In its ongoing commitment to combat microplastic pollution, the European Union (EU) has officially taken action, implementing a ban on glitter. Effective October 17, the European Commission’s microplastics restriction has come into force, marking a significant step in reducing microplastic contamination in the environment.

This proactive move is part of the EU’s broader initiative known as the Green Deal, with the goal of transforming Europe into the world’s first climate-neutral continent by 2050. The ban primarily targets the sale of microplastics in consumer products, including cosmetics and detergents, seeking more environmentally friendly alternatives to curb ocean pollution.

However, it’s essential to note that not all glitter has been banned. The focus is on loose plastic glitter, the type commonly used for crafting and personal adornment. The EU clarified, “Only certain types and uses of glitter are concerned, depending on what the glitter is made of, what it is used for, and whether it is loose, trapped in or attached to an object,” in a Q&A regarding the ban.

The initial announcement of the glitter ban created a stir among beauty enthusiasts and influencers, causing a surge in glitter sales in Germany prior to the ban’s implementation. Nevertheless, consumers can still purchase glitter; the EU has introduced specific regulations. For instance, glitter made from biodegradable, natural, or water-soluble materials remains permissible, as does glitter produced from “inorganic” materials such as metal and glass. Snowglobe glitter, encased in glass, is also exempt from the restrictions. Additionally, glitter beads and sequins intended for sewing purposes are covered by these regulations.

One pressing concern raised by some is the potential for waste generated by existing glitter products. The EU has addressed this issue by allowing retailers to deplete their existing glitter stock. Glitter, as it stands, can be sold for “makeup, lip, and nail cosmetics” until October 16, 2035, provided the products bear a label indicating the presence of microplastics.

The environmental impact of glitter, especially in terms of microplastic contamination, has been a topic of discussion globally, including in the United States. In 2015, the U.S. Food and Drug Administration (FDA) prohibited the use of microplastic beads in cleansers, exfoliators, and toothpaste to mitigate water pollution, and glitter was identified as a subsequent target. 

“After a single use, thousands of [pieces of glitter] may pass into the waters or soil and accumulate in the environment,” Meral Yurtsever, an associate professor of environmental engineering at Sakarya University in Turkey, told Allure in 2021. Yurtsever emphasized that these glitter particles could “remain intact for centuries.” The concern is not limited to water pollution, as microplastic glitter can also find its way into soil and even be carried by rain.

The EU’s proactive approach to curb microplastic pollution, including the restriction on plastic glitter, is a significant step toward preserving the environment and reducing the long-lasting impact of microplastics on the planet.

The post EU Implements Ban on Glitter to Combat Microplastic Pollution appeared first on The Urban Watch Magazine.

Amid the backdrop of war, Los Angeles’ Fashion Week began with a moving display of eveningwear by Lever Couture, designed by Ukrainian-born, L.A.-based designer Lessja Verlingieri. 

Sergio Hudson, Cult Gaia, Brunello Cucinelli, Ulla Johnson, Prada, Gucci, and Balenciaga are some of the notable brands that are participating in various L.A. events, including dinners, parties, and runway shows that are planned throughout the remainder of the year.

Lessja Verlingieri initiated the week’s fashion festivities at the Barker Hangar in Santa Monica, drawing attention from celebrities like Milla Jovovich, Geena Davis, Johnny Wujek, and Martin Katz. The designer is well-known for dressing stars like Lady Gaga, Jennifer Lopez, and Tems, a singer who wore a viral cloudlike gown at last year’s Oscars.

“Lessja is a close friend of mine, she designed my dress for Cannes last year, and I think it’s important for us Ukrainian girls to support each other, and I had to be here tonight to give her a good rock to lean on,” Jovovich told WWD, adding that the designer’s work “is sculptural but also respectful to a woman’s body. She’s a woman designing for women.”

Backstage, Verlingieri, who last showed in Tokyo in 2022, was reflective. “I love L.A. and I want to make a mark here,” she told WWD of her couture-like gowns. “The collection is supposed to [imitate] emotion, reflect our state going from light to wild, strong silver to happy flowers, then white to black. Because we have in our lives a lot of sadness — especially with everything happening now.”

A pillar of light stood at the top of her runway, and the show began with a voiceover of Charlie Chaplin’s famous speech from “The Great Dictator,” which makes a case for humanity in a time of evil, in his case, Nazi Germany.

On the runway, Verlingieri’s collection featured ethereal mesh goddess ensembles, gowns adorned with flowing metallic streamers, and striking ribbon fringe outfits.

Every ensemble featured in the collection is deserving of the red carpet treatment. However, difficulties persist in light of the ongoing SAG-AFTRA strike impacting the fashion industry. Nonetheless, Verlingieri remains committed, stating “It’s hard, but I cannot stop doing what I love and what I feel.”

L.A. Fashion Week’s history has been marked by a tumultuous journey, featuring competing producers, divergent missions, and ever-changing locations. However, this season, the show is being orchestrated by N4XT Experiences and has garnered recognition from the Council of Fashion Designers of America, with the aspiration of rekindling the enchantment of its past editions.

This year’s L.A. Fashion Week lineup includes Sergio Hudson, Gypsy Sport, Simkhai, Claude Kameni, No Sesso, Theophilio, Luis De Javier, Neon Cowboys, BruceGlen, TomBogo, Saintwoods, Advisry, Sami Miro Vintage, AnOnlyChild, and Demobaza, among others. The event promises to offer a diverse range of collections and styles. The LAFW event will also include celebrity guests, stylists, media coverage, and international press.

The partnership with software giant SAP has enabled N4XT to offer interactive shopping experiences. The event will also feature a BeautyLab installation in collaboration with Lancôme, allowing the public to engage and explore these fashion brands.

Noah Kozlowski, the new vice president and head of designer relations, is spearheading L.A. Fashion Week, ensuring that the event provides designers with ample space to tell their stories and showcase well-made garments. He has created opportunities for smaller brands to shine, emphasizing creativity and quality craftsmanship. The event has strategically been scheduled after the global fashion month to allow designers to have more time for creativity.

Kozlowski shared with WWD, “Launching another main fashion week hub in another city, especially in a place where a lot of manufacturing takes place, will have a lot of impact not only for L.A., but for fashion as a whole. Everyone was interested in knowing the possibilities,” he mentioned, highlighting the widespread enthusiasm among designers he approached for their participation.

The post L.A. Fashion Week Unofficially Begins With Powerful Ukrainian Designer Showcase appeared first on The Urban Watch Magazine.

Bottega Veneta has unveiled the Accademia Labor et Ingenium, also known as the Academy of Craft and Creativity, as part of its ongoing dedication to preserving traditional craftsmanship. The Italian luxury fashion house has a long history of exceptional leatherwork and craftsmanship, which has been a prominent feature of creative director Matthieu Blazy’s collections.

The newly announced Accademia Labor et Ingenium will be situated between Bottega Veneta’s atelier in Montebello Vicentino and the brand’s manufacturing site in Povolaro Dueville, both located in Veneto, the region where the house was originally founded. The academy aims to pass on and further develop the brand’s longstanding association with craftsmanship.

Each year, the academy will welcome 50 students, and upon program completion, Bottega Veneta will offer employment guarantees to its graduates. The curriculum will be overseen by five master artisans from Bottega Veneta, and the academy will also provide mentorship for existing employees in upcycling and reskilling. Additionally, it will collaborate with local partners to celebrate the broader craftsmanship of the Veneto region, fostering exchanges such as the ‘masterclass’ with Università Iuav di Venezia, titled ‘The Artisanal Creative Process: Training Course in Bag Design & Product Development,’ which began on October 16, 2023.

Bottega Veneta aims to ensure the passing of craft knowledge across generations and safeguard its unique savoir-faire. Ruggero Negretto, one of the brand’s long-serving employees and part of the master artisan teaching team, expressed:

 “It’s a great honor and responsibility to pass on this unique knowledge to a new generation and continue the great tradition of the bottega in all its community, creativity, and cultural heritage.”

Ruggero Negretto

Leo Rongone, Bottega Veneta’s CEO, emphasized the strategic importance of the Accademia Labor et Ingenium, stating, “Exceptional craft and creativity are essential to our brand and to the heritage of our home region in Veneto. With the Accademia, we take the collective ethos at the heart of Bottega Veneta to a new level, building on our rich history of skill-sharing and innovation to nurture the artisans of the future.”

The post Bottega Veneta Opens a School for Artisanal Craft appeared first on The Urban Watch Magazine.

Renowned fashion model and TV journalist, Gail O’Neill, who left an indelible mark on the world of fashion and broadcast journalism, passed away at the age of 61 at her Atlanta home. While the cause of her death remains unknown, her family plans to celebrate her life at a later date.

O’Neill’s journey into the fashion world was an unexpected turn of fate. Born and raised in Westchester County, New York, she initially pursued a career in marketing for Xerox after graduating from Wesleyan University. However, a chance encounter on an airplane with photographer Chuck Baker and stylist Martha Baker set her on a completely different trajectory. The duo recognized her potential and introduced her to Click Model’s founder, Frances Grill. Thus, began her remarkable career as a fashion model.

Gail O’Neill swiftly climbed the ranks, working with renowned photographers like Steven Meisel, Annie Leibovitz, and many others. She graced the covers of prestigious magazines such as British Vogue, Italian Vogue, American Vogue, Mademoiselle, Elle, and Glamour. Her appeal extended beyond her striking looks; she was cherished for her authentic personality and unwavering integrity. Clients clamored to work with her, and she was a pivotal figure in challenging the industry’s lack of diversity, especially in the ’80s and ’90s.

“Beauty, or a lack of it, was not something I ever thought about as a young child,” Gail O’Neill once mused in a 2013 online interview with the American Museum of Natural History. “In fact, I think children are far more adept at perceiving true beauty, because they haven’t been corrupted by outside forces. Likewise, the older we get, and the more we buy into mass media’s definition of beauty, the more likely we are to find fault with ourselves and others.”

“I was no different, and by the time I was 11 or 12 years old I was convinced that my tall, skinny frame was some kind of cosmic joke…with me the punchline,” O’Neill continued. “But show me a child who looks like that today, and I see how beautiful they are—like a little gazelle or a baby giraffe!”

Notably, Gail O’Neill actively supported the Black Girls Coalition, a group founded by Bethann Hardison in 1988 to advocate for Black models. Her commitment to the cause was emblematic of her selfless nature, always willing to help and advocate for others.

Beyond her successful modeling career, Gail O’Neill transitioned into broadcast journalism, becoming an on-air personality for major networks like CBS’ “The Early Show,” CNN, and HGTV. Her professionalism, punctuality, and commitment to her work were unwavering. She was known for putting others before herself, and she rarely discussed her modeling career, preferring to talk about her varied interests.

Throughout her career, Gail O’Neill graced the pages of fashion magazines and made a significant impact by appearing in the coveted Sports Illustrated swimsuit issue. She also modeled for iconic designers and brands, breaking stereotypes about American beauty standards.

Besides her contributions to the fashion world, O’Neill developed a passion for photography. Her ability to capture authenticity and reveal the true essence of her subjects set her apart.

Gail O’Neill’s legacy extends beyond her professional accomplishments. She was a beloved figure known for her fun-loving, selfless, and family-oriented personality. Her dedication to diversity in the fashion industry and her unwavering commitment to authenticity will be remembered for years to come. She leaves behind her husband, Paul Viera, her mother, Elaine, her brother, Randy, and her sister, Denise, who was also a sought-after Click model. Gail O’Neill’s impact on fashion and media will continue to inspire generations to come.

The post Fashion Model and TV Journalist Gail O’Neill Dies at 61 appeared first on The Urban Watch Magazine.

LD13 is a new German and New York City-based luxury brand. Under the direction of Creative Director Lisa Deurer, the brand focuses on craftsmanship, farm-to-wardrobe production, and a fully transparent supply chain. It aims to express individualism, encourage a culture of respect, and embrace imperfection. LD13 debuted its latest personality-driven commercial and high fashion pieces at New York and Paris Fashion Weeks with independent designer collective Flying Solo. 

I talked to Lisa Deur about sustainability in fashion. She says based on first-hand experience, fashion is one of the most polluting industries in the world.

“The industry still produces and consumes at a rate that exploits our resources globally. It promotes a fast fashion cycle based on trends, creating piles after piles each week in Brooklyn’s warehouses with throw-away ‘second-hand clothes’ while also paying their workforce the bare minimum,” Deur says. 

After visiting a landfill in 2019 in Pennsylvania while still a fashion student at Parsons School of Design, she observed a mountain of thrown-away clothes. “Back then, I already asked myself the question, how do we want to be remembered?”

After graduating from fashion school, Deur started her avant-garde brand LD13, which envisions a world where luxury in fashion doesn’t express excess but rather heritage, art of the craft, and transparent supply chains. 

LD13 believes in smaller collections, primary colors not based on trends, a like-minded community, numbered pieces, and high-quality crafted products to create a less pollutant fashion brand in the future. 

“I am convinced that the LD13 Wardrobe and our innovation in sustainability allow exchanging ideas to inspire our society with new Farm to Fashion approaches. Be it in Europe or the States, we take pride in our transparent wool supply chain and our collaboration with craftspeople: we know the sheep whose wool we use and the people who produce our fabrics and create our garments. LD13 clothes are not based on trends and fast fashion; they are non-seasonal and last through generations. We want to be remembered for and develop products that are worth being made together with people who care about sustainability, heritage, diversity, and craftsmanship,” Deur says. 

Videographer Lisa Maslovskaya interviewed Lisa Deur for Urban Watch at LD13’s studio in Brooklyn. Watch the video here.

The post Meet LD13: A Luxury Brand Reinventing Sustainability appeared first on The Urban Watch Magazine.

The contemporary fashion label ‘Situationist’ revealed their Fall/Winter collection at 2022 Paris Fashion Week. Committed to the integrity of their brand identity, the up-and-coming luxury fashion label prides itself on creating every garment as advanced as possible by introducing innovative shapes and textures to each collection.

Founded by Irakli Rusadze,  the brand continues to rise in popularity within the luxury fashion space amongst fashion connoisseurs who enjoy pushing style boundaries.

As the Georgian brand remains fully committed to their zero-waste production, we can expect them to always construct their garments using all reusable materials.

For the first time in the history of the brand, they presented one of the smallest collections to date, priding themselves on their positive carbon footprint. 

Although impressively progressive, the brand faces new challenges as political instabilities and the world health crisis of the past few years have directly affected their business. 

Situationist the label remains hopeful for world peace and for a shift in a positive direction for the fashion community despite tumultuous economic and social climates. 

Click to view slideshow.

To shop the latest collection of blazers, coats, dresses & more, head to the link below: 

https://situationistofficial.com/

Edited by Demi Vitkute.

The post Situationist Reveals Zero-Waste Collection During Paris Fashion Week 2022 appeared first on The Urban Watch Magazine.

Fashinnovation, a global platform that connects the fashion industry via entrepreneurship, sustainability, technology and innovation, diversity, and inclusion, hosted their 6th Worldwide Talks live from Spring Studios in New York City on Feb. 3. 

The speakers included designer Nicole Miller, Deputy Editor of both Harper’s Bazaar Arabia and Saudi Jessica Michault, and many CEOs, journalists, models, and other industry experts. 

The Urban Watch sat in on the discussion, which spotlighted luxury-womenswear designer Bibhu Mohapatra. Bibhu Mohapatra signed his first licensing deal in 2014, and his collection is currently sold at Saks Fifth Avenue.

The conversation was led by Global Editor-In-Chief of Refinery 29 Simone Oliver. Oliver is mostly known for her work in identifying and leading underrepresented groups and building media partnerships through the lens of culture, identity, and lifestyle.

The discussion focused on how Mohapatra finds his greatest influence from his deep-rooted Indian cultural heritage. 

“All my life I was surrounded by incredible crafts, and I think of it as an advantage,” the designer said.  “My mom had beautiful panels she made when she was young, and those mixed colors are still in my mind as a language. I learned about motorcycles from my dad, I learned from him how things work and I’m very grateful for that,” he explained.

He continued, “I was born into it: colors, garments, fabrics, and my roots were always very close to me, as a support system. So, when I’m creating something, my head is shaped by culture: colors, linens, the mixes.” 

When asked what traits he thinks a good leader must possess, he said, “To be a good leader, you have to be adaptable to situations, you have to be respectful to your team, and also reduce the distance with them, but at the same time, inspire them and be inspired by them, and don’t be afraid to express gratitude.”

The designer used his leadership skills when the pandemic forced the entire fashion industry to pivot and find new ways to be successful. 

Mohapatra said that the pandemic shifted the industry for many but what kept him grounded was his community of friends, fellow business owners, and the younger generation of innovators. 

In his final words, Mohapatra talked about his lasting impact on the industry. “If I can inspire one person to be on this framework: I’m happy,” he said.

6th Worldwide Talks relied on the support of brands and institutions, including Spring Studios, Bluesign, LIM College, Parsons School of Fashion, FIT New York, and many more.

Since 2018, Fashinnovation hosted over 500 of fashion’s leading innovators to audiences representing 120 countries. Respected voices like Diane Von Furstenberg, Susan Rockefeller, Kenneth Cole, Julie Gilhart, Fern Mallis, Steve Aoki, Steve Madden, Rachel Zoe, Donna Karan, Tonne Goodman, Coco Rocha, Oskar Metsavaht, Mara Hoffman, Miroslava Duma, and many more have shared knowledge through the platform.

Through these global conversations, Fashinnovation aims to ignite revolutionary actions and change across the fashion industry. The platform crosses boundaries and amplifies topics including sustainable development goals, social impact, diversity and inclusion, entrepreneurship, connectivity, and new technologies all seen through the lens of innovation.

Watch the complete Worldwide Talks broadcast here. 

Edited by Demi Vitkute.

The post Designer Bibhu Mohapatra Shares The Influence His Culture Has On His Work appeared first on The Urban Watch Magazine.

The COVID-19 pandemic has disrupted Fashion Weeks worldwide, but this past Saturday, Feb. 13,  fashion fans got a treat from Flying Solo that hosted an in-person runway show on a SoHo rooftop. Even though it was 30 degrees Fahrenheit outside, the models and guests braced the cold, hungry for beauty and a sense of normalcy.

There were six one-hour outdoor shows, and by the beginning of the sixth show, it started snowing a little bit and the runway became icy, making it almost impossible for models to walk in heels. A staff member tried to wipe down the runway without pausing the show, cleaning with the cloth in front of walking models. They slipped many times, but were able to close the show strong, encouraged by the supportive guests who cheered. One of the models was seen crying from the frustration and the disturbing scene raised a question — is it worth suffering for fashion? 

“We tried our best to wipe the runway down but it was still very slippery for models in heels. They were really the heroes of the show and did an amazing job despite the cold conditions,” said Katie Lares, one of the original designers who helped build Flying Solo.

Flying Solo is an innovative company that gives brands that are ready to expand into new markets a platform to succeed through membership-based retail stores, leading-edge PR-showroom, and Fashion Weeks in New York, Paris, and Milan.

During a time when a lot of retail stores have closed down due to the pandemic, Flying Solo not only stayed afloat but has also expanded in size, moving the old flagship location to a bigger venue on 420 W Broadway, formerly a Karl Lagerfeld and a DKNY Store.

Managing Director and Co-founder of Flying Solo Elizabeth Solomeina said they always knew that their innovative membership-based retail model was the only way forward, and this year has proved that correct. “Small brands have no resources to afford standalone stores in areas like Soho, NYC. They also can no longer afford to do quality large-scale shows on their own,” she said. 

“We chose to do a live NYFW show even though it meant significantly more work for us at Flying Solo. It was also extremely challenging to execute in order to comply with all the safety regulations. It would’ve been much easier to organize and host a virtual show but we believed that this was a big moment for independent brands. It was their chance to get significantly more attention so we could not let them down and let the opportunity slip through their fingers,” Solomeina said. 

One of the Australian designers, Vijay Naidoo of Tattva/Truth Desi Streetwear, said she received the invite to NYFW last minute and questioned if she would be able to pull off the show. “Of course with the pandemic at hand, I wasn’t able to fly to New York. Not being able to go meant I had to design a new collection in 10 days! Being under that pressure was both challenging and enlightening. But we successfully managed to get everything to New York on time.”

Planning the fashion show during the pandemic presented unique challenges. In the past years, Flying Solo presented their fashion shows indoors, but for the past two seasons, they showed outside. “Safety was definitely our number one priority, and we wanted to make sure that we kept our guests and staff safe during the event. Everyone was required to wear a mask and temperature checks for staff were mandatory,” Solomeina said. 

Flying Solo showcased 83 brands from 18 countries including clothing, jewelry, shoes, bags, and other accessories. The clothing in the collections ranged from everyday streetwear and athleisure to more extravagant pieces and even swimsuits. Some of the looks that stood out to us the most were the dramatic and provocative designs by Prey Public, vibrant and colorful by Alexandra Popescu-York and Amari Monee, and stunning, dreamy pastel pieces by Hala Al Mamari. 

Romanian-born designer Alexandra Popescu-York, established in New York for more than a decade, said the message behind her collection “HOT mess” was a feeling of hope and vitality– hence, the bright colors. “I think we all came out from a year of pandemic a little shaken up, a little afraid, a little bored, a little messed up but that doesn’t mean we cannot be A HOT Mess. I am very emotional and emphatic with the situation that the whole world is in, and the situation is not a “pink” one. 2020 was a terrible year for all humanity. I chose to rise up and fight in my own way, as an artist and designer, to fight fear, to try to inspire myself and others for a better and beautiful future,” she said.  

Popescu-York gave credit to Flying Solo for putting up a show during these challenging conditions.  “Personally I didn’t feel the cold because my adrenaline was very high and all I felt was happiness and excitement!”

Multiple models that we spoke to also said that the adrenaline rush helped them endure the cold. 

As for the question of whether fashion is worth suffering for, opinions vary. 

“I absolutely love fashion and the creativity that goes into it. People work hard for their vision, designers dream of seeing their work on display and I enjoy seeing and hearing about their success. As long as I am treated respectfully and they know my worth and believe their vision would not be harmful to their model then yes, it’s worth it. It makes you want to try harder to do your best if you feel valued,” model Janine Tondu said. 

“Would I do it again? Yes,” she said. “The runway was slippery but the team was backstage trying to attach rubber soles to our shoes to aid us.”

Model Aleka Ward had a different opinion. “People say beauty is pain, but that’s a different type of pain. Personally, I wouldn’t do it again in those conditions but it was definitely worth the experience,” she said. 

After all, everyone’s testing out a new normal during these unprecedented times, and learning as they go. Perhaps in the future, Flying Solo can install a carpet on the runway or fake grass so the runway has better grip. Only time will tell. 

The post Flying Solo Fashion Show: Cold Weather & Icy Runway appeared first on The Urban Watch Magazine.

A sweeping pandemic has put a mask on everyone’s face in 2020. Face-coverings becoming the new norm has also sparked creativity in the fashion industry. Sonia Smith-Kang, a critical care nurse turned fashion designer, creates art masks for people to express and proudly show off their cultures. 

Smith-Kang is the founder of Mixed Up Clothing, a clothing line focused on diversity and inclusion. Like her other apparel, her masks are designed with cultural element prints and made with fabrics ethically sourced from around the world. 

Piling through her mask collections, you can see prints representing many cultures—silhouettes of kimonos in different vibrant colors, white hibiscus flowers against a mint blue base, colorful Japanese kokeshi dolls on a black background, and other prints. Smith-Kang wants everyone to find a mask that represents their identities.

When sourcing fabrics, it is important for Smith-Kang to understand the fabrics as well as the people who make the fabrics. Smith-Kand said that she draws on her multicultural heritage and her diverse team at Mixed Up Clothing. For her, it all comes down to mindfulness and respect for cultures. 

The fabric masks also have elastic ear-loops, an adjustable nose wire, and a pouch in the back to insert a HEPA filter—Smith-Kang took advantage of her medical background while designing them. The masks are fully cotton woven for them to be breathable and withstand laundering. For every mask a customer buys, the brand donates one for people in need. So far, they have donated over a thousand face masks to the vulnerable populations. 

Smith-Kang’s passion for culture derived from her own background. Born in Puerto Rico to an African American father and a Mexican mother, Smith-Kang spent most of her childhood in Hawaii before moving to Los Angeles. Growing up, she always had a hard time relating to people around her. 

“I had curly hair, brown eyes, and a deeper skin tone – I looked so different from everyone else.” She said growing up, she never really saw anyone who looked like her, especially in the fashion industry. Her experience sparked her interest in culture and diversity from the start. 

Even when she was a critical care nurse, one of the things she always enjoyed in the hospital was discussing diversity and culture with her colleagues. She was curious to know about the relationship between health and culture, recovery rate, and race, among other things. This curiosity has turned her into an activist – she serves as the President of Multiracial Americans of Southern California, an organization that aims to advocate for the multiracial community. 

Smith-Kang started her clothing line, Mixed Up Clothing when she had children with her Korean-American husband. Her multiracial family further solidified her passion for expressing culture with her work. 

“I lived an intentional life where I wanted artwork, food, music, and books to reflect our multicultural reality,” Smith-Kang said as she talked about giving her children a more comprehensive cultural experience in their day-to-day lives.  

Smith-Kang decided to build her own brand in 2011. When the pandemic broke out, she knew from the get-go that there was going to be a shortage in protective gear. Her husband works as a critical care doctor in a local hospital in Los Angeles, which further motivated her to step up and switch gears to mask-making—even before CDC’s recommendation to wear masks and California’s mandatory face-covering order. 

Her masks have received a lot of positive feedback. Many parents also wrote in and said they loved that her masks had sizes for children. Smith-Kang said that she wanted to help kids that had anxiety wearing a mask – so the team made sure the fabrics were bright and fun.

Susan Yahiro Asklipiadis is one of her buyers who decided to use her mask to make a statement about racism. “I’m proud of my Asian heritage and picked a Japanese pattern despite the current acts of hatred happening to Asian Americans,” she said. “ My fabric choice reflects my action to not back down.”

Smith-Kang is also a part of a project called Sewing Circle, hosted by the Lucas Museum of Narrative Art. Over the course of this project, 18 artists, artisans, and museum staff members sewed 1,500 masks for local organizations in need. 

She hopes that during the anxiety-inducing pandemic, her masks can bring comfort to people. “For a lot of us, culture brings us a sense of security.” Smith-Kang said, “We want people to carry that sense of security in a physical mask.” 

Smith-Kang said the pandemic has also shifted the fashion industry in a palpable way. According to Vogue Business, from big department stores to small design businesses, millions of jobs were lost and many are struggling to keep their necks above water. Uniqlo, Old Navy, Outdoor Voices, American Eagle along with many other brands have also started making fabric masks. 

Smith-Kang thinks this shift is a good opportunity for entrepreneurs to be more creative and inclusive. “The key is to genuinely listen to what people from different cultures have to say,” she said. 

Edited by Demi Vitkute.

The post LA Designer Sonia Smith-Kang On Making Masks for Everyone’s Identity appeared first on The Urban Watch Magazine.

In the Spring/Summer 2020 Season, many designers like Schiaparelli,  Valentino, and Giambattista Valli sent looks down their runways featuring vivid facial jewelry or decorations. The question arose—as many Eastern countries have a meaningful history of facial jewelry, when does the trend of facial jewelry become cultural appropriation? We asked Bhavyaa’s opinion and also talked to her about her Indian background, her latest collection, and how her work has been impacted by Covid-19. 

What is the inspiration behind your latest collection?

Jewelry is passed on from mother to daughter, it is a right of passage, a form of inheritance for many. Traditionally, jewelry was also called “stri dhan” which translates to “woman’s wealth.” In Indian culture, historically when women could not own property or wealth, jewelry gave them a sense of financial security. Suppose a lady was in urgent need of money—she had the right to sell her jewelry. Similarly, I wanted my jewelry to help women regenerate a sense of agency, to reclaim their independence, have the confidence to be their own “knight in shining armor.” If someone tries to assault me, I can easily stab them with my earrings. They send a message that I can fight back. I dislike the idea of pleading, then waiting for someone to help me. 

Previously, I had designed and fabricated a free size (adjustable, one size fits all) cocktail ring that can serve as a self-defense weapon for women so that we can feel safer in the parking lot or after a night out with friends. The design is inspired by my personal experience. In middle school, I used to keep sharp pencils or a compass from my geometry box to poke away any men who tried to touch me inappropriately on my way back from school in Delhi Metro. Later, I expanded this idea and turned it into an entire jewelry collection.

Click to view slideshow.

What inspires your process of designing and making? 

The shapes for my jewelry are inspired by the architecture of my maternal grandmother’s ancestral home in Allahabad (now renamed to Prayagraj). Growing up I always had many incredible women in my family to learn from and to look up to as role models. It was like a fortress or a sanctuary that protected me as a child and prepared me for the real world as a young adult.

I design jewelry using CAD software such as rhino and key shot and then 3D print my prototypes to test sizing and dimensions on the body. After finalizing, it is 3D printed again in resin, then cast in reclaimed metal, cleaned, polished, and plated by hand.

Can you tell me a little bit about your background, where you grew up, and how you decided to come to NYC?

I grew up in New Delhi, India where I went to school before moving to New York for college. It was my teenage dream to study at Parsons, eat Murray’s bagels for breakfast, and buy supplies at mood fabrics. Project Runway played a big part in selling me on that dream.

New Delhi is a metropolitan city that exposed me to different and diverse cultural practices within my own country. I loved going to museums, art galleries, classical concerts, and street plays with my mother. One time there was a jewelry exhibition that my parents and I went to—it was the first time the jewelry from the royal family, Nizam of Hyderabad, was open to the public.  I was about 3 years old and I remember my mother being in awe of it all. It was stunning, shiny, and sparkly and I told my mother to ask papa to buy it for her—not knowing that I was referring to the Jacob diamond which is 184.5 carats, making it the 5th largest polished diamond in the world. The Nizam used it as a paperweight in his study.

As many Eastern countries have a meaningful history of facial jewelry—when does the trend of facial jewelry become cultural appropriation in the West?

The older a culture is, it gets more and more complex to accurately dissect it and understand it, especially a culture such as mine, which not only dates far back but also has a lot of influence from other cultures that we later adopted as our own. In Northern India, women get their left nostril pierced and it is a very common practice, widely perceived as a coming-of-age rite of passage. An Ancient ayurvedic medicine belief is that it helps regulate the menstrual cycle and manage childbirth pain. Some sects believe that sex workers have their right nostril pierced. I had my friend from the U.S. visit India and she was approached by various men because of her piercing. At the same time, people from Southern India have many of their own subcultural and tribal practices—some wear left, some right and some even wear rings on both nostrils. 

Facial jewelry is not exclusively a part of any culture, but it mostly gained popularity during the ’60s-’70s or the “hippie movement.” I personally see it as the West embracing something from the Eastern culture, but sometimes it has negative connotations attached to it. 

Can you give me some examples of how you have either experienced cultural appropriation in the U.S. or when you felt discriminated against because of your stylistic choices? 

Facial piercings in the U.S. can be perceived as unprofessional, especially in the corporate culture, but for me—the piercing holds cultural value.

“As a woman of color, you do everything to fit in. For example, you take off your jewelry to come one step closer to where you need to be, but at some point, you realize it’s not just a piece of jewelry that you’re taking off, it’s a piece of your culture.” 

For instance, I’d consider it cultural appropriation if the brand is selling a septum nose ring with a cultural motif, symbol, pattern, or even if it uses indigenous techniques, such as kundan (uncut, unpolished diamond). 

Some of the most disturbing instances of cultural appropriation for me are: When Heidi Klum dressed as an Indian Goddess Kaali Ma for her Halloween party and when Gwen Stefany dressed in traditional Indian clothes for a gala. 

Once, I visited a home décor store chain selling an elephant God statue and it made me feel uneasy because, for me, that’s Ganesh ji, a spiritual symbol and not just a home decor piece. Halloween and Diwali are pretty close to each other in dates, so twice I’ve been asked on Diwali if I’m culturally appropriating for Halloween “That’s my culture,” I responded. 

Someone once asked me if I was copying Gwen Stefani when I wore an ethnic skirt on my laundry day. There have been multiple times I’ve received comments about my outfit after celebrating one of my holidays. Someone said “belly dance for me;” another guy yelled “Yo, chicken tikka masala!” and I was like “Yo, hamburger!” and my friends started yelling words like “Cheeseburger, hot dog!” 

There’s a difference between cultural appropriation and appreciation. I think it was appreciation, for example, when Kim Kardashian wore a sari for the March 2018 cover photoshoot of Vogue India. There are some instances when wearing traditional wear shows appreciation for the culture, like if you’re visiting the embassy of that particular country. 

On the other hand, Karl Lagerfeld commented “Indian women are so chic, even the poorest one will at least be wearing two bangles” after his Chanel Pre-Fall 2012 collection “Paris-Bombay Métiers d’Art.” But it’s not about us being chic—it’s part of our culture; our jewelry is kind of like our life insurance because we can sell it in case of emergency, and it’s an investment. 

What was your experience like at Parsons, one of the best fashion colleges in the world? 

When I started as a freshman at Parsons, I was quite intimidated by my peers as they had already interned with designers like Oscar Dela Renta, were covered by Vogue, and etc. It made me want to work harder and prove myself. Parsons School of Design is one of the best design schools in the world and Fashion Design is one of the most competitive programs. Parsons gave me a platform to connect, compete, and learn from the future leaders of the fashion world. Our professors also worked in the industry. My thesis advisor Muriel Favaro used to be one of the designers for Kate Spade back in the day when she started her brand. Another professor Caroline Simonelli was Donna Karan’s mentor, and she once said: “Fashion is the mirror image of time, and time right now is chaotic”. Techniques can be learned in many different places around the world, but Parsons taught me a way of thinking and finding inspiration. Why do we always need to reinvent the wheel? Sometimes it’s better to just change the approach. A professor once made me design over 100 logos for my brand and it was only after that is when I finally understood what it feels like to think outside the box.

What is your dream job?

My dream job keeps changing, but essentially I want to be in a position of power to bring about change for the better, make a positive impact, and create opportunities to help people. I really like Sofia Vergara’s company EBY—it’s an underwear subscription that uses part of its profits to microfinance loans for women all over the world. Another brand I really admire is Volta Atelier—the designer Fernanda Daudt trains and employs Haitian refugees in Brazil to sew bags made from leftover leather. I want my work to have a larger mission –  to inspire and eventually enable people to make their own move towards financial independence. 

How has COVID-19 impacted your work and what have you been up to during this time? 

Now I refer to time as pre-COVID and post-COVID. Millions of people are stranded away from home and loved ones. I am using this time to ideate and design more, and then re-design and re-imagine that. People are doing virtual photoshoots and that’s amazing—how come we didn’t try that before? I am taking virtual tours of zoos and museums, and it is obviously not the same as seeing it in person, but inspiration can strike anytime. I have an entire folder filled with images and quotes that I found interesting and wanted to keep for the future just in case. I re-discovered a quote from the Amazon Prime show Mozart in The Jungle that I absolutely love:

“She was an artist. At a time when women were supposed to be muses, not artists.” 

This is the time when our ability to think, imagine, write, create art or music is not hindered by lack of time. Pandemic or any global tragedy has a way to seep into art and literature—we create so much art from tragedy.  

You can follow Bhavyaa on Instagram @bhavyaainy

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