Eurasian Vogue
  • HOME PAGE
  • PRESS AND INTERVIEWS
  • Archive
  • LATEST STORIES
  • ABOUT
  • Lifestyle and Beauty
  • Features
  • MENSWEAR
  • Travels
  • HIT OR SKIP? FILM REVIEW
  • Category
  • New Page
  • Home PAGE
  • HARPER'S Features

"fASHION IS A LANGUAGE OF ITS OWN... LET'S TALK" EURASIAN VOGUE


Michael Kors FW20

2/14/2020

 
Picture
Michael Kors knows how to put on a show, whether it’s a huge vibrant runway spectacle or a more grounded one, Kors knows how to move us. This FW20 Kors opened the show with Orville Park performing acoustic guitar as his collection made its way down the runway. The wooden space matched perfectly with his warm and luxe collection. 
 
Kors has become somewhat of a U.S institution and it’s not hard to see why. We know what we are going to get from Kors. His unapologetic love of sportswear, but once again elevated to give it the true look of luxury all at once. Kors knows what America wants and he is there to give it to them with a splash of glamour.  

This collection Kors is both looking back, but designing in a way that is most definitely looking to the future. This is reflected most clearly in the orange striped coat, worn on Naomi Campbell 21 years ago, and then slightly updated to be worn on Kaia Gerber. 


Picture
That’s the genius of Kors, we look back but we also are moving forward. A nod to Kors’ move into sustainability, and pushing for the trend of re-wearing pieces. In a time of being conscious of what an impact fashion is having on the environment Kors is showing us that good investment pieces stand the test of time, just as Kors himself has, as next year we see him celebrating his 40th anniversary of the brand. 
 
His latest collection is without doubt classic timeless pieces that won’t look out of place another 21 years from now. Outerwear really stole the show, with classic and beautifully created capes, a shearling coat as well as super-oversized knits, and matching scarves that doubled up as a coat, ponchos and sharp tailoring, and the celebration of the boot also ran throughout. From the flat riding boot and over the knee wellies for the country, to the stacked heel made for the city. Accessories, crossbody satchels and messenger bags insured we could be carefree and handsfree. 


Picture
Picture

​The FW 20 collection was all about easy, cozy glamour. That balance between country and the big city. More modest hemlines and high necklines kept the looks conservative but still stylishly form-fitted. A stunning knit dress that played around with the look of wrapping a sweater over your shoulders, perfect for the country club and paired with tan knee-high riding boots. Easy to wear pieces that were given structure with belts worn over dresses and capes. Skirts were knit and fringe blanket style, dresses were long and loose in form. 
​
Picture

This relaxed vibe carried on through to evening wear, loose in form, they carried a cool-easy breezy feel. Dresses paired with a high neck sweater and knee high boot ensured an elegant yet care-free feel to them. 

The nod to sustainability also carried on through to his eveningwear, with his sequin dress, one of which Kors made using recycled materials whilst recycled plastic bottles were used to create the sequins adorned on the dress.
 
Picture
Picture
Picture
Picture
Picture
Picture

Menswear pieces lent into the growing trend of his and hers looks. Complimenting the womenswear collection with their muted colours and relaxed fit. A black cape and riding boots, as well as the shearling coat were offered in both the men’s and womenswear collection. Whilst a grey oversized coat and turtleneck black jumper and a more relaxed fit trouser ensured the his and hers pieces matched the vibe accordingly. Also playing with the country-city balance, a tan puffer coat that with matching shirt and complimenting trousers. 
 
Picture
Picture
Picture
Picture
Picture
Picture
 
Blending the new with the resurrected, a move into sustainability and a reference back to his previous shows, Kors seemed to have his 40th Anniversary as a point of inspiration and celebration, the result? A show of nostalgia, ease a little utilitarian edge, and a whole lot of easy glamour. 
​
Picture
Picture
Picture
Picture
Picture
Picture
Picture
Picture
Picture
Picture
Picture
Picture
Picture
Picture
Picture
Picture
Picture
Picture
Picture
Picture
Picture
Picture
Picture
Picture
Picture
Picture
Picture
Picture
Picture
Picture
Picture
Picture
Picture
Picture
Picture
Picture
Picture
Picture
Picture
Picture
Picture
Picture
Picture
Picture
Picture
Picture
Picture
Picture
Picture
Picture
Picture
Picture

EAST MEETS WEST IN TADASHI SHOJI'S FW20 COLLECTION

2/6/2020

 
Picture

On February 6th, 2020 Tadashi Shoji presented his FW 2020 collection in New York. The inspiration, Mongolia, with its fabled empire and extraordinary past. A place where tales of many Dynasties originated. Spanning centuries it’s where East meets West, filled with intrigue, a legacy that at times is larger than life and it’s this spirit that can be seen throughout the collection. 
 
Picture
Picture

The inspiration can be seen with Mongolia’s ancestral roots of spirited beauty of the Mongolian steppes. It’s this point of reference we can see weaving its way through the collection in the nomadic outwear, fur lined coats and robe inspired wraps with sashed waists with exquisite luxe patterned textiles. Also seen in the collection, feminine cover-ups that blend faux fur with delicate sequin accents and metallic brocades. Balancing perfectly ornate pieces that are both intricate in design but functional, it’s occasion wear meets functionality.  
 ​
Picture
The color story is influenced by gers, felt-tent homes with their brightly painted doors, interiors with colorful tapestries, and floors sumptuously decorated with rugs, that are peony-patterned embroideries and multi-stitch geometric motifs.

​One of the largest empires ever known was the Mongolian Empire, and it saw unprecedented transformation. Bringing together the East and West by opening trade routes which created an exchange of goods and created an influence through each other’s cultures. It was during this time Buddhist monks traveled with merchant caravans in this age of advancement. It’s this influence that can be seen in the draping of the monks’ outer robes that is reflected in Shoji’s one-shouldered silhouettes with necklines that are asymmetric, feminine and bare. ​
 
Picture
As is synonymous with Shoji’s stunning feminine design aesthetic, his influneces aren’t taken literally but interpreted in his trademark sexy yet elegant pieces. The traditional nomadically-layered looks are deconstructed, the result is pieces larger in volume. The inspiration of a gem and mineral-palette is brought together with silhouettes that are sculpted and supple or tight to the body but full in shape. There are voluminous pieces such as the bubble-hemmed dresses and gowns with pointed shoulder detailing and gigot-esque sleeves, wide at the top and narrower at the bottom. Elegant portrait collars draws attention to the most feminine part of a woman’s neckline and cinched in belted waist paired with an organza jacquard evening coat goes to emphasize the coat’s full-skirted shape to full effect. A  taffeta opera coat solidifies the stunningly rich collection with its sweeping cut and voluminous fit. 
​
Drawing on the mythical rich achievements of the Mongolian Empire, this collection went to great depths of respecting and reflecting the incredible history of the Empire that left the world forever touched by its wonderous past. ​
​

Picture
Picture
Picture
Picture
Picture
Picture
Picture
Picture
Picture
Picture
Picture
Picture
Picture
Picture
Picture
Picture
Picture
Picture
Picture
Picture
Picture
Picture
Picture
Picture
Picture
Picture
Picture
Picture
Picture
Picture
Picture
Picture
Picture
Picture
Makeup and beauty for the Tadashi Shoji Fall/Winter show was provided by the Honest Beauty and Orcé teams and led by makeup artist Daniel Martin, hair led by hair stylist Kevin Ryan for R Session Pro Tools, nail lacquer and design by Lux K on behalf of Pear Nova and skin care prep by Tatcha.
 
Models wore undergarments by Commando, jewelry by Sequin and footwear by Nina Shoes. 

RUTH CARTER X HM COLLECTION

2/6/2020

 
Picture
Last Saturday I had the honor of interviewing Ruth Carter about her latest movie, Dolemite Is My Name. We also touched upon Black Panther, the movie that saw her make history by becoming the first African American to win an Oscar for best costume designer.
 
Now Ruth Carter, who made the announcement during Black History Month, is making her designing magic available to the masses with the launch of her collaboration with H&M . The capsule collection which will be focused on 80s inspired streetwear includes t-shirts, hoodies, as well as bucket hats. 
 
Carter said, “This Black History Month I’m super excited to announce my collaboration with @hm. With the accessibility of H&M I intend to spread some love and inspiration to all who want to express themselves creatively. All the RUTHLESS ones, in pursuit of ART and TRUTH, like I’ve been with costumes, will find representation here.
 
This is for YOU. 
I’m asking you to
TRUST YOUR VOICE! 
SPEAK your TRUTH! 
BE your TRUTH!
And, THAT’S the TRUTH Ruth!


Picture

Carter’s Friend, TJ walker’s brand, Cross Colours can be seen as a reference point. However Carter has found inspiration from historical significance as well, as she sought The Black Liberation flag as a point of reference. The flag, Created by the Universal Negro Improvement Association and African Communities League in 1920 can be seen as a recurring feature on the designs. Growing up Carter was surrounded by family members who would wear black, red and green, as they spoke through fashion as a way of declaring their empowerment and freedom.
 
Picture
This inspiration can be seen in each piece of the collection. With powerful words such as “Truth”, serve as a reminder of the heart of the collection. The adversity and racism Carter has faced and the walls she has knocked down along the way. 
Picture

As with designing the costumes for Dolemite Is My Name, when Carter told me, “I just wanted to like the clothes”, this was obviously just as important for this collection, but as well as liking them, she wanted them to be a reminder of the struggles, truth and to serve as a reminder to “Trust your voice”.
​

Picture
With this collection Carter is breaking records once again. H&M have previously collaborated with a string of high profile designers including Alexander Wang, Karl Lagerfeld and Versace to name just a few, however this is the first time the Swedish brand has collaborated with a costume designer. During our previous interview I asked Carter if she felt there had been a shift, embracing designers who are minorities and she said, “Yes, it’s slow though.” Adding, “We have a responsibility to the change as much as the change has a responsibility.” True to her word, Carter is certainly taking on that responsibility as she once again creates another first and in doing so, hopefully paving the way for others to follow.
Picture
The Ruth Carter x HM collection launches on February 13th online and in select stores in the US.
For more information visit www.hm.com
 

THE 28TH ART OF MOTION PICTURE COSTUME DESIGN EXHIBITION AT FIDM Museum AND INTERVIEW WITH Ruth Carter

2/3/2020

 
Picture
Los Angeles, arguably the entertainment capital of the world, is having its biggest event of the year on Sunday February 9th 2020, The 92nd Academy Awards, The Oscars®, in which we celebrate the biggest movies of 2019. 
 
Ahead of the incredible night of glitz and glamour comes the opening of FIDM Museum’s exhibit, the 28th Annual presentation of the “Art of Motion Costume Design”. Celebrating the extraordinary creativity of costume designers for their work in films from last year. The FIDM exhibit features over 100 costumes from 30 films including all 5 of this year’s Academy Award nominees. Open to the public for free, beginning Tuesday February 4th until March 21st 2020. 
  
The exhibition, which is the only one of its kind in the world, that pays tribute every year to the genius costume designers for film, dedicating the FIDM museum from the months of February until March, to the outstanding costumes and Oscar® Nominated designs. The exhibition illustrates the undeniably integral part that costuming plays in creating the movies we’ve been watching all year and enlightens movie fans on some of the process, as they allow visitors of the exhibit to get up close to the breathtaking costumes. 
​
Picture
28th Annual presentation of the Art of Motion Costume Design at FIDM Museum 

I had the honour of being able to preview the exhibit on Saturday 1st February at FIDM Museum as they once again celebrated the important role of costuming in movies, transforming actors into the characters we see on screen, from fictional characters brought to life, to re-creating real life figures such as Rudy Ray Moor and Dolemite, the fictional character Moor created, for both his standup and movie of the same name. 
 
Picture
28th Annual presentation of the Art of Motion Costume Design at FIDM Museum opening night. 

I had the opportunity to interview Ruth Carter, the amazing costume designer for Dolemite Is My Name, at the event. Carter made history when she became the first African American to win an Academy Award for Best Costume Designer (for Black Panther). Here we discuss how she created the incredible looks for Dolemite Is My Name, touch upon her work on Black Panther and pushing for diverse talent in the industry.  
 ​
Picture
Stacy Fan attending the FIDM Exhibition ahead of interviewing Ruth Carter
​

Picture
Stacy Fan interviewing Ruth Carter 
Picture

Stacy Fan: Costuming is always such an important part of any movie, but they really were integral to this movie as we see Eddie Murphy transforming into Dolemite at the beginning of the movie. 
 
Rudy Ray Moore created Dolemite to be so extravagant with his costuming to match his huge persona. How did you manage to keep both the character of Rudy Ray Moore and Dolemite grounded, whilst still pushing the costuming to that exaggerated level?
 
Ruth Carter: I think when you know these kinds of people, they create these kind of personas for themselves and it’s manifested in the way they present themselves and what they wear and you know they like it and that they are serious about it and they are entertainers and they are creative. 
 
It takes a lot of creativity to put these looks together and they usually do it themselves and I kind of just wanted to honor that spirit of creativity and proclaiming who you are, so different than the rest. And it was important that we didn’t laugh at it but that we cheered it on. Because it was about believing in yourself 1000 percent against all odds. So that was the challenge, because you can easily go way too far when the actors take on their characters so I just wanted to like the clothes; whether they were broad and big and pimp style, I like to call it urban dandy, I just really wanted to like the clothes. 
 
Picture
"Dolemite Is My Name" costumes by Ruth Carter 

​SF: Eddie Murphy spends a lot of time on stage performing as the character of Dolemite. 
How did you balance keeping the clothes and particularly the shoes comfortable for Eddie Murphy to perform in whilst still staying true to his larger than life looks?  
 
RC: Yes, that was a challenge, you know having a man in platform shoes everyday! I really felt bad honestly, because some of the shoes were amazing, but he had to wear them, he was trying. Finally I made a pair of platform shoes out of tennis shoes. I just put the heel on a pair of tennis shoes and he was so comfortable. He was so happy! That didn’t happen till way down the line! It was a process to get there!
 
Picture
Picture
SF: You only had 6 weeks of prep time. How did you manage to do everything in such a short period of time?
 
RC: Yes, we prepped in 6 weeks so it was fast and there were about 75 made to order looks for Eddie. Just in that amount of time you had to go right to the source and if the fabric had the texture you were looking for, but not the color, we dyed it. We didn’t have time to look for another fabric, especially with that double-knit polyester, it’s actually like a relic, it’s hard to find and so we did a lot of dying and putting things on people’s tables all over Los Angeles. We had almost every tailor in LA that I know of working on our stuff. 

Picture

SF: It’s incredible that this movie was your 5th time working with Eddie Murphy, and that you have your sixth movie together, Coming 2 Americaout later this year, how has your creative relationship evolved with him over time?
 
RC: You know I just really like him as a person and so I think that helps our creativity because we are very comfortable around each other. I can go into his personal areas like his dressing trailer and you know he is comfortable and for a person like Eddie who prepares, prepares, prepares he likes to have his private space, it’s nice to be invited in because you can get a lot done. I think that has really strengthened our relationship because I’m allowed to do what I’ve got to do. I’m not waiting forever for someone to say you have the privilege to go in. 
Picture
SF: Is Eddie Murphy very involved when it comes to having an input with his costumes?
 
RC: He is not involved with costumes as much as he knows the feeling that he wants to present, so he’ll talk about the story in a way that you know what he’s talking about visually and you can get right to it. But I always share everything with him even though he doesn’t dictate what things should be, I show him sketches, I show him research. I talk about trends of the 70s that we both remember because we’re both about the same age. So that was fun, I’d like that to go on forever! So that’s how we connect.
 
Picture

​SF: Another iconic character in this movie is Lady Nancy Reed, Queen Bee, being one of the only women in this movie and an incredible woman at that, who goes from struggling single mother to successful actress. Such an inspiring real-life character. How did you go about creating her costumes that were so powerful and so sexy at the same time and what was it like working with the gorgeous Da’Vine Joy Randolph in this process?
 
RC: Da’Vine Joy Randolph is like a powerhouse character. She is a powerhouse, so you bring it. When you’re ready to get her done up, you bring it. If you don’t bring it, it’s going to be obvious because she isa powerhouse so you’ve got to dress the powerhouse. You make her bold, you make her big, you make her sexy.
Picture
SF: Your incredible work in Black Panther is being shown at the exhibit as well as Dolemite Is My Name. Obviously, Marvel are very hands on when it comes to the vision of their movies, and this was your first ever superhero movie. That must have been incredibly intimidating?
 
RC: Super intimidating! But I am a good listener. And you only get that information when you listen. And once you get it, you get them, you get what they want, you get how they roll and you can flourish, because you’re going to do your part and bring what you know they don’t know you got! So that’s why I felt I was intimidated, I was super scared, I gave it 200 percent of my being and myself because I knew it was a big project, people were waiting to see it, so I was like, ‘Don’t mess this up. It’s life or death!’
Picture
Black Panther costumes featured at the FIDM Exhibition 

Finally I have to ask you about The Black Design Collective, I interviewed Angela Dean, Kevan Hall and TJ walker about the incredible work with the foundation and your well- deserved tribute here at FIDM last year. I know you also gave the scholarship from the Black Design Collective to Devert Monet Hickman last year. How important is it to you to see that push for emerging designers, especially minorities in the industry?
 
RC: I think the more trends change, the more we have to embrace who created them, and who is creating them are diverse groups who are doing it in very ingenious and unusual ways, so we can’t stay the same. It’s not going to down like that. 
 
Picture
TJ walker, Ruth Carter and Kevan Hall 

SF: Have you seen a growth since the beginning of your career when it comes to embracing that diversity?
 
RC: Yes, it’s slow though. My whole career we’re still talking about the same thing. So it’s still happening but we have to be a little more assertive too. We have a responsibility to the change as much as the change has a responsibility.
 
Dolemite Is My Name is available to watch on Netflix now. The costumes featured in the movie are currently on display at the FIDM Museum exhibit as well as costumes from Black Panther. 
 
Academy Award Nominated movies featured in the exhibition:
 
Picture
“The Irishman” By Sandy Powell and Christopher Peterson
Picture
“JoJo Rabbit” By Mayes C. Rubeo
Picture
“Joker” By Mark Bridges

Picture
“Little Women” By Jacqueline Durran
Picture
“Once Upon a Time…in Hollywood” By Arianne Phillips

Other movies featured at the Exhibition:

Picture
"Dumbo" Costumes: Colleen Atwood 
Picture
“Queen & Slim” costumes by Shiona Turini
Picture
“Captain Marvel” costumes by Sanja Milkovic Hays
Picture
Picture
“Rocketman” costumes by Julian Day
Picture
“Avengers: End Game” costumes by Judianna Makovksy
Picture
Picture
Picture
“Maleficent: Mistress of Evil” costumes by Ellen Mirojnick
Picture
“Late Night” costumes by Mitchell Travers
Picture
“Downton Abbey” costumes by Anna Robbins
Picture
“Harriet” costumes by Paul Tazewell
Picture
“Us” costumes by Kym Barrett
Picture
“Last Christmas” costumes by Renee Ehrlich Kalfus
Picture
“Star Wars: The Rise of Skywalker” costumes by Michael Kaplan
Picture
“Hustlers” costumes by Mitchell Travers
Picture
“Knives Out” costumes by Jenny Eagan
Picture
“Booksmart” costumes by April Napier
Picture
“Aladdin” costumes by Michael Wilkinson
Picture
“The Laundromat” costumes by Ellen Mirojnick

Photos by Alex J. Berliner/ABImages

For more information on the exhibit visit:
 
http://fidmmuseum.org

FIDM Museum Address: 919 South Grand Avenue, Suite 250, Los Angeles, California, 90015, United States
 
With thanks to FIDM Museum 

    By
    STACY FAN 



      SUBSCRIBE TO EURASIAN VOGUE: 

    Subscribe to Newsletter
    Instagram

    EURASIAN VOGUE ON INSTAGRAM

    Picture

    EURASIAN VOGUE ON INSTAGRAM
    ​

    Archives

    November 2025
    June 2025
    April 2025
    March 2025
    September 2023
    February 2023
    August 2022
    February 2022
    May 2020
    April 2020
    February 2020
    November 2019
    September 2019
    August 2019
    July 2019
    June 2019
    May 2019
    April 2019
    March 2019
    February 2019
    January 2019
    December 2018
    November 2018
    September 2018
    August 2018
    July 2018
    June 2018
    May 2018
    April 2018
    March 2018
    February 2018
    January 2018
    December 2017
    November 2017
    September 2017
    August 2017
    July 2017
    June 2017
    May 2017
    April 2017
    March 2017
    February 2017
    January 2017
    December 2016
    November 2016
    October 2016
    September 2016
    August 2016
    July 2016
    June 2016
    May 2016
    April 2016
    March 2016
    February 2016
    January 2016
    December 2015
    November 2015
    October 2015
    September 2015
    July 2015
    June 2015
    May 2015
    April 2015
    March 2015
    February 2015
    January 2015
    December 2014
    November 2014
    October 2014
    September 2014
    August 2014
    July 2014
    June 2014
    May 2014
    January 2014
    December 2013
    November 2013
    October 2013
    July 2013

    RSS Feed


    SIGN UP FOR EURASIAN VOGUE'S NEWSLETTER

Subscribe to Newsletter