‘Transparent’ Creators Launch Pro-Trans Jewelry Line

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As trans representation continues to flourish in movies and television, Transparent has become one of the most popular shows period. With season four recently released on Amazon Prime, we catch up with the Pfeffermans as they evolve in the face of Maura’s (Jeffrey Tambor) transition.

The creators have also teamed up with Brooklyn-based Catbird Jewelry on a new line of jewelry which celebrates trans identities – featuring rings in sterling silver and 14-karat gold ($240) and a necklace made of sapphire ($560). 50% of the proceeds will be donated to the National Center for Transgender Equality.

“Designed with the Transparent team, we married our signature silhouettes with recognizable icons of the transgender movement – our classics, made for all to wear,” says Catbird’s Rony Vardi. “A gentle arc of five sapphires, in a color scheme to echo the Transgender Pride Flag, is set on a long gold chain with our signature adjuster to fit necks long, short, and everything in-between.”

The Transparent collection is now available at Catbird.


alexa BlackBook: Double Feature: Rodarte’s Designing Sisters Make Their Writing & Directing Debut with ‘Woodshock’

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Kate (left) and Laura Mulleavy share directing duties on the set of their first feature film, “Woodshock.”


SISTERS Kate and Laura Mulleavy ask to meet at the Pacific Dining Car in Downtown Los Angeles, where green-dinner-jacketed waiters serve afternoon tea while Chet Baker plays softly in the background. It served as the ad hoc pre-production office for the movie they’d been incubating for years. After founding their acclaimed fashion line, Rodarte, in 2005, the pair are now taking a page from the Tom Ford playbook and channeling their dreamy aesthetic into feature films. Their cinematic debut, “Woodshock” — which they wrote and directed — stars Kirsten Dunst and hits theaters Sept. 22.

“Both film and fashion are about a natural instinct and being open to following that,” Kate, 38, tells us. “They’re very different processes but both of them involve an extreme desire to bring something to life.”
“Woodshock” centers on Theresa (played by Dunst), whose grief snowballs into chaos and paranoia as she experiments with a lethal drug. Through the movie, the audience is largely left in the dark about why Theresa falls down this particular rabbit hole. “[We created] a character where you have a stream-of-consciousness experience,” explains Kate. “It’s not a film based on explanation of her behavior.”

Kate and Laura found plenty of creative common ground between fashion and filmmaking, along with some refreshing distinctions. “Our main job at Rodarte was to protect it, and to protect the creative identity and the integrity behind what we do, which is something that you really have to do when you create a film,” says Laura, 37. “Fashion design is about a series of repetitive motions and this cycle of developing ideas, questioning your choices. But the film was taking that thing that you do in six months and dividing it over five years with 300 people.”



Kirsten Dunst stars in the movie, playing a grieving woman whose drug experiments are presented in a chimeric, stream-of-consciousness style.



The sisters previously worked with director Todd Cole to create a series of short films for Rodarte. They also worked on costumes for Darren Aronofsky’s celebrated 2010 movie, “Black Swan,” an experience that inspired them to make their own movie.

“There’s such a small percentage of women directing films, you realize why a lot of people may feel that that job is not achievable to them,” says Laura. And so, like our cover star Lake Bell, the Mulleavys decided to create their own opportunity. “What’s amazing is knowing that when we came to the table with this unique project, there are other people out there who will do that too,” she continues. “People are questioning the status quo.”

As with Rodarte, the sisters shared filmmaking duties: writing together, scouting together, editing together. Kate and Laura also collaborated on the wardrobe with costume designer Christie Wittenborn. The film’s elegant use of reflections, scale (much of the movie is set among unfathomably huge redwood trees) and disorientation creates an unearthly, glittering, nebulous effect that echoes their fashion collections.

“[Making films] is something I just know I love,” says Kate. “I can finally get all these creative things in me and figure out a way of pulling them all together and getting them out into the world. As a woman that’s a really empowering feeling.”


Photos Courtesy of Autumn DeWilde, A24

Isabel Marant Showing Her First Menswear Line at Paris Fashion Week

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Isabel Marant will show her first menswear collection tonight at Paris Fashion Week, as a complement to her womenswear Spring 18 line. The men’s clothing will be cut from the same fabrics, just altered to better fit the male figure.

“It’s very on for girls to borrow their boyfriends’ clothes, but actually my husband is borrowing my clothes,” Marant told Vogue. “So I just wanted to show the reverse point of view: saying that men could also borrow womenswear.”

The collection will feature plenty of knitwear – tees, sweatshirts – as well as trousers and shorts.

“Sometimes you have sweaters where the neckline doesn’t really work for men, or the shoulders,” Marant continued. “I was thinking it was a bit stupid not to do it, because in the end it’s quite easy and natural for me.”

Her more affordably priced Étoile collection will also begin to offer men’s pieces in the new season, though Marant is still not going to go completely into the masculine world.

“My aim is not really to go into menswear completely,” she said. “I don’t want to go into making men’s fashion shows and all that; but always to have in the collection a translation of what I think could be good for men from my womenswear.”

Gareth Pugh & Nick Knight Debut Bizarre Spring 18 Fashion Film

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Fashion films are the new runway show. A week after Kenzo and Natasha Lyonne wowed us with a bizarre clown-centric film about Maya Rudolph discovering her soul and pushing us towards an existential crisis, avant-garde maestro Gareth Pugh has unleashed a 16-minute art film to show off his new collection.

Indeed, for spring 18 Pugh teamed with venerable photographer Nick Knight for a film that debuted at London’s BFI IMAX, which is reportedly the biggest movie screen in Europe. He also employed choreographer Wayne McGregor, as well as performance artist Olivier de Sagazan. In the beginning of the piece, Sagazan and Pugh smear clay over each other’s faces and bodies until they’re completely covered, like some high fashion ritual spa day.

It’s not until two-thirds of the way into the film that the clothes are unveiled, beginning with a gag-worthy red-haired model in a metallic red trench coat. Eventually, more models enter the red-and-black mirrored room until, suddenly, holy music begins to blare and it shifts to gold and white light. We won’t spoil the finale but, between this and the Kenzo film, we’re definitely ready for absurdist, artistic fashion shorts to become the new normal.


Our 11 Favorite Looks From Gucci’s Legendary Spring 18 Show

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Illustration by Hilton Dresden. Photos Courtesy of Gucci.


Alessandro Michele’s Spring 18 show featured some of the best looks we’ve seen on a runway period, let alone this season. The collection took his signature power-clashing of textiles, colors and patterns to new heights: floral quilted skirts combined with angular jackets and glittering jewelry, silky bodysuits met furs and Bugs Bunny cardigans, fanny packs met rhinestones and flare pants…it seems every concept that could be thought of for the hundred plus looks of the collection was implemented. And the results were breathtaking.

The collection draws inspiration from several nostalgic fashion moments: the 80s and 90s are both clearly visible in silhouette and accessories, while the haircuts tended to trend towards even earlier decades. Yet it still felt decidedly ahead of its time, a refreshingly daring and conceptual show blasting apart a season filled with so many safe runways.

While it would be impossible to choose the definitive favorite looks from the show (which, by the way, incorporated low lighting and immense amounts of fog), we’ve compiled the 11 which dazzled us the most.


Gucci’s Cruise 18 Campaign Shot Real Rome Residents in Their Homes

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Photography: Mick Rock for Gucci Cruise 18.


For Gucci’s Cruise 18 campaign, they tapped legendary photographer Mick Rock – nicknamed “The Man Who Shot the Seventies” because of his iconic photographs of Blondie, Bowie and Queen – to capture their new collection on camera.

Rock elected to skip fashion models in favor of real citizens of the city of Rome, photographing individuals who caught his eye in their own homes or on the street to fantastic effect.

“What helped a lot is the fact that I got constant stimulation from the clothes because they’re so fabulous, and they’re colourful,” he told Dazed. “I just went for the people that interested me.”

Gucci’s next release of new styles will arrive in just 6 days, when the combined men’s and women’s Spring 18 line is unveiled at Milan Fashion Week September 20.



New York Fashion Week Just Had Its Most Diverse Season Ever

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As we trekked through the city for the chaos of New York Fashion Week, we couldn’t help but notice that the face of the runway seemed to finally be changing. Now, it’s been confirmed. The Fashion Spot’s diversity report for the Spring 2018 season has been released and its findings are worth celebrating.

After surveying 94 shows and 2,601 model appearances, they found that 36.9 percent of runway models were people of color – which is a great increase from the 31.5 percent during the Fall 2017 season and an astronomical change from a year ago, when only 20.9 percent of models were people of color. This season also marks the very first time that every single runway show had at least two models of color. While this is certainly nowhere near enough, it’s a noble step in the right direction.

Besides racial diversity, the season also had a record 31 transgender or non-binary models walk the runway, including Teddy Quinlivan, who came out as transgender at the end of Fashion Week. There were also a record 90 plus-size models, compared to the 26 who walked for Fall 2017 earlier this year.

This push towards a more diverse and inclusive runway is a breath of fresh air and, as usual, it’s smaller, queer designers like Eckhaus Latta and Luar who seem to be leading the charge. But for all of the diversity we’ve seen here, inclusivity on the runway doesn’t seem to be a big import across the pond this season, when it comes to some of our favorite designers like Palomo Spain and Gucci, whose runways featured only a handful of dark-skinned, non-white models each.

While any step forward is reason to celebrate, the fashion industry’s path toward diversity still has a long way to go until it’s as diverse as the world we live in.

Maya Rudolph, Fred Armisen Star in Kenzo Fashion Film

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If you’re looking for clown content that’s a little less It and American Horror Story: Cult and a little more existentially distressing, you may want to take 13 minutes to watch Kenzo’s new fashion film. Cabiria, Charity, Chastity is the directorial debut of Orange is the New Black actress Natasha Lyonne, and to say that it’s bizarre would be a massive, egregious understatement.

Kenzo is already known for creating top quality, surrealist films for its collections – their last, directed by Spike Jonze, won a Grand Prix at Cannes this year – and this clown-centric piece doesn’t disappoint. Lyonne wrangled up a star-studded cast that includes Maya Rudolph, Fred Armisen, Macaulay Culkin, Leslie Odom Jr., and Greta Lee. Oh, and she got almost all of them simply by texting them – because Lyonne is just that good.

In the film, Rudolph plays Chastity, who winds up on a time-traveling journey of self-discovery that includes clown school (as taught by Armisen), a cabaret, a terrifying Macaulay Culkin, and a gibberish language that the director made up for the film. We’d try to explain the story, but after two run-throughs, we still have literally no idea what any of it means.

While we anxiously await Kenzo’s SS18 show on September 27, to see how the film ties in, take a break and watch it in all its weird glory.


Check Out the St. John’s Prep School-Turned-Punk Menswear Collection

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Image courtesy of St. John

Preston Douglas’ St. Johns collection has brought a Parisian influence to deconstructed menswear. Red berets and cheeky sunglasses were paired with overlong sleeves and boxy silhouettes for a fresh, casual look. The palette is a clean, simple array of khakis, blue, whites, grays, and reds.

The designer has created something simultaneously sweet, simple, and decidedly fashion forward with his flowy, minimalist new range of garments. Get a behind-the-scenes insight into the show from the video below.




Photo courtesy of Saint Johns.