#fashion writing

[introspect-la]

STEVE O SMITH FW24

10 Designers I Discovered Last Month

[b34utyt1me]

I know we've all heard of 'personal colour' and 'Kibbe Body type' floating around, and have attempted to type ourselves at some point because we love labels - but it's recently dawned on me that these colours that 'suit' you might not necessarily suit you at ALL.

Just to preface, I've seen videos of people flying to South Korea to get their personal colour analysis, other people on reddit buying drapes and asking other people to type them - it all seems pretty fun and cool.

With all trends though, like MBTI it's hard not to put yourself into a box - and with this personal colour stuff it's making it EVEN harder to find your own personal style. I almost threw out half my clothes when I realised that your STYLE is truly your own and you don't need to confirm to a line of 'best fit'.

To know what I mean, you'll need to define what a personal style is. A personal style is a style that you feel like reflects YOU. It doesn't have to be a style that you necessarily feel comfortable wearing right NOW, but it's a style that you want to wear and have always wanted to wear. Whether you think the style reflects your personality or not, it does reflect your inner thoughts.

Just as an example, a person wearing office wear daily could just be wearing this because they maybe haven't really set foot in the fashion world yet and aren't sure what else to wear - as opposed to a person who might wear the same thing, but exude confidence because they've CHOSEN what they want to wear. The phrase 'They don't let the clothes wear THEM' is super fitting.

Back to personal colour, let's choose me as an example! I've typed myself to be a dark winter, and back when I was really obsessed, I used to type ALL my friends as the resident expert.

After a while and looking at various skin tones paired with different colours, I've realised all the colours that I personally think suit someone else are a bit different from what the majority thinks.

So if you pick colours that 'suit' you, how's that bad?

The issue here is that a lot of styles are relegated to certain colourings, so Lolita Fashion consists of pastels and then you have Dopamine fashion which is ONLY bright colours. Then you have earthy tones in gorpcore which might technically only suit a range of people, and you have black and white techwear outfits that SHOULD suit you more if you're a 'dark winter'.

You might be like ýeah, but the only people who wear these styles don't care about personal colour at all and just wear what they want' - which is PROBABLY correct, BUT I'm sure that this is limiting some people who wanna wear these styles and think that it might not suit their skin tone.

What I DO think is MORE important than skin tone though, is the colour of your makeup/hair - which thankfully is something you CAN change and something you can always change depending on how you feel!

An example is me (again LOL) - that would've typed myself with black hair as Dark winter. Now that my hair's dyed a orangeish-red, I suit more autumnal colours despite my skin tone being cooler toned - and I actually match orange toned lipsticks when I NEVER would've picked them out of my drawer.

I've also seen numerous people thinking that something isn't their colour because their makeup clashes, or because their hair isn't the right shade despite their actual skin tone which is actually misleading because you can rock a WHOLE variety of styles with whatever tones you want!

Basically if you're reading this, the whole point of this piece I've just written is to ask you to step back! You don't have to re-evaluate your whole wardrobe and throw out the colours you think might wash you out a bit. It might be a good excuse to clear your wardrobe, but you could be using these pieces for so much more! Just try a different makeup style and see what happens.

Certain looks TURN because the whole vibe matches, not just because they're the right colours - and if you LOVE LOVE LOVE that one piece that doesn't match your skin tone, match your makeup to it! It'll work, trust me.

[openingadoor]

Piece of an Article from Joanna Walsh's Theory of Style column at Spike Art Magazine. This is from On Texture: “The coat has no price but it has a description. It’s a “Coat in cream glossy viscose twill with all-over hand-combed embroidery. The coat has elongated bell sleeves. Close-fitting at the top of half of the body, full from the waist down. Textured surface.” In queer theorist Eve Kosofsky Sedgwick’s 1997 critical anthology Novel Gazing, Renu Bora proposed “texxture” as an interface for interchange, a space in which one object can affect another – in which people become things and objects touch back. These “surfaces” aren’t experienced by the senses but via writing, an invitation to feel (both physically and emotionally) via what I’d call “text objects” – adjective and adverb-laden passages that suggest a person or an object’s capacity to carry affect. This process creates an interface between the reader and writer for feelings that have often been kept in the literal closet. Bora claims these sensual descriptions as profoundly queer.”

How wonderful it is that we can wear our own/ persons words and apply our meaning/carry someone else’s. a shirt can be a Text Box. wow

[silviascorcella]

Caterina Gatta p/e 2020: nell’archivio c’è la fonte della bellezza futura

“Di una cosa ero sicura, non volevo fare la fashion designer”: suona curiosamente paradossale pronunciato da Caterina Gatta, che con la sua moda di giovane e talentuosa stilista, è sempre felicemente riconoscibile perché non  è mai stata imitatrice né debitrice di estetiche standardizzate e massificate, vero? Difatti, l’unicità è una dote che accade raramente: ovvero, quando le creazioni sono una combinazione non solo di grande passione e bravura sartoriale, ma anche di una dedizione profonda per la ricerca agganciata ad un senso del tutto personale della bellezza, e di un istinto rispettoso che va oltre il mero fascino dell’estetica, per andare a conquistare e condividere il valore prezioso della cultura che tramite l’estetica si esprime.

Ecco, Caterina Gatta nel mondo del suo brand, che con lei condivide anche il nome e cognome come fosse uno specchio che ne riflette tutto il ventaglio di bellezza, esercita proprio questa combinazione pregiata. L’ha fatto sin dall’inizio del suo percorso di giovane promessa del fashion italiano, e lo riconferma tutt’ora nella collezione s/s 2020, che del suo percorso è anche una  rinfrescante sublimazione.

A ben vedere, forse il segreto di Caterina Gatta e della sua moda potrebbe essere raccolto proprio nell’essenza di  quell’affermazione: che, badate bene, non ha nulla di perentorio né altezzoso, tutt’altro! Anzi, è per l’appunto l’incipit spontaneo del suo itinerario poliedrico e generosamente curioso nella moda: che al fashion design approda come fosse il contenitore professionale perfetto dove raccogliere e esprimere le illuminazioni scoperte durante il percorso. Che inizia  con lo studio in Scienze della moda e del costume, mescolato ad esperienze lavorative assai eterogenee, cioè l’esperienza in un negozio vintage, lo studio dei diamanti presso un azienda import export, lo stage in America come associate new business per un agenzia di PR, l’assistente di una giornalista durante le fashion week di Milano e Parigi. Esperienze diversissime, ma che già custodivano il fil-rouge che da lei, e del suo brand, è tanto amato: l’amore scoccato per i tessuti vintage appartenuti alle grandi griffe che del made in Italy son state pietre miliari per eccellenza di qualità manifatturiera e per meraviglia di creazione estetica. 

Una scintilla scoccata con l’incontro casuale di un tessuto vintage firmato Irene Galitzine, da cui Caterina Gatta aveva avviato una collezione personale: oltre un centinaio di stoffe splendide, provenienti principalmente dai favolosi anni Ottanta e Novanta appartenute, tra gli altri, a Gianni Versace, Mila Schön, Valentino, Ungaro, Yves Saint Laurent , Givenchy, Fausto Sarli, Lancetti e molti altri. Una collezione presto divenuta ispirazione per il suo progetto di moda.

È il 2011 quando il progetto di Caterina Gatta riceve la benedizione di Franca Sozzani e Sara Maino per la partecipazione al ‘Vogue Talents corner’: aveva ragione Caterina, a voler creare abiti dall’appeal contemporaneo a partire da quelle stoffe testimoni di una bellezza unica e irripetibile, profondamente italiana e straordinariamente creativa.

Da quel momento il brand è cresciuto e maturato, naturalmente: si è anche ampliato a collezioni dove i tessuti sono ideati e progettati da lei, con un’evoluzione naturale della ricercatezza divertita dei motivi stampati a dar forma a silhouette squisitamente attuali.

Ora, per la p/e 2020, Caterina Gatta torna alle origini con consapevolezza entusiasta: torna al suo archivio prezioso di tessuti vintage, materia prima il cui valore è anche nel gesto, a suo modo ribelle e salvifico, di riportarli nel nostro presente e plasmarli in creazioni sartoriali perfettamente contemporanee, perfettamente coerenti con il gusto di Caterina Gatta, fatto principalmente di appiombi netti e linee asciutte come base solida su cui costruire volant plastici, gonne a corolla che sbocciano con brio pop, tagli fendenti che aprono geometrie affacciate sulla pelle, silhouette anch’esse felicemente caratteristiche del brand come la tuta pantalone con i volant appoggiati sulla vita e gli abiti imbottiti con la tundra di seta e organza tripla, dove per fare un mini abito servono più di dodici metri di seta pura.

Restano intatti i giochi di accostamenti e sovrapposizioni di colori vividi e stampe che sembrano sottratte a opere d’arte: resta intatta la creatività libera, assieme alla passione per l’arte in connubio con la moda. 

Forse Caterina Gatta ha ragione: se avesse voluto fare la fashion designer, non avrebbe tracciato un viaggio così personale e intenso! 

Silvia Scorcella

{ pubblicato su Webelieveinstyle }

[myjaydeefashionglam]

Fashion Illustrator: Claire Idera

Claire Idera is a Nigerian multidisciplinary artist, based in Lagos. The sole Founder of ciworkshop. She was born on the 28th of January 1994, in Lagos Nigeria. She is a self taught visual artist with a Bachelor of Science degree in Architecture and a Masters degree in Fashion Design from Kingston University London. While her creative background forms her artistic processes, She creates delicate…

[caremorebook]

Why Write a Book?

1. Develop skills: Writing, editing, planning, time management, self discipline.

2. Self Discovery: writing can introduce a new side of yourself you never knew.

3. Valuable information or expertise to share.

4. Motivate, inspire, and influence others.

5. Spark dialogue.

6. New source of income.

[missfortune-xyz]

why i can't wear ballet flats.

If you had told my 15-year-old self that ballet flats would return in the early 2020s, I don’t think I would have believed you. I adored the Valentino Tango pumps and had tried styling ballet flats with my school uniform on multiple occasions throughout my secondary school career (ah, the 2010s), unfortunately to no avail. In my mind, the ballet flat was too ill-fitting for me , and was an item that only my mum (or maybe Alexa Chung) could wear and actually look good in.

Skip to 2022, and as a shock twist (although is it really a shock?) the ballet flat is back. Or should I say the ballet pump? The 2022 revival of this classic item expands to formats outside of the flat slip-on that we’re all familiar with – heels, tabis, flatforms, and even sporty styles have hit the market and have skyrocketed the shoe back to its former status.

A very valid argument could be made that the ballet flat never really went out of style, that the ballet flat is simply a classic item that’s wearable regardless of the current it-style. I’m inclined to agree, but we can all see that the trend cycle was not particularly kind to this shoe over the past 5 years.

So why is the ballet shoe back? To no one’s surprise, TikTok currently dominates the trend cycle. Catalysed by the F/W 2022 Miu Miu collection, as well as other brands such as Simone Rocha and Molly Goddard, an updated version of hyperfeminine clothing aesthetics are at the forefront of the modern trend cycle.

I can’t say that I don’t love this trend. Personally, I’m a big fan of rounded toe shoes as opposed to the square and pointy styles that have been popular in recent years. Moreover, I believe that this reincarnation of the ballet shoe brings variations to the shoe that, at least in my mind, were sorely needed. As I mentioned briefly earlier in this post, I grew up seeing my mum reach for a classic ballet shoe (mostly in a patent black, or a funky leopard print) for easy casualwear, and whilst I also tried wearing this style myself, it never really stuck.

The return of the ballet shoe begged me to think – why did this not work for me?

The classic ballet flats, in my opinion, hold two major issues:

The silhouette that the ballet flat creates, whilst simple, can often feel unbalanced.

They’re deeply uncomfortable to wear for long periods of time.

I am a flatform shoe enjoyer, and so the minimal silhouette of the ballet shoe brings an unsettling lack of balance when used in tandem with the rest of my clothing. For some, the original silhouette works harmoniously with the rest of their look – think the ‘French Girl’ style, for example. For those of us with a clumsier disposition, or need more support in a shoe, the ballet flat may also seem impractical to wear on a daily basis. Thus, a classic ballet shoe just does not fit with the rest of my wardrobe or my lifestyle, and there is no purpose in investing in a trend that simply does not suit.

I don't think these feeling is uncommon. The resurfacing of the ballet shoe has not been without its scepticism.

Having said all of this, I still, like many others, enjoy the aesthetics and vibe of the ballet shoe, and this design revival brings the perfect opportunity to finish what my younger self started. As much as the styles put out by Miu Miu and Simone Rocha are something out of a dream, I’m a university student and at ~£600+ there’s simply no room in my life for that price point right now unless anyone wants to sponsor me ;) . I’ve tried similar silhouettes through the ‘A Warrior’s Heart’ style by KOI footwear, but found that the material simply did not withstand my constant lack of physical coordination and scuffed far too quickly.

Even amongst the heeled variety, Nodaleto and Carel’s mary janes still sit outside of my price bracket. It felt as if this revival, despite all its improvements and positives, still remained inaccessible to me. The lower price point provided styles that would not work aesthetically or practically in the long-term, and the higher price point would not work financially. Even second-hand sales proved too expensive. For a while, it felt as if I would have to sit this one out, despite evaluating that the right shoe would be able to remain in my closet rotation beyond its trend time.

Now, I want to make it clear that I will not be providing a list of potential buys. It’s important to me that I’m avoiding the endorsement of unnecessary purchase, and so instead of showing my ‘buy list’, I’ll be walking you through the process I undertook to complete my mission. As a 19-year-old in the process of transitioning from the wardrobe of my 'teenage self' to my 'young adult self', it’s important to me that I buy items that will fit in my wardrobe long term as opposed to trend items. For this very same reason, I’ll be avoiding fast fashion shops when selecting a shoe, as my aim is to find something more timeless that will last longer (plus, it’s better for the environment). I don’t buy shoes very often, so I’m more focused on investing in pieces that will last longer as much as I am able to afford to do so.

As the overcomplicater I am, I decided to formulate a 3 stage plan to find the perfect addition to my shoe collection.

the plan:

Step 1 – Trial

I’ve mentioned my mum prior in this article and how growing up I saw her wear ballet flats often. My first port of call was to message her and see if she has a pair she no longer uses. I wanted to affirm that the traditional version of the style was not right for me, and as opposed to buying it, it would be much better to borrow and try it out first.

I was in luck. (it’s a good thing we’re the same size)

Step 2 – Analysis

At the end of my trial, I decided to take a step back and analyse what aspects of the shoe worked, and what didn’t. I compared the flats I borrowed, to any shoes I previously owned that share similar characteristics, as well as my ideal styles to identify what I liked and what I didn’t. From there, I could formulate exactly what I’m looking for.

Step 3 – The Hunt.

Now, in all honesty, this step is what I want to focus on the least. I could give a list of my ‘top 50 ballet shoe variants’, but that’s contrary to what I actually want to do with this post. My intent here is not to provide product placement or outright promote overconsumption, but rather to offer commiseration and problem-solving to those of you who may be in the same boat as I am. To those of you who aren’t, I hope this provided a little entertainment at least.

For anyone who does want to know about the shoes I ended up choosing – I spent a lot of time scrolling through WConcept and eventually found a cute pair that fit the criteria (and my budget) well. I’ll be putting aside some money from Christmas and my next payday so that hopefully I’ll be able to buy in time for the new year.

If anyone wants an update once I've got them - let me know!

resolution:

As of the moment, I haven't managed to order the shoes. I'm pretty broke, so for now they'll stay at the top of my bookmarks list for another time. It's not entirely a negative thing though.

It's pretty cold in the UK right now, so I'm mostly sticking to warmer boots that I can layer thick socks under to keep warm - it's not like these shoes are going to help keep me warm. Waiting thus means that I'll get a cute new shoe just in time for the spring which, in my opinion, is perfect timing considering the style and aesthetic of the shoes anyway.

All in all, I'm not too bothered by waiting. It's not exactly as if I have a choice, and this process was an exercise in informed buying as much as it was a chance to find the perfect shoes.

In that case, this was a job well done.

[chicpeekfashion]

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[charles-breaks-beakers]

HETEROSEXUAL CIS-PEOPLE LOOK HERE

Snaps my fingers at you as you scroll past this post

Look at me. Listen.

I'm not the best at serious posts, but that article up there reminded me of how important it is that people like you stand up for us. So hold on while I try to get this out of my mushy end-of-work-day brain.

We could fight this fight ourselves for decades trying to reach the equal laws, gender affirming trans healthcare that doesn't have a 2-5+ soul-eating years of waiting time, medical care with equal knowledge of lgbtqia+ bodies, and, what is often forgotten, inclusion in the little everyday areas of life like our way of speaking or things being set up or designed with the existence of queer people in mind.

But you joining in could get us there so much faster.

The power you have as a hetero cis person is that you set the standard for what is seen as the average way of treating us among other hetero cis people. You have been given the power of deciding what's "normal" and I'm begging you to use it.

Richard Green is a great example of to what extent your actions can help our situation, and smaller ways of support still add up to a great impact on society, and could make the days of the queer people you interact with.

Educate yourself before you speak up, but don't be silent.

[introspect-la]

WILLY CHAVARRIA SS25 'AMÉRICA'

NEW YORK FASHION WEEK ROUNDUP

[robsheridan]

[Update: Apocalypse in Pink part 2 is out now]

Before Barbenheimer, there was “Apocalypse in Pink,” the August 1983 theme of fashion/culture magazine SPECTAGORIA. The issue’s controversial imagery of Barbie-esque models attempting to stay gorgeous and glamorous amidst nuclear annihilation sought to, in the words of editor/photographer Sera Clairmont, “revel in the morbid absurdity of the new American condition,” an “anxiety vibrating underneath all our plastic smiles.”

“It’s The Hot Pink Cold War,” Clairmont wrote in her introduction. “It’s ‘Material Girl’ on the radio and ‘WarGames’ at the drive-in. It’s ‘Girls Just Wanna Have Fun’ interrupted by the emergency broadcast signal. We’re told to look sexy, dress fashionable, make money, and spend money, but be sure we’re just the right amount of terrified about the bomb. Get that Malibu dream home, keep working on that perfect body, sip cocktails by the pool in your little pink bikini and watching the stocks go up — but STAY VIGILANT! and for God’s sake vote Republican, because that dream home could melt into a pink plastic inferno at any given moment. Just don’t stop smiling as the blast liquefies your skin into bubbling ooze like a Barbie doll in a microwave - it’s bad for the economy.”

***Continued in PART 2***

---------

NOTE: This is a work of fiction created by me. This alternate reality horror story is part of my NightmAIres narrative art series (visit that link for a lot more). NightmAIres are windows into other worlds and interconnected alternate histories, conceived/written by me and visualized with synthography and Photoshop.

If you enjoy my work, consider supporting me on Patreon for frequent exclusive hi-res wallpaper packs, behind-the-scenes features, downloads, events, contests, and an awesome fan community. Direct fan support is what keeps me going as an independent creator, and it means the world to me.

[openingadoor]

THE DIARY OF ANAÏS NIN

Images by Margret Wibmer

for Vestoj

[silviascorcella]

IINDACO: come l’ora blu che sfuma nella notte è il brand che fonde il lusso nella sostenibilità

Narra la saggezza senza tempo addetta ad esplorare le fila sottili che muovono gli equilibri del mondo e degli animi, che l’indaco è il colore di cui si tinge il risveglio interiore: a localizzarla fuori, indaco è la sfumatura che scorgono gli occhi di fronte alla meraviglia dell’arcobaleno dove prende posto tra l’azzurro e il violetto, a cercarla dentro, dal fascino dell’indaco è avvolto chi risponde alla carezza segreta che sospinge lo spirito ad elevarsi e a rivolgere alla realtà che lo circonda un sano e salvifico occhio critico, alla positiva ricerca dell’armonia.

Un tale preambolo può sembrare una congettura sospesa nella voglia squisitamente personale e tignosa a sorprendere connessioni impalpabili tra realtà e situazioni, eppure l’affinità sorge spontanea tra il significato segreto del colore e l’intento virtuoso che guida il giovane brand che l’ha incastonato nel nome: IINDACO.

Che è sì un marchio di calzature femminili desiderabilissime che si è appena affacciato con consapevolezza e meritato successo al fashion world, ma che allo stesso tempo è anche un progetto di ampio respiro, pregiato e concreto, con al cuore la determinazione a realizzare l’opportunità di incoraggiare il cambiamento positivo nella fashion industry restituendo al lusso anche il valore della responsabilità, e dunque della sostenibilità.

Nel nome di IINDACO, in verità, son già riposti con cura elegante tutti gli indizi che ne rivelano la storia dell’essenza e la forza della presenza, ad iniziare da  quella doppia “i” che nell’apparenza maiuscola svela una sorta di codice intimo numerico legato alla sorte: doppio, perché doppia è l’anima del brand composta dalle due fondatrici Pamela Costantini e Domitilla Rapisardi, due “i” maiuscole che somigliano al numero undici, ovvero il mese di novembre che accoglie la nascita non solo di entrambe, ma anche quella del marchio.

Dal nome IINDACO giunge immediata anche la suggestione, che colora l’ispirazione e dà forma pragmatica all’aspirazione: indaco è il colore della sfumatura elegante di cui si veste la sera in quel momento intenso e avvolgente in cui si prepara ad entrare nella notte, quando le ombre si sciolgono, il sole cala e regala le ultime schegge di luce morbida, e nella vita ordinaria la routine rallenta, l’impegno del lavoro fa spazio al disimpegno rilassato, l’ufficio chiude la porta mentre si apre quella del bar dove regalarsi un aperitivo, preludio di una serata festante.

Questo momento squisito ha il nome di “blue hour”: l’ora blu in cui Pamela e Domitilla avevano l’abitudine d ritrovarsi, al termine delle rispettive giornate di lavoro e all’inizio della piacevolezza condivisa delle chiacchiere e dei confronti personali. L’ora blu che ha ispirato la sostanza creativa del brand: una manciata di modelli, dedicati a questo momento speciale in cui le donne si spogliano della divisa diurna e, come fossero crisalidi che attraversano una metamorfosi di umore e guardaroba, si rivestono della propria personalità e calzano le scarpe che le accompagnano nell’eleganza confortevole, e contemporanea, della vita affacciata sulla soglia della sera.

La ricercatezza intrigante delle scarpe IINDACO agguanta rapidissima il desiderio e il gusto: lo stile è un’alchimia che si avvicina all’unicità, dove ci sono le rimembranze dei favolosi anni ’90 fatti di binomi e opposizioni, quando la sottrazione quasi rituale del minimal conviveva con l’estrosità dell’opulenza, e quando le donne uscivano con nuova determinazione dal guscio silenzioso e s’incamminavano con fierezza sulla via del girl power, insieme alle predilezioni di Pamela, che del brand è l’animo creativo dal tocco pratico e asciutto, per i tagli delle scarpe maschili che si prestano ad essere rielaborati con la ricercatezza dello charme femminile e l’esattezza dell’architettura razionalista, ed anche insieme al penchant appassionato di Domitilla, che invece è l’animo fantasioso, per per l’arte e il surrealismo.

La sofisticatezza dell’ispirazione traduce lo stile in pochi modelli, ma perfetti, pensati attraverso la chiave della versatilità e dell’inclusività, perché ogni donna è diversa, così come i look che ama indossare, e le occasioni con cui compone la sua vita diurna e le sue serate: li distribuisce in tre proposte, ovvero “11 am” dedicata al tempo del lavoro,  “5 pm “ quando il sentimento della sera accarezza la voglia di cambiare abito e mood, e “Midnight” quando ci si immerge nella seduzione della notte; e li plasma nell”Ade Sandal”, la ciabattina con il tacco ricoperto di fiamme luccicanti, lo stivaletto stringato “Argo”, la pump Pegaso, ed infine Orfeo, lo stivale nella doppia versione, una che giunge al ginocchio, l’altra che si innalza sopra con l’appeal del cuissard.

La virtuosità dell’aspirazione conferma l’intuizione della veridicità del significato segreto dell’indaco, colore del risveglio interiore che guida alla trasformazione positiva della realtà esteriore: il brand IINDACO nasce infatti dalla consapevolezza di Pamela e Domitilla, entrambe valevoli professioniste di lungo tempo nel settore della scarpa di moda, della reticenza cocciuta del fashion world ad aprirsi con lucidità alla sensibilità della sostenibilità, ambientale e sociale, e fiorisce nella determinazione di entrambe di costruire un marchio che dimostrasse come il lusso possa davvero esistere e agire nel rispetto della responsabilità ambientale e dell’etica umana.

Dentro IINDACO tutto è pianificato, progettato e condiviso nel valore dell’economia circolare: dalla tradizione del Made in Italy, dove la pregiata expertise dello storico distretto di San Mauro Pascoli che realizza le creazioni applica l’artigianalità all’origine ecologica dei materiali, ovvero pelami e tessuti che provengono da giacenze d’eccellenza e dal riciclo degli scarti dell’industria alimentare, la evolve nell’innovazione dei processi certificati, la declina nella sostenibilità che riguarda tutti gli elementi, compresi i tacchi in abs riciclato e riciclabile, le solette interne e le fodere biodegradabili, fino perfino a quella cromia indaco che contraddistingue il packaging che proviene dagli scarti dell’industria agroalimentare della lavanda. Inoltre, le spedizioni sono tracciate per compensare le emissioni di co2, le persone che lavorano nella filiera sono trattate con il rispetto dell’etica, le donne che scelgono di acquistare le scarpe sono educate con le giuste informazioni a curarle affinché attraversino il tempo senza esserne scalfite, e sono coinvolte in un brand che è un vero, bellissimo, progetto di stile di vita rigenerato. Oltre che felicemente stiloso.

Lunga vita a IINDACO! Nel senso della durevolezza concreta del termine, e nell’entusiasmo sincero dello scopo.

Silvia Scorcella

{ pubblicato su Webelieveinstyle }

[wiitchkins]

hi I went a little nuts about the new marinette design and came up with like 15 alternatives.

my initial goal was to come up with a. “””better”””” design, while still adhering to what seem to be the show’s limitations.

*Core Idea* Try to keep her design recognizably “Marinette” as depicted in the show. Anyway lemme know what your favs are thanks

some vague guidelines I made for myself below.

1. Black outerwear, white shirt, pink shorts/pants. (Color palette revolves around the black/pink/white palette, the new design shows her with tights of some kind so we can play with that a bit more. Shoes we can be a bit creative with.)

2. Keep it “age appropriate” per the G rating / 8-13 intended audience. This is vague but mostly just avoiding things that are too trendy or showing “too much” skin- to be clear I don’t have a personal problem with that but we’re playing by the shows rules for teens. Pretending I have an exec to pitch these to.

3. It seems like the show has pretty limited fabric sim - keeping the silhouette close to the model, can’t really have loose fabric, boxy/oversized fits or super unique/specific textures (knit vs leather can probably be implied but don’t expect too much accurate detail)

Please ignore that I drew 3 purse designs. I don't have strong feelings about them.

Some of these designs I think are pretty basic and mid, a couple I really like, and some I think are a bit unrealistic. fun exercise nonetheless.