#Best Sportswear Designer Award

[thunderclasped]

elias. • bodyclaim. • headcanons. • isms. • threads.

BASIC INFO

full name — Elias (Matthew Benjamin) Hawkins age — thirty-seven (january 20th) gender — cis male, (he/ him/ his pronouns) orientation — homosexual (but in the closet tbh) occupation — software designer + engineer deity connection — thor  weapon/armor — thunder bow (longbow) + studded leather armor clothing style — sportswear, suits, soooometimes casual, but always too tight oops

PHYSICAL INFO

face claim — Henry Cavill hair — brown / eyes — blue height — six foot & one inch build — like a big ass T, broad af shoulders & generally thicc - check me scars — he's got a very faint, thin line around his neck - like some dogs do when their collars ate into the flesh, the same on his wrists & ankles, a few scars on his back from a belt, they mostly faded now though tattoos — he has a barcode and a paw on the inside of his wrist, his adoptive parents thought about letting it be removed, but they wanted him to decide when he was old enough, he kept both piercings — none special characteristics — he's a good actor when it comes to being social, he seems to get along with everybody everywhere, will bring coffee to quests sexual preference— bottom switch

PERSONALITY

alignment — lawful good positive traits — gentle, educated, smart, ambitious, nerdy negative traits — perfectionist, workaholic, coward, nervous, nerdy hobbies — dnd, gaming, streaming, coding, jogging, coffee (!!!)

MEDICAL INFO

mental — ptsd (check phobias tbh) physical — fit and healthy phobias — selenophobia (focus on full/new moon) eyesight — 22/20 although avrae tends to disagree dominant hand — ambidextrous drug use — nop alcohol use — sometimes diet — balanced, but he will die & murder for coffee

BACKGROUND

birthplace — castle cary, UK parents ��� Lana & Brandon Hawkins (adoptive parents), Zeus (biological father) siblings — Sarah-Jane Hawkins (little step sister), Mona Maria Hawkins (big step sister) pets — tba education — high school graduate, comp science + engineering bachelor + various awards notable skills — a+++ coding and hacking (everything tech-related), due to being project leader at his job before he followed the call, he's chill with taking the lead

BIO

(cult mention, abuse mention)

Elias was born during a devastating storm, the skies had been ablaze, the winds had been so quick on their feet they'd taken no prisoners in their path of destruction. His mother, a prisoner of sorts in a life she didn't choose and yet accepted, because she was born into it and didn't know better. Her parents' parents had already lived in these lands and had been proud members of a rather small and yet, incredibly radical cult that believed in witchcraft and the influence of the moon on the mind.

The circumstances of Elias' birth ended life for the newborn before it began. He was found a bad omen, a lost child and declared enemy of the 'new religious movement' of the Dark Rose. Usually, children like him would be discarded, but his family was part of the group of the founders of their community, so when Elias' mother begged for her son's life, they granted him ....that. But only that. Not more. And a lot less. As to not spread misfortune on the others, he was held separate from the other newborn, in a room far off.

As he grew older and began to escape from his crib, the leaders sat down to talk about his fate once more. His mother hadn't seen him in months and yet, she - again, pleaded for his life. So, the toddler was put in a cage in the dog shed. He was fed and he was groomed with the dogs, but he was alive. Some time later, a collar and shackles were added to ensure he couldn't escape the shed when they let out the dogs. Elias grew up without a name, without purpose, without a guardian in his life to show him the way. At best, he thought he was a dog and he'd never be more than that. Even the dogs had names..

He never was taught proper speech, only enough to understand basic commands, though he did pick up bits and pieces of the spoken word, but ... it made only little sense to the boy. Full moon nights and storms were the triggers Elias had to endure, because every single storm - or even bad weather was blamed on him and the full moon - they said, would have the demon within him at its strongest. For those nights, he was bound to a tree out in the forest for the entire night with only the cold and the full moon to keep him company.

During a police raid after several complaints from neighbors and anonymous calls hinting the big farm was used for drug trafficking, they found a ten year old boy with bright blue eyes and beautiful locks held in a kennel with other dogs.

They were shocked to see a boy of ten or eleven years held like a dog. He was taken to the youth welfare services in Manchester and ended up in the system for difficult to place kids due to his age and ...deficits. Adoption came with a price, therapy and responsibility to re-socialize him - his temporary name was Lukas.

Newspapers spoke about the wolf boy and an American family currently in town for business read about him. Their reputation was good, they were wealthy and pledged to pay for the extensive care the unnamed boy would need to find his way back into life. They stayed for a few months, but eventually returned home to the United States after paperwork on all ends was done.

The boy was named Elias Matthew Benjamin Hawkins.

The Hawkins owned an area by Toluca Lake - in the sunny Los Angeles. They already had a thirteen year old daughter when they invited Elias into their home. Mona Marie was hesitant at first, unwilling to share her parents with a strange boy, but she soon became protective of him, like the big sister he never had. The first year wasn't easy on anybody, but the Hawkins' were loving and gentle with the boy, they spent a little fortune on his therapy, his education and everything else he could have wished for and he worked hard, grateful for this life they offered.

A few years later, they had another daugther Sarah-Jane Louise to complete the family. (They have a thing for impressive names apparently.) That was around the time, Elias found out he .. wasn't normal. His parents handled it naturally and after a lot of wondering and then finally meeting his biological father, Elias was granted summers in Camp Halfblood - if only to learn how to control his powers.

Elias found his passion in computers, their software and hardware and went to college after graduating (only a year later than ordinary) from high school. His parents, of course, had no qualms about him striving to come far in life - build something of his own. He did.

Before he chose to follow the Call, Elias lived in his own house, not too far from home - in Venice Beach with a loft in Downtown LA as well to be closer to ihs workplace during the week. Putting work before everything else was Elias' standard setting, his ambition a constant driving force going hand in hand with his perfectionism. He never quite made it past the mental mindset that he owed his parents perfection. Success. All to repay the debt that could never be repaid.

After getting attacked at his work place, Elias followed the call and relocated to the Ark. Surely there's wifi on the island?

[thunderclasped2]

elias. • bodyclaim. • headcanons. • isms. • threads.

BASIC INFO

full name — Elias (Matthew Benjamin) Hawkins age — thirty-seven (january 20th) gender — cis male, (he/ him/ his pronouns) orientation — homosexual (but in the closet tbh) occupation — software designer + engineer deity connection — zeus  pet name — tba weapon — 2x great words (?) + halfplate clothing style — sportswear, suits, soooometimes casual, but always too tight oops

PHYSICAL INFO

face claim — Henry Cavill hair — brown / eyes — blue height — six foot & one inch build — like a big ass T, broad af shoulders & generally thicc - check me scars — he's got a v faint, thin line around his neck - like some dogs do when their collars ate into the flesh, the same on his wrists & ankles, a few scars on his back from a belt, they mostly faded now though tattoos — he has a barcode and a paw on the inside of his wrist, his adoptive parents thought about letting it be removed, but they wanted him to decide when he was old enough, he kept both piercings — none special characteristics — he's a good actor when it comes to being social, he seems to get along with everybody everywhere, will bring coffee to quests sexual preference— bottom switch

PERSONALITY

alignment — lawful good positive traits — gentle, educated, smart, ambitious, nerdy negative traits — perfectionist, workaholic, coward, nerdy hobbies — dnd, gaming, streaming, coding, jogging, coffee (!!!)

MEDICAL INFO

mental — ptsd (check phobias tbh) physical — fit and healthy phobias — selenophobia (focus on full/new moon) eyesight — 22/20 although avrae tends to disagree dominant hand — ambidextrous drug use — nop alcohol use — sometimes diet — balanced, but he will die & murder for coffee

BACKGROUND

birthplace — castle cary, UK parents — Lana & Brandon Hawkins (adoptive parents), Zeus (biological father) siblings — Sarah-Jane Hawkins (little step sister), Mona Maria Hawkins (big step sister) pets — tba education — high school graduate, comp science + engineering bachelor + various awards notable skills — a+++ coding and hacking (everything tech-related), due to being project leader at his job before he followed the call, he's chill with taking the lead

BIO

(cult mention, abuse mention)

Elias was born during a devastating storm, the skies had been ablaze, the winds had been so quick on their feet they'd taken no prisoners in their path of destruction. His mother, a prisoner of sorts in a life she didn't choose and yet accepted, because she was born into it and didn't know better. Her parents' parents had already lived in these lands and had been proud members of a rather small and yet, incredibly radical cult that believed in witchcraft and the influence of the moon on the mind.

The circumstances of Elias' birth ended life for the newborn before it began. He was found a bad omen, a lost child and declared enemy of the 'new religious movement' of the Dark Rose. Usually, children like him would be discarded, but his family was part of the group of the founders of their community, so when Elias' mother begged for her son's life, they granted him ....that. But only that. Not more. And a lot less. As to not spread misfortune on the others, he was held separate from the other newborn, in a room far off.

As he grew older and began to escape from his crib, the leaders sat down to talk about his fate once more. His mother hadn't seen him in months and yet, she - again, pleaded for his life. So, the toddler was put in a cage in the dog shed. He was fed and he was groomed with the dogs, but he was alive. Some time later, a collar and shackles were added to ensure he couldn't escape the shed when they let out the dogs. Elias grew up without a name, without purpose, without a guardian in his life to show him the way. At best, he thought he was a dog and he'd never be more than that. Even the dogs had names..

He never was taught proper speech, only enough to understand basic commands, though he did pick up bits and pieces of the spoken word, but ... it made only little sense to the boy. Full moon nights and storms were the triggers Elias had to endure, because every single storm - or even bad weather was blamed on him and the full moon - they said, would have the demon within him at its strongest. For those nights, he was bound to a tree out in the forest for the entire night with only the cold and the full moon to keep him company.

During a police raid after several complaints from neighbors and anonymous calls hinting the big farm was used for drug trafficking, they found a ten year old boy with bright blue eyes and beautiful locks held in a kennel with other dogs.

They were shocked to see a boy of ten or eleven years held like a dog. He was taken to the youth welfare services in Manchester and ended up in the system for difficult to place kids due to his age and ...deficits. Adoption came with a price, therapy and responsibility to re-socialize him - his temporary name was Lukas.

Newspapers spoke about the wolf boy and an American family currently in town for business read about him. Their reputation was good, they were wealthy and pledged to pay for the extensive care the unnamed boy would need to find his way back into life. They stayed for a few months, but eventually returned home to the United States after paperwork on all ends was done.

The boy was named Elias Matthew Benjamin Hawkins.

The Hawkins owned an area by Toluca Lake - in the sunny Los Angeles. They already had a thirteen year old daughter when they invited Elias into their home. Mona Marie was hesitant at first, unwilling to share her parents with a strange boy, but she soon became protective of him, like the big sister he never had. The first year wasn't easy on anybody, but the Hawkins' were loving and gentle with the boy, they spent a little fortune on his therapy, his education and everything else he could have wished for and he worked hard, grateful for this life they offered.

A few years later, they had another daugther Sarah-Jane Louise to complete the family. (They have a thing for impressive names apparently.) That was around the time, Elias found out he .. wasn't normal. His parents handled it naturally and after a lot of wondering and then finally meeting his biological father, Elias was granted summers in Camp Halfblood - if only to learn how to control his powers.

Elias found his passion in computers, their software and hardware and went to college after graduating (only a year later than ordinary) from high school. His parents, of course, had no qualms about him striving to come far in life - build something of his own. He did.

Before he chose to follow the Call, Elias lived in his own house, not too far from home - in Venice Beach with a loft in Downtown LA as well to be closer to ihs workplace during the week. Putting work before everything else was Elias' standard setting, his ambition a constant driving force going hand in hand with his perfectionism. He never quite made it past the mental mindset that he owed his parents perfection. Success. All to repay the debt that could never be repaid.

Elias followed the call and relocated to Camp Halfblood, but instead of giving up everything he knew and loved (his work), he chose to bring it with. Surely there's wifi at Camp?

[styleofdiamandis]

              PHOTOSHOOT: PHOENIX MAGAZINE

Marina graced the cover of Phoenix Magazine’s “Holiday” Summer 2019 issue! The high fashion photoshoot was photographed by Uzo Oleh and shows our girl in front of a simple grey backdrop.

Styling by Natalie Read. Glam by Maria Asadi using M·A·C Cosmetics, and hair by Lewis Pallett.

The cover look displays Marina dressed in a rose-printed silk shirt with oversized cut and short sleeves from UK designer Richard Quinn’s Spring/Summer 2019 collection!

Her textured silver ring with large oval-cut orange stone is signed by Giovanni Raspini.

How epic is this money shot?! Marina is a big fan of designer Malan Breton so his design just had to be part oft his editorial. Here, she wears his multi-colored orchid print ruffle gown with extra(aaaaa) long train from the Spring/Summer 2019 presentation.

The extravagant look was completed with a pair of Charlotte Olympia’s Vreeland black velvet knot sandals with metallic gold platform.

From Malan Breton’s Fall/Winter 2019 collection, hails this metallic floral jacquard cape coat with self-tie neck. Above, you can see a similar design with the same print.

Underneath, she wore the CAMILLA Friend in Flora long-sleeved paddlesuit, inspired by the lush Turkish boudoirs and women’s quarters throughout Versailles.

She completed the look with these Sophia Webster Spring/Summer 2019 Frida knee-high sandals featuring a stunning flower motif in suede.

Next, the Welsh singer poses for the camera in a Richard Quinn purple & blue cloud-printed plush velvet turtleneck top with built-in gloves which she combined with silver & black metallic jacquard wide-leg pants with self-tie waist from Malan Breton’s Spring/Summer 2019 collection.

The black wool blouson jacket with slit sleeves and leg-o’-mutton sleeves, and pleated white poplin blouse with elongated cuffs and organza train both belong to 2011 Fashion Fringe finalists Syria-born, Sheffield-raised Nabil Nayal‘s Spring/Summer 2018 collection titled “Elizabethan Sportswear Part V”.

Nabil studied at the Manchester School of Art, where he gained a First Class Honours degree in Fashion.

After graduating in 2008, he went on to win many prestigious fashion awards including the Royal Society of Arts Award, the GFW Best Womenswear Award and the BFC MA Scholarship Award, enabling him to study at the Royal College of Art.

[usaclothingmanufacturers]

Pearl Global: One of the Best Apparel Vendors in USA

Introduction

When it comes to choosing an apparel manufacturer, quality, innovation, and reliability are paramount. Pearl Global stands as a testament to these values, making it one of the best apparel manufacturers in the industry. This blog delves into what sets Pearl Global apart, from its rich history to its sustainable practices and innovative solutions.

Our History

Pearl Global has a storied history that spans decades. Founded with a vision to revolutionize the apparel industry, the company has evolved through continuous innovation and commitment to excellence. Key milestones include the launch of their state-of-the-art manufacturing facilities and expansion into international markets. Pearl Global’s core values of integrity, quality, and customer satisfaction are deeply embedded in its mission to deliver superior apparel solutions. As one of the leading apparel manufacturers in USA, Pearl Global has set benchmarks in the industry.

Range of Products

Pearl Global offers a diverse range of products catering to various market segments.

Sportswear: Designed for performance and comfort, Pearl Global’s sportswear line includes everything from high-performance athletic gear to stylish athleisure outfits, making them one of the top sportswear manufacturers.

Activewear: Combining functionality with fashion, the activewear range is perfect for both workouts and everyday wear.

Denim: Pearl Global's denim collection stands out for its durability, fit, and contemporary designs.

Manufacturing Excellence

Pearl Global’s manufacturing excellence is underscored by its advanced facilities and stringent quality control measures. The company leverages the latest technologies to ensure precision and efficiency in production. Innovative practices, such as automated cutting and seamless stitching, are employed to maintain high standards. As one of the premier American clothing manufacturers, Pearl Global’s commitment to quality control ensures that every piece of apparel meets rigorous standards before reaching the customer.

Sustainability and Ethical Practices

Pearl Global is committed to sustainable and ethical manufacturing practices. They prioritize the ethical sourcing of materials, ensuring that all raw materials are obtained in an environmentally responsible manner. The company’s initiatives include using eco-friendly fabrics, reducing water usage, and minimizing waste through recycling programs. Pearl Global also promotes social responsibility by ensuring fair labor practices and contributing to community development, solidifying their reputation as one of the top sustainable clothing manufacturers.

Customization and Innovation

Customization is at the heart of Pearl Global’s offerings. As one of the leading custom clothing vendors, they provide bespoke apparel solutions tailored to the unique needs of each client. Whether it’s a special design requirement or a specific material preference, Pearl Global collaborates closely with clients to bring their vision to life. Innovation is evident in their product designs and manufacturing processes, ensuring that each project is not only unique but also of the highest quality.

Client Testimonials and Case Studies

The satisfaction of Pearl Global’s clients speaks volumes about their capabilities. Success stories from various clients highlight the company’s ability to deliver exceptional results. For instance, a leading sports brand lauded Pearl Global for their timely delivery and high-quality products, which significantly boosted their sales. Case studies showcasing problem-solving and value addition further demonstrate Pearl Global’s expertise and commitment to customer satisfaction.

Industry Recognition and Awards

Pearl Global’s excellence has been recognized through numerous awards and accolades. The company holds various industry certifications that affirm its adherence to high standards of quality and sustainability. Media features and press coverage also highlight Pearl Global’s contributions to the apparel industry, reinforcing its reputation as a leader in the field.

Future Plans and Vision

Looking ahead, Pearl Global has ambitious plans to expand its product offerings and enter new markets. Upcoming projects include the launch of innovative apparel lines that incorporate the latest fashion trends and technological advancements. Pearl Global’s vision for the future is centered on continuous improvement, embracing new challenges, and maintaining its position as a top apparel manufacturer.

Conclusion

In summary, Pearl Global stands out as one of the best apparel manufacturers due to its unwavering commitment to quality, innovation, and sustainability. Their rich history, diverse product range, manufacturing excellence, and ethical practices make them a preferred choice for clients worldwide. As one of the prominent USA apparel manufacturers, potential clients are encouraged to explore Pearl Global’s offerings and experience the difference that comes with partnering with an industry leader.

 Call to Action

If you’re looking for an apparel manufacturer that delivers on quality and innovation, look no further than Pearl Global. Contact us today to discuss your apparel needs and discover how we can bring your vision to life.

[unicornpinkfantasy]

Check out this listing I just added to my Poshmark closet: Vintage 50s 60s Toni Owen Sportswear One Shoulder Dress.

[perfettamentechic]

Claire McCardell

Claire McCardell e la moda quotidiana. #clairemccardell #stilista #storiadellamoda #creatoredimoda #creatoredistile #moda #fashion #pretaporter #monasticdress #popoverdress #perfettamentechic

Claire McCardell è stata una stilista americana di abbigliamento prêt-à-porter del XX secolo. Le viene attribuita la creazione di abbigliamento sportivo americano. Claire era la maggiore di quattro figli nati da Eleanor e Adrian McCardell, senatore e presidente della Frederick County National Bank.  Affascinata dalla moda fin dalla giovane età, Claire si voleva trasferire a New York City per…

[gb275]

Fashion Designer Ralph Lauren with his 1958 Mercedes-Benz 300SL Roadster

Ralph Lauren Biography

Ralph Lauren is an American clothing designer best known for his sportswear line Polo Ralph Lauren, the centerpiece of his fashion empire.

Iconic designer Ralph Lauren's first job in the fashion industry was in retail at Brooks Brothers before developing a line of neckties. The brand he established, Polo, is now one part of an international empire that includes fragrances, home furnishings, luxury clothing and dining based on a fantasy aesthetic of upper-crust life. Lauren, a funder of cancer research initiatives, has also used his personal fortune to amass a collection of rare and classic cars as well as a massive Colorado ranch.

Background and Early Life

Lauren was born Ralph Lifshitz in the Bronx, New York City, on October 14, 1939, the third of four siblings. His parents Frieda and Frank were Ashkenazi Jewish immigrants who had fled Belarus, and the youngster grew up in the Mosholu Parkway area of the family's adopted borough.

At the age of 16, Ralph and his brother Jerry changed their last name to Lauren after having been teased consistently at school. Another brother, Lenny, retained the family name. Ralph was known for his distinctive fashion sense as a teen, finding inspiration in screen icons like Fred Astaire and Cary Grant while having a taste for both classic preppy wear and vintage looks. He went on to attend Baruch College in Manhattan, where he studied business for two years. After a brief stint in the Army, Lauren took on a sales job at Brooks Brothers.

In 1967, while working for Beau Brummell, Lauren began designing his own men’s neckties with a wider cut, branding them under the name “Polo” and selling them at large department stores, including Bloomingdale’s. Lauren was able to more fully develop his business with a $30,000 loan, eventually expanding his designs to a full menswear line.

In 1970, Lauren was awarded the Coty Award for his men's designs. Following this recognition, he released a line of women's suits tailored in a classic men's style. Then in 1972, Lauren released a short-sleeve cotton shirt in 24 colors. This design, emblazoned with the company's famed logo—that of a polo player, created by tennis pro René Lacoste—became the brand’s signature look.

Lauren is known for capitalizing on an aspirational style and key insignia which evokes the British gentry while also referencing the aesthetics of the American upper class. His fashion ideas have been criticized by some for not being particularly innovative while also embraced by scores of consumers who prefer more approachable looks. Lauren subsequently broadened his brand to include a luxury clothing line known as Ralph Lauren Purple, a rough and rustic line of apparel dubbed RRL, a home-furnishing collection called Ralph Lauren Home and a set of fragrances. Polo currently produces clothing for men, women and children and has hundreds of internationally placed stores, including factory stores that produce the majority of his sales domestically.

https://www.biography.com/fashion-designer/ralph-lauren

[blackswaneuroparedux]

Fashion is an instrument through which you show you belong to a group.

- John Weitz

John Weitz was a man for all seasons. Handsome, intelligent, and debonair. He was a novelist, historian, businessman, spy, and above all a renowned mens and ladies fashion designer. James Bond was fiction but he was the real deal.

Born in Berlin in 1923, Hans Werner Weitz was the son of a prosperous clothing manufacturer and German first world war hero, who had won the Iron Cross in the infantry. The family was living well when Christopher Isherwood visited. But they were Jewish, quick to understand what was about to happen, and, in the early 1930s, moved to London, where the young Weitz went to well known private school, St Paul's in London. At St Paul’s he said it was normal to be caned if he didn’t wear morning clothes to class, so he always did with lapels rolled properly. “On weekends we wore blazers…correctly…with the collar up and with a scarf and with brown suede shoes, which were very new then….but never, of course, after six,” he once reminisced.

He was an apt pupil and Oxbridge seemed to be a seamless next stage. However he lasted only a year studying at Oxford University.

Instead he headed off to Paris to begin an apprenticeship with the women's tailor, Captain Edward Molyneaux. In 1938, at the age of 18, Weitz was falsely arrested as an enemy agent while working in the London office of the Paris fashion house Molyneux.

His father was already in America and in 1939, and when France was overuun at the outbreak of the war, Weitz could see he had to get out of Europe. After a tortuous trip through Shanghai, China and later Yokohama, Japan to reach the USA.

In 1943 and now a naturalised American citizen and aged 21, John (as he was now dubbed) was recruited by the Office of Strategic Services (OSS), the forerunner of the CIA, operating in Germany until 1946. He was fluent in both French and German which came in handy in his work during the war in Europe.

He would only ever describe his work in Germany until 1946 as "sensitive," though, much later, his publisher John Fairchild told the New York Times that Weitz "loved all that romantic part of his past. He was a perfect gentleman."  What is known about his OSS work was that he was part of a 1944 mission in support of the plan to assassinate Adolf Hitler  formulated by German Wehrmacht officers, under the instigation of Claus von Stauffenberg. After the war, Weitz helped to liberate the Dachau concentration camp

Weitz was also a man with connections, as when he confirmed that a former OSS boss had shown him gangster blackmail photos of the longtime FBI director J Edgar Hoover with his boyfriend, Clyde Tolson. In the 1970s, Weitz's friend Albert "Cubby" Broccoli, producer of the James Bond movies, teased him about his resemblance to the character - adding that Weitz was better looking.

Weitz returned to New York in the 1940s, a young garment trader well placed to pick up on American women's new taste for informal sportswear, leather coats and men's shirts.

Weitz founded his women’s sportswear business, John Weitz Designs, in 1954, and launched men’s wear a decade later. For his women’s wear, he often tailored the best of men’s designs for the female figure, with looks such as shaped houndstooth checked coats, formal shirts with jet buttons and cuff links, and corduroy pants.

“Whatever happens in women’s pants comes from the men’s pants,” he said in 1965.

In the Sixties, Weitz began phasing out his women’s and children’s apparel business to concentrate on men’s wear. By 1977, Weitz had 18 licensees and $150 million worldwide retail sales of products bearing his label, including sunglasses, belts, umbrellas and even cigars. That year, he also reentered the licensed women’s apparel category, because, he said, he saw the need for an alternative to coordinated sportswear merchandising.

“I’m rather sick of seeing American working women treated as children with prepackaged clothes,” Weitz said at the time.

In 1964, he launched his menswear range, applying the technical standards of manufacture he had learned from his father. Unusually, in that era of obsolescence, he went for ease and wear - clothes, he said, should be worn "as if they are old and valued friends".

Of course he committed fashion faux pas here and there. This was the 1970s after all. But the previaling zeitgeist had to be understood before we laugh or wince at the designs today. None left a lasting impression quite as strong as the posthumously awarded ‘king of the ‘70s’—the leisure suit.

Once hailed by top designers John Weitz and Calvin Klein as a garment with staying power, the leisure suit was ostracized from the kingdom of en vogue before the 1970s ever came to an end. Just as it had swiftly risen to the top of fashion, it fell into the leagues of comic relief twice as fast.  Today we laugh at the cheesy styles, feminine colors, and garish plaids. But what we seem to have forgotten is that the leisure suit did more than just provide us with years of laughs. The leisure suit helped men open themselves up to new ideas in clothing. It allowed them to experiment outside of the style box they’d been locked in for too many years. If the 1970s had passed without the leisure suit, “business casual” for men might never have developed as soon as it did. The leisure suit may have been a fashion catastrophe, but it laid the groundwork for men to strut their fashion stuff for decades to come.

He was his own dream model - "healthy and scrubbed," with a flat stomach - and toured stores showing off his new line of narrow, European-cut shirts, half the width of the standard American style. His navy suit, alphabet-patterned ties and aubergine socks are commonplace now, but were then part of a new, executive self-presentation, more about putting it together than design. By 1974, he had become a household name, with annual earnings of $18m and a Coty Award, fashion's prize for innovation.

Weitz skilfully let his name generate money by itself, using witty advertisements to maintain a high public profile. A poster on the back of New York buses announced, for example, "She ditched him, John Weitz ties and all".

He also used his writing abilities to promote the business image: his book Man In Charge, The Executive's Guide To Grooming, Manners And Travel (1974), became a bestseller, but was really just part of his trade in suavity and martinis. Even his headquarters was above Madison Avenue. There were also two well received novels, Friends In High Places and The Value Of Nothing.

Two other books, however, marked out Weitz as a historian of the Nazi period. He wrote Hitler's Diplomat, a biography of the third reich foreign minister, Joachim von Ribbentrop, and Hitler's Banker, about the president of the Reichsbank, Hjalmar Horace Greeley Schacht.

He was repeatedly asked about reconciling the sale of navy blazers and researching von Ribbentrop, but he saw no clash: "Who else but a fashion designer would understand such a worldly man?" Weitz certainly comprehended the Nazis genius for the projection of personal image, and, though never a major historian, established a sufficiently solid reputation as a researcher that the president of Germany consulted him on the subject.

Meanwhile, he lived the life of his executive book, raced cars at Sebring in the 1950s, and belonged to the New York Yacht Club and the Vintage Sports Car Club. In his Park Avenue apartment, a Chinese chef cooked dinner parties for his friends - among them the novelist Tom Wolfe- and film people.

In 1964, he married the actor Susan Kohner, and their two sons, Christopher and Paul, remembered Ingmar Bergman taking them to the circus, and film directors John Huston and Billy Wilder dropping in for coffee -"just nice old men around the house every once in a while". The boys' chief complaint about their father was that he made them wear blue blazers. Both Chris and Paul would go on to forge their own Hollywood careers as the producers and directors of such movies as American Pie (1999) and About a Boy (2002).

John Weitz had a deep fondness for cats which raised eyebrows amongst his more masculine following. But Weitz was unrepentent. Weitz adored their elegance, and was quoted on them more often than on the Nazis. "Even overweight cats instinctively know the rule: when fat, arrange yourself in slim poses," he wrote.

John Weitz died on 3 October 2002 at the grand old age of 79. He remained a dashing figure and aged well - like the American version of Gianni Agnelli. He had throughout his life the air of adventure, even danger. He was stylish fashion designer who lived up to the executive image of his clothes. It’s no wonder no one balked when he made a name for himself with the nowadays unthinkable ad slogan, “John Weitz designs for the woman who wishes her husband could afford her.” His was a life well lived.

[dippedanddripped]

Nike is no stranger to lawsuits. On Monday, the sportswear giant filed a complaint in a federal court against Customs By Ilene, Inc., known as "Drip Creationz." As first reported by The Fashion Law, Nike claims that the customizer is infringing upon Nike's registered trademarks for its signature Air Force 1 silhouette, and is therefore diluting the brand.

The shoes in question are sold for over 140 percent of the retail price of genuine Air Force 1 trainers, and Nike alleges that the shoes Drip Creationz is selling are not altered authentic products, but actually counterfeit sneakers. As TFL reports, Nike argues that the shoe measures slightly taller than a real AF1 and that stitching and dimensions are not up to the quality standard of authentic Nike Air Force 1s.

Amassing over 1.1 million followers on Instagram, Drip Creationz has made a name for itself selling customized Air Force 1 (or Air Force 1-esque) sneakers that feature third-party trademarks and images, such as Travis Scott's recognizable Astroworld Graphic, Burberry's signature Nova Check pattern, or CDG's PLAY heart logo. Nike explains that the products “have never been approved, authorized, or offered by Nike,” in the complaint.

To summarize the complaint, Nike alleges that Drip Creationz is selling fake Air Force 1s, using logos and third-party trademarks that could potentially confuse customers as to what is a real Nike collaboration, and what is just a custom creation with no connection to the Swoosh.

To understand the significance of the lawsuit, one must also understand the context surrounding it. Nike has previously also waged battles with notorious bootlegger Warren Lotas, who famously appropriated the Nike Dunk silhouette, but was legally forced to drastically alter his design to continue making money off of the shoes, as well as MSCHF and Lil Nas X for their controversial “Satan” Nike Air Max 97 that were filled with blood. The Swoosh was also recently awarded federal trademarks for the Nike Air Jordan 1 Low and High, further strengthening its grip on the designs.

Nike has been taking considerable measures to protect its trademarks and intellectual property over the past few months and the complaint against Drip Creationz is only the latest chapter in a never-ending saga. Due to its size, influence, and resources, Nike has a good track record when it comes to these kinds of legal battles.

Last year, in the suit filed against Warren Lotas over his SB Dunk replica trainers and his "the Reaper" designs, Nike and Lotas reached a settlement, which saw the bootlegger drastically alter his sneaker design. Lotas was reportedly set to lose nearly $2,100,000 in revenue after not being able to sell any of the shoes produced. Highsnobiety calculated that he would have made $10,800,000 had he been able to follow through with the orders, so it wasn’t as if Lotas was some small fish that was being hung out to dry by Nike – there was serious money involved.

Interestingly, however, Jeff Staple, whose iconic “Pigeon” Dunk colorway was appropriated by Lotas, indirectly supported the bootlegger. Speaking to Ben Kickz on Sneaker Talk, he said, “I'm always a fan of DIY bootleg culture. I just love it. That's how Staple started. To me, that's where true creativity happens.”

Staple also mentioned that he can understand the perspective from both sides, and that there is a clear difference between bootlegs, fakes, and original sneakers: "I will say that brands have always pushed the culture forward, and it's always been uncomfortable for certain parties. No one's buying a Shoe Surgeon or Warren Lotas shoe to trick their friends. It's a different thing.”

This is where frustrations lie for both consumers and customizers themselves. After the Warren Lotas lawsuit, a lot of criticism has been directed towards the sportswear giant for continuing to "crush" smaller, independent labels and creators, knowing that their lawsuits could potentially result in the destruction of said brands.

To add another layer of complexity to this issue, Nike has previously paid homage to bootleg and customization culture through its own official releases and collaborations in the past. The Dior x Nike Air Jordan 1 featured an Oblique monogram Swoosh, which has been a staple in bootleg culture, causing people to call out the hypocrisy of it all. Additionally, Virgil Abloh also featured a handful of Louis Vuitton monogram-clad Air Force 1 sneakers in his latest Spring/Summer 2022 collection — another clear homage that seems to have been given the green light by Nike.

The MSCHF x Lil Nas X lawsuit took a similar route, with Nike forcing MSCHF to buy back each of the 666 pairs of “Satan” Nike Air Max 97s that had been sold for $1,018 each. It was another demonstration of power by the Swoosh, who argued that the collaboration confused the public, many of whom thought that Nike had actually sanctioned a Satan-themed sneaker and took to social media to voice their complaints.

Lil Nas X and MSCHF responded in the best way – using humor – posting a tongue-in-cheek picture of a T-shirt with "Legal Fees" printed across, retailing at $66.60 (though the shirt was never sold). Throughout the short-lived legal battle, the rapper posted TikTok videos making fun of the situation, and went so far as to troll the brand in his latest music video prelude for "INDUSTRY BABY."

Nike’s quick legal trigger finger shows that the Swoosh is serious about protecting its intellectual property and that it won’t back down amid public criticism, backlash, and a little lighthearted trolling. The question isn’t whether Nike is in the legal right — of course, it is — but whether its legal moves are contradicted by the work it continues to push with luxury players including Louis Vuitton and Dior, and whether the lawsuits threaten to stifle the creativity the customizing culture has emphasized.

At the moment, it looks like Nike has its focus on the bigger players, who are making serious money altering and ripping off Nike-owned designs. At least for now, hobby creators can continue to paint their shoes as long as they aren't making too much money from it.

[usaclothingmanufacturers]

Top 10 Apparel Manufacturers in the USA

Introduction

The apparel industry in the USA is a vibrant, competitive sector that thrives on innovation, quality, and style. As one of the largest markets for clothing globally, the USA boasts a diverse array of apparel manufacturers known for their exceptional craftsmanship and cutting-edge designs. In this blog, we delve into the top 10 apparel manufacturers in the USA, each renowned for setting the benchmark for excellence in the industry. From longstanding heritage brands to forward-thinking innovators, these companies represent the best in American apparel manufacturing. Their commitment to quality, sustainability, and ethical practices not only shapes the fashion landscape but also influences global trends. Join us as we explore the stories behind these iconic brands and discover what makes them leaders in the world of fashion.

1. USA Apparel

USA Apparel stands as a cornerstone of the American apparel industry, boasting a rich history spanning over three decades. Renowned for its unwavering commitment to quality and craftsmanship, USA Apparel specializes in premium denim and casual wear, offering a range of products that epitomize style and comfort. What sets USA Apparel apart is its dedication to sustainable practices and ethical manufacturing, a cornerstone of its brand ethos. This commitment has not only garnered a loyal customer base but also numerous awards and accolades for its innovative designs.

Beyond its products, USA Apparel Inc. is a beacon of corporate responsibility, actively engaging in initiatives that benefit both the environment and society. From implementing eco-friendly production processes to ensuring fair labor practices, USA Apparel sets the standard for ethical business practices in the apparel industry. As a result, the brand has not only maintained its relevance in a rapidly evolving market but has also solidified its position as a leader and innovator in the world of fashion.

2. Fashion Forward LLC

Fashion Forward LLC stands as a premier manufacturer of high-end fashion apparel for both men and women, setting the standard for luxury and sophistication in the American market. With a reputation built on impeccable tailoring and meticulous attention to detail, Fashion Forward LLC offers a range of products that epitomize elegance and style.

What sets Fashion Forward LLC apart is its unwavering commitment to quality control and customer satisfaction. Each garment is crafted with precision, ensuring that every piece meets the brand's exacting standards. This dedication to excellence has earned Fashion Forward LLC rave reviews from both fashion critics and discerning customers alike.

In addition to its focus on quality, Fashion Forward LLC is also known for its innovative designs, often setting trends rather than following them. By staying ahead of the curve and anticipating the needs of its customers, Fashion Forward LLC has solidified its position as a trendsetter in the industry.

Overall, Fashion Forward LLC is not just a manufacturer of clothing; it is a purveyor of style, setting the bar high for luxury fashion in the USA and beyond.

3. Pearl Global

Pearl Global Industries Ltd. stands out as a beacon of sustainability and ethical manufacturing practices among sportswear and apparel manufacturers in USA. Specializing in eco-friendly fabrics and innovative designs, Pearl Global has established itself as a leader in sustainable activewear manufacturing.

One of Pearl Global's key strengths lies in its comprehensive approach to sustainability. From responsibly sourcing materials to minimizing waste and reducing carbon footprint, Pearl Global integrates environmental consciousness into every aspect of its operations. This commitment to sustainability extends to its manufacturing processes, where Pearl Global ensures that every garment is produced ethically and with minimal environmental impact.

In addition to its environmental initiatives, Pearl Global prioritizes fair labor practices and employee welfare. By creating a work environment that fosters inclusivity and respect, Pearl Global sets a high standard for corporate responsibility in the apparel industry.

Pearl Global's commitment to sustainability and ethical practices has not gone unnoticed. As one of the leading clothing manufacturers in USA, Pearl Global has garnered recognition for its efforts, earning a reputation as a pioneer in sustainable clothing manufacturing.

Pearl Global Industries Ltd. exemplifies the qualities of a responsible and forward-thinking apparel manufacturer. Through its dedication to sustainability and ethical practices, Pearl Global not only meets the demands of conscious consumers but also sets a new standard for the industry as a whole. As a leading denim manufacturer in USA and a trailblazer in sustainable clothing manufacturing, Pearl Global is driving positive change in the fashion landscape and shaping a more sustainable future for the apparel industry.

4. Ethical Threads Inc.

Ethical Threads Inc. is a pioneering force in ethical manufacturing practices, setting a high standard for corporate social responsibility among clothing manufacturers in the USA. With a strong focus on fair labor practices and employee welfare, Ethical Threads Inc. has earned a reputation as a beacon of ethics in the apparel industry.

What sets Ethical Threads Inc. apart is its unwavering commitment to transparency and accountability. From the sourcing of materials to the manufacturing process, Ethical Threads Inc. ensures that every step is conducted ethically and with the utmost respect for human rights.

Beyond its ethical practices, Ethical Threads Inc. also prioritizes its impact on local communities. By engaging in initiatives that benefit the communities in which it operates, Ethical Threads Inc. demonstrates a commitment to social responsibility that goes beyond its bottom line.

Overall, Ethical Threads Inc. is not just a clothing manufacturer; it is a model of ethical business practices in the USA. Through its dedication to fair labor practices, employee welfare, and community engagement, Ethical Threads Inc. is paving the way for a more ethical and sustainable future in the apparel industry.

5. Trendsetters Fashion Group

Trendsetters Fashion Group stands out as a dynamic and innovative apparel manufacturer, known for setting trends and pushing boundaries in the fashion industry. Specializing in trend-setting designs and cutting-edge technology, Trendsetters Fashion Group has become a go-to destination for fashion-forward consumers in the USA and beyond.

One of Trendsetters Fashion Group's key strengths is its customer-centric approach. By staying ahead of the curve and anticipating the needs of its customers, Trendsetters Fashion Group has earned a reputation for being a trendsetter rather than a follower. This commitment to innovation has allowed Trendsetters Fashion Group to maintain its position as a leader in the industry.

In addition to its innovative designs, Trendsetters Fashion Group is also known for its commitment to quality. Each garment is crafted with precision and attention to detail, ensuring that every piece meets the brand's exacting standards.

Furthermore, Trendsetters Fashion Group is dedicated to staying at the forefront of technology. By leveraging cutting-edge technology in its design and production processes, Trendsetters Fashion Group is able to create garments that are not only stylish but also technologically advanced.

Overall, Trendsetters Fashion Group is not just a clothing manufacturer; it is a trendsetter and innovator in the fashion industry. Through its commitment to innovation, quality, and customer satisfaction, Trendsetters Fashion Group continues to shape the future of fashion and inspire fashionistas worldwide.

6. Heritage Apparel Co.

Heritage Apparel Co. is a venerable name in the American apparel industry, boasting a rich history and legacy of craftsmanship. With a focus on timeless designs and attention to detail, Heritage Apparel Co. has established itself as a household name synonymous with quality and excellence.

What sets Heritage Apparel Co. apart is its commitment to tradition and heritage. Each garment is crafted with the same level of care and attention to detail that has been the hallmark of the brand for generations. This dedication to quality has earned Heritage Apparel Co. a loyal following and a reputation for excellence.

In addition to its commitment to quality, Heritage Apparel Co. is also known for its attention to detail. From the stitching to the fabric, every aspect of a Heritage Apparel Co. garment is carefully considered to ensure the highest quality product.

Furthermore, Heritage Apparel Co. is dedicated to preserving its heritage and legacy for future generations. By staying true to its roots and embracing its heritage, Heritage Apparel Co. continues to be a beacon of tradition and excellence in the American apparel industry.

7. Global Fashion Brands Inc.

Global Fashion Brands Inc. is a powerhouse in the apparel industry, boasting a global presence and a diverse portfolio of brands. With a focus on innovation and market expansion, Global Fashion Brands Inc. has emerged as a leader in the international fashion scene.

One of Global Fashion Brands Inc.'s key strengths is its ability to anticipate market trends and adapt quickly to changing consumer preferences. By staying ahead of the curve, Global Fashion Brands Inc. has been able to maintain its position as a trendsetter in the industry.

In addition to its focus on innovation, Global Fashion Brands Inc. is also known for its commitment to excellence. Each brand under the Global Fashion Brands Inc. umbrella is held to the highest standards of quality and craftsmanship, ensuring that customers receive only the best products.

Furthermore, Global Fashion Brands Inc. is dedicated to customer satisfaction. By prioritizing the needs and preferences of its customers, Global Fashion Brands Inc. has built a loyal following of fashion-forward consumers who trust the brand to deliver on its promises.

Overall, Global Fashion Brands Inc. is not just a clothing manufacturer; it is a global leader in the fashion industry. Through its commitment to innovation, quality, and customer satisfaction, Global Fashion Brands Inc. continues to shape the future of fashion and inspire fashionistas worldwide.

8. StyleMakers Inc.

StyleMakers Inc. is a renowned name in the fashion industry, known for its innovative marketing strategies and cutting-edge designs. With a focus on digital marketing and social media, StyleMakers Inc. has captured the attention of fashionistas worldwide, making it a force to be reckoned with in the fashion industry.

One of StyleMakers Inc.'s key strengths is its ability to anticipate trends and connect with consumers on a personal level. By leveraging social media and digital platforms, StyleMakers Inc. has been able to engage with its audience in a meaningful way, building a loyal following of fashion-forward consumers.

In addition to its innovative marketing strategies, StyleMakers Inc. is also known for its cutting-edge designs. Each garment is crafted with precision and attention to detail, ensuring that every piece reflects the brand's commitment to excellence.

Furthermore, StyleMakers Inc. is dedicated to staying ahead of the curve. By constantly innovating and pushing boundaries, StyleMakers Inc. continues to set trends and shape the fashion landscape.

Overall, StyleMakers Inc. is not just a clothing manufacturer; it is a trendsetter and innovator in the fashion industry. Through its innovative marketing strategies, cutting-edge designs, and commitment to excellence, StyleMakers Inc. continues to inspire fashionistas worldwide.

9. Conscious Couture

Conscious Couture is a brand that epitomizes style with a conscience, redefining the meaning of fashion by placing sustainability and ethical sourcing at its core. Specializing in sustainable fashion, Conscious Couture has emerged as a trailblazer in the industry, setting a new standard for eco-conscious clothing manufacturers in the USA.

What sets Conscious Couture apart is its unwavering commitment to environmental sustainability and social responsibility. From using eco-friendly fabrics to implementing ethical manufacturing practices, Conscious Couture ensures that every aspect of its operations is aligned with its values.

Beyond its sustainable practices, Conscious Couture is also known for its stylish and contemporary designs. Each garment is not only fashion-forward but also environmentally friendly, reflecting the brand's dedication to both style and sustainability.

Furthermore, Conscious Couture is dedicated to transparency and accountability. By sharing its journey towards sustainability with its customers, Conscious Couture aims to inspire others to make more conscious fashion choices.

Overall, Conscious Couture is not just a clothing manufacturer; it is a movement towards a more sustainable and ethical fashion industry. Through its innovative approach to sustainability and its stylish designs, Conscious Couture continues to lead the way towards a greener and more ethical future in fashion.

10. Future Fashion Inc.

Future Fashion Inc. is a forward-thinking apparel manufacturer with a vision for shaping the future of fashion. With a focus on innovation and technology, Future Fashion Inc. is at the forefront of revolutionizing the fashion industry.

One of Future Fashion Inc.'s key strengths is its commitment to pushing boundaries and exploring new possibilities. By embracing cutting-edge technology in its design and production processes, Future Fashion Inc. is able to create garments that are not only stylish but also technologically advanced.

In addition to its focus on innovation, Future Fashion Inc. is also dedicated to sustainability. By implementing eco-friendly practices and using sustainable materials, Future Fashion Inc. is paving the way for a more sustainable future in the fashion industry.

Furthermore, Future Fashion Inc. is committed to staying ahead of the curve. By constantly researching and anticipating future trends, Future Fashion Inc. is able to create fashion-forward garments that resonate with consumers.

Overall, Future Fashion Inc. is not just a clothing manufacturer; it is a visionary company that is shaping the future of fashion. Through its commitment to innovation, sustainability, and staying ahead of the curve, Future Fashion Inc. continues to inspire the fashion industry and push boundaries for what is possible in fashion.

Conclusion

In conclusion, the top apparel manufacturers in USA exemplify the pinnacle of excellence in the industry. From longstanding heritage brands to innovative newcomers, each company plays a vital role in shaping the fashion landscape. These manufacturers stand out not only for their quality products but also for their commitment to sustainability, ethical practices, and innovation.

As consumers, we have the power to support these brands by choosing ethically made, sustainable fashion options. By doing so, we not only contribute to a better future for the planet and its people but also support the continued growth and success of these leading apparel manufacturers in the USA. Let's continue to celebrate and support these companies as they inspire us with their creativity, craftsmanship, and dedication to excellence.

[unicornpinkfantasy]

Check out this listing I just added to my Poshmark closet: Vintage 50s 60s Toni Owen Sportswear One Shoulder Dress.

[paragonrobits]

im honestly getting miffed with how many redesigns for BNHA characters refuse to engage with the series’ aesthetic at all.

like the overabundance of kneepads and using jeans, i mean, JEANS??? they’re not trying out for the best jeanist award, that’s already wrapped up but

firstly, this is not a realistic street level ‘outfits you scavenge from pawn shops’ setting. Their outfits are made on request by exremely prestigious Stark-level industries that tailor them; this is probably horrendously expensive but the point is that they do not look like something you could cobble together. They look like... well, superhero outfits. Silver Age, generally, with that flair-ish look.

They don’t look like you pieced together sportswear to make them.

Deku’s first costume actually was made by his mom, and it wasn’t exactly cheap, from what I worked out, and it still looks like a fabric bodysuit. It still looks superhero tier, so any outfits designed to fit into the series should have that same vibe.

i guess what i’m saying here is, please respect the fact that this is a superhero setting and the outfits should actually LOOK like superhero outfit aesthetics. please? don’t keep shoving them into casual outfits and say thats a superhero costume, they’re not going to a mall to shop or hang out with a friend, they’re using iconic outfits modified to their bodies to beat up villains and stop disasters and save lives

[toldnews-blog]

New Post has been published on https://toldnews.com/lifestyle/the-chic-octogenarian-behind-barbies-best-looks/

The Chic Octogenarian Behind Barbie’s Best Looks

LOS ANGELES — Carol Spencer, 86, may be the most influential fashion designer you’ve never heard of.

In the mid-1960s, she made a red pencil skirt with a white sleeveless blouse that had red stitching and three red buttons down the front. Short white gloves came with it. Thousands sold.

In the 1970s, well aware that the counterculture’s loosening dress code and mores had made it to the mainstream, Ms. Spencer designed a red bandanna halter maxi-dress and a matching leisure shirt for men. Those designs were popular, too.

In the Nancy Reagan 1980s, Ms. Spencer aimed for high-end appeal, making a one-shouldered ball gown in blue jacquard with an organza flower at the nipped-in waist and a cape. One of Mrs. Reagan’s go-to couturiers personally approved the gown to be sold under his name: “Oscar de la Renta for Barbie.”

Ms. Spencer has made wedding dresses, saris, go-go boots and caftans. All in miniature. From 1963 to 1999, she was Barbie’s fashion designer, a career celebrated in her new book, “Dressing Barbie” (HarperDesign).

Ms. Spencer also made her own clothes, and had an easy time working with the doll’s famously unusual proportions, she said, because they weren’t so far from her own. “I have shrunk but in those days, I was tall and skinny,” she said. “I had a 16-inch waist and something on top, too, I sure did, but Barbie’s legs were better than mine.”

She was sitting in her dining room, wearing a blouse in a shade that can only be described as Barbie pink, with a Barbie brooch and a Barbie digital watch that legions of girls probably begged to get for Christmas in the 1990s.

It was a different body part that was most important for her job, Ms. Spencer said: “I have small hands.” She set down the Barbie teacup filled with lemonade she had been clasping to show her fingers. They are small and jut out at angles from the joint, a disfiguration likely caused by years of grasping little needles and bottles of glue.

In creating a wardrobe for Barbie and the entourage (Skipper, Ken, Midge, Big Jim, Baby Sister Kelly, Cara, Stacey, Christie, P.J., Steffie and Miss America), Ms. Spencer was part of a team that has inspired the work of designers including Bob Mackie, Nicole Miller, Jeremy Scott and Jason Wu, who once said he played with Barbie dolls when he was a child.

For a Moschino fashion show in Milan in 2014, Mr. Scott had a Barbie waiting on front-row chairs and sent models down the runway in blond bouffants and pink skirt suits.

Last month, to celebrate the doll’s 60th birthday, Mattel hosted a profusely pink Barbie bacchanal in New York City with Instagram-friendly Dream House backdrops, intended to draw in a new generation of fans who are too young to know that Barbie was the original influencer.

1. Ms. Spencer designed Ski Party Pink for Barbie in 1982. The sweater had Dolman sleeves and a cowl neck. In her ankle-strap high-heels, she was ready to hit the bars, not the slopes.

2. Released in 1979, this City Sophisticate outfit had a faux-fur-trimmed coat and skirt accented by a yellow soutache braid.

3. A Mattel employee accidentally ordered 2,500 yards of gold-and-white striped fabric, instead of 250 yards. Ms. Spencer’s 1965 Country Club Dance fashions made use of the excess.

4. The 1992 Totally Hair Barbie was one of Mattel’s best sellers. Ms. Spencer designed a Pucci-inspired mini.

5. Ms. Spencer wanted to create an “evening pajama” look for Barbie after Barbra Streisand wore a Scaasi version when accepting an Academy Award in 1969. Ms. Streisand’s outfit was see-through, so Ms. Spencer made Barbie special panties.

Saving the Dune Buggy

Even since her retirement, Ms. Spencer has devoted her time to Barbie. Inducted in 2017 into the Women in Toys, Licensing & Entertainment Hall of Fame, she has spent her golden years attending Barbie collectors events, doing research and amassing artifacts.

For years she has worked on “Dressing Barbie,” which is sized for a coffee table and subtitled “A Celebration of the Clothes That Made America’s Favorite Fashion Doll, and the Incredible Woman Behind Them.” Laurie Brookins, a writer and stylist, helped Ms. Spencer with the project.

The book combines styled vintage fashion photography with memoir. Born in 1932 and raised in Minneapolis, Ms. Spencer rejected the wife-and-mother path that prevailed in the American midcentury and instead made a career for herself. “I truly fell in love with Barbie the first moment I created her clothes and accessories,” she writes in the book.

Barbie has been a go-to emblem of all that has ill-served girls and young women in American culture. Living in a world that is almost exclusively white, the doll has breasts that are disproportionately large compared with her hips, and her feet are contorted into a permanent “floint” (short for flexing your toes back as you point the rest of your foot).

Her hair seems to be bleached blond, never with dark (or gray) roots. At times she dressed the part of a doctor or politician but has seemed unable to hold down a job. And there’s the place in Malibu. Does it come from a trust fund or Ken?

But Ms. Spencer would like to counterpunch the Barbie bashing. She points out the doll’s humble origins, with her proportions modeled after paper dolls cut from newspapers. She also defends Barbie as a healthy alternative to video games; an engine of imagination for girls and boys, who can project onto a Barbie doll whoever they may wish to become.

“It’s wholesome play,” she said, as she pulled from a case one of the many hundreds of dolls in her home. This one was wearing a yellow chiffon-like pleated tunic with see-through pajama pants, inspired by the Arnold Scaasi transparent ensemble Barbra Streisand wore to the 1969 Oscars when she won a best actress award for “Funny Girl.”

Ms. Spencer’s house is filled with books like “Barbie: Her Life and Times” and “Dream Doll: the Ruth Handler Story,” about Ms. Handler, who, with her husband, Elliot, and Harold Matson, founded Mattel in 1945. The Barbie fashion doll was released in 1959.

Over a cluttered desk are posters of Barbie, like one showing the same image of the original 1959 doll, displayed against four different bright backgrounds, à la Warhol. (It was made to celebrate Mattel’s 35th Anniversary Barbie Festival, in 1994.)

Ms. Spencer is a scavenger for treasures in a toss-everything world. One day at the Mattel offices, then located in Hawthorne, Calif., she noticed someone was about to throw away an important piece of Barbie memorabilia.

“It was the prototype for Barbie’s dune buggy,” she said. “They were tossing it, and I said, ‘Would you toss it my way?’”

She learned thrift as a child. “During World War II, things were scarce and I remember the family would get the Sunday paper,” Ms Spencer said. “When they’d get through with it, they’d hand me the comic pages so that I could cut out the paper dolls.”

She began to create paper fashion for these paper dolls. Soon she was making her own clothes. But being a fashion designer didn’t seem like a realistic goal in those days, she recalled. “You could be a teacher, nurse, secretary or clerk,” she said. “But wife and mother were the big ones.”

She was engaged to a medical student but when she realized she was expected to work to help pay for education before quitting to be a “doctor’s wife,” she broke the engagement. Then she enrolled at the Minneapolis College of Art and Design, where she got a bachelor of fine arts with a focus on fashion design.

In May 1955, as she was about to graduate, she received a telegram from New York letting her know that her application for a “guest editor” slot at Mademoiselle magazine had been approved. Instead of sticking around for her commencement ceremony, Ms. Spencer took her first plane trip and moved in to the Barbizon Hotel for Women, for a month.

During her time in New York, she attended a reception at the home of the cosmetics entrepreneur Helena Rubinstein, visited the recently opened United Nations, danced with West Point cadets at the St. Regis hotel and interviewed the designer Pauline Trigère in her studio.

Ms. Spencer was in the same class of Mademoiselle guest editors as Joan Didion. “It was about as far from Minneapolis as you could get,” she writes.

She returned to her hometown to work, designing children’s wear for Wonderalls Company and then moved to Milwaukee to become a “misses” sportswear designer.

In late 1962, Ms. Spencer spotted an advertisement in Women’s Wear Daily. “A national manufacturer who leads its industry with annual sales in excess of $50 million seeks a cost-conscious fashion designer-stylist for its suburban Los Angeles facility.”

She sent a résumé and heard nothing back. Still, sensing this mysterious job was her destiny, she and her aunt packed up their 1959 Ford Fairlane and drove across the country to California.

In April 1963, she saw an ad in the California Apparel News for the same job, and this time her application got a response. It was from Mattel, the toymaker already known for the postwar bombshell: Barbie.

Ms. Spencer went to the company headquarters for an interview and was asked to make a suite of outfits for this creature. She made a halter-top-and-boy-short bikini, a one-piece in the same shade of orange-pink. There was a cover-up and a wrap skirt. She got the job.

Pink Pills Nixed

At that time, Mattel made about 125 different outfits a year for Barbie, and the fashion department, run by Charlotte Johnson, could be cutthroat.

“Charlotte had a theory,” Ms. Spencer said. “If you have four designers, you put them in four corners. And it was always competitive and you were pitching your product. Sometimes the competition was kind of dirty.”

How so? She wouldn’t say. “I’m out of it, I’m retired, I’m enjoying life, I’ll put it that way,” she said, and she took a sip of lemonade from her Barbie teacup.

Some of her early successes, all of which she has cataloged, included Country Club Dance (a white and gold striped gown), From Nine to Five (a midcalf blue dress with an embroidered vest and hair scarf) and Debutante Ball (an aqua satin gown with a fur stole).

Ms. Spencer took her cue from the culture around her. As the Jane Fonda aerobics craze of the 1980s took off, Barbie got a purple leotard and leg warmers. When NASA’s space shuttle exploration was in full tilt, Barbie became an astronaut (albeit one in thigh-high boots and silver capes).

And there was inspiration from her own life as well. When she needed a biopsy on her breast, Ms. Spencer was transfixed by the white coats doctors wore. The biopsy was negative, but the fashion was positive. Guess who became, however briefly, a surgeon?

There were missteps too, like when she gave Dr. Barbie a case of pink pills without knowing that at that time pink pills were known to be methamphetamines. “Let me tell you, that caused quite a stir,” she said. (Her faux pas was caught before Meth-Head Barbie made its way to children’s dollhouses.)

There are hundreds and hundreds of designs that are Carol Spencer originals, with only a small portion bearing her name. Until the mid-1990s, Mattel didn’t put designer names on Barbie’s packaging.

But Ms. Spencer remembers each of her creations, and many of them are in her home, which her sister, Margaret, 88, will be moving into soon. But even though Ms. Spencer gets out less these days, and relies on a walker to take more than a few steps, she said she feels surrounded by good company.

“You’re never alone when you have dinner at my house,” she said. “Barbie is always with you.”

[the-fashiongeek-blog1]

S/S ’19 in Review; Presentations and Lookbooks

    Back when I first made this blog, I made a promise to myself to review all the collections that made me Feel Things. Of course, that was before the season, and before my list of collections grew to over five dozen. Similarly, it was before NaNoWriMo, where I lost four weeks progress on this blog. After doing a little math, I realized there was no way I would be able to finish all the reviews before couture week kicked off. Considering I want to review all the major couture collections (plus the miscellaneous posts on other topics I wanted to throw in), as well as my current pace, there was no way that was happening.     So here we are; I’m going to attempt to knock out every S/S ’19 collection shown as a presentation or lookbook in this one post. As a separate challenge for myself, I’m also going to try to limit each review to under two-hundred words. It’s an exercise in brevity, the archnemesis in all my writing ventures. Can I do it? Let’s find out!

—PAULE KA     Of the sixty-some-odd collections that made my favorites list this season, Paule Ka ranked last. Not necessarily a bad thing, considering it actually made the list, but not a ringing endorsement. To put it plainly, while I liked some looks, I was indifferent about most. There were a few, such as the ones with the large heart appliqués, that I actively disliked. The bows that are a signature of the brand occasionally tended towards comically large, or even very young, but I’m generally not a fan of large bows anyway. Many of the dresses felt like things I’d seen before…in the Macy’s prom section. But perhaps that is a testament to the influence of brand, which just celebrated its thirtieth anniversary. The looks I did like were the ones that included sheer panels. For example, the grey-and-white dress in the first page of the lookbook, which was an interesting take on the half-cape (even if it did include a big shoulder bow). While the placement of the placement of the sheer panel in looks 16 and 17 might not be practical for a night out, I enjoyed them as well. Paule Ka isn't the most expensive brand on this list, but the clothes fit the pricetag.

—ALEXIS MABILLE     Alexis Mabille's namesake brand inhabits a strange place in my mind. His couture collections veer into saccharine for me; all cloying sweetness with no depth, no edge to balance it out. However, his ready-to-wear collections are more restricted, and that's probably for the best. Not to mention the possibility that individual pieces can be incorporated into less cutesy outfits. This time, it wasn't hard to imagine. The lookbook model wore a reflective shield over her face, adding a delightfully surreal element to the collection. It was still undeniably an Alexis Mabille collection, however. Season after season, Mabille finds new and creative ways to sew a collared button-up or trench coat. The craftsmanship in tailoring deserves special mention, particularly on the pieces where patterns were matched across seams. Looks 1 and 6 used this method to create a beautiful chevron. Unfortunately, the collection suffered from familiar drawbacks in Mabille's work. Some of the satin silk pieces felt...off in a way I can't accurately describe. Look 24 throws a lot at you in terms of pieces and color. However, I would consider wearing each of the pieces individually.

—ELLERY     Of the designers on this list, Kym Ellery's concept was probably the most, well, conceptual. Literally; it was inspired by Paul Kos' conceptual piece "Sound of Ice Melting". Like the artwork that inspired it, this collection was meant to be perceived through multiple means. The campaign, film, and presentation were all meant to be part of the collection itself, not just a way to advertise the pieces within it. So what does this mean for the clothes themselves? On one hand, aside from the occasional shared design element, there aren't too many obvious themes. The looks covered many occasions and styles - from casual sportswear to sparkling crop tops that would be perfect for a night out. However, all the pieces look like they could belong in the closet of the same woman. While the garments were more individually-focused than others on this list, they are also some of the most wearable. My only major complaint is for the lookbook itself. Some of the poses, as well as the bright lighting on lighter fabrics, made it difficult to see the clothes. And, trust me, I wanted to see the clothes.

—NABIL NAYAL     Nabil Nayal has been designing for over a decade now. He's won all kinds of awards, dressed everyone from Florence Welch to Rhianna, and collaborated with both Christopher Bailey at Burberry and Karl Lagerfeld at Chanel. Yet this is the first year I've heard of him, and that's a shame. All his artist statements and biographies mention his love of English history - particularly the Elizabethan era. He even earned his Ph.D. in the university where this collection was presented. That inspiration was quite literal in this collection. Prints included both original transcripts of famous Queen Elizabeth I speeches to depictions of the queen herself. In other places it was less obvious, such as the front ruffles or frilly collars on everything from shirts to trench coats. Previous collections by Nayal have been more sportswear-focused, but this collection was breezier. At times a little shapeless, the intricate prints and tailoring still made the garments beautiful. The makeup, which mimicked the script print of some pieces, also deserves a mention.

—VERA WANG     From Elizabethan England to pre-revolutionary France. Where Nayal used his source of inspiration quite literally, taking the designs in a modern direction, Vera Wang went futuristic and avant-garde. Her designs are all about shape and volume, and there was a lot to play with in her chosen time period. This mix of past and future was clear from the first look, which included a style of cap sleeves (called "engageantes") popular among King Louis XIV's court, but rendered in black lace on a babydoll dress. Other times, the classic silhouette was used, but recreated with hard lines and sharp edges. Neck ruffles and puffed sleeves abounded, but the little details were also beautiful. There were several versions of seams made up of grommets, which added a hard edge to the romantic, lacy garments. Some of the pieces in the collection might not be the most wearable, but that hardly matters. They're art.

—WENDY NICHOL     Is it possible to exude downtown grunge and uptown glamor at the same time? Wendy Nichol may have just cracked the code. In this collection, she combined clean lines with sheer fabrics to brilliant effect. All the looks in the campaign were styled by the models who wore them, showcasing not only their personalities, but the versatility of the garments. (One of these models happens to be Ilana Glazer, probably most known for her staring role in "Broad City", and a favorite actress of mine.) Some were dressed more casually, in shirt/pants/jacket combos that would be perfect for grabbing lunch with friends at a café. Others wore mini-dresses that looked ready for a night out clubbing. There were also creative takes on this season's staples, like bike shorts and belted blazers. My favorite (look 2), a gauzy black dress, was particularly beautiful; like something a member of the Unseelie Court might wear. Or, you know, me on a Friday night.

[dippedanddripped]

One cannot look back on 2001 R&B/hip-hop without paying homage to the fits, the fits, the fits! Designer monogrammed wigs, bedazzled denim from head to toe, the occasional inexplicable trend (Nelly, looking at you), and, of course, Destiny's Child never leaving the house without three glamorous variations of the same fabric.

"[Hip-hop fashion] was creative and custom," says Derek Lee, former stylist to R&B icon, Aaliyah. "It wasn't driven totally by designers, you could still show up with some street stuff and it'd be acceptable." Lee, who styled the beloved singer from 1996 to 2001, pioneered the "sensual tomboy" aesthetic, central to today's fashion landscape, and evident in the wardrobes of R&B stars like Ciara, Teyana Taylor and Rihanna.

Lee recalled his own customizing experiences, adding glitz to streetwear pieces for the late singer. "We were flying to Paris and I'd be bedazzling Enyce sweatsuits for Aaliyah," he explains. Lee paid homage to fellow stylist June Ambrose for her work with Missy Elliott in further establishing the craze surrounding bedazzled pieces.

Ambrose, who styled over 200 music videos, was Missy's right-hand woman, costume designing for every major Missy Elliott production including "Get Ur Freak On," "The Rain (Supa Dupa Fly)," "One Minute Man," and "Lose Control." She was a go-to designer for R&B/hip-hop heavyweights including Diddy, Jay-Z, Mary J. Blige and Mariah Carey, and currently works as a creative director for Puma.

"We didn't have a point of reference that came before us," explains Ambrose. "We took the risk for the future." The "Rain" designer discussed the role of late '90s to early '00s designers as trailblazers, bursting through barriers between high-end labels and R&B/hip-hop culture. "I bridged high fashion with urban music," says Ambrose, "What felt so rebellious was taking a high fashion piece, and still keeping the same demeanor and swag that you wore in your neighborhood."

Dionne Alexander, the hairstylist behind Lil Kim's monogrammed wigs and Mary J. Blige's '90s updo's, agrees. "Look how free we are here," Alexander says. "It was very exciting, we were able to be extremely creative and we had to pull it from within. We didn't have Instagram, we had to go out and get magazines.

Tre Major, hairstylist to legendary celebrities including Aaliyah, Mary J. Blige, Patti LaBelle and Naomi Campbell, says the early '00s was "the best" era for fashion and hip-hop. "I was like an architect on the outside," Major explained. "Building the visuals, landscaping and making it gorgeous." Major was responsible for ushering in the lace-front wig into the world of R&B/hip-hop. "[The other stylists] were just geek because they never seen anything like it," says Major. "Now you can find a lace front wig on every corner, every boutique, every website."

On the 20th anniversary of this iconic, enduring year in fashion, Billboard caught up with the architects of the era, June Ambrose, Derek Lee, Tre Major and Dionne Alexander, to discuss some of the most memorable looks in '01 R&B/hip-hop and how these moments shaped the culture for decades to come.

Missy Elliott's Rhinestones, "Get Ur Freak On" Courtesy Photo Missy Elliott "Get Ur Freak On"

Missy Elliott's "Get Ur Freak On" bedazzled denim

In '01, rhinestones were all the craze, and we have June Ambrose to thank. "It was all about making Missy a rock star," says Ambrose. "I got her hooked on rhinestones -- and once that happened, forget about it." The 200-time music video stylist says the glittering look from Missy's Dave Meyers directed video was meant to create a dichotomy between Elvis-like glamour and sportswear. "The jean jacket silhouette was very comfortable and relatable to her, but taking a Bootsy Collins over the top approach is what made it really tangible and special."

Aaliyah's Catsuit, "More Than A Woman" Courtesy Photo Aaliyah "More Than A Woman"

Aaliyah's "More Than A Woman" Chanel catsuit

Aaliyah's Dapper Dan-designed faux Chanel catsuit from the "More Than a Woman" video is one of the late singer's most iconic moments. "I knew that it was going to be a feature, that it would be striking, if it was different from anything she has done before," says Lee. The decision to choose Chanel was a step away from edgier brands like Dolce & Gabbana and Roberto Cavalli, which the sweet singer was typically dressed in. But why not have Chanel design the piece themselves? "[The major brands] didn't want to be associated with rap music and this street culture," explains Lee, "That's why we had to create our own stuff or have it knocked off by [Dapper] Dan." When Aaliyah saw the design, Lee says she was feeling it. "I had decided to move Aaliyah into almost a cartoon character," he tells Billboard. "I was going down to Little Tokyo and getting all these anime books and had this entire idea."

Lil Kim Steve Wood/Shutterstock Lil Kim photographed at the Versace Haute couture show, Spring /Summer 2001 in Paris, France.

Lil Kim's monogrammed wigs

Monogrammed tresses have popped up on the heads of the rap's most iconic first ladies, including Nicki Minaj and Cardi B -- but similar to countless other signature hip-hop trends, it started with Lil Kim as the blueprint, and hairstylist Dionne Alexander the architect. "The inspiration totally comes from [Lil Kim] and who she is," says Alexander, the mastermind behind Lil Kim's Versace wig and equally iconic blue Chanel wig. "It was such a flow of creative energy, like a power that was coming through."

Alexander recalls coloring the Chanel wig Lil Kim wore for Manhattan File Magazine late into the night, until 5:00 in the morning. "I went to the art store and got trace paper and created the logo, then I cut it out." And her secret? Black magic marker. "With the Versace wig," Alexander says, "She called me and left this message on my machine that I literally kept for years. She went nuts, and it was the same with the Chanel."

Alexander says the present-day response to both wigs is surprising. "It's more of a buzz now than it was then. I'm so shocked at how many people call me about it now."

Outkast "So Fresh, So Clean" Courtesy Photo Outkast "So Fresh, So Clean"

Outkast's 'So Fresh' and 'So Clean' looks

The evolution of men's fashion in hip-hop is inextricably linked to the genius duo best known as Outkast. The pair defied longstanding tropes of how rappers were expected to present themselves and sent the media into frequent frenzies, with their delightfully shocking red carpet looks. In the "So Fresh, So Clean" music video, the eccentric Georgian duo rock a myriad of hairstyles, from a sleek, flipped perm, to a combed out, asymmetrical afro.

"That's some Southernplayalistic s--t right there," says Lee, in reference to the pair's '01 look. Alexander says Andre 3000 and Big Boi "revolutionized male confidence" through their unapologetic expression of creativity. Of Andre 3000, Major says, "He took a real gamble and went for it, just being his true artistic self and everyone loved it."

Macy Gray Frank Micelotta/ImageDirect Macy Gray arriving at the 2001 MTV Video Music Awards at the Metropolitan Opera House at Lincoln Center in New York City on Sept. 6, 2001.

Macy Gray's Vocal Dress at the MTV Video Music Awards

It was the dress seen (and read) around the world. Macy Gray, a performer known for her unconventional style and music, decided to transform her award show dress into a walking billboard. "That was totally Macy's idea, I just had to execute it," says Ambrose, the designer of Macy's immortal dress. "Working with Macy Gray was so much fun because she was an anomaly," Ambrose remembers. "In that moment, it was important that she sold albums, and she had she wanted to capitalize on the moment. It's like, where's the return on the investment? I'm getting hair and makeup and spending money on wardrobe. Is it gonna help me sell records? We wanted to just make sure that it did."

Destiny's Child "Survivor" Courtesy Photo Destiny's Child "Survivor"

Destiny's Child's coordinated camo

There are few things more memorable about the late '90s and early '00s than DC3's coordinated looks. Whether it was award shows, music videos or MTV appearances, you caught the trio out and about without perfect coordination. "Tina Knowles strikes again," says Ambrose, of Beyonce's mother and the group's resident designer. "Utilitarian was such a celebration of being tough and dominant," Ambrose explained. "It showed females in military can be sexy, that it's not just a man's game." Major drew comparisons to another always coordinated, ever-influential girl group. "Every time I looked at them, I saw the modern day Supremes," he said. "Everyone wanted to follow the camouflage trend."

Nelly Charles Sykes/Shutterstock Nelly photographed on Sept. 7, 2001.

Nelly's inexplicable face band-aid and double headbands

There are countless rumors circulating the World Wide Web about the explanation behind Nelly's little white Band-Aid and criss-crossed headbands. But regardless of the backstory, Nelly's creative face accessory was all people could talk about. "He created his own thing, like a left-eye kind of moment," says Major, who remembered considering rocking a Band-Aid himself. Ambrose says the bandage symbolized a "thug badge of honor," as iconic to Nelly as eye black is to football players.

Alicia Keys Anthony Barboza/Getty Images Alicia Keys photographed in New York in 2001.

Alicia Keys' beads and cornrows

Before Alicia Keys arrived on the scene, cornrows and beads were seldom seen in mainstream music. Ambrose, who styled Alicia in the early years of her career says the pianist extraordinaire's team always kept her identity in mind. "We wanted to always keep a sense of that New York girl and celebrate all the things that that spoke to her Blackness," says Ambrose. Not only was Alicia's hair aesthetically striking, it also played a roll in representation of Black women's natural tresses. "Universally, it told other young Black girls and it's okay to wear your braids and your beads," explained Ambrose. "That this isn't a Bo Derek moment, this is an African moment."

Mary J. Blige "Family Affair" Courtesy Photo Mary J. Blige "Family Affair"

Mary J. Blige's avant-garde "Family Affair" wigs

It's hard to say what part of the "Family Affair" experience was most unforgettable. Was it the futuristic outfits? Iconic choreographed moves? The fact that Mary basically invented three new words? In the world of fashion, it was most definitely the wigs. Tre Major, Mary's long-time hairstylist, says the chart-topping singer was ever-evolving, setting trend after trend along the way.

"I gave her edge and femininity," says Major. "I named that wig the Marvin Martian," Major says of Mary's salt and pepper avant-garde wig, a nod to the Looney Tunes character. Major says he custom made the wig on the R&B diva, since her head was "so small" compared to the mannequins. "She was the best muse because she was so daring," he explains. "She trusted me."