Mytheresa, the luxury e-commerce giant, has filed for an initial public offering. 

The German business plans to go public as early as the beginning of 2021 following the review process by the U.S., according to Bloomberg. Commission for Securities and Trade. While the company itself wrote in a statement that it has yet to decide a share sale size and price range, sources close to the issue have reported that Mytheresa is targeting a valuation of approximately $1 billion USD to $1.5 billion USD, although this is subject to change during this holiday season depending on the success of the company. The organization has already drawn interest from numerous special purpose acquisition companies during these early phases.

Mytheresa was established as a luxury store in Munich more than three decades ago. Its e-commerce company started in 2006 and has expanded to more than 700 employees since then, selling luxury goods to 140 countries around the world from more than 250 brands, including Prada, Givenchy and Gucci. The company was purchased for a price of approximately $253 million USD by department store operator Neiman Marcus in 2014, and was subsequently sold to Neiman's parent company, holding it safe from the recent bankruptcy of the latter.

In other news, Rick Owens drops Performa FW20 collection, made with overdyed, black-wax Japanese denim.

MYTHERESA FILES FOR $1.5 BILLION USD INITIAL PUBLIC OFFERING

Kei Ninomiya was asked the lazy reviewer's go-to query in March 2016, after his second Vogue Runway-covered presentation. My inspiration? For me? And he replied: "No inspiration!" Ten seasons on and briefly transplanted from Paris to Tokyo, Ninomiya's playing remains consistent. Its title was "Theme: No Theme," according to the notes accompanying this set. 

Once again this season, Ninomiya's sew-free construction techniques, he prefers rivets, snaps, or grommets, allowed him to create a series of hyper-extravagant handmade dresses, all of which would be perfect for a Björk album cover or a Nick Knight shoot. In materials like in order) rope, pearl, PVC, cord, "tube" (from those notes), a symphony of polyester fabrications, ribbon, satin, cotton, wool, three styles of leather, and taffeta with which the incredible aura-haze of the last look was constructed, grandiose modern silhouettes were delineated.

Notable in the notes was that more descriptive energy was allotted to the four varieties of this-season partnership with the Prada-owned English shoemaker Church's than the 24 looks worn with them. But then along with his biker jackets, these florally studded footwear options are the best way to buy into the Ninomiya aesthetic. Even though, like his mentor Rei Kawakubo, Ninomiya remains shy to the point of retiring when asked about it the aesthetic continues to evolve meaningfully. Another drastic no-theme set from the apparent heir was this.

In other news, The Personal is The Fashion! Proenza Schouler: Spring 2021 Collection art book in collaboration with Daniel Shea.

Ninomiya has built a distinctly dramatic schematic over those seasons that marks him not only as a member of the Comme des Garçons family, but also as a designer of great individuality.

Thom Browne has once again turned his attention to the world of sport to launch a new sportswear and compression range after dropping his latest FC Barcelona-themed collection in support of the Barca Foundation. 

The label, which was created over the past 18 months, looked at the designer's dedication to sport as a runner and athlete to perfect a category of apparel that would fit the wardrobe of any sportsman. 

The outcome: a selection of shell jackets, running shorts, track pants, compression tights and T-shirts, each of which comes in either "Charcoal" or navy colorways. 

Furthermore the brand has also introduced three new models to its football capsule: the Football Parka, a Heritage Trainer and a pair of gray mirrored tortoise shell sunglasses, based on the iconic oversized parkas Browne wore growing up. 

The complete set is available now from the Thom Browne webstore for pre-order.

Drawing on inspiration from the designer’s devotion to sports.

THOM BROWNE SPORTSWEAR AND COMPRESSION COLLECTION

Designed in collaboration with Leica and handcrafted at the MYKITA HAUS in Berlin, the MYKITA | LEICA collection is defined by its reduced, functional design focused on superior performance. Seamless mechanical solutions and material connections echo the beautiful precision engineering of Leica’s iconic products and create a refined eyewear aesthetic.

Signature elements from the Leica design language will resonate with brand enthusiasts while forming a new, standalone eyewear aesthetic: the geometric lens shape is a recurring theme, a reference to the frontal view of a Leica camera lens hood, or the distinctive lacquering inlays and the Leica font for the temple inscription, and ultimately the reduced colour palette made up of matt silver, black, taupe grey and red accents.

To create sunglasses with uncompromising quality and clarity of vision, MYKITA and Leica have pioneered sun lenses with optical grade quality. The organic lenses are ground and polished from a cast lens blank in a process normally reserved for prescription lenses. The lens is also distinguished by the specially developed AquaDura® Vision Pro coating, adapted from the field of sport optics and professional photography.

This achromatic anti-reflective coating provides invisible protection against rear reflections without the usual colour sheen. It protects against water, dirt and damage, preventing fogging and facilitating effortless removal of fingerprints and stains. All lenses offer complete UV protection; polarized lenses filter harmful light components, such as glare and surface reflections.

In other news,Dion LeeSpring 2021 Ready-to-Wear collection:Lee’s at his bestwhen he leans into the more provocative parts of his oeuvre.

To create sunglasses with uncompromising quality and clarity of vision, MYKITA and Leica have pioneered sun lenses with optical grade quality.

LEICA AND MYKITA TEAM UP FOR CAMERA-INSPIRED COLLABORATION

Charles Jeffrey's Loverboy series of clothes and friends is a sort of frieze of the crazy-joyful battle against fear of young fashion. Here they are, the expansive Loverboy family, captured by Tim Walker in 64 photographs, a work that is also printed in the memory of the times in a 16-foot long concertina. Says Jeffrey, "I wanted it to be a physical representation of a stream of consciousness." "It kind of portrays my brain as I was thinking during lockdown on long walks to the studio. Taking up space is what we do in a show with Loverboy. But that's gone now, stopped now. I thought: What does it look like when we all stay away from each other? ”

With Jeffrey acting as an invocator-provoker of good against evil, it ended up as the Healing, a crazy celebration of sexiness, inclusion, and craft-y life-forces. Loverboy has always been a club group, but also a digital community of friends who have gravitated towards us. "He says that there are a lot of really cool people here, describing them in his press release as "our queer family caught in defiant joy." "It was originally known in the studio as the Emergency Set," he recalls. Then, everyone except me, had to go home. "There was this panic." The Scottish folk tradition introduced by the Burryman on his solitary 10-mile daily walks, "costumes that ward off evil," unexpectedly popped into Jeffrey's head. That got the jumping of his imaginative synapses. Our interns, God bless them, began working on the collection with us, bright-eyed, bushy-tailed, and enthusiastic. I didn’t want to take that experience away from them, so we set a craft project they could work on remotely.”

The emblems in the Loverboy panels of protective armor are Culture, Fitness, and Hope, embroidered in isolation by interns. Simultaneously, the inconsistencies between imposed separation and the desire to feel unified sent Jeffrey down a rabbit-warren of research into "warning signs in nature." The vibrant clashing colors and patterns in the collection popped out of the search engine, inspired by poison dart frogs, blue-ringed octopi, puss moth caterpillars, hickory tussock moths, and marbled cone snails. "Well, poisonous marks are also very vivid and appealing in nature. As an individual who works with color, the weird interplay felt very instinctive to me. How it may keep individuals apart, but still put them together."

The road from there to recovery went through chromotherapy, but literally, in all the eye-dancing Loverboy energy radiating from multicolored knits, tartans, and psychedelic prints, it's just there very simply and visually. Right now, sorry for the moment, but never mind, there will be no physical spaces for clubbing activities or fashion performances. The territorial rights to identity and psychic liberation that the Loverboy generation has mapped out the progression, as Jeffrey puts it from emergency, terror, and jittering-anguish to elation, sex, communion," still exist amid the troubled times.

The emblems in the Loverboy panels of protective armor are Culture, Fitness, and Hope, embroidered in isolation by interns

Fashion has always been one to challenge traditions and spark debate worldwide throughout history. Think Tom Ford, Alexander Wang, Dolce & Gabbana, and more. With their provocative imagery, these fashion brands and houses have sparked more than just controversy. Many of these commercials have actually been banned and strongly criticized because they contain offensive and often pornographic images and have to be removed from the highways, magazines and banners. And here we are rounding up 18 of the most controversial campaigns that have rocked the world and the history of fashion.

One of many banned Sisley adverts, shot by Terry Richardson.

Banned Miu Miu campaign featuring actress Hailee Steinfeld shot by Bruce Weber in 2011, was branded "irresponsible" for its hazardous railway setting.

Master provocateur Tom Ford's fragrance from 2007 shot by Terry Richardson was banned in several countries.

Banned Sisley ad from 2001, featuring Josie Maran posing with a cow's udder, shot by Terry Richardson.

The controversial UNHATE campaign featuring pope Benedict XVI and imam Sheik Ahmed el-Tayeb sharing a kiss in 2011 was forced to be taken down after a matter of hours.

Paying homage to the famous 1971 photograph of Yves Saint Laurent, the full-frontal advert featuring Samuel de Cubber for the fragrance M7 received over 730 complaints in 2002.

In 1995 Calvin Klein caused a stir as models posed in a wood-panelled basement for a series of shots lensed by Steven Meisel.

The 1995 CK series generated immediate backlash for the youthful appearance of the models.

Critics asked if Benetton had gone too far in 1992 when their campaign featured the final moments of David Kirby's life; a photo noted to have changed the face of AIDS.

United Colours of Benetton replaced their title with "colours of domestic violence" to highlight abuse.

Benetton's sister brand Sisley's "fashion junkie" ad from 2007 was banned for glamourising drugs.

An ad from the controversial campaign series 'Tom Ford for Men,' shot by Terry Richardson in 2007.

'Public Enemy' by Mario Testino for Gucci featuring Carmen Kass exposing the letter ‘G’ shaved into her body hair was banned in 2003.

Mia Goth for Miu Miu SS15 shot by Steven Meisel was banned for being "irresponsible" for showing what could be seen as a child in a sexually suggestive pose, despite her age.

This Gucci campaign caused controversy for the “power pose” of the man and provocative position of the woman.

Receiving 948 complaints in 2000, the suggestive YSL Opium perfume ad featuring Sophie Dahl found a spot on the ASA's 'Top 10 Most Complained About Ads' list.

This nude shot of Cara Delevingne for Tom Ford's fragrance Black Orchid received two complaints for its sexual nature, but was not banned.

In other news, Dion Lee Spring 2021 Ready-to-Wear collection: Lee’s at his best when he leans into the more provocative parts of his oeuvre.

18 of the most controversial campaigns that have rocked the world and the history of fashion.

Louis Vuitton has unveiled LVxNBA, the National Basketball Association (NBAfirst )'s menswear capsule collection of designs by Virgil Abloh, Louis Vuitton's Creative Director for Men. 

Louis Vuitton has collaborated with Madison Square Garden (MSG) as part of the house's ongoing partnership with the NBA to offer a virtual sale experience shot inside the iconic arena of the New York Knick. The LVxNBA digital debut at MSG, created as a special yet personal virtual experience, is open to the public through a link on the Louis Vuitton homepage.

By merging French craftsmanship with American sports, Abloh produced LVxNBA, a limited line of clothing and accessories that incorporates the logos of the two institutions. The collection adapts the codes of the Men's Artistic Director with the basketball universe's iconography and respects the ideals of relatability and inclusion that are central to his vision at Louis Vuitton. The NBA's visual identity is assimilated into the new Louis Vuitton motifs in the series. Abloh focuses on three aspects of style that are important to the wardrobe of any NBA player: travel, game arrivals, and press conferences.

This collection celebrates the cultural contribution of basketball and its diverse characters, and the idea of relatability as a force of unity.

– Virgil Abloh, Men’s Artistic Director Louis Vuitton

By using drone footage of the clothes, shoes and accessories on show within the arena, Louis Vuitton and MSG developed a unique combination of sport, design and technology to increase that culture. Many who attend the event will explore the collection by navigating through a virtual sale environment around the capsule presentation with the opportunity to display individual items up close in full detail and buy ties. 

Men who admire style fill the sporting world, but players from no league have committed to fashion like those in the NBA. On game day as the stars walk into their stadiums, we see personal expressions ranging from a finely cut custom suit all the way to a casual ensemble pieced together by some of the most expensive brands in the world. These men have a runway at their hands, and if they're not going to use it, they'll be damned!

In other news, Rick Owens' wife Michèle Lamy and Katerina Jebb’s functional serving tray made of a scenographic portrait of Lamy imagined by Jebb.

With Every Game Already Flanked By Fashion, The NBA Teams Up With Louis Vuitton.

LOUIS VUITTON LAUNCHES LV X NBA COLLABORATION WITH NBA ALL-STARS

The Attico is a hedonist mindset based on the combination of two very different personalities: one outward, bold and ebullient, the other reserved, calm and considered. Contrasts are electrifying and The Attico strives on that, as Gilda’s knack for feisty opulence meets Giorgia’s sense for sensual restraint. The Attico’s unique aesthetic stems from this juxtaposition.

The Attico is a collection of collectibles: brave items to fall in love with; feats of embellishment, opulence and seduction meant to be collected in time. There is a hint nostalgia to it all: a longing for sparkling times when glamour ruled and sequins, feathers and plunging necklines were a must. Gilda and Giorgia call it modern vintage. The collection is thought for women who are strong, spirited and individual. Women who play with seduction and sophistication, who are all about living large, and enjoying it in whichever way possible.

Fashion is just the beginning, because The Attico is a point of view on life, not just style. More will follow. Everything looks smashing from upstairs. Join!

In other news, Spring 2021 Ready-to-Wear Mugler collection. There’s the hyper-sexy clothes, and then there’s the way Cadwallader is going about making them!

The Attico is a point of view on life, not just style.

If Gucci's revamp in the 1990's by Tom Ford has a non-monetary legacy, it is firmly grounded in sex. Texas-born Ford gave the faltering Italian leather goods manufacturer, who was on the brink of bankruptcy in 1994 (when he was promoted to the role of creative director) during his tenure at Gucci from 1990 to 2004, an identity... a bold and sexy one. 

As Sarah Mower of Vogue wrote in 2004, on the heels of the Ford finale, he brought the "embodiment of sexual confidence, burnished to a high gloss and bursting with predatory power" to the Guccio Gucci-founded and formerly family-owned business. A symbolic figure of the hedonistic highs of the past decade, complete with "mean-looking black skirtsuits fanatically worked to the body, ruched to the ribs, and pieced to grip the derriere in multiple complex slivers." International success resulted. Sales at Gucci increased by 90 percent between 1995 and 1996, and the Gucci Group was valued at $10 billion when Ford left in 2004.

Mr. Ford, who joined Gucci when he was barely 30 years old, was charged with revitalizing the business and its reputation and image, which he did, turning the brand of once-quaint leather goods into the home of it' products, whether it was cut-out jersey frocks, mod mini-dresses, or perfectly sculpted suits for her. As Amy Larocca of the New York Magazine wrote following Ford's final outing for Gucci, "What Ford did for fashion, season after season, was constantly bringing up sex-in-your-face, jutting-pelvic-bone sex... He was not subtle: Ford shaved a tidy G into the pubic hair of a model for an ad campaign when the fashion world did lady with structured handbags and tweedy pencil skirts." 

Taking a page from the boundary-pushing campaigns of Calvin Klein in the 1980s, and with the French stylist Carine Roitfeld, known for her own sex-dripping aesthetic, Ford's Gucci advertising campaigns were some of the most iconic (and shocking) in the history of fashion, led, of course, by the one referenced by Larocca: The ad starring Carmen Kass (even though we do not see her face), who has the Gucci “G” shaved into her pubic hair.

Ford, meanwhile also worked at Yves Saint Laurent's helm, which is also owned by what was at the time PPRR (now Kering). Ford followed a similarly divisive path at YSL. In 2000, he dreamt of a campaign for YSL's Opium scent, which the eponymous founder of the house had launched some 30 years earlier. The ad featured model Sophie Dahl lounging on her back wearing nothing but gold jewelry, green eyeshadow (the perfect contrast to her fiery red hair), and a pair of strappy YSL heels, taken by Steven Meisel and designed by Roitfeld. For a little while at least, the image was plastered on billboards throughout the United Kingdom. 

The phone started to ring at the office of the British Advertising Standards Authority ('ASA') not long after the image of Dahl went up around cities in the UK. Thanks to its model of operation, namely its recognition of complaints from the public and professionals, the independent regulator of ads in all media in the ASA was used to receive formal objections to negative or distasteful advertisements in play in the UK.

YSL's in-house produced Opium ad was different, however. The ASA has received almost 1,000 complaints about the essence of the initiative over a period of only a few months. This was more than had been earned by the regulatory body in the previous five years and is now one of the most objected to campaigns to date. 

Complaints argued that the image was too sexually provocative and unacceptable for children to be viewed. "Others saw it as "anti-women," in the midst of the controversy Dahl herself said of the campaign; something she dismissed saying that in fact I think it's really empowering for women." Ford also noted that the fragrance ad, created by perfumers Jean Amic and Jean-Louis Sieuzac and oozing with mandarin orange, jasmine, sandalwood and patchouli essences, was a nod to house’s history of sexual provocation and female liberation.

Nonetheless the campaign was pulled from billboards in the face of some 900-plus protests, but was allowed to remain in "appropriate magazines." 

However, this was not the first time that the scent of the house was at the core of a fall-out. YSL was the subject of widespread protests prior to the official launch of the fragrance in 1978, which centered on its name and came primarily from the American Coalition Against Opium and Drug Abuse, a committee that claimed that the name of the fragrance demonstrated "insensitivity to Chinese history and Chinese American concerns" and that the brand supported "a threat that destroyed many lives in China").

YSL, the man and the brand, channeled its fury into sales in the absence of regulatory interference. "As The Rake noted at the end of 2015, "The controversy fanned the sales of the perfume and in its first nine months produced over $3 million. When the fragrance eventually hit shelves, YSL opted not for a low-key soirée [or a diplomatic public statement." Instead the company hosted 800 guests, from Cher and Truman Capote to Vogue editor-in-chief Diana Vreeland and fashion designer Roy Halston Frowick." Testers were stolen, posters ripped from the walls and shops sold out within hours of its release." 

The after-party took place at the famous Studio 54 in New York.

That was still not the only time YSL faced distaste for its Opium-inspired collection. "In early 2011, Belle d'Opium was the subject of scorn and ASA action when it was featured in an ad campaign that "featured a woman who appeared to be under the influence of narcotics." In the case, the ASA received more than a dozen complaints about the campaign, complete with a commercial that the ASA said featured a woman running her finger through the inside of her arm, which "could be seen to mimic the campaign.

In response to the ASA, YSL defended itself and its commercial, claiming it was a responsible advertiser" and did not plan to use drug imagery in the ad. It further held that its market analysis found that the ad was not viewed by audiences as encouraging the use of drugs. 

The ASA stopped the ad from concluding that the broadcast was "irresponsible and unacceptable." 

Opium remains one of YSL's best-selling scents, and the company is ready to unleash a new campaign for its Black Opium fragrance in partnership with L'Oréal, which owns the YSL Beauté license, revealing that Zoe Kravitz will be the new foreign face and spokesperson.

THE SCANDALOUS HISTORY OF YVES SAINT LAURENT’S OPIUM FRAGRANCE OBSESSION

In a 2012 exhibition at the Museum of Modern Art in New York about the birth of abstraction, curators highlighted the way artists might have influenced each other. The exhibition, entitled "Inventing Abstraction: 1910-1925," highlighted the radical departures of over 80 artists from the conventions of representational art, and opened with a large diagram depicting their network to show who knew each other (an interactive version of which is online) towards the middle with the most linked, such as Pablo Picasso and Wassily Kandinsky.

Exhibition curator Leah Dickerman (now MoMA's editorial and content management director) was partially inspired by a course she took with Columbia Business School professor and Chazen Senior Scholar Paul Ingram while working on the show with her colleagues, which was about how curators can use their professional networks to achieve success. Ingram helped create an early version of the network of early abstraction pioneers, and he later used the same knowledge to embark on a new investigation. 

The results of MoMA were used by Ingram and his colleague Mitali Banerjee of HEC Paris to investigate the role imagination and social networks played for these artists in relation to the degree of fame they achieved. In a 2018 article, they relayed their observations, including that having friends might be more critical for effective artists than creating novel art.

Ingram and Banerjee began their research by quantifying the artists' fame, imagination, and social network in "Inventing Abstraction." To assess the popularity of each artist, they turned to the historical text database of Google in French and English (since the artists lived mainly in France and the U.S.), and documented the number of mentions that each artist had between 1910 and 1925. Ingram noted that they were looking at fame in terms of how well-known the performers were within their own social circles, "and we are essentially saying [that how often you show up is an indicator of that in the written word."

They relied on MoMA studies to investigate the social networks of the artists, which were focused on sources such as biographies and letters from artists to classify relationships. Ingram and Banerjee studied the social circles of the artists, which also included data on the ethnicity, sex, age, and location of each artist, as well as the media they were using and the schools they attended. (They did not look into the exhibition history of the artists or the demand for their work, although such factors may be included in Banerjee's future study, Ingram said.) 

They employed two approaches in order to grasp the ingenuity of the artists' work. First to evaluate and rate the creativity of thousands of artworks by the relevant artists, they used machine learning; the computer program rated how unique works are relative to a collection of 19th century representational artworks. They also asked four art historians, based on criteria such as originality and novelty, to score artworks by each artist for their creativity.

Although previous studies have indicated that there is a link between creativity and fame, on the other hand, Ingram and Banerjee found that these artists did not have such a correlation. Rather, regardless of how innovative their art was, artists with a wide and diverse network of connections were more likely to be famous. 

In particular, having a network of contacts from different nations was the greatest predictor of fame for an artist. This suggests that the artist was cosmopolitan and had the potential to enter multiple markets or create ideas influenced by foreign cultures, Ingram believes. Kandinsky, he said, was the 'linchpin of the network.' They also noticed that famous artists appeared to be older, perhaps because as abstraction was evolving, they were already famous, Ingram explained.

In terms of creativity, they found that neither the computational tests nor the expert opinions of art historians were good indicators of the renown of an artist. In other words, they were not generally renowned if an artist had high creativity ratings. 

"The paper's important implication is to demonstrate that diverse networks not only matter as a source of creativity... but could mean other advantages," said Ingram. "Apart from creativity, artists profit from a cosmopolitan identity."

The results of Ingram and Banerjee are not surprising given the modern imperative to meet new people and network through skilled industries in order to open themselves up to job opportunities and growth. They do however, give substantial reminders that we are not going to become famous in a vacuum and should strive to diversify our social circles. 

The researchers pointed to the example of two artists within the group, Vanessa Bell and Suzanne Duchamp, in order to explain the results. While neither artist is a household name, they had very famous siblings (Virginia Woolf and Marcel Duchamp, respectively), sharing similar backgrounds and had similar creativity ratings, but Bell was more famous.

Suzanne Duchamp was part of the Dada circle while Vanessa Bell was part of the Bloomsbury community," the authors wrote, "Both artists were part of prominent artists' groups. Nevertheless the social circle of Duchamp was limited to the artists of Dada; indeed, even within this circle, her closest friends were her brother Marcel, her husband Jean Crotti, and her family friend, the artist Francis Picabia. In comparison, the social world of Vanessa Bell included the Bloomsbury group, a wide variety of artists who were part of the London Group, collectors and patrons outside England, such as Gertrude Stein, as well as theatre producers and artists affiliated with Les Ballet Russes by Sergei Diaghilev. Ultimately, the more diverse circle of Bell coincides with her greater fame.

"What we know from various kinds of research is that creativity is fed by diversity in networks, which is also an important thing for artists," Ingram explained. Having such a network, he added, meant that "if you are connected to a diverse set of others, you could kind of be positioned in a market, and may be more interesting and worthy of attention." And although the study focused on a particular, century-old background, he predicts that the results are true for artists today.

The results of MoMA were used by Ingram and his colleague Mitali Banerjee of HEC Paris to investigate the role imagination and social networks played for these artists in relation to the degree of fame they achieved.

STUDY FINDS ARTISTS BECOME FAMOUS THROUGH THEIR FRIENDS, NOT THE ORIGINALITY OF THEIR WORK

Poldo Dog Couture, a Milan based team who have specialized in refined clothing for dogs since 2016, extends Moncler’s world of performance and protection to a new luxury collection for our four-legged friends. The collection, which features clothing and accessories, embodies the love for man’s best friend. Only refined materials are used, guaranteeing absolute comfort for man’s best friend.

To kick-off the collection, which serendipitiously is being released at the same time as Amazon’s newest relatity show The Pack, Moncler has released a brief film showing case space-aged dog groomers.

The collection features the classic duvet dog vest in a mixed pack of colors, including forest green and crimson red, all constructed in Moncler’s signature nylon laqué. This season, a reflective jacket with 100% silver film is incorporated into a nylon jersey mesh to give a space-age feel with a crinkled and ultra-lightweight finish. Miniature versions of the Bady and Badymore jackets are carefully restructured for dogs to create the Mondog Vest in an all-terrain print, the ultimate statement of twinning the canine way. The foldable rainproof cape in emerald green, bright yellow, or proud orange is meant to be worn alone or over the dawn vest. Collars and leashes in French flag tricolor and tan tone leather trim complete the selection. The size range runs from small breed to larger dogs.

And with matching looks moncler is taking man’s best friend to new levels.

Poldo Dog Couture extends Moncler’s world of performance and protection to accessories for your four legged friends.

Zimmermann continues to mine the notion of romantic holidays filled with sun-drenched days in their latest campaign by ongoing creative partner Smile Agency. Their newest Resort 2021 ad campaign captured by photographer Benny Horne, with the guidance of Creative Director Emil Vrisakis and Art Director Gabriele Hackworthy, finds protagonist Irina Shayk alone on holiday in southern Italy.

The centerpiece of the campaign is a short film lensed in La Tonnara di Scopello, Italy. High-resolution modern shots of the town are juxtaposed with the grainy ‘Super 8’ effect that is all the rage this season with built edges and flickering film frames. The two video styles continue to oscillate throughout the entire piece as Shayk floats around the sea-side town. Before heading out for a day by the sea, she scoops up a beautiful Hasselblad 500c, a small camera popularized in the late 50s. The vintage effect of film cameras paints the central figure as more than muse but creator as well.

The campaign continues the simple narrative of the escapism lifestyle set in old-world, surf-side settings adored by founders Simone and Nicky Zimmermann, who themselves are from Australia. Shayk holds her own as the uber-model she is and needs no side-kicks; thus, it is a party-of-one for viewers and talent alike. Yet, one could make a Horne wisely frames Shayk off-center that the setting to is a character. Overall it is a reminder to us all that the world is out there, and in the meantime, fashion still can offer a sense of escapism.

Zimmermann Resort 2021 Ad Campaign by Smile Agency, Creative Director Emil Vrisakis,
Art Director Gabriele Hackworthy, Photographer Benny Horne with Model Irina Shayk.

Michael Lo Sordo is an emerging fashion designer whose label is attracting plenty of attention for its structured, razor-sharp take on romantic minimalism.

Born in Sydney in 1984, Lo Sordo studied fashion and textiles at East Sydney TAFE, from which he graduated in 2006.

He has shown at Australian Fashion Week since 2008 and made his Sydney Fashion Festival debut in 2010.

Hailing from a creative family – his mother is a former model, while his aunt and grandfather were both artists – Lo Sordo began training as a chef but switched to fashion design after eight months.

In 2006, Lo Sordo was chosen as one of six designers to set up shop at The Graduate Store in Sydney’s Strand Arcade, where he began showing his designs alongside other promising fashion graduates.

Lo Sordo was named 2006 Young Designer of the Year at Sydney’s Propeller Fashion Show.

While growing his label, Lo Sordo supplemented his income by working as a stylist for SBS TV and a visual merchandising manager for Giorgio Armani.

The designer was a finalist in the Qantas Spirit of Youth Awards 2010.

Lo Sordo’s designs have been worn by Megan Gale, Emma Booth and Prime Minister Julia Gillard.

In January 2012 Lo Sordo won the fashion category at the Qantas Spirit of Youth Awards.

Michael Lo Sordo Spring 2021 RTW Collection Fashion Show photos from Sydney Fashion Week.

BARE NECESSITIES: MICHAEL LO SORDO SPRING 2021

Elena and Ekaterina Popovy, also known by their nicknames Lena and Katya, are Russian doll-makers born and raised in Perm. Since launching their business in 2004, the twin sisters have worked with fashion designers such as Jean-Paul Gaultier and Fabrizio Viti, Louis Vuitton footwear designer, as well as musicians such as Die Antwoord and Grimes. They created the doll used for Miss Anthropocene-era artworks.

Popovy Sisters have been making fine art dolls since 2004. And for them this activity has transformed into a special thematic kind of art. Together with fashion it has given them a freedom to express their contemporary and cosmopolitan vision of beauty. They believe that their mission is to tell us a story and each time it should be a new one allowing to dream and escape into a world of unfettered imagination. Inspired by history and nature Popovy Sisters always try to transcend the humdrum and commonplace.

Popovy Sisters invest a lot to get an authentic look of their dolls. In 2012 they have started their BJD line called “SISTERS”. Beginning with sketches they create everything by themselves: mold prototypes, makeups, body blushing, wigs, whole outfits and shoes. Within many years Popovy Sisters have developed their know-how technique of a wire-frame design for wigs and clothes. By now they have accumulated a rich experience in working with different materials to reflect the ongoing dialogue between past and present we use natural, high-quality traditional and modern materials. You can find fur, antique silk of Edo period or mica in Popovy Sisters collections. All their dolls are limited edition.

Sometimes the total look of Popovy Sisters dolls is added by the special furniture designed as an element of fashion or its logical continuation.

"We created a special doll for Grimes, it’ll be used on upcoming releases."

Jean Patou founded his eponymous house in 1914. The First World War brought the house to an unexpected halt. When he returned from the front, he relaunched the brand. His first creations were inspired by his travels in the Balkans and the East. The young couturier wanted to free women from the restrictive clothing imposed on them up until then. He marketed dresses without corsets, shortened skirts, launched a sports line designed to be worn in town and a monogram with his initials. He stood out from his competitors, Jeanne Lanvin and Gabrielle Chanel, his great rival, by being all the more visionary. For example, he made tennis champion, Suzanne Lenglen, his muse, designing long dresses with low necklines on the back when the boyish style was in vogue. His eye paid off: between 1919 and 1924, the house’s revenue increased thirtyfold. Celebrities of the time, such as Louise Brooks, Josephine Baker and Mistinguett, were all seen wearing his dresses.

His shop on rue Saint-Florentin in Paris attracted the elite and high society. The 1929 crisis impacted the house, just as he was opening New York. Jean Patou created "Joy", the most expensive perfume in the world, to relaunch his brand. His death in 1936 from a stroke brought the adventure to an end. After the shock of his passing, Madeleine Patou, his sister, and Raymond Barbas, her husband, took over the reins of the house.

Without its founder, the Jean Patou brand lost its aura. Marc Bohan took over the artistic direction in 1954. Following his lead, the house has seen some of the greatest names of fashion at its helm: Karl Lagerfeld, Michel Goma, and under his direction, Jean Paul Gaultier made his debut there, followed by Angelo Tarlazzi and Christian Lacroix. After Christian Lacroix left to start his own house, the Jean Patou house ceased its activity.

Perfumes can keep a name alive. "Joy" has remained a reference fragrance, one of the great commercial successes of the perfume industry. The Procter & Gamble group marketed it from 2001 to 2011, before the English group Designer Parfums took over.

Jean Patou was acquired in 2018 by the LVMH group - which signed a strategic agreement with Designer Parfums to take over the clothing division. Sidney Toledano has appointed Guillaume Henry to the artistic direction, entrusting him with the task of relaunching his women's ready-to-wear lines.

Patou Resort 2021 RTW Collection Fashion Show photos from Paris Fashion Week.

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