Designer watch: the names to look out for this season

Top, £180, and trousers, £280, by Rahemur Rahman. Styling: Melanie Wilkinson. Photography: David Newby. Grooming: Shukeel Murtaza at Frank using Bumble and bumble and Delilah Blakeney using Kiehl’s. Stylist’s assistant: Peter Bevan. Model Kesse at Premier

Top, £180, and trousers, £280, by Rahemur Rahman. Styling: Melanie Wilkinson. Grooming: Shukeel Murtaza at Frank using Bumble and bumble and Delilah Blakeney using Kiehl’s. Stylist’s assistant: Peter Bevan. Model Kesse at Premier. Photography: David Newby

Made in Bangladesh

Rahemur Rahman’s chat is rapid. He has a lot of ideas and talks quickly to cram them all in. Hailed as a breakout star from London fashion week men’s, his naturally dyed, organic fabrics, and the jackets and trousers he tailors them into, are winning the 28-year-old fans from the UK to LA.

Rahman’s road hasn’t always run smoothly. At school, he felt like a misfit: “They all came from a Bangladeshi community and I grew up in Millwall [where his parents settled when they came from Bangladesh in the 80s], which was predominantly white.”

He found his way to Central Saint Martins via a youth arts organisation, and at first his work “rarely touched on my culture”, inspired instead by “the London scene I grew up in – grime music, the contrast between rich and poor in Canary Wharf, the history of Brick Lane and tailoring”. But when Rana Plaza happened, Rahman had “an awakening” and became set on creating designs that spoke to the craft and heritage of his parents’ homeland. Inspiration comes from the mishmash that is his dad’s personal style, with a colour palette taken from old family photographs.

Last year, he took his first ever trip to Dhaka – “I was like, mind blown,” he says. He now markets his brand as made in Bangladesh: “The textiles are made there and I’m made there, too.” EVB

The big easy

Serena Bute’s louche clothes may be airport style goals, but people will, she hopes, “do more than travel in them. Go to lunch, to yoga, dress them up for dinner.” Versatility and ease are key to an eponymous collection that can be worn by Bute, by her kids, her mother and, of course, by you. EVB

Serena Bute’s clothes for every occasion.
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 Serena Bute’s clothes for every occasion. Photograph: Serena Bute

Patchworks at Coach

Sometimes the finest ideas are staring you in the face – something certainly true of Coach creative director Stuart Vevers’ AW19 stimuli. He was inspired to work with legendary textile designer Kaffe Fassett when he plucked one of Fassett’s books from his shelf. “The best collaborations are the ones that are personal, with great creatives who bring something different to the table,” enthuses Vevers, who incorporated Fassett’s colour-pop prints and patchworked blooms into leather donkey coats, dipped-hem dresses and Lurex sweaters. With both men influenced by the American west coast, the juxtaposition of homespun and haute results in a textural feast. SC

A Coach jumper produced in collaboration with Kaffe Fassett in their autumn/winter 2019 show.
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 A Coach jumper produced in collaboration with Kaffe Fassett in their autumn/winter 2019 show. Photograph: Isidore Montag/Coach & Kaffe Fassett Collective

Hail, hail rock’n’roll

Bottega Veneta’s creative director Daniel Lee is to 2019 what Gucci’s Alessandro Michele was to 2016. If that doesn’t mean much to you, suffice to say he’s this year’s most hyped man in fashion. The 32-year-old Brit, a former Phoebe Philo protege at Celine, started the year by teasing an ad campaign that saw Philo worshippers immediately herald him as the natural successor to her understated minimalism. For autumn, however, he confounded expectations with a collection that combined men’s and womenswear, and added far more rock’n’roll swagger than the upscale normcore look Philo fans would have expected. Tailored pencil dresses, motorbike trousers and belted, oversized coats came in leather of all finishes – from a cushioned version of the label’s signature Intrecciato weave to an open loop design similar to chainmail. The shoes and the bags were instant hits.

“I haven’t felt like this in years!” said influencer and shoe enthusiast Sandra Hagelstam on her Instagram account as she posted a picture of five box-fresh pairs of slip-on square-toe heels. The outerwear items will no doubt be hit items when temperatures drop. With waiting lists already amassed for much of this inaugural collection, let the Lee effect commence. SC

Coat, £8,440, parka, £1,595, and pumps, £610, by Bottega Veneta.Styling: Melanie Wilkinson. Hair Chris Gatt using Bumble and bumble Makeup Annelie Byström at House of Juba using Nars Model Agostina at Wild. Photography: David Newby
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 Coat, £8,440, parka, £1,595, and pumps, £610, by Bottega Veneta. Styling: Melanie Wilkinson. Hair: Chris Gatt using Bumble and bumble. Makeup: Annelie Byström at House of Juba using Nars. Model: Agostina at Wild. Photography: David Newby

What every modern human wants

Nanushka has won over its female fanbase with its vegan leather and super-sleek silhouettes, but this season it’s widening its horizon to menswear. “It was always there in the back of my mind,” says Sandra Sandor, who founded the Budapest-based brand in 2006. “I was just waiting for the right time to launch it.” The transition should be a smooth one: the cut of signature pieces has always been unisex, and a recent overhaul has seen Nanushka enjoy the hype of a new label, with Yara Shahidi, Sienna Miller and Hailey Bieber all fans.

Echoing its promise to deliver “a modern, versatile, day-to-night wardrobe for the modern human”, Sandor says she wants “to explore the fluid relationship between men and women, creating a genderless wardrobe with pieces that are beautiful but functional”. The new collection features relaxed suiting, workwear-inspired shackets and a good line in wide-leg trousers, peppered with paisley prints and a pastel palette. “Inclusive and effortlessly modern is the best way to describe it,” Sandor says. SC

Jacket, £605, jumper, £310, and trousers, £260, by Nanushka.Styling: Melanie Wilkinson. Grooming: Delilah Blakeney using Kiehl’s. Stylist’s assistant: Peter Bevan. Model: Enno at Milk. Photography: David Newby
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 Jacket, £605, jumper, £310, and trousers, £260, by Nanushka. Styling: Melanie Wilkinson. Grooming: Delilah Blakeney using Kiehl’s. Stylist’s assistant: Peter Bevan. Model: Enno at Milk. Photography: David Newby

Second helpings

New womenswear brand Ssōne puts an emphasis on organic cottons, reduced water usage and the “humanitarian side of working in fashion”. It is important to founder Caroline Smithson that as much work by hand as possible goes into the brand’s clothes – but that it doesn’t come across “too make-your-own-yoghurt”.

Shunning the seasonal model, Ssōne instead hopes to develop a kind of uniform. The aesthetic is utilitarian with moments of romance – Smithson is inspired by 70s feminists “who were super-glamorous, but wearing overalls and picketing”. And designers may well use their leftovers on their clothes: one jumper has been naturally dyed using everything from foraged nettles to avocado stones from the team’s lunches. It looks good enough to eat. EVB

A look by Ssōne for autumn/winter 2019.
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 A look by Ssōne for autumn/winter 2019. Photograph: Ssōne

Nigeria, Naomi and more

When Naomi Campbell walked in little-known Nigerian designer Kenneth Ize’s AW19 show, he was little known no longer. “Everything is always Naomi’s idea,” Ize says. “We love her for her support.”

The attention, if sudden, is a long time coming. Lagos-based Ize (pronounced e-zay) has been honing his craft since he started his eponymous menswear brand in 2015 after studying at the University of Applied Arts in Vienna under Bernhard Willhelm and Hussein Chalayan. Championing Nigerian craftsmanship, Ize uses local weavers to make the fabric for his multicoloured suiting, hoping to redefine luxury and shine a light on the country.

“There is an increased awareness of the nuances of Nigerian fashion,” says Ize, who caught the eye of this year’s Louis Vuitton Moet Hennessy (LVMH) prize judges. “Younger designers are finding ways of reinterpreting this heritage and increasing its exposure, and I am very excited to be part of it.” SC

Model Selene Naomie wears matching top and bottoms by Keith Ize.
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 Model Selene Naomie wears matching top and bottoms by Keith Ize. Photograph: Ordre

Heaven for leather

Effortless, intelligent, liberated, political, sexual: that’s how Lulu Kennedy, founder of new talent initiative Fashion East, describes designer Mowalola Ogunlesi. Let us add one more: brave. In the last year, the Nigerian-born, Surrey-raised designer left Central Saint Martins mid-MA to get to the frontline of fashion her own way, designing clothes for Skepta to wear in a video and kitting out the likes of the Nigerian football team after gaining notoriety with her BA collection.

The Mowalola brand celebrates what the designer has called “fluid masculinity”, with hand-painted leathers her MO. No wonder Kennedy nabbed her for Fashion East’s AW19 show – Ogunlesi’s catwalk debut. “Her singular vision comes from her heart,” Kennedy says. “She’s the punk queen and inspiration we all need.” SC

A model wearing Mowalola’s autumn/winter collection on the catwalk at the Fashion East show during London fashion week.
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 A model wearing Mowalola’s autumn/winter collection on the catwalk at the Fashion East show during London fashion week. Photograph: Victor Virgile/Gamma-Rapho via Getty Images

Real life, but better

What do you get when one of fashion’s favourite style curators teams up with a brilliant business brain and a talented designer? Deveaux New York. Not to be confused with the world’s oldest leather goods brand Delvaux, the label, founded by Matthew Breen and Andrea Tsao in 2016, brought street-style photographer Tommy Ton on board as creative director in 2018. Ton’s photography was a major instigator of the fashion industry’s current obsession with street style, so who better to consult on what the brand calls “street style reimagined”?

The result – a mix of cashmere crew-neck jumpers, double placket shirts and tailored “architect trousers” – pricked the interest of matchesfashion.com which is stocking the brand for AW19. “The team have told me how they always consider the ‘real life’ factor – they wear the samples to see if they work on the morning commute and they’ll wash pieces, walk their dogs in them and so on,” says Damien Paul, head of menswear. “This allows them to develop a fairly minimal aesthetic but create best-in-class product.” SC

Shirt, £417, waistcoat, £1,028, and trousers, £575, by Deveaux New York. Styling: Melanie Wilkinson. Hair: Shukeel Murtaza at Frank using Bumble and bumble. Makeup: Alexis Day at Premier using Niod and Mavala. Stylist’s assistant: Peter Bevan. Model: Cindy at Milk. Getty Images. Photography David Newby
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 Shirt, £417, waistcoat, £1,028, and trousers, £575, by Deveaux New York. Styling: Melanie Wilkinson. Hair: Shukeel Murtaza at Frank using Bumble and bumble. Makeup: Alexis Day at Premier using Niod and Mavala. Stylist’s assistant: Peter Bevan. Model: Cindy at Milk. Getty Images. Photography David Newby

In the club

You, like 994k people on Instagram, might well have heard of Peggy Gou – the South Korean DJ sensation who plays to sell-out crowds from Berlin to Rimini – but for music, rather than fashion. This season sees Gou branch out and launch her clothing label Kirin, named after the Japanese word for her favourite animal, the giraffe. All head-to-toe prints, athleisure accents and jolty colour palettes, it was launched at Paris fashion week in February and smacks of the energy she emits from the DJ box – as well as what she herself wears for those gigs.

“Peggy’s own style embodies the mood and direction our customer is interested in right now,” says Sebastian Manes, buying and merchandising director at Selfridges, where Kirin is stocked for AW19. Like Gou’s career up till now, the brand is set to go stratospheric. This is partly thanks to a deal with New Guards Group, the conglomerate that launched Virgil Abloh’s Off-White, among others. Kirin came into being after the New Guards founders approached Gou at – where else? – a gig. It’s this connection to the party scene that Manes says makes Kirin more than a celebrity label. “[She] is uniquely placed to bring together club culture and high fashion through design [as well as] a global perspective and network.” SC

Jumper, £558, trousers, £432, and scarf, £311, by Kirin, from luisaviaroma.com. Boots, £695, by A Plan Application. Styling: Melanie Wilkinson. Hair: Chris Gatt using Bumble and bumble. Makeup: Annelie Byström at House of Juba using Dermalogica. Model: Hope at Bookings. Photography: David Newby
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 Jumper, £558, trousers, £432, and scarf, £311, by Kirin, from luisaviaroma.com. Boots, £695, by A Plan Application. Styling: Melanie Wilkinson. Hair: Chris Gatt using Bumble and bumble. Makeup: Annelie Byström at House of Juba using Dermalogica. Model: Hope at Bookings. Photography: David Newby

Bellissima! Italy’s fashion gets real

The Italian look – either power dressing or power glamour, right? Not any more. A new generation are finding their power by revisiting traditional craftsmanship and adopting a more conscious approach.

In Milan, Sunnei designers Loris Messina and Simone Rizzo use their brand to bring together creative communities (its last menswear show was staged in an urban regeneration project it funded on the outskirts of Milan), working with artists, musicians and charities on its critically acclaimed collections. Further south, Giuliva Heritage Collection, run by husband and wife Margherita Cardelli and Gerardo Cavaliere, champions the lost art of traditional Italian tailoring, designed from Rome, where they will open their first shop next month. “Special talents need to be nurtured as they define a nation,” Cardelli says. “It’s our duty to keep alive this great Italian talent.”

Meanwhile the collective Legres, launching on matchesfashion.com this month, is using Italian craftsmen and women to create its “minimalist nonconformist” footwear.

The common thread with this Italian new wave? Authenticity. “Being totally transparent is something truly inspirational,” Cardelli says.“Our approach to life reflects what we do.” SC

Designs from the Giuleva Heritage collection, a label based in Rome
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 Designs from the Giuleva Heritage collection, a label based in Rome Photograph: Giuleva Heritage Collection

[“source=theguardian”]

How Euphoria’s Costume Designer Created Each Character’s Look

How Euphoria's Costume Designer Heidi Bivens Created Each Character's Look

The new HBO teen drama series Euphoria, which aired its season finale on August 4, deals with a bingo-card variety of particularly 2019-flavored adolescent issues: leaked nudes, fentanyl abuse, camming for Bitcoin. But the issues are also, unfortunately, timeless: divorce, abuse, mental illness, self-loathing. It is a testament to the overall approach of the show — created, written, and largely directed by Sam Levinson — that a project so concerned with story and character, interiority and drama, is also equally concerned with aesthetics, in production design and also in wardrobe. Everything is a choice, an opportunity to sharpen points.

Why merely show a character acting stoned when you can turn the camera around and around and give the audience the spins, too? Euphoria is fantastic, not only in the diegetic elements — in episode seven, talking pill bottles externalize a quiet moment in which Rue resists the urge to relapse — but also in its boundary-pushing with just how much high schoolers can get away with when it comes to school dress codes. The characters are not simply dressing on trend, they’re dressing to further tell a story about who they are and who they want to be. The clothing and makeup are used to create and enhance character. And if we must suspend our belief of what might otherwise garner a demerit, so be it.

“We had hour-long conversation with Sam just about makeup,” Alexa Demie, who plays cheerleader Maddy Perez, tells Teen Vogue. “Barbie, Hunter, and I all made mood boards.” Alexa grew up with issues of Vogue and Harper’s Bazaar flooding her house and has been saving inspiration images to private Tumblr accounts since middle school — old Showgirls stills, iconic photos of Elizabeth Taylor, and Nina Simone with jewel-encrusted eyelids and brows. So this project ,and its collaborative process, were a dream come true. “I’ve never gotten to bring these references to any set except this one,” she says.

Alexa Demie in seethrough glitter onepiece.
Alexa Demie in Maddy Perez’s finale look.PHOTO COURTESY OF MAUDE APATOW

Costuming was a group effort, too. Alexa mentioned a fondness for Sharon Stone’s character in Casino during an early conversation with the show’s creator, and Levinson wrote that in as a set piece for her character, who receives an identical fur coat (custom made out of rabbit by New York furrier Marc Kaufman) from her boyfriend. In the finale, Alexa wears a custom outfit handmade with head-to-toe Swarovski crystals by her friend, the designer Aidan Euan (his line is called Akna). “I would DM brands to Heidi [Bivens, the show’s costume designer]. I’d send her references from ‘90s-throwback accounts, and she would make it more modern, more teen. She took a 1992 Chanel runway look and flipped it and made it modern and young.”

Teen Vogue spoke with Euphoria’s costume designer, Heidi Bivens, about how she approached outfitting TV’s realest teens.

Teen Vogue: What was your approach to using wardrobe to enhance the characters on this show?

HB: We wanted the costumes to give you a quick read, if you just glanced at the character. Whatever we did, I wanted it to feel timeless, but at the same time, like a time capsule.

TV: The character Jules (Hunter Schafer) probably has the most elaborate outfits, if we’re thinking about teens getting dressed for school. How does her wardrobe accentuate the balance she plays with, between innocence and sexuality?

HB: From the very beginning, when I only had the pilot, her character was described as having a look inspired by anime. She was even referred to as looking like Sailor Moon. Sam Levinson has an affinity for that anime vibe; it inspired him visually. The silhouette of the tennis skirt slash cheerleader skirt became a look we stuck with. As we received more scripts and started to understand where the story was going, Jules had an arc and we were able to see where we could take the character. One of the exciting things about TV, unlike features, is that you get to tell an ongoing story and discover things and collaborate. There are evolving ideas, and it’s really fun to learn more about the characters with each script.

TV: Jules has a few shifts over the season — her relationship with Rue evolves; her conflict with Nate becomes a threat that causes her to become secretive and afraid. How do her clothes tell this story of her emotional shifts?

HB: In the beginning it’s pretty obvious that Jules is trying to be sexy to men. She has an idea of what she thinks men want to see, boys and men. And so she’s created this person for herself based on what she thinks is going to get her male attention. As she starts to empower herself, come into her own, and mature, she starts to dress less cutesy and girly, for reasons that have everything to do with her personal growth, her inner story, her shifting away from caring about these dates that she would go on to get approval from men and looking inside herself for that approval. She starts to wear less cutesy skirts and dresses; she starts wearing pants. She’s willing to take chances with her style; she likes to stand out. In a way, her pushing it with her style is kind of like an “F you” to the world.

TV: I remember watching the roller-skating scene in episode five and being like, “She’s in pants?!”

HB: When I read the scene with her roller skating I thought, There should be pants here. For her to be roller skating in a skirt, that would be extra cutesy. She needs to be a little tougher at this point, and just visually look a little less vulnerable. And that orange knit hoodie that she’s in when she leaves and she’s on the bike. It’s not pink — it’s not such a femme color, but it’s very bright and still strong. She starts being less cutesy girly, less twee.

TV: You’ve said that you did a lot of scouting out in the world, observing teens in the wild, at school, to see what they’re wearing. How much of what you saw was translated into the costumes of this show?

HB: The most interesting thing that I discovered in what teens were wearing on the street — specifically in Los Angeles, where we were shooting — is that most teens didn’t have very outrageous or interesting style. There is a lot of homogenized style amongst teens these days. I could be reaching, but I equate it to what happens in a lot of public high schools, with bullying. My friends’ teenage daughters and sons who go to private school are really nurtured in a way where they are encouraged to be eccentric and creative. Whereas in my research, a lot of the public school kids, they often aren’t [dressing creatively] in the same way. That’s just based on sitting outside of public schools, versus interacting with my friends’ kids who go to private schools, who were sent to fashion classes and learned to design their own clothes.

TV: Which is more true to your own experience?

HB: I went to public school, and I can remember definitely being bullied for wearing knee-high socks and Bjork buns on my head, and being bullied by so-called cool girls who weren’t actually cool.

TV: There is a scene at school, after Kat (Barbie Ferreira) goes to the mall and buys her new dominatrix outfits, when her classmate Ethan says she looks different, and she replies: “I’ve changed.” This seems to make a moment of transition for her.

HB: I think that her character always was, or wanted to be, that person. She just didn’t have the confidence. It’s less like she changed, more that she was given permission to be herself. Or she gave herself permission through the confidence she gained from being adored online.

[“source=teenvogue”]

These Waterproof Shoes Look Cool as Hell

vessi waterproof footwear

When rainy weather strikes over the summer months, no one wants to wear clunky rain boots. The good news is now there’s an alternative. A great pair of shoes, with form and function and oh yeah they look cool as hell.

While almost every footwear company out there has jumped on the knit footwear bandwagon, there aren’t many who can say their shoe is 100% waterproof.

What makes the Vessi footwear collection different is that it’s not a waterproof coating, the waterproof technology is integrated within the king itself. The tiny pores of the nano filtering layer yield a shoe that is minimal, waterproof and moisture wicking.

The Cityscape

The Cityscape is the one that started it all for Vessi. All season, lightweight and 100% waterproof the Cityscape delivers maximum support and superior flexibility for all-day comfort. Available on both men’s and women’s sizes.

The Everyday

The Everyday is super lightweight good enough for well —every day. Available in both men’s and women’s sizes, new preorders deliver August 2019.

The Skyline

Don’t like lace-ups? The Skyline delivers the same lightweight, breathable and waterproof shoe without the inconvenience of laces. Available in both men’s and women’s sizes, new preorders deliver August 2019.

[“source=inverse”]

Alien Stomper Reebok shoes look like Ripley’s vacation kicks

Image result for Alien Stomper Reebok shoes look like Ripley's vacation kicksThis year marks the 40th anniversary of Warrant Officer Ellen Ripley battling a xenomorph in the sci-fi classic Alien. Reebok, which designed the super-high tops she wore in the sequel, is once again stepping up to celebrate the franchise with a special-edition pair of Alien Stomper shoes.

They’ll be released Friday — April 26 aka Alien Day aka the annual event started by 20th Century Fox to celebrate all things Alien.

Reebok’s previous versions were inspired by Ripley’s iconic shoes for actress Sigourney Weaver in Aliens and by the yellow and black Power Loader that she used to fight another xenomorph. The 2019 edition of the shoes is meant to look like a prototype that came before the original pair.

The Alien Stomper 40th Anniversary OG mid-top shoes aren’t as dramatic as the super-high tops, but they’re more practical for everyday wear when you’re not fighting for your life on a spaceship. These are an updated version of mids Reebok released in 2015.

“When you buy it, it’s supposed to feel like you just happen to find this prototype of the shoe 40 years later that was on the ship, that’s why it’s aged and yellowed,” said Reebok footwear designer Chris Hill.

Hill combed through original and concept artwork to feed into the details on the kicks. There’s even an early take on the Weylan-Yutani (without the “d”) logo inside the ankle.

The new Alien Stompers come with a Stomping Guide that will hopefully help you survive your next space tug crew assignment.

[“source=cnet”]

How to Clean Velvet Shoes So They Look New

Detail of shoes, Street Style, Day 4, Autum Winter 2017, Paris Fashion Week, France - 03 Mar 2017

With their soft sheen, rich color and elegant flair, velvet shoes add a luxurious touch to any woman’s wardrobe. But with such a fine fabric, special handling is required. The material is particularly vulnerable to inclement weather and spills, which can leave behind unsightly marks and cause the fabric to become crushed and matted — leading to bald spots over time.

Thankfully, it’s actually quite easy to get them looking like new despite water, mud and any other random stains you may encounter. As a rule of thumb, you’ll want to avoid wearing velvet shoes in rain or snow, as they’ll be harder to salvage in this case. However, there are ways you can make them more resilient against the elements, such as using a protective spray. Read on to learn our simple tips for cleaning velvet shoes and preventing future wear and tear.

For Dirt and Mud Stains

1. Let your shoes dry out.

If your shoes are caked with mud, it’s important to let the velvet dry completely before trying to clean the stain. Mud is much easier to remove from the surface when it’s dry.

2. Use a brush to remove dirt.

When your shoes are completely dry, use a toothbrush or other soft brush to remove excess dirt or dust. Make sure to brush in the direction of the nap to restore its sheen. Brushing the shoes after every wear is also a great way to keep dirt to a minimum and prevent the nap from getting crushed.

For All Other Marks and Spills

1. Blot excess moisture.

Lightly dab at the wet stain to soak up excess moisture. Do this as soon as possible to prevent the stain from setting.

2. Make a gentle cleaning solution.

For an easy DIY-solution, mix water and dish soap in a small bowl. Alternatively, you can try a combination of lemon juice and two tablespoons of baking soda. Fill the bowl with lemon juice until you get a considerable amount of foam on the top (this is important for the next step).

3. Use a soft cloth to the apply the solution.

Once you get a foamy consistency, skim a soft cloth over the suds or foam — so as not to get the velvet too damp — and gently wipe the affected area. Avoid rubbing the solution into the velvet and stick to long straight movements to keep the nap in place. Let the shoes air dry.

5. Protect against future stains with a protective spray.

While it won’t make your shoes completely waterproof, it’s a great idea to apply a protective spray to your velvet shoes to prevent future stains. Scotchgard’s top-rated Fabric & Upholstery Protector is safe to use on velvet (you can find this out by checking the manufacturer’s instructions on products designed for leather or suede). 

[“source=footwearnews”]