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Category Archives: Fashion

Plus Size Fashion

Finding on trend clothing is difficult enough to do already when it comes to straight sizes. There are a million different ways that you can spin it, but the truth is that plus size fashion , especially trendy fashion is few and far between. This is why when it comes to fashion for the plus sized people out there, it’s best to take it in your hands rather than relying on fast fashion retailers. Not only can you design your own clothes with just a bit of wit and spirit, but finding classic and versatile staples is the best way to get the wardrobe you want without breaking the bank.

            The first thing you should do when you’re looking to get a great wardrobe started is to think of what you already have in your closet. Not only will this minimize the amount of items you end up having, but it will also save you a ton of money in the future. However, when you’re finished with picking out your favorite pieces, get rid of the rest. This will give you a lot more room to make sure you’re always looking your best. Always have the clothing that you wear out and the clothing that you wear around the house or when you’re lounging so you keep your best clothing looking it’s best for as long as possible. You should also think about getting organizers for your clothing so that you can get the most out of your wardrobe.

            Next, you should make a plan and look for outfits that you want specifically. Though we can definitely be drawn to buying singular pieces, especially of those pieces are on sale, it may be a good idea to plan out outfits so that you don’t end up with a bunch of pieces of clothing that don’t go together, or aren’t something that you want to wear, mostly because you don’t know what to wear it with. Instead of buying extravagant pieces for all your outfits, it’s far trendier and looks much better when you find staples that works with your better pieces. You can find multiple ways to style some of this years favorites. The best, and one of the most versatile pieces that you can pick up for any wardrobe are turtlenecks. Most especially, black turtlenecks look great in a variety of different outfits and can be worn in multiple ways. The best place to save big on your staples is Old Navy, where you can find plus size basics for less.

            Another great idea is to make sure that you’re getting the shopping at tons of different places. One of the best kept secrets of plus sized fashion professionals is to shop at thrift stores, and secondhand clothing shops. This is a great way to save big money on fashionable vintage pieces that can cost you tons of money new in a store. There are a million different ways that you can step up your wardrobe, but this is the best advice for those looking for amazing pieces that stand out but don’t break the bank. Shopping online is another great way to find clothing that you actually love and that will look great with you shape.

Men’s Accessories

Remember that salts are released when we sweat and if they come in contact with gold or silver jewels, they become susceptible to rusting. This process is non-reversible and you may not be able to wear the jewels again. There may be products that help in reversing the rusting process. But, it is advisable to take precautions for preventing such incidences.

Basic Nightly Routine

Throughout the day, your watches, rings, and bracelets are exposed to sunscreens and sweat. For this reason, at the end of the day, you must clean the items with a washcloth for removal of moisture and creams.

Over a period of time, the fashion items such as the men’s silver bracelets have a tendency of gathering rust as a result of the fatty acids that are released in sweat. Therefore, it is not sufficient to only clean with a cloth every night. You need to follow a regular maintenance schedule for keeping your jewels sparkling clean and sanitized.

Regular Maintenance

There is a simple solution to sanitize accessories including men’s gold and silver ornaments. All you need is water and an antibacterial soap. The instructions are seen in the following details.

We will need 2 bowls. Fill one with plain water and the other bowl should be loaded with leather produced from the antibacterial soap along with water.

If you are cleaning a watch, you must take care to only immerse the watch strap in the soap-filled water for 15 seconds or so. Clutch the watch dial to protect it from getting wet. This is important because if water seeps inside the dial, there is a possibility that it becomes dysfunctional. However, if you are sterilizing a bracelet or ring, you should just drop it in the soapy water.

The next step is to take a toothbrush and wet the bristles with water. Now, scrub the items with the brush, again make sure that your watch’s dial does not come in contact with water or soap.

Follow by dipping the ornaments into the bowl containing only water.Lastly, use a clean cloth to wipe the items.

Shopping in Hong Kong

Mr. Zhao, who is from Beijing and works for Morgan Stanley in New York, was ushered into a plush alcove with gray carpets and a poster of a Ferrari, a nod to Hublot’s branding partnership with the Italian carmaker. After a saleswoman wearing black gloves displayed the intricacies of the watch’s sapphire dial and matte black ceramic case, he said that he planned to buy it.

“The watch tells you I’m 26,” Mr. Zhao, who wore shorts and a black T-shirt, said of the model from Hublot’s Spirit of Big Bang collection. He said that he liked both its simple look and classic undertones, and that it would complement the two dozen other watches — each worth around $50,000 — in his expanding collection.

If he wore a more traditional timepiece, he added, a friend might ask skeptically, “Why do you have your father’s or grandpa’s watch?”

Mr. Zhao’s choice to shop in Hong Kong — for years a global leader in retail watch sales — is in some ways a throwback to an era that analysts say is coming to an end. Wealthy people from the Chinese mainland are traveling more widely overseas and increasingly shopping at home, they say, making this semiautonomous Chinese city less essential as a retail destination.

But Mr. Zhao also represents the future: He is part of a new generation of wealthy mainland Chinese men — one with more varied watch tastes than their elders — that industry experts say is now coming into its own.

The country’s older generation of watch buyers was less sophisticated and had little brand awareness, she added, citing one of the findings in a recent report on what her agency called China’s “mass affluent males,” issued in partnership with Jing Daily, a website that covers the country’s luxury industry.

Ms. Hou said the shift required brands to have a new “product logic,” advertising through social media and emphasizing the uniqueness, authenticity and craftsmanship of their watches.

Some watch brands and fashion companies already are adapting well, she said, but many others — especially ones that primarily cater to older Chinese buyers — have been slow to catch on. “Now is really a time to refresh the whole watch category to see who will survive” in the Chinese market, she said.

As for Hong Kong, it “was once the place where Chinese consumers would come to shop,” said Luca Solca, a luxury analyst at Exane BNP Paribas who is based in Switzerland. “Now they can buy in China or elsewhere when they travel.”

The Chinese government has been reducing official import duties on some luxury goods, including watches, and cracking down on people who buy such items overseas and then don’t declare them to airport customs inspectors on their return.

The global drop in demand for Swiss and other watches has been especially significant in Hong Kong, which lost its status as the top Swiss watch market to the United States last July. Swiss watch exports to Hong Kong fell 33 percent in the first half of 2016 compared with the same period of 2011, according to a September 2016 study of the Swiss watch industry by Deloitte, an American accounting and consulting firm.

While all five major watch markets — Hong Kong, the United States, Switzerland, mainland China and Japan — reported import declines in 2016, the downturn in mainland China’s imports of all watcheswas the most moderate, at 1.6 percent year over year, according to a recent study by the Federation of the Swiss Watch Industry.

And 2016 sales totals for Swiss watches in mainland China declined just 3.3 percent, buoyed by 9.1 percent growth in the second half of the year, the study said. (In contrast, Hong Kong sales of Swiss watches declined 25.1 percent last year.)

“Business is growing dramatically — double digits — for most brands in mainland China,” said Julien Tornare, chief executive of Zenith Watches, “when it’s kind of stable in the rest of the world.”

To nurture that growth, said Jules Boudrand, Deloitte’s head of corporate finance advisory for western Switzerland, there was a clear need for Swiss watch brands to engage with younger audiences across the entire Chinese market and adapt to their changing tastes. He noted that some brands were now advertising through WeChat, the popular Chinese messaging app, and recruiting young Chinese celebrities as brand ambassadors.

Ms. Hou of Carat China said some fashion companies were taking a similar approach to their watch marketing. A good example, she noted, was Louis Vuitton’s recent announcement of the 27-year-old Chinese singer Lu Han — a former boy band star — as a brand ambassador for the Tambour Horizonsmartwatch that it debuted in July.

Kings Lau, a Deloitte analyst who specializes in southern China, said that young Chinese buyers were especially interested in “affordable luxury” smartwatches with personalized design features. “For the young, it’s more and more important that their watch provides an identity” rather than a marker of social status, Mr. Lau said.

Deloitte says that it defines the “affordable luxury” smartwatch category as starting at around $300 and including the Apple Watch, the Tag Heuer Connected and Frédérique Constant’s Horological Smartwatch.

At Tag Heuer, the core customer base in Greater China (a sales category that includes Hong Kong, Macau and Taiwan) are still people 35 to 50 years old, said Leo Poon, the company’s general manager for the region. But its number of 20- to 35-year-old buyers has roughly doubled since 2014, now providing about 20 percent of the region’s sales at storesas well as more than 55 percent of all online sales.


Fashion Little Cartoon Characters

Meet Snoopy as Alexander Hamilton. Dressed by Paul Tazewell, the costume designer for “Hamilton,” he is half of one of the 64 Snoopy and Belle doll pairs dressed by various designers for a traveling exhibition that arrives today at Brookfield Place, the shopping complex in downtown Manhattan. It will remain in New York until Oct. 1.

“Snoopy & Belle in Fashion” is a reimagining of a similar exhibition that was hosted by the Louvre in 1984 and featured miniature outfits made by Karl Lagerfeld, Jean-Paul Gaultier, Giorgio Armani and Oscar de la Renta. It is also the most blown-out version of fashion’s long-term obsession with cartoon characters, a trend that seems to grow more prevalent every year.

Think back to Givenchy’s Bambi sweatshirt from 2013 (the one that was priced at $1,375 on Net-a-Porter), Coach’s Mickey Mouse-inspired bagsfrom 2016 or Alison Lou’s growing series of emoji necklaces, bracelets and rings (a gold, diamond and ruby kissy-face pendant goes for $9,680).

Jeremy Scott has dominated the oeuvre for seasons, making references to SpongeBob SquarePants, Mickey Mouse, Bart Simpson, Shrek, Betty Boop and more in his collections for his own label and for Moschino. During London Fashion Week this winter, designers riffed on the Powerpuff Girls, the Pink Panther and Hello Kitty; and earlier this summer Marc Jacobs unveiled sweaters embellished with a grinning Mickey Mouse.

According to Edited, a company that tracks analytics at more than 90,000 brands and retailers, the number of clothing and accessory items related to Disney that are sold online rose by 150 percent between the first half of 2015 and the first half of 2017. Pieces related to Mickey Mouse grew by 84 percent during that time period, and anything from the emoji universe grew by 502 percent.

“Nostalgia is a huge deal at the moment,” said Katie Smith, a senior analyst at Edited. “In the stories these products evoke, there is an escapism that’s reassuring, particularly in the current climate. The characters go through tough experiences but always come back to a good place.”

The names of designers involved in the Snoopy and Belle project read like a dream fashion week lineup: Calvin Klein, Diane von Furstenberg, Dries Van Noten, J. Mendel, Kenneth Cole, Tracy Reese, Rodarte, Dsquared, Opening Ceremony, Monse and Oscar de la Renta. The final two were added especially for New York.
Both Laura Kim and Fernando Garcia, the founders of Monse and the creative directors of Oscar de la Renta, were already fans of Peanuts.

“I bought Fernando a giant Snoopy book for Valentine’s Day,” Ms. Kim said. Mr. Garcia said his Instagram profile picture had for long been an image of Pig-Pen, another Peanuts character, until Eva Chen, the head of fashion partnerships at Instagram, asked him to change it.

Ashley Biden, who designed a Snoopy and Belle pair dressed in aviators, hoodies, Dr. Martens (for her) and Timberlands (for him) for her social-justice-focused label Livelihood, said that Snoopy is a universally loved character. “Everybody in this group of designers remembers growing up with Snoopy and the cartoons,” Ms. Biden said. “Back then it was a simpler time, and the messaging, especially through cartoons, was about love and kindness and following your dreams.”

Krystine Batcho, a professor of psychology at Le Moyne College in Syracuse, N.Y., said that nostalgia can serve a healthy purpose during times of change and upheaval. She said that transformational or transitional periods can be personal (a death in the family, a breakup, a career change) or shared (a terrorist attack, an economic crisis, an election).

“Nostalgia helps keep you connected in terms of your self-identity,” Dr. Batcho said. “It connects you to your own past through the continuity of self.”

When we wear symbols of nostalgia on our clothing, we make it easier to connect with others around us, she said. “Making it public is a way of saying, ‘We all need to chill.’ Everybody needs to take a deep breath and remember what is best, and the ideals epitomized by childhood, especially cartoons, where all the problems are solved by the end of the episode, where good and evil are easy to tell apart.”

For the designers who participated in the Snoopy and Belle collection, the motivation may have been much simpler. “A fashion designer has to be so serious because so much rests on the collections and how much perfume they’re going to sell,” said Jeannie Schulz, the widow of Charles Schulz, the creator of the Peanuts cartoon

Fashion Finds Solace

The clothes, too, were understated and unfussy: hand-woven sweaters, trench coats in tweed and suede, corduroy slacks, brown blazers. Backstage, Prada talked about intimacy, about the idea of going from big to small: from ‘‘the big deal of fashion, the big deal of art, the big deal of everything — to the opposite.’’

One of fashion’s foremost thinkers and bravest aesthetes, particularly when it comes to masculine attire — a few seasons ago, she dressed men as bedazzled golfers in cartoon-print berets and rhinestone cleats — had pointedly ditched outré design and focused instead on the humble, the simple, even the ho-hum. And Prada wasn’t alone: The rise of the unremarkable is the most newsworthy story of the men’s wear season. In Paris and Milan, designers shrugged off the extraneous and the extreme and reined in their aesthetics, focusing on the functionality of the clothes.

Men’s wear has long tended to be quieter than women’s, of course. Since the late 18th century and the so-called great masculine renunciation, when men jettisoned jabots, brocades and embroidery in favor of somber wool suiting, men’s clothing has been generally less flamboyant than its female counterpart. Two revolutions — the Industrial and the French — made an idle, indulgent, aristocratic life considerably less desirable than it had formerly seemed. High fashion remained an arena where peacocks could flourish, and at certain labels, they still do. But more and more, high fashion follows the world’s general mood and collective cultural shifts — so it’s no surprise that designers find themselves drawn toward the plainer, simpler and more everyday. ‘‘Human,’’ ‘‘simple,’’ ‘‘real,’’ as Prada put it.

The turnaround has been best epitomized by the recent shift in Demna Gvasalia’s collections for Balenciaga. For spring 2017, he referenced priests, popes and Mafiosi, with silhouettes tugged tourniquet-tight or jutting boldly out, and bright-colored jackets cut from the same damask that covers walls at the Vatican, falling from wide, angular shoulders of linebacker width. It was a lot of look. For winter, an abrupt volte-face: sweatshirts, jeans, hoodies and loose, workaday suits, in fabrics made to hang easily around the body. Gvasalia was inspired by corporate dress, he said, by the reality of what men wear every day. There were even a few looks with a new Balenciaga logo, clearly based on the wave motif of Senator Bernie Sanders’s presidential campaign.

 That seemed like a gimmick. But it also illustrated an undeniable truth — that we’re living in a moment in which politics have become omnipresent in everyday life and casual conversation. Even European fashion hacks — the type that don’t usually get involved in the intricacies of American elections — understood the reference. The clothes themselves, too, are easy to understand in this context: The extreme upheaval of normalcy has sent designers scrambling after it, hankering for the unexceptional in a confusing, often terrifying new era. In uncertain times, the familiar and long-trusted become objects of lust. When the world is falling apart around you, you just want to wear a cardigan.

There are historical antecedents for this. In the 1980s, when the radical policies of the ’70s were replaced by Reaganomics and the conservatism of Margaret Thatcher in the U.K., we got Christian Lacroix’s archaic follies of crinolines and corsets, and the anarchic vibrancy of a nightclub scene that gave birth to Leigh Bowery in London and, later, to New York’s club kids. Fashion was a form of rebellion, with excess serving as agitator and provocateur, a backlash to conservative security. Then, as Black Monday crashed markets and the gulf war unfolded, uncertainty took hold, and designers found minimalism. With everything going on in the world, clothes were the last thing people wanted to worry about.

Of course, what seem like unexceptional clothes are, in fact, exceptional, if in subtler ways. Prada’s sweaters are cozy, handmade, naïvely decorated. They are garments that focus on the experience of the wearer, making them intensely personal.

Dress for Dystopia

In his debut dual-gender collection for Calvin Klein last February the new chief creative officer announced that his show represented “the coming together of different characters and different individuals, just like America itself.” It was a big claim (albeit effectively realized), but on Thursday, for his sophomore effort, he took it a step further.

“It’s about American horror and American beauty,” he said in his show notes; the dream turned nightmare. The immediate interpretation of that one is easy — let no one say Mr. Simons, who is Belgian, shies away from current events — though the designer chose to approach his subject at a more oblique angle, through the American fantasy factory that is Hollywood. Because, like the movies, “Calvin Klein is an American institution.”But what does that mean at a time when many people now say they don’t recognize their country? That Mr. Simons is willing to offer an answer is both risky — and a little presumptuous. But it also reveals the level of Mr. Simons’s ambition. He’s attempting no less than a redesign of American identity: one in which, if it works, a number of the alienated electorate may see themselve

Mr. Simons’s America is an America of the mind, rooted in the Midwestern prairies and resonating coast to coast by way of Stephen King, Sissy Spacek, Kim Novak and “Twin Peaks,” with stereotypes (cowboys! cheerleaders! lumberjacks!) just twisted enough so the references teeter on the tightrope between mythology and cliché. It is multilayered and riven by dualities, male or female no matter. And it is increasingly complex in its iterations.

An installation by Mr. Ruby, the artist who is Mr. Simons’s quasi-muse, of brightly colored yarn pompoms, dangling axes redolent of “The Shining,” tin buckets and swathes of fringed silk dangled over the heads of Trevor Noah, Mahershala Ali, Jake Gyllenhaal, Paris Jackson, Kate Bosworth and Brooke Shields. And out came two-tone satin cowboy shirts with contrasting satin trousers or pencil skirts, branded patchwork quilts, jeans and jean jackets with paint rolled over thick on one side.

Also virginal cotton nighties splashed with black-and-white prints from Andy Warhol’s Death and Disaster series, and a riot of slightly queasy-making color in knit vests and contrasting trousers and silver-tipped cowboy boots. Midcentury silhouettes — the full skirts and tiny waists and trapeze cuts that have been part of Mr. Simons’s design vocabulary since his stints at Jil Sander and Dior — rendered in camper-tent nylons also were used for the oily shirts under men’s tailoring, gathered and puckered with rucksack strings. Matching tops and pencil skirts were made in rubber and given an industrial Ohio factory stamp, and party dresses trapped white lace flowers under transparent vinyl or silk under a scrim of black net. There was a woman-as-mop evening moment, which looked better than it sounds.


Even Kim Kardashian West and Kris Jenner were stuck on the concrete outside, balanced on their teetering heels. Everyone was waiting for a bus to arrive.

When it finally did, an hour later than scheduled, and more than two hours after it had set off (the bus made two “surprise” stops in Manhattan beforehand, much to the confusion of unsuspecting pedestrians), it disgorged Kaia Gerber, newly minted supermodel, daughter of Cindy Crawford, who strut her way down the road in a tiny white tank dress — and into a warehouse.

A host of her peers in cropped chain mail tops, distressed and bedazzled denim, zips and corsets and revisionist suiting (shorts, backward shirts, oversize jackets) followed. There was a bouncy house in the back and a live rock concert inside.

The clothes themselves were the kind of club gear for the 1 percent at which Mr. Wang, when he is focused, excels, but the party entirely eclipsed the product. And the idea that it is somehow cool for designers to drag their audience to the back of beyond is an old one (John Galliano and Alexander McQueen had been there, done that, years before), as is the obvious suggestion that the street is the runway.

 Not to mention the fact that the pretense of a “guerrilla” fashion action is itself kind of a joke when the whole thing is Instagrammed by Bella Hadid, among others, and Kardashians are involved.

How to make fashion relevant is the conundrum of the moment, and adding a hashtag is not the answer. There’s so much else going on — so much trauma and chaos, natural or man-made — that current events have a way of overshadowing clothes.

Sitting in the sun in a faux English garden recreated by Tory Burch in the courtyard of the Cooper Hewitt design museum, watching a parade of perfect-for-the-beach-club looks while a natural disaster of epic proportions bears down on the Florida Peninsula is an eerily unsettling experience. It’s hard to keep your mind on David Hicks-inspired scarf separates, breezily chic though they may be.

When even Jeremy Scott, erstwhile joker of fashion, chooses not to celebrate his 20th anniversary with an all-out blast of crazy spray streamers, but rather simply wink at his past with camo and cartoons, silver sweats that will go to the ball, and rock-chick dresses made out of exactly that (strategically placed encrustations of big crystal rock), it’s an acknowledgment of the complexity of the situation.

In this context, Mr. Wang’s doodle seemed a fairly hollow response, less Weimar than Wikipedia. But there were others.

There was, for example, Monse’s stars-and-stripes ode to twisted collegiate dressing, all ripped denim and off-center windowpane suiting, football-laced leathers and varsity cardigans pulled atop and sliced at the shoulder. (There’s a lot going on in these clothes; they often doth deconstruct too much.)

Backstage Fernando Garcia and Laura Kim, the designers, billed it as a celebration of America and statement of optimism, but it was the “rotting” ends of a shredded black knit dress, the fraying at the hem of a sequined basketball jersey over slouchy pants, that were the most intriguing parts of the collection.

There was Brandon Maxwell’s ode to “the women who have opened doors for others” in the form of soft-focus rosy day dresses and neatly tailored denim; crisp tailcoat shirting and generous, swishing ball gowns, all haloed in the air of high society yet free of any accompanying elitism.

With this collection, shown at Doubles, the supper club in the Sherry-Netherland, Mr. Maxwell has effectively seized the uptown ground once owned by Jason Wu, who seems to have entirely lost direction, detouring between striped cotton suiting here, haute bohemia there and a selection of Martha Graham-meets-Madame Grès dance dresses.

And there was the safe option; the one that did not insist too much. Victoria Beckham, for example, who said she had consciously decided to avoid showpieces in favor of “clothes I want to wear now,” which meant a combination of the strong (broad-shouldered Holmesian plaid shirting) and the soft (sheer organzas layered atop striped sheaths in minty shades).

Which is what made another show in Bushwick, Eckhaus Latta, worth seeing. Held, coincidentally, in a site across the street from the Wang Fest, a “space for engaging conversations and collaborations across creative disciplines,” according to the program (which is also a pretty good description of the six-year-old label designed by Zoe Latta and Mike Eckhaus), it felt worlds away.

Not because it was escapist, but because it wasn’t. Because the clothes, which are a kind of petri dish of associative splicing, grapple honestly with what is on the designers’ minds: questions of gender and difference and the details of fallible beauty framed in low-slung trousers and shirts cropped and tailored to the navel, knit slip dresses trailing streamers from seams; and a stretch cardigan unbuttoned to expose a very pregnant belly

Gucci design

This time around, Gucci will supply him with all those Gs he once had to pirate.

This relationship follows a high-summer contretemps that saw accusations of appropriation and fair usage fly, albeit with an unusual chicken-and-egg twist. First Dapper Dan copied Gucci. Then Gucci copied Dapper Dan.

In May, at a cruise collection show in Florence, Italy, Alessandro Michele, the creative director of Gucci, sent out a mink jacket that was, in essence, a stitch-by-stitch remake of one Mr. Day had designed for (and in collaboration with) the Olympian Diane Dixon in 1989. The most significant change was that the Louis Vuitton-logo puff sleeves of the original had been converted into Gucci Gs.

“I was very surprised,” he said in an interview at his Harlem brownstone. “Everyone was. It was a wild moment.” The jacket and his original were “very similar — unmistakably similar.”

Ms. Dixon put up a post on her Instagram comparing the two and demanding credit for Mr. Day. Twitter was quickly engulfed in fury of recriminations. An op-ed in Teen Vogue saw the move, its headline announced, as an example of “how the fashion industry fails black people.”

Vice accused the clothing label of “ruining culture.” Gucci quickly said that the piece was a riff on Mr. Day’s, and few of the critics were placated. Where Gucci claimed homage, others saw appropriation.

“For me, we can talk about appropriation a lot,” said Mr. Michele this week. “I didn’t put a caption on it because it was so clear. I wanted people to recognize Dapper on the catwalk. It wasn’t appropriation, it was a homage, to me.”

Mr. Michele did not label his homage to Dapper Dan, he said — just as he did not label his homages to Botticelli or Bronzino. Mr. Michele is an avid student of history, but also a gleeful and heretical mixologist of its disparate elements.

He considers, he said, Dapper Dan to be no different than any other artist in history. Nobody was surprised in the Renaissance, he pointed out, when Botticelli painted in the style of Ghirlandaio.

“I understand that I am putting my hands in a kind of very delicate playground, the black community,” Mr. Michele said. “But I love the black community. I think they have a big voice in terms of fashion.”

For his part, Mr. Day remained mostly silent on the issue. In a profile in The New York Times in June, he acknowledged that, after the fact, Gucci had made contact with him; they were “at the table,” he said. Now, after a trip that brought the entire Gucci design team to Harlem — “They sat on that very couch you’re sitting on,” Mr. Day said — a new partnership will begin.

Since the closure of his shop in 1992, Mr. Day had been, in his words, “underground,” occasionally designing for private customers including Floyd Mayweather Jr. (His memoir, due out in 2018, will shed more light on these years.)

But by the end of this year, he will open a second-generation Dapper Dan’s as a by-appointment studio for custom commissions, staffed, he hopes, with some of the original tailors, and sponsored (“powered,” in the company’s preferred term) by Gucci, which will now supply the raw materials.

What’s more, the two will collaborate on a capsule collection that will be produced and sold in Gucci stores worldwide next spring. Mr. Day himself is the model in Gucci’s new tailoring ad campaign, shot on the streets of Harlem, where he met Mr. Michele at last.

“The thing that’s amazing is, what’s being celebrated today was shut down,” said Stephen Stoute, the founder and chief executive of the marketing and branding firm Translation, who helped to facilitate the partnership between Dapper Dan and Gucci. “The couture guys were sitting in Italy, in Paris, deciding to shut it down, rather than embrace it. Now we look up in 2017, and Dan is the feature in their global advertising campaign. They’re releasing a collection that’s going to be in all locations around the world. We’re bringing Gucci to Harlem.”

Speaking now, Mr. Day acknowledged the controversy that had ensued.

“People were excited in a different way than I was,” he said. “I was just excited about it being there. The part about appropriation, Alessandro and I are part of two parallel universes. The magic that took place as a result of what he did was bringing these two parallel universes together. That opened a dialogue between us when we finally got in touch with each other. I found out how similar our experiences were, the way he grew up and the way I grew up, and how he was influenced by me. I was never apprehensive about what took place. The public was more up in arms than me.”

Mr. Day said he considered the Gucci jacket a homage. He never sought acceptance from the establishment fashion world, though he is also not without pique at those who have borrowed from his signature look, most often without credit, over the years.

“I’m trying to be very conservative about it,” he said. “I just don’t want to call it out. I promised my son I wouldn’t go ballistic.” That son is Jelani Day, who oversees his father’s business and publicity and maintains his archive as his brand manager.

“You have to understand, I was prepared to be copied from the time my store was first opened,” Mr. Day said. “My store first opened, and I couldn’t even get designer garments in there, nobody would sell to me. I’m talking 1982. This is 2017. That’s already behind me. The fact that it has to be two different worlds, I had already accepted that. I was just content with satisfying the people in my community.

The Best Dresses

Rihanna took her fashion line Fenty x Puma, only in its second season, to Paris — perhaps in search of some design legitimacy; perhaps because Puma is owned by Kering, which is based in the city; or perhaps because she’s Rihanna, and she can.

Whatever the reason, she had a surprisingly successful run (surprising because when her fellow musician-cum-designer Kanye West did the same, it did not go so well; France has a healthy skepticism of the celebrity style arriviste), and on Sunday night she rode that success back into New York. Literally, thanks to three freestyle motocross racers who somersaulted their way over giant mounds of sparkly pink sand to start her show. Which was … a celebration of extreme sports clothes! Vroom.

Also scuba suits, bike shorts, track pants, moto leathers and body-baring maillots combined in a nylon, neon and navy blue mash-up of strut-your-stuff sports and attitude. Did her Paris sojourn make a difference in her clothes? Nah. Rihanna changes the city; the city does not change Rihanna. Among all the examples of that strange contemporary phenomenon known as the celebrity designer — and their numbers are growing — she is something of a law unto herself.

Unlike Kanye, she did not equate herself with the geniuses of silhouette, and drown her clothing in bombast. Unlike Victoria Beckham and unlike Mary-Kate and Ashley Olsen of The Row, she did not humble herself before the experts and work diligently to gain their respect, giving up her other career to toil away in the atelier. Indeed, she seems to be acquiring more careers practically every month (as of last week: beauty mogul). And yet she doesn’t seem to be dialing it in. She’s having fun. She certainly looked like it, anyway, riding around the runway on the back of a dirt bike and blowing kisses for her bow.

Diane Von Furstenberg seemed to be having a good time, too, for example, at the presentation of the latest collection for her brand from its creative director, Jonathan Saunders. That’s what happens, apparently, when you finally manage to pass the reins to someone you trust, and can concentrate on other stuff.

She was hanging out at the side of the runway with the guests, watching the show, which had been inspired by the Warhol Factory girl Jane Forth, who was also Ms. Von Furstenberg’s first model. The silhouette was flowy and handkerchief-hemmed, the colors ’70s bright. There were a lot of stripes and shine (sometimes shiny stripes).

“I’ve seen bits and pieces over the last week,” Ms. Von Furstenberg said, “but this is the first time I’m seeing it all.” A model in a cropped khaki jacket and long sunshine-yellow skirt chevroned in two layers of dramatic fringe with a slash of sheer inbetween walked by, and Ms. Von Furstenberg gasped. “That’s a killer!” she said happily. She was into the fringe.

It’s also, of course, part of the subtext of everything Rihanna does, and has become the focus of Prabal Gurung, expressed largely via diversity of size and sexuality on the runway. That’s a good thing, as were the slinky ribbed knit dresses with a buttoned-in waist that could be unbuttoned at will to expose various bits of flesh. Less so the “technical crepe” jackets, shorts and trench coats with corsetry boned into the body, which were heavy handed.

And it was the partly the theme of the dance performance that Opening Ceremony offered in lieu of a traditional show.

Entitled “Changers” and held in La MaMa, the East Village experimental theater, the performance was written and directed by Spike Jonze (of “Her” fame), choreographed by Ryan Heffington (of Sia’s “Chandelier” fame) and starred Mia Wasikowska (“Alice in Wonderland”) and Lakeith Stanfield (“Atlanta”), as well as a number of pieces from the Opening Ceremony collection.

The clothes worked with the story line, which had to do with a happy couple who become less happy when she starts to spread her wings, explore her sexuality and change her outfits — no more cutesy little plaid dresses and red peacoats! Striped body-con knits and cold-shoulder devoré velvets instead!

They grow apart and boogie with others, and finally a new balance of power is found. Woman ascendant.

Indie Designers

At least that was the thinking Elizabeth Solomeina applied when she was struggling to find a way to show and sell the jewelry she designs without spending huge amounts of money on rent or outsourcing her work to various boutiques.

“I needed a place to sell my stuff, I needed a customer base,” Ms. Solomeina said. “When stylists wanted to come over to my studio, I would tell them it’s in Brooklyn, and they would be like, ‘Never mind.’”

“I wasn’t alone,” she said. “I had friends like this, too.”

So in the summer of 2016, she gathered 34 of them and together they pitched in funds to open a boutique called Flying Solo on Mulberry Street in NoLIta. Within three months, the group had expanded to 45 designers. In June of this year, it grew again, adding more than 20 to the roster and moving to a two-floor shop on West Broadway, on the same block as Missoni, Aesop and DKNY.

Last Friday, during New York Fashion Week, the group of 68 held a two-hour-long presentation and runway show in the store, displaying more than 350 looks. During the presentation, models in neutral colors showed off jewelry and accessories, rotating every few minutes.

As techno beats and songs by Little Dragon, Migos and Sango pounded through the speakers, models strutted by in metallic and brightly colored pants and jackets (from Daniel Silverstain, who has designed for Solange and Lady Gaga); long coats with “Proud Immigrant” written across the back (from Ricardo Seco, a Mexican designer); tweed suits and knit dresses (from Kathrin Henon, who works with Dennis Basso); and much more.

Between each section of the show, models in silver pants and Flying Solo T-shirts created by the designers walked by with signs denoting the next designer’s Instagram handle.

Flying Solo operates somewhat like a grocery or building co-op, with members paying a membership fee that goes toward rent, production and marketing costs for events like the fashion week show. Each member is required to work eight hours every week, opening and closing the store, cleaning and helping customers on the floor.

When the team members opened their first store on Mulberry Street, they put together as much of the interior themselves as they could. “We designed the racks, the shelving,” Ms. Solomeina said. “Our designers were sketching, running to Home Depot, assembling racks.” They were ready for customers in three days. On West Broadway, it took all of four.