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The Official Page of The Fashion Law.

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    The Met Gala is tonight. It is what most industry insiders would call one of the biggest nights in fashion, maybe even the biggest. This year’s chair (in addition to Anna Wintour and her posse of Vogue girls) is Givenchy creative director Riccardo Tisci, who has been preparing for tonight’s event for about a year. So much so that he has failed to show couture collections, more or less blaming it on the fact that he has been so busy with Met Gala duties. While that is a sufficient answer for many, I’m skeptical.

    Riccardo Tisci joined Givenchy in 2005 and has been the force behind the house’s couture creations since then, presenting collections for Fall and Spring. Since his arrival, Tisci has also made it a point to transform Givenchy a bit, creating an increased amount of accessible luxury. He is behind the house’s first “it” bag, the Nightengale. He is also behind the Givenchy streetwear craze: the printed t-shirts, sweatshirts, etc. He has undoubtedly made Givenchy more relevant that it has been in my entire lifetime, which is a feat. But what about couture? 

    Rottweilier t-shirts are only sustainable for so long. Bambi-inspired sweatshirts certainly cannot carry a luxury design house. So, what is really happening with Givenchy, which holds the status of a grand couturier, is unclear. The Paris-based design house announced late last year that it would not show a collection during the January 2013 couture week in Paris. The announcement followed Givenchy 2010 shift from presenting couture runway shows to showing looks in a presentation setting. At the time of the announcement, said it was likely because "the brand’s plate is presumably full this year, with Riccardo Tisci co-hosting the Met Gala in May." This was somewhat understandable until Tisci created costumes for Beyonce’s tour, Rihanna’s tour and for the Opèra Garnier in Paris. Is he just doing everything but presenting a formal couture collection? Because for some reason, custom-made designs adorning Rihanna while she sings about cake and f*cking Chris Brown isn’t exactly the same to me as a couture collection, and costumes for the ballet also likely do not have the same visibility as a couture collection. So, streetwear it is? We will see soon, now that the Met Gala is almost complete.

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    Supermodel-in-the-making Cara Delevingne was snapped by paparazzi entering her house in Belgravia, central London, this weekend and while looking for her keys, she dropped a small bag of white powder. Twenty-year old Delevingne, who just graced the cover of the first ever Miss Vogue magazine, has had a meteoric rise to fame since being scouted by Sarah Doukas, who also discovered Kate Moss, and subsequently signed with Storm models in 2009. Last year she won the Model of the Year award at the British Fashion Awards after starring in campaigns for Burberry, Chanel, Zara and H&M. Following the potential cocaine incident, though, some of Delevingne's campaigns are reportedly in jeopardy. The pictures are said to have cost her millions of pounds in cancelled contracts. H&M, for one, is “investigating Miss Delevingne, whom it employed earlier this year as the face of its Divided clothing range.” The retailer has a "zero tolerance" policy when it comes to drugs and famously dropped Kate Moss after her cocaine scandal. See pictures from the scene after the break ...

    images courtesy of terrysdiary, thesun

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    John Schwenzer was scouted by Place Models in early 2011 at a party in Hamburg and made his Fashion Week debut in June 2011 when he walked exclusively for Gucci in Milan. He has since walked for Lacoste, Libertine, Moncler, and Antonio Azzuolo, among others; appeared in a Strellson ad campaign, and graced the pages of Vanity Fair Italia, the Libertine Magazine, and Rollacoaster, just to name a few. He talks to The Fashion Law about Gucci, boxing, the downsides of modeling, and more ...

    The Fashion Law– How old are you and what's your nationality?

    John Schwenzer– I am 25 and I am from Germany.

    The Fashion Law– Business today is so much about branding. Do you feel like models are brands?

    John Schwenzer– Yes. I totally think models are brands. I mean, every big brand, like CK or Gucci, has their own type of models that they book. That's why you sometimes hear as a model on shoots 'You are the perfect face for Zegna and so on.' So, you are your own brand and you have to promote yourself all over the world.

    The Fashion Law– How do you think you are different from other models?

    John Schwenzer– I think what makes me different than other models is my look. Also, my hobbies that I can use in my job. For example, I box, and boxing gives you better body coordination that you definitely can use at shoots.

    The Fashion Law– What did you think of modeling before you got started?

    John Schwenzer– I wasn't following fashion at all actually before I started. I was just busy playing music with my band. The only image of modeling I had was from watching Germany's Next Top Model with my sister. I also never thought I was going to be a model, as I was chubby before I got scouted.

    The Fashion Law– What has been the highlight of modeling for you so far? Is there a specific job you loved?

    John Schwenzer – I think the highlights were my first 2 jobs. For my first show, I walked for Gucci in Milan and my first shooting job was for the Strellson campaign in New York. Both were so impressive and amazing. Also, I guess shooting in the middle of the street in Manhattan was something that I never dreamed of doing. It's still not real to me. I feel very blessed by getting these opportunities, but the most important thing at a job is actually the team and it's just more fun if you can make new friends at a shoot. 

    The Fashion Law– Do you think there are any downsides to modeling?

    John Schwenzer– I think the biggest downside of modeling is that you never have a constant life. Because you are always traveling, you leave your best friends behind for so long and you are so busy with your surroundings sometimes that you can forget important people in your life.

    The Fashion Law– Is there a particular designer or design house that you absolutely want to work with?

    John Schwenzer – I would like to work with Calvin Klein or Tom Ford in the future. Those have become my favorites during my modeling time. 

    The Fashion Law– What do you like to do when you're not traveling and working?

    John Schwenzer– As a full-time model I'm always in a foreign country. So, in my free time I love to do sports. I go 3 times a week to the gym and 2 times to boxing. I even go boxing in Italy even if the training is just in Italian. Also i like playing guitar. I always try to bring my guitar when I travel.

    The Fashion Law– Where do you see yourself in the next several years?

    John Schwenzer– I dont know actually. I'm going to start online studies in psychology this year but I have no idea where everything will lead me to. I've decided I want to live my life as an artist. So, what I know is that I wont have an office job in future, even if that means I might have some money issues. 

    The Fashion Law– What are you obsessed with right now?

    John Schwenzer– Right now I'm obsessed with sports and nutrition. I'm reading books about the anatomy of the body and about how to keep my body healthy by eating.

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    The Met Gala is tonight and here's a list of who's taking whom. Keep checking back for frequent updates on this year’s Met Gala pairs and more ... 

    Valentino is taking Gwyneth Paltrow

    Michael Kors is taking Jennifer Lopez

    Dior is taking Jennifer Lawrence and Marion Cotillard

    Prabal Gurung is taking Elettra Wiedemann 

    Alexander Wang is taking Julianne Moore for Balenciaga (and not Kristen Stewart? The Twilight star has confirmed that she is attending)

    Rodarte’s Kate and Laura Mulleavy are taking Elle and Dakota Fanning

    Models Liu Wen and Ming Xi will be sitting at the Lane Crawford/Vogue China table accompanied by Jason Wu.  

    Joseph Altuzarra is taking Girls star Allison Williams

    Kanye West is taking Kim K?

    Brian Atwood is taking Elizabeth Banks

    Christopher Kane is taking Stella Tennant

    Nina Ricci’s Peter Copping is taking Carolyn Murphy

    Diane Von Furstenberg is taking Emma Roberts. Kate Upton will also be sitting at the designer’s table.

    Tory Burch is taking Jessica Alba

    Topshop is taking Jaime King and Julianne Hough

    Kenzo’s Humberto Leon and Carol Lim are taking Solange Knowles

    Anthony Vaccarello is taking Gisele Bundchen (And not Anja Rubik?!)

    Riccardo Tisci is taking fellow co-chair Rooney Mara

    Burberry's Christopher Bailey is taking (rumored new face) Sienna Miller

    Peter Pilotto is taking Brooklyn Decker

    Saint Laurent (PLEASE LET IT BE HEDI) is taking Greta Gerwig. 

    John Galliano is not attending, even though his designs are featured in the exhibit. 

    J.Mendel is taking Chanel Iman

    Vivienne Westwood is taking Lily Cole

    Heidi Klum is attending in Marchesa with Harry Winston execs.  

    Model Hilary Rhoda is hosting Vogue’s red carpet livestream. So, there’s a good chance she’ll be dressed in Givenchy.

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  • 05/06/13--15:27: Let the Met Gala Begin ...

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    The Fashion Law Exclusive - After battling it out with the U.S. Patent and Trademark Office last year to prevent Diora Professionnel from obtaining a trademark for its name, Christian Dior has filed suit in a New York federal court. Parfums Christian Dior filed a notice of opposition with the Trademark Office last year when Florida-based beauty products company, Diora Professionnel, filed an application to trademark its name. Basically, Dior was objecting to Diora's trademark registration in Class 3 (which extends to soaps, perfumes, cosmetics, etc.), claiming that it would be confusing to consumers and would dilute its own trademarks. Diora's federal registration is still pending but that hasn't stopped Dior from filing a trademark lawsuit against the company. The design house is suing the like-named Diora, alleging that there is a "likelihood of confusion" between its registered Dior trademark and Diora's unregistered trademark. More to come ... 

    image courtesy of tfs

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    Model Coco Rocha knows a thing or two about the industry, considering the fact that she's been hitting the runway and gracing magazine covers for nearly 10 years now. She recently spoke out about getting discovered, the benefits of an "ironclad contract," why she wishes models weren't quite so young and more ... 

    image courtesy of visualoptimism

    I came into this business knowing nothing about fashion. I was a young girl from Vancouver, Canada. Becoming a model was never an aspiration of mine, but at 14 I was scouted. After that, I moved to New York where I found the agents I still work with to this day and started down a path that would lead to working with some of the world’s greatest photographers and designers. I was pulled from relative obscurity and given an amazing international life, but it was not without its ups and downs.

    There were times when I was very lonely and felt an enormous pressure from adults around me to give up values and beliefs I held dear. Through trial and error I learned my rights and I learned to stand up for myself. I realized the benefit of an ironclad contract. In my contract today I state that due to my religious beliefs I won’t shoot nude or in sheer clothing, or with cigarettes, weapons or religious icons. Even after nearly 10 years I still I find occasions when clients will push the issue, making it uncomfortable for everyone. It gets better though.

    As I’ve moved from being a girl to a woman, and now a married woman, I feel more and more confident in my own skin every day. It’s something that comes with age and experience, which is why I wish most models would start a little later than the usual 14 or 15-years-old when they are so vulnerable and easily influenced. 

    The reality is, whether I like it or not, most of the modeling work force today is underage, and that’s one reason why I volunteered to join Sara Ziff on the advisory board of the Model Alliance. We believe that models deserve fair treatment in their workplace like any other group of workers. Not only do we aim to establish ethical standards, we also support the enforcement of existing child labor and contract laws, promote financial transparency and redress for issues of sexual harassment.

    The girls who last in this industry, the Behati’s, Doutzen’s and Hilary’s, recognize that modeling is a profession, not a lifestyle. They show up on time, work hard, are respectful to everyone they work with and demand the same respect in return. We tell this to the models who are members of the Model Alliance and we hope to become the big brothers and sisters young models need–not only to discuss common issues and concerns, but to work together to champion a better way.

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    Dolce & Gabbana founders Domenico Dolce and Stefano Gabbana are currently standing trial for tax evasion in a Milan court. The case stems from the sale of the Dolce & Gabbana brand in 2004, and the founders' alleged failure to pay about $540 million in related taxes. The latest dispute: the value of the brand. An expert on behalf of Dolce & Gabbana, the company’s revenues for the period in question (2004-2007), PricewaterhouseCoopers calculated the value of the Dolce & Gabbana and D&G brands at 360 million euros ($484.4 million). This is in contrast to the Italian tax police's calculations, which valued the brands at an estimated at 1.1 billion euros ($1.4 billion). The designers, Dolce & Gabbana's general director Cristiana Ruella, Dolce’s brother Alfonso Dolce and others are charged with omitted and unfaithful earnings declarations. The defendants have denied all charges. 

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    First the stolen BluePrint juices and now this! There appears to be some drama at trendy bi-coastal exercise cult, SoulCycle. Former SoulCycle instructor Nick Oram filed a class action lawsuit on Friday in the Southern District of New York alleging that he and other SoulCycle instructors were not paid wages consistent with New York and California laws. According to Oram's complaint, SoulCycle only pays its instructors for the time spent teaching their classes, but not for the time spent training, preparing for classes, developing routines, compiling playlists, communicating with customers, attending meetings, leading special event classes and engaging in marketing. Sounds like Oram means business. According to Douglas H. Wigdor, a partner at Thompson Wigdor LLP (the firm representing Oram): "This is a company that was growing extremely fast and is still growing very fast -- opening up new stores around the country -- and rather than focusing on compliance on wage and hour laws they've disregarded those and focused on the bottom line instead." More to come ...

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    Parsons has cancelled disgraced designer John Galliano's three-day master class. The school claims "an agreement could not be reached with Mr. Galliano regarding the details of [a scheduled] forum, and so the program will not move forward." Read the letter that Parsons students received below and our thoughts here ... 

    To the Parsons community:

    We are writing to follow-up on messages we shared with you on April 26 about the planned workshop with John Galliano. It was a condition of our agreeing to host Mr. Galliano that we also hold a larger forum, which would include a frank discussion of his career. Ultimately, an agreement could not be reached with Mr. Galliano regarding the details of that forum, and so the program will not move forward.

    As we have expressed over the past weeks, a critical element of a New School education is the connection between creative and intellectual invention and an individual’s actions in the world at large. While we understand the pressures Mr. Galliano faces, we expected to invite students, faculty and staff to ask Mr. Galliano how his trajectory as a designer was changed by his offensive remarks and to learn from that example.

    We continue to believe there is room at Parsons to explore Mr. Galliano’s efforts to make amends for his actions and that members of our community will decide for themselves how to view his contributions. It is certain this would not have been an easy or comfortable conversation but our mission is to provide uncommon learning opportunities that transcend the boundaries of the disciplines. We apologize to those students who anticipated participating in the workshop and to all those who looked forward to engaging Mr. Galliano in discussion.

    Over the last several weeks, many members of the university community wrote to express their views about this visit. Regardless of your opinion, you remind us all that it is our commitment to debate, and our willingness to support the possibility of change, that makes Parsons and The New School such an extraordinary place to learn.


    David E. Van Zandt, President

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    The Fashion Law Exclusive - Paris-based Colette isn't the only retailer that was interested in the results of Kanye West's controversial foray into womenswear. While Colette may be the only store to have bought any of the rapper's wares (selling a range of Kanye West for Guiseppe Zanotti shoes and those Yeezy nameplate necklaces), it turns out, Ikram Goldman, the owner of the Chicago boutique Ikram, also showed interest in his collections. This hardly comes as a surprise for several reasons; namely, the two parties' common roots in Chicago, Goldman's reputation as a coach to young design talent, and the sheer amount of buzz that surrounded West's Paris Fashion Week debut. 

    As the New York Times so aptly put it, "the owner of just one boutique in the Midwest, Goldman is nonetheless a commanding presence in New York and Paris," with the power to "jump-start the career of a struggling young designer." According to a TFL source, Goldman met with West following his show, and like many other industry insiders, pointed out that the rapper's collection bore a similarity to that of more-seasoned brand, Givenchy, in price point. Sources tell us that Goldman was, in fact, impressed by the quality of West's materials but true to form, the notoriously decisive businesswoman was skeptical. While Goldman never sold it in her Chicago store, this is apparently not because she didn't buy, but, instead because, Kanye didn't manufacture any of his garments. Regardless, the fact that she gave West the time of day (and reportedly praised his collection) certainly says something. What that is, I'm not entirely sure, but likely that West has some sort of promise as a womenswear designer. 

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    New York-based Costello Tagliapietra is a design house worth knowing about. Founded about ten years ago by Jeffrey Costello and Robert Tagliapietra, the design duo debuted their collection during New York Fashion Week for the Spring 2005 collections. The label has since been somewhat of best-kept secret for fashion's in-the-know, but this doesn't mean Costello and Tagliapietra haven't been without industry-wide praise. In fact, they were welcomed with great reviews, the 2005 Ecco Domani Fashion Foundation Award and two consecutive years as CFDA/Vogue Fashion Fund finalists. Their collections of beautifully draped fabrics, smartly tailored dresses, and well-constructed jackets speak for themselves, but we talked to the duo anyway - about their personal style, collaborations, working together and more ... 

    The Fashion Law – Tell me a little bit about your brand, since business, now more than ever, is focused on branding.

    Costello Tagliapietra – Today it seems to be more about perspective. Most recently we have seen our culture recycle ideas at such a rapid pace and filter and then re-filter the past over and over, so it is more important to have a clear identity and personal aesthetic in which you look at your own design process and how you perceive and interpret and then reflect the time you are in. We originally came from families that were tailors and I, Robert, went to school for painting and Jeffrey spent his early years in New York designing stage and video costumes for musicians and actors. When we came together what we immediately drew from was our mutual love of romanticism and nostalgia paired with dreams of the future. Our histories inform our work and they in a lot of ways define our brand.

    The Fashion Law – You were finalists in the CFDA/Vogue Fashion Fund two times several years ago. That’s quite a feat! What was that experience like? 

    Costello Tagliapietra – Thank you! Yes, we were selected a year into our brand! We had very small distribution and were still mainly a made to measure company. It was, of course, an amazing experience, neither of us had ever worked for another designer nor hung out with any, so having such close contact with our peers was educational and the process itself forced us to recognize our voice and what we stood for. I think most of all it gave us recognition in the industry and being a part of that collective is like a badge of honor. We are forever grateful for both nominations!

    The Fashion Law – Do you ever worry about others copying your designs? Is this something you have encountered? 

    Costello Tagliapietra – We don't worry about it but it does happen. Actually right after the Fashion Fund in 2007, we were visiting my mother and we were at the mall, and there at one of the mass retailers, we saw a very familiar looking section of dresses. There were about five dresses from our spring show, similar colors and similar silhouettes. This happens all the time though and is very difficult for designers who do not use a lot of bells and whistles. As minimalists, it can be very hard to copyright because it is sometimes more about essence than a particular portion of embellishment. I remember getting an email from a buyer when she was in Milan in 2010 saying that we should check out "so-in-so's" runway online because it looks uncomfortably like ours. But what can you do?, other than, it forces you to rethink how you do things.

    Even our personal style (we make all our own clothes) has been appropriated at times. A big retailer came up to us at an event once and proudly told us that there was a blowup of a photo of us on their inspiration wall and they were doing our cardigans. Shocked, we thought ... Well, you could have at least hired us to collaborate, hah.

    The Fashion Law – You did a highly anticipated capsule collection for Uniqlo in 2010 (see directly below), which was huge because at the time you hadn’t done anything like that before. Then you came out with your C&T collection. What is it like to reach a new girl so-to-speak? 

    Costello Tagliapietra – We loved both experiences! We still get excited when we see a girl on the street in those Uniqlo dresses! We work hard on our pieces and there is nothing more gratifying than seeing someone wearing the clothes! We have had ladies come up to us on the train to thank us for the Uniqlo pieces. You just can't get better than that! We are definitely looking to make C&T a fully realized collection and we are definitely working on other ways to offer what we do at a better price. We would love to be more accessible in that way.

    The Fashion Law – You have been working together for over a decade. What is your working dynamic like?

    Costello Tagliapietra – We started working together just months after we met in 1994. Back then it was mainly music videos and films but it taught us how to communicate ideas and delegate tasks. We both come from artistic backgrounds. So, we truly work collaboratively on everything. We also both enjoy the process of what we do and are most creative at the pattern-making table.

    The Fashion Law – You launched your brand in 2003. How do you think it has changed since then?

    Costello Tagliapietra – Our first show was for Spring/Summer 2005 Fashion Week. Before that we had done a small 10 page lookbook the year before just as a trial (that was what we had our first write up in Vogue about). At our brand's core, the dress will always have an important role, but as we slowly build out the brand into other categories we will hopefully also see the Costello Tagliapietra collection grow and evolve. 

    The Fashion Law – It still holds true that in order to get a Costello Tagliapietra piece, girls have to come to your atelier? You don’t stock those collections in stores, right? 

    Costello Tagliapietra – We will be expanding distribution with our upcoming Spring 2014 collection. We are partnering with some great factories and we will be excited to see it back out in the market again! We will always continue the made to measure aspect though; it informs our work and the feedback is immeasurably important to the design process.

    The Fashion Law – Many designers today seem to depend on celebrities to really help them make their brands by wearing a design and then being seen by millions in magazines. This is (quite refreshingly) not the approach that you seem to take. 

    Costello Tagliapietra – We came from that world; of making custom pieces for artists and musicians. It was a different time though. They weren't just used as a marketing tool to sell product. We still work with stylists and celebrities although we like it to be an organic process and for her to wear something because she loves it and not because she is on our payroll. However, we do understand both sides of that coin and when you are selling volume, the power of celebrity is undeniable and it is surely always exciting to see something you made out in the press on someone you admire!

    The Fashion Law – What are you working on now? 

    Costello Tagliapietra – Spring 2014 and a possibly an exciting new project!

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    With the annual CFDA Awards approaching in less than a month, it is time to get to know this year's nominees. Last week we told you a bit about the emerging womenswear design brands, and now its the mens' turn. See a list of all of the nominees here and below, read more about the nominees for this year's award for emerging design in the menswear category: Todd Snyder, Public School and Tim Coppens. Be sure to check back next week to get to know the accessories nominees. 

    Todd Snyder
    Former creative director for J.Crew and Director of Menswear for the Gap, NYC-based Todd Snyder launched his namesake label in 2011 exclusively at Bergdorf Goodman, Ron Herman, and Neiman Marcus. Inspired by Savile Row craftsmanship, military tailoring, and a distinct New York sensibility, Synder has become a favorite of industry insiders and menswear aficionados alike. He was nominated for this same award in 2012. 

    Public School
    Since founding their brand in 2008 and "graduating" from the inaugural CFDA Fashion Incubator in 2012, Dao-Yi Chow and Maxwell Osborne have garnered a significant following for their menswear-meets-streetwear take on fashion. Technically advanced pieces are combined with draping for the ultimate in cool, wearable fashion, and its not going unnoticed. In fact, following their Fall 2013 presentation, industry publications (including WWD) dubbed this design duo as one to watch. 

    Tim Coppens
    Belgian-born, New York-based, Tim Coppens, founded his eponymous label in 2011, after graduating from Royal Academy of Fine Arts in Antwerp and subsequently designing for Ralph Lauren. No stranger to awards, Coppens received the Ecco Domani award as Best New Menswear Designer of The Year in 2012, and the Fashion Group International Menswear Rising Star Award this year. Stocking worldwide, Coppens' brand is known for its quality craftsmanship, precise tailoring, and luxurious fabrics.

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    Underground "artist" and the go-to guy for rappers' clothing (in addition to Pyrex), Wil Fry has created a movement of sorts. This movement consists almost exclusively of the potential misappropriation of Givenchy prints for the rap world. The first thing that likely comes to mind upon hearing Wil Fry's name is the Givenchy Nets Jersey. Fry has released images of the highly sought-after jersey and a limited number of actual jerseys themselves. And now, it looks like others want in on the streetwear craze that Fry has pioneered. The latest: whoever is behind the "Contemporary Shop" on He/she has created a similarly Givenchy-printed jersey, but this time, its a  New York Knicks jersey and its for sale. The Resort 2012 printed jersey is reportedly a limited edition piece. Fry's response to the less-than-original take on high fashion x athletic wear: "Cough cough biters cough cough cough cough stay in school kids." As for whether this is Fry's competition, I'm not so sure. Quite a large part of the appeal of Fry's wares is the fact that, unlike this jersey, you can't just go online and buy them. 

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    The Fashion Law Exclusive - Diana Wang, the former Harper's Bazaar intern, who brought a class action lawsuit against the magazine's parent company, Hearst Corp. has lost in her attempt to recover from the publishing giant. According to Wednesday's ruling by Southern District of New York Judge Harold Baer, Wang and her fellow interns' claims are "without merit." Wang allegedly worked as an intern five days a week, sometimes from 9 am to 8 pm, in the accessories department of Harper’s Bazaar Magazine from August - December 2011. She asserted in her 2012 complaint that Hearst violated federal and state labor laws by hiring unpaid interns in lieu of paid employees, and thus, denying them minimum wage and overtime pay. According to Wednesday's decision, the plaintiffs failed to satisfy a key requirement in establishing a class action suit: that there is "a uniform policy among the magazines with respect to the contents of the internship, including interns’ duties, their training, and supervision." 

    While Judge Baer conditionally certified the class action suit last July, he denied certification on Wednesday. Wang sought to enable “all persons who have worked as unpaid interns at Hearst Magazines in New York between February 1, 2006 and the date of final judgment in this matter" to join the lawsuit. The magazines at issue include: Redbook, Cosmopolitan, Esquire, and Marie Claire, among others. On Wednesday, Judge Baer denied Wang's motion for partial summary judgment contending that she (and the other plaintiffs) were “employees” under the Fair Labor Standards Act and New York Labor Law. Moreover, he held that Hearst successfully showed "with respect to each Plaintiff that there was some educational training, some benefit to individual interns, some supervision, and some impediment to Hearst’s regular operations, etc," thus satisfying the Fair Labor Standards Act's internship criteria. This follows a February ruling, in which Judge Baer tossed one of the plaintiffs' claims out of the suit, holding that Hearst did not violate NY law by requiring its unpaid interns to be enrolled in college and receive college credit in lieu of compensation. As for the trial, which was scheduled to begin on May 28, it is adjourned sine die. 

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    Target announced today that their next collaboration will be with none other than minimalist god Phillip Lim. According to Target's blog, the collection will be "chic, yet understated" with a "classic fall palette of neutral tones with a mix of basic prints in a variety of materials including chiffon, real leather, jersey, and French terry." There will be more than 100 apparel and accessory items for men and women, including bags, shoes, and travel accessories. Prices will range from $19.99 to $299.99 with most items under $49.99. The collection will launch September 15 at most Target stores and Are you excited?

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    Another day, another side effect of fast fashion. Following last month's garment factory tragedy in Bangladesh, which killed more than 900 people, eight people have been killed in a fire that broke out late Wednesday in a building in Dhaka, Bangladesh that housed a garment factory. According to the Tung Hai group, who's factory was housed in the building, its customers include Primark and Inditex (Zara's parent company), among others. A few other retailers that are known to manufacture in Bangladesh: Mango, Forever 21, Benetton, and Joe Fresh. Now that the death toll has reached unprecedented heights, its time to face the facts and shun fast fashion once and for all. As we have told you in the past, fast fashion is cheap for a reason and it comes a very high price. 

    How is it that fast fashion retailers can charge $40 for trousers? Well, if the consumer is not paying a reasonable price for garments, someone else is paying for the difference, and it is usually laborers, as we have seen over the past several months in Bangladesh. Fast fashion retailers are often able to sell products at such low prices because: 1) they do not have to employ/pay designers because a majority of their pieces are copies of the original designs of others; 2) they bypass important quality control and manufacturing safety standards because they are costly to implement and monitor (hence the toxic chemicals in clothes, the frequent employee hospitalizations, and the increasing number of fires and buildings collapsing); and 3) they do not pay their laborers adequate wages

    Now I'm not saying you have to or even can have all of your garments made by high-end designers in the New York garment district, but there are other ways to be mindful of the human toll that fast fashion is taking. Buy less. Fast fashion depends on the constant purchase of throw-away clothing. If you spend a little bit more on a garment of higher quality, it likely won't be out of style and/or completely worn out one season later. Quality over quantity is something worthy of some thought, especially now that the ill-effects of fast fashion are unignorable, and remember: if the price is too good to be true, it probably is. 

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    Design brand we can't get enough of, ISAORA, has something special for its die-hard fans for summer. The NYC-based emerging design brand, which is known for its fashion forward aesthetic and its state of the art technical fabrics and construction methods, has teamed up with storied designer Thomas Meyerhoffer. A Central Saint Martins College grad, West Coast-based Meyerhoffer has designed cult-worthy surf boards (among other things) and now is lending his hand to a Spring/Summer collaboration with ISAORA. The collection, which is available now on ISAORA's site, has the design brand's name all over it - namely in the materials (Japanese cotton and Swiss made schoeller-dryskin combo panelling and Italian cotton/nylon blends), the utilitarian touches (custom elongated zippers), careful domestic manufacturing (the entire collection is made in the US) and the sporty-yet-sophisticated look. Also not to be missed: the exclusive Meyerhoffer surfboard that's part of the collab. ISAORA never disappoints. 

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    In case you haven't heard of Muzungu Sisters, its one amazing brand. Launched in 2011 by longtime pals Dana Alikhani and Tatiana Santo Domingo, the brand sources handmade clothes and accessories from all around the world. Mochila bags, delicate knits, hand-embroidered sweaters, and more have come from Peru, Argentina, Brazil, Turkey, India and Morocco (just to name a few places) - all of which were handpicked by Alikhani and Santo Domingo. And not only are the wares and accessories chic, but Muzungu Sisters' goods are selected with "extreme diligence and care, to ensure that no human footprint is left at their origin and to maintain the welfare, craft and industry of the artisans producing them." Not to be missed: the occassional Muzungu Sisters x Missoni collaborations!

    image courtesy of rushmag

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    First Lady Michelle Obama wore Prabal Gurung again. After stepping out in the young, New York-based designer's dress and jacket on Easter Sunday, Obama chose a floral Prabal Gurung dress to meet with Prince Harry on Thursday. (She has also worn his evening gowns to the 2010 Correspondents' Dinner and the 2011 Governor's Dinner). The dress is from Prabal's Resort 2013 collection is just the latest example of the widespread appeal of Prabal Gurung. In case you missed it, three starlets hit the Met Ball red carpet in Prabal's designs on Monday.

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