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Friday 29th of March 2024

Nairobi, Kenya

A Fashion Presentation “Under the Sea” to Launch a New Company, the Founders of Which Claim Would Transform How People See Formal Wear

At the Hayden Fairgrounds, 398 S. Poplar St., two ladies will launch a new dress rental service on March 16 with an “Under the Sea” fashion display.
Partnering with friend Liz Spinazzola to arrange the fashion event, Nicole Longo stated, “It’s really expensive to buy a dress that you might wear once.” “The purpose is to display clothes that may be rented right here in the city.
We aimed to transform the way individuals view formal wear and provide a means for them to enjoy the thrill of donning beautiful gowns without having to worry about breaking the bank.

The company will sell lightly used gowns, many of which are brand new or have only been worn once. After being dry cleaned, the dresses will be ready for rental. The concept came to Longo and Spinazzola after they noticed how many pricey gowns in their own wardrobes they had never worn.
The two ladies want the event to be enjoyable with delicious food and beverages, a DJ creating a party atmosphere while models make their way down the runway, and a fashion display that highlights the gowns that are available.

A numbered system will be implemented during the performance to facilitate audience members’ identification of their preferred outfits as the models walk across the stage.
“People can kind of write down which dress they like using our little system, and then they can get in touch with us,” Longo explained. “After that, they can come pick up the dress from us in Hayden, or we can deliver it to them.”

Currently, the gowns are kept in storage between the houses of Longo and Spinazzola, but eventually, the women intend to move the business into a commercial building that is presently being built, giving them a physical store.

The runway show will kick off at 5:30 p.m. with a party that allows attendees who paid $50 for VIP tickets to enter the lounge area, where they may partake in appetizers, visit the cosmetics bar, and win raffle tickets automatically. In addition to front-row seats for the performance, those guests will receive gift bags.

Those with general admission tickets, which cost $30 apiece and include snacks, a drink, and a little goodie bag to remember the occasion, can enter at 6:30 p.m. At the door, extra raffle tickets are available for purchase for a chance to win more prizes.

Spinazzola and Longo, who run their own businesses, came up with the idea for both the performance and the outfit rental service. Spinnazola is the owner of Manes and More By Mermaid, a Hayden salon offering services for cosmetics, personal care, and beauty. At her farmer’s market booth, Longo hosts Solstice Collective, a company that specializes in creating hand-tied malas and offers kids the opportunity to create solar-powered mason jar night lights.
According to Spinazzola, “We are just looking into introducing a dress rental opportunity for people who need them all year round.” “We plan to exhibit them at the fashion show, allowing people to see what resources are readily available in Routt County without the need for financial investment.”

The women also hope that by offering dress rentals, they will draw in tourists who may be passing through the area and in need of a dress or who don’t want to deal with the trouble of packing their own for a special occasion or a night out.
Eventbrite and Steamboat event posters both provide QR codes that may be scanned to purchase tickets. If there are still tickets remaining after the VIP line, they can also be bought at the door the night of the performance.
The women stated that the Hayden Valley Schools would receive a share of the sales.

“Perhaps the fashion show will become a yearly occasion in Routt County,” stated Spinazzola. “We were kind of inspired to do it because it’s kind of hard to shop in Hayden, especially for prom dresses and dresses for gala events, and we have so many beautiful gowns and dresses.”

Together with a lesser assortment of suits and dress things for the guys, the women estimate that they currently own close to 200 gowns.
“Everything is unique, therefore, there won’t be a “Who wore it better?” scenario because no two dresses will be the same, according to Spinazzola. “We have a pretty impressive collection,”

According to Longo, Northwest Colorado has long needed a dress rental company. Having one will enable residents to look good for special occasions without breaking the bank or piling up dresses for one-time wear in their closets.

“Dance Theater, Cabaret Dancing with the Stars, the Yampa Valley Autism Masquerade Ball, and all the high school dances are just a few of the events that are coming up,” Longo stated. “There are a lot of reasons why people dress up, and buying these dresses is very costly.”

Content courtesy of Steam Boat Pilot & NFH

The Brit Awards 2024 With Mastercard – Winners

The BRIT Awards 2024 ceremony is officially over, with many flocking into the O2 arena for the biggest night in British music.

This marks the show’s 44th year of celebrating British and international artistry live with celebrities and music fans. Hosted by British presenter icons Maya Jama, Clara Amfo, and Roman Kemp, the Mastercard-sponsored event was broadcast on ITV1 and ITVX and live-streamed on YouTube for international viewers.

This year, the two-hour show was populated with 17 awards, interspersed with eight jaw-dropping performances from some of the biggest names in music: Dua Lipa, RAYE, Rema, and Kylie Minogue, to name a few. Charli XCX, Green Day, Ben Kingsley-Adir, Joe Keery and Bimini were just a few of this year’s presenters, each of them showing support for their creative peers.

RAYE dominated the night with six wins out of a record-breaking seven. A BRIT school graduate, the 26-year-old singer-songwriter won some of the most prestigious awards of the night, including Mastercard Album of the Year. She was presented the award by her school principal, Stuart Worden, and brought her grandmother, Agatha, onto the stage during her acceptance speech. Tonight, RAYE made history for the most BRIT wins in one night, surpassing Harry Styles, Adele, and Blur, who had all received four in previous years.

Dua Lipa took home the Pop Act award, one of five fan-voted awards. Dua is now the recipient of seven BRIT awards since her first win in 2018. She opened the show with her most recent single, ‘Training Season’, which saw her leather-clad dancers flipping through the air.

Ahead of the main ceremony, The Last Dinner Party, winners of this year’s Rising Star award, were presented with their award by US musician St Vincent on ITV2’s The Brits Red Carpet show.

Producer of the Year was awarded to Chase & Status, who performed their song, ‘Disconnect’ with Becky Hill, who was nominated for BRITs Dance Act for a third consecutive year.
This year’s category changes saw the BRITs extend the number of nominees in the Artist of the Year category from five to ten and introduce the R&B genre award. This meant that the BRITs were able to showcase a diverse range of talent, including Mahalia, Jorja Smith, Salut, and Cleo Sol.

Additional performances came from nominees for the International Song of the Year, Tate McRae, who performed her pop hit, ‘Greedy’, and Rema, who performed ‘Calm Down’. The award went to Miley Cyrus for ‘Flowers’. Last month, ‘Flowers’ won a Grammy for Best Pop Solo Performance, making it Miley’s first Grammy award.

And the winners are…

AWARD: BRITS RISING STAR (presented on The BRITs’ Red Carpet show on ITV2)
Winner: The Last Dinner Party
AWARD: SONG OF THE YEAR WITH MASTERCARD
Winner: RAYE ft. 0207 SHAKE – ‘Escapism’
AWARD: GROUP OF THE YEAR
Winner: Jungle
AWARD: R&B ACT
Winner: – RAYE
AWARD: ALTERNATIVE/ROCK ACT
Winner: Bring Me The Horizon
AWARD: INTERNATIONAL ARTIST OF THE YEAR
Winner: SZA
AWARD: BEST NEW ARTIST
Winner: – RAYE
AWARD: SONGWRITER OF THE YEAR
Winner: – RAYE
AWARD: DANCE ACT
Winner: Calvin Harris
AWARD: HIP HOP/GRIME/RAP ACT
Winner: CASISDEAD
AWARD: POP ACT
Winner: Dua Lipa
AWARD: INTERNATIONAL GROUP OF THE YEAR
Winner: Boy Genius
AWARD: PRODUCER OF THE YEAR
Winner: Chase & Status
AWARD: ARTIST OF THE YEAR
WINNER: RAYE
AWARD: INTERNATIONAL SONG OF THE YEAR
Winner: Miley Cyrus

Content courtesy of BRITs & NFH

Paris Fashion Week: McGirr Debuts McQueen, While Valentino Presents an Ornate Black Study.

Valentino’s newest fashion show, an homage to the dark, was held on Sunday in the hallowed salons of a large 18th-century palace. This monochromatic collection, which was influenced by renowned painters like Pierre Soulages, the French master of black, glittered and glistened among a variety of textures and materials beneath crystal chandeliers.

A moon’s distance away, in the dark expanse of an industrial warehouse strewn with bare concrete surfaces and abandoned iron rails, the shivering guests of Alexander McQueen gathered under blankets, vibrating with an electric expectation.
This was not just any other fashion show, but it signified the start of a new era for a house with a rich and controversial past, as well as the introduction of Sean McGirr as the new creative director.

1. The Nooir of Valentino
“I approached black as a canvas, a starting point on which to build silhouettes that could move while looking for lights around, to soak them in and reflect them,” said designer Pierpaolo Piccioli.
The paradoxes of the color, which might be used to symbolize sobriety and exuberance, lack light while absorbing reflections, captivated the photographer. It brought to mind Soulages’ ideology, which passed away in 2022.
As a result, all-black ensembles with a hint of Valentino’s heyday and glitz from the 1980s walked by, daywear and evening merging seamlessly due to the color’s strong attraction.

Fashionable home pieces were reinterpreted with a contemporary twist, for example, consider the dramatic black rosette embellishing a sleeve or the subtle skin peeking out from behind layers of silk. Athletic A-line skirts with tubular frills were also a hit.
Although the collection avoided the risk of feeling one-note, feathers, leather, sequins, and lace added slight textural tension, not quite enough to keep it from feeling that way.

Yet, the last set of dresses, which included a stunning floor-sweeping gown made of transparent chiffon, was a magnificent study in elegance. Poignantly scattered like a constellation of black stars, delicate ornaments were scattered across it.

2. Alexander Mcqueen’s New Beginnings
After 14 remarkable years of Sarah Burton, there was a lot of pressure on the relatively unknown 35-year-old designer from Dublin, McGirr, to present in this debut a vision and identity. Burton left large shoes to fill when she left McQueen last season. After the brand’s creative creator passed away suddenly and tragically, Burton weaved her story into the brand’s darkly romantic ethos.

Described as “rough opulence” and with the goal of “unveiling the animal within,” McGirr’s debut collection aligned with Alexander McQueen’s fundamental principles, which include a blend of Gothic charm, provocativeness, historical fashion references, and the brand’s signature dramatic tailoring.

A model wearing a darkly twisted black laminated garment that looked to swallow her hands whole opened the show. This startling picture of confinement recurred throughout the collection.
This idea of bound was repeated in the ropes that wound around the slender legs of jeans and the sturdy boots that transformed into the hooves, tails, and menacingly large leather coats of horses.
Still, there were times when designs bordered on garish, with patterned ancient Renaissance sleeve dresses and oversized knitwear resembling “car tires” that lacked the nuance of his predecessor.
Even though there were some dazzlingly bold moments in the collection, McGirr chose to play it safe rather than take the chance of making a mistake by pushing the boundaries.
Maybe this premiere would have been better served by a more intimate, low-key, and less stressful presentation style.

However, a surprising undercurrent of joy and whimsy emerged within the collection’s melancholic thoughts, best expressed by the mellifluous tune of his compatriot Enya’s “Sail Away” filling the air.
It brought a cheerful brightness to the room that was slightly mirrored in McGirr’s sometimes humorous designs.

3. Mugler’s Drama, Light, and Shadow Infused With Mist

During the Sunday night show, Mugler’s guests were mesmerized by the mist-filled theatrics.
The staging used dramatic elements such as strobe lights, smoke machines, and cascading drapes to convey drama.
Watched by celebrities like Brooklyn Beckham, layers of curtains dropped from the Lycee Carnot school atrium, where models used light and shadow to accentuate already outstanding appearances.
There was corsetry, asymmetry, and flesh everywhere.
Designer Casey Cadwallader has been pushing conventional fashion norms with a rigorous examination of the human form since his debut, using a strikingly erotic style. This autumn was no different.

Huge black tuxedos are worn with bras above naked torsos. The hems of body-hugging minidresses featured loose, billowing bands. There were many themes of hiding, such as transparent textiles that showed off nipples and cleverly positioned fabric portions that only offered modesty.

The American designer is still having a big impact on the Paris fashion scene.
He promoted diversity this season as well, displaying models of all ages, sizes, and ethnicities, including numerous plus-sized models. The stunning 63-year-old Farida Khelfa stole the show in a crimson-fringed poncho dress that was bright.

Incorporating digital components to produce captivating exhibitions that connect with a modern audience, Cadwallader’s presentations are renowned for fusing performance, art, and fashion.
This ensures that Mugler remains a prominent figure in today’s fashion discourse.

Content courtesy of Thomas Adamson from The Press Association & NFH 

 

What Qualities Are We Looking for in an Alexander McQueen Designer?

The most anticipated presentation of the season was Alexander McQueen’s debut by 35-year-old designer Seán McGirr.
We are living in the Gatsby era of fashion.
The fabrication of myths, fantasies, and exquisite falsehoods requires a great deal of time, money, and talent, yet it all serves to replicate the past.
Though no designer who put their name on an atelier door before the 21st century truly thought in such terms, conglomerates, particularly LVMH and Kering, desire designers who would modernize what everyone already knows about companies formed decades ago to update the codes.

And even if the fashion wasn’t all that fantastic, to begin with, and even if the people voicing these demands weren’t alive to see the moments, to begin with, shoppers and fashion analysts want items that have the power and mystique of fashion from decades past.
Even if it seems like it when you’re standing in front of a rack at a store or admiring the elegant style of an online luxury retailer, the conflict in fashion today is not whether or not people desire anything. It concerns how well a designer can mimic the past and whether they live up to the collective ideal of what came before them.

For this reason, among others, the 35-year-old designer Seán McGirr’s Saturday night Paris debut at Alexander McQueen was the most anticipated of the season, possibly even in recent memory.
McGirr studied for three years at JW Anderson, so he’s not in a particularly fortunate situation, even if almost all designers his age looked up to McQueen. He takes over for Sarah Burton, the adored heir to the brand’s creator, Lee McQueen (whose middle name was Alexander), who succeeded the designer following his suicide in 2010.
A master tailor who poured his demons and traumas into his collections, McQueen was a once-in-a-lifetime artist who left his audiences both emotionally bruised and stunned.

François-Henri Pinault, the head of Kering, and his wife Salma Hayek, along with hundreds of editors, influencers, and celebrities, trekked to a remote corner of Paris on a chilly, rainy night, shivering in a semi-outdoor space to see what McGirr had cooked up.
There are other reasons why all eyes were on McGirr. The paucity of female creative directors at McQueen’s parent company, Kering, and in the fashion industry at large was a topic of discussion following McGirr’s October hiring.
Numerous white males with similar haircuts had positions of authority, but numerous competent women were overlooked. Hehe.

What then did McGirr provide? Nice tailoring—not as good as McQueen’s or Burton’s—along with very edgy lads dressed in tight leather jackets, skimpy suits, and quirky headgear. Perversion efforts were made: he dressed the figures in decent jackets and shoes that resembled hooves, with one gray ponytail hanging down from the heel. He was a McQueenism, but he also manufactured enormous sweaters, a talent he would have developed at JW Anderson.

Though less often than the designer intended, the opening garment, which was made of sparkling black jersey, had the model’s hands crammed inside. It was sensual at moments.
The song “Orinoco Flow” by Enya, included on the soundtrack, had a hint of cheekiness that verged on cheesecake.

You can’t just put out there that McGirr’s models walked with strange wobbles or akimbo arms following John Galliano’s eerie January couture presentation for Maison Margiela.
All in all, it read like a final thesis from art school, too carefree to convince us that these animals were nasty foreigners.

One model donned a death gaze while swinging a pretty ordinary-looking studded purse like a war ax. She was dressed in an incandescent yellow knit skirt, jacket, and tube top.
Some of you questioned what this lady could be so furious about, given her appearance as though she were heading to a music festival supported by some unremarkable late-capitalist organization like a firm that claims to disrupt water.

Exacting, clever, if somewhat emotionally stunted, McQueen was particularly so at his peak, when Kering became an investor and he could apply his Savile Row-shaped abilities to beautiful materials from Paris. The play might have appeared violent and deranged, or it could have looked flawless to appease the Gatsbyites. Rather, it was neither.

McGirr, who exudes a youthful charm akin to that of Sally Rooney, expressed backstage that he aspires for his McQueen to be “uplifting.” He’s as sweet as pie: His evening plans included hugging his mother and taking a bath. In addition, he declared that McQueen’s devotion to “people on the fringes” is “more relevant than ever” and that he finds these “outsider” characters attractive.

Though his collection had the manners of a Spice Girl greeting the queen, McGirr said, “I’m kind of into this idea of anti-politeness, because we live in a very uniform time.”

This is more than just McGirr’s problem. The fashion industry demands too much of its designers and rushes too quickly to help those who are struggling. A designer doesn’t need to have a luxurious lifestyle to create exquisite clothing; many successful company owners create strange and even disturbing works of art. I can think of Simone Rocha, Demna from Balenciaga, and Rei Kawakubo from Comme des Garçons.

In addition, is it fair to expect a designer to give up emotional stability to create amazing work? Perhaps McGirr does contain something that he has to let out via his clothing. (You never know how a fresh position or artistic endeavor can transform you.) After all, he had just started in October.
It’s up to you to judge a rookie designer’s potential for becoming something extraordinary (or, at the very least, entertaining). Thoughts like his towering, rigid shield tops and big knitwear may develop into something more refined, McGirr appears like an enthusiastic student of his new home.

Studying McQueen brings up a whole new way of understanding fashion, as many people have discovered because of the 2011 hit show at the Metropolitan Museum of Art. McGirr could get corrupted very soon.

In any case, this is an opportunity for the rest of the fashion industry to see what they’re dying to see when they bow down to McQueen. Few people are aware of or take the time to learn about how contentious McQueen’s concerts were at the time, frequently receiving negative press coverage.
Few defended his low-rise jeans, which McQueen developed, or his now-classic collections like his Givenchy debut and Highland Rape series.

Writing about him would have required you to acknowledge the controversy: Longtime fashion writer Robin Givhan for The Washington Post called his clothing “bawdy, sometimes mean-spirited,” especially toward women. Even in her praise of the collections, Givhan mentioned retailers’ issues with the clothing’ fit.

McGirr would be better off turning away from the green light across the lake and forging his path, looking to McQueen for his bluntness and his unwillingness to back down, than trying to feed the McQueen fantasies of the past.

Content courtesy of Washington Post & NFH 

The Newest NN Running Team Racing Outfit Design: An Explanation Of The Concept Behind Eliud Kipchoge’s 2024 Tokyo Marathon Customized Nike Kit

The 2024 NN Running Team Kit represents not just an aesthetic upgrade but a deep cultural and environmental connection to the athletes’ training grounds. Centered around the theme of the Acacia leaf, the kit design symbolizes the essence of resilience, growth, and natural beauty that the athletes experience in Kenya. This design choice connects the athletes to their roots and the serene yet challenging environments where their training takes place.

The Acacia Leaf Symbolism

The Acacia tree holds a significant place in many cultures, especially in Kenya, where it is a common sight in the landscapes where the NN Running Team athletes train. The Acacia is known for its resilience, thriving in arid conditions with minimal water. This resilience mirrors the athletes’ own perseverance and dedication to their sport, facing and overcoming challenges in their pursuit of excellence. The use of the Acacia leaf in the kit design is a nod to this shared spirit of endurance and the natural beauty of their training environment.

Design Features

While specific details about the material composition, technological integrations, and performance-enhancing features of the kit are not mentioned, it’s typical for running kits of this caliber to include:

– Lightweight and Breathable Fabric: To ensure the athletes remain cool and comfortable during races, even in warm weather conditions.
– Moisture-Wicking Technology:  To draw sweat away from the body, helping to keep the athletes dry and prevent chafing.
– Aerodynamic Fit: To reduce air resistance and improve performance, every element, from the seams to the texture of the fabric is likely designed with aerodynamics in mind.
– Vibrant Design: The Acacia leaf motif is not just symbolic but also adds a visually striking element to the kit, making the athletes stand out during competitions.

The Story Behind the Design

The unveiling of the kit by Eliud Kipchoge’s management highlights the importance of storytelling in sports apparel. By sharing the history and inspiration behind the design, the NN Running Team connects the athletes and their fans to a larger narrative of heritage, environment, and the pursuit of excellence. This storytelling aspect enriches the significance of the kit, transforming it from mere sportswear into a symbol of identity and pride.

The Impact

The introduction of the 2024 NN Running Team Kit does more than update the team’s wardrobe; it serves as a source of motivation and a reminder of the athletes’ roots and the journey they embark upon in their careers. For fans and aspiring athletes, the kit is a tangible representation of what can be achieved with dedication and respect for one’s surroundings.

The 2024 NN Running Team Kit, with its Acacia leaf design, is a masterful blend of culture, nature, and technology. It stands as a testament to the team’s values and the athletes’ connection to their Kenyan training grounds, offering them inspiration and a unique identity as they compete on the global stage. This thoughtful incorporation of natural elements into sports apparel sets a precedent for future designs, where meaning and performance go hand in hand.

Global Sports Communication and NN Group have established a special ongoing collaboration. NN Running Squad is the world’s first professional running squad that is introducing a new aspect to running.

The NN Team
Together with the greatest athletes on the planet, the world’s finest long-distance runners form the NN Running Team. NN Group and Nike-sponsored athletes include reigning Olympic champion Eliud Kipchoge, world record holder, world champion, and Olympian Kenenisa Bekele, Chicago Marathon 2016 winner Florence Kiplagat, and Dutch athlete Abdi Nageeye. On April 9, 2017, the NN Running Team will compete in its inaugural team event at the NN Marathon in Rotterdam.

Setting Up a Professional Running Framework
With the goal of elevating the sport to a more professional and inventive level, the NN Running Team will compete in 150 events throughout the globe. Working with sponsors like Nike and NN Group allows us to provide the greatest assistance possible for our athletes.
A former elite athlete named Jos Hermens said, “And by assembling a team of elite athletes, young African and European talent, all the athletes can tap into the knowledge and experience that have propelled our world and Olympic champions to the top of their sport.” Serving as the head of Global Sports Communication, he has over 30 years of experience providing assistance to several elite athletes worldwide.

NN and Running 
NN Group has been actively participating in a range of running events since 2015 with the aim of assisting individuals in reaching their athletic objectives. Numerous running events in Europe and Japan, such as the Nationale-Nederlanden San Silvestre Vallencana in Madrid, the NN Marathon Rotterdam, and the Naha Marathon in Japan, are proudly sponsored by NN today.

Through its sponsorship of the NN Running Team, NN Group is advancing the sport of running. Remco Barbier, head of branding at NN Group, states, “We think that the accomplishments of the athletes in the NN Running Team can also motivate others.” Barbier says, “We also hope that the team’s knowledge of training regimens, nutrition, and apparel, for example, will inspire recreational runners and that this will contribute to improving their own performances.”

Content courtesy of NN Running Team & NFH

“My Brother’s Keeper”: A Testament to Nigerian Heritage and Local Craftsmanship in Fashion

In an era where the global fashion industry often overshadows local creativity and production, Badesere Lagos introduces “My Brother’s Keeper,” a pioneering fashion collection that brings the spotlight back to Nigerian heritage and local craftsmanship.

Spearheaded by the visionary Badesere Aboyade-Cole, this collection is a vibrant celebration of Nigeria’s resilience, beauty, and rich cultural tapestry, offering a fresh perspective on African fashion through the lens of local production and exceptional artisanship.

Embracing Local Fabrics with Global Appeal
At the heart of “My Brother’s Keeper” is a commitment to utilizing locally sourced fabrics, a choice that not only highlights the unique textures and patterns inherent to Nigerian culture but also supports the local economy and the artisans behind the scenes. This collection stands as a bold statement against the conventional reliance on imported materials, showcasing the untapped potential of Nigerian resources. Each piece in the collection is meticulously crafted, reflecting the intricate details and high-quality workmanship of Nigeria’s skilled artisans.

Innovating African Fashion
Badesere Aboyade-Cole’s approach to the “My Brother’s Keeper” collection is revolutionary, focusing on versatility and innovative construction techniques that challenge the status quo of African fashion. The collection’s designs transcend traditional boundaries, offering wearers pieces that are not only culturally significant but also align with contemporary fashion sensibilities. It is a harmonious blend of tradition and innovation, embodying the spirit of progress that drives the Nigerian community forward.

A Call to Collective Empowerment
The ethos of “My Brother’s Keeper” extends beyond the realm of fashion; it is a clarion call for unity and collective empowerment. Badesere Aboyade-Cole’s message is clear: by supporting local manufacturers and embracing our indigenous beauty, we can forge a brighter, more sustainable future for our communities. This collection serves as a reminder of the strength found in solidarity, echoing Frederick Douglass’s words that, without struggle, there can be no progress. It is an invitation to Nigerians and the global community to stand together in support of local production, thereby fostering economic growth and self-sufficiency.

Beyond Fashion: A Movement for Change
“My Brother’s Keeper” is more than a fashion collection; it is a movement towards empowerment, sustainability, and progress. It challenges us to rethink our consumption patterns, value the craftsmanship of our local artisans, and take pride in our cultural heritage. In doing so, it offers a pathway to a future where the fashion industry not only celebrates beauty in all its forms but also contributes to the well-being of the communities it touches.

Join the Journey
The launch of “My Brother’s Keeper” marks a significant milestone in the journey towards a more inclusive and sustainable fashion industry. Badesere Lagos, under the creative guidance of Badesere Aboyade-Cole, invites everyone to experience the beauty and craftsmanship of Nigerian fashion. By embracing this collection, you become part of a movement that values heritage, supports local production, and believes in the power of community to drive change.

Follow the journey and explore the collection: Badesere Aboyade-Cole @Badeserelagos.

In embracing “My Brother’s Keeper,” we not only witness the evolution of African fashion but also contribute to building a legacy of innovation, resilience, and unity. This is more than fashion; it’s a celebration of our identity, a nod to our past, and a step towards a future where every thread tells a story of empowerment and progress.

Content  courtesy of Badesere Aboyade-Cole, Mo AfricanPR & NFH Digital Team 

Milan Fashion Week’s Fall/winter 2024–2025 Collection Fights Discrimination And Shines A Light On Black Designers

In a world where fashion serves as a mirror to society’s evolving norms and values, Milan Fashion Week’s fall-winter 2024-25 collection has emerged as a beacon of progress and inclusivity. The prestigious event, long revered for its influence in setting global fashion trends, took a bold step forward this season by casting a spotlight on black designers, who have historically been underrepresented in the industry. This initiative is not just a nod to diversity but a comprehensive effort to combat discrimination, signaling a seismic shift in the fashion landscape.

A Platform for Underrepresented Talent

Milan Fashion Week has always been a stage for the world’s most renowned designers to showcase their artistry. However, this year’s focus on black designers marks a pivotal moment in the event’s history. By providing a platform for these talented individuals, the week not only celebrated the richness of their cultural heritage but also underscored the importance of diversity and representation in fashion. This move is a clear acknowledgment of the unique perspectives and creativity that black designers bring to the table, enriching the industry with their diverse narratives and aesthetics.

Combatting Discrimination Through Collaboration

The initiative to spotlight black designers was accompanied by a significant partnership between the Italian Fashion Council, a governmental anti-discrimination office, and a nonprofit organization dedicated to promoting African fashion. This collaboration is a testament to the power of unity in driving social change. By signing an agreement to trace, identify, and fight against discriminatory practices, these organizations have laid down a comprehensive strategy aimed at fostering an environment of equality and respect within the fashion industry.

A Step Towards Inclusivity

The fall-winter 2024-25 collection at Milan Fashion Week serves as a critical step towards inclusivity in fashion. It goes beyond mere representation; it is about acknowledging and addressing the systemic barriers that have hindered black designers and other marginalized groups from receiving the recognition they deserve. This initiative sends a powerful message that fashion is for everyone, irrespective of their race and that the industry is committed to breaking down the walls of discrimination.

The Impact on the Industry

The spotlight on black designers at Milan Fashion Week is expected to have a ripple effect across the global fashion industry. It challenges other fashion weeks and designers to reflect on their practices and consider how they can contribute to a more inclusive and equitable industry. Moreover, it encourages consumers to support and celebrate diversity, not just in fashion but in all aspects of life.

Looking Forward

While the initiative at Milan Fashion Week is a significant milestone, it is just the beginning of a long journey towards full inclusivity in fashion. The success of this initiative should serve as a catalyst for continued efforts to ensure that all designers, regardless of their background, have equal opportunities to showcase their work and influence global fashion trends. The fashion world is watching, and the message is clear: the time for change is now.

In conclusion, Milan Fashion Week’s fall-winter 2024-25 collection has not just set the stage for the latest fashion trends but has also paved the way for a more inclusive and equitable industry. By shining the spotlight on black designers and launching an initiative to combat discrimination, the event has underscored the essential role of diversity in driving creativity and innovation in fashion. This landmark moment is a powerful reminder that fashion, at its best, is an expression of all of humanity’s rich tapestry, and everyone deserves a place on the runway.

Content courtesy of NFH Digital Team 

Kanye West’s Zero-Budget Super Bowl Ad: A Masterstroke in Marketing

In an era where Super Bowl commercials are synonymous with lavish productions and multimillion-dollar budgets, Kanye West has once again defied convention, this time in the advertising arena.
His latest venture?
A Super Bowl ad for his Yeezy brand was shot entirely on an iPhone with a production budget of zero dollars. Yes, you read that right: $0. And yet, the ad was nothing short of a monumental success.

Despite the jaw-dropping cost of a 30-second ad slot during the Super Bowl, reportedly $7 million this year, West’s minimalist approach has paid off in spades. The aftermath of the ad’s airing was a staggering surge in Yeezy brand orders, with 284,357 orders placed in less than 24 hours, translating to $19.3 million in sales. This feat is not just a testament to the power of the Yeezy brand but also to West’s unorthodox strategies and his understanding of modern media consumption.

Breaking the Mold

Kanye West has long been known for his unconventional methods, whether in music, fashion, or now, advertising. By opting to shoot a Super Bowl commercial on an iPhone, West has underscored a powerful message: creativity and authenticity can triumph over big-budget productions. This approach not only challenges the norms of advertising but also resonates with a digital-native audience that values genuineness over glamour.

The success of the ad campaign is a case study of efficiency and innovation. In an age where content can be created and disseminated rapidly across various platforms, West’s strategy highlights the potential of leveraging technology and social media to achieve widespread reach and impact, without the need for extravagant spending.

The Genius Behind the Madness

Critics and fans alike often describe Kanye West as a blend of madness and genius. His actions and statements have frequently sparked controversy and debate. However, it’s moments like these that showcase his ability to channel his creativity into groundbreaking successes. The Super Bowl ad is not just a win for the Yeezy brand but a personal victory for West, reinforcing his status as a visionary capable of rewriting the rules.

West’s approach to the ad also speaks volumes about his marketing acumen. Understanding that the Super Bowl audience is vast and diverse, he crafted a message that was simple yet impactful, relying on the inherent virality of his persona and the widespread recognition of his brand. This minimalist ad, devoid of any production frills, managed to captivate millions and translate that attention into tangible sales.

What This Means for the Industry

Kanye West’s Super Bowl ad venture may very well serve as a wake-up call for brands and marketers. In a landscape increasingly dominated by digital media, the principles of advertising are evolving. West has demonstrated that with the right message and brand power, massive returns can be achieved without the traditionally associated massive spending.

This incident will likely encourage more brands to explore innovative, cost-effective strategies for advertising, especially in high-stakes environments like the Super Bowl. It also reinforces the importance of brand identity and the power of leveraging personal brands to amplify product brands.

In Conclusion

Kanye West’s zero-budget Super Bowl ad is a watershed moment in advertising, challenging preconceived notions about what it takes to make a splash on one of the world’s biggest stages. It’s a reminder that in the digital age, creativity, authenticity, and innovation are as valuable, if not more so, than hefty production budgets. West’s ability to marry his artistic vision with sharp business acumen has once again paid off, solidifying his legacy as a figure who continually redefines the boundaries of what’s possible.

With a $0 production budget and an iPhone, Kanye West’s crew said that their Super Bowl commercial was a great hit.
The basic or cost-free production approach paid off handsomely, even though the 30-second ad space cost $7 million.
With 284,357 orders for the Yeezy brand placed in less than 24 hours after the spot, the ad campaign caused a spike in sales of $19.3 million.
Kanye disregards all regulations and repeats them: This guy, man, is half clever, half nuts.

#Marketing #KanyeWest #SuperBowl #AD #LifeTeachingsByOscarAlochi 

What To Anticipate During Women’s Fashion Week A/W 2024

Looking forward, Women’s Fashion Week A/W 2024 promises a month of creative director debuts, huge runway shows, and lots of new names to check out with visits in New York, London, Milan, and Paris.
Suddenly, Women’s Fashion Week A/W 2024 appears on the horizon, promising a packed month-long schedule of catwalk shows, presentations, and events in New York, London, Milan, and Paris. Menswear Fashion Week and Haute Couture Week are also concluding for another season.
This season is sure to be exciting, as numerous companies will be making their much-awaited debuts as creative directors.

Irish fashion designer Seán McGirr will debut his first runway collection at Alexander McQueen (the British company will remain based in Paris following Sarah Burton’s last presentation in the city in September).

Chemena Kamali will also be returning to her career-starting home at Chloé. She most recently served as the womenswear design director at Saint Laurent. Matteo Tamburini will take over at Tod’s in Milan, while Walter Chiapponi, his predecessor, will take up residence at Blumarine.
Here is what to anticipate from Women’s Fashion Week A/W 2024, according to Wallpaper.

New York Fashion Week A/W 2024 (9 – 14 February 2024)
What to expect from New York Fashion Week A/W 2024 (9–14 February 2024) and Women’s Fashion Week A/W 2024
Peter Do will kick off fashion month with his highly anticipated Helmut Lang sophomore collection. The designer started working for the company last year, and in his September runway show, he referenced American stereotypes and the house founder’s simple design principles. In addition, a partnership with American poet and writer Ocean Vuong was shown, with her writing appearing on clothing and the catwalk. As Do becomes used to the job during his second season, expect these codes to change.

3.1 Phillip Lim, Collina Strada, Tommy Hilfiger, and Willy Chavarria, one of New York’s most promising talents and a member of last year’s Wallpaper* USA 300, are among the other participants on day one (expect a high-octane occurrence at the final). Ludovic de Saint Sernin will be returning from Paris this season, while the remainder of the week will include designs from New York Fashion Week mainstays Proenza Schouler, Eckhaus Latta, Area, Tory Burch, Coach, Michael Kors, and Gabriela Hearst.

Thom Browne, who returns to New York Fashion Week on February 14, will wrap up the week. This is a fitting decision given that the American designer is now the head of the CFDA, the organization that oversees the event.

London Fashion Week (16 – 20 February 2024)
The two most anticipated shows of London Fashion Week are still JW Anderson (18 February) and Burberry (19 February evening), with the latter including Daniel Lee’s third runway presentation for the brand. The legacy brand will make its presence in the city known with the announcement of a high-profile acquisition of London’s Harrods department store earlier this month.

In addition, Dunhill will be included in the calendar for the first time since 2020, marking the entrance of new creative director Simon Holloway with a small salon-style display (the event also falls on the house’s 130th anniversary, having been established in London in 1893).

Now in its 40th year, London Fashion Week is always brought to life by the city’s up-and-coming designers, who are back this season in full force. Anticipate a second runway show from Aaron Esh, which will take place on one of the upper floors of Tate Modern’s Blavatnik Building.
Aaron Esh made a strong debut last season. Other highlights include new collections from Robyn Lynch, Conner Ives, KNWLS, Tolu Coker, and Conner Ives, as well as the Central Saint Martins MA fashion show, which will showcase a new wave of young talent.

The week’s highlights come from the city’s more well-known, yet equally fascinating, names, such as Molly Goddard, Simone Rocha, Roksanda, Erdem, and Ahluwalia.

Milan Fashion Week (20 – 26 February 2024)
Expect fresh ideas for both Tod’s and Blumarine, even if there might not be the big-name debuts that characterized the previous season—namely, Sabato De Sarno at Gucci, who will present his second womenswear collection from the house this time around.

Former Bottega Veneta designer Matteo Tamburini will assume the helm at the former, while Walter Chiapponi, who succeeded Nicola Brognano last year, will showcase a fresh collection for the brand at the latter. As a result, anticipate a departure from the Y2K style that characterized Brognano’s administration.
Feben, a London-based designer who is considered one of Wallpaper’s designers to watch in 2024, will make her Milan Fashion Week debut with Dolce & Gabbana’s help.

Highlights elsewhere will undoubtedly include Ferragamo (following Maximilian Davis’s sleek collection from last season, which continued his evolution of the brand), Tom Ford (Peter Hawkings’ sophomore outing), Emporio Armani, Giorgio Armani, Max Mara, Dolce & Gabbana, and Bottega Veneta.
All eyes will be on OMA’s striking menswear set, which clashes the great outdoors with a corporate office.
Marni wraps out the week with a return to Milan following exhibitions in New York, Tokyo, and Paris.

Paris Fashion Week (26 February – 5 March 2024)
The month comes to an end with Paris Fashion Week, a nine-day event that features some of the most anticipated runway shows of the season.
Dior, Saint Laurent, Loewe, Balenciaga, Hermès, Miu Miu, and Chanel are just a few of the designers who are expected to deliver visually stunning runway shows that will undoubtedly dominate social media.
Seán McGirr, an Irish designer who succeeded Sarah Burton as Alexander McQueen’s creative director in September, will also showcase his latest vision for the brand.

On the evening of March 2, he will present his debut collection for the British House, making it undoubtedly one of the events of the week to speak about.

In the meantime, Louis Vuitton will take up the last place for the week on March 5 at 6.30 p.m.
Anticipate a high-profile event. Nicolas Ghesquière started working at the renowned French house 10 years ago, and over the last several weeks, he has been sharing highlights from that time on Instagram.
Will it be a greatest-hits event for him in A/W 2024?

Content courtesy of Wallpaper & NFH 

What Do You Know About African Fashion?

African fashion is a diverse and dynamic industry that reflects the rich cultural heritage, traditions, and contemporary influences across the continent. It encompasses a wide range of styles, textiles, and techniques, celebrating the unique identities of various African nations.

1. Traditional Clothing:

Africa is home to a myriad of ethnic groups, each with its traditional clothing styles. These garments often feature vibrant colors, intricate patterns, and unique designs that hold cultural and symbolic significance. Examples include the colorful Kente cloth of West Africa or the Maasai beadwork of East Africa.

2. Textiles and Fabrics:

African fashion is renowned for its use of bold and colorful fabrics. Traditional textiles like Ankara (wax-printed fabric), Kente, Dashiki, and Mudcloth are widely used. These fabrics are often handmade and showcase a variety of patterns, symbols, and motifs.

3. Modern African Fashion:

Contemporary African designers have gained international recognition for blending traditional elements with modern aesthetics. Many designers draw inspiration from their cultural heritage to create unique and innovative pieces. Fashion weeks in cities like Lagos, Accra, and Johannesburg have become significant platforms for showcasing African talent.

4. Accessories:

African fashion is also characterized by a wide array of accessories. Beadwork, brass jewelry, head wraps, and gele (headscarves) are commonly worn to complement outfits and add a touch of cultural identity.

5. Influence on Global Fashion:

African fashion has increasingly influenced global fashion trends. Designers, celebrities, and influencers from around the world incorporate African-inspired elements into their collections and personal style.

6. Sustainable and Ethical Fashion:

There is a growing movement within African fashion towards sustainability and ethical practices. Designers are incorporating eco-friendly materials, promoting fair trade, and focusing on ethical production processes.

7. Fashion Events:

Fashion events, such as Tribal Chic, Fashion High Tea, African Fashion Week, Lagos Fashion Week, and South Africa Fashion Week, provide a platform for African designers to showcase their work. These events attract attention from the global fashion industry and contribute to the growing recognition of African fashion.

8. Cultural Significance:

African fashion is deeply rooted in cultural identity. Clothing often reflects social status, age, and ceremonial events. Traditional ceremonies, such as weddings and festivals, play a crucial role in influencing fashion choices.

Overall, African fashion is a vibrant and evolving industry that continues to gain prominence on the global stage, contributing to the diversity and richness of the fashion world.

Content courtesy of NFH Digital Team