Tag: clothes

We are so used to modern clothes that we don’t even remember that they are made from dyed fabrics. But when you find out what this paint is created from, you will be unpleasantly surprised. Meanwhile, a dye that is sustainable for the environment and human health has already been created.

To make our lives more varied and colorful, as well as to demonstrate their social status, people first began dyeing fabrics thousands of years ago. Then they used natural pigments obtained from plants, fruits, animals and minerals. This was the case for centuries, but with the development of science and industry in the 19th century, artificial chemical dyes began to appear and be widely used. Now almost all modern clothing is dyed with synthetic dyes. To reduce costs, modern industry chooses the cheapest dyes, which are produced today using a complex synthetic method from numerous compounds. And when buying some new T-shirt or jeans in a chain store, we no longer think that these fabrics are dyed and what these dyes are made of.

One of the substances that is most widely used to create textile dyes is carbon black. It comes from the black soot that remains after partial combustion of oil or gas. This soot contains components such as benzene and naphthalene, which are considered “possible human carcinogens” by the International Agency for Research on Cancer (IARC). Naphthalene can cause problems with the blood, liver and pancreas. And the effect of benzene on the body can affect the bone marrow, causing leukemia, aplastic anemia, and other blood diseases. After IARC classified carbon black as a possible carcinogen, beauty brands were forced to remove it from eyeliner. In addition to all this, the industrial process of dyeing clothes itself produces a lot of waste and polution 

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EAU CLAIRE, Wis. (WEAU) – An Eau Claire boutique and a non-profit are joining forces with Clothes for a Cause.

News Release: New for 2024, Shine On Boutique has put a Give Back process in place for Nonprofits, and Fierce Freedom has been selected to launch “Clothes for a Cause” throughout the month of March.

“We couldn’t pass up this opportunity,” said Joyce Orth, Fierce Freedom’s community engagement specialist. “Ten years ago, I met Fierce Freedom when I held a birthday for a cause event to celebrate my (March 1) 55th birthday. My goal was to raise $550 for the nonprofit and, with the help of my friends, Sandy Wagener, Sandy’s Clothing & Art, hosted the event, and many of the shops in Banbury building 13 came on board giving a percentage of sales that day. About $1200 was raised! Now, 10 years later, fashion brings us together again to raise funds to support Fierce Freedom’s work to end the cycle of human trafficking and exploitation.”

Enlisting the help of friends in the New York fashion industry, designer gowns and cocktail dresses are on their way and will be available for purchase in addition to lots of gently used upscale items from local friends!

“I’m excited to collaborate with Fierce Freedom to launch Clothes for a Cause. I’ve been inspired by their impactful work ever since I was first introduced to them during my time in the nonprofit sector. Their dedication to educating and empowering the community plays a crucial role in combating human trafficking.” Boutique owner, Kayla Midthun.

In addition to regular shopping hours, Shine On will host a mocktail sipping event on March 3, 6:00-7:30 pm to kick-off Clothes for a Cause.

Clothes for a Cause will run throughout March. Event dates and shopping hours are available

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There is an anecdote early on in Gods and Kings, veteran fashion journalist Dana Thomas’s rigorous dual biography of John Galliano and Lee Alexander McQueen, that makes me laugh. Thomas interviews a fashion writer, Lisa Young, who recalls sitting next to a young Galliano at a London dinner in the eighties. The designer was hailed as brilliant straight out of Central St. Martins, but his first collections had issues with fit. So, “we got to talking about tits, as you do,” says Young.

“You don’t like them much, do you?” she asked Galliano. “He looked a little sheepish, and then whispered: ‘No. They spoil the line.’”

Galliano, who went on to design those famed bias-cut gowns that swirl around curves like wet meringue, clearly got over this particular point of distaste. And then came his instant classic Maison Margiela Artisanal show last week, in which, among other countless moments of glory, tits—and hips, and even pubic hair (they were merkins, but still)—were on full display. The female body, exaggerated to beyond-Jessica Rabbit, beyond-Kardashian proportions with hip padding and corsetry, was presented as dramatic, luxurious, and even a little frightening. And in a first for Galliano, and an extreme rarity for couture, a significant portion of those models were not straight size. Sumptuous flesh for sumptuous clothes.

This beautiful couture collection, nearly a year in the making, is deservedly everywhere, a moment of cultural domination not seen in fashion in recent memory, if ever (monoculture is dead, except for this). We are all waxing rhapsodically about Pat McGrath’s makeup and Pat Boguslawski’s choreography and the decadent set and the clothes—the jaw dropping clothes, which Galliano invented several new techniques to construct. The clear points of inspiration—Brassaï, the photographer who documented seedy Parisian nightlife in the 1920s and 30s, whom

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In Alec Leach’s 2022 book, ’The World Is On Fire But We’re Still
Buying Shoes’
, the former style editor begs us to reconsider
limited edition collaborations, micro trends, and fly-by-night pop ups
in favor of meaningful purchases that have staying power in our lives.
Leach says, “Clothes in the hype era aren’t products to own, they’re
moments to broadcast, to share on Instagram for 24 hours. They’re
here, then they’re not – they are more like memes than products.
Except unlike memes, clothes leave a very permanent mark on the


Michael Fisher, Vice President of Menswear at Fashion Snoops highlights FW24 menswear
trends in the run up to the next buying season.

In addition to thinking about the carbon footprint fast fashion and
meme-inspired looks leave behind, it’s also important to address the
neverending identity crisis for vulnerable consumers who don’t know
where to turn stylistically when there’s a new aesthetic being
presented to them on a weekly basis. In short, viral clothes have
become passé. Long live wearable clothes.

As “-core” becomes tacked on to the end of every fast moving momentary
trend, consumers are looking for pieces that offer them some solid
footing. Stripped back but far from boring, these simply perfect
basics put a focus on design longevity and elevated staples that are
evergreen to their core. Bundled wardrobe starter parks and
gender-free sizing offer an opportunity for thoughtful wardrobe pieces
with a custom, buildable approach. By favoring seasonless style and
practical functionality over temporary trends—sustainability becomes
our greatest influencer.

Auralee FW23 Credits:

2023 brought with it a cantankerous economy, ongoing climate doom and
gloom, and of course, a polarizing conflict in the Middle East that
continues into a new year. Consumers are collectively seeking refuge
from an ever-chaotic world, and the clothes

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It’s all about the clothes at Frieze London – literally. Frieze London celebrates its 20th year and this milestone year has seen a bustling influx of vibrant new galleries, injecting a refreshing dynamism into the event. While a few booths may have room for improvement, the overall experience remains truly exceptional. In the midst of the unsettling global news, Frieze London serves as a delightful and much-needed escape.

So what to focus on? What are the trends? Does anything stand out? Well for me it was some clothes just clothes nothing fancy on a few of the booths/stands.

Copperfield Focus Stand H8 – Larry Achiampong

A living room kind of installation to showcase Achiampong’s paintings but it’s the clothes stand and baseball cap that grab my attention – I hope he didn’t pause his game too long.

Galerie Vera Cortes Stand G20 – John Wood and Paul Harrison

John & Paul (The Beatles!!) at Galerie Vera Cortes stand have some shirts in multiple colors there must be one for you plus a check one on the wall – the scribble on the back wall is by Goncalo Barreios.

Lehmann Maupin Stand F2 – Erwin Wurm

Now we get ‘serious’ it is a handbag – Hurry (Bag Sculptures), from Erwin Wurm $225,000 .

stand-b17-with-gabriel-rico”OMR Stand B17 with Gabriel Rico

I think this is an American Football shirt? I’m not up on my American sports – I hope they washed it before using.

Phillida Reid Stand G1 -Prem Sahib

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A couple of hoodies, not sure what’s going on. Probably just having fun, who can tell?

Alison Jacques Stand B16 – Nicole L

Finally, for all those

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In a conference speech this week, British Prime Minister, Rishi Sunak declared that ‘a man is a man, and a woman is a woman, that’s just common sense.’ His words were met with applause, but they echo a sentiment that has been challenged for centuries. 

One hundred years before this speech, a group of writers, artists, and thinkers, known as the Bloomsbury Group, centred themselves around Charleston house in Sussex. In 1923, Vanessa Bell and Duncan Grant, who permanently lived there, would have been painting, creating; Virginia Woolf, Bell’s sister, and frequent visitor would have just published Jacob’s Room the year before, and would later write in her diary of another book idea: Orlando, an Elizabethan aristocrat, who travels through four centuries, switching genders on route. I wonder how Woolf might have written Orlando’s response to Sunak’s binary Britain today. 

The Bloomsbury Group wanted to have the freedom of self-expression beyond gender binaries and heteronormative confines. And how they fashioned themselves with their clothing to emancipate themselves from such strictures, is the subject of the exhibition at Charleston’s new space in Lewes, Bring No Clothes.

First room: There’s a copy of Orlando. Displayed next to it are the exuberant gender-defying costumes, made by Commes Des Garçons designer, Rei Kawakubo, for a 2019 operatic adaptation of the book. The show is curated by Charlie Porter, fashion journalist and author of What Artists Wear. But really, it’s hard to neatly classify it as a fashion exhibition. First, because, there aren’t many clothes at all worn by the Bloomsbury Group on show (Porter displays Charleston housekeeper Grace Higgins’ diary, where she writes in a deadpan manner of burning Vanessa Bell’s clothes). 

But mainly because it feels like Porter wants to avoid the Bloomsbury Group being a static kind of

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I started to sew for a simple, selfish reason: I just wanted cool clothes that actually fit my body. I was a very tall teenage girl in an era long before online shopping was popular, living in a small town where the mall options were limited at best. (Our mall did not even have The Limited.) And I was lucky enough to have a crafty midwestern mom who had a sewing machine set up in our basement. One day, I started using it.

I did not think then that I was forever altering my relationship to buying clothes. If anything, I was just following a teenage whim. I rode my bike to the Goodwill up the street, bought some floral bedsheets, and turned them into pajama pants. (This was not couture. I remember mismatching the crotch seams and having to resew them with my mom’s help.) Soon after, like any good grunge girl of the mid-’90s, I made a skirt out of neckties. And then I was hooked.

My skills improved as finding clothes that almost fit and adapting them became a hobby, then a habit. By college, I was making whole garments. The era of fast fashion was dawning, but Forever 21 and H&M had yet to make inroads into my town—and didn’t carry pants with my lengthy inseam anyway. In order to have an aesthetic I loved at a price I could afford, I had to make most things myself.

Having a basic understanding of how to make and alter clothes has fundamentally shaped the way I dress myself. But if I’d grown up in the age of $10 Shein tops and $15 PrettyLittleThing dresses, I’m not sure I would have found my way to a sewing machine. This is doubly true because fast-fashion brands are now

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It matched photos of of the models wearing shirts in two different poses and generated images of that shirt from other angles. Then it took images of the clothing from the merchant and fused them with images of Google’s model via generative diffusion models to produce multiple, diverse images of the clothing. The result? A wide array of remarkably real-looking images of the clothes you want to buy. 

Now, when searching for shirts—maybe you’re in need of a new going-out top?—you’ll see a “Try On” badge next to applicable clothing items. Clicking that opens up a list of models to scroll through. All 40 female models are included for every shirt, so you’ll see multiple models for each size. That’s especially helpful, since two people can wear the same size but be shaped differently, causing clothes to look very different on each of them. 

Obstacle Course

Courtesy of Google

Within this new shopping experience, you can see guided refinements. If you’re looking at a shirt on the model you’ve selected, but you want a version that’s more affordable, or like the shape but want it in a different color or pattern, you can select a few options from dropdown menus and Google will output similar options. 

Of course, you probably shop for clothes directly on the brand’s website, and this feature will work only within Google Shopping. If you find an item you like, you’ll have to do a Google search for it to see if it’s available. 

And there are a few kinks to be worked out. If you search for a shirt, it includes images for all sizes, from XXS to 3XL, even if that brand doesn’t offer all those sizes. Unavailable sizes are grayed out. Also, women’s sizes are a crapshoot. While men’s sizing tends to

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