SHANGHAI — H&M is bringing its fashion designer collaboration initiatives to China, and designer Angel Chen has created a -piece capsule with the retailer’s design team. The collection is due to hit stores in September.
This marks the first time H&M has worked with a Chinese design talent in pursuit of generating buzz among the local fashion community, as well as tapping into the young, fashion-minded, affluent and well-traveled Chinese speaking consumer since the collection will not only be available in China both online and in stores but also in countries with dense Chinese populations, such as Singapore, Malaysia, Philippines and Canada.
Magnus Olsson, country manager of H&M Greater China, said, “The fashion industry is undergoing a transformation, and consumers are constantly changing. We always aspire to create fashion that offers our local customers something new, delivering a good balance between fashion basics, current fashion and the very latest trends. Therefore, we are experimenting with various ways in different markets around the world to bring outstanding design and products to local consumers.
“Angel Chen is a pioneer Chinese designer brand with its colorful approach to fashion coupled with the brand’s core concept of fusion of Eastern and Western aesthetics,” Olsson said, adding that she “is one of the brightest young talents in China and we are very excited for this collaboration. We hope to arouse more public attention to the Chinese young designers’ creativity and influence within the Chinese as well as international fashion industries.”
The capsule is a summary of Chen’s greatest hits, as her designs are often worn by local artists and celebrities. She is also considered a celebrity designer in China. The brand has more than stockists worldwide, including Lane Crawford, Luisa via Roma and Selfridges, and is planning to open its first store.
The Central Saint Martins-trained designer said the H&M collection is based on the spirit of Chinese martial arts, commonly known as Fung Fu. Elements such as a pine tree, bamboo, dragon and crane that have a strong association with Chinese culture decorate the colorful and easy-to-wear parka, hoodie and T-shirts, retailing from renminbi to , renminbi, or $. to $..
“When I was designing the capsule, my priority was to reflect Chinese culture and my brand identity in a meaningful way, sell through became secondary,” Chen said. “I chose some iconic looks from my archive, and gave it an update in colorway, material and details. For example, we used percent recycled nylon mesh fabric to construct my bodysuit, and that came out of a discussion I had with H&M on how to integrate sustainability into my brand.”
China is the fourth-largest market for H&M with stores in Mainland China, as of June. The local market’s preferences have played a key role in making any business decisions since the retailer entered the Chinese market in .
Olsson said “we have been curating a Chinese New Year collection specially designed for Greater China market for six consecutive years to showcase our commitment to the Greater China and also Asian markets. We have also launched Asia-inspired collections since and Asia exclusive lingerie since to cater to the local market.”
He also added that H&M will launch & Other Stories on Alibaba’s Tmall in China this coming fall.
“Ottoman silk textiles are among the most elegant textiles produced in the Islamic world,” she wrote. “In Ottoman society, which included many ethnic and religious groups, dress became a particular marker of any religious affiliation, established by law.”
Filinta also follows Turkish Islamic customs of modesty, such as wearing a transparent kaftan at the beach. “Once, I forgot my headscarf at a funeral. I asked my husband to lend me his hoodie. So, why not a hoodie that becomes a headscarf?” she said. “I am into offering new ideas. I designed it for myself and will be happy if it’s used in our modern times.”
A model wearing Filinta’s designs.
“I am offering designs for the modern world to embrace all of the treasures of our lands,” said Filinta, who first gained her signature reputation in when the ‘bible of fashion’, Women’s Wear Daily, declared her the premier young talent interpreting Turkish traditions with a global awareness.
For her latest SS collection, she collaborated with the Iznik Foundation to produce prints that attract young eyes, while remaining authentic to the regional style of hand-painted pottery and tiles that have defined ceramics in Turkey since the th century.
“I worked on the archives of those periods. The miniatures, the photos and the techniques represented were the same across these lands,” she said, citing research like the th century draftsmen Nicolas de Nicolay and Jacopo Ligozzi, and William Miller’s book, ‘The Costume of Turkey’.
“When I was working on the archives of all the miniatures, I didn’t look to see if the subjects were Jewish, Romanian, Armenian, Muslim,” she said. “The culture and the history of the Ottomans is a deep ocean where I can be influenced and interpret for the modern world.”
A model wearing Filinta’s designs
“There aren’t really big differences between Jewish and Ottoman clothing,” said Nisya Isman Allov, director of the Jewish Museum of Turkey. “In the Ottoman Empire, outside of the home and synagogue, Jews could not wear green in public because it was the color of Islam.” The museum houses a collection of clothing artifacts and replicas of historical kaftans and dresses. In the archive, a long, jade-hued wedding dress from the s gleamed with its gilt-embroidered fountain-like floral embellishments.
“Usually darker outfits were worn by Jewish women and men outdoors,” Allovi said. “If you were a widow, married, or according to your stature in the community, or if you were a tailor or doctor, the outfit was different. You couldn’t wear fur, or yellow shoes. You couldn’t be very shiny. But when you just look at the clothing it’s very similar.”
Historically, Ottoman Jews were forbidden from wearing better quality materials than Muslims, for some time. Jewish identity expression on the Ottoman street varied from the salwar, inner robe, belt and kaftan ensemble. They distinguished themselves among the diverse ethnic and religious tapestry with unique hats, dark robes, white shawls, and black shoes. Indoors, Ottoman residents essentially wore the same clothing. Imperial prohibitions on muslin, silk, satin, furs and other fabrics changed over time, as made evident by the proud, fur-wearing Sephardim of old Salonica.
Filinta represented every traditional type of Ottoman garment for her show at Zulfari Synagogue’s historic building, transforming the embroidered lace of private domesticities into sheer overgarments. But it is in the researched originality of her prints and the sourcing of Anatolian fabrics where she shines.
“Orientalist culture swung between fear and fascination,” she said. “When the Ottomans start to lose their power in the th century, that’s when European admiration of the Orient started.”
Matt A Hanson is an arts and culture journalist based in Istanbul. He is writing a novel based on his Romaniote ancestors’ immigration from Ottoman Greece to New York.
This story Why This Turkish Fashion Designer Chose A Former Synagogue For Her Runway Backdrop was written by Matt A Hanson.
Source: togel online via pulsa