Irenebrination: Notes on Architecture, Art, Fashion, Fashion Law & Technology

Fashion Alchemy: Traversing Traditions & Finding Long-Lost Soulmates

In the world of fashion, the intertwining of traditional garments with contemporary designs is nothing new. There's something else that's not new - the bizarre correspondences and unexpected parallelisms that can be found between recent collections and styles from just a few seasons ago. Take the recent Gucci Cruise 2024 collection, showcased at the Gyeongbokgung, the former royal palace, in Seoul, South Korea, on Tuesday.

Gucci is the third luxury brand after Louis Vuitton and Dior to stage a runway show in South Korea. This move acknowledges the rising affluence and cultural influence of the South Korean market, paying tribute to the popularity of K-pop, Korean dramas, and beauty products within the global fashion landscape.

Traditions provided some of the inspirations behind the designs on the runway: a hanbok, a symbol od Korean heritage, took on a rebellious twist as it transformed into a floor-length bomber.

The delicate strings known as goreum, typically adorning the jeogori (the hanbok's upper garment), were repurposed instead as decorative elements, forming bows that embellished both outerwear and T-shirts.

Amidst this creative exploration, the heart of the collection remained firmly fixed on Seoul's dynamic youth and subcultures. Street styles and local youth served as catalysts for the cyber goth references seen in the nylon duster coats, accessorised with thick-soled boots.

Among the other notable accessories there were leather gloves that looked like archer's gloves, but that provided protection to five fingers rather than just three. 

Parachute skirts and scuba-inspired ensembles such as neoprene suits sometimes worn beneath ruffled pale pink chiffon dresses, paid homage not only to the wetsuits of windsurfers and jet-skiers on the Han River, but also to the haenyeo, South Korean female divers renowned for their pearl hunting skills on Jeju Island.

Infusing a touch of artistic creativity, South Korean digital artist Ram Han contributed lively prints depicting jelly cakes and a cat's paw touching a butterfly. As a whole the collection was therefore a mix of trendiness and youthful vibrancy.

Yet, the flat bows that adorned the tops and coats couldn't help but draw connections to Prada's Spring/Summer 2013 footwear. That particular Prada collection showcased a modernist/Pop Art interpretation of the kimono, and included mini-dresses and blouses complemented by tabi socks in bright red or metallic shades.

The tabi leather socks were paired with towering futuristic zori-style footwear, decorated with a flat bow - a sci-fi take on Japonisme, one might say.

If you still have those Prada shoes tucked away, dust them off as some of the ensembles in this Gucci collection would perfectly match with them. It's as if these items were destined to be together like long-lost soulmates that, after a decade or so, found each other in sync in the whimsical world of high fashion.

Rebel Reel Cine Club: A Cinephile Haven Cultivating Cool, Style & Community

Cinema has the ability to bring together all those kindred souls who share an unwavering love for the silver screen, impeccable style, and all things fashion. If you've ever found yourself lost in endless discussions about the tiniest cinematic details, then you've discovered the ultimate destination for unique and captivating cinematic experiences in the UK - the Rebel Reel Cine Club.

Curated by Chris McGill, a connoisseur of counter culture, fashion, and cutting-edge cinema, at the Rebel Reel Cine Club the spotlight shines on films that defy conventions, challenge societal norms, and ignite our imagination.

So far the Rebel Reel Cine Club has screened timeless classics like David Lean’s "Great Expectations", inspiring masterpieces that ignite the creative spark in fashion designers, such as Albert and David Maysles' documentary "Grey Gardens" and William Klein's "Qui êtes-vous, Polly Maggoo?" and cult films from Bruce Robinson's "Withnail and I" to "Faster, Pussycat! Kill! Kill!" by Russ Meyer.

This week, prepare to be whisked away on a dazzling journey as we venture into the realm of Roger Vadim's "Barbarella" with its imaginary sci-fi world where sensual costumes seamlessly weave into the tapestry of storytelling.

Each film screening is a visual feast, presented by artists, poets, actors, directors, and alternative thinkers who add their unique flair to the experience, with DJs providing a captivating musical backdrop.

Last but not least, the Rebel Reel Cine Club is much more than a series of screenings. It's a vibrant community hub, where kindred spirits gather to celebrate the unconventional and embrace the avant-garde. It offers immersive experiences that transport audiences to new dimensions, whether through open-air screenings or within the architectural splendor of Art Deco cinemas.

What inspired you to start the Rebel Reel Cine Club?
Chris McGill: The idea of screening films has always been a passion of mine, so back in 2015, I decided to bring that dream to life by purchasing a projector. During that period, I had a particular fascination with denim, and had a denim screen made for screenings (painting a white rectangle on it). However, I soon realized that denim was not the most practical choice for this purpose as it created a hall of mirrors effect making wobbly people and scenes. The denim screen revolution is no good for televising!

How did you go about selecting the films?
Chris McGill: I found myself drawn to certain spaces that resonated with each film. Around 2015, I found myself drawn to certain spaces that resonated with me. It all began with a screening of "The Small World of Sammy Lee", a captivating film set in the vibrant Soho of the 1960s, starring Anthony Newley. In this film, The Blue Posts on Berwick Street in London makes an appearance, and I was inspired to venture into the pub and rent out the room upstairs. It was an intimate gathering with 11 invited guests, and one of them happened to be John Pearse, a former tailor at Granny Takes a Trip. Pearse's clients experiences included working with legendary people like Fellini, and he told me that he’d seen The Rolling Stones rehearsing in the insalubrious room I'd rented! This initial success spurred me to explore different venues for possible screenings. For instance, I hosted a showing of "The Samurai" in the basement of the Aesop Lamb shop on Conduit Street, in London, as the atmosphere there evoked the unique ambiance of the bedroom in the film. This initial success spurred me to explore different venues for our screenings. For instance, I hosted a showing of Jean Pierre Melville's Le Samurai in the basement of the Aesop Lamb shop on Conduit Street, as the atmosphere there evoked the unique ambiance of the bedroom portrayed in the film.

The Covid pandemic had an impact on cinemas all over the world, how was it for you?
Chris McGill: Lockdown brought about significant challenges, as all of my day job in the theatre and gallery scene abruptly came to a halt. However, this unexpected turn of events provided me with a unique opportunity to develop Rebel Reel Cine Club. I organised online screenings and collaborated with a local burger joint in Hackney to offer meal kits sent out nationally, ensuring that our audience could enjoy an enhanced cinematic experience – I cooked online, had artist and composer Jimmy Galvin play and other creatives run drawing classes, choreography and more. As soon as restrictions began to ease, I actively sought out alternative venues to continue our screenings. One place that captured my imagination was the motorcycle shop Bolt, in Stoke Newington. While a screening couldn't be arranged there, we hopped on our scooters and ventured across London, to organize screenings. Acquiring the rights for "Faster, Pussycat! Kill! Kill!!" we popped up in Silvertown, underneath the Docklands Light Railway. The event attracted around 140 passionate bikers.

The Rebel Reel Cine Club screenings are usually accompanied by unique introductions, can you tell us more about them?
Chris McGill: For William Klein's "Qui êtes-vous, Polly Maggoo?" we had illustrator and artist Julie Verhoeven introducing the film. She's a fan of the movie and, when we screened the film at the Rio in London, she did a performance with her collaborator, Joshua Beaty. She stood on a table wearing a monumental dress she had made out of terry towelling dressing gowns, holding an usherette's light in her mouth with a variety of actions. Behind her we screened a short film she had made as a non-verbal introduction with a soundtrack of "Who Are You" by The Who. For that film we also collaborated with Lomography: they provided us with one of their instant William Klein camera as a giveaway prize. Besides, John Waters did an introduction on Zoom for his film "Polyester", while, when I screened "A Clockwork Orange" at a special Midnight show at the Rio, I got Martin Green to DJ on a Transcriptors turntable provided by partners Audio Gold – the turntables that Alex has in his bedroom in the film. In June for the screening of "Mona Lisa" at Kings Cross we have Richard Cabut reading his poetry, and we will screen a short by Cathy Tyson, who's in the film and who'll also introduce "Mona Lisa".

What's the typical audience of a Rebel Reel Cine Club evening like?
Chris McGill: The audience is wonderfully eclectic, reflecting the unique nature of our cinema club. We welcome talented artists, musicians, fashion students and obviously people seeking an immersive cinematic experience on their own. As I mentioned earlier, we pay meticulous attention to details, ensuring that every aspect of the evening is carefully curated. For instance, I create personalized badges for each screening, as I believe it embodies a sense of counterculture and camaraderie. On special occasions, we witness the transformative power of cinema as our attendees truly embrace the spirit of the films: I recall a remarkable instance during our screening of John Waters' "Polyester" when attendees arrived dressed in character. For that occasion we also had handmade placards, and people playfully protested outside the cinema on Kingsland Road. The allure of our club extends beyond individuals deeply connected to the film industry. Renowned figures such as Sara Varga, the singer, and The Primal Scream’s Bobby Gillespie come to our events, but also craftsmen duo Whitaker & Malem. We create a welcoming community ambiance, where everyone feels included and embraced. The vibrant atmosphere is enhanced by the presence of talented DJs who curate music sets, setting the tone and fostering a sense of collective belonging.

In the film programme you curate, there is a noticeable emphasis on fashion that goes beyond mere aesthetics. In which ways does fashion intertwine with the narratives and themes explored in these films, and what impact does it have on the overall cinematic experience?
Chris McGill: Fashion undeniably holds a significant place in the films I select, but also the sets. The costumes and sartorial choices within these films are not mere afterthoughts but rather integral to the narratives themselves. Think about Bernardo Bertolucci's "The Conformist" that enthralls viewers with its scenes, like the one featuring the two women dancing in their exquisite dresses. These moments are nothing short of extraordinary, evoking a heightened aesthetic experience. There is an undeniable allure when costumes perfectly align with the essence of a film. Whether it's the hyper-stylized world of "A Clockwork Orange" or the contrasting sartorial elegance of "Get Carter", where a London man stands out in his tailored suit amidst the less refined Newcastle crowd, costumes hold the power to shape the dynamics and power play within a narrative. It is this deliberate fusion of storytelling and fashion that interests me and aligns with the countercultural spirit I embrace. One remarkable example from our repertoire is the screening of "Grey Gardens", a film that has long served as a wellspring of inspiration for fashion designers in its own peculiar way. The way the characters playfully experiment with their attire in the film, combined with the innate elegance of both Big Edie and Little Edie, is truly brilliant. This film manages to touch our hearts while also celebrating the artistry of fashion.

Which films from the Rebel Reel Cine Club repertoire do you feel resonated in particular with the fashion-conscious?
Chris McGill: Probably "Withnail and I", a film that can be interpreted as a stylistic lookbook for a British interpretation of the Ivy League aesthetic. Richard E. Grant's wardrobe in the film presents intriguing elements worth noting. From his shirt tails reminiscent of the ones found in Budd at Piccadilly Arcade, evoking a Beau Brummel-esque aesthetic, to the way Withnail wears his clothes with a touch of Lucian Freud's unconventional style - think of the long scarf or the coat. Certain aspects of his elegantly wasted look remain timeless, including the boots; Grenson continues to produce the Balmoral boot originally crafted for Richard E. Grant's character. But there were other films, such as "Qui êtes-vous, Polly Maggoo?" that nods at avant-garde fashionwith Ducasse's parody of Paco Rabanne's creations, while in "Barbarella" Jane Fonda stuns in Rabanne's chain mail cropped top, pants, cape, and the iconic green ensemble adorned with plastic elements.

You mentioned "Barbarella", a film that will be screened this week, in your opinion, what's intriguing about Jane Fonda's wardrobe in this film?
Chris McGill: The allure of a tease can be more captivating than explicit nudity, and the film follows this rule. Barbarella is indeed clad in body stockings, creating an illusion of full coverage while leaving a tantalizing hint of what lies beneath. Throughout the film, there exists a constant tension between attempting to undress the protagonist - think about the scene with the dolls - and the costumes themselves that, though alluring and provocative, possess an armor-like quality.

Why should people come to see "Barbarella" this Friday at London's Garden Cinema?
Chris McGill: "Barbarella" is a cinematic spectacle not to be missed, especially for those with a keen eye for exquisite costumes. The renowned duo Whitaker & Malem, makers of the Batsuit, of Wonder Woman's armour and of erotic sculptures for Allen Jones, will do a pre-screening talk and provide insights into their creative process. When they worked on Wonder Woman's armour they insisted on adding a navel on the costume, and if you check out Barbarella's costumes, you'll realise they have a navel, so you have a connection there! Additionally, DJ Martin Green will play an "electronic spaced out set". The slightly surreal nature of the film is further amplified by the setting itself - the Garden Cinema, an architectural gem in the Art Deco style. So, attending this event goes beyond simply watching a film.

"Barbarella" by Roger Vadim, introduced by Whitaker & Malem, is at The Garden Cinema, Covent Garden, London, on Friday 19th May 2023.

Cultural Collisions & Individual Narratives Transcending Geographical Boundaries in Mous Lamrabat's Photographs

When individuals and communities migrate, they bring with them a rich tapestry of traditions rooted in their homelands. Settling in new countries, their traditions intersect with other dynamic forces. Quite often, as time-honored practices are juxtaposed with the fast-paced rhythms of contemporary life, a clash of different cultures becomes evident.

But it is exactly in this clash that new possibilities arise, as old ways meet new perspectives, creating a fertile ground for cultural exchange and transformation, as it happens in the images of self-taught photographer Mous Lamrabat.

Born in 1983 in the north of Morocco, but raised in Belgium, Lamrabat, a child of first generation immigrants, studied interior design, a discipline that allowed him to explore the spaces and objects that surround us and consider how they influence, change and challenge us.

As the years passed, combining his traditions and Western influences and moods, Lamrabat developed an aesthetic based on clashes of cultures and photographic series that show some connections with Hassan Hajjaj's portraits.

In a previous series Lamrabat came up with "Mousganistan", a concept inspired by a line in "Freedun" by M.I.A. in which she sings "From the People's Republic Of Swagistan".

"Mousganistan" is an imaginary land, a utopia, where the Moroccan/Arabic heritage combines with Western inspirations. A tapestry of contrasts emerges: logos like Nike's swoosh, Gucci's double G and McDonald's golden arches, appear in images characterized by Pop Art colours, combined with niqabs and traditional hats, while djellabas are juxtaposed to Jordan sneakers.

A surreal and eerie aesthetic with a futurist twist prevails, with bodies hidden by soft and lucid fabrics or wearing unusual and ironic designs, like a Nike sneaker made with skillfully manipulated red and white balloons complete with a yellow banana-shaped balloon swoosh.

In this ever-evolving tapestry, symbols and logos take on a new significance. They become the language through which the past converses with the present, creating a visual dialogue that transcends time. Modern hieroglyphics, these emblems evoke a sense of connection to our collective history, while also marking for Lamrabat a gradual shift towards more complex representations that may lead him one day to art installations or maybe to a collaboration with a fashion house.

For the time being, though, juxtapositions of traditions and modern moods still characterise his work and also permeate his new series showcased last week at the Tab Centre, in Shoreditch, London. The community centre provides invaluable support and assistance to children, families, youth, vulnerable adults, and asylum seekers.

For this new series, Lamrabat, photographed and interviewed diasporic communities from over 25 cultures, ranging from Brazil and India to Morocco and Mexico, over a four-month period.

The result of this visual adventure - "There's No One Like Us" - is an exploration of how individuals far away from their countries experience foreign communities and cultures whilst being physically distanced from their beloved families, or how they keep in touch with members of their families and friends who live abroad. In the exhibition each image is accompanied by audio recordings from the people portrayed, an expedient that gives context to the images (for this series Lamrabat collaborated with international messaging and communication application WhatsApp, so the service also appears as logos in the images and gets mentioned in the recordings).

Some of these stories show the yearning and resilience of people separated by the boundaries of distance and by cultural displacement.

In most cases, individual narratives transcend geographical boundaries: an elderly man living in Brazil, but with siblings all over the world talks, about his family, proving that powerful bonds extend across geographical borders; another portrait tackles the profound sense of interconnectedness between an African Indigenous woman, born in the US to immigrant families from Colombia, Honduras, and the Dominican Republic, and the African diaspora.

Identity and belonging combine in the project, with portraits of people wearing attire and accessories representing their countries of origin, harmoniously melded with elements from their current places of residence.

Beauty emerges when disparate worlds converge, when the threads of diverse experiences are intricately woven together in a dynamic and harmonious way (think about the young woman wearing a papier mâché leopard mask on the back of her head with a tamagotchi digital pet dangling from her ear), new hybrids are developed and cultural divisions are erased.

In embracing the act of combining different worlds, this new series celebrates the inherent beauty of cultural diversity but also fosters an appreciation for the fluid nature of identity formation as these blended personas are testament to the transformative power of cultural exchange.

All images in this post by and copyright Mous Lamrabat.

Of Heritage Brands & Questionable Swiss Funds: Who's Behind Walter Albini's Acquisition

Objectivity, the first principle you get taught in journalism school, doesn't exist in fashion reporting. Let me explain: actually, it does exist, but it is not respected in favour of other "values" and "principles". Objectivity implies indeed healthy doses of integrity and criticism, things that usually get you automatically expelled from runway shows and cause losses of advertising money (ask Women's Wear Daily - a feud with D&G over a negative review published in the depths of time, resulted in a ban that still lasts...).

This silent rule about objectivity also implies that any investigation into fashion-related dark matters will land you in trouble: accusing an editor of nepotism or a brand of consistently copying a designer from the past or wondering where mysterious investment funds come from, will turn you into an instant pariah and outcast, even when you have tangible proofs or even when the evidence is in front of everybody.

This version of "fashion objectivity" means that, when somebody decides to relaunch a brand investing a substantial sum in it, most articles about this piece of news in official fashion magazines are extremely encouraging mainly because you know that, one day, when that brand becomes again re-established, you may win their favour, that translated means runway invitations and advertising money. Besides, in these cases fashion tends to talk about "entrepreneurs" and "investors": it is indeed easier to call everybody like that rather than actually wondering where the money they have invested comes from and discovering the source of that entrepreneurial wealth. But, if you're brave or crazy enough to do a little investigation and open Pandora's Box, you will discover unexpected surprises.

For example, it was recently announced that Switzerland-based investment platform Bidayat has acquired the intellectual property and a substantial part of the archives of Italian fashion designer Walter Albini, and plans to relaunch the brand.

The Walter Albini archive (now with its own Instagram account) was owned by Barbara Curti, whose mother, Marisa Curti, had been a long-term Albini collector (Barbara Curti will continue to act as an archive curator and advisor to Bidayat).
 
On the group's Instagram page, Bidayat Founder and Chairman Rachid Mohamad Rachid stated, "We are honored having unearthed this hidden jewel of Italian high fashion and are currently studying Walter Albini's vast heritage to set the foundations for the future."

Born in Busto Arsizio in 1941, Albini is considered as the forgotten gem of Italian fashion. After a spell in Paris where he worked as fashion illustrator for different magazines and papers, Albini returned to Milan where he worked for Krizia and Billy Ballo.

In the '70s he designed collections for five different brands – Callaghan, Basile, Escargot, Mister Fox and Diamant's – and presented them with an ambitious catwalk show featuring hundreds of models that took place at Milan's Circolo del Giardino and that influenced the final choice of moving the fashion catwalks from Florence to Milan.

In 1970 French journalist Hélène de Turckheim accused the world of Italian ready-to-wear to actually employ six Parisian designers, and highlighted that, among the genuine Italians only Walter Albini was deemed to be remembered on an international level. Two years later, Women's Wear Daily compared Albini to Yves Saint-Laurent: the Italian designer was indeed a forward-thinker, a man who also became known for experimental fashion presentations and mixed-media exhibitions.

His fans may remember the exhibition at Milan's Galleria Eros that featured phalluses personalised by Albini himself and transformed into cartoon characters such as Mickey Mouse or designers (Armani, Basile and Ken Scott) or his 1977 Spring/Summer menswear collection.

Presented at Milan's Galleria Anselmino, this was actually a "non collection" as it featured twelve panels with collages of clothes Albini had taken from the collections of fashion designer friends and from the wardrobes of photographers and journalists exhibited with white masks of his face. The project aimed at poking fun at consumerism and at the relentless rhythms of the fashion industry while trying to make people ponder a bit about fashion culture.

When he died in 1983, at just 42, Albini had already managed to trace a path that, even nowadays, many fashion designers are unconsciously following.

An example? His 1979 "Cazzo" (literally dick, but it can also be translated in English with the exclamation "fuck") T-shirt, for example, reappeared on Vivienne Westwood's S/S 17 runway, almost a testament to the subversive punk ethos of the Italian designer.

Like Miss Maxwell, the powerful editor in William Klein's Qui êtes-vous, Polly Maggoo? (1966) who praises clueless designer Ducasse about his unwearable and bizarre outfits at the end of his show, enthusiastically shouting "He's recreated woman!", as soon as it was announced that Bidayat had acquired Albini, a chorus of voices emerged, praising the return of the brand.

As news spread, in less than three hours, most people on the Internet had turned into Albini experts, even though the designer, who died prematurely in 1983 was largely forgotten for decades.

Then, after hailing the news of the return of the real "father of Italian fashion" on the scene, speculations started. Will Alessandro Michele - ousted from Gucci in November 2022 after a seven-year run - be called to revamp the brand? After all, he may suit the task: as the seasons progressed at Gucci he moved from librarian chic to more refined moods à la Walter Albini, ending up injecting also his subversive moods in Gucci's S/S 23.

At the time of writing this piece, we don't know yet who will lead Albini, but, whoever will be assigned the task to do so, will not have an easy job. After all, restarting a brand takes decades; rebooting it successfully as it happened with Chanel is a magnus opus. In Chanel's case it was easier as the collections were helped by a famous fragrance and it wasn't also so difficult to rebuild the house's archive. But other experiments didn't prove so successful, think about Vionnet or Poiret, while it took over a decade to re-establish Schiaparelli and, even now, with no perfume and no shocking pink lipstick to bring the brand to the masses, the house mainly caters to the red carpet and thrives on its grand Insta-fame.

With Albini it may be more difficult: there is some semblance of an archive, but his clothes remain rare for two main reasons - the people who bought them actually wore them, besides, when he died, the concept of fashion archives and museums wasn't still that popular (the only recent exhibition about him, "Albiniana" at Pitti Uomo in 2010, was actually an installation assembled from magazine cut-outs and colour photocopies).

Yet what's interesting now is not considering the pros and cons of relaunching Albini or if Michele will helm it, it is indeed more fascinating to look at who bought it.

Albini was bought by Switzerland-based Bidayat, an investment platform with a cool site promoting a portfolio focused on smaller brands, including Egyptian accessories brand Okhtein, jewelry house Azza Fahmy, and furniture design platform Fromm.

Launched in 2021, Bidayat was founded by Rachid Mohamed Rachid and it is a subsidiary investment vehicle of Swiss-based firm Alsara Investment Group, the family office of Rachid, who is also CEO of Qatari investment fund Mayhoola that owns Valentino and Balmain (Rachid is chairman of both the brands). Most fashion sites describe him as an entrepreneur, some also as a "prolific Egyptian investor".

Over ten years ago, before his glamorous adventures in fashion started, Rachid was in the global news for other reasons. Rachid has indeed had a financially turbulent past linked with politics. After serving as president of Unilever's Middle East, North Africa and Turkey division, Rachid became the Egyptian Minister of Trade, Industry and Investment from 2004 to 2011.

He eventually fled Egypt with his family in February 2011, during the course of the 18 day-uprising against the regime of president Hosni Mubarak, and moved to Dubai, Qatar, where he obtained a diplomatic passport.

Accused of squandering public funds and of illicit gains during his tenure as trade minister, in June 2011, Rachid was sentenced in absentia to 5 years in prison over graft and corruption charges; he dismissed allegations about his wealth as "plain lies", adding he had struggled to "fight the corruption against prominent characters" and claiming he was "ready for questioning" by authorities, but did not return to Egypt following Mubarak's resignation.

In August 2011, Rachid was sentenced to another 15 years imprisonment for corruption and a fine of EGP 1.4 billion for squandering nearly EGP 600 million in public funds after issuing questionable licenses to steel business tycoon and former National Democratic Party (NDP) leading figure Ahmed Ezz. 

In March 2014, Rachid and his daughter were referred to the Criminal Court by Egypt's Illicit Gains Authority (IGA). They were accused of financial crimes and smuggling LE500 million to private accounts in Cyprus, concealing the sum from their financial disclosures after Rachid stepped down from his position following the events of January 2011.

Subsequently, in August 2014, Rachid and his daughter were sentenced in absentia by the Cairo Criminal Court. They received a 15-year prison term and were fined LE522 million, with an additional amount to be repaid to the government. The conviction was based on charges of illicitly acquiring gains exceeding half a billion pounds. Their actions involved obtaining insider information about an initial public offering (IPO) of the Hermes company to manipulate its capital, as well as information on bank loans and financial interest rates, to generate personal profits from the EFG-Hermes Holding Company.

In 2015 Rachid's name emerged again in a journalistic investigation called Swill Leaks about a giant tax evasion scheme allegedly operated with the knowledge and encouragement of the British multinational bank HSBC via its Swiss subsidiary, HSBC Private Bank (Suisse). The investigation revealed that 100,000 clients worldwide, among them businessmen, ministers and public figures, held private bank accounts at HSBC Suisse for illicit activities such as money laundering and tax evasion. Among those there was also Rachid (and Khadija-al Gamal as well, his daughter-in-law), who joined the bank in 2003 and kept as much as $31 million in his accounts between 2006 and 2007.  

In 2016 there was a reconciliation proposal by Rachid to Egypt's Committee to Reclaim Public Funds and Assets: Rachid agreed to pay to the state half a billion Egyptian pounds in exchange for officials dropping legal charges against him and his family.

Egyptian officials asserted that an investigation confirmed the preexistence of all the finances and investments of the Rachid family before Rachid assumed the position of Minister of Trade and Industry in 2004. However, political economists consistently questioned the lack of transparency and external oversight in this process. While it is possible that Rachid faced repercussions for his political positions or his association with Mubarak, the charges against him carried serious accusations alleging the acquisition of gains through the abuse of power and conflicts of interest. Nevertheless, Rachid was absolved of all charges related to the acquisition of his assets and wealth. As per the reported settlement, all criminal charges against Rachid were dropped, thereby clearing him of allegations that he exploited his position for personal gain.

"Cazzo", we may say, quoting Albini, fascinating stuff, isn't it? We will never know where the money used to buy Albini and being pumped into other investment funds linked with Rachid came from. I volunteer to write a Netflix series about it (only after the end of the WGA strike, obviously). It could be as glamorous as the series dedicated to Halston, but with a lot of twists towards the end, with politics, embezzlement and mysterious funds involved. Who knows, it may actually turn out to be even more successful than the actual relaunch of the brand. Draft title for the project? "Never Wake a Sleeping Beauty". 

You see, in fashion, when they talk about dormant brands and forgotten design houses being rebooted, they often use the "Sleeping Beauty" metaphor, saying that you really need to shoot a gun in the air to wake the "Sleeping Beauty", to say you really have to be loud in these cases and plan the relaunch with a bang. Mind you, though, if you have to awaken the "Sleeping Beauty" to make her confront the questionable contents of a Pandora's Box that nobody wants to open, maybe it would be better to let her sleep.

Beyond the Marketing Hype: Deconstructing Narratives of Female Representation & Inclusivity in Fashion Democratisation

In the recently published book I Thought I Heard You Speak: Women at Factory Records, by Audrey Golden, New Order's keyboardist Gillian Gilbert remembers how it was like working at the legendary Manchester-based label. "There was never anything about macho blokes (...) There were a lot of women in Factory that gave as good as they got," she states. "It was never us and them – it was all just one big family." Yet Gilbert also remembers that things weren't exactly like that in the rest of the UK. "In those days, in most other industries, it was still Benny Hill country, with mother-in-law jokes and men running around making fun of women," she highlights.

At Factory, Gilbert may not have experienced any sexism, yet at the time deeply ingrained patriarchal attitudes and gender biases still persisted, affecting various aspects of society. Sure, there were influential female figures in different industries, but sexist attitudes and objectification of women were still prevalent. Besides, media portrayals often reinforced gender stereotypes and emphasized women's appearances over their accomplishments.

Videos like Robert Palmer's "Addicted to Love" (1985) and "Simply Irresistible" (1988) were notable for their portrayal of women. In the former Palmer sang alongside an exclusively female band composed of glamorous white models pretending of playing musical instruments. In the latter models performed awkward dance routines, or simply stood behind Palmer.

In both the videos all the models dressed in identical body-con designs and wore identical makeup and heiarstyles. In a nutshell, they looked like soulless robots.

Besides, the camera often lingered on their physical features, focusing on their buttocks, breasts, and lips, reducing them to body parts. But, thank goodness, things have changed since then. Or have they?

Sometimes you doubt that things may have changed, especially in fashion representation. After all, even when fashion preaches about diversity, inclusion and empowerment, the visuals accompanying such concepts often leave much to be desired.

Take the latest hyped up collaboration - Mugler for H&M - packaged as the latest example of fashion democratization. It is worth reminding us all that this concept doesn't mean that ordinary people actually start getting a decent living wage and can afford to buy amazing designs (hence fashion becomes "democratised"), but implies that wealthy people can still afford what they want, while all the rest of us can buy more affordable copies, at times in dubious materials that should be kept very far away from live flames.

Released to great fanfare last Thursday in 120 stores globally and online as well, the collection featured men and womenswear designs, including corseted jackets and leather trenchcoats with ample shoulder pads, body-hugging dresses, nude-illusion jeans with spiral Lycra inserts and a couple of "archival" (a word that the industry often uses to commit the worst crimes against fashion) pieces designed by the late Thierry Mugler and reinvented by the current creative director of the brand, Casey Cadwallader. The collection also featured a variety of gender-fluid accessories, such as sheer gloves, tights, bags and scarves.

Most of the items sold out briskly which means that the combination of super famous and hip design brand and fast fashion retailer is still attractive for most of us. At the same time, some of the designs also flooded eBay, many listed for double or even triple the original price (which in turns means that quite a few of us were buying the pieces in the hope of reselling them and making a profit....).

The collection was hailed as a powerful embodiment of empowerment, embracing the essence of freedom, self-expression, and inclusivity well before its official launch.

To stay true to these promises the launch was accompanied by a star-studded energetic and exuberant video directed by Torso and styled by Haley Wollens with an inclusive cast of all genders and identities (including Mugler's muses Jerry Hall and Connie Fleming). A reimagined version of Stardust's 1998 hit "Music Sounds Better with You" by Amaarae, Shygirl, Eartheater and Arca provided the sountrack for the launch.

Once released, though, the collection may have been summarized as a sea of skin-tight Lycra bodysuits (cheaper versions of the figure-hugging designs featuring nude illusion panels and spiral cutouts worn by Beyoncé, Dua Lipa, Kylie Jenner, Doja Cat, Cardi B. and others) and body-con dresses (albeit in a surprising variety of sizes).

Some praised the fact that the collection was a near-carbon copy of Mugler's mainline - which means that the fashion house, rather than progressing into the future, is regressing from empowered vixens, dangerous queen bees and mutant creatures, super heroines and alluring gynoids, to barely there Lycra catsuits, spiral denim pants and body-con dresses.

Apart from this emphasis on body-con designs (you wished they had come up with T-shirtw with some Mugler sketches or iconic images from his shows or even his own astonishing photographs of models with famous landmarks in the background), the photographs accompanying the collection also made you think. 

While the video tried to be more inclusive, the images mainly featured skinny models: though more inclusive than Robert Palmer's all white cast of models, the photoshoot felt like engaging in tokenism rather than aiming for inclusivity, besides, the glamour skinny models in body-con dresses prevailed.

In a way, it was as if Thierry Mugler's potent fantasy world of empowered vixens had morphed into a smaller world populated by women in body-hugging mini-dresses serving someone else's narrative (a fast fashion retailer desperate to make a quick profit).

As consumers we should instead learn to write our own personal narratives and define our individual identities as authentic empowerment arises from embracing the extraordinary within ourselves. This realization should help us scrutinizing the deceptive nature of fashion democratization, and the manufactured narratives surrounding notions of heritage, archives, inclusivity, and diversity that are incessantly imposed upon us.

Designing Transhumance: "Oltre Terra. Why Wool Matters" by Formafantasma @ The National Museum of Art, Architecture and Design, Oslo, Norway

With their conceptual sleek displays, design exhibitions often invite us to immerse ourselves in abstract or avant-garde concepts, but, for "Oltre Terra. Why Wool Matters", Italian design studio Formafantasma opted instead for another approach.

Opening later on this month at Oslo's The National Museum of Art, Architecture and Design, the exhibition (26 May - 1 October 2023) delves deep into the rich tapestry of history, ecology, and the global dynamics surrounding the extraction and production of wool, but it does so in an innovative way.

While "Oltre Terra" is the first design exhibition in the new National Museum, in a departure from more conventional presentations, the showcase eschews traditional design objects, embracing a cross-disciplinary approach and beckoning visitors to embark on a journey of discovery through agricultural and cultural objects, photographs and videos.

Some of the images and films accompanying the event evoke Virgil's bucolical atmospheres and pastoral settings, but there is a more specific reference to the Latin language in the exhibition title.

"Oltre Terra" is the literal Italian translation of the term "transhumance", a combination of the Latin words "trans" (across, "oltre" in Italian) and humus (soil, "terra"). This word refers to the tradition of shepherds that guided their flocks through seasonal cycles, moving livestock from one grazing ground to another according to the resources available.

Yet, in our world of continuous transformations and collaborations, this ancestral tradition hints at a different form of "transhumance" and at the possibility of "crossing grounds" and acquire a transdisciplinary attitude.

The latter defines the show that was actually developed through dialogues with an eclectic ensemble of visionaries, among them designers, artists, anthropologists, evolutionists, legal experts, curators, shepherds, musicians, and farmers.

This collective experience tells the tale of this versatile fiber, with a journey that starts 11,000 years ago when hunter-gatherers, in their perpetual quest for sustenance, embarked on a new path that forever altered their relationship with the natural world.

No longer content with simply hunting and consuming the wild sheep that roamed the land, they began to follow and tend to these creatures, gradually forming a bond between human and animal that would shape the course of history.

This profound transformation was not a one-sided affair, but a matter of co-evolution and mutual creation: while humans provided the sheep with sustenance and safeguarded them from predatory threats, the sheep, in turn, offered their precious wool. This transformative "discovery" set in motion a series of events, advancements and societal changes.

To tell this story, rather than opting for more ordinary conventional displays about the rich heritage of wool from ancient civilizations to modern innovations, Formafantasma went for thought-provoking presentations.

The traditional diorama found in natural history museums was readapted in this exhibition to feature six life-sized replicas of diverse sheep breeds.

A variety of objects and materials completes each display, from a 1,700-year-old tunic, to the frightening Sardinian black sheep skin Mamuthones costumes complete with carved dark wood masks and large cattle bells on the back to scare away the evil spirits, plus paintings, documents and commissioned videos by artist Joanna Piotrowska, and by Formafantasma, who also focused in their research on the textile industry in Italy and on the "cenciaioli" (rag dealers) in Prato.

At the centre of the exhibition, visitors are invited to relax on a large carpet made from discarded wool fibers, the by-products of manufacturing processes, and consider the myriad of possibilities offered by wool.

In previous exhibition and projects, Formafantasma explored e-waste, the possibilities of volcanic lava, and even carried out an investigation into the intricate web of global governance surrounding the timber industry.

With "Oltre Terra", the design duo conduct an artistic exploration through a series of studies and interviews as well (the background material for this exhibition is available on their site and features a wide range of books and essays about history, politics, sustainability and social issues as well, so check it out when you have the time as the duo put together an impressive, inspiring and useful bibliography).

These materials challenge our preconceived notions and beckon visitors to delve into the intricate tapestry of our natural and built environments, embracing the interconnectedness of all living beings and transcending the categorizations that segregate humans from animals and products from the realm of biology.

The exhibition celebrates indeed the transformative power of wool, conceived as a material to weave tales of laborious craftsmanship, but also as the binding force between diverse industries, disciplines, and arts, with each strand inviting us to explore the profound connections that unite us all in our shared journey.

Image credits for this post

1. Joanna Piotrowska. Tactile Afferents, 2013. Still from film. 

2. Formafantasma, Transhumance path in the Alps, 2023. Still from film. Photo: Gregorio Gonella.

3 and 4. Formafantasma. Digital elaboration of 3D scanned sheep and mouflon bones, 2023.

5. Recycled wool, Prato, Italy. Photo Alessandro Celli.

6. Formafantasma, Cenciaioli, Prato. Still from film.

7. Formafantasma, Mamuthones mask, 2023, Mamoiada, Sardinia, Italy.

8. Photographer unknown, 'Lady Elizabeth', Sydney Sheep Show, 1937, New South Wales, Australia, Powerhouse collection.

9. Joanna Piotrowska. Tactile Afferents, 2013. Still from film.

10 and 11. Formafantasma, Transhumance path in the Alps, 2023. Still from film. Photo: Gregorio Gonella.

Design Duo Cunnington & Sanderson Speak About Crafted Heritage, Sustainable Future & Timeless Fashion Narratives

In the fast-paced world of fashion, where trends come and go in the blink of an eye, it is hard to maintain your integrity, authenticity, passion and beliefs. Yet British fashion designers Matthew Cunnington and John Sanderson managed to carve a niche for themselves by staying true to their principles.

Transcending fleeting trends, the duo came up with designs such as their 2018/19 "Occupied" collection that pre-dated the quilted designs referencing beds and pillows and the comfort of our houses during Coronavirus lockdown, and promoted mental well-being among creatives.

Founded in 2012 on a shared passion for beauty and craftsmanship, the duo who met while studying Fashion Design at the University of Central England, became synonymous with hand-made garments that exude both sophistication and longevity. In the last decade they embarked in a personal journey to reduce their carbon footprint, embracing zero-waste practices and maximizing sustainability. They have done so choosing to collaborate with heritage mills in Yorkshire, paying homage to the rich history of textile craftsmanship in the area, and combining modern design sensibilities with time-honored techniques.

As they take stock of the challenges faced so far and the achievements they reached, they remind us that remaining loyal to one's values and embracing innovation can lead to a lasting impact in the ever-evolving world of fashion.

Your 2018/2019 "Occupied" collection was inspired by mental health and the comfort of home, and became extremely relevant during Covid-19's lockdown. The World Health Organization (WHO) recently declared the emergency officially over, but, as we strive for positivity, optimism, and comfort in our turbulent times, the relevance of the collection seems to have increased with time. Do you feel that the message and the garments in the "Occupied" collection possess a timeless quality?
Cunnington & Sanderson: The focus of the "Occupied" collection was to raise mental health awareness and to show a positive outlook by starting a conversation about this silent subject matter and talking about emotions. We feel that most of us question our mental health on a regular basis but with no guidance. We think that the more we talk about this subject the more we can help each other, so that no one feels alone. This heartfelt collection was inspired by the pillow top - a skillfully crafted and tailored garment, a sort of modern day corset inseparable from the wearer. It includes bespoke feather and down internal padding and an internal framework to support the structure and it’s worn unmistakenly on the front for all to see. It symbolizes depression and how a bedroom can become a solitary sanctuary. It encourages us not to feel ashamed or scared to talk about our feelings, but reminds us that difficulties are there and yet we can make our way forward. In the collection bedding and pillows turn into everyday garments,. In the design bedding and pillows turn into everyday garments, so that the wearability of what’s around us is emphasised. Although the collection was designed and created in 2018, exhibited at Lotherton museum and acquired by Leeds museum and galleries and featured in international press, it was not until the beginning of lockdown for the Coronavirus pandemic which highlighted the importance of people's homes for security, comfort and wellbeing, that it became more popular. This stressful, worrying and uncertain time showed everyone what it can feel like to suffer from anxiety, depression or poor mental health, and the importance of having comfort, security and support around us during difficult times. When during lockdown there was the #pillowchallenge, we felt a sense of pride as we saw billions of people worldwide experimenting with the creativity of wearing a pillow to bring positivity and community spirit during the unsettling times of lockdown. Our pillow top was featured in dansk magazine in Sweden at the same time as the #pillowchallenge was launched by two fashion influencers based in the country. Although saddened by the fact that our poignant message behind this design was missed during the pillow challenge it was comforting to know that so many people found resilience and joy in taking part in wearing a pillow with a belt exactly the same way that we designed it to be worn years before. The pillow top and garments from the "Occupied" collection are still highly requested by stylists and now one of our bestsellers is the unisex, one size for all, printed Pillow T-shirt made in organic cotton and with eco-friendly printing techniques. We wear ours regularly because it is a soft and comfortable design and always receives many compliments. The pillow top was acquired by the Leeds Museums & Galleries, but was it also exhibited in other places in the UK and abroad?
C&S: The pillow top and pieces from the "Occupied" collection were exhibited at Bankfield Museum in Halifax, presented at the White trade fair in Milan during Milan Fashion Week, and has been worn by iconic stylist Lily Gatins, artist and model Michael Moon and RuPaul's Drag Race UK star Le Fil. It was also iIllustrated by award winning artist Caroline Riches and we will exhibit it at the Future Fashion Factory at their 5th annual showcase in Yorkshire. The Pillow T-shirt will also be featured in a personal project which will include Spain, South Africa and America later this year. Our dream would be to have this storytelling garment displayed at the V&A Museum in London.

More than a decade has gone since you founded your brand, how do you feel looking back and which new challenges are independent designers facing nowadays?
C&S: The fashion industry has changed direction a huge amount of times in the last decade. Now creativity and craftsmanship are starting to become more desirable and sustainability is constantly on the rise. At Cunnington & Sanderson we designed zero-waste garments from the very beginning of the brand, but we still feel there is a huge way forward for the industry and customers to have a greater understanding in how everyone can and should have a part in the process of fashion becoming more sustainable.

You are now based in Yorkshire – what's your favourite thing about the area?
C&S: We have a fantastic studio space, bathed in natural light. We love the natural landscape and we are inspired daily by the ever changing flora and fauna and dramatic scenery. It's a huge privilege to be able to walk remotely for hours right from our doorstep whilst also having fast train links to London and an airport close by. And obviously we love the Yorkshire mills with their heritage and traditions.

In your collection you employ sustainable materials and heritage wools, can you tell us more about them?
C&S: We are so proud and privileged to work with some of the best yarns and wools in the world, located right on our doorstep in Yorkshire. We work with traditional Yorkshire mills such as Hainsworth, Linton Tweeds, Clissold, and Abraham Moon. As all the materials are locally sourced, so that in this way we can reduce the carbon footprint of our collections. New arrivals like the printed Pillow T-shirt and top, and the Zero dress are produced with environmentally friendly printing processes on high quality soft organic cotton.

You prefer draping directly on the mannequin to sketching, do you feel this technique gives you more freedom?
C&S: We became skilled at draping through years of self-taught practice and dedication. For us it is important to know that our garments are our own design and bear no resemblances to others, so we do our best to avoid researching any other designers. We are proud to say that the techniques we have always used, developed, and refined are self-taught and we keep on using them nowadays. Because we drape, construct, and sculpt directly onto the body, the garments that we create are original and can be highly imaginative. After many years we still enjoy experimenting and creating new elements and features with draping and structure, and this is what we find exciting - the possibilities are endless. Draping directly on the body form can provide instant results, shapes, volumes, silhouettes, feelings, detailing and so on that you could never predict by drawing first. Working with your chosen fabric can show you techniques that best highlight its own qualities, texture, pattern and colour. We have also presented our zero-waste draping workshops at various universities including Nottingham Trent and the University of Leeds in the UK, and the Haute Ecole Art Design University (H.E.A.D.) in Geneva, Switzerland, but also online on Zero Waste Draping. In this way we can educate a new generation of designers towards the importance of sustainable fashion and create genderless zero waste garments where the full value of the fabric is used. Zero-waste fashion design also gives you the freedom to invent organic silhouettes, allowing you to come up with unexpected volumes and spaces around the wearer.

Quite often your designs have a transformative twist about them – a jacket can be worn as a skirt, for example. How important is this versatility in your designs?
C&S: The tailored jacket that turns into a skirt with the sleeves that transform into functional pockets was inspired by the idea that garments can be recycled and remade into alternative structures; the gown of jumpers in which unworn and unwanted sweaters are draped together and reused to construct a luxurious garment, was for example the result of our pondering on disposable fashion and our will to prompt people to ask themselves how they can contribute to sustainability and reduce the consumption of fast fashion which is detrimental to the environment. We love creating pieces that are thought-provoking and conversation starters. You see, fashion can be so much more than mass produced garments and our designs offer wearers the possibility of telling a story. The transformative element in our designs is not just a way to create a sense of magic and wonder in one garment, but a sort of bonus feature that can inspire people the confidence to wear what they want to wear, how they want to wear it. We feel that diversity is beautiful and comfort is found in the non-conformity.

In 2021 you did the #weareemotionchallenge, what was the response to it and would you do it again?
C&S: The #wearemotionchallenge received a tremendous response from stylists, photographers, editors, models, students and the general public. The challenge raised money for charities including Mind, the Samaritans and the Mental Health Foundation. Setting a challenge on social media is a fantastic way to provide everyone with the opportunity to participate. To simply post a picture wearing an emotion and the hashtag #wearemotionchallenge started a conversation about feelings and showed others that we are not alone. Raising awareness about this crucial subject can break the stigma and the silence about this important topic. At Cunnington & Sanderson we believe that everyone can be creative with fashion and participate in social media in a way to support others. The colour of your jumper, the memories associated with wearing your favourite garment, the way you style a design and the symbolism intrinsic in items of clothing, accessories and random objects that you can wear - including flowers, for example - trigger a whole gamut of emotions. The response from some participants was surprising: one of them even ended up turning their entry into their Christmas cards - what a fantastic way to share their support and creativity! But the challenge to talk about emotions continues: earlier this year Nottingham Trent University included the #wearemotionchallenge as part of the first year knitwear programme and we will see the students' entries in the next few weeks.

Do you feel that fashion weeks are still relevant for fashion designers and brands and will you be presenting your new collection at the next shows or at any trade fair in the next few months?
C&S: We feel that fashion weeks are enjoyable and desired, but they can be very costly. As creatives we are constantly looking for alternative ways of presenting our work, and enjoy collaborations with luxury brands such as Creed Fragrance to express our creativity in other fashion forms. We are considering the possibility of returning to present our work during Paris Fashion Week in the future, but at the moment we are planning an exhibition in Yorkshire to promote creativity and sustainability in fashion. In the meantime, we will continue to launch new collaborations with performance artists, photographers, art galleries, magazines, film makers and so on to present our fashion narratives in other mediums and formats.

You did a digital version of your pillow dress in collaboration with Seamm, do you have any plans to do more digital designs in future?
C&S: There are many sustainable positives to digital fashion and we hope to have more digital wearables available in the near future. In the meantime we are focusing on fashion IRL with new arrivals such as sweatshirts and T-shirts in organic cotton, and focusing on diversity. Cunnington & Sanderson are looking forward to extending our selection of unisex fashion and garments with a variety of size ranges.

Image credits for this post

All images in this post courtesy Cunnington & Sanderson

Strike a Pose: Chanel Resort 2024 Vs The 2023 Writers Guild Labor Dispute

Fashion is a movable feast: there may be catastrophes and wars here and there in the world, but the (runway) show must go on, from one glamour capital to the other, from one magnificent venue to the next. And so, on Tuesday evening, Chanel unveiled its Resort (or Cruise) collection at Paramount Studios in Hollywood.

The event celebrated in some ways the connection between Coco Chanel and Tinseltown: the designer arrived in Hollywood in the early '30s, at the height of the Golden Age, to create costumes for Samuel Goldwyn's United Artists Studio. Among the others, Coco Chanel designed the gowns for A. Edward Sutherland's "Palmy Days" (1931), for Gloria Swanson in Mervyn LeRoy's "Tonight or Never" (1931) and Victor Saville's "First a Girl" (1935).

Yet, rather than geared towards classic silver-screen sirens glamour, the collection was more about Los Angeles' fun. Translated into the set, this inspiration materialised as a game court, bleacher seats and a giant screen showing palm trees and the LA skyline and beach. The space doubled up as a roller rink after the show, complete with food trucks and a final party by Snoop Dogg.

Highly Instagrammable for the influencers and celebrities involved (among the others Margot Robbie, Kristen Stewart, Elle Fanning, and Marion Cotillard), collection-wise it was a celebration of the LA carefree style.

Beachwear and swimsuits, cropped tops and shorts abounded; aerobics was another theme as proved by bodysuits and logo legwarmers (worn with hi-top trainers) galore, but also roller-skating mania.

The latter was revised via maxi T-shirts with '80s graphics of roller skates, and tops and dresses scattered with ice cream sundaes and sparkly palm trees, a motif also replicated on intarsia dégradé vaporwave cardigans.

There was no space for "I, Tonya" violence, but plenty of space for glitter lamé bodysuits, while a tracksuit in mint green evoked the uniform of disenfranchised youth rather than carefree LA.

There were more hints at the kitsch excesses of the '80s, including a Volkswagen camper van-shaped Chanel handbag (hope they asked for permission, otherwise it could result in a legal action) and disco ball shoes with light-up heels (that will come up with different colours and speed settings View this photo), a tongue-in-cheek nod to what you may find on Aliexpress rather than a reference to French couture (well, a while back Balmain was also hit by disco ball mania minus the light-up heels, so this is a trend View this photo).

In the realm of escapism, the vibrant Venice Beach boardwalk proved to be a captivating inspiration, an energetic and vibrant tapestry of beautiful youthful and sporty humans with sculpted bodies.

Some looks conjured up Jane Fonda, but there were mild references to "Clueless" in the pastel tweeds, a reference combined with a healthy dose of Barbiecore mania to anticipate the film of the summer.

The runway was indeed filled with an abundance of pink tweeds, bustiers, minidresses, and pink dégradé sequinned crop tops. One of the pink ensembles actually wouldn't have looked out of place in the romantic comedy TV series "Grease: Rise of the Pink Ladies" recently released on Paramount+.

For more mature customers the selection included bohemian camellia prints, gold sequined "zigzag moderne" jumpsuits, pajamas hinting at Art Deco and star and comet motifs, a tribute to the many stars shining in the Hollywood constellation.

The current Creative Director at Chanel, Virginie Viard, is not just a film fan, but she started her career as a costume designer in the '80s.

Next week at the Cannes Film Festival, Chanel will be once against the protagonist with Maïwenn's film "Jeanne du Barry" featuring costumes by Jürgen Doering and Viard, drawing inspiration from 18th-century dress and vintage Karl Lagerfeld for Chanel designs from the 1980s and '90s (that were in turn inspired by Louis XV's last mistress).

Yet there was actually something else that connected Chanel's show with films: outside the studios there were indeed a few Writers Guild of America (WGA) members striking.

Film and TV writers have indeed initiated a nationwide industrial action: the strike started at the beginning of May as negotiations failed between the WGA and the Alliance of Motion Picture and Television Producers (AMPTP), a coalition of major studios.

The WGA wants structural changes in studio operations and pay increases totaling $429 million per year for its members, while the studios' current offer stands at $86m a year.

Despite the booming investments in television and film, writers are indeed witnessing a decline in their earnings. The proliferation of mini-rooms rather than proper writers' rooms and the expansion of streaming services that refuse to pay more than minimum rates and do not take care of success or experience, meant that weekly pay for writers declined over the past decade. This means that, while studios profits and executive salaries have seen significant growth, writers are becoming disposable and are stuck in precarious and insecure jobs even when they work on successful series and films.

The gaps between seasons also mean that quite often they are left without jobs. Royalty payments used to ensure an off-months income for writers, guaranteeing them a cheque whenever an episode of a series was repeated or sold to another channel. However, the landscape has changed with the rise of streaming services, where the concept of repeats no longer exists, and series are not sold to other channels. In a nutshell, the revered job of screenwriter has become an unsustainable gig-type part-time occupation.

One pressing concern revolves also around the potential misuse of Artificial Intelligence (AI). While AI should ideally serve as a helpful tool assisting human writers, there is a growing apprehension that it may be deployed as a complete replacement for human creativity. Recognizing this, the WGA has called for regulations on AI usage, aiming to prevent its utilization in writing or rewriting literary material and as a source material.

Additionally, the WGA has urged for the prohibition of using writers' work to train AI models. However, the AMPTP has rejected this proposals, opting not to make immediate commitments regarding this matter. This stance has raised concerns and underlined the AMPTP's apparent reluctance to address the issue effectively.

It's therefore not surprising then that 98% of the union members voted in favour of the strike, bringing production to a halt.
So far this has had an impact on different levels in the industry as series – from the "Game of Thrones" prequel ("The Hedge Knight") and the final season of Netflix's hit "Stranger Things",  to Marvel movie "Blade" and late-night shows in the US – were halted. The strike has also had an impact on further jobs related to the film industry – going from technicians, costume and set designers and special effects crews to music advisors and translators.

Nobody knows how long the strike will last (the previous, spanning from 2007 to 2008, went on for 100 days, inflicting a staggering financial toll exceeding $2 billion upon the industry), but some services have already found alternatives that are not favourable to American writers. Probably realizing this was going to happen, Netflix announced in April they will be investing $2.5 billion in South Korea to make TV series, movies and unscripted shows.

Chanel shouldn't be blamed for organizing the show at Paramount Studios, after all, you pick a venue months in advance, so they couldn't have imagined that outside there would have been writers on strike. Yet they may have taken a stance and maybe show some support, after all Karl Lagerfeld brought a fake protest on the runway for Chanel's S/S 15 collection and this would have been a chance to show support to creative people who write films that often end up inspiring fashion collections and trends.

Instead, Chanel opted to distance itself from any involvement or association with the contentious matter, ensuring its neutrality. A spokesperson for the fashion company explained they hoped the parties involved will quickly reach an agreement. According to the company, guests entered the event through "a neutral gate" and therefore were not "in violation of the strike by being on property to attend this event" (the neutral gate, established under the National Labor Relations Act, allows unaffected companies and businesses to operate without disruption during a labor dispute; this concept means that employers can enter and exit a location peacefully, bypassing picket lines and potential obstruction).

There was one film that actually came to mind in Chanel's sea of bodysuits and leg warmers - Adrian Lyne's 1983 "Flashdance". In this romantic dance fairy tale about a talented welder who aspires to become a professional dancer, there was still the possibility of an ordinary girl with a humble and heavy job to make her big dream come true.

Fashion should make us all dream, but it is progressively showing us that the dream (note - the dream, not its fulfillment) is reserved to very few ones out there, often the elite and the affluent. Ordinary people rather than longing for fun or glamour fashion designs are left yearning for fair pay, health care and a pension.

But not caring for them fashion houses forget that their fortune and prosperity also depend from the money of ordinary consumers who may not be able to afford their clothes and accessories, but still opt to buy a fragrance or lipstick by a famous brand. Alas, without gainful employment, bidding farewell to such luxuries becomes an unfortunate certainty. Maybe, by then, some fashion houses will realise that a few words of support to a fair social cause will not hurt their reputation, and will also win them the loyalty of consumers.

The Dark Side of Power: Sexual Abuse & The Male Gaze, From Current Events to Art

Yesterday a jury in a federal court in New York found that Donald Trump sexually abused advice columnist E Jean Carroll in a department store changing room 27 years ago. The jury - comprising three women and six men - ruled that Trump sexually abused the New York writer, but did not convict him of rape.

As this was a civil rather than a criminal case, the only legal sanction Trump will face is financial. He was indeed condemned to pay $5m for compensatory and punitive damages (about $2m on the sexual abuse count and close to $3m for defamation, as he branded Carroll a liar).

During the trial Carroll remembered the events: while leaving the Bergdorf Goodman department store in New York one evening in spring 1996, she ran into Trump. He asked her to help him buying a present for a woman and she suggested a handbag or a hat. Trump wasn't interested, but mentioned lingerie.

In the lingerie department, Trump "snatched up" a grey-blue bodysuit and told Carroll to try it on. Carroll refused, but Trump suggested they both try it on and motioned toward the dressing room. Initially, Carroll thought this was a joke, but the mood changed. "He immediately shut the door and shoved me up against the wall. He shoved me so hard my head banged. I was extremely confused," Carroll recounted in court. "He leaned down and pulled down my tights," she continued. "I was pushing him back. It was quite clear I didn't want anything else to happen."

Ashamed to go to the police, Carroll chose not to report the incident, but eventually found the strength to talk about what happened in 2019, motivated by the #MeToo movement.

The attack left Carroll unable to have a romantic relationship and to even smile at a man she was attracted to (in court clinical psychologist Dr Leslie Lebowitz stated Carroll exhibited aspects of post-traumatic stress disorder, and highlighted that she manifested "avoidance syndromes" that stopped her having a romantic life). The author went through more suffering after she went public. Trump denied the attack and called Carroll a liar, she lost her reputation and her job as Elle magazine sacked her after she went public.

This is the first time a verdict brands a former US president as a sexual predator. But legal woes are not over for Trump: last month he entered a plea of not guilty to a staggering 34 criminal charges in New York. These charges revolve around the alleged falsification of business records pertaining to a hush-money payment made to the renowned porn star, Stormy Daniels, during the tumultuous 2016 election. Furthermore, there are mounting indications that Trump may face additional criminal charges in relation to his relentless attempts to overturn the outcome of the 2020 election in the state of Georgia and he is also under the scrutiny of a federal inquiry that delves into his alleged role in the incitement of the shocking and unprecedented attack on the United States Capitol.

Can art provide us moments of reflections about issues such as the male gaze and sexual abuse? Let's try to look at these themes through a painting and a photograph. 

The painting in question is "La figlia di Iorio" (The Daughter of Iorio, 1895) by Francesco Paolo Michetti. The painting was inspired by a scene the painter witnessed in Tocco da Casauria, his hometown. On a summer day, a disheveled young woman appeared running in the square, chased by a group of drunk men, as recounted by writer Gabriele D'Annunzio, who was present with him during the scene.

The scene inspired Michetti the painting and D'Annunzio the eponymous play (1904). The story of the play focuses on a young shepherd, Alici, who falls in love with a young woman, Mila di Crodo, daughter of Iorio, a prostitute and therefore an outcast. In the play both Alici and his father Lazzaro vie for the woman, and Aligi ends up killing his father. Mila, who loves the young shepherd, accuses herself of bewitching him to save him and dies on the stake, despised by Aligi himself who is unaware of her sacrifice.

In the painting we see in the foreground a young woman passing by a group of men. She is wearing a long red dress with a shawl that she uses to cover her head to conceal her allure. This gesture actually emphasizes the innocence of the protagonist, her unwillingness to provoke gazes. Each man conveys a different emotion through their gaze. The first one on the left (probably a self-portrait of Michetti) has a mischievous look; the second character, positioned behind the woman and resembling the musician and poet Paolo De Cecco, looks spellbound. The third man maintains a calmer demeanor, almost urging the others to composure and moderation. Next to him is another slender young man, withdrawn into himself, his hands clasped between his knees, perhaps uttering an inviting phrase. The fifth man displays a dreamy gaze, clearly enchanted by the woman.

This is an incredibly dynamic scene, with the woman swiftly walking as you can see from the position of her legs, one in front of the other, and the shawl moving around her. Michetti and D'Annunzio's protagonist was fictitious, but still based on a real woman they had both seen chased by men, a woman they didn't stop to help, turning themselves into passive spectators.

The second artwork is a photograph by Ruth Orkin. Arriving in Italy in 1951, Orkin visited Venice, Rome, and Florence where she met Ninalee Craig, an American student. Craig was 23 at the time and was travelling in Europe and taking art classes in Florence. Orkin asked her to model for a photo shoot aimed at depicting the experience of a woman traveling alone in a foreign country.

Orkin's black and white picture, entitled  "American Girl in Italy", became iconic: the scene captures Craig walking in a calf-length skirt, and clutching a shawl with her right hand and a modest handbag with the other. With her head held high and her hair gathered up Craig is portrayed as surrounded by fourteen idlers of all ages and sizes who ogle her passage. Again, we have a dynamic pose, with the woman passing by and the men staring, maybe uttering a compliment or whistling. 

Alongside with other images by Orkin (there is currently an exhibition of her photographs at Turin's Palazzo Reale, until 16th July 2023), this picture was published in Cosmopolitan magazine in 1952 in the photo essay, "When You Travel Alone…". The latter explained readers not to get worried about public admiration, highlighting "Ogling the ladies is a popular, harmless and flattering pastime you'll run into in many foreign countries. The gentlemen are usually louder and more demonstrative than American men, but they mean no harm." In later years, commenting about the picture that in the meantime became a piece of conversation about street harassment, Craig highlighted that those were different times and there was no danger. In fact, Craig represented independence, freedom and self-determination and the shoot encouraged women to be independent and travel alone and also challenged gender roles at the time. 

Yet there is a sense of objectification in both the painting and the photograph, with the women portrayed as the exotic element: in Michetti's painting, the woman clad in red is beautiful and mysterious, like Mila "the witch" in D'Annunzio's play; Craig, the American in Italy, the foreigner in a time when there were fewer travelers and visitors, also represents an intriguing novelty.  

In images portraying E Jean Carroll, rather than being surrounded by men, the author is often circled by photographers or protesters - some supporting her, others defending Trump. Like the other women in the painting and the photograph, she is scrutinised (interestingly enough, though, while Mila is the witch in Gabriele D'Annunzio play, here the former president considered himself the victim and "the witch". In an attack on his social media site, Truth Social, Trump called Carroll's accusations a "made-up SCAM" and a "witch-hunt").

Carroll found the strength to get rid of the suffocating grip of shame; her decision to take legal action challenged the status quo and demanded accountability, while being a stark reminder that, while progress has been made, there are still battles to be fought and oppressive structures to be dismantled (will being found liable for sexual assault really be the end of Trump?).

In "American Girl in Italy" Craig walks with half-closed eyes, almost knowing the sidewalk is nearing its end, and the commotion will become but a memory. While Trump's lawyers may attempt to appeal, for now, Carroll has reached a pivotal moment in her journey - standing strong and determined, she has reached the end of that pavement, a testament to her resilience and unwavering spirit.

Consumer / Machine Interactions as the Key to Memorable Retail Experiences (With Prompt Libraries as a Retail Perk?)

In 1998 Glasgow's Gallery of Modern Art (GOMA) included in its interactive display in the basement a piece entitled "Generator".

Designed by Robert Pepperell, who previously had already collaborated with Coldcut on an interactive audiovisual piece called "Synopticon" (1996), the machine allowed visitors to live-mix audio and video sources.

The installation consisted of two consoles, one for the sounds and the other for images, with button banks, a set of computers, a video projector and speakers. The colourful buttons on the consoles were organised into rows and each represented a channel of audio or video. Musical genres went from rock and hip-hop to opera, jazz, and so on.

By pressing different buttons, users without any previous musical training could select a piece of rock music and mix it with opera or jazz. There was a caveat, though: the actual clip was chosen randomly by the computer from a database of clips classified by style.

So, the final mix was the result of a collaboration between the user and the computer. Both, you may argue, influenced each other, but neither of them had total control on the output that was therefore unpredictable (check out Pepperell's essay on "Computer aided creativity: practical experience and theoretical concerns" to learn more about the "Generator").

Fast-forward to our days and you will discover a similar idea, but with very different technology and applied to accessories in an installation at Nike House of Innovation in Paris (79 Avenue des Champs-Élysées).

To celebrate the launch of the Air Max Pulse sneaker, Modem, a studio specialised in designing spatial experiences, immersive retail experiences, installations and exhibitions at the intersection of physical and digital, created for Nike an engaging immersive installation for visitors, that employs Artificial Intelligence.

The installation features an interactive mixing table with OpenAI's deep learning text-to-image generator DALL·E 2 at its core. Users playing with the machine can choose from pre-defined prompts to generate dynamic and engaging images.

The visuals, accompanied by evocative soundscapes delivered by concert venue-caliber speakers, are projected on five screens, creating a truly immersive environment.

The installation capitalizes on the current cultural zeitgeist surrounding Artificial Intelligence (AI) technology, tapping into its interactive and entertaining nature.

Enhancing consumer experience is a must, but many brands are struggling to do so and end up offering a passive experience for the user. Many retail environments are still relying on other types of technologies that are offering a limited consumer interaction compared to AI, including QR codes, VR or tablet screens.

Modem's creation, instead, transforms the retail experience, taking it onto another level, converting the traditional idea of retail environment into an interactive user-led space that has some connections with Pepperell's "Generator".

Modem often developed multisensory installations for Nike, employing in their past displays robotic elements and Unreal Engine, the suite of integrated tools for game developers to design and build games, simulations, and visualizations.

AI is currently being employed in different fields, from healthcare to fashion and music: integrating the most creative aspects of this technology in a retail environment is a logical choice as this model of unpredictable human/machine interaction may offer a more engaging and memorable experience for the consumer. But the same could be said about museums that would include installations similar to the "Generator" in their spaces or dedicated AI booths that could allow visitors to play with their archives.

In 1998 Pepperell's "Generator" ended up resonating with museum visitors of all ages: as stated in Pepperell's essay, a private research commissioned by GOMA found that the public response to the piece was overwhelmingly positive.

The research revealed that the audience showed a remarkable level of engagement and that the installation effectively stimulated a strong emotional connection between the audience and the artwork, creating a remarkably indelible and immersive experience for visitors (I can confirm this point personally - to this day I still have fond memories of discovering the machine in 1998 as a student in Glasgow and playing with it a lot, it was pure joy).

The technique of collaborative interaction behind the "Generator" found further expression in a commercially released music composition software called "Playtime", released as part of the CD-ROM that accompanied the "Let Us Play" album produced by Coldcut in 1997.

This aspect could be replicated in some ways with AI: brands employing AI-based installations in their premises could reward their consumers with exclusive libraries of prompts for text-to-image systems given for free with a product (libraries could change for each consumers and could be generated by text applications such as ChatGPT).

Consumers could then be able to play with the prompts at home, maybe coming up with images that could then be used at customising in-store booths or even order a product customized with that specific image they have generated. In a nutshell, the possibilities of AI and retail are endless and are within reach, waiting to be seized by those who attentively listen and understand how to leverage it in innovative and imaginative ways (and to do so knowing the rich history of computer aided art can definitely help...).