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It’s just shy of 2:30 p.m. on Tuesday, September 26, and Dior’s Spring/Summer 2024 show is moments from claiming the Paris Fashion Week stage. The street outside the venue is packed with fans, and a black BMW 7 Series’ slow approach incites their feverish cheers. BLACKPINK’s Jisoo emerges from the vehicle with a four-man security detail, wearing the House’s latest designs and waving like a royal to the sea of unfamiliar faces that have been waiting just to catch a glimpse of her brisk excursion to the door from behind a comfortably-distanced barricade. This appearance, coupled with her front-row attendance at the show, garnered $1.6 million USD worth of media impact value (MIV), or online visibility. The echo mentions, or “buzz” surrounding her presence, added an extra $6.5 million USD to the total, according to online data platform Launchmetrics. In fact, Jisoo’s attendance at the Dior show alone earned more MIV than 86% of brands showcasing at the biannual fashion affair.

K-pop is this decade’s international music supernova: as it exploded from Seoul to the world, groups like BTS and BLACKPINK have corralled fandoms that level the likes of those for Beyoncé and Taylor Swift while smashing worldwide release charts and effortlessly selling out stadium tours. At first, the fashion industry was slow to welcome the South Korean stars into its notoriously exclusive circle (BTS only attended their first fashion show for Louis Vuitton in 2021, despite having debuted in 2013 and earned several No. 1 hits in the years prior), but once their inclusion was proven unprecedentedly valuable, the show invites, collaborations and ambassadorships came flowing in abundance.

In the last year alone, Cartier named BTS’ Kim Taehyung (otherwise known as V) its newest global ambassador; Loewe drafted NCT’s Taeyong; Prada enlisted all seven members of ENHYPEN; Valentino signed

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“Ultimately, the window is a billboard,” Jonathan Anderson said, explaining why he plunked a giant, very British-looking teapot in the window of his new JW Anderson boutique in Milan instead of a dress. “It’s about storytelling: How do you draw people into a store?”

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“A window display is a first insight into the brand image, but it still has to attract people and catch their attention,” agreed Simon Porte Jacquemus, who recently installed a cherry-topped cup of whipped cream the size of a Fiat 500 in the window of his Avenue Montaigne store in Paris. It winks to his Marie Antoinette-tinged fall collection that was paraded at the Chateau de Versailles last June.

The two designers are among the ringleaders of a new style of window dressing where clothing is strictly optional, but creativity, bombast and surprise are a must.

“The product is not enough — to retain your customers, you need to entertain them,” said Julien Steenman, who teaches visual merchandising at the Institut Français de la Mode in Paris. “You bring your customer into your universe in a very big and bold way. You need to be quick and efficient today.

“The window becomes the manifesto of the brand.”

Reliant for more than a decade on e-commerce and wholesale channels, Jacquemus first dipped a toe into physical retail last year and was keen to “test disruptive ideas instead of conventional manners of selling.”

“We have always been playing with everyday objects and memories in each of our shows, campaigns and collections so it made sense to us to revisit them in a very absurd and gigantic way,” the designer said, referring to the giant popcorn machine and toaster that have dominated the window “to attract

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As Baltimore prepares to welcome back Artscape next month for the first time since 2019, a new addition to this year’s festival will highlight works by local fashion designers in two days of runway shows.

Project Artscape will be a fashion-focused event on Sept. 23 and 24, featuring 31 designers in total. The runway shows will take place at the Baltimore Improve Group’s parking lot at 1727 N. Charles St.

“There are so many great designers in this city that more people should know,” said Devin Shacklett, Senior Program Coordinator for BOPA, who came up with the idea for Project Artscape and is coordinating the program. “I am incredibly excited for the Baltimore City fashion community. Without a doubt, this is going to be a phenomenal experience!”

Festivalgoers will be able vote for their favorite designers featured in the shows through a poll on the Baltimore Office of Promotion and the Arts’ social media platforms.

Project Artscape will also be live streamed on BOPA’s social media accounts.

On the first day, the event will spotlight designers Erin Boggs, Bronté, Naima Noire, Jordan Matthews, Love More Bmore, The Black Genius Art Show, Rochelle Bremmer, Melani Dowdy-Tucker, LTYC Shop, Robert Queen, Terrance Styyles, Ashley-Star Style Agency, TTheNASA8, Aiysha Jowhar and Critique Designs and Yanni.

The next day’s show will feature designs by Yele Oladeinde, Sue’s Closet and Eloquent Accessories, HighEndRebel, Julianna Josephine, Sehar Peerzada, Sanzi, Sigi’Nommo, Sherrell Whye, Iris Webb, Brandon Kanion, The Gailery Boutique, Classic Consigns by KYS, Amparo3, Knwldg Couture and Audacity Brand.

Local models will walk the 40-foot runway in the fashion shows. The event will be hosted by Caprece-Ann Jackson and will feature DJ Shido.

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By Emma Weidmann | Arts and Life Editor

It’s hard to be on social media these days without seeing the newest micro-label. Everywhere you look — “clean girl” this, girlaesthetic-clothes”“coconut girl” that. Everyone is trying to put a name to different looks, categorizing the clothes and makeup they wear and the “energy” they put out.

Each of these labels is just another way to slap a name onto an aesthetic. The viral “clean girl” aesthetic of the past few months is characterized by slicked-back hair, matching sweatsuit sets, chunky gold hoops and a trendy Stanley water bottle. On the other hand, “coconut girl,” which trended on TikTok over the summer, is all about tan skin, beach waves and an aesthetic full of sunshine and bottles of Sol de Janeiro perfume from Sephora.

While you might chalk this up to just another trend, there’s something else going on under the surface. When the latest headlines read Hailey Bieber’s “cinnamon cookie butter hair” and blueberry milk nails,” you have to wonder why we suddenly need social media influencers to give us new names for everything from brunette hair to light blue nail polish.

In other words, it’s marketing.

New labels like these — labels for things that already exist and names for new aesthetics aimed at a certain consumer profile — are just another way to get you to associate your personal identity with what you spend your money on. If you’re not careful, you’ll see your money go down the drain in the name of an aesthetic.

So, a bit of de-influencing is in order. Hailey Bieber’s hair isn’t a new trend; it’s brunette with highlights. Blueberry milk nails are just light blue. And you don’t need to change your whole appearance and

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A FASHION fan has put together three outfits that are perfect for heading back to college from Penneys. 

Taking to TikTok, Lauren Whelan, who posts under the username @laurenwhelxn, revealed the stunning looks.

Lauren put together three outfits that are perfect for heading back to college


Lauren put together three outfits that are perfect for heading back to collegeCredit: Social media
For her next look, Lauren styled a pair of Straight Cargo Trousers for €20 with a SMILEYWORLD Oversized T-shirt for €14


For her next look, Lauren styled a pair of Straight Cargo Trousers for €20 with a SMILEYWORLD Oversized T-shirt for €14Credit: Social media
For her final look, Lauren styled the same cargos with a Biggie Smalls Graphic Hoodie for €20


For her final look, Lauren styled the same cargos with a Biggie Smalls Graphic Hoodie for €20Credit: Social media

First, she tried on a pair of Denim Mom Jeans for €16, which she paired with Essential Longline Vest Top for €4 and a Zip Detail Biker Jacket for €40. 

The leather jacket is an essential that is perfect for any outfit this autumn/winter. 

An online description reads: “Name an outer layer with more edge than a biker jacket. We can’t think of anything either! 

“Made with a sleek faux leather construction, this biker jacket features long sleeves, various zipper openings, classic lapels and a buckle belt. 

I found major bargain in men’s section of Penneys - here’s what they look like on
Zara fans scrambling to buy 'most feminine' dress - and it costs just €29.95

“With endless styling possibilities, this biker jacket combines a fashion-forward aesthetic with practical functionality – making it a must-have addition to your capsule wardrobe. 

“Pair it with a dress and killer heels for weekend outings with friends, or keep it casual with a unitard and dad shoes to achieve the off-duty model aesthetic. What are you waiting for? 

“Check stock availability and experience the versatility that this jacket brings to your wardrobe!”

For her next look, Lauren styled a pair of Straight Cargo Trousers for €20 with a SMILEYWORLD Oversized T-shirt for €14.


An online description of the cargos reads: “Whether exploring the great outdoors, running errands or simply

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People are nailing the stealth wealth look on the cheap in China.

People are nailing the stealth wealth look on the cheap in China.wundervisuals via Getty Images

  • People in China are embracing quiet luxury.

  • Some Chinese influencers have spent the summer curating tutorials on the old money aesthetic.

  • Online retail platforms are also offering stealth wealth looks for cheap.

People in China have figured out how to nail the old money aesthetic without breaking the bank.

The old money aesthetic, which involves projecting wealth subtly, has taken China by storm. Known in the country as laoqianfeng, this fashion style is inspired by the country’s old money — people whose wealth has stacked up over multiple generations and who let their cash, not their clothes, do the talking for them.

Laoqianfeng is about all portraying an air of effortless perfection by eschewing the garish colors, big logos, and general flashiness of the new money aesthetic.

Alison Ho, a Singapore-based strategist at the trend forecaster Worth Global Style Network, told Insider that such consumers “are less concerned with material wealth” and are instead hoping to “align luxury with wellbeing, purpose, and meaning.”

China’s influencers have cracked the code of looking rich

China’s social media is abound with commentary and tips on nailing the laoqianfeng style. At press time, posts with the hashtag “老钱” (laoqian) have been viewed a collective 1.67 million times on China’s Twitter-like platform, Weibo.

Multiple laoqianfeng explainers have mushroomed up this summer on Xiaohongshu, an Instagram-like platform in China. Xiaohongshu, or “little red book” in English, is a popular site the functions as a lifestyle bible for the modern Chinese person.

Ho told Insider the social media platform “popularized aesthetic micro-trends associated with quiet luxury.” She added that Xiaohongshu is predominantly used by affluent consumers in Beijing, Shanghai, and China’s other tier-one cities — the country’s

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After stints in Brooklyn, New York, Vashon Island, Washington, and Thomson, Georgia, STATE settled down in Athens, Georgia. Owner and designer Adrienne Antonson cites the community of young, fun Athenians as reason for the move, helping establish a mutual understanding of STATE’s work and mission. (Photo/Alexis Derickson)

Editor’s Note: Now living in Athens, Mary Logan Bikoff serves part-time as a freelance writer and the guides and magazines adviser for The Red & Black.

Entering the joint storefront and studio space is synonymous with cartwheeling into a magnificent vision of color and comfort. Clothing racks spray-painted pastel line the walls, the front counter encased in a seafoam green wooden relief carving.

A wandering customer’s peek through an open doorway is rewarded with glimpses of textile bundles, art laid out to dry and seamstresses bowed over whirring machines. The realm of fashion creation is rarely seen and hardly on display, yet at 625 Barber Street, both formulation and final product coexist.

When Adrienne Antonson founded STATE the Label in 2010, over 800 apparel manufacturing establishments existed in New York County while over 2,500 operated in Los Angeles County – a meager one business prevailed in Clarke County, according to data from the U.S. Bureau of Labor Statistics. Yet, after stints in Vashon Island, Washington, Brooklyn, New York, and Thomson, Georgia, Antonson shepherded STATE’s hand-painted textiles assuredly into Athens.

STATE the Label Adrienne Antonson Headshot

Adrienne Antonson, the owner and designer of STATE, grew up with entrepreneurial grandparents that she says inspired her to start multiple businesses at a young age. Antonson says that once her mom taught her how to sew in fifth grade, she “didn’t really stop” in her exploration of fashion and textiles, eventually leading to the creation of STATE. (Photo/Audra Melton, courtesy of Adrienne Antonson)

Defining STATE’s target market is difficult, as age

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The confluence of art and fashion at the Met Gala and elsewhere has far-reaching ramifications. Each field has begun to see itself anew. Art, having never achieved such mass relevance, wonders whether it might descend from its ivory tower and become genuinely popular. Fashion, unused to such high-culture cred, wonders if it might win new seriousness and cachet in the public eye. Inspired by these potentials, each side turns more ardently to the promise implicit in the other.

This cross-pollination has a long history. At the dawn of the 20th century, Paul Poiret, “the king of fashion,” enlisted artists to create his textile patterns, fashion illustrations and business stationery. Elsa Schiaparelli collaborated with Salvador Dalí on several iconic designs, including the “shoe hat” and “lobster dress” of 1937. Christian Dior ran an art gallery before becoming a fashion designer and later named his dresses “Matisse,” “Braque,” “Dalí” and “Picasso.”

But in recent years the reciprocity between of art and fashion has become big business. Fashion houses now look to transcend their narrow identification with clothing and accessories. Louis Vuitton, according to Bernard Arnault, the C.E.O. and chairman of the fashion and luxury goods conglomerate LVMH, which owns the brand, is “much more than a fashion brand. It’s a cultural brand with a global audience.” By emphasizing its links to art — and, by implication, art’s rarity and exclusivity — Louis Vuitton symbolically undercuts the reality that its business imperative (to sell more goods) effectively decreases the rarity and exclusivity of its products. The company made $20 billion in sales last year, doubling its revenue from four years prior. But as a “cultural brand,” Louis Vuitton dissolves the crass reality of products and sales in the mythic allure of storytelling and image.

Art institutions have come to

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