A new study titled The Glass Runwayfinds that only 14% of fashion’s top positions are occupied by women, despite recent hires like Maria Grazia Chiuri at Dior and Clare Waight Keller at Givenchy.
The report was conducted by the CFDA and Glamour, and found that even though women spend on average three times more on clothing than men do, their opportunities and salaries in the industry do not reflect their engagement.
For example, 85% of students enrolled in New York’s Fashion Institute of Technology are women, yet most of them have trouble finding a job above entry-level even after years in the business.
The study also looked at pay disparity – Condé Nast, for example, employs three times more women than it does men, yet its female employees earn on average two-thirds of what their male counterparts make.
Of 535 professionals interviewed for the report, 100% of women described asking for a promotion as difficult, and only 27% had received advice from their superiors on their careers.
“Fashion is a creative industry, and I think creative people have a strong sense of humanity,” said CEO of the CFDA Steven Kolb in the study. “We need to look at how to translate that humanity to more tangible opportunities for women in their careers and in their lives so that they can continue to flourish and grow.”
In support of his new documentary The Gospel According to André, fashion legend André Leon Talley sat down with The New York Timesfor an explosive, intimate interview about his experiences with racism in the industry, as well as his loneliness and his personal finances.
The documentary focuses on Talley’s incredible journey toward becoming one of “the most influential figures in the fashion industry” (as Tyra so eloquently put it) – from his childhood in the Deep South, to getting stoned by other students crossing the Duke University campus to buy Vogue, to climbing his way up, against all odds, to becoming Creative Director of the magazine and the only black man sitting at the front of the crowd during Paris Fashion Week.
“There’ve been some very cruel and racist moments in my life in the world of fashion,” Talley told the Times. “Incidents when people were harmful and mean spirited and terrifying.”
Talley recounts learning that the Parisian fashion set had taken to referring him with racial slurs, notably “Queen Kong.” He recalls that the nickname had been conceived first by the head of PR at Yves Saint Laurent.
He also revealed how the fashion industry has become an incredibly lonely place, and that even some of his oldest friends seem to have dropped him, and that his personal funds are dwindling. “I’m broke,” he declares.
Take a look at the trailer for The Gospel According to André below.
Icelandic goddess Björk had her first live television appearance in eight years last night, Pitchforkreports, on the most recent episode of BBC’s Later… With Jools Holland – performing a pair of her own favorite tracks.
She arrived with a squadron of flautists and first gave a rendition of “Courtship,” off her latest album Utopia. She then reached back to her classic “The Anchor Song,” from 1993’s Debut.
Björk will also release a remix EP, Arisen My Senses, this Friday on “slug genitalia-colored” vinyl. As well, she was recently the subject of a nonfiction film series about her and Jesse Kanda, produced by WeTransfer.
Palomo Spain has unveiled their FW 18 campaign, showcasing clothing from their collection titled “The Hunting.”
“We knew from the beginning that The Hunting needed to be related with an animalistic sense,” photographer Kito Muñoz said to Dazed. “We first removed the obvious reference to nature and thought of ‘animal acting’ as a storyline for our Palomo boys.”
The famously androgynous brand has shot to international success in just three seasons, in large part from Beyoncé wearing the designer for her now-famous newborn twins photo shoot. Alejandro Gómez Palomo has become known for his sexual, genderfluid vision of forward-thinking elegant fashion.
Speaking at the Red Bull Music Festival at New York City’s MoMA last night, Swedish pop singer Robyn talked about her long-anticipated next studio album, and shared early demos of some of her biggest smash hits, like “Dancing on My Own.”
“It’s almost there,” she said of her new record, which she confirmed will come accompanied by a new tour. She added that her approach to creating this album has been much “softer” than in the past, and that she spent a good deal of time in the studio by herself figuring out rhythm before inviting collaborators in.
“I started on my own, in my home studio, listening to music that I love, dancing and listening to beats,” she said at the panel discussion, which was hosted by Kindness’ Adam Bainbridge.
She also played her latest single, “Honey,” which appeared on a final episode of Girls – but has yet to be released for streaming. Take a listen.
Cardi B is a blushing bride and a grieving widow simultaneously in her new “Be Careful” video, out today.
The clip, which is set in a Southwestern-style desert church, seems to flip from joyful wedding to dramatic funeral as Cardi switches from a beautiful gown to a black visor dripping in jewels.
Jora Frantzis directed the video, the third off the album Invasion of Privacy – following “Bodak Yellow” and “Bartier Cardi.” Cardi also revealed her pregnancy when she recently appeared as the musical guest on Saturday Night Live.
The new red-band trailer for Sorry To Bother You has us thinking this could be the movie of the summer.
In addition to its stellar cast, which includes Lakeith Stanfield and Tessa Thompson, and sees faves Armie Hammer and Kate Berlant in supporting roles, the film looks wild and unpredictable. It follows the story of a telemarketer who rockets to mega success after using his “white voice,” entering a wild world that appears to include lots of drugs, sex, and performance art.
It’s directed by rapper and filmmaker Boots Riley, who worked on the soundtracks for such films as Superbad and The Losers.
Sorry To Bother You hits theaters June 6. Take a look at the trailer below.
The Obamas have signed a multi-year production deal with Netflix, Deadlinereports. The news was announced over Twitter by Netflix this morning:
President Barack Obama and Michelle Obama have entered into a multi-year agreement to produce films and series for Netflix, potentially including scripted series, unscripted series, docu-series, documentaries, and features.
The deal means Barack and Michelle Obama will have a platform of 118 million subscribers to create content that could include television shows, feature films, and documentaries. But the productions will likely be more inspirational than inflammatory.
“President and Mrs. Obama have always believed in the power of storytelling to inspire,” said Eric Schultz, one of Obama’s former advisors, in an initial report by The New York Times. “Throughout their lives, they have lifted up stories of people whose efforts to make a difference are quietly changing the world for the better. As they consider their future personal plans, they continue to explore new ways to help others tell and share their stories.”
Jamie Campbell Bower really is a modern Renaissance man – literally. He’s played characters from centuries past time and time again, including a young, witty Christopher Marlowe in the TNT drama Will – as well as King Arthur in the Starz series Camelot. He’s also had memorable supporting roles in iconoclastic fare like Sweeney Todd, Harry Potter, and Twilight.
But Bower isn’t just a go-to actor for big-budget period pieces – he’s also the frontman of the punk band Counterfeit, which formed in the UK and is currently touring all over the planet, recently stopping by Brooklyn’s Knitting Factory for a typically high-octane show.
We caught up with the actor-musician to talk about how punk spirit is alive and well, as well as how and from where he draws inspiration.
How did the band come about – was there a moment that the five of you (Bower, Tristan Marmont, brother Sam Bower, Roland Johnson, Jimmy Craig) realized you wanted to make music together, or did it happen gradually over time?
Three of us had been playing in a different outfit that I had formed whilst at school and had taken different lineups throughout the years; but it didn’t feel like what we were doing was an honest representation of who we were or what we wanted to be talking about…so we put it to bed. I just started writing from the heart and this monster was born. I’d always wanted to play music with Sam and so it made total sense to ask him to be a part of it; and Jimmy was an old friend who we knew could hit the drums like a madman. It all fell perfectly into place.
Have you always known you wanted to pursue music seriously, or was it more of a hobby?
I’ve been playing shows since I was 16 around London in various different bands. I always just loved performing and would do it regardless of title.
Describe punk today as it feels to you – how do you think it’s changed in the past few decades?
How does punk feel to me today? Punk feels alive and well. I think the word and usage of punk over time has taken many different meanings and that’s cool, we’re a long way from the Vivienne Westwood, Sex Pistols and Kings Road punk, in what is modern and being described as such. Punk is heart, it’s soul, it’s not giving a fuck, it’s for the people and it doesn’t give in. That’s still there and long may it remain!
Would you describe your sound as more an amalgamation of different styles?
I try not to describe our sound and put it in a genre – but if I were to I’d say that we’ve got a rock ‘n’ roll heart and punk sensibilities. But we take inspiration from everything, and yes, I would call it a bit of an amalgamation.
Where else do you look for inspiration?
It varies. With art I can be inspired by writers, musicians, films… whatever it is that truly moves something in me or makes me connect with a part of myself that perhaps I wasn’t aware of before. Ted Hughes and Brian Pattern are my go-to poets. Musically I’ve always be drawn to artists like Marilyn Manson, Guns N’ Roses, Deftones, Gallows…to name but a few. I like bands who make loads of noise or bands who shock and don’t give a fuck.
What parallels would you draw between how you approach music and how you approach acting – do you feel those two realms of your career exist completely separately?
I try to keep them separate as with acting I’m portraying a character and with music I’m being me with no barrier. Of course they’re both creative outlets and share similarities but for me the differences between playing Christopher Marlowe or a red eyed Vampire and walking out on stage with my band and playing a sweaty rock show and living that life far outweigh the similarities.