Irenebrination: Notes on Architecture, Art, Fashion, Fashion Law, Science & Technology

A Survey of Bathing Suits Until 1945

In yesterday's post, we looked at a vintage photoshoot from the mid-'50s that featured some rather peculiar bikinis. Today, let's travel further back in time while staying on the same topic, as we explore a feature published in Life magazine in its July 9, 1945, issue.

The cover model, 20-year-old Paddy Ellerton, sported a striped panung bathing suit with trunks that buttoned up the sides and the magazine included an article that traced the evolution of bathing suits from 1905 to 1945.

According to the feature, a woman's bathing suit in 1905 required ten yards of fabric, whereas by 1945, only one yard was used. This statistic illustrated how bathing suits evolved over time, with more skin being exposed as the decades went by.

A significant figure in this evolution was Annette Kellerman, the first famous female swimmer, who, in 1910, discarded the ruffles and heavy corseted dresses typically worn as swimwear and opted for a sleek, one-piece suit. Following Kellerman, the Sennett Bathing Beauties - a group of women performing in bathing costumes in silent film shorts produced by Mack Sennett (View this photo) - along with the Atlantic City bathing girls, further popularized daring swimwear.

In 1926, Gertrude Ederle swam the English Channel in a brassiere and shorts, a practical choice that encouraged other women, even those less athletic, to adopt bolder styles.

From that point onward, bathing suit manufacturers continued to trim away fabric year after year. Life chronicled these changes in a photoshoot showcasing swimsuits from 1917 to 1945. The article noted how far bathing suits had come but confidently claimed they "cannot go any further." Yet, as time has proven, they certainly did - something we also remembered in the recent Peggy Moffitt obituary.

The images in Life are charming and inspiring (even if today's beachgoers wouldn't opt for black tights…): the feature highlights everything from tight-fitted knit suits to latex bathing suits, belted designs, creations adorned with fancy frills or Jantzen's early swimwear styles. Notably, it includes the infamous 1933 maillot that caused such a stir when displayed in a New York storefront window that police had to manage the crowds since it was skintight and daringly low-cut in the back.

Although this Life feature provides a limited overview (and as we've discussed in another post, versions of two-piece swimwear date back to Roman times…), it remains a delightful read.

Fashion design students, now it's your turn: try and expand this survey by covering swimwear from 1945 to 2025 with drawings, sketches, illustrations and photographs. 

Archaeological Chic in a Timeless Summer Photoshoot

Pop star Madonna celebrated her 66th birthday last night with a private visit to the Pompeii excavation site. During her visit, she toured the House of Menander, the House of the Ceii, and the Great Theater. Madonna also met with performers from a local youth project, to which she pledged a €250,000 donation.

While most of us can't afford a private tour of an archaeological site, the fascination with places like Pompeii is easy to understand.

Pompeii and Herculaneum, both buried in AD 79 during the eruption of Mount Vesuvius, have consistently inspired fashion designers (and it wouldn't be surprising to see them featured in future Dolce & Gabbana collections, especially since Madonna has been a guest of the design duo during this trip in Italy).

As seen in previous posts, staying updated on new archaeological discoveries can spark fresh ideas for designers and antiquities and archaeology have often served as the backdrop for advertising campaigns and photo shoots (remember Gucci's Pre-Fall 2019 campaign?).

While fashion shoots in such settings usually create a contrast between the clothing and the sites' frescoes, mosaics and architectures, there was one case where the designs seamlessly matched with the archaeological environment.

As mentioned in yesterday's post, in the mid-1950s Emilio Pucci designed a collection inspired by Sicily, entitled "Siciliana". The collection featured blouses, shorts, and trousers influenced by the Byzantine mosaics in the Cathedral of Monreale (a theme that resurfaced in Dolce & Gabbana’s A/W 2013-14 collection).

The photoshoot for Pucci's collection took place in the Benedictine cloister of Monreale, where Roman actress Lilli Cerasoli posed among the columns wearing designs adorned with motifs drawn from the 208 mosaic-adorned columns of the cloister.

In addition to these pieces, a swimsuit from the collection was photographed in the remarkable setting of Villa Romana del Casale, an elaborate Roman villa near the town of Piazza Armerina, known for its early 4th-century AD artwork.

Excavations at Villa Romana del Casale revealed Roman mosaics and opus sectile floor coverings spanning 3,500 m², remarkably well-preserved. Some of the most iconic mosaics decorate the "Room of the Gymnasts," also known as the "Chamber of the Ten Maidens" (Sala delle Dieci Ragazze).

This mosaic, titled the "Coronation of the Winner" by scholars, depicts women athletes competing in weightlifting, discus throwing, running, and ball games. Some wear accessories and jewelry, and sport intricate hairstyles. In the lower left side, a toga-clad official holds the victor's crown and palm frond, while the central figure is crowned as the winner.

This mosaic has consistently attracted the attention of fashion designers due to the athletes' two-piece outfits, which closely resemble modern bikinis.

Of the ten women shown, nine are wearing this look which is actually not a bikini, but a combination of the subligaculum (a loincloth wrapped around the thighs and tied at the waist; from the Latin subligo, "to tie underneath") and a strophium (a breastband often made of linen).

Pucci recreated the outfit from the Piazza Armerina mosaics, using modern fabrics instead of linen. The resulting bikini was photographed at the Villa Romana del Casale, right beside the ancient mosaics that at the time were still being excavated (spot a random worker in one of the images...).

The photos, along with those taken at Monreale Cathedral, were shot by German photographer Elsa Haertter, who had honed her impeccable sense of style after years in Paris and Milan.

Today a fashion photoshoot with a model lying or walking on the mosaics would likely be prohibited for preservation reasons, in this case the composition was perfect as the model looked like one of the girls represented in the mosaics. The blend of simplicity, modernity, and antiquity in the images creates a striking visual that still feels surprisingly contemporary.

The mosaics show Roman female athletes in what can be seen as early sportswear rather than swimwear, while Pucci's design, inspired by these historical outfits, offer a fascinating blend of historical inspiration and modern design and Elsa Haertter's photos capture this fusion beautifully, remaining iconic and unmistakably summery.

Palio Reimagined: Finding a New Fashion Narrative in Heritage

Fashion inspirations can come from anywhere, often drawing from local traditions. In Siena, Tuscany, Italy, the Palio is a prime example of such inspiration.

This historic horse race, with roots dating back to the Middle Ages, takes place twice a year: at the beginning of July and on August 16th (this year it will be postponed to tomorrow, August 17th, due to rain). The latter, known as the Palio dell'Assunta, honors the Assumption of Mary to heaven, a Catholic celebration observed on August 15th.

The race features ten horses and riders, each representing one of Siena's seventeen contrade, or city wards. Seven contrade that did not participate in the previous year's Palio are automatically included, along with three others chosen by drawing lots.

The competitors circle the Piazza del Campo three times, and the entire event usually lasts no more than 90 seconds (please note that the Palio has faced significant criticism from animal-rights organizations throughout the years, concerned about incidents during the race that cause falls, which, in some cases, have led to the deaths of horses).

The 17 contrade are: Aquila (Eagle), Bruco (Caterpillar), Chiocciola (Snail), Civetta (Little Owl), Drago (Dragon), Giraffa (Giraffe), Istrice (Crested Porcupine), Leocorno (Unicorn), Lupa (She-Wolf), Nicchio (Seashell), Oca (Goose), Onda (Wave), Pantera (Panther), Selva (Forest), Tartuca (Tortoise), Torre (Tower), and Valdimontone (Valley of the Ram, usually shortened to Montone, Ram). Each contrada is distinguished by its unique colors and symbols.

Italian fashion designer Emilio Pucci was famously inspired by the tradition of the Palio. In August 1955, Pucci attended the Palio dell'Assunta and was profoundly struck by the vibrant costumes, rich colors, and excitement of the event.

This experience led him to focus his Spring/Summer 1957 collection entirely on the Palio of Siena. This collection marked a continuation of his approach to creating theme-based lines centered around Italian inspirations, following his previous Sicily-inspired range.

In the case of the Palio, Pucci faced a challenge: he had to try to avoid overcharging the collection with a multitude of motifs, from the heraldry of the seventeen flags, to the colors of the contrade, and the Renaissance-style costumes of the historical procession. There was a risk that these elements could become kitschy if not handled carefully.

Pucci approached the flags of the contrade not as mere replicas but as inspiration to be reinterpreted in a modern way. For each contrada, he designed a silk twill scarf featuring unique prints in various color variations (up to ten for each contrada), diverging from the actual colors of the city wards. The final combinations were carefully studied, as evidenced by numerous designs and sample cards. The scarves were then transformed into shirts, shorts, and tops.

For daytime wear, the collection included silk twill shirts, some reminiscent of jockey attire, paired with classic solid-colored cigarette trousers. There were also dresses, flared skirts, and printed cotton trousers, including knee-length culottes that vaguely echoed the trousers of odalisques.

The beachwear collection was acclaimed for its originality and playful spirit. Alongside the traditional one-piece cotton swimsuits, Pucci introduced the first bikinis, complemented by cover-ups inspired by the attire of pages. Medieval velvets were transformed into chenilles, and terry cloths were fashioned into small beach capes and long robes open at the sides, doubling as convenient beach towels.

Stanley Marcus had initial reservations about Pucci's thematic choice (the Palio collection is certainly not for fans of minimalism...), but then became an enthusiastic supporter, and for the American market Pucci created a collection of cocktail dresses and evening wear.

The evening wear featured a single design: a bustier dress with a wide pannier skirt in seventeen different fabrics representing the various contrade.

For the cocktail collection, Pucci designed three distinct models: a simple balloon dress, a high-waisted silk dress, and a dramatic cotton satin dress with a double over-skirt. The press and buyers were impressed not only by the originality of the designs but also by the incredible variety of prints and the bold, captivating use of colors, which infused the garments with a fresh sense of joy and irony.

In a text explaining his inspirations, which included the history of the Palio and images of the different contrade, Pucci stated: "Siena… the black and white of the Cathedral's marbles (…) the red of its Palaces, but above all the fantastic colors of the contrade, that's what I used as inspiration for my new collection. It may seem strange that I chose such a remote theme for my work, which has such a modern feel, but as a contemporary Florentine artisan, I feel very close to the artisans of the 14th and 15th centuries. It is precisely the medieval element of the Palio, with its rich geometric motifs and colors, that fascinated me."

The collection was contextualized and launched through events inspired by the Palio. Just before the July Palio of 1956, costumed participants from the various contrade, including pages, standard bearers, and local citizens, were photographed alongside models wearing Pucci's designs. Siena's iconic locations - Piazza del Campo, Fonte Gaia, the Duomo, and the Torre del Mangia - served as the stunning backdrops for these photographs, taken by renowned American photographer Lee Thody.

The collection was presented in February 1957 at the Sala Bianca, at Palazzo Pitti in Florence, where the show was opened by four pages from the Tower contrada and ended with a parade of seventeen models, each showcasing a scarf transformed into a flag representing one of the seventeen contrade. The set design, which echoed the Palio's vibrant themes, was replicated with great success in various locations, including San Francisco, Seattle, Birmingham, London, Nairobi, and even Leningrad.

The San Francisco Chronicle commenting on the runway show described it as an ancient spectacle re-imagined in Technicolor.

In 2007, an exhibition in Siena celebrated the fiftieth anniversary of the collection, highlighting its lasting influence on fashion.

The collection inspired other designers, including Japanese designer Tokuko Maeda whose 2010 collection featured a mix of flags and heraldic symbols, reflecting the enduring impact of Pucci's designs.

If you like Emilio Pucci's vintage Palio designs, but can't afford an original piece, well, consider re-purposing a Palio flag for a fun and creative project.

Alternatively, you might explore a fresh narrative rooted in the year of Pucci's 1957 collection. During that period, Luigi Zampa was filming The Love Specialist (also known as La Ragazza del Palio and The Girl who Rode in the Palio), a romantic comedy set against the backdrop of the famous horse race.

The film tells the story of Diana Dixon (Diana Dors), a Texan girl who wins a quiz show jackpot and decides to spend her prize- a cash reward and a brand-new Cadillac - on a trip to Italy. When her car breaks down near Siena, she encounters Prince Piero di Montalcino, a charming Italian nobleman. Believing each other to be wealthy, they embark on a romance fraught with misconceptions and surprises.

The plot reaches its peak during the Palio horse race. After Diana discovers that Prince Piero has bribed the jockey of a rival contrada to ensure his horse's victory, she confronts him and ends their relationship. Determined to prove her worth, she convinces the rival horse's owner to let her ride it in the Palio. Diana wins the race, and the film concludes with her marrying the Prince.

Many extras in the horse race scenes were real jockeys, but there was also a woman who raced among them, Rosanna Bonelli, the first and only female jockey in the modern Palio (before her there was Virginia Tacci who rode in 1581 for the Dragon, but this palio is not included among the official ones).

Known as "Diavola" (the She-Devil) or "Rompicollo" ("Breakneck"), a nickname taken from the eponymous operetta written by her father, Bonelli initially appeared in a mock Palio race staged for the film's shooting crew, first replacing the jockey of the Pantera (without the production's knowledge) and later serving as a stunt double for actress Diana Dors (who was afraid of horses) when  the chosen stuntwoman had an accident. This exposure paved the way for her dream to compete in the actual Palio on August 16, 1957 (she was also encouraged by the film producers who were looking for a story to advertise the movie).

Racing for the "Aquila" team, Rosanna Bonelli eventually made history as the only woman to participate in Siena's iconic Palio horse race. Although she did not finish in first place like the film heroine (hit by another horse, she had an accident and fell, as reported also by Italian weekly La Domenica del Corriere), she was honored with the title of "honorary jockey" by her contrada.

Since then, no other woman has competed in the Palio, so this story offers a fresh narrative for a fashion collection, one that departs from the colorful and eclectic designs of Pucci and instead draws inspiration from a female jockey breaking through traditions and defying conventions.

Indeed, to hell with traditions (after all they exist to be reinvented...) and cocktail dresses. Let's change the Palio fashion narrative with a celebration of trailblazing women and their indomitable spirit, otherwise we will have to turn to Artificial Intelligence to imagine a Palio with female jockeys (see last image in this post).

Fashion Obituary: Peggy Moffitt, Iconic Model and Muse (1937-2024)

"Peggy Moffitt (…) is an extraordinary model. At collections, after watching haughty, impersonal models, it's always a relief when Peggy comes on. She strikes odd little poses, surveys the audience, and generally behaves like a pretty clown," wrote New York Magazine in a feature about Peggy Moffitt in July 1968.

Moffitt's distinctive style of modeling was confirmed by the model herself in The Rudi Gernreich Book (1991), published with her husband, photographer William Claxton. Reflecting on her unique approach, she stated, "I entertained myself and the audience by regarding the collection as a play, with each outfit a new act or a new character," adding, "I didn't really model the clothes so much as perform them."

Unforgettable in her architectural five-point Vidal Sassoon bob (which hinted at Le Corbusier's five principles) and trademark heavy eye makeup, Moffitt passed away last week in Beverly Hills at 86 after a long illness.

Born in 1937 in Los Angeles, Margaret Anne Moffitt studied acting and dance (both of which influenced her unique modeling style) during the 1950s at the Neighborhood Playhouse in New York, where she trained under Sydney Pollack for acting and Martha Graham for dance.

She appeared in various films, including Viva Las Vegas! (1956), Senior Prom (1958), and The Young Captives (1959), often in uncredited supporting roles.

Meeting Rudi Gernreich in 1954 while still in high school, and her future husband, photographer William Claxton, in the late 1950s, proved life-changing since she became a muse for both Gernreich and Claxton. At the time, Claxton worked as an art director for a record label and was better known for his black-and-white portraits of leading jazz figures like Duke Ellington, Charlie Parker, Count Basie, and Thelonious Monk. Claxton took the famous image of Moffitt in Gernreich's monokini - a topless swimsuit that exposed the breasts and scandalized the world.

The design of the monokini wasn't actually intended for commercial production, and Gernreich's goal wasn't to sexualize women but to liberate the breast in an almost political and cultural statement. Moffitt agreed to model it only under certain conditions: that her husband, William Claxton, would photograph her, and that the image wouldn't be published in men's magazines.

Despite this intention, the backlash against the design that was supposed to be a symbol of women's freedom, became part of fashion history. The monokini was banned by the Pope and criticized by the Soviet newspaper Izvestia, which used it as an example of the decline of morality in the U.S. The topless swimsuit made as much of a global impact as the first lunar landing, solidifying Moffitt's status as the ultimate "mod" it-girl.

Moffitt modeled in New York, London, and Paris, and appeared in cult fashion films, including Michelangelo Antonioni's Blow-up (1966), where she is shown modeling for the protagonist, a fashion photographer played by David Hemmings.

She also featured in William Klein's Qui êtes-vous, Polly Maggoo? (Who Are You Polly Maggoo?, 1966), in original fashion photographs taken from prominent magazines and shown from during the film, and in the scenes with the models in striped designs and during the sequence of the fashion shoot in the graveyard.

In 1967, Claxton and Moffitt produced what is considered the first fashion video, "Basic Black", featuring models Léon Bing and Ellen Harth in Rudi Gernreich's animal-patterned dresses with matching tights and underwear. Later that same year, Gernreich, Bing, and Moffitt appeared on the cover of Time magazine.

A muse who continued to dress the part and do her own makeup as the years went by, Peggy Moffitt even inspired a children's book.

In the late '60s, while working on a series of books for children about the seven deadly sins, author and illustrator William Pène du Bois was inspired by Moffitt after observing her meticulously apply her trademark makeup for two hours.

Pène du Bois asked her to be the muse for the main character in his book about one of the deadly sins, vanity.

Moffitt gladly agreed and even helped create the character that became the protagonist of Pretty Pretty Peggy Moffitt.

The book features a mini-Peggy character dressed in Gernreich outfits who can't resist admiring herself in every reflective surface she passes, leading to a series of unfortunate accidents.

Bruised and battered in this moral tale about the dangers of vanity, she finally comes to her senses after a final tumble down a coal chute (fashion fans and fashion collectors, keep an eye on the book as sometimes it reappears at auctions).

The book itself later inspired a photoshoot for New York Magazine in 1968, featuring Moffitt posing next to Pène du Bois's character while modeling Rudi Gernreich knitwear.

Moffitt's distinctive look and graphic style often made her a modern muse for contemporary designers, though she didn't hold the contemporary fashion scene in high regard. She instead remained steadfastly loyal to Rudi Gernreich, continuing to wear his designs throughout her life.  

After Gernreich passed away in 1985 at the age of 63, Moffitt held the trademark to his name (but Gernreich had a longstanding alliance with the American Civil Liberties Union, so and the intellectual property of his estate was bequeathed to the organization) and owned around 300 of his pieces, including some in color combinations never commercially produced.

In 1991, she released The Rudi Gernreich Book with her husband, with whom she remained married until his passing in 2008.

Gernreich remained an inspiration for many contemporary fashion designers (think about the scoop-front dress in Daniel Roseberry's SA/W 21 collection for Schiaparelli - View this photo - a reinvention of Gernreich's design in the third image in this post, that Roseberry covered with a breastplate representing a pair of golden lungs).

In 2003, Moffitt collaborated with Comme des Garçons on a line that reinterpreted Gernreich's creations and that included trompe l'oeil designs directly lifted from Gernreich's pieces (View this photo), including a black sweater with two white circles and a triangle, an abstract representations of two breasts and a pubis (see also first image in this post). 

In 2012, Moffitt's private collection of Gernreich's designs was showcased in "The Total Look: The Creative Collaboration Between Rudi Gernreich, Peggy Moffitt, and William Claxton", an exhibition that opened at the Museum of Contemporary Art's Pacific Design Center in West Hollywood, California.

In 2019, some of the pieces from her collection were featured in "Fearless Fashion: Rudi Gernreich" at the Skirball Cultural Center in Los Angeles and in 2018 selected items by Gernreich were relaunched, but the project didn't prove successful.

Moffitt embodied the rare synergy between muse and designer, elevating her collaboration with Gernreich into a creative force. Through her distinct style, expressive movements, and presence, she vividly illustrated how his avant-garde yet fluid designs symbolized freedom and self-expression at a time when women were striving for greater social and political autonomy.

She remains an iconic figure as she also demonstrated throughout her life the importance of creating a signature look and staying true to it. Reflecting on her trademark makeup routine, she once said, "It's my own private penance for being a model with a personality. I have to create my face each morning, like a monster."

Designing for Health: M&S Launches Stoma Bag Knickers

Anatomy can certainly inspire fashion designers, as seen in the previous post. However, direct experiences with medical issues often play an even bigger role in sparking new ideas and products. Personal health challenges or caring for a family member with a medical condition can lead us to think about how design can improve our lives or theirs. Moreover, creating such products can help reduce the stigma associated with certain conditions. Take, for example, the stoma bag.

This medical device collects waste from the body after a surgical procedure that creates an opening (stoma) on the abdomen. The stoma is connected to the small intestine, large intestine, or urinary system, depending on the surgery. Stoma bags are necessary in various situations, including conditions like colon cancer and ulcerative colitis.

About 20 years ago, when a family member had to use a colostomy bag, I wasn't familiar with it. After they explained what it was, I doubted my ability to help with the changes because I was so terrified. However, my perspective shifted when we connected with a company that produced stoma bags and provided excellent products and patient support. In this case, thoughtful design played a crucial role in helping us accept this new medical reality. 

Last week, this experience resurfaced when I heard that UK high street retailer Marks & Spencer had launched a range of knickers designed to be worn with a stoma bag. M&S is a popular destination for underwear in the UK, selling over 60 million pairs of knickers a year, according to a press release of the retailer, but this is a first for them as well.

The range of stoma knickers - available on the retailer's website and in select M&S stores starting this month - features soft cotton pants with light control stretch and a pocket opening to keep the stoma bag securely in place throughout the day and night. These knickers are available in affordable packs of three, in four colors, including classic black and a mixed-color pack in rose quartz, pink, and magenta. They can also be coordinated with bestselling bras from M&S's main lingerie collections, offering customers the rare opportunity to match sets - something that’s not always possible with regular stoma knickers. Priced at £18 for the classic High Leg and Brazilian styles, with lace designs available at £20, they are more affordable than similar products in specialized stores and are VAT exempt.

The idea for these stoma knickers came from M&S employee Jiggy Sohi, who was inspired by her own experience living with a stoma. Her idea was echoed by other M&S employees, including Hannah Gadsby, a Customer Assistant at the M&S store in Norwich, and Denise Jones, a Bra Fitter at the M&S store in Newport Retail Park, who both submitted suggestions through M&S's colleague suggestion scheme, "Straight to Stuart."

Jiggy was one of over 20 M&S employees and customers who tested the product throughout its design and development process. The knickers were also created with input and support from the Colostomy UK association.

While there are influencers who have been documenting their lives with a stoma bag on social media, encouraging others, this new initiative will further increase visibility for people living with this condition. Colostomy UK estimates that over 200,000 individuals in the UK live with stoma bags, with 100,000 of them being women. This is why the launch of the first stoma knicker range for women at M&S is expected to be a success. Indeed, at the time of writing this post, one style has already sold out, and another is marked as being in high demand on the M&S website

M&S has consistently focused on creating more accessible and inclusive products, developing a successful range of underwear that caters to diverse needs. Their offerings include a new neutrals lingerie line that provides more skin tone options, VAT-exempt period knickers, post-surgery bras, and an easy-dressing range for children with sensory or physical disabilities. This range includes all-in-ones designed for casts (like those for hip dysplasia), and tees and dresses with pockets for feeding tubes, all made with soft materials, minimal seams, and hidden care labels to avoid irritating sensitive skin.

Who knows, maybe in future, we will see some collaborations between young fashion designers and M&S to make some of these items even more appealing. But this story reminds us that fashion should empower and uplift us, not make us feel miserable. While trend forecasters might use Artificial Intelligence to predict future styles, listening to people's needs can inspire products that may not be fashionably trendy but are essential and will sell well. With health conditions on the rise, it doesn't take a genius to develop better products, but it takes retailers and designers willing to listen to others' experiences and create garments that can truly improve their quality of life.

From Golden Records to Upcycled Couture, The Paris 2024 Closing Ceremony Was a Bold Visual Narrative

Fashion was one of the protagonists of the Paris 2024 Olympic Games opening ceremony: as LVMH Moët Hennessy Louis Vuitton was premium partner of the games, one of its brands, Dior dressed Celine Dion, Lady Gaga and Aya Nakamura. Yet in the various segments of the ceremony there were also creations by independent Paris-based designers such as Jeanne Friot, Charles de Vilmorin, Victor Weinsanto, Alphonse Maitrepierre and Kevin Germanier.

A graduate of Central Saint Martins in London, Swiss Germanier launched his eponymous brand in 2018 and held his first show in Paris in March 2022. Germanier has gained recognition for his innovative and sustainable designs, characterized by the upcycling of materials like feathers, beads, and sequins, an approach he began as a student when financial constraints led him to re-purpose old sheets and beads. His work often incorporates masks, reflecting his passion for sci-fi, manga, and video games, that fuel his distinct, alien-inspired aesthetic.

At the Paris 2024 opening ceremony, Germanier dressed Italian Paralympic fencer Beatrice "Bebe" Vio Grandis for a segment that reimagined a fashion runway as a ballroom event. This segment also featured several drag queens, including Nicky Doll, Piche, Kam, and Paloma.

Bebe Vio stood out in a mini-dress adorned with feathers that extended outward, creating a floating effect around her. Germanier integrated her prosthetic arms and legs into the outfit by covering them in crystals and rhinestones, making them a seamless part of the ensemble. Unfortunately, this striking moment was overshadowed by the controversy surrounding the opening ceremony. Far-right politicians and conservative Christians criticized a tableau they perceived as a parody of "The Last Supper" (hilarious how, in their fervor to attack the ceremony, Italian far-right politicians who love celebrating nationalism at every opportunity, missed the chance to do so when they did not spot Bebe Vio).   

However, Kevin Germanier had a second opportunity to showcase his work during the Olympic Games ceremony on Sunday evening, which centered around a narrative that combined sci-fi elements with sports values.

Entitled "Records," the ceremony referenced Olympic sport records, but also the Golden Record - a time capsule sent into space by NASA's Voyager probe in 1977, designed to communicate the essence of life on Earth to extraterrestrial beings. This record, still floating in space, is design to serve as a manual for extraterrestrial visitors and it is filled with images, music, sounds and greetings. In the ceremony, it inspired the appearance of a unique visitor from the stars.

Directed by Thomas Jolly, the artistic director of the Paris Games, the ceremony celebrated the Olympic spirit, diversity, and solidarity. The central figure was a Golden Voyager, a space traveler who descended into the Stade de France and, with fellow explorers, uncovered remnants of the Olympic Games - symbolized by the five rings - lost in a distant future where the games had been forgotten.

This voyager was portrayed by French dancer Arthur Cadre, a specialist in breakdancing and contortionism, dressed in a costume designed by Germanier.

The design drew inspiration from the Golden Record (and obviously from gold medals...), but also from human anatomy, and the bodies of athletes. The costume featured indeed anatomical elements, such as a rib cage on the front and a spine on the back, evoking the structure of the human body. The character's antennae, reminiscent of Mugler's insect-inspired creations, added a futuristic touch.

One of the key references for the costume was Jean Baptiste Marc Bourgery's 1830 work "Atlas of Human Anatomy and Surgery," which has long served as an inspiration for fashion designers exploring the intersections of anatomy and design (first year fashion design students, please check it out if you've never heard it).

To ensure Cadre's ability to move freely, Germanier incorporated practical features like zippers along the sides of the costume, allowing for unrestricted dance movements.

Staying true to his eco-friendly ethos, Germanier adorned the voyager's outfit with over 20,000 upcycled gold beads and sequins, sourced from a supplier in Hong Kong. Some beads were oxidized, but they were used all the same to give the costume a weathered, slightly burnt appearance, suggesting the voyager's long journey through space and fall on Earth.

Germanier also designed costumes for the over 100 acrobats who unearthed the five rings during the ceremony. For these spacesuits speckled with silver glitter the designer employed textiles from LVMH's Nona Source (that's highly recommended not just for fabrics, but for high quality leather leftovers as well).

This project challenged Germanier to adapt his typically heavy, sculptural designs to ensure the acrobats could move freely and reshifted the priority on safety, given that they all had to wear harnesses (on his Instagram page Germanier shows a close up of the costume for the acrobats and reveals how the harness was covered in the same fabric of the costume so that it wouldn't break the linearity of the design).

The Voyager's quest ended with an encounter with the goddess Nike and a sequence with Gabriel Fauré's "Hymne à Apollon" performed by Alain Roche, who was suspended in the air and wore another of creation by Germanier, this time made from recycled VHS tape reels.

As the piano was lifted, it looked like a rocket leaving Earth to go back to space, but the the VHS tapes trailing from the design also created a comet-like effect, adding a poetic and moving dimension to the performance.

For this particular project, Germanier didn't have to search far for materials, he simply returned home to Switzerland and retrieved almost 200 VHS tapes from his mother's basement, including some of his favorite films, such as Pokémon cartoons (a note of caution for fashion students: if you decide to work with this material or with strips of 8mm or 16mm films, it's important to keep them away from open flames and avoid lighting cigarettes while working with them - it sounds obvious, but stress and lack of sleep can make you forget basic rules).

Germanier demonstrated that beauty and extravagance can emerge from materials otherwise destined for the landfill, bringing with them symbolic meanings that enrich the design. In this instance, Germanier remarked that his creations stitched together the past, present, and future.

Credit is also due to Daphné Bürki, the styling and costume director of the Olympic Games ceremonies and a fan of Germanier, who introduced the young designer to Thomas Jolly.

What's next for Germanier? Hopefully, more costume design opportunities. Cinema remains a dream for him, but he could start with theater, opera, or ballet.

Adapting his intricate beadwork for these art forms might require some adjustments to ensure dancers have the necessary freedom of movement, but you can bet that his unique style and passion for telling fashion stories has the potential to win over a new generation and bring fresh energy to these traditional forms of art.

Paris 2024 Highlights: Podium Worship, Lessons in Resilience & An Unlikely Mascot

Every edition of the Olympic Games offers lessons, and Paris 2024 provided us with something worth cherishing. Beyond the exhausting debates, there were some key takeaway moments we should hold onto.

Podium Worship

This isn't just about the crowd's adulation of sports heroes, but about athletes showing respect for their opponents. The trend began when Brazilian Olympic gold medalist Rebeca Andrade was honored by U.S. superstar gymnast Simone Biles, who took silver, and her teammate Jordan Chiles, who earned bronze, after the women's gymnastics floor final. Biles and Chiles bowed to Andrade on the podium, marking the first all-Black podium in the history of men's and women's gymnastics.

It was Chiles who suggested the gesture to acknowledge Andrade's gold, and, during a press conference, Biles, the world's most decorated gymnast, remarked that the viral moment, which even had the Louvre considering it for a spot near the Mona Lisa, "was just the right thing to do" (unfortunately for Chiles, she may have to return her bronze medal, which will be reallocated to Romania's Ana Bărbosu after a court ruled that the correction to Chiles' score, which placed her on the podium, was submitted too late by her coach; USA Gymnastics is disputing the decision).

Podium worship continued on Sunday, the closing day of the Olympic Games, when Li Wenwen of China lifted a total of 309kg to win gold, Korea's Park Hye-jeong took silver with 299kg, and Great Britain's Emily Campbell achieved a career-best combined total of 288kg for bronze. On the podium, while Li jumped in the air, Park and Campbell happily posed with their arms outstretched in celebration of the gold medalist.

In both instances, the athletes embodied the spirit of the games - healthy competition, sportsmanship, and mutual support. Rooting for each other and celebrating someone else's victory is a lesson we can apply beyond sports.

Today, schools and universities often foster unhealthy competition but rarely teach how to lose or celebrate others' successes and achievements. In fashion schools and the highly competitive fashion industry, this is almost unheard of, it seems that generating more resentment, envy, and stress tends indeed to fuel the industry. Can we make podium worship a healthy trend? Hopefully. Let's learn to celebrate each other in a positive way.

Lessons in resilience

Breakdancing, or breaking, didn't get the recognition it deserved at the Olympic Games, and the discipline is sadly set to be dropped from Los Angeles 2028. Unfortunately, much of this year's coverage focused on mocking Australian athlete B-girl Raygun, that is 36-year-old university lecturer Rachael Gunn, who didn't score any points for her style in the battles.

However, breaking provided us with other lessons: Olympic refugee breakdancer Manizha Talash, known as B-girl Talash, revealed a "Free Afghan Women" cape, giving a message to her country like Afghanistan's 100m sprinter Kimia Yousofi also did.

Talash was born in Afghanistan but fled the country in 2021 after the Taliban returned to power and sought asylum in Spain. Talash was disqualified from the competition for displaying the  political slogan as political statements and slogans are banned on the field of play and on podiums at the Olympics.

Breaking also showcased a performance by the Canadian dance company ILL-Abilities, which features B-boys with their own physical challenges. Among them is B-boy Luca "Lazylegz" Patuelli, who is also a motivational speaker. Born with arthrogryposis, a neuromuscular disorder that causes curved joints and muscle shortening, Patuelli dances on crutches.

In hip hop culture, "ill" indicates something impressive, so "ILL-Abilities" reflects exceptional abilities and the crew definitely showed them during their performance. ILL-Abilities will perform at the opening of the 2024 Paralympic Games on August 28th, and we can only hope they will remind us that being different can be a strength, that dance can take many forms and that everyone has something great to contribute to the world.

An unlikely mascot spreading upbeat energy & good vibes

A gold medal for the most unlikely mascot of the Paris 2024 Games goes to rapper Snoop Dogg. Serving as a primetime Olympics correspondent for US TV network NBC, just as he did during the Tokyo Games in 2021, and acting as Team USA's hype man, the hip-hop star spread positive vibes while watching competitions and exploring Paris.

More like a Team USA cheerleader, Snoop Dogg was ubiquitous - photographed modeling the Team USA parade uniform designed by Ralph Lauren, carrying the Olympic flame through its final stages in Saint-Denis, and offering commentary on various events.

Snoop freestyled on occasion, paid visits to athletes in the Olympic village, met their families and visited the Louvre. He also opened the b-girls' pre-qualifier battle with "les trois coups," the traditional three blows struck on the ground with a baton to signal the start of a show in French theaters. His presence extended to watching competitions alongside different athletes.

During a qualifying round, Team USA women's gymnastics stars Simone Biles and Jordan Chiles pointed to someone in the crowd and started dancing. The cameras revealed it was Snoop, standing in the first row and showing off his moves, decked out in his trademark sunglasses and a white Team USA jacket (with a Biles T-shirt underneath, as he later revealed View this photo).

In a promotional video for the games, Snoop had a special swimming lesson with Michael Phelps. The Olympic icon explained him that Olympic-level success in the pool requires wingspan and lung power. "You just described me!" Snoop responded, "I definitely have great lung power," humorously referring to his love of marijuana. And, talking about this passion, Snoop's Olympic pin, featuring the rapper blowing marijuana smoke rings in the shape of the Games' five rings, became one of the most sought-after accessories of the Games (View this photo).

Snoop often went viral for his customized kits and sneakers, shirts featuring Olympic athletes and necklaces adorned with the five Olympic rings or the Eiffel Tower. Snoop reached peak method dressing when he showed up at the dressage event in full equestrian garb, alongside his friend, lifestyle guru Martha Stewart, complete with jodhpurs, boots, a blazer, and a riding helmet.

Embodying the feel-good spirit of the Paris Olympics, the rapper also appeared at the end of the closing ceremony during the music segment from Los Angeles, which featured the Red Hot Chili Peppers and Billie Eilish, celebrating the Olympic Torch being passed from Paris 2024 to Los Angeles 2028. Clad in Team USA gear, he performed "Drop It Like It's Hot" and "The Next Episode" featuring Dr. Dre.

What made Snoop Dogg stand out was the genuine joy he brought to every moment, whether cheering on athletes or spreading optimism. His impressed expression while watching Simone Biles during the women's qualification rounds in artistic gymnastics on day two mirrored the awe we all felt watching her defy gravity.

NBC's strategy of enlisting a celebrity with such enthusiasm to draw younger viewers was a win. Now, other countries may have to find equally enthusiastic mascots for the next Olympics.

A comparison comes to mind: fashion ambassadors may look extraordinarily cool and beautiful, but often seem like lifeless mannequins at runway shows, sitting in the front row with serious faces and reminding us that fashion is serious business for beautiful people. Perhaps they could take a cue from an unlikely mascot like Snoop Dogg - if you're going to be an ambassador, at least be enthusiastic, and use your role to spread upbeat energy and good vibes.

Plush Toy Couture: From the Runways to Artificial Intelligence & Back

Designs featuring plush toys are nothing new. Consider Jean-Charles de Castelbajac's iconic "Arche de Noé" teddy bear coat from the A/W 1988-89 collection, famously worn by Madonna and later by Helena Christensen in Robert Altman's film "Pret-A-Porter" (1994).

That same season, Moschino introduced a less extravagant but equally cozy teddy bear coat with teddy bears placed along the neckline, paired with a towering headdress made of cute teddy bears (the idea was later borrowed again by Jeremy Scott for  Moschino's S/S 2014 collection).

When we look at the history of fashion, plush toy designs often involve clusters of small to mid-sized soft toys. This concept of aggregation is also embraced by interior designers.

Felicia Hansen's "Teddy Vessels (Also Known As Our Former Best Friends, 2022)" exemplifies this approach - vessels crafted from assemblages of discarded stuffed toys.

These colorful vases and sculptural objects are a testament to how post-consumer waste can be transformed into unique and playful design pieces. The vases show us that, even though we may have grown up, stuffed animals can still find a place in our homes if given a second life.

More recently, designers have explored recycling larger toys or creating garments with patterns of oversized plush animals.

Venla Elonsalo, a finalist at the 2021 Hyères Festival, for example, incorporated large plush toys into her designs.

Last year, while playing with Midjourney, I envisioned a playful and imaginative collection inspired by the whimsical world of claw machines and the vibrant colors of soft toys and plastic figurines from gashapon vending machines. My goal was to create designs that captured the carefree spirit of childhood fun.

The collection was meant to be joyful, rich in sensory stimuli, and filled with textile and surface embellishments. I wanted it to feature soft elements reminiscent of plush toys, but also include other items like hard plastic figurines or snacks and candies often found in claw machines.

Some of the first creations the popular Artificial Intelligence (AI) text-to-image generator created featured models surrounded by piles of plush toys or wearing designs incorporating them. While this wasn't the exact effect I was aiming for, it served as a useful starting point.

At Copenhagen Fashion Week, the idea of using plush toys in fashion made a nostalgic return with a coat and bra crafted from an assemblage of cuddly toys. These pieces were part of a collection showcased earlier this week during the fashion event, designed by (di)vision, a multidisciplinary brand and design studio founded by siblings Nanna and Simon Wick in late 2018.

Known for their colorful and playful approach to fashion, (di)vision specializes in sustainable design practices, including reconstructing, upcycling, cut-and-sew production, and creative sourcing. Their ethos revolves around creating from what already exists, exploring the possibilities of producing clothes from deadstock, recycled fabrics, vintage goods, and upcycled overstock.

The collection showcased in Copenhagen, entitled "The Dream of Steam City" (S/S 25), presented an eclectic mix of genderless designs and upcycled pieces. Inspired by urban maximalism and video games, it blended fairy grunge with Tokyo fashion nostalgia. The collection's visual impact relied heavily on layering and upcycling, with animal prints, plaid, and 2000s-inspired accessories.

The title of the collection hinted at an imaginary utopian place where pollution is replaced by the freshness of mountain dew. In Steam City, everything is made from pre-existing objects, and people recycle materials to create new things, such as belts made from nostalgic memorabilia, or a coat fashioned from old teddy bears. The goal of "The Dream of Steam City" collection for the design duo is to imagine alternative worlds that might exist if we embraced a different way of life.

And so, the story of the teddy bear coat - created by humans, accidentally remixed by AI, and re-imagined by a younger generation of fashion designers - continues.

Yet when we talk about plush toys re-used in a creative way, Charlemagne Palestine's installations of multi-colored soft toys also come to mind. In this case the stuffed toys are conceived by the artist as shamanic representations of the soul, directly linked to the teddy bear's invention in 1902 by an immigrant Jewish couple - Morris and Rose Michtom - in the same Brooklyn neighborhood where Palestine was born.

For the artist, the teddy bear’s invention is an obsession, a lens through which to explore childhood memories, melancholy, longing, and loss. After all, these soft objects metaphorically soothe the painful aspects of life, offering a sense of comfort and happiness.

In the end, isn’t that what we all crave? A bit of comfort, a touch of happiness? So, bring on the plush toy coat, it's more than just fashion; it’s a soft, gentle and enveloping hug, and, sometimes, that’s exactly what we all need in our lives.

How WGSN's Fashion Buying Tool May Shape AI-Enhanced Trend Forecasting

In the fashion industry, Artificial Intelligence (AI) not only enhances the accuracy of clothing recommendations, but can also generates critical insights into trends, streamlining the design process and enabling precise demand forecasting for hyper-localized products.

In the past there were already experiments in using AI to analyze trends. In 2018, IBM collaborated with Tommy Hilfiger and the Fashion Institute of Technology (FIT) Infor Design and Tech Lab on a project called Reimagine Retail. This initiative aimed to equip future retail leaders with AI-driven design skills and provide inspiration for upcoming trends and forecasts.

FIT students were granted access to IBM Research's AI capabilities, including computer vision, natural language understanding, and deep learning techniques, all specifically tailored for fashion data. The AI tools analyzed extensive datasets, such as 15,000 of Tommy Hilfiger's product images, 600,000 publicly available runway images, and nearly 100,000 fabric patterns. This trend analysis allowed students to develop designs that not only aligned with Tommy Hilfiger's brand identity but also reflective of current and emerging fashion trends.

While the initial collaboration between IBM and FIT focused on leveraging AI to identify trends for new designs, nowadays the broader application of AI in trend prediction is proving invaluable for fashion companies. According to companies using AI for this purpose, it facilitates faster product launches and minimizes lost sales.

WGSN is among the companies leveraging AI to identify trends: the consumer trend forecaster launched this week a new data-driven platform called WGSN Fashion Buying.

This platform builds on WGSN's trend expertise and integrates its proprietary TrendCurve AI predictive analytics. By combining retail data with insights from social media and runway shows, it offers a more comprehensive approach than other retail analytics platforms, which often rely solely on historical data from a single source.

WGSN Fashion Buying is designed to support buyers by providing insights into product direction and emerging trends across the entire development cycle, from pre-planning and development to in-season analysis. The platform promises "future-proof trend decision intelligence" with buying-specific forecasts tailored to each stage of the product life cycle and customized by category.

At the moment, WGSN Fashion Buying covers key categories such as dresses, cut and sew, woven tops, denim, outerwear, trousers, skirts, accessories, and footwear. The platform introduces four new forecasts: Trend Narratives, which identifies key items and colors for building seasonal stories and concepts; TrendCurve AI Color, offering data-backed color assessments and two-year color projections; TrendCurve AI Materials & Details, which tracks details and their usage across various retail segments and TikTok Trading.

The latter pinpoint opportunities to re-merchandise existing inventory, capitalizing on emerging and evolving TikTok trends that align with current seasonal sales.

Essentially, WGSN aids buyers in distinguishing between TikTok's fleeting viral moments and genuine trends that hold commercial potential. It also helps buyers checking out existing products in inventory that might already align with these trends, eliminating the need to add new products. By doing so, WGSN Fashion Buying contributes to addressing the fashion industry's waste issue. Recent research by WGSN and OC&C Strategy Consultants indicates that shifting to a demand-driven planning and buying model could reduce overproduction by 5-15 percent, mitigating a major source of unnecessary waste.

Opinions on AI's role in reducing waste are mixed, though. In May, during the Global Fashion Summit in Copenhagen, at the "Ending Oversupply" session, Dr. Ahmed Zaidi, CEO & Co-Founder of Hyran Technologies, criticized the use of AI to stop overproduction and overconsumption, comparing it to "attaching a jet engine to a broken process".

Besides, there may be another issue with AI-powered trend forecasting tools: while WSGN Fashion Buying platform promises to enhance seasonal planning and reduce decision-making risks, questions remain about its data collection methods.

AI forecasting tools typically rely on extensive datasets to make accurate predictions, which can include scraping images from the internet. This raises potential ethical and legal issues such as copyright infringement and data privacy. To generate timely trend forecasts, WGSN Fashion Buying requires diverse data sources, including social media, e-commerce sites, and runway images, besides, it will also have to constantly monitor and process the contents of TikTok.

However, whether WGSN uses direct scraping or other methods like licensed data feeds, APIs, or partnerships with content creators would depend on their specific approach to data collection, as well as their adherence to legal and ethical standards.

From Swipes to Sales: Shaping Modern Shopping with AI Technologies

When we're unsure about our options in a brick-and-mortar store, we usually turn to a sales assistant who can help us choosing products that match our tastes and needs. However, today, many consumers prefer to shop online, where the offer is extremely wide. This presents challenges for both consumers and retailers.

Consumers need to find what they're looking for quickly: indeed it's not uncommon to abandon a purchase if the search for the perfect item feels endless, like falling into a bottomless Alice in Wonderland-style rabbit hole. Time is crucial, especially for those shopping on a mobile phone with a low battery or browsing with a slower internet connection. Retailers, on the other hand, need to recommend items swiftly before the shopper moves on to a competitor's website.

Personalizing user experiences and driving engagement can help retailers win more customers. To achieve this, they must have a top-notch recommendation engine that can match products with individual customers effectively.

Recommendation engines often rely on Artificial Intelligence (AI), particularly machine learning algorithms. These systems analyze vast amounts of data - such as user behavior, preferences, past interactions, purchase history, and contextual information like date, location, and device used - to make personalized suggestions. By leveraging AI, these engines continuously learn and improve, becoming more accurate over time. They are widely used across industries like e-commerce, streaming services, and social media to enhance user experience and boost engagement.

The fashion industry, in particular, has benefited from various technologies, including AI-driven recommendation features. Another innovation that some retailers have adopted is the swipe-able format and feedback loop, inspired by popular dating apps like Tinder, Bumble, and Hinge. These platforms use machine learning algorithms to recommend potential matches based on user behavior and preferences, coupled with swipe-able interfaces that let users rate potential romantic candidates.

The latest fashion app to adopt this sort of interface is FashWire, one of the three B2B2C platforms (with GlossWire for beauty products and PawWire for pets) owned by The Wires.

The platform's AI tailors product suggestions for shoppers, enhancing the user experience by predicting preferences and displaying personalized items. As the AI learns more about a shopper's taste, its recommendations become increasingly accurate. The swipe-able feature, similar to the swipe-right or swipe-left mechanism in dating apps, allows users to browse personalized product recommendations based on their feedback. Thanks to user feedback, the "Trending Now" section of the FashWire app is dynamically updated, highlighting the newest apparel, footwear, and accessories with each app visit

This feature, developed in partnership with tech company SnapSoft, will also be integrated also in GlossWire. AI will curate a selection of over 60,000 items (between FashWire and GlossWire) from more than 800 global brands spanning 60 countries. AI becomes therefore a necessity for managing the products of the emerging and established brands in the two fashion and beauty spaces.

Yet also brands will benefit from this application: AI will indeed provide real-time analytics to brands, allowing them to optimize their offerings. This real-time data will represent a game-changer for brands, allowing them to instantly monitor consumer behavior and feedback, fine-tune their product offerings and messaging, and make decisions that can effectively convert browsers into buyers, encourage repeat purchases, and build customer loyalty.

While these swipe-able technologies might not produce romantic matches, pairing the right products with the right consumers will still be a match made in heaven for the platforms and brands involved.