‘Obviously, I won’t blatantly tell her to lose weight’: fashion designer body-shames plus-size bride

Image result for ‘Obviously, I won’t blatantly tell her to lose weight’: fashion designer body-shames plus-size bridePopular fashion designer Falguni Peacock has been called out on social media after she body-shamed plus size brides in an interview. Asked to offer her expertise on how a plus-size woman could prep for her wedding day, the designer said the bride should try and “lose a couple of inches” and stay away from short blouses and deep necklines.

“Obviously I won’t blatantly tell her to lose weight,” Peacock says, in response to the anchor’s request for tips. “I would say you have enough time, work on it. I think it’s pretty easy to lose a couple of inches or so.”

Slightly taken aback by Peacock’s failure to even answer the original question, which was to recommend clothing styles for a plus-size bride, the anchor repeats, “And if they can’t lose, what advise do you give them while picking up a garment [or] while choosing what to wear?”

“What flatters them,” the designer responds. “Usually they can do a long blouse, a more flared lehenga [that is] not fitted because fitted won’t really work when you’re a little big. And no deep necks for them, a little higher.”

The clip went viral on the internet after an Instagram user posted it with a scathing comment.

Others commented with their personal stories. “This is so sad. I have been through a similar situation where the designer told me to lose weight because the garment wasn’t fitting me well. It’s so sad that people disregard plus size people when it comes to being fashionable and stylish.”


Some users expressed that actor Sara Ali Khan – who was also part of the interview as Peacock’s FDCI India Couture Week 2019 show-stopper and has, in the past, spoken about dealing with PCOS and weight issues as a teenager – should have spoken up, or stopped the designer. Khan, however, remained mum throughout.

Some users jumped into the debate, defending Khan saying, “I can see that @saraalikhan95 is uncomfortable by this and I understand that she really couldn’t say much, since she’s sitting there, wearing her clothes and was going to/ had walked the ramp for that design. Don’t hate on Sara guys, she couldn’t have done anything at that moment. All she can do now is chose not to work with them again.”

Yet others did not see any issue with what the designer had said and posted comments in her defence. “What she said was advice on how plus-size brides can look elegant and graceful in their outfit,” wrote one user who calls themselves @sharmajikibachhi. “Let’s not forget that plunging necklines reveal a lot and if a plus-size bride would wear it on her wedding it would much rather look slutty than elegant and nobody would wanna look slutty and inappropriate on their own wedding day. The bride would wanna look like a queen instead.”

Falguni Peacock meanwhile, apologised for the comments. “Having dealt with body issues all my life (and am still dealing with them) I realise that we should wear what we want and what makes us happy,” she wrote in a comment.

The controversy comes at a time when the push for body positivity among all genders is higher than ever. With a pushback against airbrushed magazine images and body stereotypes, more young women are being encouraged to be their natural selves instead of starving themselves or spending years being insecure and depressed about how they look.


Geographical and Global Fashion and Apparels Print Label Market Insights, Size, Opportunities and Forecast By 2024

The Fashion and Apparels Print Label market report analysis series and provides a comprehensive insight into the global Fashion and Apparels Print Label channel. It analyses the market, the major players, and the main trends, strategies for success and consumer attitudes. It also provides forecasts to 2024.

About Fashion and Apparels Print Label Industry

China is the largest supplier of fashion and apparels print label, with a production market share nearly 30.25% in 2017. India and Southeast Asia are enjoying a high growth rate from 2013 to 2018.
China is the largest consumption place, with a consumption market share nearly 27.20% in 2017. Following China, Europe is the second largest consumption place with the consumption market share of 15.87%.
The worldwide market for Fashion and Apparels Print Label is expected to grow at a CAGR of roughly 7.1% over the next five years, will reach 2970 million US$ in 2024, from 1970 million US$ in 2019, according to a new GIR (Global Info Research) study.
This report focuses on the Fashion and Apparels Print Label in global market, especially in North America, Europe and Asia-Pacific, South America, Middle East and Africa. This report categorizes the market based on manufacturers, regions, type and application.

The overviews, SWOT analysis and strategies of each vendor in the Fashion and Apparels Print Label market provide understanding about the market forces and how those can be exploited to create future opportunities.

Key Players in this Fashion and Apparels Print Label market are:–

  • Avery Dennison
    CCL Industries
    Trimco International
    ITL Group
    SML Group
    Hang Sang (Siu Po)
    Label Solutions Bangladesh
    Arrow Textiles Limited
    Elite Labels
    Apparel Label
    Gang Apparel Accessories

Production Analysis: SWOT analysis of major key players of Fashion and Apparels Print Label industry based on a Strengths, Weaknesses, company’s internal & external environments. …, Opportunities and Threats. . It also includes Production, Revenue, and average product price and market shares of key players. Those data are further drilled down with Manufacturing Base Distribution, Production Area and Product Type. Major points like Competitive Situation and Trends, Concentration Rate Mergers & Acquisitions, Expansion which are vital information to grow/establish a business is also provided.

Application of Fashion and Apparels Print Label Market are: 

  • Women’s Clothing
    Men’s Clothing
    Children’s Clothing

Product Segment Analysis of the Fashion and Apparels Print Label Market is:

  • Woven Labels
    Printed Labels
    Hang Tags
    Care Labels

The scope of Fashion and Apparels Print Label Market report:

— Global market size, supply, demand, consumption, price, import, export, macroeconomic analysis, type and application segment information by region, including:
Global (Asia-Pacific [China, Southeast Asia, India, Japan, Korea, Western Asia]

Europe [Germany, UK, France, Italy, Russia, Spain, Netherlands, Turkey, Switzerland]

North America [United States, Canada, Mexico]

Middle East & Africa [GCC, North Africa, South Africa],

South America [Brazil, Argentina, Columbia, Chile, Peru])

— Industry chain analysis, raw material and end users information

— Global key players’ information including SWOT analysis, company’s financial figures, Laser Marking Machine figures of each company are covered.

— Powerful market analysis tools used in the report include: Porter’s five forces analysis, PEST analysis, drivers and restraints, opportunities and threatens.

— Based year in this report is 2019; the historical data is from 2014 to 2018 and forecast year is from 2020 to 2024.

The Fashion and Apparels Print Label Market Report is Prepared with the Main Agenda to Cover the following points:

  • Market Size side-effect Categories
  • Market patterns
  • Manufacturer Landscape
  • Distributor Landscape
  • Valuing Analysis
  • Top 10 company Analysis
  • Product Benchmarking
  • Product Developments
  • Mergers and Acquisition Analysis
  • Patent Analysis
  • Request Analysis ( By Revenue and Volume )
  • Country level Analysis (15+)
  • Excerpt of the overall industry Analysis
  • Product Chain Analysis
  • Production network Analysis
  • Current and Future Market Landscape Analysis
  • Opportunity Analysis
  • Income and Volume Analysis

Report Price: USD 3480

No of Pages in Fashion and Apparels Print Label Market: 137

Analysis & Forecast Time Period: 2015-2024


Urban Chat: The fashion fight to remain relevant

Urban Chat: The fashion fight to remain relevant

Yes, there are fights in fashion, and not just the kind of hissy catfights among fashion folks as you’ve probably seen in the likes of the televised Next Top Modelreality show.

The real fights in fashion always center on two sides; the creative realm to usher in the next trend, and the business camp to translate the creativity into revenue.

At the end of the day, beyond the priceless couture or hyped streetwear, fashion is inherently a business.

As the world’s population steadily moves in hordes to cities and lifestyle becomes more dynamic and informal, fashion choices have gradually shifted into less death-or-alive situations.

Increasing mobility means a person may attend a handful of daily engagements wearing just an ensemble without the chance to go home and change, so the attire needs to be relevant to the course of the day instead of just a symbol of personal taste or purchasing power.

Even better if the particular fashion of choice can be a conversational starter attuned to the issue of the day –– showing relevance, not distance.

Lulu Lutfi Labibi, the Yogyakarta-based fashion designer who’s been credited for reviving lurik into the premium wardrobe, decided to shorten the distance by working with a handful of fellow Yogyakarta-based artisans and renowned artists, Indieguerillas, to open Warung Murakabi in the newly opened 12thARTJOG, Indonesia’s most coveted contemporary art fair.

Following the local philosophy of gotong royong (equal collaboration), Warung Murakabi is indeed a functioning warung (small shop) where goodies are offered with friendly personal approaches and patrons can socialize with each other within the intimate outlet.

On one side there is a marvelous art installation depicting lush vegetation, on the other side there is a fashion installation featuring Lulu’s lurik and batik designs, and just a step across the hall there is the furniture installation –– all a collaboration under the Warung Murakabi umbrella.

Serenaded by the Tumbas (buy in kromo Javanese dialect) litany, a not-so-subliminal message to coax visitors to make purchases, that corner of the Jogja National Museum’s ground floor does offer a small refuge for the weary urbanites who come for a healthy dose of art, a little fashion fix and hopefully a stylish shot or two for social media.

In recent years, many other designers have launched a capsule collection incorporating works of popular artists, but with the Warung Murakabi collaboration, Lulu, a graduate of Yogyakarta’s most prestigious art school majoring in textiles, showed that his brand was more seamlessly woven into the art scene.

Many art aficionados, a crowd often thumbing their noses down at fashion as shallow hedonism, didn’t seem to have trouble snapping up the merchandise, especially after Lulu rolled out a trunk show during ARTJOG’s opening party.

Another route is taken by Fashionlink, the commercial outlet dedicated to promising local designers in Senayan City.

Run by the power behind Jakarta Fashion Week (JFW), Fashionlink tries to address the environmental concerns directed in recent years at the global fashion industry.

While JFW has steadily allotted more slots to ecofriendly designs in the past couple of years, Fashionlink extended hands to premium furniture purveyor Savana and WWF Indonesia to launch Fashion Habitat, displayed within its premise in July and August.

Savana’s conceptual works offer representation of the endangered Sumatran tiger, Javan rhino and whale shark that are hoped to induce awareness of patrons to not only the animals’ plight but also fashion consumption style that has polluted and depleted the environment –– a direct counterattack at fast fashion labels that have inundated shopping malls worldwide and eroded Indonesian designers’ market share domestically.

A portion of sales throughout the exhibition is also donated to the WWF conservation fund.

While it may look a bit like a promotional gimmick, Fashionlink still has room to leverage this initiative further.

The International Tiger Day just took place last week, a follow-up awareness campaign could’ve been developed. The conceptual furniture could be turned into more use, perhaps educational tours or auctions of some kind, to raise both awareness and funds for the WWF.

Perhaps some of the talents selected for the upcoming JFW could feature works with textiles of zero waste affecting the habitat of endangered species.

Relevance is today’s name of the game.

You stay relevant to the public consciousness, you are factored into the public conversation, you remain the label increasingly finicky consumers will choose. Even the hoity-toity fashion folks now need to tread on this path.

So, who’s ready to do even more?


Budding Somalian student: Next fashion designer to watch

Budding Somalian student: Next fashion designer to watch

Every time young fashion designer Hawa Adan Hassan makes a new gown for a paying customer, she also makes her dreams come true.

“My whole life, fashion design was a dream,” says the 23-year-old university student, who last year began running a cottage business out of her family’s home in Hamarweyne, the historic heart of Somalia’s coastal capital Mogadishu.

For Hassan, it began with art, when she found herself drawn to sketching clothes rather than the animals and landscapes preferred by her peers.

Then she set to work on tailoring to turn her images into reality. “I realised this could be my field of expertise,” she says. For decades, war and upheaval left ordinary Somalis focussed on the daily matters of life, death and survival.

Bombings by Al-Shabaab jihadists still dog Mogadishu today. But a creeping cosmopolitanism is challenging entrenched conservative attitudes and many Somalis are undaunted by wanting a look that stands out.

Somalia’s clothing stores traditionally adhere to a simple formula: imported garments for the well-to-do, locally-made clothes for the rest.

But Hassan and others are starting to alter that picture with locally-designed, handmade attire for the high end of the market.

In such a nascent industry, Hassan is, by necessity, self-taught. “I used to watch fashion design shows on TV, and every time I watched one, I tried to grasp the ideas by drawing what I saw,” she says.

Her favourite was “Project Runway”, a US-made reality programme fronted by German model Heidi Klum.

“When I started I had no-one as a role model. It is just something I dreamed up,” she says, adding that she now finds inspiration in the likes of Lebanese fashion designer Elie Saab.

Design with a background

In her home studio, Hassan sketches and inks new designs of abaya gowns and hijab headscarves, in a variety of black or bright colours, tight and loose fittings, with plain or embroidered finishes.

Fashion has also become a family affair, with Hassan’s father — a tailor by trade — and older sister helping cut and sew the clothes.

Visitors to the workshop can hear children playing in nearby rooms and cooking smells waft in from the kitchen.

Her elder brother has been an investor, helping to buy sewing machines and other equipment.

Now the business is taking off, she says. “In the beginning, it was my father, elder sister and brother who helped me start but now I’m self-reliant and can make a living out of my work,” she says proudly.

Like many Mogadishu residents who have become inured to violence, Hassan dismisses the city’s frequent bombings and shoot-outs, describing them as an “inconvenience” that can mess up her delivery schedules.

Muna Mohamed Abdulahi, another start-up fashion designer, is on a mission to encourage local people to take pride in products made in Somalia.

“Some people come to my shop and, when they realise that these clothes are designed and made locally, they run away because they have a negative impression about locally-made clothes,” says the 24-year-old.

Like Hassan, Abdulahi is self-taught — “I was my own role model,” she says — and insists she is more than just a tailor aping the work of others.

“A designer creates clothes with a story, but a tailor makes it without thinking, they just duplicate,” Abdulahi says.

Bridging genteration gap

The designers’ customers are mostly young, like them, and affluent. “I like clothes designed by Somalis because they fit and make you look attractive,” says 22-year-old student Farhiyo Hassan Abdi. “Imported costumes are mostly out of shape and don’t look good on you.”

“I don’t go for imported clothes anymore,” she adds, pointing out that the price of local fashion is often cheaper than the imports and it is easy to have alterations done.

But these young designers and customers, seeking out unique fashion and wanting to look good, seem to live in a world apart from others in the city.

Dahir Yusuf, a 49-year-old father, is appalled by his teenage daughter’s love of designer clothes, which he considers immoral.

“These young girls are crazy about designer clothes, which are mostly fitted and reveal the features of their bodies,” he says, tutting. “Morally, it is not good to wear such things.”

As a male fashion designer, Abdishakur Abdirahman Adam faces down double-criticism in pursuit of dreams.

“In Somalia it is very difficult for a boy to become a fashion designer, because people believe this is women’s work,” says the slim 19-year-old, who was introduced to fashion by watching catwalk shows on satellite TV.

Nevertheless, he plans to continue, designing for both women and men, hoping to compete with foreign imports.

“What I do is just to create fashionable clothes with the material I have here without spending more money so that it looks like something from overseas.”(AFP)


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Fashion revolution in Ireland as dress rental service tackles clothes pollution

Rag Revolution

A woman from Tipperary is taking on the environmental impact of fast fashion by starting her own designer dress rental service.

Edel Lyons, 31, a former marketing executive and fashion blogger started Rag Revolution just three months ago from her bedroom in Dublin, a premium fashion rental service that allows customers to rent dresses for special occasions, paying a fraction of the price, and returning the item when the event is over, helping save money – and the planet.

According to the Ellen McArthur Foundation, clothing production has approximately doubled in the last 15 years, while the annual value of clothing discarded prematurely is more than 350 billion euro.

While the average consumer bought 60% more clothes in 2014 than in 2000, people now keep each garment for half as long, and discarded clothing made of non-biodegradable fabrics can sit in landfills for up to 200 years.

Rag Revolution
(Brian Lawless/PA)

Second only to oil, the clothing and textile industry is the largest polluter in the world, and produces nearly 20% of global waste water.

As the drive to be more environmentally conscious becomes more immediate, Lyons saw a gap in the market for Ireland’s fashion forward to be more sustainable, supporting reuse instead of consumption.

“I had a lot of events over the last three years, balls or weddings and work functions and was struggling to find something a bit different but that wasn’t really expensive, and I didn’t like the fact I was only wearing things once, it wasn’t good for me money-wise or the environment.

“I kept seeing expensive and real statement pieces that I knew if I bought, I wouldn’t wear again. We’re not like our mums’ generation, we don’t keep pieces anymore for a long time.

“With social media having such a presence in our lives, we’re less likely to re-wear outfits, people don’t want to keep wearing these statement pieces because there’s already a picture of them wearing it on Instagram or Facebook, and it sounds awful but that’s how people are now.

I did some research and I couldn’t see anything that offered style that I would wear, and saw the gap and thought; ‘I should do this’

Edel Lyons

“While all this was going on, I was becoming more and more aware of the effect ‘fast fashion’ was having on the world.

“I am very environmentally conscious and I wouldn’t buy a lot of clothes, and stick to key pieces, and that’s how I fell into this idea.

“I did some research and I couldn’t see anything that offered style that I would wear, and saw the gap and thought; ‘I should do this’.”

Rag Revolution offers dresses from designer labels such as Rixo, Reformation, Olivia Rubin and Self-Portrait, who can command up to 400 euro for a dress, and rents them out for as little as 70 euro.

Lyons’ thoughts on the future of the industry runs parallel with economic experts, who predict that the way we think about clothes is about to shift, as the industry moves to cater to sustainability and mindful shoppers.

Recent research by Deloitte revealed over 80% of millennials across Australia, Canada, China, India, the UK and the US say it is important for companies take steps to diminish their environmental impact.

Edel Lyons with dress
Ms Lyons wants to support reuse of clothes (Brian Lawless/PA)

Consumers aged 25-35 are projected to spend 135 billion euro on sustainable goods by 2021.

“I’m quite interested in the industry and they’re predicting in a few years we’re not going to be buying clothes like we are now,” Lyons added. “We’re all headed toward buying key pieces, good jeans and boots – things like that, but you’re not going to have a wardrobe full of dresses from the high street or occasion-wear.

“At this rate the industry can’t keep going as it is, even in regard to the disposal of clothes. 90% of fashion go to a landfill and aren’t recycled. It’s on a lot of people’s minds now about how and where they shop, people used to want to have loads of clothes, but that’s a thing of the past, people are looking for something more sustainable.

“I’ve always wanted to do something like this and I just took the leap, it’s not for the fainthearted but it’s really satisfying, I’d tell anyone who has an idea to just go for it.”