Marc Goehring's successor as Fashion Director at 032c is Ras Baun Bartram.
The Danish stylist will join the Berlin-based media and fashion company, effective immediately, after most recently working with Ye (formerly known as Kanye West) on his apocalyptic "Heaven and Hell" music video.
In a statement, Joerg Koch, the founder and editor-in-chief of 032c, said, "Ras is the kind of incredible creative force that you rarely encounter." "With him on the masthead, we couldn't be more excited to start this new era."
The forty-first issue of 032c will be Bartram's first magazine, and it will be released in early May. In June, he will style the label's ready-to-wear presentation in Paris.
After four years as the leader of 032c, Goehring is stepping down.
032c Magazine, based in Berlin, is expanding its fashion ambitions.
On Monday, the cult title will unveil its first women's ready-to-wear collection in London, kicking off a fashion strategy that is expected to generate twice as much revenue as the magazine in 2018.
Where did Dream Fashion Factory go?
The industry mourned the loss of two fashion greats, designer Manfred Thierry Mugler and journalist André Leon Talley, during Paris Fashion Week. One created a scene, while the other recorded it.
In an ode to Mugler, BoF editor-at-large Tim Blanks referred to him as "the gold of the fashion era," with Schiaparelli's Daniel Rosebery and Glenn Martens, in partnership with Jean-Paul Gaultier, producing the kinds of art exhibits that listened to what he called "the gold of the fashion era."
Most of the time, the shows were strictly business, with couture clients wearing exquisitely designed outfits after a party or wedding.
Angelo Flacavento of BoF wrote, "The focus has been on exquisitely crafted dresses that exude needless craftsmanship and expertise." "In a strange reversal, as ready-to-wear incorporates entertainment in all of its forms, often at the expense of clothing, haute couture, once the region of wild imaginations, returns to the garment industry."
What does this mean for the fashion industry?
Couture was so practical before the rise of ready-to-wear in the 1960s that it could easily be copied by American retailers, who produced cheaper copies for their customers. However, as fashion houses begin to sell ready-to-wear, haute couture has become a myth: the pinnacle of the luxury brand's pyramid popularised by Karl Lagerfeld and painted by John Galliano Dior.
Virginie Viard, Lagerfeld's former deputy and successor, does not make the huge objective gestures for which he was known. Lagerfeld's style aided in the popularisation of Chanel. Even if they could only afford a small amount of nail paint or a Chanel No. 5 spray, these items nonetheless represent a fantasy.
Viard's home collection this season includes dresses and separates in traditional tweed, embellished with piping seams and gem closures. “Cleans. Nice. Beautiful. There are no bells and whistles. On Twitter, fashion influencer Brainboy said, "Very Chanel." Maria Grazia Chiuri, who helped transform Dior into a $7 billion behemoth, was equally restricted.
In a recent interview with Robert Williams of BoF, Currie said, "The goal is that you should be able to wear Dior every moment of the day." "Today's women go to work and take the train. They don't live in the same way they used to. They want to walk, which is significant to me because it signifies being liberated."
Smaller brands, on the other hand, with fewer options, must seize every opportunity. Schiaparelli's Roseberry style, with its three-dimensional concepts that pop off the body, is captivating enough to convince someone to see his ready-to-wear collection for the first time at Bergdorf Goodman or Dover Street Market. Better yet, purchase one of his bizarre bags, which are unique, coveted, and wearable.
As a result, the most intriguing path forward may be to see couture that strikes a balance between the two. Pierpaolo Piccioli's designs at Valentino are elegant and dramatic, paying homage to the designers that came before him in terms of cultural understanding and societal transformation. Today's fashionistas still want to be carried about, but they also want to be a part of the story.People of different shapes, races, and ages have been seen in his apparel, which has been elevated in a new way.
Because if the fashion dream factory is lost, fashion may be lost forever.
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