Gender-neutral clothing challenging societal norms

New Delhi, (IANSlife): In recent years, there has been a remarkable shift in the perception and expression of gender identity, both globally and in India. One powerful aspect of this movement is the rise of gender-neutral clothing, which enables individuals to dress in a way that aligns with their own unique identity, rather than conforming to societal expectations.

The market demand for gender-neutral clothing has been steadily rising. According to a report by GlobalData, the global gender-neutral fashion market was valued at $27 billion in 2019 and is expected to grow at a compound annual growth rate (CAGR) of 15.5 percent from 2020 to 2027. No wonder, many mainstream fashion brands have started to incorporate gender-neutral collections into their offerings

We have all witnessed the evolving landscape of fashion, where our wives, daughters, and women, in general, are breaking free from the confines of gender-specific clothing. They proudly showcase their prowess in un-gendering fashion and embrace a more fluid and inclusive approach to their attire. Let us take a serious look at how gender-neutral clothing is revolutionizing the fashion industry and creating a more inclusive world for the global LGBTQA+ community, including the vibrant community in India.

Breaking Free from Gender Stereotypes

For far too long, fashion has been confined by rigid gender norms, dictating what is considered appropriate attire for men and women. Gender-neutral clothing defies these stereotypes by offering a more fluid and versatile approach to personal style. It encourages individuals to express themselves authentically without the fear of judgment or exclusion based on societal expectations. By rejecting the idea that clothing should be limited to specific genders, we open the doors to a world where self-expression is celebrated and diversity is embraced.

Empowering Self-Expression

Gender-neutral clothing empowers individuals to define their own sense of style, free from the constraints of gender norms. It provides a platform for creative expression, allowing people to mix and match different styles, colours, and silhouettes without feeling restricted by the gender binary. This freedom to experiment with fashion not only enhances personal expression but also encourages self-acceptance and boosts self-confidence. It enables individuals to present themselves authentically, fostering a sense of belonging within the LGBTQA+ community and beyond.

Gender Neutral Clothing Ensures Inclusivity for All

The impact of gender-neutral clothing extends far beyond the LGBTQA+ community. It promotes inclusivity for people of all genders, including those who identify as non-binary, genderqueer, or genderfluid. By challenging the notion that clothing should be limited to masculine or feminine designs, fashion becomes a more accessible and welcoming space for everyone. This revolution is gradually dismantling the barriers that have long separated fashion by gender, allowing people to wear what they love and feel comfortable in, regardless of societal expectations.

How to Further Generate Education and Awareness?

Social media platforms have played a significant role in popularizing gender-neutral fashion. Influencers and activists on platforms like Instagram and TikTok have created a space for discussions, fashion inspiration, and sharing of gender-neutral outfits. This online community has contributed to the normalisation and acceptance of gender-neutral clothing. Thus, now it comes to basic education - schools, media, and communities can play a vital role in providing comprehensive information about gender diversity and celebrating individuality. By incorporating these topics into curricula, workshops, and public discussions, we can create a generation that is more accepting and understanding of different gender expressions.

What is the Fashion Industry's Role?

The fashion industry plays a pivotal role in driving societal change and fostering inclusivity. In recent years, many designers, brands, and retailers have embraced the concept of gender-neutral clothing. They are not only creating collections that cater to diverse gender identities but also challenging the existing norms by featuring genderqueer models and dismantling traditional fashion presentations. This industry-wide support is instrumental in breaking down stereotypes and promoting acceptance on a global scale.

Design Innovation Amid Gender-Inclusive Sizing and Retail

Fashion designers will continue to push boundaries and explore innovative designs that cater to diverse gender identities. Materials and technologies will advance, allowing for garments that are both stylish and adaptable, accommodating different body types and preferences. Customisable and modular clothing will become more prevalent, enabling individuals to express their unique identities through personalized fashion choices. The fashion industry will move away from the traditional binary sizing system, recognizing the need for gender-inclusive measurements.

Inclusive Representation at Fashion Events

The future of fashion will embrace greater diversity and representation. Designers, brands, and retailers will prioritize inclusivity in their campaigns, fashion shows, and advertisements. Unlike a handful of Rainbow Fashion shows today, the future will have a wider range of LGBTQA+ models who will showcase diverse gender identities, body types, ages, and cultural backgrounds. This inclusive representation will foster a sense of belonging and promote self-acceptance within the LGBTQA+ community and beyond.Gender-neutral clothing represents a significant step towards challenging societal norms and fostering inclusivity. By breaking free from traditional gender expectations, individuals can express themselves authentically and confidently. Let us continue to support and embrace the global LGBTQA+ community, advocating for a world where everyone can dress and live without fear of judgment or exclusion. Gender-neutral clothing challenging societal norms | MorungExpress | morungexpress.com

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Ananya Panday tells why her ‘fashion dream' was 'filled with emotion’

IANS Photo

Mumbai, (IANS) Bollywood actress Ananya Panday strutted the runway for ace couturier Rohit Bal, who made a return to the catwalk a year after his health scare, described the experience as “fashion dream filled with emotion”.

Ananya, who was the showstopper for the grand finale of Rohit Bal’s show, took to Instagram, where he posted a string of pictures in the designer’s signature velvet black lehenga with embroidered roses.

She captioned the pictures: “Walking for and with @rohitbalofficial what a fashion dream filled with so much emotion and it’s always fun to be back with my family @lakmeindia @lakmefashionwk.”

It was last year, when Bal, known for popularly using lotus and peacock motifs, was admitted in a hospital in Gurugram due to a pre-existing cardiac condition. He had suffered a massive heart attack in 2010. He was reportedly critical and had been put on ventilator support.

Earlier this week, it was announced that the actress joined the world of podcasts with ‘So Positive Podcast’, which is aimed at navigating mental health in the digital age.

In a candid conversations about mental health and social media, Ananya will be seen engaging in conversation with some of the top influencers like Prajakta Koli, Sumukhi Suresh, who has also written the dialogues of ‘CTRL’, Yashraj Mukhate, Ankush Bahuguna, and BeYouNick.

Each episode will feature in-depth discussions and personal stories from the creators, providing listeners with actionable strategies for maintaining mental balance in today’s hyperconnected world. The first episode of the ‘So Positive Podcast’ will drop on October 15.

Earlier, the actress attended a fashion event in the French capital, and dropped several pictures and videos of her outing in Paris.On the acting front, Ananya was seen in the screenlife thriller “CTRL”, which revolved around a a popular social media influencer couple. The story then tells the tale of how an AI app is used to erase the digital existence on a computer and social media and how the maker of the AI secretly begins to take control of data. Ananya Panday tells why her ‘fashion dream' was 'filled with emotion’ | MorungExpress | morungexpress.com

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Kim Kardashian stuns at 2025 Met Gala

Kim Kardashian is bringing another memorable look to the 2025 Met Gala, People reports.

The SKIMS founder and reality star — who has worn several iconic (and controversial) looks over the years, including wearing Marilyn Monroe's dress and a full-body black Balenciaga dress (that even covered her face) — turned heads in another eye-catching look.

Kardashian wore a crocodile leather off-the-shoulder two-piece set by Chrome Hearts with an open back and long train. She accessorized the look with strings of pearls hanging by her waistband, a multi-strand diamond necklace and a large leather hat.

Last October, Vogue announced that this year's Met Gala would be co-chaired by Colman Domingo, Lewis Hamilton, A$AP Rocky, Pharrell Williams and Anna Wintour, with LeBron James as honorary chair.

Fundraising for The Costume Institute — and with the spotlight on its spring 2025 exhibition, “Superfine: Tailoring Black Style," the star-studded event will also have an A-list host committee, including Simone Biles and her husband, Jonathan Owens, Doechii, Regina King, Spike Lee, Angel Reese and Usher.

According to Curator in Charge Andrew Bolton, the museum's exhibit, which is inspired by guest curator Monica L. Miller’s 2009 book Slaves to Fashion: Black Dandyism and the Styling of Black Diasporic Identity, explores “the Black dandy as both a concept and an identity signifier.”

The new exhibit “presents a cultural and historical examination of Black style from the 18th century to the present through an exploration of the concept of dandyism,” according to a post on the museum’s Instagram.In February, the dress code for the Met Gala was revealed to be “Tailored for You.” Fittingly, it is a nod to the exhibition’s focus on menswear and suiting. Source Article

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A brief look at the long history of First Nations fashion design in Australia

Treena Clark, University of Technology Sydney

Aboriginal and Torres Strait Islander readers are advised this article contains names and images of deceased people, and links to old newspaper stories and research papers using outdated and potentially offensive terminology.

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The ABC’s series The Way We Wore takes a look at stories of Australian fashion design and style.

First Nations people participated in the series and spoke about various periods and tales, looking at forced clothing policies during the Stolen Generation period, the contribution of Flinders Ranges/Adnyamathanha knowledge to the creation of the RM Williams iconic boot, and the emergence of First Nations fashion design from the 1970s and at Parisian fashion shows in the 1980s.

Yet, left out from the show was the rich backstory of our First Nations fashion design industry.

Prior to Parisian fashion shows, First Nations people showcased handmade clothing and accessories at 1800s international and national exhibitions, often as unpaid labour.

Earlier still, the making and crafting of animal and plant cloaks, skirts, belts, shoes and accessories were the original fashion designs.

Traditional clothing and adornment

Climates, materials and stories guided traditional fashion design.

Items were crafted from natural materials that eventually returned to the environment.

Footwear was made from animal skins, furs, and feathers, human hair and bark.

Cloaks were made from animal skin and plants, often inscribed with designs that reflected a person’s identity.

Intricate jewellery and accessories included head ornaments, necklaces, mourning caps, belts and bags, some made from highly traded pearl shells and rare seashells.

Today, we are seeing a resurgence around the country of these adornments and the role they play in healing, wellbeing and cultural practice.

Showcasing at trades and exhibitions

First Nations women and girls who lived on reserves, missions and schools were forced to learn sewing and many produced goods including hats, bags, baskets, jewellery and rugs.

These items were crafted from cultural or Western methods, using both traditional or introduced materials.

From the mid-1800s, their work was often produced for various tourist trades and national and international exhibitions.

One Melbourne CBD shop stocked woven baskets and bags from Victoria’s Coranderrk Reserve.

Sydney’s La Perouse Mission sold shell baskets in the city and later exhibited them at the Sydney Royal Easter Show and in London.

At the 1888 Melbourne Exhibition, the Queensland section presented pearl jewellery from Thursday Island and the Torres Strait.

While some of the women and girls from these institutions received pay for their work, many did not.

Emergence of fashion within the craft industry

From the 1930s, non-Indigenous textile artists and fashion designers started producing First Nations-inspired designs using motifs such as boomerangs, shields and “hunting stick figures”, without the permission or input from First Nations artists.

Partly in response to this popularity, craft centres within the missions and reserves established their own industry and several hired First Nations people to design cultural textiles and fashions.

Some of this early work in the 1940s included bags with traditional weaving styles, practical linens with cultural designs and unique Ernabella scarves.

As the newspaper The Sun reported from the Mount Margaret Mission in 1941:

One of the most interesting exhibits in the exhibition of Aboriginal handicrafts and school children’s work at the Y.W.C.A. to-day is a bag woven from wool in a native stitch. It has been adapted from old aboriginal work which is usually seen only in tribal grass weaving.

Children’s work from these institutions were often exhibited in Australia and internationally. There was particular overseas interest in turning art from the Carrolup Native settlement onto textiles for fashion garments.

The business of First Nations textiles and fashion

Economic and cultural autonomy became more attainable for First Nations people from the 1950s.

Bill Onus produced cultural furnishing fabrics with non-Indigenous artist Paula Kerry for his Melbourne Aboriginal Enterprises store.

First Nations women from the Coffs Harbour area started mass-producing fashions for the tourist trade using non-Indigenous designs in the mid-1960s.

By the late 1960s, First Nations designed textiles became a fully-fledged fashion industry.

In 1969, Tiwi Island clothing production and textiles had launched through Bima Wear and Tiwi Designs.

A few years later, other arts centres started crafting textiles for fashion designs.

Throughout the 1970s, fashion shows paraded these textiles and some First Nations people wore the designs at formal events.

Bronwyn Bancroft, the owner of the Sydney store Designer Aboriginals, and Euphemia Bostock and Mini Heath presented their garments at the Parisian Au Printemps Department Store in 1987.

The 21st Century and beyond

By the start of the new millennium, Robyn Caughlan, in collaboration with Benjamin Mach, was the first Indigenous designer to contribute to a fashion collection at Australian Fashion Week.

Two decades later at Australian Fashion Week 2023, Denni Francisco’s brand Ngali was the first Indigenous label to present a standalone collection.

Today, many First Nations labels promote their designs internationally in Paris, Milan, London, and New York. There are now several First Nations fashion bodies to support them in the industry.

These bodies connect with national and international fashion weeks and art fairs, and have insight into cultural appropriation and Intellectual Property Rights.

For First Nations people, fashion and style are significant channels through which culture, identity, healing and social change can be communicated and practised.

Learning about the foundation of First Nations fashion design is vital to understanding Australian history and advocating connection, wellbeing, expression and sustainability.

Treena Clark, Chancellor’s Postdoctoral Indigenous Research Fellow, Faculty of Design, Architecture and Building, University of Technology Sydney

This article is republished from The Conversation under a Creative Commons license. Read the original article.

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New Prada-designed spacesuit is a small step for astronaut style, but could be a giant leap for sustainable fashion

Alyssa Choat, University of Technology Sydney

For its recent Spring/Summer 2025 show, fashion brand Diesel filled a runway with mounds of denim offcuts, making a spectacle of its efforts to reduce waste.

Haunting yet poetic, the “forgotten” byproducts of fashion production were reclaimed and repurposed into something artful. But the irony isn’t lost, given fashion shows like this one demand significant resources.

Diesel’s event is an example of a growing trend towards the “spectacle of sustainability”, wherein performative displays are prioritised over the deeper, structural changes needed to address environmental issues.

Can the fashion industry reconcile its tendency towards spectacle with its environmental responsibilities? The recent spacesuit collaboration between Prada and Axiom Space is one refreshing example of how it can, by leaning into innovation that seeks to advance fashion technology and rewrite fashion norms.

Performance art instead of substantive change

The fashion industry has always relied on some form of spectacle to continue the fashion cycle. Fashion shows mix art, performance and design to create powerful experiences that will grab people’s attention and set the tone for what’s “in”. Promotional material from these shows is shared widely, helping cement new trends.

However, the spectacle of fashion isn’t helpful for communicating the complexity of sustainability. Fashion events tend to focus on surface-level ideas, while ignoring deeper systemic problems such as the popularity of fast fashion, people’s buying habits, and working conditions in garment factories. These problems are connected, so addressing one requires addressing the others.

It’s much easier to host a flashy event that inevitably feeds the problem it purports to fix. International fashion events have a large carbon footprint. This is partly due to how many people they move around the world, as well as their promotion of consumption (whereas sustainability requires buying less).

The pandemic helped deliver some solutions to this problem by forcing fashion shows to go digital. Brands such as Balenciaga, the Congolese brand Hanifa and many more took part in virtual fashion shows with animated avatars – and many pointed to this as a possible solution to the industry’s sustainability issue.

But the industry has now largely returned to live fashion shows. Virtual presentations have been relegated to their own sectors within fashion communication, while live events take centre stage.Many brands, including Prada, held fashion shows without guests during lockdowns in 2021.

Towards a sustainable fashion future

Technology and innovation clearly have a role to play in helping make fashion more sustainable. The recent Prada-Axiom spacesuit collaboration brings this into focus in a new way.

The AxEMU (Axiom Extravehicular Mobility Unit) suits will be worn by Artemis III crew members during NASA’s planned 2026 mission to the Moon. The suits have been made using long-lasting and high-performance materials that are designed to withstand the extreme conditions of space.

By joining this collaboration, Prada, known for its high fashion, is shifting into a highly symbolic arena of technological advancement. This will likely help position it at the forefront of sustainability and technology discussions – at least in the minds of consumers.

Prada itself has varying levels of compliance when it comes to meeting sustainability goals. The Standard Ethics Ratings has listed it as “sustainable”, while sustainability scoring site Good on You rated it as “not good enough” – citing a need for improved transparency and better hazardous chemical use.

Recently, the brand has been working on making recycled textiles such as nylon fabrics (nylon is a part of the brand DNA) from fishing nets and plastic bottles. It also launched a high-fashion jewellery line made of recycled gold.

Innovating for a changing world

Prada’s partnership with Axiom signifies a milestone in fashion’s ability to impact on high-tech industries. Beyond boosting Prada’s image, such innovations can also lead to more sustainable fashions.

For instance, advanced materials created for spacesuits could eventually be adapted into everyday heat-resistant clothing. This will become increasingly important in the context of climate change, especially in regions already struggling with drought and heatwaves. The IPCC warns that if global temperatures rise by 1.5°C above pre-industrial levels, twice as many mega-cities are likely to become heat-stressed.

New innovations are trying to help consumers stay cool despite rising temperatures. Nike’s Aerogami is a performance apparel technology that supposedly increases breathability. Researchers from MIT have also designed garment vents that open and close when they sense sweat to create airflow.

Similarly, researchers from Zhengzhou University and the University of South Australia have created a fabric that reflects sunlight and releases heat to help reduce body temperatures. These kinds of cooling textiles (which could also be used in architecture) could help reduce the need for air conditioning.

One future challenge lies in driving demand for these innovations by making them seem fashionable and “cool”. Collaborations like the one between Prada and Axiom are helpful on this front. A space suit – an item typically seen as a functional, long-lasting piece of engineering – becomes something more with Prada’s name on it.

The collaboration also points to a broader potential for brands to use large attention-grabbing projects to convey their sustainability credentials. In this way they can combine spectacle with sustainability. The key will be in making sure one doesn’t come at the expense of the other.

Alyssa Choat, Lecturer in Fashion and Textiles Design, University of Technology Sydney

This article is republished from The Conversation under a Creative Commons license. Read the original article.

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Stella McCartney turns fashion show into green tech marketplace

LONDON - British designer Stella McCartney took over a Paris marketplace on Monday and turned it into a showcase for new greener textiles while honouring her rock star parents' time in 1970s band Wings. Held in the shadow of the Eiffel Tower, it was designed as a "market where fruits are worn instead of eaten", according to the show notes.

AFP | JULIEN DE ROSA

Some 20 stalls lined up alongside the runway showed off "cruelty-free and conscious material innovations", including several types of vegan leather, organic cotton and a seaweed-based yarn grown from regenerative kelp.

Getting these new technologies off the ground has proved difficult, however.

McCartney backed a US start-up, Bolt Threads, that was considered a leader in mushroom-based leather, but it announced in July that it was halting production after failing to gather enough investment.

As for the clothes in her spring-summer 2024 collection, some were inspired by her parents -- Paul and Linda McCartney -- during their time on tour with Wings in the 1970s, including ruffled shirts and crystal-encrusted waistcoats.

AFP | JULIEN DE ROSA

It was a highly varied collection, with a relaxed but high-end take on jeans and croptops, a sumptuous cape over a casual white tank top, and a silk gown gathered in two billowing balloon shapes around the shoulders.

McCartney said 95 percent of the outfits were made from "responsible materials".

The A-list attendees included Hollywood stars Cate Blanchett, Robert Downey and Chris Rock.

AFP | JULIEN DE ROSA

"The eclectic, ageless collection blurs the lines between genders and generations -- reinterpreting pieces from Stella's archive as well as those she borrowed from her parents, and (that) her daughters now borrow from her," the press release said.jz-er/fg Stella McCartney turns fashion show into green tech marketplace

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Global beauty trends: Understanding consumer choices

05 Aug 2024 --- The cosmetics industry is evolving, driven by technological advancements, environmental awareness and changing consumer preferences. Global factors like sustainability, inclusivity and demand for personalized experiences are shaping the beauty landscape.

Each year, through extensive 360 research, Innova Market Insights releases the Top 10 Trends for the upcoming year. Innova considers various trend drivers, along with consumer trends and in-depth tracking of beauty product launches — including categories, product features, ingredients and on-package claims — to predict the new trajectories of the global cosmetics market.

Trend #1: Skinifying Beauty

Global beauty trends research shows that consumers are seeking added value from ingredients. Notably, 67% of consumers globally prefer makeup products with added skin care benefits. This trend underscores the consumer priority for functionality and performance. Globally, there has been a 32% rise in beauty launches with common skin care actives over the past five years. Among these, ceramides have gained significant popularity due to their benefits, driven by consumer demand and brand innovations.

Brands are tapping into “skinification” and also highlighting ceramides in their beauty products. For instance, MAC’s new serum-powered foundation highlights 33 skin care ingredients and Maybelline New York lash sensational sky-high tinted primer features ceramide.

Trend #2: Multitasking Marvels

Global beauty trends research into the cosmetics industry reveals that consumers are looking for less time consuming makeup routines. Some 45% of consumers globally say that they use 1–3 makeup products in their makeup routine. The minimalism trend has gained popularity due to social media and the desire to manage makeup expenses. This trend is evolving to include multifunctional makeup products for quicker, hassle-free routines.

The “Multitasking Marvels” trend highlights that brands are developing multifunctional products in cosmetics to align with minimalist routines, which has led to 11% growth in multifunctional products. Hybrid launches featuring SPF protection, like Shiseido’s Revitalessence Skin Glow Foundation SPF 30 PA++ and Elizabeth Arden's 8 Hour Cream Lip Protectant Stick SPF 15, demonstrate this trend. Brands can watch out for the growing interest in multitasking products like lip, cheek and eye tints in the hybrid makeup wave.

Global consumers increasingly seek added value from ingredients, notably skin care benefits.

Trend #3: Ethical Aesthetics

In recent years, consumers have become more conscious of the environment, preferring sustainable options without compromising on the aesthetic appeal of the product. Some 78% of Gen Z and Millennials consider packaging an important factor when buying makeup. The trend “Ethical Aesthetics” highlights that consumers seek both sustainability and well-designed aesthetics in cosmetics packaging.

Global beauty trends research indicates that the majority of younger consumers are swayed by social media profiles and influencers. Aesthetic social media posts encourage new attractive and sustainable product designs. To cater to this demand, several brands are highlighting their commitment to the environment through ethical packaging.

For example, Chanel No. 1 Red Camellia Complexion Beautifier Foundation features a low carbon footprint, while Bareminerals Original Mineral Veil Loose Setting Powder highlights plastic-free packaging.

In the global beauty market, consumers also look for products that are cruelty-free, sustainably packaged, recyclable and available in limited editions. This trend signifies a growing demand for cosmetics that align with both ethical values and aesthetic appeal.

Trend #4: Gen Z: The Gamechangers

Gen Zs are experimenting and bringing changes into the cosmetics industry. Some 52% of Gen Z consumers are willing to try out new makeup products, highlighting them as key trendsetters in the global beauty market. This trend highlights how Gen Z is advocating for transparency in brand ethics and creating social media-fueled trends. Gen Z displays a high interest in experimenting with makeup products, such as menthol formulas for plumping, liquid eyeshadow formats and liquid blushes with sponge applicators.

Social media platforms like TikTok play a significant role in capturing Gen Z’s interest, with microtrends sparking their curiosity and driving product exploration. Gen Zs are expecting brands to maintain high levels of transparency, featuring authentic sustainable certifications and non-animal tested formulations without harmful toxins. Brands can capitalize on this trend by highlighting their sustainable certifications and transparent practices via product communication.

Trend #5: Collaborative Crossovers

In the global beauty market, brands are experimenting and breaking boundaries. The “Collaborative Crossovers” trend highlights brands coming up with interesting collaborations with streaming platforms, which include TV shows, celebrities and the food and beverage industry. Brands are trying to engage with consumers through art, clothing brands, films and series.

For instance, Revolution Beauty recently launched a range of cosmetics to celebrate the 20th anniversary of the film Elf. Similarly, Lancôme's collaboration with Le Louvre blends art and beauty. Top streaming platform shows also inspire makeup collaborations, while food-inspired makeup is trending as well. Taste Beauty collaborates with food brands to launch fun, youth-oriented makeup products. This trend highlights the brand’s diverse ways to engage with consumers by tapping into popular culture and creative partnerships.

Social media and affordability are driving the minimalism trend in cosmetics.

Trend #6: Age of Localization

This trend highlights consumers’ loyalty toward local brands. Globally, 18% of consumers associate sustainable beauty with buying local products. This trend shows that local brands are in tune with their country's demographics, catering more directly to these specific consumers.

Local beauty trends are developing uniquely by country. In South Korea, caramel blush shades and feathered eyelashes for a youthful makeup look are rising. Meanwhile, in China, there is a growing trend of incorporating traditional Chinese medicine and fermented ingredients, such as ginseng, into beauty products. This indicates how local brands are diversifying and catering to specific consumer needs.

Companies can build consumer excitement about trying local cosmetic products by emphasizing “vocal for local” campaigns. This approach not only meets the demand for sustainable beauty but also builds a deeper connection between brands and their regional audiences.

Trend #7: Blurring the Gender Lines

Gender-based barriers in the global beauty market have been weakening over the past few years. The “Blurring the Gender Lines” trend displays the widespread concern for gender inclusivity, which has pushed cosmetics companies to introduce more gender-neutral and inclusive products. Some 53% of consumers globally think that beauty products should be gender-neutral. This shift is reflected in the significant 89% rise in male cosmetics launches over the past five years, indicating increased usage and interest in makeup among male consumers.

As a result, new beauty product launches are featuring gender-neutral claims. Overall, this trend underscores the cosmetics industry’s commitment to reflecting diverse identities and fostering an inclusive beauty landscape.

Trend #8: Starstruck

Global beauty trends research displays that nearly 1 in 5 Gen Z and Millennials find celebrity, influencer brands and endorsements appealing. This trend reveals how celebrities and influencers are launching their own beauty brands by leveraging their established fanbases.

Lady Gaga’s Haus Labs and Katrina Kaif’s Kay Beauty display celebrities capitalizing on their existing popularity. Their strong consumer base and active social media presence are key drivers behind their popularity. Beauty brands can collaborate with social media influencers to drive consumer interest and product popularity.

Planetary health remains top of mind for consumers, bringing responsible packaging into focus.

Trend #9: Powders to Pixels

Global beauty trends research shows that the cosmetic industry is using AI tools to enhance their products. Consumer demand for higher efficiency and personalization has led to the emergence of AI and machine learning in cosmetics innovation. Brands like Dcphyer are leveraging AI-powered tools to create customized face cosmetics tailored to individual skin tones and textures.

Simultaneously, beauty brands are exploring the metaverse, integrating gamified experiences with reward points and other privileges to promote their products in interactive ways. As technology continues to evolve, the integration of AI and immersive digital experiences is likely to redefine brand-consumer interactions, paving the way for even more interactive solutions.

Trend #10: Future Nostalgia

Consumers are experiencing nostalgia for beauty trends, fueled by the rise of microtrends on social media platforms like TikTok. Global beauty trends research highlights that Gen Zs are reclaiming past trends from the 1990s or 2000s with a modern twist.

The resurgence of Y2K makeup looks, which began in mid-2022, has evolved into a significant trend across social media. This is driven by nostalgic inspiration from Barbie, grunge, chrome and choco makeup, highlighting a unique blend of past and present makeup styles. The ongoing combination of nostalgic and modern elements is likely to make beauty trends dynamic and constantly evolving.This article is based on the Innova Market Insights report “Top 10 Trends 2024 - Beauty – Global.” Global beauty trends: Understanding consumer choices

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'Miss India' Sini Shetty turns showstopper for Mayana Rajani's 'Etoile'

Mumbai, (IANS) The 'Miss India' 2022 Sini Shetty was in her element as she walked the ramp and turned showstopper for 'The Story Brand' in the ongoing Bombay Times Fashion Week 2024.

Sini walked for the 'Etoile' collection of 'The Story Brand' owned by Mayana Rajani.

With its pastel hues, and silhouettes, this collection boasts of capes, lehengas, sarees and tunics. It embodies sophistication and elegance, making fashion accessible to all. It is a tribute to the subtle grandeur and offers a fresh perspective on contemporary fashion.

Sini oozed elegance and grace in an ivory halter neck choli with intricate details on it. It was paired with a matching lehenga, and a transparent dupatta.

For the makeup she went all glammed up-- nude brown glossy lips, silver eyeshadow, kohl-rimmed eyes, and thick brows. Her hair is tied in a stylish bun. The outfit was rounded off with big emerald colour earrings.

Talking about the collection, designer Mayana said: "We have presented Sini in our favourite outfits. We have used the colour ivory, it is very special to the brand. It is a classical colour. The collection is named 'Etoile' which means star in French. Just like the brilliance of the star, we wanted to capture the brilliance in the outfit, and Sini has just done a spectacular job, sparking like a star."

Sini shared: "Well, it's an honour to represent her creativity. I remember our first call and I can now visualise wearing it. I knew I would look like a million bucks all thanks to you."She further added: "I love dancing, and I can happily say that wearing this outfit I can dance for hours in weddings. It is super light and at the same time I look amazing. So hats off to you and your creation."'Miss India' Sini Shetty turns showstopper for Mayana Rajani's 'Etoile' | MorungExpress | morungexpress.com

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Miss World 2023 to be held in Kashmir

71st Miss World 2023 contest is set to be held in Kashmir later this year with 140 participating countries. This was disclosed at a breakfast press briefing in Srinagar on Tuesday. The press briefing was attended by Miss World, Karolina Bielawski, Miss India, Sini Shetty, Miss World Caribbean, Emmy Pena and Miss World England Jessica Gagen and Miss World America Shree Saini and Miss Asia Pricilia Carla Saputri Yules. “Kashmir has everything and it is the best place to host an event like Miss World. I am so grateful to see the beautiful place in India, the beautiful lakes here, everyone has welcomed us nicely. The hospitality we got was wonderful. It would be exciting to see 140 countries participating in the event. Every place has its own beauty, but the pleasant hospitality here has been overwhelming”, Karolina Bielawski said. Miss World 2023 to be held in Kashmir

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In a Barbie world … after the movie frenzy fades, how do we avoid tonnes of Barbie dolls going to landfill?

RMIT University

It made headlines around the world when the much-hyped Barbie movie contributed to a world shortage of fluorescent pink paint.

But that’s just the tip of the iceberg. When movies or TV shows become cultural phenomena, toymakers jump on board. And that comes with a surprisingly large amount of plastic waste. Think of the fad for Baby Yoda dolls after the first season of The Mandalorian in 2020. When the Barbie movie comes out this week, it’s bound to trigger a wave of doll purchases over and above the 60 million Barbies already sold annually.

Toys are the most plastic-intensive consumer goods in the world, according to a 2014 United Nations Environment Program report.

Worse, very few toys are recycled. That’s often because they can’t be – they’re made of a complex mixture of plastics, metals and electronics. When children get bored, these toys often end up in landfill. 

The toll of the dolls:

Consider a single Barbie doll. What did it cost to create?

Before the US-China trade war, half the world’s toys were manufactured in Dongguan, a city in China. That included one in three Barbie dolls.

American researchers last year quantified what each doll costs the climate. Every 182 gram doll caused about 660 grams of carbon emissions, including plastic production, manufacture and transport.

The researchers analysed seven other types of toys, including Lego sets and Jenga. By my calculations, emissions on average across all these types of toys are about 4.5 kilograms per kilogram of toys.

Scaled up, this is considerable. In the US, it’s estimated emissions from the plastics industry will overtake those from coal within seven years.

So the question is, how can we cut our emissions to zero as fast as possible to ensure we and our children have a liveable climate – without putting a blanket ban on plastic toys? After all, toys and entertainment add happiness to our lives.

The role for toymakers and governments

To date, there has been little focus on making the toy industry more sustainable. But it shouldn’t escape our notice.

Toy manufacturers can – and should – use low carbon materials and supply chains, and focus on making toys easily dissembled. Toys should be as light as possible, to minimise transport emissions. And battery-powered toys should be avoided wherever possible, as they can double a toy’s climate impact and turn a plastic waste problem into an electronic waste problem. To their credit, some toymakers have cut back on plastic in their packaging, given packaging immediately becomes waste.

In a welcome move, the maker of Barbie, Mattel, launched their own recycling scheme in 2021, allowing buyers to send back old toys to be turned into new ones. This scheme isn’t available in Australia, however.

Toymakers can help at the design stage by choosing the materials they use carefully. Governments can encourage this by penalising cheap, high-environmental-impact plastics. We can look to the European and American bans on BPA-containing plastics in infant milk bottles as an example of what’s possible. Governments can set up effective recovery and recycling systems able to handle toys.

Some plastic-dependent brands such as Lego are unilaterally moving away from petrochemical-based plastic in favour of sugarcane-based plastic. But it’s not a short-term project.

While Barbie dolls had an uptick in popularity during the pandemic years – and will no doubt have another surge alongside the movie – longer-term trends are dampening plastic toy impact. While movies in the 1980s were often “toyetic” – conceived with an eye to toy sales – the trend is on the wane.

Gaming, for instance, has moved to centre stage for many older children. While gaming produces e-waste streams, it is also a likely cause of the longer-term fall in popularity of plastic toys.

What should we do?

If you’re a parent or an indulgent grandparent, it’s hard to avoid buying toys entirely – especially if your child gets obsessed with Barbie dolls after seeing the movie. So what should you do?

For starters, we can avoid cheap and nasty toys which are likely to break very quickly. Instead, look for toys which will last – and which will lend themselves to longer-term creative play. Think of the enduring popularity of brick-based toys or magnetic tiles. Look for secondhand toys. And look for toys made of simpler materials able to be recycled at the end of their lives – or even for the Barbie dolls made out of ocean plastics.  Alan Pears, Senior Industry Fellow, RMIT University This article is republished from The Conversation under a Creative Commons license. Read the original article.

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Khadi denim the new style from KVIC

Meenakshi Kumar: The Khadi & Village Industries Commission (KVIC) is promoting khadi denim in India. The collection has a smooth texture and is a little softer than regular denim, is eco-friendly and skin-friendly, boasts of an array of jackets, jeans and shirts for men and women. The design which are hand-spun and hand-woven, reflects a strong Indo-western flavor and is especially crafted to cater to the style needs of India's youth.

The range is being promoted across KVIC’s sales outlets in India. There are approximately 7,500 outlets spread across cities. The range has already been launched in Delhi. Overall, KVIC has department sales centers in New Delhi, Goa, Patna, Agartala, Bhopal, Jodhpur, Kolkata and Mumbai.

With this initiative, KVIC is trying to popularize indigenous products among India's youth and generate new employment opportunities in remote areas. It’s planning to launch franchise schemes so that these products are available in local markets. KVIC is an apex organization under the Ministry of Micro, Small and Medium Enterprises. Be it design or fashion, it’s trying to present a new and refurbished image of khadi. Source: https://fashionunited.in/

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The changing wardrobe of Indian brides

By Gautam Gupta: Wedding season is almost around the corner and the couples to be are already on the prowl for their perfect attires. And it may not be strictly a lehenga, Manish Malhotra notwithstanding. Lately, brides to be are showing a growing penchant for gowns. Sure, the status of a lehenga or a sari is unbeatable, but brides are trying out new variations in their dressing, not just focusing on their mother-in-laws and embellished attires. This has opened the floor for international designers and their floor sweeping dressing and ball gowns, made to size. So, either you’re a no fuss bride or a destination bride, remember there’s not only one way to the altar these days. Let’s look at a few possible scenarios... The setting is a resplendent garden and a free spirited bride is all set to entertain a classy evening party where the candles are lit and the air smells just as pretty as her fragrance. The bride dons a sculptural ballgown, but as the evening passes by, she is seen walking barefoot on grass, letting her hair down with a glass of wine in her hand. Yes, you can find such a bride in India too. You may spot an understated bride at the wedding brunch at her simple best. Her sartorial picks are tinged with playfulness: say a monochromatic palette with gushing ruffles and glints of silver, to play just right. With themed based cocktail parties being the rage, quite naturally neo-Gatsby brides have become the order of the day: wearing a black dress — yes, a black — with layered sheer sleeves and glittery gold paillettes. And guess what, an Indian bride these days does not hesitate to forego jewellery on that memorable evening. Scenario number two: the wanna be Bollywood siren who makes heads turn as she sashays into the hall with utter sophistication and grace. The romantic bride might go for a corset and a chic gown with elongated ruffles. Providing brownie points are those lustrous waves and wine-hued lips. At her elegant dinner do, she displays her fabulous taste and choices. Embracing the dark side of the moon in colours of navy, indigo or even cobalt, she focuses more on sobre tone jazzing it up with sequins and embroidery. Everybody wants a destination wedding now and it might include even a party by the pool. Be it when the moon rises or till the moon rises, a great party to remember with her friends is a must. A 90’s slip dress silhouette, dazzling gold hue makes making it an icing on the cake. The brides to be are now fierce and becoming more daring. Four decades ago, the society hardly thought about the extravagant wedding events that has now become a trend, even a compulsion for some. No one is complaining, especially not the business players or retailers. No, not even the lehenga peddlers. For they know that the traditional Indian market will never disappoint them. As far as bridal wear is concerned, the more the merrier. (The writer is a Delhi-based fashion designer) Source: mydigitalfc.com, Image: flickr.com

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Sushmita Sen, a 'Sen-sation' at 40

As she turns 40, Sushmita Sen remains an enduring icon, and a favourite for aspiring beauty queens to look up to.

It was in the summer of 1994, when the USA was the cynosure for all, as it hosted the FIFA World Cup, for the first time. Amidst all the football mania, came the news, that a tall 18-year-old Bengali girl, by the name of Sushmita Sen, had won the Miss Universe contest, in Manila, after having won the Femina Miss India title. An Indian girl winning the Miss Universe contest for the first time was definitely a terrific achievement. It was her crowning glory, and the rest as the adage goes is history. Sushmita’s stunning win was an inspiration for other beauty queen aspirants. Soon after her win, India witnessed a sudden rise in beauty pageant winners; the green-eyed beauty Aishwarya Rai won the Miss World contest, followed by the likes of Diana Hayden (Miss World 1997), Yukta Mookhey (Miss World 1999), Lara Dutta (Miss Universe 2000), and Priyanka Chopra (Miss World 2000). As for Sen, immediately post her phenomenal win, a career in Bollywood beckoned this leggy star. She debuted on the big screen, in 1996, with the film Dastak. Although the film did not create ripples at the Box office, but Sushmita had made her presence felt. However, it was in the year 1999, in David Dhawan’s Biwi No 1, when she got a chance to act opposite Salman Khan, that Sen got noticed; she made the audience dance to the foot tapping number, Chunari Chunari. Sen’s height gave her impressive screen presence, which added to her beauty, and attractive personality. Her role in the film won her the Filmfare Best Supporting Actress award. Post Biwi No 1, a lull in her film career followed, with a series of films not faring too well. A sizzling cameo song appearance in Fiza, with the popular Mehboob Mere somewhat kept her in the reckoning. But, then came the year 2004, when her career got a much-needed lease on life, with Farah Khan’s directorial venture, Main Hoon Na, opposite superstar Shah Rukh Khan. The film was a blockbuster at the box office, and still remains Sushmita Sen’s biggest hit. Playing the role of a chemistry teacher, Sushmita did full justice to her character. The 5 feet 7 inches tall, leggy lady, with her svelte figure, had the nation swooning with her sensuous dance moves in the chartbuster, Tumhe Jo Maine Dekha, along with co-star SRK. The chemistry between the duo was crackling. No wonder then, that the success of the film was inevitable. The box-office success of Main Hoon Na meant lucrative endorsement offers for the stars of the film, and offers followed for Sushmita as well. Watch giant Tag Heuer decided to take her on as their brand ambassador, the event for which was held in Jaipur. When I got an invite from Tag Heuer to be a part of the press delegation for the said event, I was thrilled. Having heard a lot about Sushmita, I was keen to see how she was in person, and the chance to see King Khan up-close doubled my excitement to go to Jaipur; the experience was thrilling to say the least. That she has an affable persona, and is extremely articulate as well as candid on several issues, was there for everyone to see. One of her candid comments, as I recall, was regarding her height. Sen was asked whether she thought that being a taller than average female was an obstacle to succeeding in Bollywood. She answered by saying, “When I joined the film industry, people cited out my height and said it could be a drawback for me, but I have managed to prove them wrong. In fact its great to be tall!” She candidly went on to state that she is happy to do her own work, rather than be in the rat race for the number one spot. Main Hoon Na’s smashing success was soon followed by Maine Pyar Kyun Kiya,opposite Salman Khan, in 2005. Post MPKK, Sushmita’s films did not create ripples, and a slew of releases there after hardly did anything to keep her in the race. As her career in Bollywood was not steady, Sushmita Sen decided to dazzle on the ramp at various fashion events. She carved out a niche for herself on the catwalk, with her remarkable gait, and poise. While she might not be hot property on the box office, but on the ramp she is alluring. On the personal front, however, a lot has been written about Sushmita’s love life, which has always been under constant scrutiny by the media. But the lady remains unfazed and exudes a confidence to lead life on her own terms. Not many stars would have the guts to adopt two children, and be a single mother, with such aplomb, as Sushmita Sen. She is the proud mother to two beautiful and intelligent girls, Renee and Alisah. Bollywood’s reigning superstar, former Miss World and Bollywood actressPriyanka Chopra considers Sush as one of her favourites. This is what the ‘Exotic’ singer had to say when Sushmita complimented her recently for her role in the ABC series Quantico, “Thank u so much @thesushmitasen uve been my fave since u won miss universe at 18!! I remember ur cut out on my wall.[sic]” As she turns 40, Sushmita Sen remains an enduring icon, and a favourite for aspiring beauty queens to look up to. So what if Sushmita did not have a blazing run at the box office, she has an everlasting charisma that makes her a beauty queen with brains. Source: Article, Image

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Siberian beauty Elmira Abdrazakova, 18, is crowned Miss Russia

Miss World 2013? A student of the Siberian Railway University in Novosibirsk, Elmira has won the right to represent her country at the 'Miss Universe' and 'Miss World' beauty pageants. Picture: Elmira Abdrazakova 

By The Siberian Times reporter: Nicknamed the 'Angelina Jolie of Russia', the student says her victory was like a Cinderella fairy tale come true. She has been studying crisis management which seemed useful for a victory she never expected. A student of the Siberian Railway University in Novosibirsk, Elmira has won the right to represent her country at the 'Miss Universe' and 'Miss World' beauty pageants. She also receives a $100,000 prize, a car, and wears a crown said to be valued at more than $1 million.  'I don't have enough words to tell you what 's going on in my heart,' said Elmira, 18, after her victory in Moscow.  The new Miss Russia is from the coal mining city of Mezhdurechensk in Kemerovo region. From a family of

Elmira, 18, pictured make up free in her native Mezhdurechensk, Kemerovo region and, below, she is posing for the Miss Snow Universe 2013 contest in Novosibirsk (first from the left). Pictures: Elmira Abdrazakova, World Snow Forum 2013 

teachers, newspaper Komsomolskaya Pravda said that a key to her victory was her success during an 'intellectual contest' the 15 finalists undertook at the Barvikha Luxury Village Concert Hall outside Moscow. 'It was an absolute improvisation!' Elmira said. 'I am a very sociable and communicative person, it is easy for me to speak in public. When I was a child, I was interested in journalism and took interviews for the children's show on our the local television.' She has been studying at the Faculty of World Economy and Crisis Management in Novosibirsk and was doing a little modelling for shopping catalogues - before her victory on 2 March changed everything.  Asked if she will now give this up, she replied: 'I am so lost with understanding what is going on in my soul, and I can't say what will be tomorrow'.  She was happy to be a finalist but had no inkling she would

Elmira, who many compare to Angelina Jolie, has been studying at the Faculty of World Economy and Crisis Management in Novosibirsk and was doing a little modelling for shopping catalogues - before her victory on 2 March changed everything

win, Siberian beauty said. 'I really did not expect it! You never believe in Cinderella-style fairy tales. And when I was on my way to this contest, somehow I did not even have such thoughts! I was crazily excited when I got among the 15 finalists'. 'Now I am standing here and I can't imagine how I look on the screen! I am just shocked!' Told her crown cost more than $1 million, she was almost speechless. 'Really? I just can't imagine it.' Elmira was the eldest of two children raised on her own by art teacher Olga. Source: Article

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K-Beauty Goes Global

Backed by the strong Korean Wave fever, Korea’s cosmetics brands are actively expanding their presence in overseas markets. Korea’s cosmetics outlets expand from Chinese countries toward North America, Europe, the Middle East, and Central Asia. In addition to major brands such as AmorePacific and LG Life Sciences, mid-sized local brands, including Missha and TonyMoly, are riding high on the K-Beauty fever. After years of suffering deficits, the nation’s cosmetics trade turned profitable last year, first in history. Korea’s cosmetics exports amounted to US$1.92 billion last year, up more than 50 percent from a year ago, exceeding the amount of imports ($1.69 billion). The upturn in Korea’s cosmetics trade was driven not only by major brands but by smaller brands, including Able C&C’s Missha. Missha launched its cosmetics product lines, including the First Treatment Essence, into 29 countries. In recent days, Missha is expanding its presence in East Europe where it achieved sales of $4.55 million last year, up 38.5 percent from a year ago. Source: The Korea Economic Daily. Source: Article

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Lack of quality spaces, high rental deter luxe labels’ India plans

The launch of several popular global fashion labels through online shopping portals like Myntra, Jabong is proof that they are keen to enter the lucrative India market. However, despite India allowing 100 percent FDI in single brand retail, many are not yet biting the bait of opening stores in India. The reason: high rentals and scarcity of good locations or high streets in the country. For instance, niche luxury brands like Italian suit maker Kiton and British shoemaker John Lobb have begun offering their bespoke made-to-order services in India, but they are not showing any interest in opening stores immediately. Because the demand is comparatively low. High rentals – a major road-block: Despite a growing base of well-off shoppers, the presence of the world’s top 100 retailers in Indian cities is sparse compared with other Asia-Pacific countries, says a report by Jones Lang LaSalle, a real estate consultancy. High rents and restrictive investment policies hinder profitable growth in India and deter global retailers’ from investing here says the report, titled ‘A Magnet for Retail’. The report ranked 30 cities in the Asia-Pacific based on the presence of world’s top 100 luxury and mid-tier brands, where cities like Delhi, Mumbai and Bangalore ranked 24, 25 and 27, respectively. While rents for baseline retail properties in India are affordable, foreign labels are mostly interested in prime retail locations, where the rates are high compared to other cities in the Asia Pacific region. Therefore, bearing operational costs while paying high rents, these brands have to also wait for long to break even as consumer spending in India is improving only now. Even Reliance Brands, which operates stores retailing top luxury brands like Zegna and Brooks Brothers, are facing challenges on that front. However, over the past few years, foreign labels such as Zara and Massimo Dutti, H&M, Forever 21, Benetton and Marks & Spencer and now The Children’s Place and GAP are banking upon upbeat consumer sentiment in the country. High demand, low quality spaces As per a ASSOCHAM-KPMG study, India’s luxury market grew at a healthy 30 percent to reach 8.5 billion dollars (over Rs 51,000 crores) in 2013 and is likely to continue growing at about 20 percent to reach 14 billion dollars (over Rs 84,000 crores) by 2016 owing to rising number of wealthy people, growing middle class, affluent young consumers and other related factors. Though, India enjoys just 1-2 percent share in the global luxury market it is the fifth most attractive market for international retailers. No wonder several high-end foreign brands are planning to enter the country, either on their own, or through joint ventures and e-commerce. With consumers waking up to luxe brands, and established labels like Hermès, Louis Vuitton and Gucci et al they have created a niche in the market. India lacks hi-street destinations like New York's Fifth Avenue and Madison Avenue or London’s Bond Street, so they have to go the extra mile to look for a retail place that would attract footfalls. What adds to the problem is few number of high-end malls and low sales potential coupled with limited space at five-star hotels. Other hurdles like regulatory FDI norms, are issues being faced by them. Experts say luxury brands find it difficult to meet the 30 percent mandatory souring norm under FDI policy because most brands’ USP revolves around the competitive advantage of its country of origin. Source: Article

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30th IAF Convention focuses on challenges of the fashion system

The 30th IAF World Fashion Convention that ended on a high note last week welcomed over 300 delegates from 20 countries in Medellin, Colombia, first time in South America. The discussions at the event focused on ‘Understanding the challenges of the fashion system’. Day one takes up the denim cause: Each of the seven speakers who spoke on the first day, moderated by Eduardo Braun, gave his or her vision on the future of the industry. While Emiliano Duch, Lead Specialist, Trade & Competitiveness from the World Bank advised governments to modernize their support of the fashion industry, from investing in big industrial parks, which only fosters the lowest paying jobs, to the support of local brands and retail. Claudio Chiaromonte, Executive Vice President and Managing Director for The Walt Disney Company, Latin America showed the audience how big companies have perfected the art of delivering to consumers anytime, anyplace, through any format, by any payment. Horacio Broggi, Director of Desigual Latin showed some secrets of the success of the phenomenal growth of Desigual, from eight to 800 million euros (Rs 618 to Rs 6,180 crores) in 10-years-time. The highlight of the day was Adriano Goldschmied, also called the godfather of jeans, who took the delegates on a journey of the development of the premium jeans segment by way of his own personal pictures. The pictures showed how the right people came together at the right time and created products that were inspired by their own lifestyles. Goldschmied went from the past to the future where technical innovation will bring jeans to a new level of comfort. Mariette Hoitink, chairwoman of Amsterdam based House of Denim continued with the jeans case. She showed the delegates how city, big brands, local entrepreneurs and foreign investors work together to create a denim hub in Amsterdam. But it was clear that this example, combining denim specific schooling, research and networking can be replicated in other places as well. Fernando Pimentel, the Director of the Brazilian Apparel Association Abit stressed the importance of intra Latin American trade. And finally, Ed Gribbin President of Alvanon plead for a radical change in the industry which is facing below 40 per cent full price sell through on the retail end. Investments in 3D digital sampling, PLM are necessary as is a shift in focus to a more engineering oriented design of clothing, focusing not only on how it looks, but also on how it works. Rahul Mehta succeeds as IAF President: In the general assembly of the International Apparel Federation, held during the World Fashion Convention, Rahul Mehta was elected as new IAF President for the coming two years. He succeeds Harry van Dalfsen who has been IAF’s leader in the past four years. Rahul Mehta is President of the Clothing Manufacturers Association of India (CMAI) representing this association in IAF since many years. The general assembly also agreed with other changes in IAF’s management. Claudio Marenzi, President of the Italian Apparel and Textile Association Systema Moda Italia (SMI) was elected Vice-President of IAF. IAF’s Secretary-General Han Bekke will step down end of this year after holding this position since eight years. He was elected as new member of the IAF board in which he will take the position as treasurer from Hasan Arat who stepped down as member of the board. New Secretary-General of IAF from January 1, 2015 onwards will be Matthijs Crietee, who is currently Deputy Secretary-General. In his opening speech, outgoing IAF President Harry van Dalfsen showed his optimism about the global fashion industry. Although it faces great challenges, he said, it is full of great examples of companies finding new ways to entice customers, add new value, expand markets and improve its hugely complex supply chain. He sees as a positive sign of the times ahead and the growing power of local brands in emerging markets. According to him, strong local brands inspire international brands to adapt their global style to local circumstances and international brands force local brands to learn more quickly to compete. On the supply side, he stated that he believes, positive changes in the apparel industry will be driven more in the coming decade by investments in the manufacturing part of the industry. He opined that a new, more balanced relation between brands, retailers and manufacturers is needed to make joint decisions on investments, improving productivity, working conditions and reducing costs and environmental footprint. Source: Fashion United

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Tantra introduces 'Modi' series T-shirts

Sujata Sachdeva: Tantra the popular T-shirt brand which is also called India's official unofficial Tees', is ready to launch an exclusive range of T-shirts based on pet projects, mantras and sayings of the country', prime minister Narendra Modi. Cashing in on Modi's popularity: The brand's founder Ranjiv Ramchandani says besides introducing the 'Modi' range of tees, the brand also proposes to enter other segments of apparel business. 'Our prime minister is an icon. He was voted by the masses to be the leader of the second most populous country in the world. One may like him or hate him but you can't ignore him. Befitting his personality, we at Tantra have developed a series of T-shirts mirroring some of Modi's pet projects, mantras and sayings. Like our previous series such as 'India On A T-shirt', 'Barking Dog', 'Line Maro', 'Loose Motion' etc, India will take our 'Modi' series head on," explains an optimistic Ramchandani, a copywriter turned brand manufacturer. Earlier too Tantra had introduced a line of anti-corruption themed tees showing a picture of the anti-graft activist Anna Hazare against the red, white and blue background. These had had created a storm as Indian youths, who were participating in the movement against corruption, found them aptly expressive. Spreading brand's reach to the Middle East: The famed T-shirts brand has already made inroads in foreign shores such as New Zealand, England, Japan, US, France, South Africa, Poland, Fiji and now plans to conquer the Gulf countries. The brand now addresses the global youth through cool, funny and pungent messages on products. Besides being creative in art and copy, Tantra T-shirts are of high quality and pocket-friendly. All these add together to put Tantra tees in collegians' wardrobe. When Tantra was incepted in 1997, Ramchandani had decided to make it a cult brand to represent India in its true sense. The brand had set eyes on foreign tourists as Tantra T-shirts gave them an insight into India. "Now, many new domestic and international brands have entered the market. But, Tantra is still far ahead as its creative lines caters to the classes as well as masses," points out Ramchandani. Ramchandani whose headquarter is located in Mumbai's plush Nariman Point has a 'Department of Ideas' from where creative ideas take concrete shape. Leading a battery of creative professionals, Ramchandani classifies life as 'simple' and 'meaningful' which gets reflected in Tantra's T-shirts.Source: Fashion United

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Nikitta at NYFW's Heart a Cause fundraiser

‘Heart a Cause’, the inaugural event at New York Fashion Week (NYFW), returned with their annual fundraiser, bringing fashion, music and art together at the Millesime at the Carlton Hotel in New York. Heart a Cause 2014 nominated GiGi’s Playhouse New York as its dedicated cause, raising awareness and funds for down-syndrome. The event also featured fashion presentations by many emerging brands including Nikitta by Nikita Varma. Varma’s luxury prêt women’s wear label ‘Nikitta’ is known for its glamour, luxury, chic and femininity exuded through each of its creations. Her range includes cocktail dresses to flowing evening gowns. Nikitta has been an official clothing sponsor for the Miss New York Organization. Her designs have been sported by several beauty queens including the reigning Miss America, Miss United States 2013 and Miss New York 2013. Varma, a designer of Indian origin and a graduate from the Parsons School of design, has previously showcased her collections at Indian Fashion Week in 2012 and in New York in 2013. Her label retails in luxury multi-designer stores in India and is also emerging in New York. Besides her ready-to-wear label, she also designs customized and bespoke pieces on made-to-order basis. At the Heart a Cause fundraiser, Varma showcased ‘Luxurious Seascapes’ – a Spring/Summer collection of evening gowns and cocktail dresses inspired by the breeziness of seaside. Source: Article

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