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Genshin Impact’s Opera Controversy Is A Great Cultural Moment

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Yun Jin performs Chinese opera in front of an audience at Liyue Port.

Screenshot: miHoYo/YouTube/Kotaku

On December 26, vocal performances for Genshin Impactthe last playable characters were shown for the first time. This included Yun Jin, the young leader of a Chinese opera company. The reaction of the Genshin The community was mixed, but the moment also became an opportunity for people to experience an underappreciated side of Chinese culture that they had probably never seen before.

I come from a little-known city called Beijing, which most Americans associate with repression and government excess. The other thing we are known for is Peking Opera, which is the most popular regional variant of Chinese Opera. I’m broadly generalizing here, but the performers usually sing it in a very high pitched voice. The outfits and makeup are extremely over the top, and the dance moves involve a lot of breaks. Ours is the most famous in China and is included in the UNESCO list of Intangible Cultural Heritage of Humanity.

These aspects of Chinese opera were prominent during the recent Genshin Impact vocal performance. some fans appreciated Yun Jin sings, while others reacted negatively to the way she sang “Oh, Maestro” in a high pitched voice (including a popular voice Genshin streamer, who was later to make a apology video). Some fans have pointed out that laughing at a traditional Asian art form is kind of crappy at best, and racist at worst, especially for a game that has made a point of incorporating non-Western cultural touchstones into all of its updates. But that’s not really what I want to talk about. January 13, the official Genshin Impact YouTube account published a video about Yun Jin which showed that the developers created the character with a genuine love for opera as an art form.

Growing up, every time I heard opera on my grandmother’s television, I hoped my American friends would never find out. Unlike other Chinese cultural exports like food and fashion, the shrill sounds of opera seemed impossible to make acceptable to an American audience. And so, when I first watched Yun Jin’s video, I was one of those viewers who had a negative reaction. My shoulders tensed and I gritted my teeth. I just wanted the song to end. You see, the cultural significance of opera was fragile even at home. Chinese opera was almost decimated during the Cultural Revolution. Nowadays, even Chinese teenagers are more interested in marvel movies. I was convinced that opera would never become one of our cultural exports.

Well, millions of Americans found out from a series of Genshin trailers. And you know what? It wasn’t the end of the world. After the initial shock of hearing something unfamiliar, Yun Jin was received more positively on Twitter. The YouTuber changed his initial opinion of his song, and I’ve seen musicians mention that they want to know more about Chinese opera. It was mind-blowing to me: just one gacha character was able to change the public’s perception of something I’ve struggled with all my life. Before Yun Jin, my own feelings towards Chinese opera were still stuck in the previous decade. Some people move faster than culture. I call these people artists. In the case of the Genshin community, culture evolves faster than people.

As a video game reviewer, I expect most major video companies to chase trends. fortnite is one of the most egregious examples of how gaming content tends to follow in the footsteps of what’s already popular. The developers of Genshin, however, sparked worldwide interest in an art form that even government efforts had struggled to popularize domestically. Popular video games should attempt to define the mainstream, rather than be beholden to it.

And the developers were very intentional about using Genshincultural power. According to Xiao Luohao, a developer on the Genshin editorial team: “It is difficult to carry the deep accumulation of Chinese opera art over thousands of years. But if there is a way to use Genshin Impact, a form of entertainment easily accepted by others…to expose people to the artistic crystallization of traditional Chinese opera, and even to arouse interest in the art itself…to get in touch with the essence of true opera culture…we felt that if the game can serve as a simple introduction, then our efforts are worth it.

Yun Jin incorporated Chinese opera into almost every aspect of his design. An animator explained that his smooth attack animations were based on how performers strike a pose on stage and then stop. She was intended as a supporting character due to the way the opera relied on multiple performers.

Her character design also drew inspiration from the opera, such as pom poms, feather plumes, and a cloudy collar. The developers intended to release her since Liyue’s conceptualization, but Yun Jin’s design created a difficult development problem. Her large headdress had created camera distortions, but the staff decided not to take the easy route by compromising her design. Instead, they built custom tools to help tweak its look. With a mischievous smile, the TT character designer joked that his only concern was that their game testers might confront him after work.

As writer Dou explained that she had been going to the opera since she was a child, it occurred to me that the developers were also exposing something deeply vulnerable within themselves. I couldn’t help but feel charmed. They were bold enough to present something they loved to the world, whether or not its image was “cool”. This is what art should strive for. Art is not defined by the value of production or the great artists attached to it. Art should present the hearts of its creators fearlessly and confidently.

A few weeks ago, I streamed the main quest featuring Yun Jin. At the very end, she gave a full performance of a story she was working on. I started watching rather anxiously, but gradually eased into the song. the Genshin The community had already moved on from “his music is weird”.

With each YouTube replay, I also let myself be transformed.

Used yarn is big business because fast fashion pollutes the planet

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Clothing recycling company Yuchang Trading processes 28 tons of used clothing per day. [JANG JIN-YOUNG]

The second-hand clothing market is growing rapidly as global fashion houses, including Chanel, embrace sustainability.

The amount of wasted clothing is still immense, although efforts are being made globally to recycle clothing.

Yuchang Trading, a textile company based in Gwangju, Gyeonggi, which collects and exports used clothes, processes around 28 tons of used clothes daily.

Piles of clothing up to 7 meters high are excavated by backhoes at its two facilities, and about 100 employees sort the clothing into 80 categories.

Once sorted, 99% of recyclable clothing is exported, the rest being destined for the national second-hand market.

“Although these clothes were discarded, they are not worn out or obsolete,” said Yu Jong-sang, CEO of Yuchang Trading. “Most of the clothes are from fast fashion brands.”

Fast fashion, one of the most resource-intensive industries in the world, takes advantage of rapidly changing fashion trends by mass-producing clothing at affordable prices to maximize profitability.

100 billion pieces of clothing per year

Fast fashion generates an immense amount of pollution every year.

According to a report by the Korea Institute of Industrial Economics and Trade released last November, global clothing consumption stands at 62 million tons per year. The number is estimated at 102 million tons by 2030 at the current rate, mainly due to fast fashion.

A 2017 Ellen MacArthur Foundation report found that the average American buys a new fashion item every 5.5 days. Clothing consumption has increased by 40% between 1996 and 2021 in Europe, and the average person living in Britain buys 25.7 kilograms of clothing per year.

“Most of the clothes that are recycled are recycled rather than recycled,” said Hong Su-yeol of Resource Recycle Consulting, “and every piece of clothing ends up as trash in terms of overall resource circulation.”



When a material is recycled, it is converted into something of equal or greater quality. Thanks to downcycling, the quality of the product decreases.

“Fast fashion mass-produces and quickly throws away clothes, which creates a serious environmental problem,” Hong said.

Fashion United reported that the global fashion and textile market is worth $3 trillion, with a total of 7 million people working in the industry.

The fast fashion industry is growing rapidly, along with its environmental impact.

According to a report by the United Nations Environment Program published in 2018, the global fashion industry produces around 400 to 500 million tonnes of greenhouse gases per year, or 8 to 10% of total emissions, and is also responsible for a fifth, or some 79 trillion liters of industrial water pollution worldwide.

“There are a number of issues that need to be addressed in the clothing recycling process, but voices for change are often not heard by the government,” said Jeong Seok-gi, director of Korea Clothing. Textile Recycling Association.

The fashion industry at a crossroads

Major fashion brands such as Chanel and Sweden’s H&M have come forward, pledging to make their businesses more sustainable.

Last November, around 130 clothing manufacturers, including LVMH and Nike, signed the Fashion Industry Charter for Climate Action proposed by the United Nations Framework Convention on Climate Change, during the 26th Conference of the United Nations Parties on climate change (COP 26). The fashion industry’s updated Charter for Climate Action aims to reduce emissions by 50% by 2030.

According to a survey by McKinsey & Company and outlet Business of Fashion, 43% of industry leaders said they planned to reduce inventory levels, and 61% said they would reduce the number of products to avoid oversupply.

“The outbreak of the Covid-19 pandemic has drawn attention to sustainability,” said Ko Eun-ju, professor of fashion marketing at Yonsei University.

The number of consumers making eco-friendly choices when shopping is growing, she explained.

“Sustainable fashion is also on the rise in terms of results,” Ko said.

Second-hand fashion boom

The significant growth of the second-hand fashion market also shows the change in consumer behavior.

Customers browse the sweater section of the Million Archive second-hand clothing store in eastern Seoul on Dec. 21. [LIM HYUN-DONG]

Customers browse the sweater section of the Million Archive second-hand clothing store in eastern Seoul on Dec. 21. [LIM HYUN-DONG]

On December 21, the Million Archive second-hand clothing store in eastern Seoul was packed with visitors, even on a Tuesday afternoon. The 80 square meter store is known for its vintage items, such as sweaters and cardigans.

“As vintage items range from 1950s to early 2000s styles, a wide variety of choices are available,” said store manager Jung Eun-sol, adding that vintage could be “the new black.”

A growing number of second-hand clothing stores are popping up all over the country.

“Unlike older people who grew up in relatively difficult social conditions, young people raised in a wealthy society tend to be less materialistic and less self-aware, making them the main consumers of second-hand clothes” , said Yang Yoon, a professor of consumer psychology at Ewha Womans’ University.

Oakland’s ThredUP sells an average of over 100,000 garments per day. It posted quarterly revenue of $63.3 million in the third quarter of 2021, a 35% year-on-year increase.

According to a 2020 Boston Consulting Group report, the size of the second-hand market is estimated at $40 billion and will almost double in 5 years to reach $77 billion by 2025, overtaking the fast fashion industry in terms of revenue by 2027. Second-hand sales are also booming. in Korea, in particular via e-commerce sites such as Danggeun Market and Bungaejangter.

BY JEON YOUNG-SUN, BAE JUNG-WON, KIM YEON-JOO [[email protected]]

Break? Lacoste sues Marks & Spencer for “imitation” of crocodile

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first the caterpillars, today the crocodiles. Marks & Spencer is embroiled in another trademark battle over the shape of a creature, writes Bloomberg’s Ellen Milligan.

Lacoste has sued the UK retailer for infringing on its famous crocodile logo by using similar images on dungarees, duvet covers and even a children’s bucket hat.

Lacoste said in the lawsuit in the High Court in London that he wrote to the famous retailer last year asking it to stop advertising and selling the goods.

The French fashion label has now asked a London judge to impose an injunction against the chain and an order that all items bearing the crocodile be destroyed at its expense.

This isn’t the first spit on Creature Trademarks that Marks & Spencer has found itself.

quentinblake.com

The retailer has sued grocery rival Aldi on the grounds that it copied its iconic Colin the Caterpillar cake with a similar-looking treat called Cuthbert.

“Animal prints are incredibly popular with our customers and ranges selected last season included decorative crocodile designs,” a Marks & Spencer spokesperson said.

Part of Lacoste’s claim relates to products that were in Marks & Spencer’s Roald Dahl collection, most of which have been sold.

The retailer has previously featured other creatures from children’s author Roald Dahl’s stories on its products.

“All of these products have been created independently of any other retailer and we are confident that they are unique to M&S and will vigorously defend against this claim,” the spokeswoman said.

He has not yet filed his defense papers.

The Lacoste brand was created around 1933 by tennis player Rene Lacoste who was nicknamed “the Crocodile”, the French company’s lawyers said in their filing.

M&S “had no valid reason to adopt a brand image that might confuse it, give it an unfair marketing boost”.

Lacoste did not respond to a request for comment.

Fashion collaborations have reached their climax. How did we get here? | His | Style

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fashion brands have worked with artists, musicians and athletes for decades, from the “art-fashion” collaboration of Elsa Schiaparelli and Salvador Dalí in the 1930s to the pairing of Vivienne Westwood and Keith Haring in the 80s. The ubiquitous Air Jordan was born from a partnership between Nike and Michael Jordan in 1984 – and remains the sportswear brand’s most iconic shoe.

But in the 2000s, the collaboration game changed, thanks in large part to fast fashion store H&M. In 2004, the Swedish outfitter teamed up with Karl Lagerfeld to create a unique collection. It sparked a media storm and consumers clamored to get their hands on inexpensive pieces designed by the Chanel and Fendi leader. It was a revelation for the fashion world; collaboration, once shunned as a form of brand dilution, was now a prominent and lucrative strategy.

In recent years, the formula has changed, with brands looking for ever more inventive ways to reach consumers. Here’s your essential introduction to the changing world of fashion collaboration.

Top-down collaboration

The high-low collaboration – a marriage of retail and luxury – was perhaps the original iteration of the trend and, like everyone who caught last year Halston on Netflix will know, has been around for decades. Initiated by H&M and its alliance with Lagerfeld, retailers such as Topshop, Uniqlo and Target in the United States have followed suit, and the formula has been played over and over again by a who’s who of high-end brands such as Balmain, As des Garçons, Moschino, Marni, Erdem, Christopher Kane, Stella McCartney and Versace.

The call here is clear. It’s about democratizing fashion and appealing to an aspirational audience – the consumer who can’t necessarily afford the luxury, but who aspires to the lifestyle. According to the GWI data platform, 37% of global consumers fall into this category, making it a huge resource for brands.

Ye and Demna Gvasalia announced their partnership last week

Of course, the idea of ​​“cheap luxury” has always appealed. In 2001, Marc Jacobs recruited cult artist Stephen Sprouse to design a collection of Louis Vuitton bags, giving rise to the iconic graffiti motif still coveted by collectors. Sprouse bags cost up to £6,000 so can hardly be called cheap, but the idea was there when Jacobs called the partnership “anti-snob snobbery”.

And, while consumers may no longer be camping overnight on Oxford Street to be the first to buy the latest collaborative collection, the concept is still going strong, with one of the most iconic high-low coalitions in our era welcoming a third name into its fold last week: Yeezy Gap. Ye’s high fashion brand partnered with Gap in 2020, at which point analysts estimated the partnership could bring in $1 billion in sales in the first year. It goes without saying, of course, that the designers are well rewarded for the time spent on these collaborations. While Gap hasn’t disclosed how much Ye or Balenciaga will be paid for their upcoming partnership, it’s common knowledge that Karl Lagerfeld and Stella McCartney each received $1 million for their first H&M collaborations.

Mutually beneficial collaboration

West and Gap’s collaboration breathed new life into the two. The latter, which reliably supplied the mass market with essentials, was suddenly cool – and enjoyed a new stream of positive press at a time when it was struggling to keep the doors of its physical stores open. . Yeezy, meanwhile, has enjoyed a gateway into the mainstream.

Yeezy Gap

This is the fundamental engine of fashion collaborations: mutual benefit. For example, in 1999, then-nascent Supreme wanted to make sneakers. He didn’t have the resources to do it, so he approached a name that did: DC Shoes. Today, Supreme generates over $500 million in annual revenue.

By partnering, brands can benefit from each other’s budget, reach, and reputation. The collaborations are huge marketing assets for both high street retailers and emerging luxury brands that didn’t necessarily have the cash for expensive advertising. Houses such as Proenza Schouler, Meadham Kirchoff, Halpern, Marques Almeida and Ashish – all regular fixtures on the fashion week circuit – have found it to be a lucrative and effective route into the wardrobe of the ordinary person. Meanwhile, smaller luxury brands like Richard Malone and Ahluwalia owe their success to partnering with bigger brands (Mulberry and Ganni respectively), while labels like UGG and Crocs have been given a boost through collaborations with Balenciaga, Telfar and Molly. Godard.

The finale of Fendace’s “special project”

But it’s not all about business. At the risk of sounding totally naive, collaborations are sometimes based on a certain simpatico – matching sensibilities that produce something magical. For example, Malone described its partnership with Mulberry as a “meeting of minds, where two brands…really work together”. How nice.

Likewise, the Fendace collection, which dropped in September last year, at least seemed like a labor of love between longtime friends Kim Jones and Donatella Versace. The relationship between Miuccia Prada and Raf Simons has also been expressed in the language of creative affinity: speaking at a press conference, Prada said of their co-management: “we love each other, we respect, we’ll see where it takes us’.

Harris Reed x Oxfam

This collaborative way of working reflects a change in the mood of society, and could do some tangible good. In early 2021, budding designer Harris Reed sent a DM to Veronica Etro that resulted in one of the best mash-ups of the year: Etro donated old fabrics to Reed, who used it to make recycled shirts. As overproduction continues to be a problem in fashion, creative solutions like this could be the answer.

The collaboration that makes absolutely no sense

In 2018, Birkenstock was approached by Supreme to join forces. CEO Oliver Reichert unequivocally refused, explaining that he had nothing to gain “except prostitution”. Strong words but, to be fair, Birkenstocks are what your dad wears on vacation while Supreme’s target demographic is teenage “hypebeasts.”

But that kind of logic means nothing in the world of fashion collaborations. In fact, the fact that Birkenstock and Supreme make shoes actually makes them more qualified to bed together than 99% of modern partnerships. The turning point may have come in 2014 when Vetements teamed up with courier company DHL, but somewhere along the way the collaborations got a little weird.

Balmain x Barbie

Today, “off-the-shelf” associations for the sole apparent purpose of attracting attention are common. We have our internet and social media culture to thank – brands struggle to be relevant in a world of constant information sharing. For example, no one saw coming a collection co-written by Supreme and Tiffany & Co. – the preserve of the princesses of Park Avenue. What does this target audience look like? A 23-year-old sneakerhead vacationing in the Hamptons? And yet, when the collection went live in November 2021, it sold out in seconds.

Then there are the cross-demographic partnerships, like the new coalition between Balmain and Barbie, which are even stranger. Other examples include Frame Denim and The Ritz Paris (are you even allowed to wear jeans at the Ritz?), or Japanese designer NIGO and KFC (just why…). And what about the combination of The Hundreds and Andrew Lloyd Weber, which resulted in absolutely mind-boggling ‘Phantom of the Opera’ bomber jackets?

Once you find yourself sporting Pepsi-branded sunglasses, one wonders if fashion collabs have become more about money than creativity. But, done right, cross-demographic partnerships can be fun. We loved Balenciaga’s short film featuring The simpsons characters paraded her clothes, and Dior’s Vespa campaign was breathtaking. And the late, great Virgil Abloh was the king of random collabs, once telling Dizzy that “to be a fashion designer is to sell short if it is limited to making clothes”. Thus, it has made water bottles, carpets and cars in partnership with Evian, Ikea and Mercedes Benz respectively. Creative and wonderful or tacky and cynical, mismatched collaborations provide an element of surprise that’s an essential weapon in the war to stay current.

The high-top “blockbuster” collaboration

What could be more unlikely than a fashion house partnering with a fast food restaurant? Teaming up with its biggest rival, of course.

As the world of collabs got louder and louder, top brands decided to do something to shut everyone up. Enter the high-high collab: the concert of two fashion behemoths. Versace and Fendi wowed us all with ‘Fendace’ – ‘the swap’ which saw Donatella Versace and Kim Jones create collections for each other. Not to be outdone, Gucci and Balenciaga embarked on their “hack mode”, which followed a similar format. High collabs are kind of like when characters from your favorite show appear on your other favorite show — it’s weird, new, and delicious to see them on a track.

Fendi by Versace

But they can also feel like planets colliding – two astronomical budgets being flipped to create more money, more show, more stuff… more, more, more. Weren’t the lessons we learned from Covid all about reducing fashion? Wasn’t there a question of standardizing the rules of the game to make room for new creators? If so, why are cluttered collaborations between legacy brands dominating the scene?

The Aria collection hacked by Balenciaga from Gucci

Brands will always exchange ideas and images for weight, and the results can sum up all that is right in fashion: creativity, beauty, ingenuity. But the industry should be mindful of exercising its collaborative influence for good. After all, the majority of these collabs add to the steady stream of seasonal, resort and pre-collections (and fast fashion imitators) that are already creating a sustainability crisis within the fashion industry. fashion.

Read more: The best luxury resale sites for sustainable shopping

Khloe Kardashian’s fashion label Good American ‘loved’ sexy old photos of Tristan Thompson’s baby mama Maralee Nichols

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KHLOE Kardashian’s fashion label Good American seemed to “like” one of Tristan Thompson’s sexy old photos of baby mama Maralee Nichols.

Tristan recently confirmed that he fathered a child with the former personal trainer.

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Khloe Kardashian’s company, Good American, “liked” and old photo of Maralee NicholsCredit: Instagram
The photo is from 2019

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The photo is from 2019Credit: Instagram/maraleenichols
It's unclear when the post was liked and who did it.

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It’s unclear when the post was liked and who did it.Credit: Instagram/maraleenichols

Khloe’s company Good American liked a Maralee photo job in 2019 – years before she and Tristan were an item.

It’s unclear if the Keeping Up With the Kardashians alum herself or someone who works for the company. The latter, however, is more likely.

The post showed Maralee sitting outside on a couch.

She wore a cropped top with red chili peppers on it that read, “extra spicy.”

Maralee teamed with jeans and red sunglasses.

In a second photo, she lowered her glasses slightly.

Maralee gave birth to son Tristan on December 1, amid a legal battle with the NBA star in which she sought financial support from him.

He confirmed paternity weeks after the baby was born.

In the days since her shocking confession, Khloe has kept a low profile.

She was spotted spending time with her daughter True, who she shares with the Canada native.

MOTHER-DAUGHTER LINK

Khloe and True were recently spotted shopping for furniture for a new home.

True smiled and danced with a friend during the outing, believed to be Rob Kardashian’s daughter Dream.

Khloe looked sullen, mostly keeping her head down.

She wore an all-black long-sleeved top with ripped jeans.

Khloe sometimes wore a mask and a pair of dark sunglasses.

The sighting came after Khloe shared a post about “very painful times” in life amid the scandal involving her ex.

Tristan fathered a son with Maralee Nichols after cheating on Khloe in 2021.

Khloe has not publicly commented on her infidelity, but hinted at it with cryptic quotes online.

FACE TO FACE

Although she hasn’t publicly responded to Tristan — who shared the news, complete with apology, on Instagram — she spoke with him.

The Sun previously reported that Khloe “privately responded to Tristan’s apology.”

A source said Page 6 which the couple chatted amid the drama, saying, “Khloe decided not to respond publicly, but privately let him know she appreciated the message.

“She’s taking the high road, and while she’ll never get back together with him, Khloe really wants Tristan to be a good dad to her. [their daughter] It’s true, and for him to be a big part of their daughter’s life.”

The source went on to say that Khloe was focusing on True, “She’s a great mom and she wants her daughter to have a good relationship with her dad.

“So for that reason Khloe is not going to fight Tristan or block him from the family.”

THE CONFESSIONS OF TRISTAN

After about a month of speculation, Tristan has confirmed that paternity results show he is the father of Maralee’s child and has apologized to his ex.

He wrote on his Instagram Story at the time, “Today paternity test results revealed that I fathered a child with Maralee Nichols. I take full responsibility for my actions.

“Now that paternity has been established, I look forward to raising our son amicably.

“I sincerely apologize to anyone I have hurt or disappointed throughout this ordeal, both in public and in private.”

Tristan then turned his attention to his ex.

In a separate slide, he wrote, “Khloe. you don’t deserve this. You don’t deserve the heartbreak and humiliation I caused you.

“You don’t deserve the way I’ve treated you over the years. My actions certainly don’t match the way I see you.

“I have the utmost respect and love for you, whatever you think. Again, I’m incredibly sorry.”

Maralee filed legal documents upon seeing Tristan’s financial support before their son was born.

THE DIRTY DETAILS

She claimed in her filing that she and Tristan conceived the baby on her birthday in March.

Khloé and Tristan were a couple at the time.

The professional basketball player initially claimed his relationship with Maralee was a once-in-a-lifetime affair.

He later confessed that they had met several times for sex over several months.

Tristan said in legal documents that he and Maralee had a four-month affair, from December 2020 to March 2021.

The Sun previously reported that Khloe was “mortified” by the latest infidelity scandal, as Tristan was caught more than once.

Khloe has been quiet about Tristan's affair with Maralee

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Khloe has been quiet about Tristan’s affair with MaraleeCredit: Instagram/maraleenichols
The former fitness trainer gave birth to Tristan's son on December 1

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The former fitness trainer gave birth to Tristan’s son on December 1Credit: Instagram/Maralee Nichols
Khloe focused on True, the daughter she shares with Tristan

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Khloe focused on True, the daughter she shares with TristanCredit: The Mega Agency
Khloe Kardashian slammed for ‘repeatedly using the KKK as a punchline’ as she is called ‘racist’ for past behavior

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Has “just in case” replaced “just in time” inventory management? – RetailWire

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January 13, 2022

According to recent research, the main internal barrier to a more efficient supply chain is the use of supply chain metrics that focus too much on efficiency at the expense of flexibility.

The result of a retail survey from Blue Yonder and Retail Systems Research (RSR) talks about pandemic-related supply chain disruptions, which have exposed the shortcomings of “just-in-time” models focused on lean inventory management.

“What companies love to do is optimize working capital. So many manufacturers have moved to just-in-time inventory, and before the pandemic it worked pretty well,” UPS CEO Carol Tomé said at a recent industry event, according to the FinancialTimes. “But when the pandemic hit and everything was shut down, including manufacturing, and then the economy started to open up and demand … jumped, well, that just-in-time inventory didn’t work anymore. Businesses are thinking now, I need “just in case” inventory.

Speaking recently at SFIA (Sports & Fitness Industry Association) Trends & Insights conference, Jason Kra, president of Li & Fung, said that “just in time” boosts efficiency but reduces diversification.

“That tension has really come back to haunt some of our customers,” Mr. Kra said, “because you had all your eggs in one basket and the world went from just-in-time to this inability to get things done. for a multitude of reasons.”

The supply chain crisis, according to Mr. Kra, underscores the importance of ensuring redundancies, such as holding additional inventory, not relying too much on flexible short-term contracts and having sources of supply. alternatives, to add agility as “just in case”. “depreciate.

Other lessons include the need for “reliable supply” as well as strong visibility which will also help when oversupply and limited warehouse space inevitably becomes an issue. He said: “When things go wrong, having access to raw data at different levels is really essential to be able to manage and make good decisions.”

Regardless, a the wall street journal A November article noted that many businesses expect to return to pre-COVID inventory levels once business conditions normalize, as holding buffer inventory ties up capital and requires storage space. warehousing, monitoring and insurance. Keeping keeping inventories to a minimum also helps reduce fashion risk and manage items with a sell-by date.

DISCUSSION QUESTIONS: Has the supply chain crisis exposed the underlying risks of just-in-time inventory management? Should just-in-time approaches in retail be retired, adjusted, or reinstated once supply chain bottlenecks are resolved?

Braintrust

“Modern supply chain technology is really helping retailers understand what is required and how to maintain efficiency and the right inventory.”

wpDiscuz

New $125 million infusion has mushroom leather leader MycoWorks poised to lead ‘new materials revolution’

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Biotech innovator MycoWorks — known in the fashion world for its “Reishi” material and collaborations with Hermès — announced $125 million in Series C funding on Thursday.

Investors include Prime Movers Lab, SK Capital Partners, Mirabaud Lifestyle Impact and Innovation Fund, in addition to other new and existing investors with biotechnology backgrounds. The funding will be used to scale the company’s production facility in Union, SC to meet growing demand for its coveted hardware alternatives.

No more WWD

“What MycoWorks has achieved with its Fine Mycelium platform is not just a breakthrough, it’s a game-changer for industries that are ripe for change,” said David Siminoff, General Partner of Prime Movers Lab. “This opportunity is huge and we believe that unparalleled product quality combined with a proprietary scalable manufacturing process has enabled MycoWorks to serve as the backbone of the new materials revolution.”

MycoWorks Reishi is a non-plastic, non-animal leather alternative that is rapidly grown from mycelium (fungus cells) and agricultural by-products in a carbon negative process.

While MycoWorks pilot facilities (such as its Emeryville plant) today have a capacity of 10,000 trays, the new facility will enable initial mass production volumes of several million square feet of fine mycelium per year. . The SC plant is expected to open within a year and will create approximately 400 vacancies in production, operations and engineering.

Matt Scullin, CEO of MycoWorks, spoke about the $150 billion biomaterials opportunity for WWD, describing a mission to provide the apparel industry with “the supply chain it needs for the next 30 years of growth”.

“I think we are at the forefront of a new materials revolution – and MycoWorks and our partners will lead the way,” he said. “I think brands are recognizing that the higher quality we’ve been able to achieve really means they can think in different ways in terms of structuring their supply chains and how they’re going to solve this huge sustainability issue that needs to be addressed. . »

He teased a “list of [the] who’s who in luxury” about to be “selected as first customers” for MycoWorks innovations, adding that existing relationships are only going to deepen.

Perhaps the best known is MycoWorks’ partnership with Hermès, which was announced in March 2021. Hermès touted its plant-based version of its Victoria bag, which will be rendered in its own material, dubbed “Sylvania”, in 2022. On top of that, former Hermès CEO Patrick Thomas joined the MycoWorks board of directors last year.

At Developments, Scullin expressed excitement about having products on shelves in 2022, adding that a range of luxury and mass-market players will enable Fine Mycelium technology at a “price range”. .

The blue trays indicating MycoWorks’  Fine Mycelium technology process.  - <a class=Credit: Courtesy of MycoWorks” src=”https://s.yimg.com/ny/api/res/1.2/a0f54pg6Tud87SkHxG8sKQ–/YXBwaWQ9aGlnaGxhbmRlcjt3PTk2MDtoPTY0MA–/https://s.yimg.com/uu/api/res/1.2/A3kbG4.P7LNtq.BzUYdccQ–~B/aD0xMzY1O3c9MjA0ODthcHBpZD15dGFjaHlvbg–/https://media.zenfs.com/en/wwd_409/791b61c347d1362f75695f2d2fd578e9″/>

The blue trays indicating the MycoWorks Fine Mycelium technological process. – Credit: Courtesy of MycoWorks

Courtesy MycoWorks

FOR MORE INFORMATION, SEE:

An A-Z guide to next-gen materials Stepping up to sustainability

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Russell Wilson and Ciara to open sustainable fashion pop-up store in February

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Hello, 12s. Here’s a look at what’s happening today – Wednesday, January 12 – with your Seattle Seahawks.

Russell Wilson and Ciara’s House Of LR&C pop-up store will open in February

After launching The House of LR&C online in 2020 alongside former Lululemon CEO Christine Day, Russell Wilson and Ciara plan to open the fashion start-up’s first brick-and-mortar store next month. in Seattle, CNBC’s Lauren Thomas reported this week.

The store will be located near the company’s headquarters in Seattle and will carry clothing from Wilson’s Good Man and LITA by Ciara, as well as Human Nation, a gender-neutral clothing line under the House of LR&C brand. The company also plans to open several other permanent stores across the country and will seek larger space in Seattle’s University Village. House of LR&C products are already available online through the company’s website and from wholesalers like Nordstrom and Kohl’s.

According to its website, The House of LR&C was “built to democratize retail and redefine how the fashion industry works, to make it inclusive, community-driven and, most importantly, to create positive change in large scale”. The company focuses on sustainability and strives to use materials that pose less of a hazard to the environment. “If we don’t make fashion sustainable and transparent, we’ll never change the industry,” Day said. “That’s what we believe is white space and nobody’s okay.”

Three percent of the company’s profits are donated to Wilson’s Why Not You Foundation, a non-profit organization dedicated to empowering young people through education, health and poverty alleviation.

Axios’ Richard Collings also reported this week that the company received funding from Harlem Capital, a firm that specifically invests in startups led by women and minorities. “The LR&C house has grown revenue by about 70% over the past year, from seven to eight figures, according to Day,” Collings writes. “The startup has both strong digital sales and a solid wholesale business. Wholesale partners such as Nordstrom are profitable channels for The House of LR&C and provide valuable marketing or brand exposure to a whole new set of customers,” Day said.

What opportunities does the metaverse offer luxury brands in 2022?

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The convergence of our physical and digital worlds through metaverse platforms is quickly becoming a significant opportunity for luxury brands. Our time during the pandemic has taught us that there are limits to the physical world – but also that many of the virtual alternatives we have created may even be preferable to the real ones. In 2022, brands will find that they will need to maximize their digital presence and continuously integrate emerging technologies to stay relevant.

Yet, many companies have already taken the luxury and retail metaverse by storm. Gucci sold a Dionysus digital handbag for thousands more than the retail price of the physical bag. And Dolce & Gabbana set a digital fashion record with the sale of a nine-piece, $ 5.7 million NFT collection featuring “stones not found on Earth.” Meanwhile, Nike has built its own metaverse experience called Nikeland on the Roblox platform and recently acquired virtual sneaker and collectibles startup RTFKT Studios.

At Nikeland, which is inspired by the actual Nike headquarters, users can play games and dress their avatar with special Nike products. Photo: Nike

With no expensive raw materials and no painstaking hand stitching, Metaverse designs are almost purely lucrative. Not only that, but the combination of creativity and exclusivity that can only reach new heights digitally causes some virtual products to sell for significantly higher prices than their physical counterparts.

While some companies have popularized digital versions of their flagship products, others have tested the waters by first posting new product ideas in the Metaverse. Then, after assessing their virtual demand, they could be considered for physical production. The metaverse may also become a new way to shop online, where consumers can browse digital showrooms and purchase virtual and physical versions of products on display.

Virtual products have also boasted of significant appeal through a lens of sustainability. According to DressX, a digital fashion startup, producing a single digital garment requires 97% less carbon emissions and 872 gallons of water less than a physical garment. Plus, there’s no heaps of unsold inventory left over from previous seasons. Digital offerings can therefore help rectify an industry notoriously known for its wastefulness.

But perhaps the most notable benefit of the digital switchover is increased traceability, where blockchain-based ‘smart contracts’ allow a business to continue to collect royalties every time an item is resold. Likewise, this tracing using blockchain technology makes it possible to bridge the gap in terms of transparency and guarantees of authenticity. For example, thanks to Aura – a private blockchain consortium founded by LVMH, Prada and Richemont – buyers now have access to information about a product’s entire supply chain, from the sources of its raw materials and factories to domains. after-sales interest such as after-sales service. and used sales.

While many brands are eager to jump on this digital trend, the field of metaverse and related technologies still have a long way to go. Baidu has told the public that its new XiRang metaverse app is still at least six years away from a full launch. Alvin Graylin, Chinese president of smartphone and virtual reality company HTC, echoed Baidu’s more conservative stance, saying that a full metaverse was still in the works and would require the establishment of an underlying infrastructure. and international regulatory standards.

Baidu’s Xirang app, which is still in its infancy, allows users to explore different virtual environments. Photo: Weibo

However, China may have unique advantages in the metaverse race. China is a leader in the adoption of 5G and mobile internet infrastructure. In fact, this month, a government-backed 6G project led by Purple Mountain Laboratories in collaboration with China Mobile and Fudan University for the first time achieved a world record for sixth generation wireless transmission speed. (6G) in real time. in a laboratory environment. Further progress is occurring thanks to the industry committee of the Metaverse – China’s first official metaverse organization, a collaboration of the three major Chinese telecommunications operators – China Mobile, China Unicom and China Telecom – and in partnership with several companies. technological. Together, they plan to leverage their advantages in emerging 6G and 5G network infrastructure, cloud gaming, and virtual reality (VR) technologies to shape new metaverse developments.

Meanwhile, NetEase is developing the relevant technology needed by the industry and has entered into a strategic partnership with the Sanya Municipal Government in Hainan, China’s South Island Province, to establish a metaverse-related industrial base in the city. ByteDance has also set itself the goal of claiming the Chinese metaverse, taking its first steps by acquiring one of the leading virtual reality (VR) headset manufacturers Pico last August. Newcomers like Nreal – a Chinese startup focused on developing augmented reality (AR) glasses – and Besttone – a cloud-based games and entertainment company creating an integrated 5G XR platform – have both invested heavily in the technology. ‘space.

China’s lead in the adoption of 5G and its advancements in mobile internet infrastructure give the country a head start in creating the purely digital metaverse envisioned by Facebook – or even the more augmented, Internet-based metaverse. the reality that China prefers.

Houston designer emerges as the next big thing in fashion – why Vogue and the celebrities can’t get enough of Bach Mai

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EFusion fashion designer Bach Mai has been on a wild ride lately. Vogue praised the 33-year-old Houston native as “an upcoming American fashion designer” and Venus Williams, Tessa Thompson and Kate Beckinsale all recently appeared on the red carpet in glamorous sculpted dresses from her debut collection.

It’s pretty exhilarating for Mai, who grew up in West Houston as the son of Vietnamese immigrants and graduated from St. John’s School in 2007 before heading to New York to study at the. Parsons School of Design and Paris, where he worked for John galliano at Margiela House. In 2019, he returned to New York to launch his own brand, which won rave reviews during its recent pandemic-delayed launch.

“Fifteen years (later) and I’m in VogueMai marvels with a mixture of wonder and bewilderment over a glass of 13 degree Celsius wine while in Houston on a brief vacation visit with his family.

Mai’s new collection plays on the theme of ‘irreverent glamor’, with sculpted jackets with kimono collars, bias-draped lurex dresses and voluminous, low-waisted ball gowns in luxurious moiré fabrics (her new brand has the support from Hurel, the first French textile company). While his work is riddled with references to his idol Galliano, the great American fashion designer Charles Jacques and French fashion designer Cristóbal Balenciaga among other things, Mai says her biggest influence on fashion was her education in Texas.

“I started making girls’ clothes in high school, but I still dress the woman from Texas,” he says. PaperCity. “This understanding of glamor is very Texan, because it’s not a unique thing in a blue moon. Texas women wear event clothing all the time. There is a very real understanding of glamor and evening wear here that I think people from other walks of life don’t have.

“That’s why you see quite a few evening wear designers from Texas – Brandon Maxwell, (Creative Director of Schiaparelli) Daniel roseberry, Tom Ford. This vision of American glamor is really easy to understand when you come from Texas because we live it and breathe it.

“You can wear glamorous, amazing and stylish clothes without taking it too seriously. It’s about being able to go out after 5 p.m. and you don’t need to have a moment on the Met Gala’s red carpet every time you put on a dress. It’s about being beautiful and having a good time. I think the women here understand it and have experienced it. And having grown up around that, I understand that too.

Strapless sculpted strapless dress in frost gray moiré Bach Mai. (Photo by Dimitri Hyacinthe)

Mai’s love for high fashion clothing began when she stumbled upon a spring / summer online screening of Galliano Egyptian collection Dior haute couture in 2004 and became fascinated by the fashion world.

“Fashion shows were just starting to get published online and I remember watching this show on my little dial-up computer in the suburbs of Houston and thinking it was beyond anything I could imagine,” he said. “It was so amazing.”

The modest start of Bach Mai

Mai took sewing lessons at Haute Couture Fabrics and started making clothes for his cousins ​​and friends – “they weren’t tailor-made,” he laughs – and even put on a parade in the St. John’s School theater.

After working with Oscar de la Renta and Prabal Gurung after graduating from Parsons, Mai moved to Paris, where he obtained a master’s degree in la French Institute of Fashion and became Galliano’s first design assistant, focusing on Maison Margiela’s artisan sewing collections. In addition to learning the craft of his idol, Galliano taught him that each collection has its own life and “you just have to let creativity happen, give it space to breathe and let it come to life” , said Mai. .

Mai’s first collection, slated for 2020, has been delayed by COVID considerations, who, in hindsight, believe it was a blessing in disguise as it gave her time to refine her thoughts on the collection and focus on shapes

“I didn’t have to rush because I had time,” he says. “In addition, the atmosphere has become really good. People were thrilled to dress up again and it created a wonderful atmosphere for the kind of clothes I make.

Bach May Look 9 10
Bach Mai celadon metallic lacquer ruffled dress and gray silk organza frill nightie. (Photo by Dimitri Hyacinthe)

The history of the Bach Mai collection is a summary of her fashion journey so far, ranging from iconic black and white photographs of Richard avedon and Irving Penn who Mai fell in love with as a teenager in a picture of Sarah Jessica Parker from an episode Sex and the city that he can’t get out of his head.

” She’s wearing a Oscar de la Renta pink dress and she passed out at Lincoln Center with Baryshnikov, then they go to McDonald’s, ”he says. “It’s an example of irreverent glamor. This is one of my favorite dresses of all time so I paid tribute to it.

“Fashion is such a lineage. This dress is Oscar’s homage to Balenciaga. Everything is so circular.

Details matter

Not only should a garment be beautiful, Bach Mai believes it should be pleasant to the touch, which is why he puts special emphasis on details, such as lining his clothes with plush fabrics.

“The liner is what touches your body. It should be the most luxurious thing, ”he says. “With this digital age it has become so much about looks, Instagram, photos, but when you put on something that makes you feel amazing, it’s a power that clothes have that’s really special.

“When you see a woman putting it on, she feels like she can take over the world. It’s the most amazing thing a designer can do. I like to give women that feeling.

Mai is hoping to build on her early start with a second collection to be unveiled at New York Fashion Week next month. And, of course, he will have a connection with Houston.

His current collection includes thread-cut organza jacquards based on two works by renowned artist Cy Twombly: Triumph of Galatea and the Green paints by Cy Twombly. Mai remembers visiting the Cy Twombly Gallery at the Menil Collection often when he lived in Houston and it had an impact on his life and work.

“The next collection is even more Cy Twombly,” says Mai. “There is always something related to Menil in my collections. If it’s not Cy Twombly, it’s Mark Rothko or a Magritte.