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GP_The Reconstruction_Finn Love as The Firestarter
Finn Love as The Firestarter, The Reconstruction© Nick Knight


As Gareth Pugh launches a new project over London Fashion Week, Hannah Tindle talks to the designer about his latest project and how fashion is responding to the times in which we live

This article is published as part of a series of Designer Interviews, where we’re speaking to some of the industry’s most crucial voices about this current – and highly unique – moment in fashion history.


Gareth Pugh has always been known for ruffling feathers and pushing buttons. Ever since he burst onto the London stage in 2004 – a graduate of Central Saint Martins’ star-making MA course – with surreal, club kid-inspired designs, it was clear that he was a natural leader of fashion’s avant garde.

Over a decade on, Pugh remains an iconoclast. After taking a break from London Fashion Week for a couple of seasons, he has returned for Spring/Summer 2021 with a new collection in the form of a non-profit visual concept album. Titled The Reconstruction, the project comprises 13 stills and short films shot by Nick Knight and Jon Emmony (starring an ensemble cast including the likes of Rina Sawayama, Matthew Ball, and Sakeema Crook), a feature-length documentary that goes behind the scenes of making the work, and an exhibition of the collection showing at Christie’s. The project is raising money for Refuge, which helps women and children affected by domestic violence.
We owed it to ourselves and to fashion in general to be part of a conversation that feels a little bit sad at the moment,” says Pugh. “London Fashion Week feels like it could come and go without much fanfare. So it requires people to do things bigger and better than we’ve ever done before. People need something that they can be hopeful about right now.” Here, as part of AnOther’s Designer Interviews series, we have a frank conversation with Pugh about the way that fashion has been reacting to the current climate – and the uncertainty of its future.

Hannah Tindle: For S/S18 you screened a film at the BFI in lieu of a runway show. In light of the current season, does it feel like you had the gift of foresight?

Gareth Pugh: Actually, we started doing things off the runway almost a decade ago in 2009 with a film we produced with Ruth Hogben. I was showing in Paris at the time, and you’re only ever listed on the main schedule if you have a physical presentation and I had to tell a lot of white lies to the Chambre Syndicale. But Didier Grombach was the president of the organisation at the time, and he was obviously quite a trailblazer in his time, introducing a new way of working to the Paris schedule early on with the likes of Claude MontanaTheirry Mugler, and Rei Kawakubo. Luckily, he came to the presentation and left with a smile on his face. We also showed a film with Kristen McMenamy for S/S11. But it’s amazing how much push back from a lot of others we got from doing this at the time. And now, in 2020, everyone’s like ‘let’s make a film!’

HT: It’s the ‘new normal’ this season. How do you think that’s going to work out for everyone? 

GP: I think it’s difficult for some designers. For example, if your clothes don’t lend themselves to film that well, it might be a difficult thing to work around. We’re lucky enough that our clothes work very well on screen and with moving imagery. Fashion films are obviously something that we like to harness to tell a story. I often equate a live fashion show with a tennis match; a lot of back and forth. It’s quite formulaic. With a fashion film, you can portray something bigger than the clothes. It’s much more democratic, too – more people are able to see it.

HT: The behind-the-scenes documentary produced as part of The Reconstruction offers a real window into your process. What was your thinking behind making this? 

GP: What we wanted to do was to create a film that documented us getting our hands dirty at the studio, mixed with high-fashion moments created by Nick Knight and Jon Emmony. It’s a little bit like pulling back the curtain on the Wizard of Oz, I guess, inviting people to see what really goes on. It’s quite exposing, but we’re comfortable with that. This film runs alongside the stills by Nick in the exhibition at Christie’s right in the middle of the room. I like the idea of referencing the gritty making process within such a ‘hallowed’ art space.

HT: What were other conversations that you had during the making of The Reconstruction

GP: In February, Nick Knight asked me to do a screening of Cabaret at SHOWstudio, which is one of my favourite films. That evening, I asked Nick if we would maybe talk about doing something together for the next fashion week. It was time for me to return to the schedule, after securing my trademark back from Rick Owens and my Italian partners. Not that I was held back much before, but this was going to be the first time in ten years that I was going to have complete freedom.

HT: And then lockdown hit … 

GP: Yes and we had to close everything down, including our studio, and I was suddenly stuck in my small London flat. This really highlighted to me how much I love the studio and making with my hands. Also, seeing how other people in fashion were reacting to what was going on around us, it all felt a little bit sad. I just thought, we, as in fashion as a whole, can do better than that. Designers are an adaptable bunch, and what the world needs right now in particular is creative problem solvers.

HT: At the beginning of the documentary, you have included a clip of Nina Simone saying her famous quote: “It’s an artist’s duty to reflect the times in which we live.” How do you think fashion can reflect the times we live authentically and honestly? 

GP: Fashion exists within this strange space. It exists within a space where people understand it in a way that they can’t necessarily do with an artist’s work because it’s wearable. There’s a relatability to it. I think fashion is one of those mediums that can very quickly and very succinctly connect to the times in which we live. Although it can be slow at changing its actual bureaucratic structure, the creative content can. We should be able to move with the times in a very nimble way.

HT: Do you hope to see up-and-coming designers respond to the changing times by engaging with more experimental show formats?

GP: Yes, definitely. Putting on a show costs a huge amount of money and effort when perhaps they don’t have that at their disposal, and often young designers are doing something that is dancing to the beat of somebody else’s drum. But right now, there are no rules in a way, and there are no right and wrong answers to how you show your work. I’m sure that this is a nightmare for those responsible for the long-held structures in place, but it’s a great time for designers to take back control. Often people haven’t had space to even change how they want to communicate their work. The fashion show is a set structure and everyone knows how it rolls. But that’s been taken away, which is really exciting for the new guard.

HT: The worry is that everything will just return to the way it was as soon as it can. What are your thoughts on this? 

GP: There’s much talk of change and it’s a concern that people are just saying what everyone wants to hear right now. But, I was speaking to Nick about this and he really does get a sense that it isn’t just chat and that people are quite invested in it. Giorgio Armani wrote an amazing open letter in April that reflected this. With an Italian designer with a huge commercial hold in the industry to say things need to change and calling people of his stature to follow suit, I am hopeful. We’re glad to be part of that conversation, too, but there’s so much left for us to do.

HT: So what does the future hold for you and the Gareth Pugh studio?

GP: Fashion is always my first love, but we’re thinking of taking a bit of a sidestep from it. The reason why we stepped away from fashion in the first place is that we wanted to stretch our legs creatively. It also feels reckless at the moment to work so commercially, when retail and fashion production is on its knees. Which is why all the proceeds from The Reconstruction are going to Refuge. In regards to what next? Who knows. We don’t have a plan.

Key looks from the collection have been re-imagined in a series of T-shirts designed by Pugh in collaboration with emerging designer Melissa Mehrtens. Sold in exclusive partnership with HIT + RUN, with all proceeds going to Refuge UK, these T-shirts are available to shop here



“This is a really exciting time to be a part of fashion right now.”

FASHIONISTA: It probably goes without saying that we’re into an unprecedented New York Fashion Week season.

Despite the challenges the Covid-19 pandemic has created for many in the fashion industry, the biannual event is still happening, albeit with an abbreviated schedule, different formats and without many of New York’s most prominent designer names.Perhaps that’s all the better for several newcomers to the scene.

As with any other season, a dozen or so designers will be participating in NYFW for the first time ever this week. Most will show digitally, via either the CFDA’s or IMG’s platforms. But why now?

To some up-and-coming names, showing during NYFW still feels like an important way to get in front of an international audience — even if there isn’t technically a physical audience at all.

“Having the opportunity to show our collection during New York Fashion Week as a CFDA-selected designer is a dream come true for us,” says Najla Burt, co-founder (alongside her mom!) of womenswear brand Dur Doux. “New York Fashion Week gives us global exposure. New York remains a major fashion hub and provides a foundation for future interest in the international market, which we hope to see the brand move toward as we grow.”

dur doux designer

Photo: Courtesy of Dur Doux

For some, this season also presents an opportunity that may not have presented itself otherwise. Dur Doux had applied to be on the CFDA calendar three times in a row, and was denied each time; this season marks its first acceptance.

“This is a really exciting time to be a part of fashion right now,” adds Burt. “Although New York Fashion Week will look completely different than it has looked in the past, I think it pushes designers to be more creative and innovative in the way they present.”

Brian Wolk and Claude Morais of Los Angeles-based label Wolk Morais say the brand probably wouldn’t have participated in NYFW were it not for the pandemic.

“When the CFDA approached us to show on Runway360, we were thrilled to be able to present our new work in an environmentally sustainable way on this dynamic new platform,” the designers said in a joint statement to Fashionista. “We thought there was no better time to re-think the way people experience fashion.” In lieu of a show, Wolk Morais will be unveiling a short film created in collaboration with cinematographer/photographer Fiorella Occhipinti and stylist Elizabeth Stewart.


Photo: Courtesy of Wolk Morais

They aren’t the only ones who see this unique moment as an opportunity rather than a challenge or disadvantage. Miko Underwood, founder of Harlem, NY-based sustainable denim brand Oak & Acorn, went so far as to say she feels this is “divine timing.”

Underwood started her brand out of a desire to pay homage to the Black community’s contributions to American denim creation. “This moment is a perfect opportunity to bring global awareness to the history of denim,” she says. These newcomers also bring welcome diversity to the NYFW roster: Of the 22 brands making their debuts, eight are Black-owned.

venicew 2

Photo: Courtesy of Venice W

Venice Wanakornkul of the brand Venice W says that, in a way, being a newcomer is an advantage because she doesn’t have to overhaul any sort of previously established or prescribed way of doing things. “As a new brand, this unusual situation is more of an open picture for us to choose how we want to do things from the start rather than making a change,” she says.

Patricia Bonaldi of PatBo will be moving ahead with a digital show ,but is excited for the eventual return of in-person ones. “While I value the opportunity to show editors, buyers and the industry my collections in person, the health and safety of our community and those around us is much more important,” she tells us. “I believe that once it is safe to travel again, Fashion Week all around the world will be that much more special and we will celebrate surviving this pandemic as an industry, together.”

Read on to learn a bit more about each of the designers making their NYFW debuts this week.


Florida-born, Parsons-educated Najla Burt launched Dur Doux, a luxury womenswear brand, in 2014. Her mother, Cynthia Burt, inspired her love of design and is now vice president and co-designer of the business. Dur Doux will introduce a Spring 2021 womenswear collection digitally on Monday, Sept. 14 at 4:00 p.m. EST under the CFDA.


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@grahamrono in look six

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Colleen Allen will introduce a new collection digitally on Monday, Sept. 14 at 2:30 p.m. EST under the CFDA.


Davidson Petit-Frère launched his namesake line of men’s suiting in 2013 and has since dressed a slew of celebrities including Jay Z, Diddy, Michael B. Jordan and more. At NYFW, he will be debuting womenswear for the first time. Frère will introduce a Spring 2021 womenswear collection digitally on Tuesday, Sept. 15 at 5:30 p.m under the CFDA.


Miko Underwood, a self-described “denim historian,” launched Oak & Acorn, a “genderless luxury heritage brand that pays homage to the untold history of the Indigenous American and enslaved African’s contributions to the origins of American Denim & American manufacturing.” Oak & Acorn will introduce a Spring 2021 collection digitally on Tuesday, Sept. 15 at 4:30 p.m under the CFDA.


Jamaican-born, Brooklyn-based Edvin Thompson launched Theophilio in 2016. The contemporary, genderless line takes inspiration from nostalgia and NYC culture and uses upcycled materials. Theophilio will introduce a Spring 2021 collection digitally on Wednesday, Sept. 16 at 3:30 p.m under the CFDA.


Venice Wanakornkul launched her namesake line with her Parsons MFA graduate collection in 2018, which include pieces made from paper. The brand sort of defies categorization: The designer describes it as “an apple that grows from the tree of mundane life, watered by laziness, fertilized by time, and harvested by Venice Wanakornkul.” VeniceW will introduce a Spring 2021 collection digitally on Tuesday, Sept. 15 at 8:00 p.m under the CFDA.


Los Angeles-based Brian Wolk and Claude Morais will be debuting their ninth Wolk Morais collection with a short film entitled “Driven.” Wolk Morais will introduce a Spring 2021 collection digitally on Monday, Sept. 14 at 1:30 p.m under the CFDA.


Having typically shown in Paris, Faith Connexion is a womenswear and menswear brand comprised of a design collective that pulls influences from art and street culture. The brand just announced the appointment of Alexandre Bertrand and Myriam Bensaid as its first-ever creative leading duo, who will lead a transformation of the brand. Faith Connexion will introduce a Spring 2021 collection digitally on Thursday, Sept. 17 at 9:30 a.m. EST via IMG’s NYFW platform.


Lavie by CK, which stands for designer Claude Kameni, is a Black-owned, L.A.-based womenswear line that has recently gained momentum, having been worn by celebrities like Tracee Ellis Ross and Viola Davis. Lavie by CK will present a new collection digitally on Sept. 15 at 7:00 p.m. via IMG’s NYFW platform.


Brazil-based Patricia Bonaldi’s namesake womenswear line is focused on intricate, hand-beaded dresses now sold everywhere from Net-a-Porter to Intermix, and frequently seen on the red carpet. PatBo will present a Spring 2021 collection digitally on Wednesday, Sept. 16 via IMG’s NYFW platform.


Canada-based Jordan Stewart launched RVNG, her luxury womenswear line, in 2019 at Toronto Fashion Week. RVNG Couture will present a Spring 2021 collection digitally on Sunday, Sept. 13 at 7:00 p.m. EST via IMG’s NYFW platform.


Atlanta native Tiffany Brown had a career in public policy before launching her namesake clothing line in 2008; she also still owns a government consulting business. Tiffany Brown Designs will present a new collection digitally via IMG’s NYFW platform.


Amen is an on-trend womenswear brand making glitzy going-out looks, owned by Italian textiles firm Jato. The brand will present a Spring 2021 collection digitally on Thursday, Sept. 17 at 10:30 a.m. EST via IMG’s NYFW platform.


Consinee Group is a Chinese textile company known as the country’s largest exporter of cashmere yarn. It will present its latest products digitally on Wednesday, Sept. 16 at 9:00 a.m. EST via IMG’s NYFW platform.


Macgraw is a feminine, whimsical Australian womenswear label launched in 2012 by Beth and Tessa Macgraw and is sold by retailers like Shopbop and Moda Operandi. It presented a new collection digitally on Sunday, Sept. 13 via IMG’s NYFW platform.


Maisie Schloss, an alumnus of Parsons and the Yeezy brand, launched this L.A.-based label last year and has already gotten lots of buzz and strong retail partners, like Net-a-Porter, Ssense and The Webster. The brand will debut a Spring 2021 collection digitally on Monday, Sept. 14 at 3:00 p.m. EST via both IMG’s and the CFDA’s NYFW platforms.


Mr. Saturday is a streetwear brand founded in Toronto by Joey Gollish that takes inspiration from music and nightlife culture and creates capsule collections with charitable components. The brand will show a Spring 2021 collection digitally on Wednesday, Sept. 16 at 3:00 p.m. via both IMG’s and the CFDA’s NYFW platforms.


Senlis is a year-old brand of affordable floral dresses with a store in West Hollywood, inspired by the French town of the same name. Senlis will present digitally on Wednesday, Sept. 16 at 4:00 p.m. via IMG’s NYFW platform.STAYME70

StayMe70 is a merch line that Carmelo Anthony launched in June to give back to the Black community, donating 100% of profits to the NAACP Legal Defense Fund. The brand will present a new collection digitally on Monday, Sept. 14 at 7:00 p.m. EST via IMG’s NYFW platform.


Who Decides War is a streetwear-leaning line founded by Ev Bravado that has previously shown in Paris. It will unveil a Spring 2021 collection digitally on Wednesday, Sept. 16 at 11:30 a.m. EST via IMG’s NYFW platform.


Homepage photo: Roy Rochlin/Getty Images



Dua Lipa wears the Marc Jacobs T-shirt; Balenciaga skirt; Clash de Cartier hoop; Wolford tights; stylist’s own large hoops (throughout).

Dua Lipa was photographed on March 6, 2020. Photographed by Tim Walker; Styled by Sara Moonves.

On the Friday afternoon in March that I meet the turbocharged pop superstar Dua Lipa, she drops a second video for her single “Physical.” She’s wearing a Balenciaga black leather jacket, bleached baggy jeans from her collaboration with Pepe Jeans, and pink-and-white Nike Airs. Tall and elegant, approachable and fun, she’s just back from Sydney, where she was headlining the Mardi Gras celebrations for the LGBTQ community. “I was beaming the whole time I was there,” she says. “I went out dancing afterward with Sam Smith to this bar called Stonewall Hotel.”

We’re in the photo studio for the W shoot, where Covid-19 is a talking point and everyone is using hand sanitizer, but the coronavirus hasn’t yet resulted in the cancellation of pretty much every conceivable event, let alone any semblance of ordinary life, worldwide. “Oh my God, stop,” she says when I ask her about it that afternoon. “At the moment there’s a media frenzy that I think is worrying everyone, and I’m in the same boat.” A little over a week later, Lipa posts to her 41 million Instagram followers an image of herself with her friend the Italian designer Giuliano Calza, with the caption: “Wow, on this night we really thought 2020 was gonna be the one…thinking of you all during this difficult and confusing time. Stay safe, wash ur hands, be with your loved ones, and most importantly remember and think of the ones less fortunate than you.”

Prada sweater, top, skirt, tights, and shoes; Maison Margiela Artisanal Designed by John Galliano hat; Sermoneta glove; Martyre earrings.
Photographed by Tim Walker; Styled by Sara Moonves.

Needless to say, Lipa’s plans for 2020, which included a world tour and spots at major festivals, have indeed been upended. She ends up launching her second album, Future Nostalgia, from the sofa of her rented apartment in London the Friday after the U.K. goes into lockdown. For a pop star gearing up for the biggest year of her life, having to cancel all performances must be unbelievably disappointing—like an athlete in her prime being benched. Yet while catching up with her in August over the phone from L.A., where she’s recording new material with someone who, judging from her Instagram feed, is probably Miley Cyrus (“Maybe! But nothing I can disclose,” she teases), Lipa is philosophical. “It was nice for me to realize the importance of patience,” she says of the past few months. “So much of my life is a big to-do list—what do I have to do, where do I have to fly next? It was stressful but also refreshing to have time to reflect on everything that’s happened so far.”

The fact that Future Nostalgia was so well received made things easier. Even though she couldn’t promote the record in any normal sense, Lipa became the first female artist to have four successive singles streamed over a billion times each, and Future Nostalgia was a critical success as well as a commercial smash—in the U.K. it’s even been nominated for the coveted Mercury prize, which usually ignores all-out pop. In the midst of the grimmest time any of us can remember, the giddy disco-fabulousness of Future Nostalgia has been a rare shot of pure pleasure. “My biggest hope for putting this album out at a time like this was that during moments of uncertainty, it would give people the best kitchen dance parties ever,” Lipa says.

Nonetheless, for her, as for everyone, there have been tough moments. “In lockdown, I was getting messages on my phone: ‘Today you would have been performing at London’s O2 arena’—that was hard. Obviously I wish that I was on tour, but I’ve had a lot more time now to perfect the show and make sure that it’s really amazing. Maybe I can change certain bits in it or add to it,” she says. “I’ve been able to hone in and focus on all different aspects of the job.”

One project has been a remix of the entire Future Nostalgia album, masterminded by Kentucky-born DJ the Blessed Madonna and heralded by a new version of the song “Levitating,” featuring both Missy Elliott and the other Madonna. (A remix of “Physical” by Mark Ronson, meanwhile, features Gwen Stefani.) In other words, Lipa has made a clubbing record at a time when no one can go clubbing. “Yes…” she agrees, “but also what I’ve realized during this time is that you can bring the fun no matter where you are. If I can make music to aid that in any way, then I feel like I’m doing my job.”
Chanel Haute Couture dress; Eric Javits hat; Paula Rowan gloves; Martyre earrings; Wolford tights.
Photographed by Tim Walker; Styled by Sara Moonves.

Lipa, who was brought up on her parents’ CD collection, is old-school in her own way. Future Nostalgia was conceived as a rounded body of work that defies the pick-and-mix approach of the streaming era.  “I always get nervous with the question ‘Would you like to only release singles?’ ” she says. “That’s my biggest nightmare; I want to be able to release a full project. I’m learning as an artist and slowly getting to where I want to be.”

She comes from a “very liberal” family of musicians (her dad was the singer in Oda, a Kosovar rock band) and academics (her grandfather was a historian), and was raised mainly in London, but her first language is Albanian, and she is the daughter of refugees. In 1992, three years before she was born, her family was driven out of their hometown, Pristina, by forces under the direction of the Serbian president Slobodan Milosevic. By the time the Lipas returned, in 2006, when Dua was 11, Kosovo had endured a war that resulted in thousands of civilian deaths, the mass displacement of populations, and war crimes for which a number of officials, including Milosevic, were later indicted at the International Court of Justice in the Hague. “My parents always dreamed of going back to Kosovo,” Lipa says. “I think one thing that people don’t realize, especially with the refugee situation at the moment, is that no one just leaves their hometown unless it’s to look after their family or in times of crisis.”

The Marc Jacobs T-shirt; Balenciaga skirt; Gareth Wrighton hat; Clash de Cartier hoop.
Photographed by Tim Walker; Styled by Sara Moonves.

Lipa’s political conscience has been further influenced by the fact that she’s going out with someone who is half-Palestinian: Anwar Hadid, the younger brother of Gigi and Bella, who, like his sisters, is also a model. “He’s also very connected to his roots, and I’ve learned so much from him,” Lipa says. “Everything that’s going on in the world is so complex, but there’s a lot of oppression and a lot of injustice, and the only way I feel we can try and help is to represent people and be able to speak up for them—for refugees all over the world. We don’t want to see oppression and all this racism that I feel the current leaders of the world are pushing forward. We want to see a more liberal future for everyone.”

As followers of their Instagram accounts know, liberal politics doesn’t come in a much more glamorous package than Dua and Anwar. Does Lipa ever get nervous about sharing her private snaps along with her music and images from her photo shoots? Or is it just part and parcel of being a star in 2020 and satisfying the public’s voracious appetite for content?

Saint Laurent by Anthony Vaccarello cape and dress; We Love Colors gloves; Clash de Cartier earring.
Photographed by Tim Walker; Styled by Sara Moonves. Hair by Malcolm Edwards at LGA Management; makeup by Sam Bryant at Bryant Artists; manicure by Loui-Marie Ebanks at JAQ Management. Booking by Special Projects. Produced by Jeff Delich at Padbury Production; production manager: Lauren Sakioka; photography assistants: Jess Ellis, Olivier Barjolle, Guillaume Mercier; digital technician: Daniel Archer; lighting director: Paul Burns; retouching: Graeme Bulcraig at Touch Digital; fashion assistants: Angus McEvoy, Harry Bradbury, Ellie May Brown, Rosie Smythe; production assistants: Charlotte Norman, Charlotte Garner, Alyce Burton; hair assistants: Lewis Stanford, Thomas Temperley, Sharon Robinson; makeup assistant: Paige Whiting; manicure assistant: Simone Cummings; tailor: Alina Gencaite; tailor assistant: Jurgita Doksiene.

“As long as it’s on our terms, it’s okay,” Lipa says. “Anwar’s my best friend, and we share a lot of exciting moments, and it’s a shame not to be able to… I only have that one Instagram account, so it’s my work and my personal life, a little bit of everything. My family follows me on there, and it’s how I keep in contact with my close ones, too. Although there are a lot of other eyeballs, it’s mine.”

She makes it clear, though, that the most valuable connections for her are the ones that take place in real life. Her “Don’t Start Now” video conference on The Late Late Show With James Corden and the “Break My Heart” Zoom performance she did for Jimmy Fallon have been no substitute for the real thing. “Really, I miss touring, that human connection, having the excitement of going out to a restaurant or a bar or something and hearing a song and just freaking out that it’s out,” she says.

The milestones of what would have been her big year have passed with Lipa at a remove—but, as she points out, she’s hardly the only one. “It’s important to remember that we’re all collectively going through the same thing, and right now there’s no fear of missing out in any way,” she says. “We’ll just have to pick things up where we left off when the time is right.”

by Alex Needham
Photo by Tim Walker


We’ll be updating as they’re rolled out.
Vogue Uk Sept 2020 cover

Photo: Courtesy of Condé Nast/Misan Harriman

It’s that time of year again, everyone: September issue season is upon us, and magazines are bringing their A-game with statement-making covers and editorials. Some of the issues even weigh more than a pound (sorry, USPS) and exceed hundreds of pages.

We’re rounding up the fall fashion covers as they become public, so be sure to check back as we update this post with the new releases.

If your plan is to work from home for the foreseeable future, the advent of fall might not bring any major changes. You’ll likely still be plugging away from your home office — be it your kitchen island or your couch — but come September, you’ll probably have a busier schedule of back-to-back Zoom calls.
Since we know that video conferencing isn’t going anywhere after Labor Day, the most functional use of your pre-fall-shopping budget is to grab some new hair accessories. Not only are they more affordable than anything that hangs in your closet, they’re also much more practical: your silk scarf can be worn as a trendy bandana and double as a face covering, while the tortoiseshell claw clip you store next to your laptop can take your post-yoga hair from sweaty to polished chignon in 5 seconds flat. For a full gallery of inspiration of simple and chic hairstyles to refresh your fall style, scroll ahead.
1 OF 5

Silk Bandana

What’s great about a printed silk scarf is its versatility — especially right now. You can wear it to pull your hair out of your face for a work call — like influencer Claire Most — then fashion it as a face covering for your trip to Trader Joe’s.

2 OF 5

Accent Braids

Celebrity hairstylist Justine Marjan predicted accent braids in the early age of Zoom conferencing. “I’ve been loving the placement of two braids right at the front hairline,” she tells us. “Not only do they feel a little retro in inspiration, but they create a trim around the face.” To finish, you can secure your two accent braids with a gummy elastic, curl or tease the ends to keep them from unraveling, or leave them loose and carefree like model Chloe Christian’s.

3 OF 5

Printed Headband

DJ and author Hannah Bronfman is inspiring us to find an Oxford button-down ASAP, and style it with a gold chain-link necklace and printed headband.

4 OF 5

’90s Pigtails

We’ve seen pigtails and high buns take off lately, with celebs like Jennifer Lopez and Taylor Swift wearing similar iterations on the playful style. We’re especially into this cool half-up half-down look on model Cheyenne Maya-Carty.

5 OF 5

Claw Clip

Claw clips have been trending this summer, and will only continue to rise into the fall. Why? Because the comb holds your hair up and out of your face better than a scrunchie — and looks super, super chic. Summer Fridays founder Marianna Hewitt‘s breezy half-updo is proof.


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The verdict is in: digital fashion shows are a flop, at least on social media. Of more than a dozen major #luxury brands that released content tied to men’s fashion week in Milan and Paris, or to their resort collections, none came close to making the same splash on Instagram as the corresponding shows did last year, according to tracking firm Tribe Dynamics. On average, digital shows, videos and presentations generated less than one-third as much online engagement. Few expected the industry to immediately hit on the right formula for online shows, a marketing experiment forced on the industry when the pandemic put an end to public gatherings. Whether a brand opted for an adapted-for-digital runway format, a collection film, or some other unconventional format, the online engagement was relatively muted compared to the same period the year prior. The lacklustre response is likely to strengthen the push to resume live shows before an audience in September and beyond. It also raises questions about the purpose of these shows. ⁠ ⁠ It seems that brands wrestled with whether to create digital presentations that catered to the industry — namely press and buyers who might want an up-close, detailed look at a collection that they might get on a re-see appointment — or those that catered to consumers and prioritised going viral online. In both cases, online #fashion obsessives failed to drive engagement higher, whether due to the lack of industry-wide cohesion, fewer #influencer partnerships, or relatively diminished interest in something like fashion amid a global pandemic and recession. Casting Director James Scully believes the majority of the #digital shows failed to innovate despite the #creative and logistical constraints. “We cannot go back to the business as it existed before including fashion shows, because they were already bloated and boring,” he said. “People trying to go back to that feels tone-deaf and not modern, and what impressed me the most were the people that actually took the time during [Covid-19] to sit and think about where we are now, what we can do.” [Link in bio]

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the body: a home for love is a 501c3 non-profit organization founded by visual artist, deun ivory. the body curates healing experiences + safe spaces for sexual assault survivors with an emphasis on the black female experience. We believe in the psychology of space, that it can be used as a mechanism for healing. through art, wellness and community, we transform public spaces into activations that impart healing rituals to women dealing with sexual trauma channeling vulnerability, storytelling and self-care. Our work is restorative. Centering our service on self-love, agency, and wholeness, we help survivors reclaim their bodies as homes for love.
The@thebodyahomeforlove is gearing up for the August launch of their virtual membership…read below for details!

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“When you think about Black women’s bodies, we deal with a lot of traumas and triggers and stigmatization and objectification,” @deunivory, who founded @thebodyahomeforlove, says. There is a serious need for safe spaces where Black women are able to heal and process their trauma: One in four Black girls will be sexually abused before the age of 18, and at least 20% of Black women are raped, a higher rate than other group of women. The @thebodyahomeforlove team is now gearing up for the August launch of their virtual membership which will give members access to group therapy, yoga classes, mindful movement classes, and affirmation writing sessions guided by wellness practitioners that span the likes of trauma-informed yoga teachers, life coaches, therapists, and meditation teachers. Tap the link in our bio for more details. Photo by @deunivory

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Artists and activists are increasingly relying on these methods to fight racial bias in surveillance tech.

The global range of protests — sparked by the recent murders of George Floyd, Tony McDade, and Breonna Taylor, among many Black lives lost at the hands of the police — has amplified several important issues about systemic racism. Underlining the multiple discourses that challenge the unjust power of police and law enforcement is the issue of racial bias in surveillance tech.

“Invasive surveillance systems like sentiment heat maps, iris scans, automated license plate readers, drones, and, yes, facial recognition do more than strip Americans of our civil rights; they put us, and especially communities of color, in harm’s way,” says Cahn.

But with zero actionable change in sight, the responsibility of fighting the injustice has fallen to the people. One of the most popular anti-face camouflages — that eventually became a breakthrough in anti-surveillance tech — was developed by artist Adam Harvey as part of his NYU thesis in 2010. “CV Dazzle” or computer vision dazzle as he calls it, is an open-source toolkit that facilitates techniques that use makeup, hair and accessories to create asymmetry that would obstruct the detection algorithms.

London-based The Dazzle Club — a partnership between AiR and artist duo Yoke Collective — combines this unique face painting technique with “silent walking.” The group now organizes monthly walks along with discussions that centre around how artists can come together to fight back against surveillance.

“The main aspect of CV dazzle is to throw off the kind of expected symmetry between the left and right side of your face. You do that by applying a mix of bold colors and geometric shapes,” say founders Georgina Rowlands and Evie Price. “The project was inspired by the dazzle ships used in World War [1 and 2] where warships would be painted with bolds — kind of black and white geometric shapes to obscure them out at sea. So we have the same kind of idea: hiding in plain sight with this kind of old graphic aesthetic.”

And now, as the #BlackLivesMatter protests rage on, so have inquiries from curious protestors asking about effective ways to use CV Dazzle. “We have had a lot of people sharing CV Dazzle looks and looks for their Instagram, asking us whether we think it’s a good idea,” the duo say.

Sadly the technology isn’t as effective as it once was. “CV Dazzle was developed in 2010 and it was developed using primitive technologies that are unlikely to work on the current 2020 facial recognition algorithms, especially during the COVID pandemic,” they say. “A lot of developers have really improved their systems so that it can recognize people just from their eyes if they’re wearing a mask.”

The duo also suggest using sunglasses with LED lights (if you have access), along with a face mask, which should offer an adequate (albeit not complete) amount of protection.

And if that’s not enough, there are other effective methods in the making. California-based makeup artist Kel Robinson, for instance, has been working to fight a “12 point recognition system” — something she describes as “the process of opening our iPhones with six points on each side of your face: chin, corner of mouth, cheekbone, ears, eye brow, and eye shape.”

Each of these twelve points can be used to identify someone, but without at least four points, a positive identification is impossible. “The problem is that even while wearing PPE, up to half of these points are still visible,” she says. “To thwart a positive identification, ALWAYS keep your ears covered and use colorful eyeshadows to draw up the shape of your eyebrows. Create as much facial-information you want over your eyebrows to obscure any identifying points.”

While these artists are tirelessly working to create advanced technologies that will counter newer surveillance tactics, the pace at which the A.I.-enabled tech is evolving is unprecedented. For these artists and activists, however, it is a fight worth fighting.

“Anti-surveillance makeup is a potent reminder of how our own bodies have been turned into government tracking beacons,” says Cahn. “They are symbolically powerful, but I’m skeptical that they are practically effective. It’s difficult, if not impossible, to develop a design that can counter every form of facial recognition. Moreover, in a free society, we shouldn’t have to forsake our identity to walk the streets untracked. Instead, the only real solution to facial recognition [is the passing of] state, local, and (one day) federal laws that ban it. Not regulate it. Not reform it. But completely and categorically ban law enforcement use of the facial recognition. Until that date, anti-face can provide symbolic protection, but it won’t give protesters the robust privacy safeguards they need.”


Missing parties and parades during Pride Month? These movies will fill your screen with joy, history and rainbows.

Marsha P. Johnson, in a 2017 documentary about her directed by David France.

It’s June, and that normally means it’s time to celebrate Pride. But with protests, a deadly pandemic and record unemployment convulsing the country, it feels like there’s little reason to party.

That doesn’t mean Pride is over. Parades and events may have been canceled or postponed. But Pride Month festivities are moving online, with virtual drag shows, benefit concerts and many other events daily around the globe.

Movies are no substitute for a rainbow-drenched parade. But they can be entertaining and evocative — and let’s face it, shorter — ways to experience queer community and commune with the past. Here are seven films that will deliver the revolution, camaraderie and flirtatiousness of Pride right to your home.


‘Gay USA’ (1977)

Stream on Amazon Prime.

The director Arthur J. Bressan Jr. was an indie polyglot who made adult films and the under-the-radar 1985 AIDS drama “Buddies” (beautifully restored in 2018). But Bressan, who died from the disease in 1987, also made this carefully observed documentary about Pride in New York and other cities. It’s a fascinating, scrappy time capsule of queer life in post-Stonewall, pre-AIDS epidemic America that chronicles the revelry and protest that greeted the modern gay liberation movement. “Gay USA” also features footage, taken by the activist Lilli Vincenz, of New York’s first gay pride parade, in 1970, on what was then known as Christopher Street Liberation Day.


‘Before Stonewall’ (1984)

Stream on Fandor or Kanopy. Rent or buy on Amazon or iTunes.

The first Pride parades were revolutionary. But for the generation of L.G.B.T.Q. people who came of age before the Stonewall riots in 1969, a parade was only the latest, if most visible, sign of public resistance and self-respect. The uncovering of that past is the mission of this documentary, directed with tenderness and urgency by Greta Schiller and Robert Rosenberg (and selected for the National Film Registry). The movie is chockablock with grainy footage of early Pride parades. But even more fascinating are the Mod-style drag queens, the butch lesbian nuptials and the other people and moments that show how a future for queer life was being forged a future well before Pride officially took the parade route.


‘Jeffrey’ (1995)

Stream on Fandor or Hoopla. Rent or buy on Amazon or iTunes.

New York City Pride makes a cameo in Paul Rudnick’s snappy screen adaptation of his hit 1993 Off Broadway play, set in the uneasy years after the first panicked decade of the AIDS crisis. This sharp-tongued romantic comedy, directed by Christopher Ashley, is about a gay man (Steven Weber) whose plan to swear off sex grows complicated when he falls for an H.I.V.-positive muscle boy (Michael T. Weiss). The sunny, oh-so-’90s Pride scenes — did we really wear that much flannel? — were shot in Central Park and on the streets of Manhattan. They’ll make you wistful for queer marching bands and boastful moms, thanks to Olympia Dukakis’s cheeky appearance as the devoted mother of a transgender daughter.


Stream on Starz. Rent or buy on YouTube or iTunes.

Sean Penn won an Academy Award for his performance as Harvey Milk, the slain gay rights leader, in Gus Van Sant’s biopic set in 1970s San Francisco. In one memorable scene, the firebrand Milk, the first openly gay elected official in California, urges a Pride rally crowd to come out and “break down the myths and destroy the lies and distortions” perpetuated by homophobes. The Hollywood treatment is rousing, but it’s also worth checking out footage of Milk himself from the UCLA Film & Television Archive. A clip of Milk speaking at the Los Angeles Gay Pride Parade, just months before he was shot to death in 1978, is a glorious snapshot of how his fiery charisma lit a match under a movement.


Stream on Hulu or Kanopy.

The smiles: that’s what lifts a parade scene in Robin Campillo’s stirring drama about the Paris chapter of the AIDS activist group Act Up. Beyond a biography, the film is a remembrance of how L.G.B.T.Q. people found ways to love and celebrate despite death, despair and other bleak markers of a plague. In a joyous montage, beaming men bounce about in pink cheerleader skirts, waving pink pompoms. Yet they’re also wearing Act Up’s signature black T-shirts featuring pink triangles (the Nazi emblem identifying gays that was reclaimed as a pride symbol) and the urgent precept silence = mort (“silence = death”). The jarring juxtaposition of mortality and camp is a poignant reminder of how an afternoon of joy meant the world to a generation that didn’t have a minute of rage to spare.


The Death and Life of Marsha P. Johnson’ (2017)

Stream on Netflix.

Murder or suicide? That’s the heartbreaking question that fuels David France’s documentary about Marsha P. Johnson, the trailblazing transgender activist, performer and high-profile elder of the Stonewall uprising who was found dead in the Hudson River in 1992. Yet embedded among the investigative elements of the film is a treasure trove of archival footage of Johnson, described in a 2018 obituary in The New York Times as “a fixture of street life in Greenwich Village.” To watch Johnson resiliently parade down Christopher Street during Pride, her beaming smile accentuated by her signature glossy lip, is to see a revolution in heels.