European fashion – Nia Style Sat, 09 Oct 2021 03:45:39 +0000 en-US hourly 1 European fashion – Nia Style 32 32 Ghanaian entrepreneur launches € 100 million impact fund for the creative industry in Africa Sat, 09 Oct 2021 03:45:39 +0000

Ghanaian businesswoman and entrepreneur Roberta Annan this week launched a € 100 million fund to channel investments in African small and medium-sized creative and fashion businesses.

According to a press release from the African Development Bank (AfDB), the African Creation Impact Fund (IFFAC) will provide grants of up to € 50,000 to selected projects to accelerate the development of the continent’s creative sector.

The fund was launched at a ceremony during Paris Fashion Week, attended by fashion experts and Chinelo Anohu, senior director of the Africa Investment Forum, an AfDB flagship initiative, which aims to channel investments in Africa.

Annan, who also founded the African Fashion Foundation, said that in addition to the grants, IFFAC would make an additional € 250,000 to 2 million in venture capital available to African entrepreneurs who complete its building program. skills.

“I have met so many incredible talents across the continent, so much originality and innovation.

“But I also noticed a lack of management skills, infrastructure and start-up capital needed to scale these creative ventures. This is the motivation behind IFFAC, ”said Annan.

Anohu, for his part, said the Africa Investment Forum is in talks with IFFAC as it organizes projects that will feature in its upcoming Africa Investment Forum 2021 market days to be held in Abidjan, Côte d’Ivoire, from December 1 to 3.

“I applaud IFFAC for its plans to bring an early stage deployment of capital, as well as a structured training and mentoring program for artists and entrepreneurs like Nigerian designer Kenneth Ize.

“To all investors in this room who believe, like me, in the commercialization potential of Africa’s creative genius exports, I invite you to contact the Africa Investment Forum,” Anohu said.

Ize, a beneficiary of the Impact Fund program, also attended the launch, after becoming the first African to open Paris Fashion Week last week.

Africa’s creative industry is an increasingly important part of the investment mix for the future of the African economy and the Forum’s 2021 Market Days are expected to feature creative and cultural sector agreements from across the world. continent, including in film and television, as well as women led projects, among other sectors.

Meanwhile, Anohu also met, during his visit to Paris, European investors, including institutional investors, who are actively interested in the African creative industry, as well as other key priority sectors in the sector. part of the Africa Investment Forum’s unified Covid-19 response pillars, which include technology, renewable energy. energy and agrifood sectors.

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Prada doubles its sleek triangular logo in the apparent game to strengthen its rights and diversify its offerings Thu, 07 Oct 2021 12:21:17 +0000

For their first physical show since teaming up to take on Prada’s most important creative role, longtime Creative Director Miuccia Prada and new partner Raf Simons, who joined the brand last year, have simultaneously sent nearly 40 looks on models in Milan and Shanghai. following on from a presentation they called a “new possibility” by emphasizing the notion of “community” – even if this community is represented, in part, on large LED screens.

Beyond the set-up, there was one element, in particular, that jumped into the collection: the continued adoption and emphasis on a clean-cut version of the Prada triangle that the Milanese brand has affixed to its bags and more. accessories. for several decades. As we noted earlier, Prada’s uses of its trademark triangle to date have been largely uniform in that the inverted triangle is placed on clothing and accessories – along with the words “PRADA Milano”, as well as “DAL 1913”, which is a nod to the year of foundation, and a tiny coat of arms included in the limits of the form.

In more recent seasons, however, as Prada’s triangular logo roamed its collections, the use of the traditional triangle was complemented by Prada’s use of the same small triangular symbol, albeit on its own – that is. – say without the Prada name and / or other identifying information. An empty triangle has appeared on the invitations to the brand’s fall-winter 2021 show, and the side of hats in one of the brand’s 2020 menswear collections, as well as spring / summer 2021 clothing. Fast forward one year to spring-summer 2022 and using the blank triangle – or in some cases, a triangle that simply bears a single word, Prada – was more cohesive than ever. Nary took a look or two without an almost naked triangle adorning a pointed toe back strap, earring, armband, or the left breast of a top or dress.

As I documented in a previous article, the most immediate reading of the play here is that Prada is looking to expand its rights to the triangular trademark. Since the vast majority of his trademark uses to date have included the Prada name and the details “Milano” and “DAL 1913”, his trademark rights are likely limited to a mark representing these various details. By releasing a stripped-down version of the triangle (which can probably be compared to some extent to how brands across the board adopted streamlined versions of their word marks not too long ago), Prada is doing something interesting: it potentially positions itself as far as enjoying more extensive rights over the small logo, and (at least theoretically) enforcing these rights against the use of similar triangular designs in cases where the “PRADA Milano”, ” DAL 1913 “and the tiny coat of arms are missing from the equation.

And there are more and more examples of this – blatant fast fashion copies to uses of the triangle by marks located in the same situation this can confuse consumers as to the source.

This is probably a driving force behind the introduction of more streamlined logos by Prada, and in fact, in pursuit of what appears to be a larger effort to expand its rights to the triangular logo, Prada has filed a claim. trademark registration application for a simplified (although, not completely empty) triangular trademark with the European Union Intellectual Property Office (below, right) in June. This may ultimately pave the way for the trademark to claim rights in its specific use of a completely blank triangular trademark – in relation to specific goods / services – at some point … assuming Prada can show that the triangle is “used in such a way as to make a visual impression such that the viewer would see it as a symbol of origin separate and apart from all the rest,” as one SDNY judge recalled in 1998.

But there is probably more going on here than an incremental seizure of rights by Prada; it is also a growth-oriented cash grab. It should be noted that Prada’s adoption of a streamlined branding in recent seasons has not replaced its use of a more traditional branding. In fact, the blank or partially blank triangles appear in the collections with the more traditional offerings of the brand (i.e. the triangles with the name Prada, Milano, etc.). With that in mind, it looks like Prada may be looking to cast a wider net. In other words, by diversifying its offerings (that is, by varying its approach to the brand), Prada can address a larger pool of luxury buyers.

Considering the size of the luxury goods market and the varying tastes and demands of consumers around the world, it’s realistic to assume that people will want different things from the same brand. Look no further than the Chinese market, where change will inevitably occur in light of the government’s push for “common prosperity,” which should move consumers away from ostentatious luxury branded goods, less for the foreseeable future. future. At the same time, President Xi Jinping’s latest crackdown on wealth inequality in China is unlikely to cause Western consumers to shed logos now. So, for brands to continue to grow in an increasingly fragmented global market, they need to diversify their offerings – potentially within each collection.

(Most of the big brands already do this, of course. Louis Vuitton, for example, is known to target the Asian market with bags made from more exotic materials than some other markets due to established consumer preferences.)

Finally, since the revenues and margins of most luxury brands owned by conglomerates are generated by the high turnover of branded products, source indicators – such as visible brand names, logos , monograms, red zippers, etc. not leaving anytime soon. So while Prada’s blank triangle may be a relatively clean branding image, it is nonetheless used as a branding image, and there’s a good chance that it will still serve to indicate the source of the dress or bag. someone’s hand – albeit in a slightly more understated way. – informed consumers.

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In honor of Hispanic Heritage Month, Neiman Marcus and Karla Martinez de Salas of Vogue Mexico hosted a charming lunch Wed, 06 Oct 2021 22:04:12 +0000

“Seeing the range of Latin designers on offer alongside some of the biggest European houses shows how important the contributions of the Latin community are to today’s fashion world,” said Karla Martinez de Salas, Vogue Mexico Responsible for editorial content. She was talking about the assortment of designer items on display at Neiman Marcus’ Coral Gables Outpost in Miami. “Growing up in El Paso, one of my favorite travel destinations has always been Neiman Marcus, mostly because it’s such an iconic store known for its extraordinary edition and collection of the best luxury brands from around the world.”

And not only were these designers represented on the shelves of the immaculate store, but they were also present, including Silvia Tcherassi and Sofia Tcherassi, and Ximena Kavalekas. The other lunch guests, co-hosted by Elias Synalovski, Vice President and General Manager of Neiman Marcus Coral Gables included Camila Canabal, Maria Ines Duarte, Juliana Fonesca, Karen Martinez, Taliana Vargas, Madu Nicola, Daniela Ospina, Estefania Lacayo, Jomari Goyso, Rodner Figueroa, Stefania Roitman, Catalina Maya and Gabriel Coronel.

The event started with a champagne reception, then ended with an on-site lunch at the Mariposa restaurant, followed by a Q&A with Martinez de Salas and Jodi Kahn of Neiman Marcus. The couple talked about all the fall fashions. And then, afterwards, some guests went straight to the locker room to try out the best and brightest of the season.

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SMCP parent may be forced to cede control after default of obligation – Update Wed, 06 Oct 2021 11:55:00 +0000
By Joshua Kirby

A change of control at SMCP SAS loomed closer on Wednesday as the French fashion group reported the possible sale of a stake held by its majority shareholder, which defaulted on bonds worth $ 250 million. euros ($ 290 million.)

SMCP said on Wednesday that it was informed that European majority owner TopSoho, a Luxembourg holding company of Chinese conglomerate Shandong Ruyi Technology Group, had defaulted on the bonds maturing in late September. Underlying the bonds are shares of SMCP representing 37% of the company’s share capital, with the swap commitment enforceable from October 19, SMCP said.

The bond trustee GLAS, for its part, informed the French Markets Authority that in view of the default, it was entitled to instruct 35 million SMCP voting rights, or 29% of the total. If GLAS executes the swap promise from Oct. 19, it will appoint a receiver to sell the pledged shares to a third party, SMCP said.

European TopSoho owns 53% of the shares of SMCP. Such a transfer would therefore result in the transfer of control of the group.

SMCP said the situation does not put its own finances or operations at risk.

Shandong Ruyi said on Tuesday that he had been informed by the trustee of the obligations of the default. “The company is actively reviewing its options with respect to the current situation and will keep the market informed,” said Shandong Ruyi, without going into details.

According to SMCP, European TopSoho has taken legal action against GLAS. European TopSoho did not respond to a request for comment from the Wall Street Journal.

A change in ownership would be good news for SMCP, analysts at Jefferies said. A split with Shandong Ruyi, who has struggled with debts and poor credit scores after a spending spree on Western fashion brands, would reduce SMCP’s risk profile, allowing investors to focus on its underlying strengths , including a good investment in its brands and impressive digital. sales, the investment bank said.

Following Shandong Ruyi’s comments on Tuesday, shares of SMCP climbed nearly 8%. Wednesday afternoon, they were trading down more than 5% to 6.91 euros.

Write to Joshua Kirby at; @joshualeokirby

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Asian and European pavilions return to Intertextile Apparel Tue, 05 Oct 2021 18:31:08 +0000

It is clear why foreign exhibitors are attracted by Chinese commercial buyers to Intertextile Apparel every year. With the country’s large population, the growing popularity of quality international products and, more recently, its rebounding economy, the business opportunities for foreign suppliers are substantial. In the next fall edition, which will take place from October 9 to 11, four pavilions from Asian countries and regions will return from Japan, Korea, Hong Kong and Taiwan, as well as the Milano Unica pavilion.


Mr. Hiroomi Fujinami, Product Planning Division at Iris Co Ltd, explained the potential his company sees in the developing Chinese clothing market: market. In other words, quality and value take precedence over price, which we consider to be a good thing.

So much so that during the spring edition of March 2021, many Chinese buyers visited the Japan pavilion generating contracts with a total estimated value of around 3.5 billion JPY (31.9 million USD) in three days, according to pavilion organizers, Japan Fashion Week Organization. (JFW).

The Japanese Pavilion in October will be made up of 36 companies, including two brand new exhibitors. The best of original Japanese creations will be on display along with exclusively produced natural and polyester fibers. The remarkable qualities of Japanese suppliers have often been their acceptance of orders in small quantities and their fulfillment of stock orders with quick delivery times. Here are some key exhibitors to watch out for:

-Iris Co Ltd (Booth Number: 2.1-G65): They will introduce new Japanese made buttons for women’s clothing as well as durable items as part of their large stock that caters to small quantity orders.

-Marusa Co Ltd (Booth number: 2.1-J57): exhibiting for the first time, they will showcase the Mino-washi fabric made from a raw material of Japanese paper dating back 1300 years. It is an ecological and comfortable fabric with light, deodorizing, antiviral, moisture absorbing and heat dissipating properties.

-Nikke Textile Co Ltd (Stand number: 2.1-G57): Also making their debut at Intertextile, they will feature an almost globally unmatched item, piece-dyed combed wool, alongside their ZQ merino wool series from New Zealand , as well as a series of vintage wool.

-Suzuki Bleach & Dyeing Co Ltd (Booth number: 2.1-F58): as exhibitors for the second time, they will present scratched items, cotton and silk fabrics. Faithful to their policy of quality over quantity, they excel in finishing techniques for original textures, in particular for cotton, linen, rayon and silk.

– Uni Textile Co Ltd (Booth Number: 2.1-E56): Their products will include blend type polyester jacquard lace, soft stretch cardboard knit, vintage chambray taffeta and more, all stocked by the company and offered from a single roll.


The Taiwan Pavilion will host 15 exhibitors showcasing the latest innovative textiles and accessories. Featured products include world-famous lace and embroidery pieces for wedding and high-end dresses, as well as functional fabrics with antibacterial and hygienic characteristics. Exhibiting companies include:

Keen Ching Industrial Co Ltd (Booth Number: 2.1-C34): They will be showcasing their zipper product line including water repellent, invisible, vintage, polyester, polished / plated metal and special tape zippers.

Shu Hong Co Ltd (Booth No .: 2.1-C32): They specialize in providing TPU / PVC / PU / silicon materials enriched with 2 / 3D effects, reflective, luminous and glitter in all kinds of designs for transfer heat on shoes, accessories and waterproof fabrics and trench coats.

Wedtex Industrial Corp (Booth Number: 2.1-C46): They produce various high quality lace crafts such as hand and hand embroidery, multi-color embroidery, machine beading, hand embroidery sequins, cord ribbon embroidery and laser cut embroidery lace. .

Hong Kong

The Hong Kong Trade Development Council (HKTDC) are the organizers of the Hong Kong Pavilion which will showcase women’s clothing, casual wear and functional clothing from eight vendors, with a variety of quality embroidery and high-quality knits for you to discover. Two remarkable exhibitors are:

HongKong Bonvor Industrial Limited (Booth Number: 2.1-J52): They specialize in high quality lace and embroidery for garments, evening dresses and wedding dresses. Their latest products include various blends of cotton, polyester and nylon lace.

Xiang Tai Textile (HK) Limited (Booth No .: 2.1-K52): They produce all kinds of medium to high quality knitted fabrics like wool, high needle, high density, jacquard wool, imitation denim, composite fabric and other products their customers include Porter International, Uniqlo, Ann Taylor, H&M and more.


Organized by the Korea Investment and Trade Promotion Agency (KOTRA) and the Korea Fashion Textile Association (KFTA), members of the Korea Pavilion will mainly focus on women’s wear, casual wear and clothing. functional. A variety of fancy and functional fabrics can be found among the 14 exhibitors’ collections, as well as velvet, Modal, metallic, Tencel, nylon, rayon, cotton, jacquard, linen, wool, polyester, coated, printed and mixed woven fabrics. A featured exhibitor is:

Frog Co Ltd (Booth Number: 2.1-D66): They process a wide range of printed fabrics such as silk, cotton, polyester, viscose, wool and cashmere with Oeko certified sustainable DTP inks and dyes -Tex. Coach, J. Crew, DKNY, Ralph Lauren and Talbots are some of their clients.

European exhibitors

To complement the national and regional pavilions, Milano Unica can be found in SalonEurope alongside suppliers from Switzerland, Turkey, France and the UK to name a few. Milano Unica is indeed returning to Intertextile for the first time since the start of the pandemic and will be made up of 38 exhibitors presenting products ranging from wool, cotton and functional fabrics to fabrics for suits and shirts. Meanwhile, the best of fabrics made in Germany will be on display in the German Zone with a focus on raw materials, finishes, functional textiles and more.

Intertextile Shanghai Apparel Fabrics – Autumn Edition will take place alongside Intertextile Shanghai Home Textiles – Autumn Edition, Yarn Expo Autumn, CHIC and PH Value, from October 9 to 11, 2021 at the National Exhibition and Convention Center (Shanghai).

The fair is organized by Messe Frankfurt (HK) Ltd; the Textile Industry Sub-Council, CCPIT; and the China Textile Information Center.

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Shandong Ruyi Technology Group Co., Ltd: European TopSoho S. rl 250 million euros 4% covered bonds maturing in 2021 exchangeable into shares of SMCP SA (ISIN XS1882680645) (the “Bonds”) Tue, 05 Oct 2021 06:01:03 +0000

Shandong Ruyi Technology Group Co., Ltd Shandong Ruyi Technology Group Co., Ltd: European TopSoho S.à rl 250 million euros 4% covered bonds maturing in 2021 exchangeable into shares of SMCP SA (ISIN XS1882680645) (the ” Bonds ”) 05- Oct-2021 / 08:00 CET / CEST

————————————————– ————————————————– ——————-

European TopSoho S.à rl

€ 250 million in 4% covered bonds due 2021

exchangeable into shares of SMCP SA (ISIN XS1882680645) (the “Bonds”)

LUXEMBOURG – Media OutReach – October 5, 2021 – European TopSoho S.à rl (the “Company”) received a notice of suspected default (the “Notice of Default”) from the Trustee on October 4, 2021 and was notified, among others , the following (unless otherwise defined capitalized terms will have the same meaning as those defined in the trust deed (as amended and supplemented by an additional trust deed) constituting the Bonds): 1. A case of default in respect of the Bonds claimed to have occurred and continued under condition 14 (a) (i) due to (i) the Company not repaying the Bonds in full in cash at their principal amount on the due date in accordance with condition 11 (a), and (ii) the Company and the Guarantor fail to remedy such default within five business days of receipt of the Written Notice. 2. The “Acceleration Notification Date” is meant to be the date of the default notice, the “Default Fiscal Start Date” is meant to be October 7, 2021, and the “Expiration Date” is declared to be October 18, 2021, which should be read in conjunction with Condition 8. 3. All Bonds which remain in circulation at the close of business on the Expiry Date and which have not been validly redeemed in accordance with the Exchange Duties will allegedly be immediately due and payable without further formality or notice at the Early Redemption Settlement Amount. .

The Company is actively studying its options relative to the current situation and will keep the market informed.

About European TopSoho S.à rl

European TopSoho S.à rl is an investment holding company established in Luxembourg. The Company is the controlling shareholder of SMCP SA, one of the main accessible luxury fashion companies listed on the regulated market of Euronext Paris.

European TopSoho S.àr.l. is a subsidiary of Shandong Ruyi Technology Group Company Limited, the leading clothing manufacturer and fashion brand operator headquartered in Shandong, China.

Any request for information can be addressed to the Company or its legal advisor.

Ince & Co., as legal counsel to the Company



European Topsoho S.à rl: Mandy Man (

Ince & Co .: Eric Lui (

————————————————– ————————————————– ——————-

Diffusion of a CORPORATE NEWS, transmitted by EQS Group. The issuer is solely responsible for the content of this advertisement.

————————————————– ————————————————– ——————-

End of the announcement – EQS News Service

1238208 05-Oct-2021

Image link:

(END) Dow Jones Newswires

05 October 2021 02:00 ET (06:00 GMT)

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Fikayo Tomori and stunning tackle that could make Chelsea regret Mon, 04 Oct 2021 10:50:13 +0000

2021 has been an exceptional year for English football.

There was an all-English Champions League final for the second time in three seasons, as top Premier League clubs asserted their superiority over their continental rivals.

Over the summer, England’s progress to Euro 2020 captured the imaginations of millions as Gareth Southgate’s side came close to lifting the trophy.

And English footballers are now playing across Europe as old stereotypes of limited fighters become redundant in the face of the hordes of technically competent youngsters produced by the country’s academies.

Which brings us nicely to Fikayo Tomori.

In January, Tomori struggled to seize first-team opportunities at Chelsea after failing to break through Frank Lampard’s favorite defense.

Considering Chelsea’s defensive failures under Lampard, this can be seen as a grave insult to any worthy defender, but Tomori responded to the string of rebuffs excellently.

The 23-year-old joined Milan on a temporary loan deal and saw his action increase dramatically with performances assured in Italy.

When artists like Fabio Capello, Franco Baresi, and Paolo Maldini rush to praise your displays, you’ve got to do something right.

Many believed Tomori was involved in Thomas Tuchel’s plans but within days of returning to Chelsea the defender was cleared for a permanent move to Milan for £ 28million.

After their transfer to Jules Kounde failed to materialize, Chelsea must regret the decision not to include a buyout clause when negotiating Tomori’s departure – especially after his Maldini-style intervention against Atalanta.

As Milan desperately kept their 3-2 lead, Tomori first allowed Matteo Pessina to pull away from him on the straight sideline.

Pessina charged into the penalty area with Homer Simpson’s determination by submitting his tax return seconds before the deadline, but counted without Tomori’s brilliantly judged tackle to dispossess him.

It was like watching a bomb disposal expert do his job – expertly timed, incredibly skilled, and saving the day seconds before detonation.

While it drew much applause in Italy, Tomori’s form did not go unnoticed in England. Harry Maguire being injured, Southgate has recalled the England center-back for the October fixtures against Andorra and Hungary.

Two years after making his debut in a European Championship qualifier against Kosovo, the Milan defender has the platform to show his progress and force himself to count for next year’s World Cup.

It’s rare to see a tackle from a defender as beautiful as a well-scored goal, but Tomori’s pragmatic moment of brilliance against Atalanta would have raised and cheered Italy’s great defenders of yesteryear.

And it underscored how the defender has had an exceptional year – and Chelsea fans might come to regret the decision to let him go so easily.

By Michael Lee

More from Planet Football

A forensic analysis of George Weah’s magnificent solo goal against Verona

Forget Paolo Maldini’s defense and * watch * his wonders

Can you name Chelsea’s eleven from their 2-2 CL draw with Juventus in 2009

10 quotes on the beautiful form of Fikayo Tomori at AC Milan: Maldini, Capello, Tuchel…

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“The increase in RMG exports from neighboring countries will not affect Bangladesh” Sun, 03 Oct 2021 14:37:28 +0000

Garment makers said the largest volume of trade in all of these destinations is still exported from Bangladesh

Increasing garment exports from India and Pakistan to the U.S. and European markets will not affect Bangladesh’s export earnings, the garment makers said.

India and Pakistan are neighboring competitors of Bangladesh in garment exports.

They also said that the largest volume of trade in all of these destinations is still exported from Bangladesh.

In addition, exports to Europe and the United States from India and Pakistan have increased according to their own statistics, and Bangladesh has nothing to worry about.

Read also – Recycling clothes is crucial for sustainability

According to Eurostat Trade, Bangladesh’s clothing exports grew 18.3% year-on-year in the first seven months (January-July) of 2021 compared to the same period of 2020 in the European market, from $ 7,756 million to $ 9,176. million.

Meanwhile, two neighboring countries, India and Pakistan, recorded an increase of 22.23% and 27.89% respectively, exporting clothing products worth $ 2,032 million respectively to $ 2,483 million and from $ 1,304 million to $ 1,661 million, according to Eurostat.

The United States Office of Textiles and Apparel (Otexa) also released the apparel product sourcing data for countries in South Asia during the same period.

According to Otexa data, Bangladesh exported clothing worth $ 3,701 million in the first seven months of 2021, an increase of 28%, from $ 2,891 million in the same. period of 2020.

Meanwhile, India exported clothing worth $ 2,318 million, or $ 1,742 million in 2020, and Pakistan exported $ 1,163 million, or $ 688 million in 2020, ensuring growth of 33.1% and 69.1% respectively, according to data from Otexa.

But Bangladesh garment makers have said this is a temporary scenario and the country should not worry about it as it is their own export statistics.

In this regard, Shahidullah Azim, vice president of the Bangladesh Garment Manufacturers and Exporters Association (BGMEA) told Dhaka Tribune that Europe and the United States are Bangladesh’s top export destinations.

Read also – Textile and clothing sectors suffer from gas shortage

“The large volume of clothing products that are exported to these two destinations from Bangladesh every year is much higher than India and Pakistan,” he added.

He also said that exports from India and Pakistan have increased in these destinations compared to exports in previous years.

“It’s not related to exports from Bangladesh. They are increasingly sourcing from these countries, as well as from Bangladesh significantly. “

Moreover, he called this a temporary problem, adding that there were a lot of purchase orders from these two destinations in Bangladesh.

“So I hope that our exports will increase further to the EU and the United States in the coming months,” he added.

Some clothing manufacturers have also said that the recent visit by BGMEA executives to the United States and fruitful discussions with European buyers will further boost exports to these destinations.

They also hope Bangladesh can attract more US and EU orders if sartorial diplomacy works effectively.

However, garment makers have also said that exports from India and Pakistan may have increased due to differences in yarn prices.

The price of yarn in these two countries is comparatively lower than it is in Bangladesh, they said.

According to industry insiders, the current price of cotton in the world market is around 95 cents per pound.

Bangladesh is the second largest importer of cotton for the production of 30-thread count, the main raw material for knitting articles.

The price of 30-thread count yarn per kilogram (kg) in the local market is $ 4.10 to $ 4.15, which is higher than most other garment-producing countries, they said.

They also said that the price of yarn in India is $ 3.60 per kg, which is much lower than it is in Bangladesh.

A managing director of AKH Fashions Limited, based in Savar, said that India and Pakistan could benefit from advantages due to the difference in the prices of raw materials.

“But we are confident that Bangladesh’s exports to major destinations will increase soon,” he added.

He also said that they should have appropriate strategies to attract more buyers from destination countries.

“In this regard, Bangladesh needs to develop its own fashion design studios, diversify its product basket and focus on man-made fibers to build a sustainable garment industry,” he added. .

Read also – In-house design on the drawing board as garment makers aim for profit

Bangladesh is the second largest exporter of clothing to the world market after China. The clothing sector generates over 83% of the country’s export earnings.

Bangladesh exported clothing items worth $ 31.45 billion in the last fiscal year.

According to the BGMEA, there are over 4,000 garment factories employing nearly 4 million workers.

The number will be higher if the backlink industries and their workers are included.

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Liam Taylor thinks David Avanesyan was overrated ahead of European title fight | Boxing News Sat, 02 Oct 2021 21:12:02 +0000

Liam Taylor says his welterweight rival David Avanesyan is excited and vowed to snatch the European title this weekend.

Avanesyan’s reputation was bolstered when he knocked out much-loved contender Josh Kelly in the sixth round in February.

But Taylor is adamant he will produce a mind-boggling upheaval tonight, live on Sky Sports at SSE Arena, Wembley.

“I think Josh Kelly’s fight, people are probably putting it a little bit forward,” Taylor told Sky Sports.

“I think I would have beaten Josh Kelly the same way, so it wouldn’t be any different. It’s the opportunity that motivates me, the chance to become European champion.

“I’m determined and I know I’m good enough to win this title.”

Avanesyan, who has eliminated his last four opponents, managed three defenses of his European title.

Avanesyan won all of his European title fights by knockout

But the British challenger, with 23 wins and just one loss, is full of conviction as the biggest fight of his career approaches.

“I put myself in a position where I am ready and this opportunity presented itself. There was no way I was going to turn it down,” he said.

“I just like to get involved sometimes. I go there knowing he can knock, so I have to be aware of those early doors, but I think I can knock enough on my own to make him stand up.

“I like to work out, I like to be in the gym. Boxing or training is my life. I don’t really party or go out, I just like the gym, I love competition. I am a competitive person. “

Watch Liam Taylor’s European welterweight title fight against David Avanesyan this Saturday, starting at 7:30 p.m. on Sky Sports.

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Review of Cathy Horyn at Paris Fashion Week: Raf Simons Fri, 01 Oct 2021 22:36:46 +0000

From left to right: Chloé, Raf Simons, Rick Owens
Photo-Illustration: The Cup; Photos: Courtesy of the designers, OWENSCORP

Raf Simons had designers Demna Gvasalia (Balenciaga), Pieter Mulier (Alaïa) and Jack McCollough and Lazaro Hernandez (Proenza Schouler) in the front row during his spring men’s and women’s show on Friday. And barely recognizable behind his mask was Patrizio Bertelli, the managing director of Prada, where Simons is co-creative director with Miuccia Prada.

But it was Simons’ concert, for his Antwerp label, and it was quite remarkable. First of all, almost 80 percent of the collection was unisex, although I didn’t notice during the show what genre was in the many skirts and dresses or, for that matter, the oversized blazers and shirts. Male models have been the norm in women’s collections for the past few years, dressed in typical feminine clothing. But that’s not why I didn’t notice the gender of the models. I looked at the silhouette of Simons’ costumes.

Who today expects an interesting new line from a suit, or even from a garment in general? And who even considers a jacket and a skirt to be cool and desirable? There have been a lot of pantsuits on the catwalks this season, but very few designers have cared about skirts and jackets. Maria Grazia Chiuri made them for Dior, but her cheerful 1960s-inspired versions hardly looked new.

Simons’ jackets were cut loose to the body, not sloppy or oversized, and knee-length skirts appeared to be pleated, but not exactly pleated. They were presented with thin black socks and black oxfords with chunky soles. In fact, I later learned from Simons that the shoes were custom made, and it showed. Overall, the suit looked relaxed, on any model, and I wondered what Simons had done to make such a loveless piece of clothing look so desirable that I wanted one myself- same. (I can’t say I’ve felt that way about anything else this season.)

“The harsh reality is that people want hoodies and sweatshirts,” Simons told me. So the question that motivated him and his team in Antwerp was how to transform these very simple shapes into a more sophisticated shape, namely a suit, a dress, a dress shirt. The photographs in the collection, which are mostly in dark hues (with the exception of the shirts), are unlikely to do justice to the fit and figure, how much they affect the ease and attitude of a sweatshirt. -shirt and shorts. What they have different, of course, is the fashion element – something new and hard to pin down.

Raf Simons.
Photo: Courtesy of Raf Simons

Simons did the same with the dresses. The form is not a bag, exactly, and it is not a tunic. But it certainly works like a sweatshirt, and in black or navy industrial nylon it looks distinctive. This is because the fabric reads slightly like a seam, although it clearly isn’t. Simons told me that the shape of the dress actually comes from a 19th century linen garment that women wore to do home activities, like painting. Call it a house dress. It is also similar to the type of blouses that female and male artists have worn over the centuries. “Creative people never had this strict definition of what a man or a woman could wear,” he noted. They were already blurring the lines between the sexes, at least in their paint outfits.

Simons gave the same consideration to dress shirts. In order to prevent them from looking like office equipment, he detonated the scratches and made the cuffs wider. They were presented alone, with a skirt or layered under a loose knit top.

All of these shapes have stood the test of time, in large part because they are simple. Simons took on the challenge of connecting them with the things young people (and not so young) want to wear. The result, in the case of the costume, was a compelling new silhouette. This challenge is something the rest of the industry must consider as well.

Raf Simons.
Photo: Courtesy of Raf Simons

Rick Owens frequently travels between the house he shares in Paris with his partner, Michèle Lamy, and an apartment on the Lido in Venice, a short drive from his clothing factories. It is on the Lido that he staged what he calls his “COVID collections”. Owens is not nostalgic for these shows, which only members of his team were allowed to see in person. But he didn’t want to forget them either.

Around noon Thursday, against the most beautiful Parisian sky, two models in fluid clothes stood on the roof of the Palais de Tokyo and threw pieces of paper on the runway and the public. The pieces were actually jasmine leaves that Owens picked up from his terrace at the Lido. In many minds the question has arisen: how should designers mark the return of live shows? With the same old hype? To a large extent, that is what they have done. But in all things Owens is decidedly personal. As brutalist as her vision sometimes is, with forms that suggest mutilated armor or futuristic shells, she hides a tender heart. Leading the procession of models, clad in a dark harness top and short, sculptural skirt with platform gladiator boots, was Lamy. It was a first, as far as I can remember.

“Should returning to the Parisian catwalks be a matter of humility and a lesson learned,” Owens asked in his performance notes, “or carpe diem?”

The audience of mostly European and American writers and stylists (there are hardly any guests from other parts of the world here) clearly wanted Owens to enjoy the day.

Rick Owens.

That’s what he did: with long black dresses cut close to the body and cut out around the breasts, sexy bodysuits with hollowed-out fronts and sides, and gorgeous pleated leather and nylon bombers in a cocoon shape. zip closure. The atmosphere oscillated between sex (these bodysuits and dresses with a deep neckline) and royal or sacred glamor. I guess you don’t grow up in California, like Owens did, then spend a lot of your life in France and Italy without being influenced both by Hollywood and, here, by the shrines and religious symbols. Some of Owens’ grandiose dresses and wide, pointy shoulders reflected the two Joan Crawford Meets a Saint.

Did the collection seem a bit overloaded with details? In a way, yes. Maybe that’s why I was struck by an orange denim tunic with a funnel neck and long sleeves, its hem partially tucked into pink shorts. Shown with white Spartan platforms, the outfit seemed at odds with the collection, but not with the reality of everyday life. I wish Owens had done more looks like this.

Photo: Courtesy of Chloé

Then, Chloé, held back along a bank of the Seine with the river traffic in the background. Many designers are keen to give their clothes a realistic context, whether it’s showing them in a public space – Pierpaolo Piccioli, for example, plans to use a street for Valentino on Friday night – or with a diverse cast of models. Chloe’s Gabriela Hearst also reduced the number of looks on her show, to just 31.

This decision corresponds to her goal of making Chloé more eco-responsible and has hardly limited her expression. She made a strong case for bohemian maxi dresses in cream wool with streamers, a practical and flattering pantsuit in beige or creamy yellow and slim coats, one of which had crochet and leather patchwork inserts on the back. . It all looked like a concise, compact wardrobe. According to her show notes, the macrame pieces (and bags) were made from shredded and resurrected clothing from previous collections, while the chunky-soled sandals were a project with Ocean Sole, a group that recycles old flip-flops.

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