Sharp, swooping strokes of pink at Dior; tiny, bright green accents at Versace; crisp outlines of tangerine, lemon and chartreuse at Kenzo. No matter where you look, neon eyeliner is everywhere. The fearless trend began back in 2011 during Peter Som’s spring presentation, and now, as we examine Resort 2014, it fights on, revealing itself in the form of a brilliant, incandescent blue against charcoal lids at Chanel.

Not only has this bold look been turning heads on the runway, it is also popping up in editorials — most recently in the June issue of Vogue Netherlands. Against slicked-back hair, oversized futuristic hoop earrings and smoky eye shadow, model Karlie Kloss (shot by Hans Feurer) shows off amethyst eyeliner by YSL — drawn in short, thick lines from the corners of her eyes to the tips of her eyebrows.

For those celebrities who have been daring enough to try it, neon eyeliner has made its way off the runway. Solange Knowles, for example, donned what has become one of our favorite interpretations of the look. During a spunky performance in New York City, Knowles flaunted an electric blue version — a look nearly identical to those cool curves of cerulean seen at Michael Kors’ S/S 2013 presentation.  

Though we have seen plenty of variations over the past few seasons, the look still has a great deal of unexplored potential. Also “in vogue,” is the super-geometric eyeliner seen at Preen, Mary Katrantzou, Aquascutum and Erdem. Over the next few seasons, we expect to see a fusion of the two: neon eyeliner merged with increasingly inventive designs and shapes. Either way, we hope this eccentric look will stick around.

The Fashion Institute of Technology’s latest exhibit, “A Queer History of Fashion: From the Closet to the Catwalk” is set to open Sept. 13, featuring an in-depth look at the history of fashion and the impact the LGBTQ community has contributed to the field over the past 300 years.

The show, which will include 100 different creations from prominent designers, will take us back to the 18^th century and to our present time, with cross-dressing and butch-like styles, men’s leather ensembles and even same-sex wedding dresses, a symbol of triumph in the 21^st century marriage and equal rights movement in America.

The project, researched and created by FIT’s Senior Curator of Costume, Fred Dennis, and Director and Chief Curator Valerie Steele, has been under wraps and in the works for two years. Their priority with the exhibit is for visitors to grasp a good understanding of fashion’s history, “This is about honoring the gay and lesbian designers of the past and present…by acknowledging their contributions to fashion, we want to encourage people to embrace diversity” said Dennis.

Emphasized ensembles such as the “Le Smoking” tuxedo suit by Yves Saint Laurent, Christian Dior’s 1950 cocktail dress and 21^st century high fashion creations by the late Alexander McQueen will be on display.

“A Queer History of Fashion: From the Closet to the Catwalk” (free admission) will run until Jan. 4, 2014 with a book to follow its grand opening, featuring essays by important fashion and gay scholars such as Jonathan D. Katz, Shaun Cole and Elizabeth Wilson.

M.I.A.’s fourth album, Matangi, which the singer says sounds like Paul Simon on acid, was originally set to drop like a psychedelic hand grenade back in December 2012. However, the London born MC, best known for the hit single “Paper Planes,” which was featured in Danny Boyle’s Academy Award winning film Slumdog Millionaire, had a dispute with her record label, causing the LP’s release date to be moved to April. Executives at Interscope records thought Matangi was too positive, and according to The Guardian, M.I.A. was told to “darken the album up a bit.” For a singer known for her avant-garde musical style, one that often features controversial social and political lyrics over rapid fire machine gun beats, to be told to darken the album up a bit is a slap in the face. M.I.A. is the same provocateur that “flipped the birdie” (as 110 million people watched) during Madonna’s 2012 Super Bowl halftime show, so she’s no stranger to controversy; “too positive” is hardly a phrase most fans or music critics would use to describe her brand of agit-rap electronica.

What started out as a dispute with her record label, however, turned into a full-fledged social media war. Interscope, again, changed the release date from April to “sometime in the fall.” M.I.A., in turn, who is quoted in Rolling Stone as saying, “It’s not easy, it’s not easy. I keep finishing it and handing it in, finishing it and handing it in,” finally gave the finger to the label, ranting via Twitter and threatened to release the album ahead of schedule. Fearing the singer would make good on her warning, Interscope announced it would release Matangi November 5, waving the white flag rather than risk a loss of revenue.

According to a photo M.I.A. posted on Twitter, there are 10 tracks on Matangi. Other sources, however, put the number at 12 and include the song “Bad Girls,” which was first released in 2010 on the performer’s Vicki Leekx mix tape. Song titles on the new LP include “Only 1 U” and “Come Walk with Me.” French producers Surkin and Switch mix many of the tracks. “Bring the Noize,” the first single from the LP, is a nod to the landmark 1987 Public Enemy song, featuring lyrics like “truth is like a rotten tooth, you got to spit it out,” and “do ya like my perfume? Made it at home with gasoline and shrooms.” The track features the swagger one has come to expect from M.I.A. Does it sound too positive? No way. Is it positively angry? Absolutely. 

Sharp, swooping strokes of pink at Dior; tiny, bright green accents at Versace; crisp outlines of tangerine, lemon and chartreuse at Kenzo. No matter where you look, neon eyeliner is everywhere. The fearless trend began back in 2011 during Peter Som’s spring presentation, and now, as we examine Resort 2014, it fights on, revealing itself in the form of a brilliant, incandescent blue against charcoal lids at Chanel.

Not only has this bold look been turning heads on the runway, it is also popping up in editorials — most recently in the June issue of Vogue Netherlands. Against slicked-back hair, oversized futuristic hoop earrings and smoky eye shadow, model Karlie Kloss (shot by Hans Feurer) shows off amethyst eyeliner by YSL — drawn in short, thick lines from the corners of her eyes to the tips of her eyebrows.

For those celebrities who have been daring enough to try it, neon eyeliner has made its way off the runway. Solange Knowles, for example, donned what has become one of our favorite interpretations of the look. During a spunky performance in New York City, Knowles flaunted an electric blue version — a look nearly identical to those cool curves of cerulean seen at Michael Kors’ S/S 2013 presentation.  

Though we have seen plenty of variations over the past few seasons, the look still has a great deal of unexplored potential. Also “in vogue,” is the super-geometric eyeliner seen at Preen, Mary Katrantzou, Aquascutum and Erdem. Over the next few seasons, we expect to see a fusion of the two: neon eyeliner merged with increasingly inventive designs and shapes. Either way, we hope this eccentric look will stick around.

One of San Francisco’s most famed art museums, the San Francisco Museum of Modern Art (SFMOMA), recently began its plan to transform the current space it occupies in the SOMA district. Director Neal Benezra is the force behind the redesign, which will involve a 225,000 square foot addition to the existing space. The addition will house a new collection of more than 1,000 pieces of contemporary art, compliments of the Fisher family. The acquisition is predicted to bring SFMOMA up to par with the most prestigious art collections in the world.

The expansion does not come without drawbacks, however. Aside from the $610 million price tag the construction entails, it will take three years to complete the project, which means that San Francisco will be without its best modern art museum until 2016, a move that has some art enthusiasts scratching their heads. Why not house the art in a temporary space, as most other museums have done when making such transitions? Instead, Benezra has decided to split up the collection and share it with other Bay Area institutions. This plan will involve a lot of delicate handling to transport millions of dollars’ worth of floating art around the city in the backs of moving trucks and elevators at any given time over the next three years.

The finished project will feature a glass-walled gallery through which passersby’s on the street can view some of the museum’s artwork. The Fisher collection is one of the greatest private collections of modern art in the world, featuring pieces from Alexander Calder, Chuck Close, Roy Lichtenstein, Agnes Martin, Gerhard Richter, Richard Serra, Andy Warhol and countless others. The couple, Doris and Donald has collected art since the 1970s and are partnering with SFMOMA to make their collection viewable to the public.

Snøhetta, the design firm responsible for designing the addition, is based in Oslo and has previously designed the Norwegian National Opera and Ballet, the Lillehammer Art Museum in Norway and the National September 11^th Memorial Museum at the World Trade Center Site. The firm is known for their daring, innovative work, and the stark white addition to SFMOMA is sure to redefine the landscape of downtown San Francisco. 

The red carpet is lined with paparazzi, reporters and television correspondents as publicists usher some of the biggest names in the business — past droves of screaming fans and the flickering lights of over a dozen cameras  to their seats.

Millions tune in year after year, to the highly anticipated award ceremony, not only to see who will be capped best actor or actress, but to catch that awe-inspiring glimpse of them beforehand on the red carpet.

At this year’s Golden Globe Awards – which took place Jan. 13, in Los Angeles, siren-like loose ringlets, swept to one side, was seen on stars like Heidi Klum, Nicole Richie and Jennifer Lopez. Hairstylist Lorenzo Martin, who coifed Jennifer’s do’ was inspired by old Hollywood according to Instyle.com.

This style will surely appear again on many of today’s screen gems. I for one am hoping to see the presence of darkened roots. Ombre hair is at it’s peak right now, and one dimensional hair color — these days — is so “yesterday.”

Clean, bare faces ruled the runway last fall. I predict plenty of dewy faces, accentuated either by blinding baubles or punchy-colorful smiles. The dominant pout has not overstayed it’s welcome. So expect to see rouge lips and eye catching — less predictable — shades such as vermilion and fuchsia.

Fuller brows and lush lashes have also become a staple at these types of events as they add a youthful touch.

So much is taking place in the wold of manicures, but for this event, stars will stick to single-hue manicures. I wouldn’t be surprised if vibrant greens made it’s way onto the carpet as it is the Pantone color of 2013.

It was a damp evening at the Stella McCartney Resort 2014 presentation, perfectly situated at Jefferson Market Garden, the atmosphere was comprised of benches, wicker baskets (used as additional seating) and tartan covered wooden tables, topped off with chic picnic baskets. As the party began, attendees arrived wearing classic McCartney ensembles. Honey-filled bottles were handed out as parting favors to guests, as they sipped Veuve Clicquot underneath a lucite-like tent, where a vintage hot pink Morris Minor was parked.

The earth conscious designer was encircled by her closest friends and admirers; Cameron Diaz wore a white tailored dress, while singer Madonna and actresses Liv Tyler and Julianne Moore opted for darker ensembles. Also spotted at the event were Kate Bosworth, Naomi Watts and Jessica Stam. Vogue magazine Editor-in-Chief, Anna Wintour, giggled with McCartney as they socialized with the other guests.

The collection, which did not disappoint, was shown on models that mixed with the celebrity-studded crowd. They sported mixed prints, patterns of hearts, lips and matchsticks — some appearing as appliqué — florals, and faux python embossed print garments of a buff yellow shade. McCartney also displayed shoes and bags, including unusual pairs of red satin shoes which gave the illusion of having been used and stepped in.

Eveningwear was shown on models mounted on scaffolding above a “Stella” lit sign glowed in a beaming hot pink. The creations consisted of dark hued color-blocked dresses, garments in navy blue and hunter green, damask print hearts, and high-low ruffled dresses.

The designer wore an above-the-knee, soft pink metallic finished shift dress, insinuated by an embroidered red floral jacquard pattern and silver hued shoes, a very feminine and sweet uplift for the rainy day.

A statuesque blonde with an appetite for high-waisted Marc Jacobs shorts, Loewe blouses and anything Miu Miu, singer/songwriter Florrie Arnold is enlivening the music scene with her ’60s classiness and upbeat, pop-techno EPs.

Beginning her career as a session drummer in London, Arnold played hundreds of shows throughout the city, learning and creating a signature sound that she describes as “a big mixture: Kind of a sixties, organic feel merged with modern pop beats and electronics.”

As the in-house drummer for Xenomania (a successful British production team), she appeared on tracks for Girls Aloud’s “The Promise,” Alesha Dixon’s “The Boy Does Nothing” and numerous hits by the Pet Shop Boys — a formidable feat for the then 18-year-old Arnold. These days, Arnold writes and performs all of her own songs, an indisputable talent which destines for a lengthy solo career.

Prancing around the stage at the Berlin 2011 Music Festival in five-inch peep-toes and leather hot-shorts, Arnold does not just attract the audience’s attention she demands it. Grinning mischievously at her fellow band mates, Arnold prepares for the final (and eighth) track of the day “Call 911,” from her Experiments EP. Though she sang, drummed, and played guitar on the previous songs, her vibrant enthusiasm made it seem as though the show was just beginning.

Another popular song by Arnold is the quirky yet accessible “I Took a Little Something” from her Introduction EP. The music video — artfully shot by fashion director Justin Wu — follows Arnold through Paris as she wears a variety of Dolce & Gabbana ensembles.

A newcomer to fashion, Arnold once told Vogue.co.uk that fashion was still a “learning curve.” A crash course in the subject found Arnold as the face (and muse) of Nina Ricci’s L’Elixir (2010) and Fantasy (2012) fragrances.

With timeless looks, impeccable taste and model proportions, it is no surprise that Arnold has been photographed by the famed Terry Richardson for Harper’s Bazaar hobnobbing with Cara Delevingne and Stefano Dolce. A regular fixture at Miu Miu shows (sitting in the first row), Florrie possesses a pure sensibility that makes her look relatable, a trait designers and editors, no doubt, find inspiring.

Arnold released her third EP, Late in 2012. Later this year, the singer will be recording new music with a major record label — though she has yet to reveal which one — to release her first LP. We are eager to see if or how her musical style will change.

Though the path Arnold will take remains unclear, one thing is certain: in 2014, Florrie Arnold will be the musician to watch.

A tropical theme set the mood for the Spring 2014 Prada men’s ready-to-wear collection. Heavily print driven looks took to the runway, whether peeking out from underneath a jacket or shown as the main piece. Refined Hawaiian, rainforest foliage, flora and fauna, beach sunset, 1950s graphic, and 1940s pinup girl prints were seen in darker tones on long-sleeve, button-down tops, sweaters, and silky, slouch jackets, as well as on briefcases, suitcases, and weekender bags. They were paired with various trousers, both pinstriped and solid. Silky boxing shorts were shown in a bright turquoise and also in black.  Silhouettes were relaxed, pants were full, blousons were plump, short sleeves were layered over long sleeves, and double-breasted jackets were left unbuttoned. 

An unexpected feature of the show was the infusion of  twelve womenswear looks that mimicked the menswear prints shown mostly in dresses, some embellished with crystals, and available as part of the resort collection.

The set played just as important of a part of the collection itself and was artfully decorated with palm trees, a sunset, water, and helicopters, suggesting a tropical resort meets war zone feeling and was given the title, “Menacing Paradise” by creative head Miuccia Prada. The audience sat in a blue pit that imitated water, as models paraded around them.

The color palette featured neutral shades of grey, mahogany, burgundy, brown, and teal. Sneakers and loafers were worn with socks that slouched down toward the ankle, and were shown in solid or two-tones, both with and without laces. Sunglasses were straight out of the 1970s and were tinted in retro yellow and red shades. Belts were striped in various colorways and hung down loosely over the pants. For women, accessories included clutch and weekender bags in various prints and chunky jewelry.

Photos Credit: Stuart Weitzman/Mario Testin

Exuding simplicity at its finest, supermodel and fashion icon Kate Moss serves as the latest face for the Spring/Summer 2013 Stuart Weitzman campaign. With a colorless background, the undeniably, striking Moss flawlessly makes a bold statement in simple basics: collared shirt, white blazer and sleek body suit, casually styled to showcase a precise combination of femininity and masculinity. Photographed by world renowned photographer Mario Testino, the black and white ads feature knee high gladiator inspired sandals, mirrored pumps, a lady like t-strap stiletto and a chunkier flat rendition.

Giambattista Valli channeled “porcelain goddesses” for his fall 2013 couture collection and in doing so, divided his 39 looks into four segments representing renowned porcelain artisans from around the globe, including Capodimonte from Italy, Sèvres from France, Meissen from Germany, and Wedgwood from England, employing their idiosyncratic colors and enchanting patterns in his ultrafeminine looks. “Flowers and colors are what women want from me. That’s what I give them, but every time I get inspired by something different,” Valli said as he addressed the press before his show.

To pay homage to Capodimonte, Valli offered skater skirts decorated with three-dimensional lace and carnation appliqués on the hem or as a pleated tulle skirt trimmed with lace and extensive floral embroidery, tailored jackets made from a unique organza paper fabric, and short evening dresses. Representing Sèvres was an asymmetrical silk crepe gown with a red flower print. 

On behalf of Wedgwood was white ribbon embroidery of rococo strolls on a delicate and airy sky blue strapless dress, and a floral blue and white embroidered evening coat. For Meissen, solid floor-length dresses in light pink, red, yellow, and stark white were embellished with silk floral treatments.  

The color palette was divided into four main groups, beginning with a white, sky blue and sapphire arrangement, leading to the second group which offered rose petal designs. The penultimate was a floral group, and then a color-blocked set, consisting of lilac and chartreuse, black and white, and red, black, and pink combinations. Each was embellished with flowers aplenty. Valli collaborated with Roman jewelry designer Luigi Scialanga who provided jeweled headpieces in tarnished black and gold referencing an ancient Roman civilization, as well as gold-dipped gunmetal belts.

Haggit Kassif and Omer Poizner are the two designers behind the blossoming fashion label Roomeur. Hailing from Isreal, they have always set their sights on landing in the Big Apple to create their inspiring collections. Now based in New York, we give you Roomeur.

Inspiration can come from anywhere, but what generally influences your collections?

Our inspiration usually starts from a fantasy that we are creating in our minds when we try to capture an imaginary moment like a frame from a movie, or some surrealistic painting that tells some mysterious story. From there we start to understand what we want to research. We are attracted to strong contrast and creating a story around it like we did in our latest collection for fall. For our fall collection, we took our muse Frida Kahlo into a new futuristic space world. We combined her strong character, art, and the Mexican folklore culture that she represents, and put through a darker, minimalistic and clean perspective. We liked the tension between something very busy and over the top, and the clean shape.

What was your greatest challenge when first launching your collection?

The biggest challenge was to figure out exactly what we want to do and where to do it. We tried to figure out what will be the best place for us to be noticeable. It was very hard to take over and manage a workload of 10 people when we are only two. We did not realize that the creative part is easier than actually producing the collection. When you are a small and young fashion house there are not many doors that open for you, but we were very lucky because the few doors that did open for us were the right ones. 

What advice would you give an aspiring fashion designer trying to launch his or her own collection?

1. Believe in yourself.

2. Don’t be afraid.

3. Be patient!

What is your design philosophy?

Hagit: I am very detailed oriented and fascinated by creating unique embellishments, largely inspired by geometric figures and ethnic culture. I draw inspiration from 1920s to 1950s tailored garments that I find both sophisticated and ageless. By taking all of the above and giving it a “street” twist, I create my personal aesthetic.

Omer: I am always fascinated by juxtapositions of the traditional or classic with the edgy and unexpected, for example taking a stiff or rigid material and making it look soft, or using a soft fabric, normally used for draping, and making it seem constructed. While working, I always have in mind a very feminine silhouette, but combining elements from the more masculine world of tailoring.

How does the design process begin for you? Do you start with a theme, a silhouette, a color palette, a recently discovered can’t-live-without fabric, or something else?

We usually start with brainstorming ideas and in this stage, we like to use our imagination and combine different worlds that would not work together in real life. Then we continue with research — first separately, each one of us collects photos, materials, fabrics, silhouettes, etc. and than we mix it together and create something new that combines our collective research. We have a great creative dynamic working with each other since we have similar aesthetics, but we see things in different ways, and incorporate each other’s points of view when we design. We

bring both our worlds to the table and inspire each other. For example, one of us can start working on a sketch or an idea for embellishment, and then the other one will get inspired by that and give it a new twist, which is something that only someone who is different from you but understands you perfectly can do. Also working opposite someone gives you the opportunity to be in constant dialogue and get an outside perspective on what you do, which we believe leads to more creative results than working by yourself. 

Who has had a major influence on you as a fashion designer?

Hagit: Omer Poizner

Omer: Hagit Kassif

What role does social media play in the promotion of your brand and in staying close to your customer base?

We recently launched our Facebook page, which is a great way to receive feedback from our customers, as it helps us understand what they like and allows us to stay in contact directly with them. We find it very important and helpful since we are at the beginning of creating our fashion line. Our official website is also launching soon, and it is important for us to have a continuous online presence.

How did you meet?

We met while studying fashion design at Shenkar College of Engineering and Design in Israel. We were in the same class and initially we did not take to one another, but ended up as best friends and business partners. We shared a dream that we wanted to fulfill together: to move to New York and start our own label.

Do you have a current muse?

Frida Kahlo, but in her 2013 version.

What are your goals for your label?

We just started Roomeur, and like any young brand, we hope to grow and expand in order to reach our target audience. We are planning to stay true to our vision and not compromise our ideas and the places we come from, and hopefully it will resonate with other people. Ultimately, our goal is to express and develop our aesthetic vision in every way we will be able to, from producing a big fashion show that will put forward the Roomeur aesthetic, through collaborations with other areas of art designs, and of course through our collections. There is still much to do!

Do you develop all of your textiles in-house?

Yes, we develop all the prints and embroideries we use.

What was the response like for your pre-fall 2013 debut collection?

Pre-fall 2013 was the first time Roomeur was presented to the world, and the response was very positive! We were happy and excited to get so many supportive reviews and articles on style.com, in The New York Times, Elle, Marie Claire, L’Officiel and others.

What is the meaning behind the name of your label?

The story behind the name is a play on words. It is a combination of the word roommate, which symbolizes partnership and collaboration, and the word rumor, which symbolizes our dream of creating an amazing brand who’s existence will spread like a rumor — as word-of- mouth, and mysterious. It is also a word that rolls nicely on your tongue when you say it – Roomeur!

Name three things you cannot live without.

iMessages, Skype, and E-mail

How did you feel when Rihanna hand-selected you as one of twelve fashion designers competing on her Bravo reality television show, “Styled to Rock?” 

It was amazing and surreal. I couldn’t believe it was happening until I was actually shaking Rihanna’s hand, and even then, I was waiting for someone to wake me up; I think I still am.

You hold degrees in fashion design from both Howard University in Washington, D.C. and the Fashion Institute of Technology in New York. Did your FIT education differ greatly from Howard? 

Yes, they were very different. At Howard I earned a 4-year Bachelors of Fine Arts degree and had a full college experience. I was an athlete; I wrote for the paper; I partied; I hung out with cute boys; I made honor roll; and I graduated cum laude. At the Fashion Institute of Technology, I attended the one-year graduate program. I ate, drank, and breathed fashion nonstop. I did not sleep, I did not party, and I did not do anything except work. I lost friends, I lost weight, and my boyfriend hated me. The only people I saw were other students in my program. It was intense and I loved every minute of it. I learned so much. I loved and benefited from both programs for different reasons. The only thing I would have done differently is to have spent at least one year abroad.

You have over 15 years of fashion design experience from companies such as Catherine Malandrino, Emanuel Ungaro, Calvin Klein and Juicy Couture. As is the dream of most fashion designers, you then launched your own collection. What made you decide to venture out and launch your label at the time you did? 

Working for other companies is essential because you gain experience without having to worry about actually running your own business. A young designer working for other brands is similar to a doctor completing his or her residency before opening a practice or a background singer getting experience before venturing out on their own. I’ve spent the last 15 years paying my dues. Now I am ready for my solo. This is why I did the show “Styled to Rock.” It was a stepping stone for me to start paying my dues in the next realm.

As we all know, inspiration can come from anywhere. What generally influences your collections? 

Most of the time when I’m inspired, I feel like I’m just a vessel and the garments design themselves. Sometimes I wake up at 3 am with some of the best design ideas I’ve ever had and I just can’t explain it. Generally speaking, it comes from within.

What was your greatest challenge when first launching your label? 

The greatest challenge when launching a label is the initial funding. A former boss told me early on that to start a fashion line, you will need an initial investment of $100K to $200K. I thought she was exaggerating, but, as it turns out, she was right. Since the economy tanked, all costs to the fashion designer are due up front. Before, you could get financed by the manufacturer but manufacturers now require payment before production. The designer doesn’t make money on orders until after the product has been delivered, which means the designer is responsible for the cost of creating the garments, without getting paid first. Fabric, trim, materials, patterns, and all the little details add up pretty quickly. Additionally, the less product you produce, the more expensive it is. Ironically, a manufacturer will charge a small emerging designer like myself much more to create garments than they would for a major business like H&M, even though they have much bigger budgets and can afford higher prices. Meeting minimums can make things extremely challenging, and the cost is quite often astronomical.

Speaking of funding, you are involved with a wonderful program called KICKSTARTER, which helps creative people fund their own projects. Describe how the program is helping you raise money to produce your Spring 2014 line that you showed at New York Fashion Week this past September with much praise. Also, describe how people who pledge money can benefit.

Kickstarter is great. It is part of the social phenomenon developed over the last few years called ‘crowdfunding’ which is essentially where folks like you and I can actually help fund new inventive products and business ideas that we love. It can allow the inventors and creators to stay independent by securing their own funding. Contributions start at $1 and go up to however much the contributor is willing to contribute. Individually a $20 or $100 contribution may not do much for a whole business, but collectively it adds up with the idea to reach a goal set by the creator of the project. The project’s creator only receives the funding if he or she reaches the goal. This is great because the creator sets the goal at the minimum amount of funding needed to complete the project and if that minimum amount is not met, the contributors don’t end up wasting their dollars and they don’t get charged anything. Kickstarter must approve the project and has several rules in place to protect the backers. It’s amazing, because you are a part of creating something brand new! You get behind the scenes insight, you can communicate directly with the founder, you can sometimes pre-order the product and you are actually a part of this new venture. This is really neat if it’s something you enjoy or believe in. The absolute best part about it all is that Kickstarter makes the creator come up with rewards for different levels of contributions that are unique and specific to the project; rewards that you can’t just go out and buy in a store. The rewards tend to get more elaborate and crazy exciting the more you contribute! It’s very entertaining, and we spent a lot of time coming up with fun and unique rewards for my campaign. My campaign has been set up to help me get backing for the pre-production of my line, which will allow me to get the collection into stores. We are almost at the halfway mark and have about two weeks to go! Now is the perfect time to get onboard Team Ebony. It’s an exciting time to be a part of something that is fresh and new.

For more information or to contribute to Ebony’s campaign, go to: http://kck.st/1bixtJN  

What advice would you give an aspiring fashion designer trying to launch his or her own collection?

The best advice I can give any creative person is to be as much a businessperson as you are an artist.  Be smart about whom you trust, and budget wisely. There are tons of people out there looking to take advantage of artists who only focus on the creative aspect; one of your most important jobs is to look out for you.

What is your design philosophy and signature look? 

I focus on five elements when I design. I call them my five favorite ‘F’ words: Fit, function, fabric, flattery and femininity. Can I add ‘fun’ to that?  My brand is distinctly feminine, forward-thinking fashion for today’s ever-evolving contemporary woman. It focuses on flattering fit, premium materials, combining and contrasting prints, textures and novelty detailing. My signature look is feminine, contemporary cool.

What historical and current fashion designers have had a major influence on you and your craft?  I am inspired by designers whose spirit and energy celebrate being a woman in all her feminine glory. Some of my favorite designers include Diane Von Furstenburg, Georgina Chapman for Marchesa, Dolce & Gabbana, Kiki De Montparnasse, Ingwa Melero and Betsey Johnson.

Your designs have been featured in major publications such as Elle magazine and Style.com and are sold in stores across the world. You have also dressed several celebrities. Who have you dressed and how did these collaborations evolve? 

Several celebrities have worn garments that I designed based on their own personal taste and preferences because I did not directly collaborate with them or their stylists.  Some of them include Kimora Lee, Malin Ackerman, Julianne Hough, Holly Madison and Lana Del Ray.  There may be more, but I just haven’t seen them yet!

Philanthropy and the fashion industry go hand-in-hand, as we see with the onset of charities such as “Dress for Success.” You have recently initiated another great charity project “The Joint Dress Initiative” which also works with “Dress a Girl Around the World” charity founded by Rachel Eggum Cinader.  What is the mission of the project?  Please explain its cause.

I discovered the “Dress A Girl Around the World” charity a long time ago when I wanted to give back in a way that was more meaningful to me than money. At the time I wasn’t working, but didn’t want to use that as an excuse for being complacent. I conducted research and discovered this charity, and then reached out to Rachel. She responded enthusiastically. The way the DAGATW charity works is that they offer the public free patterns for little girls’ dresses on their website. These patterns can be downloaded and made out of a pillowcase. The person sends the sewn dresses to DAGATW and DAGATW hand delivers them to poor families in countries around the world who struggle to afford food, clothing and shelter. They also deliver the dresses to homeless and abuse shelters. Each season that I create a collection, I will also design a limited edition little girls dress collection exclusive to DAGATW. I send them the designer patterns, which they make available on their site for a small fee (a donation). The dresses may be sewn by the public and submitted. I also send this pattern to a fashion education organization; right now I am hoping to be working with the United Colors of Fashion (UCOF), another charity that works in guiding and teaching inner city youth interested in the design industry. The patterns are used as an educational project for their sewing classes.  The students make the dresses (under the guidance of experienced fashion professionals) for the charity. The dresses are sold and auctioned off at special events with all of the profits going back to the project. I am thrilled to share that I just signed up Fabrics.com as our official fabric sponsor! They will be donating the fabric for the students to make the dresses. It’s all very exciting for me, not only is it the first charity project I’ve ever put together and organized on my own, but it is so near and dear to my heart to be able to do something that can get the fashion world and our youth involved in giving. We welcome anyone who wants to be a part of this project!

What three things can’t you live without?

My running shoes, a pencil, and a notebook.

Describe what the ultimate perfect day would be like for you. 

A 2-hour Thai massage, anything active and exhilarating, doing an activity where I get to enjoy nature and socializing over cocktails with my friends.

Ebony’s website: http://ebonywhitenyc.com/

There is perhaps nothing more intriguing than the allusive provocateur. An artist, who stays in the shadows, yet is able to command media attention because of the contention surrounding their work, and their aversion to social interaction. The asocial creative exists in the various forms of artistic expression. In the world of fashion, Hedi Slimane is this artist. However, when you become creative director for one of the most revered fashion houses in Paris, controversy demands explanation.

As the creative director for Saint Laurent Paris (formerly Yves Saint Laurent Rive Gauche), Hedi Slimane has been the subject of debate amongst the biggest names in the fashion industry. His debut and follow-up spring and fall ready-to-wear collections were the second most viewed collections, only the Chanel show was able to garner more attention than Slimane’s designs. Showing luxe-boho and giant floppy hats for spring, and a grunge version of the babydoll dress for fall, Hedi Slimane has ignited a face off among the old establishment and the rebels of fashion.

Slimane began his career in 1996, when he was hand-picked by Yves Saint Laurent co-founder Pierre Bergé, to be the director of the men’s ready-to-wear collection. Slimane was even fortunate enough to have Yves Saint Laurent in the front row during the unveiling of his first menswear collection. During his time at the fashion house, the founders were hoping to reinvigorate and raise the awareness of their brand, as Marc Jacobs had done for Louis Vuitton, whose success was documented in the 2007 film Marc Jacobs and Louis Vuitton. Their wishes were granted during the fall/winter show of 2000-2001, when Slimane revealed what would become his remaining legacy in the fashion world… the skinny suit.

Mr. Slimane took this skinny silhouette with him when he became the creative director at Dior Homme in late 2000. Slimane made the Dior Homme name synonymous with edgy men’s fashion from 2000 to 2007. Famously, Karl Lagerfeld told the press that his motivation for losing nearly 60lbs was to be able to wear Mr. Slimane’s clothes. This popularity spread beyond the fashion elite, and into the rock and roll world. Slimane’s name became associated with rock stars like Jack White, Pete Doherty and David Bowie. The latter even presented Slimane with the CFDA designer of the year award in 2002. He was the first menswear designer to receive this honor. While Slimane was racking in the accolades, Dior Homme was racking in the dollars. According to Louis Vuitton Moet Hennessey (LVMH), in 2002 sales at Christian Dior boutiques jumped 44 percent thanks to Slimane.

In late 2006, Slimane chose not to renew his contract with the brand, and officially parted ways with Dior Homme in 2007. In the years following, he kept a pretty low profile. Spending most of his time in <Los Angeles>, Slimane pursued his passion for photography. However, in 2012 when Yves Saint Laurent demanded the help of their former protégé once again, he could not resist. Although this time, he came with an agenda.

First on the list, rename the brand. Slimane changed the ready-to-wear collection from Yves Saint Laurent, which had existed since the 1960s, to Saint Laurent Paris. Immediately, this sent fashion critics into a frenzy. Slimane quickly assured critics that this was not an act of disrespect, but an attempt to take the brand in a new direction. Which is pretty much all he said, as Slimane is notorious for being antagonistic to fashion critics and media outlets.

The newest debate is surrounding his choice to use infamous and ill-mannered rock stars for the brand’s 2013 campaign. Courtney Love, Ariel Pink, and Marilyn Mason represent some of the faces modeling the collection of Slimane’s designs. Naysayers argue that nineties rock stars are the antithesis of Parisian style and Slimane is destroying everything Yves Saint Laurent stood for.

Bergé stands behind Slimane and his provocations. Perhaps he understands that only fashion history will be able to judge how Slimane’s creations will be received. However, Bergé has a current litmus test, which are sales. Since the debut of Slimane’s collections, the clothes have been flying off the shelves. Many retail buyers are complaining of selling out too quickly, or not having inventory at all.

Whatever one feels toward Slimane, there is no denying he is good for the bottom line; revenue. So the question then becomes, does the young generation care about legacy, or do they just want what is cool?

If the history of the fashion house’s namesake is any indication, cool was always the priority. In 1966, when Yves Saint Laurent revealed Le Smoking, it sent shock waves through the streets of Paris. The women’s trouser suit, inspired by masculinity and androgyny, is one of Laurent’s greatest achievements. Laurent became the designer who understood the changing of a woman’s role in society. He understood that women would be working and taking the metro, and this made him a visionary.

However, following his death there were many who questioned if Laurent deserved the accolades that he received, arguing his work was simplistic and lacked genius. Sound familiar?

 If Slimane’s character is represented by his creations, cool at house Saint Laurent is here to stay.

Hugo Boss’ Spring/Summer 2013 campaign translates a breath of fresh air into sophistication and leisure. The stills feature models Liu Wen, Toni Garn, Edita Vilkeviciute and Gabriel Aubrey. Photographed by renowned photographer Mikael Jansson, this advertisement will surely leave you pining for warmer climates.

By Malaika Woods

Photo Credit: Versace/Mert and Marcus

Photographer team Mert Alas & Marcus Piggot shot fashion supermodels Kate Moss, Joan Small and Daria Werbowy as they gracefully portray modern day goddesses in the Versace Spring/Summer 2013 campaign.

Inspired by the annual music festival, Coachella, (which takes place in an expansive California desert) Mert & Marcus recreated their sandy version in London.

Each model is accompanied by a male counterpart, or counterparts in Moss’ case. One of the toughest feats as a model is to stand out when photographed alongside multiple subjects. Moss pulls this off like a triumphantly.

Talbot Runhof’s star is rising. After a steady expansion over the last 13 years, the German label is finally turning heads on both sides of the Atlantic, making headway at Paris Fashion Week and emerging as an American red carpet favorite.

Johnny Talbot, a former electrical engineer from Nashville met German-born Adrian Runhof in Munich, in 1991. At that time, Runhof worked in sales for various Paris-based designers and aspired to launch his own clothing line. Inspired by his career, Talbot, quickly threw in the programming towel and made a career move to fashion. The pair founded their first label, All About Eve, in 1992. Copyright issues — Joop! had a fragrance selling under the same name — forced them to change their moniker. The first Talbot Runhof store opened in Munich in 2000 and remains the label’s headquarters.

The duo’s credo: “It’s all about knowing when to stop,” captures their design philosophy. The couple’s strength is in their work balance. Runhof’s passions are fabric and styling. Talbot, with the precision of an engineer, concentrates on the construction of the pieces.

It often takes a second look to see the exquisite detail of Talbot’s drape that has made this label’s reputation. The pieces are restrained, elegant and wearable. Fabric research and selection take priority in the creative process for Runof; as such, each collection plays with a range of textures. The designers use plenty of traditional lace, tweed and tulle. Lately, though, together they have also been experimenting with high-tech materials, such as stretch fabrics with digital prints and holographic sequins.

After the launch of their eponymous brand, Talbot and Runhof quickly made a name for themselves in Germany with cocktail dresses, gowns, bridal wear and accessories. With creations regularly gracing the German-based red carpet events like the Bambi Awards and the International Berlin Film Festival, the pair won the national Petra Fashion Award in 2005 for best collection. The following year, the label was available for purchase in 19 Neiman Marcus stores in the U.S., followed by shop-in-shop openings at Unger in Hamburg and Breuninger in Stuttgart. 

Showing at Paris Fashion Week in 2006, Talbot Runhof is one of the very few German firms allowed a spot on the twice-yearly runway calendar. To crown the achievements in Paris and mark their 20th anniversary as designers, the duo opened their second boutique on Rue d’Alger, January 2013.

Talbot Runhof’s American red carpet breakthrough came Dec. 1, 2012, when actress Kristen Stewart sported a black and white lace cutout gown from their spring/summer 2013 collection at the Academy of Motion Picture Arts and Sciences Governors Awards. Soon after, the label was popping up on other VIPs, including Helen Hunt, Olivia Wilde and Helen Mirren. Fashion-forward actresses are clearly won over by their refined yet glamorous styles.

Talbot and Runhof are still expanding their horizons. Recently, they began adding daywear and fur-collared coats to their prêt collection. They are becoming bolder with their palette, too. The fall/winter ‘13/’14 collection boasts red and black brocade-pattern trousers, and day dresses with digital patchworks of florals and plaids in addition to the tailored, mixed-texture evening gowns that are beloved by many. 

In 2011, Lady Gaga collaborated with upmarket retailer Barneys New York on a funhouse-themed holiday collection called “Gaga’s Workshop.” Last year, Disney did the same for their “Electric Holiday” collection. This year, Barneys wants its holiday collection to capture New York as the “creative and cultural epicenter of the world,” says Mark Lee, chief executive officer of the multibrand Upper East Side retailer. Who other than Jay Z, rumored to collaborate with the department store since July, would Barneys choose to partner with for their next holiday project? Born and raised in New York, and having successfully conquered music, sports and fashion, Jay Z is the embodiment of what it is to be a native of this bustling city.

Standing for Barneys New York Shawn Corey Carter Gallery, the “BNY SCC Gallery” was inspired by “the slickness, energy and innovation of New York City,” explains the multi-talented mogul. “The items chosen, the amazing designers that participated, the windows, the design of the BNY SCC Gallery — [represent] a perfect example of a unique and groundbreaking collaboration that I hope demonstrates how inspiring New York has been to me.”

Ranging from $70 to $33,900, items include a black leather backpack, an 18-karat-gold double ring, men’s watches with black alligator or polished black ceramic straps by Swiss timepiece maker, Hublot and tailored jackets — all cohesive within a white, black, silver and gold color scheme. Although many products are geared toward male consumers, the collection features select home décor items (everyone can enjoy) such as a cashmere blanket designed by luxury lifestyle brand, The Elder Statesman. Other collaborating brands include Acne, Lanvin, Balenciaga, Balmain, Proenza Schouler and Rick Owens.

The collection is available for purchase Nov. 20 through Jan. 3 in New York, Boston, Chicago, Beverly Hills and San Francisco. A limited quantity of some designs will be available for pre-order online.

25 percent of all profits will benefit the Shawn Carter Scholarship Foundation. The organization grants scholarships to students who faced adversity to receive a higher education. This year will mark its 10^th anniversary.

The Weeknd’s Abel Tesfaye first appeared on critics’ radar with a stunning series of (free) mixtapes, House of Balloons, Thursday and Echoes of Silence, in 2011. His dark blend of atmospherics and hooks resonated strongly with the underground R&B and hip-hop scene. These mixtapes led to an unprecedented headlining performance on the final day of the Coachella music festival in 2012 as reported by The Los Angeles Times. Collaborations with some of hip-hop’s biggest names soon followed, as Drake, Wiz Khalifa, Juicy J and Lil Wayne all featured the vocalist on tracks over the next two years.

In 2012, The Weeknd signed with Universal Music Group subsidiary, Republic Records. The deal appointed him executive producer of his own work, and formed a strategic partnership with his production company, XO to develop new talent. The first cooperative project, official release to his mixtape series, took place in November of that year. The three LPs were released as a box set entitled Trilogy. Thanks to the Republic deal, Tesfaye expanded his already lush sound palette with the help that only serious commercial backing could provide.

The advantages of having access to a state of the art recording studio shine through on album opener “Professional.” The layering of sounds and vocal multitracking gives the song a depth previously unavailable to the bedroom producer. According to Popmatters, Illangelo, the producer who worked with him throughout his trilogy of mixtapes, is absent on the LP. New collaborator DannyBoyStyles faithfully replicates the reverb-soaked kicks and moody washes that are so closely associated with The Weeknd’s sound.

In an interview with Complex magazine, the musician reveals the many influences that affected him during the recording of Kiss Land. Primarily, he sees himself as unbound by the R&B category. Noting that although his “style of singing” is R&B, his songwriting, production and “the environment around those vocals are not inspired by R&B at all.”  He sees himself as a singer in the style of Michael Jackson or Prince, with production profoundly influenced by trip-hop’s blunted beats and cinematic vistas. He credits pioneers of the genre Portishead directly, even going so far as to emulate the drums on the UK band’s track “Machine Gun” on his own “Belong to the World.”

The artist’s major label debut is bringing a whole new demographic of listeners to the Canadian artist, making him a household name. The lavish new productions and label budget have evened the playing field with his peers, but only time will tell if he can compete for the long haul.