Bosetto, Katrin Bremermann, Guglielmo Castelli,Maurizio Cilli, Danilo Correale, Luca Coser, Jamie Nares, Francis Offman, Andrea Respino, Wu Rui, So aSilva, Alessandro Teoldi, Patricia Treib, Malte Zenses. And with the participation of Kerstin Bratsch.   Valentino Des Ateliers is a project deeply wanted by Creative Director Pierpaolo Piccioli, according towhom ‘Fashion is not ‘art’, because the latter has no purpose outside of itself, while the rst always has a practical scope, a function, a use. Acknowledging differences is the rst step in educating ourselves towardsa mutual listening, made of curiosity, enthusiasm and respect. This listening needs time, just like Haute Couture and at the end of the day like art. That’s why, this project’s progress has been slow, a pace perhaps unusual for our actual world but right and intimate for the world I would like to live in.’   Guided by these values, Maison Valentino decided to entrust to the dialogue with artists the ‘invention site’ of this season’s Haute Couture Collection, which is traditionally the fashion sector closest to the values of uniqueness, singularity, research and experimentation that are so inherent to the art practice.   The idea is to draw inspiration from the work of a group of contemporary artists, chosen together with Gianluigi Ricuperati, in order to create the collection’s dresses. And to inspire them in return, asking them to ‘respond’ with their own creativity to the extraordinary forge of knowledge and talent in craftsmanship, textiles, tailoring, colors that feeds Haute Couture.   But the process was not limited to this: the two sides, the artists’ Ateliers and Valentino’s, worked together to design and create some of the pieces, in a way of being and doing which is at once both singular and plural, individual and collective.   In fact, thanks to a series of live and remote encounters, the artists - mostly painters, since painting is to art as haute couture is to fashion, being both languages eternal and material, traditional and ever-renovating, real renewable sources of beauty - have nourished the vision of Pierpaolo Piccioli and Valentino.   It is therefore a translation between different languages, a complex and delicate passage between the two-dimensional nature of painting and the three-dimensional one of fashion. Which, moreover, finds its ultimate and fundamental purpose in the dressing of the body - which is at the center of everything.   The name of the project, Valentino Des Ateliers, contains its salient features: the dynamism of conversation, the multiplicity of teamwork, always taking the side of talent.     The collection is presented at the Venice Biennale, in the absolute and natural space of the Gaggiandre, where Vuslat Foundation commissioned the installation of “Idee di pietra – Olmo”, 2008 (bronze, river stone, water); Curated by Chus Martinez, Special Event at the La Biennale di Architettura 2021, emerging from the lagoon observing the catwalk along which the clothes will be presented.   Vuslat Foundation wanted to identify in this work a reference to its main mission, supporting the principle of generous listening: listening to the planet, listening to each other, listening to ourselves. In the words of Pierpaolo Piccioli, ‘Venice was part of the vision I had from the very beginning: it was the only place in the world in which to present such a collection, a context where nothing can be added or subtracted: the light and power of Venice are the perfect setting in which I’d love to immerse my work.’   According to curator Gianluigi Ricuperati, ‘we must imagine Valentino Des Ateliers as a concert for two distinct worlds - painting and Haute Couture, contemporary art and clothing art - in which each side own voices listen to each other’s song before pronouncing themselves.’ A Haute Couture collection. A community of artists. A dialogue of inspirations. A project by Pierpaolo Piccioli Curated by Gianluigi Ricuperati     With the artists Joel S. Allen, Anastasia Bay, Benni Bosetto, Katrin Bremermann, Guglielmo Castelli,Maurizio Cilli, Danilo Correale, Luca Coser, Jamie Nares, Francis Offman, Andrea Respino, Wu Rui, So aSilva, Alessandro Teoldi, Patricia Treib, Malte Zenses. And with the participation of Kerstin Bratsch.   Valentino Des Ateliers is a project deeply wanted by Creative Director Pierpaolo Piccioli, according towhom ‘Fashion is not ‘art’, because the latter has no purpose outside of itself, while the rst always has a practical scope, a function, a use. Acknowledging differences is the rst step in educating ourselves towardsa mutual listening, made of curiosity, enthusiasm and respect. This listening needs time, just like Haute Couture and at the end of the day like art. That’s why, this project’s progress has been slow, a pace perhaps unusual for our actual world but right and intimate for the world I would like to live in.’   Guided by these values, Maison Valentino decided to entrust to the dialogue with artists the ‘invention site’ of this season’s Haute Couture Collection, which is traditionally the fashion sector closest to the values of uniqueness, singularity, research and experimentation that are so inherent to the art practice.   The idea is to draw inspiration from the work of a group of contemporary artists, chosen together with Gianluigi Ricuperati, in order to create the collection’s dresses. And to inspire them in return, asking them to ‘respond’ with their own creativity to the extraordinary forge of knowledge and talent in craftsmanship, textiles, tailoring, colors that feeds Haute Couture.   But the process was not limited to this: the two sides, the artists’ Ateliers and Valentino’s, worked together to design and create some of the pieces, in a way of being and doing which is at once both singular and plural, individual and collective.   In fact, thanks to a series of live and remote encounters, the artists - mostly painters, since painting is to art as haute couture is to fashion, being both languages eternal and material, traditional and ever-renovating, real renewable sources of beauty - have nourished the vision of Pierpaolo Piccioli and Valentino.   It is therefore a translation between different languages, a complex and delicate passage between the two-dimensional nature of painting and the three-dimensional one of fashion. Which, moreover, finds its ultimate and fundamental purpose in the dressing of the body - which is at the center of everything.   The name of the project, Valentino Des Ateliers, contains its salient features: the dynamism of conversation, the multiplicity of teamwork, always taking the side of talent.     The collection is presented at the Venice Biennale, in the absolute and natural space of the Gaggiandre, where Vuslat Foundation commissioned the installation of “Idee di pietra – Olmo”, 2008 (bronze, river stone, water); Curated by Chus Martinez, Special Event at the La Biennale di Architettura 2021, emerging from the lagoon observing the catwalk along which the clothes will be presented.   Vuslat Foundation wanted to identify in this work a reference to its main mission, supporting the principle of generous listening: listening to the planet, listening to each other, listening to ourselves. In the words of Pierpaolo Piccioli, ‘Venice was part of the vision I had from the very beginning: it was the only place in the world in which to present such a collection, a context where nothing can be added or subtracted: the light and power of Venice are the perfect setting in which I’d love to immerse my work.’   According to curator Gianluigi Ricuperati, ‘we must imagine Valentino Des Ateliers as a concert for two distinct worlds - painting and Haute Couture, contemporary art and clothing art - in which each side own voices listen to each other’s song before pronouncing themselves.’

Exclusive editorial by Jeremie Monnier
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Exclusive editorial by Jeremie Monnier

Accessories We are happy to share our latest digital editorial captured by Jeremie Monnier.   Photographer Jeremie Monnier Stylist Victor Vergara Casting Daniel Estevez Hair Nico Philippon Make up Yvane Rocher Manicure Sissy Sinyi Model Antonia @ Titanium   We are happy to share our latest digital editorial captured by Jeremie Monnier.   Photographer Jeremie Monnier Stylist Victor Vergara Casting Daniel Estevez Hair Nico Philippon Make up Yvane Rocher Manicure Sissy Sinyi Model Antonia @ Titanium  

SAINT LAURENT MEN'S SPRING & SUMMER 2022
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SAINT LAURENT MEN'S SPRING & SUMMER 2022

Men Green Lens is a large-scale installation by artist Doug Aitken, commissioned by Anthony Vaccarello for Saint Laurent. A living art-installation and a cultural stage, set in Venezia, Italy, where the city landscape creates a strong eco narrative within the artwork that speaks to the idea of the future world.     Located on the island of Isola Della Certosa, Green Lens is a living experiential artwork and also a destination, a place to explore, to inspire and to be inspired.     It will evoke the future through its crystalline reflective interior which reveals a kaleidoscopic view and dense botanic environment. It will be a freestanding artwork, and from the exterior, it will create a combination of reflections mixed with clouds, mist and wild green vegetation evoking a mysterious presence. Inside the sculpture there will be an enormous living kaleidoscope-like space that reflects the landscape, sky and the shifting surroundings.     This installation turns the landscape into a living abstraction.     Green Lens sparks dialogue that links the natural landscape with our future. In the 21st-century, we look toward to the future and how to harmonize with the natural environment, striving to create a new balanced world. We seek an environment where nature is empowered again, creativity is championed, and the weight of the past lifts, becoming fluid and inspiring.     In concomitance with Biennale of Architecture, the artwork will be accessible until the end of July, like a liquid architecture, creating a fully immersive environment. The idea is to encourage all visitors to look towards a positive view of the future, a synergy where natural landscape and innovation merge.     Green Lens will also be activated with a sequence of performances and conversations that are thought-provoking and inspiring, focusing on the future as interpreted by musicians, speakers and dancers. “What is the Future?” is the narrative threaded throughout the project. These activations will be filmed and released for the public to have access to a living artwork and stage for voices, creativity, culture, performance and music.     “Green Lens is a living artwork. It is both an artwork, installation and stage. It’s like a lighthouse, that one can journey to and have a very personal experience, while it also transmits light, ideas and questions. A focal point that allows all of us to share our ideas and visions for the future post Covid...a celebration and inquiry into the future.” - Doug Aitken     “Saint Laurent’s cult iconography always combined creative disciplines across art and fashion. Through those collaborations I want to merge different fields’ artistic visions in a unique artwork.” Anthony Vaccarello Green Lens is a large-scale installation by artist Doug Aitken, commissioned by Anthony Vaccarello for Saint Laurent. A living art-installation and a cultural stage, set in Venezia, Italy, where the city landscape creates a strong eco narrative within the artwork that speaks to the idea of the future world.     Located on the island of Isola Della Certosa, Green Lens is a living experiential artwork and also a destination, a place to explore, to inspire and to be inspired.     It will evoke the future through its crystalline reflective interior which reveals a kaleidoscopic view and dense botanic environment. It will be a freestanding artwork, and from the exterior, it will create a combination of reflections mixed with clouds, mist and wild green vegetation evoking a mysterious presence. Inside the sculpture there will be an enormous living kaleidoscope-like space that reflects the landscape, sky and the shifting surroundings.     This installation turns the landscape into a living abstraction.     Green Lens sparks dialogue that links the natural landscape with our future. In the 21st-century, we look toward to the future and how to harmonize with the natural environment, striving to create a new balanced world. We seek an environment where nature is empowered again, creativity is championed, and the weight of the past lifts, becoming fluid and inspiring.     In concomitance with Biennale of Architecture, the artwork will be accessible until the end of July, like a liquid architecture, creating a fully immersive environment. The idea is to encourage all visitors to look towards a positive view of the future, a synergy where natural landscape and innovation merge.     Green Lens will also be activated with a sequence of performances and conversations that are thought-provoking and inspiring, focusing on the future as interpreted by musicians, speakers and dancers. “What is the Future?” is the narrative threaded throughout the project. These activations will be filmed and released for the public to have access to a living artwork and stage for voices, creativity, culture, performance and music.     “Green Lens is a living artwork. It is both an artwork, installation and stage. It’s like a lighthouse, that one can journey to and have a very personal experience, while it also transmits light, ideas and questions. A focal point that allows all of us to share our ideas and visions for the future post Covid...a celebration and inquiry into the future.” - Doug Aitken     “Saint Laurent’s cult iconography always combined creative disciplines across art and fashion. Through those collaborations I want to merge different fields’ artistic visions in a unique artwork.” Anthony Vaccarello

TOMMY HILFIGER AND ACTOR AND ACTIVIST, INDYA MOORE CO-DESIGN GENDER FLUID CAPSULE COLLECTION
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TOMMY HILFIGER AND ACTOR AND ACTIVIST, INDYA MOORE CO-DESIGN GENDER FLUID CAPSULE COLLECTION

Fashion Tommy Hilfiger announces the launch of theSummer Pre-Fall2021TommyXIndya capsule collection co-designed by non-binary actor and activist, Indya Moore. The collection celebrates the uniqueness, beauty and diversity of the global community and the belief that great style knows no boundaries, with a range of size-inclusive, non-gendered designs.The TommyXIndya partnership builds on Tommy Hilfiger’s ambitious People’s PlaceProgram, a three-pillared platform with the mission of advancing representation in fashion and beyond. The TommyXIndya capsule will be available starting July 13th in the US on tommy.com, starting July 20th globally on tommy.com and at select retail locations in Europe.     “Great style knows no boundaries, and this has always driven my dream to create fashion for all,” said Tommy Hilfiger. “Our People’s PlaceProgram is a huge step in this direction, as we continue to work hard to advance representation and further inclusivity across all areas of fashion.This collection embodies everything we stand for. From the design process to the campaign, the  TommyXIndyapartnership is here to make people feel seen, accepted and included. This message means so much to everyone at Tommy Hilfiger. Working with Indya to share their story has been a unique and inspiring experience.We're so proud to share it with the world.”     In co-designing the TommyXIndya capsule collection, Indya Moore sought to empower their community to express themselves without limitations. From the polo shirt, Oxford button-down shirt and bandeau top, to the pin-stripe blazer and double-bridged sunglasses, each style was inspired by a signature piece from the TOMMY HILFIGERarchive and reimagined to respect multiple gender expressions. Features such as widened shoulders and adaptable silhouettes aim to encourage continuous self-expression, fluidity and exploration. The capsule also tells Indya Moore’s personal story, with details like their initials in collegiate font, their hometown of the Bronx, New York spelled across the chest, and a lotus flower graphic running throughout, symbolizing rebirth, growth and self-actualization.     “This capsule goes beyond great style,” said Indya Moore. “It breaks a cycle and sets a new standard across the industry. Too many people are made to feel that something is wrong with them just for being themselves. It means everything to me to know that with our capsule, no one is made to feel wrong or different or broken. Everyone works perfectly for this collection, no matter who they are.”     TheTommyXIndya campaign aligns with Tommy Hilfiger’s People’s PlaceProgram ambition to create opportunity for creative talent from underrepresented BIPOC communities and increase visibility to foster a diverse and inclusive community in front of, and behind the camera. Shot in the Bronx by Myles Loftin, the campaign is a celebrationof Indya Moore’s hometown, symbolizing a return to their roots, proud and confident of their growth. In a celebration of individuality and self-expression, the campaign features five groundbreaking activists sure of their place in the world and ready for adventure – confident, beautiful, seen and celebrated exactly as they are: Indya Moore (@indyamoore):  The groundbreaking star of FX television series Pose and one of Time magazine’s 2019 100 most influential people in the world. Indya Moore is a vocal advocate for trans rights. Chella Man (@chellaman): Multimedia artist Chella is a deaf, transgender man of Chinese and Jewish heritage. He is the author of the book, Continuum, which chronicles his intersectional experiences. Gia Love (@love.gia): Activist and model Gia is the creator of the “What’s Your Fantasy” campaign that advocates for the rights of black transgender women. Cory Walker (@corywalkers): Cory is a model and actor based in New York City. They are represented by New Pandemics, a casting and management agency leading the fight for meaningful LGBTQIA+ representation.  Pidgeon(@pidgeon) Intersex advocate and co-founder of the Intersex Justice Project, Pidgeon was honored as an LGBTQIA+ Champion of Change by the Obama White House.     As part of the partnership, donations were made to three causes that resonate with both Indya Moore and Tommy Hilfiger’s values:  Rainbow Railroad, a non-profit that helps persecuted LGBTQI+ individuals around the world to find safety; Reuniting of African Descants (ROAD),a Black trans-led grassroots project invested in advancing the social and economic well-being of African Descendants, with an urgent focus on queer, same-gender-loving, transgender, and non-binary people, and ultimately the entire community; and the Global Coralition who focuses on accelerating marine restoration with local island communities by combining the power of art and science. Inspired by the spirit of these charities, Indya Moore also designed three charms that feature on the TommyXIndyabag and hat.   Tommy Hilfiger’s mission is to become a leading sustainable designer lifestyle company that “Wastes Nothing and Welcomes All”, through how it creates its product, manages its operations, and connects with its communities and stakeholders. More information about Tommy Hilfiger’s sustainability journey, which is powered by PVH’s Forward Fashionstrategy, can be found on https://global.tommy.com/en_int/about-us-corporate-sustainability.     Friends and followers of the brand are invited to join the conversation on social media using #TommyHilfiger and @TommyHilfiger.  Tommy Hilfiger announces the launch of theSummer Pre-Fall2021TommyXIndya capsule collection co-designed by non-binary actor and activist, Indya Moore. The collection celebrates the uniqueness, beauty and diversity of the global community and the belief that great style knows no boundaries, with a range of size-inclusive, non-gendered designs.The TommyXIndya partnership builds on Tommy Hilfiger’s ambitious People’s PlaceProgram, a three-pillared platform with the mission of advancing representation in fashion and beyond. The TommyXIndya capsule will be available starting July 13th in the US on tommy.com, starting July 20th globally on tommy.com and at select retail locations in Europe.     “Great style knows no boundaries, and this has always driven my dream to create fashion for all,” said Tommy Hilfiger. “Our People’s PlaceProgram is a huge step in this direction, as we continue to work hard to advance representation and further inclusivity across all areas of fashion.This collection embodies everything we stand for. From the design process to the campaign, the  TommyXIndyapartnership is here to make people feel seen, accepted and included. This message means so much to everyone at Tommy Hilfiger. Working with Indya to share their story has been a unique and inspiring experience.We're so proud to share it with the world.”     In co-designing the TommyXIndya capsule collection, Indya Moore sought to empower their community to express themselves without limitations. From the polo shirt, Oxford button-down shirt and bandeau top, to the pin-stripe blazer and double-bridged sunglasses, each style was inspired by a signature piece from the TOMMY HILFIGERarchive and reimagined to respect multiple gender expressions. Features such as widened shoulders and adaptable silhouettes aim to encourage continuous self-expression, fluidity and exploration. The capsule also tells Indya Moore’s personal story, with details like their initials in collegiate font, their hometown of the Bronx, New York spelled across the chest, and a lotus flower graphic running throughout, symbolizing rebirth, growth and self-actualization.     “This capsule goes beyond great style,” said Indya Moore. “It breaks a cycle and sets a new standard across the industry. Too many people are made to feel that something is wrong with them just for being themselves. It means everything to me to know that with our capsule, no one is made to feel wrong or different or broken. Everyone works perfectly for this collection, no matter who they are.”     TheTommyXIndya campaign aligns with Tommy Hilfiger’s People’s PlaceProgram ambition to create opportunity for creative talent from underrepresented BIPOC communities and increase visibility to foster a diverse and inclusive community in front of, and behind the camera. Shot in the Bronx by Myles Loftin, the campaign is a celebrationof Indya Moore’s hometown, symbolizing a return to their roots, proud and confident of their growth. In a celebration of individuality and self-expression, the campaign features five groundbreaking activists sure of their place in the world and ready for adventure – confident, beautiful, seen and celebrated exactly as they are: Indya Moore (@indyamoore):  The groundbreaking star of FX television series Pose and one of Time magazine’s 2019 100 most influential people in the world. Indya Moore is a vocal advocate for trans rights. Chella Man (@chellaman): Multimedia artist Chella is a deaf, transgender man of Chinese and Jewish heritage. He is the author of the book, Continuum, which chronicles his intersectional experiences. Gia Love (@love.gia): Activist and model Gia is the creator of the “What’s Your Fantasy” campaign that advocates for the rights of black transgender women. Cory Walker (@corywalkers): Cory is a model and actor based in New York City. They are represented by New Pandemics, a casting and management agency leading the fight for meaningful LGBTQIA+ representation.  Pidgeon(@pidgeon) Intersex advocate and co-founder of the Intersex Justice Project, Pidgeon was honored as an LGBTQIA+ Champion of Change by the Obama White House.     As part of the partnership, donations were made to three causes that resonate with both Indya Moore and Tommy Hilfiger’s values:  Rainbow Railroad, a non-profit that helps persecuted LGBTQI+ individuals around the world to find safety; Reuniting of African Descants (ROAD),a Black trans-led grassroots project invested in advancing the social and economic well-being of African Descendants, with an urgent focus on queer, same-gender-loving, transgender, and non-binary people, and ultimately the entire community; and the Global Coralition who focuses on accelerating marine restoration with local island communities by combining the power of art and science. Inspired by the spirit of these charities, Indya Moore also designed three charms that feature on the TommyXIndyabag and hat.   Tommy Hilfiger’s mission is to become a leading sustainable designer lifestyle company that “Wastes Nothing and Welcomes All”, through how it creates its product, manages its operations, and connects with its communities and stakeholders. More information about Tommy Hilfiger’s sustainability journey, which is powered by PVH’s Forward Fashionstrategy, can be found on https://global.tommy.com/en_int/about-us-corporate-sustainability.     Friends and followers of the brand are invited to join the conversation on social media using #TommyHilfiger and @TommyHilfiger. 

Alexander McQueen presents the new Spring & Summer 2022 men's collection
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Alexander McQueen presents the new Spring & Summer 2022 men's collection

Men This collection is inspired by the English poet, painter and printmaker William Blake who was born in London in 1757. Drawing on the concept of imagination as a pure form of escapism, it centres around lightness, air and water - on beauty emerging from darkness.       Shot by Paolo Roversi This collection is inspired by the English poet, painter and printmaker William Blake who was born in London in 1757. Drawing on the concept of imagination as a pure form of escapism, it centres around lightness, air and water - on beauty emerging from darkness.       Shot by Paolo Roversi

NEW BALENCIAGA STORE OPENS IN AMSTERDAM
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NEW BALENCIAGA STORE OPENS IN AMSTERDAM

Fashion On July 15th, 2021, the first Balenciaga store in Amsterdam will open. The two- floor, 185-square meter area offers a full selection of men’s, women’s, and kid’s ready-to-wear, shoes, bags, eyewear, jewelry, accessories, and objects.     Balenciaga Amsterdam reflects the brand’s refreshed architectural direction, which proposes unique structures that react to site-specific details. Stripped- down interiors allude to and reveal foundational aspects of a building, contrasting sites of construction, and metropolitan void with a just perceptible gloss.     The ground floor is raw concrete. Walls expose existing concrete or are paneled with industrial materials. Ceilings are metal grids that show the technical conduits suspended above. Shelving is made up of extruded aluminum, backed with a distressed velvet curtain behind glass. Steel tables are noticeably aged, their drawer interiors lined with Ultrasuede. The fitting rooms and the basement floor are covered in luxe wool carpet, with front-lit mirrors, and concrete walls. Seating on both levels is upholstered with intentionally worn leather.     The concept bridges elements from concentric spaces of production and public use, forming a distinctly unfinished backdrop to certain refined details and the collections.       BALENCIAGA AMSTERDAM 99 Pieter Cornelisz Hoofstraat Amsterdam Netherlands On July 15th, 2021, the first Balenciaga store in Amsterdam will open. The two- floor, 185-square meter area offers a full selection of men’s, women’s, and kid’s ready-to-wear, shoes, bags, eyewear, jewelry, accessories, and objects.     Balenciaga Amsterdam reflects the brand’s refreshed architectural direction, which proposes unique structures that react to site-specific details. Stripped- down interiors allude to and reveal foundational aspects of a building, contrasting sites of construction, and metropolitan void with a just perceptible gloss.     The ground floor is raw concrete. Walls expose existing concrete or are paneled with industrial materials. Ceilings are metal grids that show the technical conduits suspended above. Shelving is made up of extruded aluminum, backed with a distressed velvet curtain behind glass. Steel tables are noticeably aged, their drawer interiors lined with Ultrasuede. The fitting rooms and the basement floor are covered in luxe wool carpet, with front-lit mirrors, and concrete walls. Seating on both levels is upholstered with intentionally worn leather.     The concept bridges elements from concentric spaces of production and public use, forming a distinctly unfinished backdrop to certain refined details and the collections.       BALENCIAGA AMSTERDAM 99 Pieter Cornelisz Hoofstraat Amsterdam Netherlands

Oso Couture launches sensational couture collection with forgotten techniques and vision for the future of fashion
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Oso Couture launches sensational couture collection with forgotten techniques and vision for the future of fashion

Fashion Under the radar, the Dutch-Syrian Achmed Oso has been building his fashion imperium in couture and exceptional tailoring for years. He doesn’t really like the spotlight, but prefers to let his work speak itself. That’s why he might be one of the biggest undiscovered design talents in the Netherlands. During the pandemic, the couturier got strength from the idea that his craft is the future of fashion. And that’s what he wants to show now, with an homage of no less than forty looks to the woman he loves the most: his mother. A non-seasonal collection, made in a forgotten couture technique that he learned from her. It’s the first new line from Oso Couture in two years.      It’s already twenty-one years ago when Achmed Oso came to Europe by himself. And it’s been seven years since he last saw his mother in person, who still lives in Syria. In the meantime, he has built something that he – and his family – can be proud of. Oso completed multiple parttime fashion studies at institutions such as: the Gerrit Rietveld Academie, Academie Artemis and M. Müller & Sohn, to gain as much experience as possible. Besides his education, he started out making orders for friends and acquaintances, in order to make a living. ‘They encouraged me to keep going, even though it wasn’t self-evident for me to become a top-tier segment fashion designer, with my background as a refugee and with very little money and connections.’ At the same time he had a passion and natural talent that took him to great heights. Because of his continuing success, he started making couture collections four years ago. Over the years, he has built up a loyal customer base, with all kinds of clients from the upper circles. Now he is launching Ode à ma Mère, a collection that he made as a thank you to his mother, who taught him the ins and outs of the craft.     In the environment where the couturier grew up, the focus was always on craftmanship. ‘Every home had its own workshop, for various purposes.’ He has especially warm memories of his mother’s workshop. She showed him the craft of ‘moulding’, a special couture technique: ‘Pinning off, draping, and cutting the fabric directly on the bust, without patterns or measuring tape – on the spot. That technique is not common these days; it takes a lot of time, it’s almost impossible to copy and you need to have feeling for it.’ Work based on feelings, playing with materials, that is Oso’s signature. In his workshop in Oegstgeest, the craftsman slides organza and tule between his fingers, a jumpsuit in crêpe-silk that seems to be made of snowflakes. Majestic, elegant, made with incredible precision and eye for detail, and at the same time playful. Roughly two hundred hours of craftmanship, by a small team of three.     For Ode à ma Mère, the couturier has used colours that his mother liked to wear: black and dark blue, pastel shades and soft gold. Fabrics of the highest quality were embroidered and woven in Italy, especially for him: from silk to jacquard, combined with diamonds and manually embroidered flowers. ‘The most beautiful gift I can give to my mother’, that was the starting point.    Aside from couture, occasional wear and wedding dresses, Oso also makes women’s suits. It turned out there was a lot of demand in the Netherlands, and he noticed that there were not a lot of items like this for women on the market yet. He excels in women’s suits with an exciting twist and a sublime feminine fit. At Oso Couture, everything is handmade in his own workshop, from A to Z. Translating a customer’s stories into clothing, that is Oso’s biggest passion. For wedding clothes, he really takes his time: he goes through the whole process with his clients, from the first sketch to prototype and finally the dress (or suit). ‘Afterwards, the bride often tells me that she’s sorry that the shared journey has come to an end.’      Craftsmanship should be the norm, Oso believes. That can create the illusion that his clothing is unaffordable. But he thinks it is important to reach a wide audience. In fashion, sustainability is more important than ever. This requires going back to basics, according to the designer: quality, craft and dedication, production close to home, avoiding waste of materials as much as possible. This requires fashion students to be taught how to work with needle and thread again, to really learn the trade. One of Oso’s biggest dreams is to one day teach the craft to underprivileged children. A gift that has opened a lot of doors for him,  and that he would like to pass on. He also hopes to one day be able to organise a big show, where his parents can be present.      https://www.osocouture.nl Under the radar, the Dutch-Syrian Achmed Oso has been building his fashion imperium in couture and exceptional tailoring for years. He doesn’t really like the spotlight, but prefers to let his work speak itself. That’s why he might be one of the biggest undiscovered design talents in the Netherlands. During the pandemic, the couturier got strength from the idea that his craft is the future of fashion. And that’s what he wants to show now, with an homage of no less than forty looks to the woman he loves the most: his mother. A non-seasonal collection, made in a forgotten couture technique that he learned from her. It’s the first new line from Oso Couture in two years.      It’s already twenty-one years ago when Achmed Oso came to Europe by himself. And it’s been seven years since he last saw his mother in person, who still lives in Syria. In the meantime, he has built something that he – and his family – can be proud of. Oso completed multiple parttime fashion studies at institutions such as: the Gerrit Rietveld Academie, Academie Artemis and M. Müller & Sohn, to gain as much experience as possible. Besides his education, he started out making orders for friends and acquaintances, in order to make a living. ‘They encouraged me to keep going, even though it wasn’t self-evident for me to become a top-tier segment fashion designer, with my background as a refugee and with very little money and connections.’ At the same time he had a passion and natural talent that took him to great heights. Because of his continuing success, he started making couture collections four years ago. Over the years, he has built up a loyal customer base, with all kinds of clients from the upper circles. Now he is launching Ode à ma Mère, a collection that he made as a thank you to his mother, who taught him the ins and outs of the craft.     In the environment where the couturier grew up, the focus was always on craftmanship. ‘Every home had its own workshop, for various purposes.’ He has especially warm memories of his mother’s workshop. She showed him the craft of ‘moulding’, a special couture technique: ‘Pinning off, draping, and cutting the fabric directly on the bust, without patterns or measuring tape – on the spot. That technique is not common these days; it takes a lot of time, it’s almost impossible to copy and you need to have feeling for it.’ Work based on feelings, playing with materials, that is Oso’s signature. In his workshop in Oegstgeest, the craftsman slides organza and tule between his fingers, a jumpsuit in crêpe-silk that seems to be made of snowflakes. Majestic, elegant, made with incredible precision and eye for detail, and at the same time playful. Roughly two hundred hours of craftmanship, by a small team of three.     For Ode à ma Mère, the couturier has used colours that his mother liked to wear: black and dark blue, pastel shades and soft gold. Fabrics of the highest quality were embroidered and woven in Italy, especially for him: from silk to jacquard, combined with diamonds and manually embroidered flowers. ‘The most beautiful gift I can give to my mother’, that was the starting point.    Aside from couture, occasional wear and wedding dresses, Oso also makes women’s suits. It turned out there was a lot of demand in the Netherlands, and he noticed that there were not a lot of items like this for women on the market yet. He excels in women’s suits with an exciting twist and a sublime feminine fit. At Oso Couture, everything is handmade in his own workshop, from A to Z. Translating a customer’s stories into clothing, that is Oso’s biggest passion. For wedding clothes, he really takes his time: he goes through the whole process with his clients, from the first sketch to prototype and finally the dress (or suit). ‘Afterwards, the bride often tells me that she’s sorry that the shared journey has come to an end.’      Craftsmanship should be the norm, Oso believes. That can create the illusion that his clothing is unaffordable. But he thinks it is important to reach a wide audience. In fashion, sustainability is more important than ever. This requires going back to basics, according to the designer: quality, craft and dedication, production close to home, avoiding waste of materials as much as possible. This requires fashion students to be taught how to work with needle and thread again, to really learn the trade. One of Oso’s biggest dreams is to one day teach the craft to underprivileged children. A gift that has opened a lot of doors for him,  and that he would like to pass on. He also hopes to one day be able to organise a big show, where his parents can be present.      https://www.osocouture.nl

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