Here are three new reasons to set your sights on Denver. Come for the high fashion, enjoy contemporary art, stay for haute cuisine. Dior Goes to the …
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The time for luxury goods to get serious about authenticity and accountability could finally be here. Earlier this week, bitcoin and digital currency news site CoinDesk reported luxury group LVMH plans to launch a blockchain in May or June of this year, beginning with just two of the groups 70 brands: Louis Vuitton and Dior.
While a representative for LVMH stated the group has no comment, a source familiar with the project told CoinDesk that LVMH hired a full team of blockchain experts to work on the project, alongside ConsenSys and Microsoft Azure. The blockchain, code-named AURA, is designed to provide proof of authenticity of luxury items, and trace their origins from raw materials to point of sale and beyond to used-goods markets.The next phase of the platform will explore protection of creative intellectual property, exclusive offers and events for each brands’ customers, as well as anti-ad fraud.”Getting into blockchain for a luxury group like LVMH gives the brand a chance to stamp out fake goods in an increasing global counterfeit market — a $450 billion-plus industry as of 2016, per the Organization for Economic Co-operation and Development.
Experts believe it could also have major impacts on the luxury resale market.It helps LVMH better fight fraud, which is so massively valuable for a brand like Louis Vuitton that is trying to uphold standards, pricing and quality, said Vic Drabicky, January Digital founder and CEO.Things that arent authentic begin to massively drop in price or disappear, and for those that do have authentic pieces, it allows customers to experience the product in the proper way, which should bring more people into the brand.By creating a blockchain, or a decentralized database where users can add information about a product as it makes its way from where the materials are being sourced to the creation of the finished product (like, say, a Louis Vuitton bag), LVMH would be opening a window into the companys supply chain.
The nature of a blockchain would mean that no one can change any information added to the ledger.Youll be able to run an authentication along the journey of that product from alligator to register, said Israel Mirsky, executive director, global technology and emerging platforms at OMD Worldwide.
While LVMH would be the first major luxury fashion group to break into blockchain, other luxury segments have already caught on to the trend. The diamond industry, for one, has been active in the world of blockchain in the past few years. Experts believe that by being the first major luxury fashion group in blockchain, LVMH would further cement itself as the leader in the space and force competitors to play catch-up.The risk is relatively low, said Drabicky.Last year, LVMH reported roughly $53 billion in revenue, so unless this is a billion dollar enterprise, were talking about something that is a very low risk monetarily.Some initial reports suggest LVMH plans to whitelist the solution so that other luxury brands can use the technology to assess their own supply chains and authenticate the products consumers are purchasing.
Like most technology systems, the more users contributing to a blockchain, the more valuable they tend to be, said Mirsky. Its definitely in LVMHs interest to include as many of their competitors within the same system as possible.Whether that white-labeling is happening by LVMH or it’s actually ConsenSys or JPMorgan, it isn’t quite clear at this point. Should an outside source be responsible for the white-labeling, and not LVMH, Mirsky believes more brands would benefit from the technology.Plus, if competitors start to see real benefits to AURA, and LVMH isnt directly profiting from it, Mirsky said he thinks its increasingly likely that more brands will join the ecosystem.
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By Sanae Nokura / Yomiuri Shimbun Staff Writer Sporting bright pink bobbed hair and wearing thick eyeliner, Ami and Aya are fashion mirrors of each.
The women are twins and futuristic sci-fi models known by the name AMIAYA.Aged 30, the sisters’ coordinated fashion have won broad acclaim, and their names have been on a variety of luxury brands’ runway show invitation lists since last spring. At those venues, they are regularly bathed in photographers’ flashes.
The duo work as DJs and also head jouetie, a fashion brand for young women. Hailing from Hamamatsu, Shizuoka Prefecture, the sisters grew up in a family running a clothier.
They already loved fashion in their childhood days. “Since we were in the fourth grade of elementary school, we would decide what to wear by ourselves,” Aya said.
After dropping out of high school, they worked part time to save money and came to Tokyo when they were just 15. They modeled for fashion magazines and auditioned for fashion jobs, gradually expanding their career.Eye-catching fashion coordination is their strategy, which they work on together. There was a time when they felt uncomfortable drawing attention to themselves just because they were twins, especially when they were teenagers.Three years ago, they were invited to a fashion show in Milan, where one visitor asked them, “You look alike. Are you twins?” Such remarks convinced them that being twins can be their strong point and that if they dress the same way, their appearances would be even more eye-catching, and people would find them even more interesting.
Since then, they have dyed their hair pink and seriously started pursuing their own twin fashion coordination by wearing clothes of the same design but in different colors, for example. They are petite.Aya is 158 centimeters tall, while Ami is 160 centimeters tall. “We strive to make a strong presence by wearing high heels and puffy outer clothes, for example,” Ami said,Slide 1 of 4 Prev Nex tThe Yomiuri Shimbun,The AMIAYA twins at Dior’s men’s collection show in Tokyo in November last yearThe Yomiuri ShimbunAmi and Aya show off their coordinated nails.The Yomiuri Shimbun Aya’s fashion items (mostly in cool colors)The Yomiuri ShimbunAmi’s fashion items (mostly in warm colors) Each twin has her own strength, a trait they make the best use of in their fashion — Ami comes up with surprising ideas on layered fashion, and Aya coordinates accessories, all to achieve their elegant fashion with pop Tokyo colors.
They work hard and seriously when they get job offers.
Lagerfeld said of fashion, “We created a product nobody needs, but people want. If you need an ugly old car, it can wait, but if you want a new fashion …
(Stephane Mahe/Reuters)Remembering the provocative, ingenious fashion designer, who died Tuesday at 85 years of ageYesterday, Karl Lagerfeld passed away at 85 years old.
The designer with the trim, powdered white ponytail and quadrangle black glasses was as iconic as his designs. He was sincere even when it was not charming, which endeared him to many and left a few cold.Lagerfeld said of fashion, “We created a product nobody needs, but people want. If you need an ugly old car, it can wait, but if you want a new fashion item, it cannot wait.” It was a surprisingly flippant statement from one of contemporary fashion’s great geniuses, but then Lagerfeld was like that, cultivating a public persona at once direct and enigmatic. “I am like a caricature of myself, and I like that,” he famously remarked.
“It is like a mask. And for me the Carnival of Venice lasts all year long.”Although instantly recognizable and a fixture of the fashion world, he hid his face nearly perpetually behind sunglasses and gave contradictory accounts of his life’s details, specifically those concerning his parents, childhood, and age. He had many friends, but in his later years insisted that he preferred to be solitary.He lived alone with his tawny Birmin cat, Choupette, whom he’d kidnapped years ago from a friend, and whom he once joked he would marry if it were legal. (Choupette happens to be one of the possible rumored heirs to his fortune.)Lagerfeld was also known for epigrams that were funny, controversial, and often truthful. Indeed, he lived by them.
He once said in an interview that “Berlin is like a human body with an arm and leg missing,” and the quip captures him to a tee: concise and acute in both his words and his designs. He saw things from a particular angle and expressed himself clearly.Of course, his bluntness could get him into trouble. To take but one of many examples, he was heavily criticized for telling Focus magazine that “no one wants to see curvy women.” But when one November he woke up and decided that he wanted to fit into Hedi Slimane’s slim Dior suits, he adopted a strict diet and lost over 90 pounds in 13 months.Anna Wintour, the editor of Vogue, wrote that “Karl was brilliant, he was wicked, he was funny, he was generous beyond measure, and he was deeply kind.I will miss him so very much.” If anyone’s earned the right to heap such praise on him, it’s Win tour, who walked out of a 1993 show in which strippers modeled his seasonal Fendi collection. Lagerfeld was certainly not obsequious. He was one of those brash few who prioritized creative sincerity above niceties, a herd that thins out a bit more every day.
Although sometimes transgression for transgression’s sake, evenly cheaply so, he was not a sycophant.One of the secrets to his success was an ability to keep an eye on the new without abandoning the old.He successfully synthesized traditional designs and contemporary trends, rather than regurgitating tired forms or relying on anachronisms masquerading as classics. He renewed for each decade the magnetism that had originally attracted crowds to a legacy brand.
Lagerfeld did not have much patience for those who were unable to adapt. “I get along with everyone except for men my age, who are bourgeois or retired or boring, and cannot follow the evolution of time and mood,” he told New York magazine.The world changed enormously during the course of his life, but he never condemned the past or fell out of touch with the future. “It is up to us to adjust to our times.The times are not supposed to adjust to our, perhaps passé, taste.”Lagerfeld found success early.At a tender age some say 18, others 21 he entered the coat category of the International Wool Secretariat (now the International Wool mark Prize) in Paris. He won the prize with a daffodil-yellow coat.He had his first show at Chanel in early 1983. The house was considered past its prime and on its last legs in the wake of Coco Chanel’s 1971 death.
As creative director, he revitalized the brand, combining its trademark pearls, quilted leather, and tweed jackets with his keen eye for balanced and forward-looking luxury aesthetics. He later became creative director at Fendi, and then founded his own eponymous fashion brand.
Lagerfeld had a gift for guiding the spirits of titanic-but-stolid fashion houses into the future. He once remarked Each season, they tell me [the Chanel designs] look younger.One day well all turn up like babies. He remained at Chanel for the rest of his life.
For better or worse, he was known for his work with furs, which earned him the occasional wrath of animal-rights advocates. In 2001, he was confronted at Lincoln Center by PETA activists who pelted tofu pies at him and called him a “fur pimp.” The protesters’ aim was as good as their pies; they hit Calvin Klein, whom Lagerfeld was walking next to, in what one of the activists called a case of friendly fire. Still, he was undeterred.Brigitte Bardot once wrote a letter to Choupette, asking her to “purr at [Lagerfeld’s] ears” entreating him to stop using fur. Lagerfeld never complied, or perhaps Choupette never bothered to ask him (though he did draw PETA’s praise for using fake fur in his 2010 Chanel collection).
While at Fendi, originally a furrier, Lagerfeld injected a newness into their furs that had been around for decades, updating but not corrupting their signature focus. Silvia Venturini Fendi collaborated with Lagerfeld on the 2013 Fendi fall ready-to-wear line, Lagerfeld’s 96th collection for the house.
The line included a dyed-blue fur, cropped jacket with blood orange trim, a fur sweater-vest, and caps blooming with oversized feathers.Fendi said upon Lagerfeld’s death, “For Fendi and myself the creative genius of Karl has been and will always be our guiding light.