Fashion designer Sophia Kokosalaki dies aged 47

Sophia Kokosalaki: ‘A brilliant and hugely talented designer.’

 Sophia Kokosalaki: ‘A brilliant and hugely talented designer.’ Photograph: Getty Images

Sophia Kokosalaki, the London-based Greek designer, has died at the age of 47. Kokosalaki was known for her talent for drapery and clothes that had a female-friendly glamour. They were worn on the red carpet by Chloë Sevigny, Kirsten Dunst and Jennifer Connelly.

The fashion world took to social media to express their grief about the news. Journalist Melanie Rickey, writing on her @fashioneditoratlarge Instagram account, called Kokosalaki: “a brilliant and hugely talented designer who reinvented drape and Greek craft into exquisite high fashion.” Fashion critic Sarah Mower posted a picture of the designer bowing at the end of a catwalk with the caption: “Mourning the loss of dear Sophia Kokosalaki, a great talent, sister pioneer of the London fashion new wave of the 2000s, Greek fashion heroine.”

A Sophia Kokosalaki design from her autumn/winter 2004 collection at London fashion week.
 A Sophia Kokosalaki design from her autumn/winter 2004 collection at London fashion week. Photograph: Peter Macdiarmid/Reuters

Kokosalaki introduced her label at London fashion week in 1999, and was part of a generation of fashion talent in the capital in the early noughties. A graduate of the respected Central Saint Martins MA in fashion, she soon established her aesthetic with draped dresses that felt elegant but also easy to wear. She once said of her clothes: “I like to design functional apparel that also allows you to look interesting.” She brought this look to the costumes for the opening ceremony of the Greek Olympic Games in Athens in 2004.

Her brand was bought by Only the Brave – the conglomerate ran by Diesel’s Renzo Rosso – in 2007, only for her to buy it back two years later. Kokosalaki also designed the high-end Diesel Black Gold for three years, from 2009 to 2012, created collections for Topshop and worked on the relaunch of Vionnet, the French heritage house. She introduced Kore, a cheaper line, in 2012, which was sold through Asos.

In recent years, Kokosalaki had retreated from the show circuit. She launched her first bridal collection in 2012, telling The Guardian: “I thought there wasn’t much on offer for the contemporary bride. By this I mean a modern woman that doesn’t want to feel overwhelmed by her dress and has a very chic approach to how she would like to be dressed for the day.” She continued to create wedding dresses, with her final collection on her website, from 2017, comprising 32 designs.

Kokosalaki is survived by her husband and daughter.

[“source=theguardian”]

Why ‘Joker’s costume designer decided to ignore the comics entirely

All it took was a personal letter from director Todd Phillips for costume designer Mark Bridges to agree to work on Joker Phillips’ gritty, controversial reimagining of the “Clown Prince of Crime’s” origin story.

“He said that he wanted to collaborate with me, knew that I had worked with Joaquin two previous times, and thought we’d have a great ride with this,” Bridges tells Inverse. “I was very flattered that Todd would take the time to ask me to join him.”

Bridges has been a costume designer for three decades and won two Academy Awards (and a jet ski, which he donated). He’s worked with Noah Baumbach, Paul Greengrass, David O. Russell, and on all eight films directed by Paul Thomas Anderson. But with Joker, Bridges faced what might have been his greatest challenge yet: creating a distinct look for one of pop culture’s most iconic villains.

Heath Ledger as the Joker in 'The Dark Knight'
Heath Ledger as the Joker in ‘The Dark Knight’

The Joker is one of the few comic book villains arguably as famous as the hero he clashes with, and one of the reasons he stands out among all of Batman’s antagonists is how he’s presented. From Jack Nicholson’s 1950’s pop art design, to Heath Ledger’s now iconic punk rock-inspired look, to Jared Leto’s much derided high fashion; how the Joker is dressed is equally as important as the man who puts on the face paint.

Prior to Joker’s release, Inverse spoke to Bridges over the phone about his work on the movie, why he didn’t bother looking back at the comics for inspiration, and why he didn’t want to have the Joker prancing around in terracotta.

This interview has been edited and condensed for clarity.

joker

Inverse: Seeing as this is a comic book movie and with it comes more scrutiny than you’re used to, was there any hesitation at all in taking on this particular job because you would be designing the look of such an iconic character?

Mark Bridges: I was looking forward to it. I think it was all about Todd and the way he presented it as being a departure from what one would typically think of a comic book movie. It was going to be grittier, more urban, more based in a kind of reality than a series of magical events.

And I go from different genres all the time. I’ll do a Noah Baumbach and then I’ll do a Paul Thomas Anderson, and then I’ll do Jason Bourne. So I’m always trying to do something that I haven’t done before. So between Todd’s passion, my love of working with Joaquin, and just wanting to try something new I was looking forward to it.

Jack Nicholson in 'Batman' (1989)
Jack Nicholson in ‘Batman’ (1989)

When people think of the Joker, they have a very clear idea of how he’s presented: purple suit or jacket with either a green or yellow shirt. Was it always your intention to go in a different direction when it came to this Joker’s presentation?

It wasn’t always my idea. It might have been influenced by Phillips’s attitude that this was a standalone story. That it wasn’t connected to anything else. A lot of my choices were rooted in this character, Arthur Fleck, and also something Todd wrote in the script about Arthur owning a suit that he’s had for years, which ultimately ends up being this joker suit.

So what made you decide to go with the kind of color scheme that the Joker ends up having?

I think it was written in the script that it was terracotta. But I felt like a more 1980’s color was maroon and terracotta is more typical 70’s. And it’s not as strong. I think that reds are always more expressive. I think reds always communicate more emotion.

joker

Joker marketing has focused on Joaquin when he’s full on Joker, but I’m very interested in how you put together the clown for hire outfit we see him wear early on in the film.

The silhouette is very reminiscent of Charlie Chaplin – the size of the pants, the smaller jacket. My little conceit, I really love when a clown has a tiny hat on. So that was my little touch. Because as he’s getting chased by the young gang, there’s something kind of sad about the whole thing when all he’s trying to do is make people happy, and he ends up getting beaten in an alley.

I wanted to try a bigger hat, a regular sized Derby in an homage to Chaplain, but then I thought that a miniature Derby is more my own taste, my own little miniature homage to Chaplin.

When I think about a character and I think about how would Arthur put together this outfit? My idea was that maybe that jacket was a 70s sport coat that he got off a thrift store, the shoes, very inexpensive, and certainly seen better days. The pants, he either saw a clown that he liked and then sewed patches on his pants or he got them off of a guy who got out of the clowns business and bought them for 20 bucks.

Charlie Chaplin in 'The Gold Rush'
Charlie Chaplin in ‘The Gold Rush’

Did you look through any of the comics for inspiration?

No we had none of that. I did look online on what the Joker looked like when he first appeared in the ‘40s. It all just seemed just a little too contrived for the kind of movie that Todd wanted to make. We really weren’t a DC movie -– we were a Warner Bros. picture shooting in New York: Our own standalone, Mean Streets kind of movie, as opposed to anything that had been done in the DC world before.

Even though this movie is about the Joker, for most of the film, we’re with Arthur, someone who doesn’t really have much fashion sense. But just because a costume isn’t flamboyant, doesn’t mean that there wasn’t work put into it. So how did you approach the look of Arthur before he becomes the Joker?

My work is all about storytelling, so I wanted to make choices that spoke about who he was, his economic status, and how much he cares about how he looks. He’s an invisible person, so the clothes became a little invisible. Not terribly expensive clothes, and not terribly stylish, they’re more for practical purposes.

joker

You’ve worked on many period pieces in your career: Los Angeles in the 1960s and 1970s, London in the 1950s. And now you’re working on a Gotham City that’s based on New York in the late ‘70s to early ‘80s. What research did you do to capture the time period?

There were some films Todd referenced, those wonderful anti-hero films that came out in the 70’s, we looked at all of those. Man on the street photography, television and news reports; we looked at what the The Johnny Carson Show was like, what the The Merv Griffin Show was like, afternoon talk shows. It’s really a collage of influences, heavy on the visuals and heavy on the flavor of that moment in time in New York, when it was just an uglier place.

Speaking of Johnny Carson and Merv Griffin, how did you approach De Niro’s character of late night talk show host Murray Abraham?

What those men wore were good quality men’s wear at the time, they were always impeccably tailored. I worked very closely with the production designer Mark Friedberg, because I knew that there was going to be very colorful show curtain, and we wanted Robert to be separate from that. The teal wool three piece that he wears, it’s one of the colors we see in the show curtain; when we see him on TV, I had him in a white suit in front of that dark wood paneling. I think it worked out really well.

This is the third time you’ve worked with Joaquin Phoenix. He lost weight before, for his role in The Master, but for Joker, he’s lost a considerable amount of weight. Did his transformation change how you approached working with Phoenix this time?

Well, you never knew when he was really hungry, if you know what I mean? You had to think twice about how you approached him (laughs). It was funny, because his body’s evolving and we’re trying to make things, and by the time you’ve made it, he’s lost another eight pounds. So it was constantly like, “Oh, we might need to take this in a little more.” I did notice he was really much thinner than The Master. He took it in stride with the discipline of a champion, but at one moment I was like, “I’m not sure my tailoring can keep up with your weight loss.”

Joaquin Phoenix in 'The Master'
Joaquin Phoenix in ‘The Master’

Working with the same actor on multiple occasions, does it make designing outfits for them easier? Because you know what fabrics and colors work for them?

It’s always a reboot, because we’re always creating a different person. I might know that they need an arch in their shoe or something, but other than that, it’s a fresh new page in a fresh new notebook. But collaboration gets easier. It’s not like you just met somebody and not sure who they are.

What are you working on next?

I’m in Santa Fe Right now. I’m working on a film with Tom Hanks called News of The World based on a Paulette Jiles novel. So it’s another little departure for me.


Joker is in theaters now

Christopher Inoa is a freelance film and animation reporter. Follow him on Twitter for cool anime GIFs and more.

[“source=inverse”]

Pepsi makes its debut in fashion industry

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NEW DELHI: Pepsi will mark its foray into the fashion industry through a collaboration with homegrown ready-to-wear label HUEMN, launching at FDCI’s upcoming Lotus India Fashion Week SS20.

The collection, created by designer duo Pranav Misra and Shyma Shetty, comprises statement athleisure. All denim fabric used in the collection is made using recycled plastic, in line with PepsiCo’s ‘Winning with Purpose’ vision which aims to build a world where plastics never become waste.

Speaking about the collection, Tarun Bhagat, Director-Marketing, Hydration and Cola, PepsiCo India, said: “Pepsi is a brand which has always resonated with the voice of today’s generation. Fashion has always been an important way of self-expression for Indian youth and our foray into the world of fashion is a step to celebrate this self-expression. This collection reflects the cool attitude and swag of the youth. We are very excited to launch the collection at the upcoming India Fashion Week and are confident that it will find its way into the hearts and closets of India’s youth very soon.”

HUEMN co-founder Shyma Shetty said: “We are thrilled to be playing with the iconography of a legacy brand such as Pepsi. The collection is an amalgamation of the ethos of both brands and an effort to bring both our audiences together, with an inclusive and fresh product line driven by both- popular culture and cutting edge fashion.”

The collection is an extension of part of Pepsi’s 2019 Har Ghoont Mein Swag’ campaign and will be unveiled at the Pepsi x HUEMN runway show at FDCI’s Lotus India Fashion Week on October 9.

[“source=economictimes”]

Cleanroom Apparels Market 2019: Growth, Latest Trend Analysis and Forecast 2025

Cleanroom Apparels Market

Market Research Place recently published that, Global Cleanroom Apparels Market Research Report 2019 presents an in-depth assessment of the Cleanroom Apparels that has sanctionative technologies, key trends, market drivers, challenges, standardization, restrictive landscape, preparation models, operator case studies, opportunities, future road map, worth chain, system player profiles and strategies. The report conjointly presents forecasts for Cleanroom Apparels investments from 2019 till 2025.

The research report provides in depth scrutiny of the market size, market share, major market divisions and, varied geographic regions, prophesies for the next five years, main market players, and first industry trends. It also emphasizes on the main drivers restraints, opportunities and challenges.

Leading Companies operating in the Cleanroom Apparels Market markets profiled in the report are : Alpha Pro Tech, Berkshire, 3M, Ansell, Aramark, Cardianl Health, Cintas, DuPont, Honeywell International, Kimberly-Clark, Mediline Industries, Terra Universal

In 2018, the global Cleanroom Apparels market size was xx million US$ and is forecast to xx million US in 2025, growing at a CAGR of xx% from 2019.

The objectives of this study are to define, segment, and project the size of the Cleanroom Apparels market based on company, product type, application and key regions.

For the all-inclusive comprehension of energetic, the global Cleanroom Apparels Market sales market is scrutinized across key Geographies namely Cleanroom Apparels Market. Market findings play an important role in analyzing the regions across major countries in these regions for a macro-level comprehension of the market.

Table of contents Overview :

The research study concentrates on Cleanroom Apparels Market with key industry players with statistics such as company profiles, product picture and specification, capacity, production, price, cost, revenue and contact information. Problematic raw materials, equipment and belatedly consumers analysis is also carried out. The leading players adapt certain insights that include market drivers, restraints, opportunities, new product launches, approvals, regional outlook, and competitive strategies.

READ FULL REPORT: https://www.marketresearchplace.com/report/global-cleanroom-apparels-market-insights-forecast-to-2025-80229.html 

Objectives of the study are :

•This report offers an in-depth analysis of Cleanroom Apparels Market sales and provides market size and Cumulative Annual Growth Rate (CAGR (%)) for the prophesized time span 2019 – 2025, considering 2018 as the base year.

•It explains possible revenue occurrence across varied segments and elucidate captivating investment hypothesis matrix for this market.
•This report has rightly explained market drivers, restraints, opportunities, new product launches, approvals, regional outlook, and competitive strategies acquired by the leading players.

•It contours prime players in the global Cleanroom Apparels Market market depending on the succeeding variables company angle, financial performance, product portfolio, geographical existence, distribution strategies, key growth and strategies and future plans.

•Perception from this report would permit the marketers and management jurisdiction of companies to make enlightened determination with respect to their future product launches, market expansion, and marketing tactics.

[“source=marketsgazette”]

This Emerging British Designer Now Has Rosalía’s Stamp of Approval

Rosala with an Asai bag.Rosalía has reached the rare upper echelons of pop stardom where she can wear just about anything that strikes her fancy. Her wardrobe is dotted with trendy brands like Saks Potts—she posted three different versions of those candy-colored fur-trimmed coats that have quickly become a fashion girl staple to her Instagram a few months ago—and designer pieces from legacy houses like Louis Vuitton, as she wore onstage in Rabat, Morocco at a festival performance in June. Burberry’s Riccardo Tisci even created two different custom black, crystal-adorned outfits for the artist’s MTV VMAs experience this year (she walked the red carpet in one and performed in the other).

But in spite of this unlimited fashion potential, Rosalía consistently sports pieces from small, DIY brands and emerging labels. Just take the patchwork pants she wore last month (with a Prada T-shirt, no less) from Los Angeles-based designer Julie Kucharski, who creates custom, pop culture-inspired garments under the name Left Hand L.A.

Now, Rosalía is spotlighting a piece from yet another emerging designer. While in the City of Lights for Paris Fashion Week, the Spanish artist posed in a cinched shirt dress, which she paired with a deep blue flame and snake-printed bag—with matching shoes, of course—from British designer Asai. You might recognize Asai’s signature semi-sheer, patchwork, tie-dye shirts from your Instagram feed, or from major editorial shoots with SZA, but Rosalía has now proved that the fledgling designer could have what it takes to enter the accessories big leagues, too.

[“source=vogue”]

No slowdown blues for Japanese designer brand Miniso

Japanese designer brand Miniso, which already has 120 stores in India, plans to double the count by Dec 2020, Tyrone Li,  India Head, Miniso told Moneycontrol.

Miniso Ìndia will add 20 to its store count by December, and another 100 by December 2020, taking the total count to 240.

For this, Li said Miniso will be targeting tier-3 and tier-4 cities. The present ones are concentrated in tier-1 and tier-2 cities. A Miniso store in India with a size of 1,500-2,500 sq. ft incurs an investment of Rs 1.5-2 crore.

Miniso was co-founded by Japanese designer Miyake Junya and a young Chinese entrepreneur Ye Guofu in Tokyo, Japan.

Miniso, which entered India in 2017, offers value products for low prices. Miniso has shown a rapid growth in terms of establishing its presence across the country.

Li said everyday Miniso launches 16 new products.

When asked whether the slowdown has affected Miniso’s sales, Li said: “At Miniso, we haven’t witnessed any slowdown because at Miniso we sell quality product at low price.”

In fact, Li is confident on India’s economic growth and that is why they are keen to expand quickly.

He believes Ìndia is the most important market of supply chain for Miniso after China.

Miniso has strong plans for the Indian market, and is keen to increase local sourcing.

Miniso purchases and manufacturers products in India but designs in Japan and exports it to different countries.

Li pointed out that Miniso has purchased products worth Rs 42 crore so far this year from India and exported to other countries.

Speaking about purchasing goods target, Li said: “We will purchase worth Rs 50 crore worth of goods from India and export it to other countries by Dec 2020.”

Currently, Miniso purchases goods from 40 countries.

After partnering with Flipkart, Li said they are also in talks with Amazon for selling Miniso products on the e-commerce platform.

On September 16, e-commerce marketplace Flipkart announced a partnership between its independent value platform 2GUD and Miniso India to capitalise on the upcoming festive season.

The Japanese retailer has already has tie-ups with Shopclues, Paytm and Snapdeal for selling their products.

[“source=moneycontrol”]