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Sarah Jessica Parker Launches Zappos Couture Pop-Up In Las Vegas

Sarah Jessica Parker Launches SJP Pop-Up with Zappos Couture at The Shops at Crystals in Las Vegas

Sarah Jessica Parker visits Las Vegas for the opening of the SJP pop-up boutique with Zappos Couture exclusively at The Shops at Crystals. The SJP, by Sarah Jessica Parker, footwear collection will be available as well as an exclusive collection designed by Parker named “The Strip Collection” to be sold at the Crystals pop-up shop and online at Couture.Zappos.com.

The two-day SJP pop-up joins the collection of high-end retailers found within The Shops at Crystals, the nation’s only shopping destination dedicated exclusively to luxury fashion.

At the VIP Welcome Event, guests have a first look at the pop-up hosted by Sarah Jessica Parker. ARIA Resort & Casino’s newest hot spot BARDOT Brasserie, a Parisian restaurant concept by James Beard award-winning chef Michael, provides hors d’oeuvres and craft cocktails.


DAY APPEARANCES – Sarah Jessica Parker will be at the pop-up boutique at The Shops at Crystals on FRIDAY, APRIL 17 and SATURDAY, APRIL 18

WHERE: THE SHOPS AT CRYSTALS, 3720 S. Las Vegas Boulevard, Las Vegas, NV

*The SJP pop-up boutique is located by the valet entrance on the first level at The Shops at Crystals.

SOCIAL: @ZAPPOSCOUTURE on Instagram and Twitter | @CRYSTALSLV on Instagram, Twitter and Facebook


About Couture.Zappos.com

Established in 2004, Couture.Zappos.com, operated by Zappos IP, Inc., has become a leading destination in online couture apparel, footwear, handbag, accessories, fragrance and home décor sales by striving to provide ultra-stylish and brand conscious shoppers with the best possible service and selection.  Couture.Zappos.com showcases thousands of the newest products designed with the highest quality craftsmanship from the best international fashion houses through a unique online boutique experience.8835-3279573-5

About The Shops at Crystals

The Shops at Crystals is an exquisite 500,000-square-foot shopping and dining experience adjacent to the AAA Five Diamond ARIA Resort & Casino. Rivaling shopping meccas throughout the world, Crystals features the largest Louis Vuitton store in North America as well as the largest Tourbillon in the world. Flagship stores at Crystals include Prada, Gucci, Tiffany & Co., Dolce & Gabbana Men’s and Dolce & Gabbana Women’s, Roberto Cavalli and Ermenegildo Zegna. Unique-to-the-market retailers include TOM FORD, Céline, Stella McCartney, Paul Smith, Donna Karan, Tourbillon, Lanvin, RIMOWA and Richard Mille among several others. Crystals is also home to a selection of premier restaurants including Mastro’s Ocean Club; Todd English P.U.B; and Wolfgang Puck Pizzeria & Cucina. For more information, please visit theshopsatcrystals.com or follow on Facebook and Twitter.9999-3090443-5

The Museum at FIT presents Global Fashion Capitals, an exhibition that examines the rise of fashion cities around the world, including London, Milan, New York, and Paris. The exhibition also explores the factors that enable emerging cities, such as Seoul, Shanghai, Berlin, Istanbul, Johannesburg, São Paulo, Mumbai, and Stockholm, to rise to global prominence. As The New York Times noted in a 2008 article titled “The Sun Never Sets on the Runway, at any given moment, somewhere in the world, a city is hosting a fashion week event. Fashion weeks are indeed continuing to multiply as emerging cities realize the economic value of the fashion industry, as well as the value of fashion as a source of “soft power” to communicate identity and spread cultural influence throughout the world. The exhibition makes the case that multiple factors from economic conditions to government support to press interest combine to help create a globally relevant fashion city.

Global Fashion Capitals CISION Images

More than 70 garments and accessories by designers from these cities are on display in Global Fashion Capitals. Ranging from a circa 1890 Charles Frederick Worth couture cape to a spring 2015 beaded fringe dress by Lagos designer Lisa Folawiyo, all are from the museum’s permanent collection, and many of the designers have never before been featured in an American museum.

Global Fashion Capitals will be supplemented by a symposium, jointly hosted by The Museum at FIT and CUNY, on October 13, 2015. The symposium’s morning session will include a fashion show featuring five designers from emerging capitals, in order to offer attendees the opportunity to experience fashion from outside the established fashion capitals. This will be followed by a panel discussion focusing on the fashion industry in various cities and the factors, such as the city’s distinctive style, economic conditions, and sociological elements, that shape the fashion environment. The morning’s events will also include a student fair in which the museum will invite students to interact with various international consulates and designers to learn more about international fashion industries.

The Global Fashion Capitals exhibition opens with a digital style map, featuring the most current global fashion trends. Street style and runway images from 20 fashion capitals show an identity unique to each city. The exhibition then continues thematically by city, beginning with the established fashion capitals of Paris, New York, Milan, and London, followed by the emerging cities.

The couture designs of Charles Frederick Worth an Englishman working in Paris exemplify the emergence of the modern Parisian fashion system built on a long history of luxury production. To create the mystique of Parisian fashion, designers, manufacturers, and artisans work in concert with journalists, retailers, stylists, models, educators, and photographers. A sporty knit suit by Gabrielle Coco Chanel from the 1930s is displayed alongside an elegant circa 1950 navy silk chiffon evening ensemble by Christian Dior. More recent works include Christian Louboutin’s metallic spiked stilettos embellished with rhinestones and an ensemble by emerging couturier Bouchra Jarrar.

New York is introduced with a green-and-brown iridescent ruched taffeta gown by Nettie Rosenstein, who, during the 1930s, competed with French designers. New York solidified its position as a fashion authority by establishing New York Fashion Week (then called Press Week) in 1943. Additionally during this time, the New York based publications Vogue, Harper’s Bazaar, and Women’s Wear Daily began focusing on fashion coming out of New York. Fashion schools, such as FIT (founded in 1944), educated the nation’s leading designers. During this period, New York manufacturers created the majority of ready-to-wear garments for the nation. A simple cotton dress by Claire McCardell from the 1950s represents the active sportswear style of the American woman. The latter half of the 20th century ushered in a new wave of American designers such as Ralph Lauren, Donna Karan, and Alexander Wang, each creating a unique style of American ready-to-wear; examples of these designers’ work will be on display.

Italian design began not in Milan but in Rome when, during the 1940s, a group of couturiers began to emerge. By 1951, Italian fashion had caught the attention of the international press. Magnificent couture dresses from Fontana and Valentino are featured in this section of the exhibition, along with exquisite examples of finely crafted accessories from Florence-based houses, including Gucci, Pucci, and Ferragamo. In 1972, a shift in the Italian fashion industry occurred that placed an emphasis on prêt-à-porter designers showing in Milan. During the 1980s and 1990s, Milan supported a new generation of designer-entrepreneurs, such as Gianni Versace. A bold leopard and baroque print suit by Versace from circa 1992 complements the brilliant colors of Prada’s fall 2007 ensemble, showing the breadth of Milanese fashion. An example of exemplary new Italian design is Stella Jean’s colorfully printed fall 2014 dress and coat that show a fresh mix of menswear details and African prints while remaining faithful to Milan’s reputation for luxurious tailoring and elegant prêt-à-porter.

Swinging London” rose to international fame for its exciting new fashions during the 1960s. London’s creative fashion industry was led by small, independent, yet innovative labels. Vivienne Westwood’s quirky plaid design from 1998 speaks to this radical tradition. Other works include a deep purple devoré velvet gown by John Galliano and Alexander McQueen’s floral-and-butterfly print dress, cinched at the waist with a crocodile corset from his Natural Dis-Tinction, Un-Natural Selection collection.

In the emerging fashion capitals section, Global Fashion Capitals features talented designers from various cities throughout the world. To trace the rise of Tokyo and Antwerp as fashion centers during the 1980s, the designers of the Japanese fashion revolution Yohji Yamamoto, Issey Miyake, and Rei Kawakubo are displayed, along with designers of the Antwerp 6, including Walter Van Beirendonck and Dries Van Noten. Though these designers presented their collections in Paris, they drew significant attention to Tokyo and Antwerp as fashion cities.

Brazilian design is represented by Alexandre Herchcovitch, whose avant-garde prints and motifs have modernized the concept of Brazilian fashion. His spring 2007 jumpsuit, for example, fuses Ndebele tribal-style beadwork and Brazilian colors into a contemporary silhouette. South African designer Nkhensani Nkosi of Stoned Cherrie revolutionized street wear in Johannesburg in the post-apartheid era, designing fashion that united South Africans with a political identity. Her spring 2005 gown embodies the brand’s signature bricolage of fabrics, motifs, and embellishments. Shanghai designer Masha Ma creates depth with texture and textiles in her white fall 2014 ensemble. She, like many of the designers represented in the exhibition, embodies the global scope of today’s fashion industry with offices in both Shanghai and Paris.

Two sides of Seoul fashion are shown through an ensemble from designer Lie Sangbong’s 2006 Hangul (Korean script) collection, which drew international press when he presented it in Paris, as well as Big Park’s graphic spring 2015 dress, in which designer Sooy Park melded her childhood memories of the Korean countryside with global street wear style.

Agatha Ruiz de la Prada’s dramatic yellow polka-dot sheath from spring 2014 exemplifies the vibrant energy in Madrid fashion, while the asymmetrical suit, layered over a fringed denim skirt and sheer trousers by Ann-Sofie Back for her diffusion line, BACK, represents distinctive-yet-wearable Stockholm fashion. New Delhi born Manish Arora incorporates a patchwork of Bollywood motifs into his colorful spring 2006 ensemble finished with gold embellishment, yet demonstrates his international reach by presenting his collections in Paris. A structural ensemble by Dion Lee of Sydney illustrates his signature “filter technique” of complex fabric manipulation.

Brenda Diaz de la Vega, editor-in-chief of Harper’s Bazaar Mexico and Latin America ranked Mexico City as the number-one fashion market in Latin America. Designs by Ricardo Seco and Carla Fernández convey an internationally fashion-forward aesthetic with references to Mexican craft tradition. Fernandez’s 2009 suit incorporates purple suede charro appliqué, while Seco’s spring 2014 ensemble includes geometrically beaded sneakers from his collaboration with New Balance. The shoes’ motifs are inspired by the artwork of the Huichol people and are hand-beaded in Mexico.

As the organizer and creative director of Mercedes-Benz Kiev Fashion Days, Daria Shapovalova has created a platform to promote Kiev designers, such as Anton Belinskiy and Anna K, both in Ukraine and internationally. Belinskiy’s dramatic floor-length turtleneck dress with graphic under layer is on display alongside a feminine ensemble by Anna K.

Global Fashion Capitals is organized by Ariele Elia, assistant curator of costume and textiles, and Elizabeth Way, curatorial assistant, The Museum at FIT.

The Museum at FIT

The Museum at FIT, which is accredited by the American Alliance of Museums, is the only museum in New York City dedicated solely to the art of fashion. Best known for its innovative and award-winning exhibitions, the museum has a collection of more than 50,000 garments and accessories dating from the 18th century to the present. Like other fashion museums, such as the Musée de la Mode, the Mode Museum, and the Museo de la Moda, The Museum at FIT collects, conserves, documents, exhibits, and interprets fashion. The museum’s mission is to advance knowledge of fashion through exhibitions, publications, and public programs. Visit fitnyc.edu/museum.

The museum is part of the Fashion Institute of Technology (FIT), a State University of New York (SUNY) college of art, design, business, and technology that has been at the crossroads of commerce and creativity for 70 years. With programs that blend hands-on practice, a strong grounding in theory, and a broad-based liberal arts foundation, FIT offers career education in nearly 50 areas, and grants associate, bachelor’s, and master’s degrees. FIT provides students with a complete college experience at an affordable cost, a vibrant campus life in New York City, and industry-relevant preparation for rewarding careers. Visit fitnyc.edu.

The Couture Council is a philanthropic membership group that helps support the exhibitions and programs of The Museum at FIT. The Couture Council Award for Artistry of Fashion is given to a selected designer at a benefit luncheon held every September. For information on the Couture Council, call 212 217.4532 or email couturecouncil@fitnyc.edu.

Museum hours: Tuesday – Friday, noon – 8 pm; Saturday, 10 am – 5 pm. Closed Sunday, Monday, and legal holidays.

Admission is free.

Indian woman in traditional clothing with bridal makeup

INDIAIndia now has its first location based fashion discovery platform, Fashalot. Consumers can now discover the finest labels in apparel, footwear and accessories available at the best prices at stores in their nearest locations by using the unique mobile app and web platform created by Fashalot.

Fashalot blends the virtual and ‘real’ shopping experience, gives its users a chance to select what to buy in a single swipe of the touchscreen while retaining the ‘real’ shopping satisfaction of trying out the product at the store, according to a Fashalot press release.

The innovative Fashalot horizontal platform was launched today on Android in Delhi and Bangalore, backed by its powerful marketing strategies for user adoption. The plan for the next six months is to expand its reach across the country with maximum retailers on board as partners.

The application aims to give an edge to offline stores and bring them an incremental footfall with an omni-channel presence. Few of the current key partners on board are Meena Bazaar, Sabhyata, Private Lives, Delco, EMDEE Apparels and other franchisee brands like Levis and UCB.

This platform will enable users to identify their choice of product and pick it from their nearest brand store. Consumers will also be given benefits of instant cash discounts while shopping at the store through the Fashalot app. Additionally, it is anticipated that soon, the application will also offer loyalty points on all shopping done at the store which can be later redeemed into a pure value discount.

Fashalot co-founder Amit Koshal said he expects more than one million users in the next 12 months. “With this – India’s first mobile and web platform – we aim to offer our consumers an easy navigation platform to scroll through the latest collections of their favourite brands while sitting in the comfort of their home or on the move. The idea is to extend an option to the customers to walk into the actual stores, see and experience the product themselves before buying,” he said.

STOCK PHOTO fashion-collage-16940267

Childrenswear brand Evy of California is set to create the first-ever girl’s fashion collection for Sean John, the well-known men’s lifestyle brand created by American music icon Sean ‘Diddy’ Combs.

According to a newly signed agreement between the two apparel companies, an exclusive range, comprising an array of sportswear and outerwear pieces for boys and girls, will be launched sometime during 2016’s spring season.

“I am very excited to announce our new partnership with Evy for our childrenswear category. They are truly experts in the arena and this deal will allow the Sean John brand to continue its successful growth strategy,” the brand’s 45-year-old eponymous founder said in a media release while speaking on the new alliance.

“As the conception of this collection stems from the inspiration of Jessie, D’Lila, and Chance, I am beyond thrilled to work with my girls on this new endeavor and I look forward in watching them grow with this project,” he later talked about his daughters Jessie, D’Lila and Chance who have played as sources of inspiration for the line.

Commenting on the new partnership, Jeff Tweedy, president of Sean John, said, “We chose to work with Evy of California because of their exciting and expanding business model and their ability to source and design. We believe this partnership will move the brand forward with a collective vision and also bring to market the girls’ collection that the market desperately needs. When coupled with their incredibly strong production capabilities and size, it is a strong financial win for the customer and the business.”

Evy of California’s president and COO, Kevin Krieser, expressed, “We believe in both the long heritage and future potential of the Sean John brand as one of the most unique brands in the US and internationally. Through great marketing, vision, and first class execution of forward designs, this partnership pushes the world of children’s fashion to the next level. Sean John is a truly inspired fashion brand and we at Evy of California are proud to have been selected as the right partner to help take the next step in the evolution of the children’s collections.”

Since entering the children’s market in 2000, Sean John experienced huge growth with vigorous sales of boy’s collection, making it a natural progression to enter into the girl’s market.

pharell woolworth

 ‘Happy’ song hitmaker Pharrell Williams and South African retail chain Woolworths have joined forces to work on a new sustainable project.

The Grammy award-winning American musician has donned the hat of ‘style director’ to help co-create a sustainable-fashion collection with the retailer.

The partnership includes a design competition in collaboration with Bionic Yarn, an eco-textile brand that creates luxe high performance smart fabrics from old recycled plastic bottles.

The contest invites young African design students to submit T-shirt designs that raise awareness about any sustainability or environmental issue that they feel strongly about.

The winning designs, which will be selected by Williams, will later be screen printed onto bionic yarn T-shirts and will be sold in stores of the Johannesburg Stock Exchange-listed purveyor.

The competition-winning ensembles will aim to raise awareness about the issues that affect the planet and a sustainable future for generations to come.

In addition to the design contest, several entertainment activities promoting sustainability will be hosted in association with the 42-year-old artist.

The collaborative venture is a part of Williams’ ‘Harmonising Humanity’, an initiative launched earlier this year to raise awareness about the environment and other social issues.



Fashion Avenue News Magazine features Models of all Sizes/Height/Weights
Cover Girl and SuperModel Mocha on the Cover of Fashion Avenue News

lane bryant


Lane Bryant, a leader in plus size womenswear that specialises in sizes 14 to 28, has unveiled a new revolutionary spring season campaign celebrating women of all shapes and sizes, titled #ImNoAngel, for its Cacique lingerie range.

Aiming to challenge and redefine society’s stereotypical perception of sexy with a powerful core message ‘ALL women are sexy’, the advertorial showcases models Ashley Graham, Marquita Pring, Candice Huffine, Victoria Lee, Justine Legault and Elly Mayday, all scantily dressed in the latest polka dots, horizontal stripes and embroidery adorned innerwear.

Commenting on the campaign, the American company’s CEO and president, Linda Heasley, said in a press release, “Our ‘#ImNoAngel’ campaign is designed to empower all women to love every part of herself. Lane Bryant firmly believes that she is sexy and we want to encourage her to confidently show it, in her own way.”

Conceptualized by creative agency- Laird and Partners, the advertisement video and images have been shot by famed photographer Cass Bird. The #ImNoAngel hashtag was created as a headline provoking all to come together in redefining the ideals of sexy with the hopes of igniting a significant revolution.

The mesh and lace heavy Cacique collection is available in sizes 36-50C- DDD, 40-44B and 38-44 FGH cups.

dior and I

 Dior and I is a feature -length documentary that takes the viewer behind the scenes of the creation of designer Raf Simons’ first haute couture collection for the legendary Christian Dior fashion house in the spring of 2012. Granted unprecedented access, the film documents the eight stressful weeks that Simons had to complete his debut collection. Revealing the inner workings of the design house, from the creative processes of its artistic director to the tireless seamstresses of the atelier, the film explores the personal bonds that form between the collaborators, their work, and the legacy of Christian Dior.

In 2012, when the French fashion house announced that Raf Simons would fill the vacant seat of artistic director, many commentators were surprised. Simons, a Belgian native whose previous credits included a namesake menswear line and who had been perceived by many as a “minimalist,” had always kept a low public profile and, most importantly, had never before worked in haute couture. To create his first collection for Dior, he had only eight weeks, as opposed to the usual five or six months.

Sixty -five years prior, in 1947, designer Christian Dior exploded onto the fashion scene at the age of forty – four, with his “New Look” collection, a sensational homage to femininity after five years of wartime. He instantly became a household name and an arbiter of style. Yet he was a very private man, who preferred the company of his friends to the noise of the social scene. In his 1956 memoirs, written one year before his sudden death from a heart attack, he addresses his public persona: “this Siamese twin who precedes me everywhere since I’ve become Christian Dior. He and I have score to settle.”

Today the world that Christian Dior created lives on in the ateliers (workrooms), where a hard-working group of dedicated seamstresses still hand-sew clothing in the great tradition of haute couture. Dior is one of the last houses that still keep such ateliers in- house: atelier tailleur (for suiting) and atelier flou (for dresses). As Raf Simons discovers when he first visits the light-filled rooms tucked away on the top floor of the historic building, many seamstresses have worked here for more than 40 years. The film closely follows Florence Chehet, the dynamic and upbeat première for the atelier flou, and Monique Bailly, the anxious and quick- witted première for the atelier tailleur. “For me, they are the two most important people in the house,” says Pieter Mulier, Raf Simons’ right hand at Dior and longtime collaborator. “Because they have everything in their hands.”

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 In one of the more creatively revealing storylines of the film, we watch Simons bring his passion for art into his work. Discovering a mid – century weaving technique called imprimé chaîne, in which the thread is printed before it’s woven, Simons has the idea to recreate the paintings of abstract American painter Sterling Ruby on cloth. However, the fabric suppliers have never taken on a print of this scale, and given the time constraints, the dresses are a significant challenge for even these, the most experienced of craftsmen.

Although Christian Dior only helmed his house for ten years, his impact on the fashion world was considerable. Dior and I follows Raf Simons as he explores Dior’s archives for inspiration. “I find it quite challenging to work with a legacy that is so gigantic and so sublime,” says Simons as a model puts on the iconic Bar jacket from 1947. With a tight waist, large shoulders and emphasized hips, the silhouette was such a departure from the boxy wartime outfits that Harper’s Bazaar dubbed it the “New Look” and it instantly became the style reference for the following decade.

Still 1

Dior and I is therefore also the intimate story of a dauphin confronting the towering shadow of his predecessor. In one of the most personal moments, Raf Simons visits Christian Dior’s childhood home in Granville, Normandy. He reveals that he started reading Dior’s memoirs but couldn’t get through them because of the uncanny parallels between Dior’s experience and his own. “I had to stop. It was weird,” says Simons. “I thought I’d better not [continue reading], until the first show is done.” With an empathetic sensibility and a thoughtful patience, the film explores the challenges of finding one’s own voice while under enormous pressure.




Frédéric Tcheng is a French-born filmmaker. Originally trained in civil engineering, he moved to New York City in 2002 to attend Columbia University’s film school, from which he obtained a Masters of Fine Arts in 2007. He co- produced, co-edited and co-shot Valentino: The Last Emperor (directed by Matt Tyrnauer), the 2009 hit documentary shortlisted for the Best Documentary Oscar. He is the co-director (with Lisa Immordino Vreeland and Bent-Jorgen Perlmutt) of DIANA VREELAND: THE EYE HAS TO TRAVEL, a Samuel Goldwyn release. His collaborations include such varied personalities as the poet Sarah Riggs and the fashion photographer Mikael Jansson. He works as an editor on commercials for brands such as H&M, Jimmy Choo and Ferragamo. He is currently developing a fictional screenplay.

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