Author Archives: Noel Khoo

Givenchy appoints Matthew Williams of Alyx as creative director

 

Givenchy announces the appointment of Matthew Williams, the mastermind behind 1017 Alyx 9SM as its new creative director, following the departure of Clare Waight Keller in April.

 

“It’s been my lifelong dream to be in this position and it’s really surreal that it’s finally here. I’ve worked every day for 15 years towards this single goal and it’s super surreal. At the same time it’s bittersweet because we’re living in unprecedented times in the world, and I just hope in some way I can bring hope,  and with my community and colleagues create positive change for our industry and the world and I’d like to use this platform to do so.”

-Matthew Williams

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A voice note from our new Creative Director, @MatthewMWilliams.

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Matthew Williams’ career as a fashion designer officially took off in 2015 as he debuted Alyx, a womenswear label named after his eldest daughter. Rooted in youth culture, Alyx delivers a refreshing (yet intense) aesthetic of womenswear with the audacious combination of feminine silhouettes and industrial statements borrowed from the streets.

The next year, Matthew Williams was shortlisted for the 2016 LVMH Prize for Young Fashion Designer. It was 2017 when Alyx recoded itself with the menswear debut, followed by the collabs with industry’s biggest cults including Moncler, Mackintosh, Nike, Stussy and the LVMH owned Dior Men.

 

 

According to an official statement from Givenchy, Matthew Williams will be responsible for both the house’s womenswear and menswear line. And as much as we look forward to the designer’s first collection in October 2020, we wonder who are on Givenchy’s list of candidates to take over the helm at Givenchy Couture.

Also, to find out the latest updates on who’s in and who’s out in fashion, head to our “Designer Musical Chairs” tag right here.’

 

This article was originally published on www.lofficielmalaysia.com

Meet the Loewe Smiley drop for Paula’s Ibiza 2020

 

This midsummer, Loewe presents the Smiley drop which is part of the Paula’s Ibiza collection, where creative director Jonathan Anderson recounts and recreates his vivid memories of summertime.

“I was just a little kid when the Acid House sound boomed in 1988, during the so-called Second Summer of Love, but I still have vivid memories of that time and its colorful denizens,” said the designer in the collection note.

 

 

It is all about those euphoric summer nights. The Smiley drop of Paula’s Ibiza collection revolves around the “Second Summer of Love” where Acid House music took off in Ibiza and grew into the most significant culture rave across England in the late 80s. Smiley the sunny yellow smiling face becomes the protagonist of this collection, emblazoned onto a selection of clothing and accessories.

Everything is captured in a colourful, psychedelic palette. The collection encapsulates optimism with a baggy style comeback conjured on Loewe’s nonchalant aesthetic. And for the accessories, the Smiley is given a neon treatment to elevate the rave-y summer collection  – where we can also see its juxtaposition with the iconic mermaid print of Paula’s Ibiza.

 

Swipe the gallery too take a look at our picks from the Smiley drop of Paula’s Ibiza:

 

Visit loewe.com to find out more.

This article was originally published on www.lofficielmalaysia.com.

The otherworldly campaign of Gucci Flora Gorgeous Gardenia

 

As part of Gucci Floral fragrance line, the Flora Gorgeous Gardenia is a timeless classic floral scent you can wear, not just during spring, summer, but all year round.

Composed of Red Berries, White Gardenia, Patchouli and Brown Sugar, the floral blend bouquet evokes an airy backyard garden in the spring where the buds burst into bloom – fetched by a warm note of Frangipani Flower.

While staying loyal to Gucci Floral line’s signature hexagonal flacon, the limited edition repackage captures the elusive and untamed beauty of springtime with the nuances of lavender shade. The bottle is refined in blue-tinted purple, finished with black Gucci lettering and bow around the neck.

In conjunction with the release of Flora Gorgeous Gardenia 2020 edition, the ever-evolving Gucci Floral line is captured in a new advertising campaign shot by French artist duo Pierre et Gillies, starring Gucci’s muse Unia Pakhomova.

 

Which is the concept of Gucci Flora campaign?

The floral composition of the perfume, rich and inspiring, a dream garden of white gardenias, naturally transports us to a dreamlike universe inspired from the Viennese painter Hans Zarzka. This creative universe is also very close to that of Alessandro Michele.

Model Unia Pakhomova has a unique kind of beauty. How was having her as the protagonist of the campaign?

Unia is very mysterious, like an angel fallen from heaven. We were very impressed by her beauty. We had loved her style for a long time and when Gucci suggested her name to embody the campaign, we didn’t hesitate. We were very thrilled to work with her.

 

 

How this campaign meets your vision and your work?

Gucci trusted us and gave us the freedom to be truly ourselves in our creation. There is a real inspiration between our universe and Gucci’s. It was exciting, a very beautiful adventure, a beautiful encounter.

Flowers are at the heart of many of your works, why?

We often use the flowers in our works. They are an element we like to play with, beautiful, generous, colorful. They are a real and inexhaustible inspiration for us, and they were also ideal to illustrate this perfume with a floral olfactive composition.

What is the common point between olfactory creation, painting and photography in your opinion?

For us, perfume creators, the “noses”, are artists, just like a painter. That’s why we have enjoyed the exciting experience of illustrating the richness of a fragrance through an image, and that it becomes our source of inspiration.

 

 

Visit gucci.com to find out more.

This article was originally published on www.lofficielmalaysia.com.

Jane Cui, President of Leica Cameras Asia on the Culture of Photography

The landscape of photography has been rapidly changing; especially with the way people produce and consume it. From mobile phones to images that live for only 24-hour on social media, and iClouds as a way of storing images, one of the major changes is the reduction in the production of photography for personal documentation and appreciation.

The Leica M is a core staple at Leica Singapore and the market it serves, straddling the spectrum of amateur and professional photographers

The culture of photography has been rapidly changing; the advent of social media has led to one of the major changes in photography for personal documentation (instead of printing, they mostly go onto instagram and facebook now) and appreciation (instead of albums, we are browsing online). Hours before the Leica Singapore Galerie officially opened at the neoclassical Fullerton Hotel, itself descended from historical Singapore’s General Post Office in 2001,  Jane Cui, President of Leica Cameras Asia talks to LUXUO about Leica Singapore and the Culture of Photography.

 

Jane Cui, President of Leica Cameras Asia on Leica Strategy and the Culture of Photography

Jane Cui, President of Leica Cameras Asia talking about the culture of photography before the opening of the new Leica Singapore Gallerie at the Fullerton Hotel

Founded on a tradition of engineering excellence in the construction of lenses and optical devices, Leica has never lost sight of the importance of preserving the culture of photography.

Jonathan Ho for Luxuo: As part of your global sales and retail strategy, is Leica technology (lenses, software) going to be found in as many smartphones as possible or do you only stick with a few partners (e.g. Huawei)?

Jane Cui, President of Leica Cameras Asia: For now it’s only going to be with Huawei. From Leica’s perspective, we have a lot of intellectual property in terms of optical technology, we are continually evaluating how we extend new lens, optical technology and camera modules into other products and brands.

Opening the Leica Singapore Galerie Fullerton is ‘Memories of Istanbul’, a collection from Magnum photographer and Leica Hall of Fame award recipient, Ara Guler.

I often encounter Leica partnerships with watchmakers like Vacheron Constantin, is this an example of your “effective partner network” and what are some of the criteria for being a partner with Leica?

In general, there’s a lot of cross-branding already happening in the business world, historically Leica always had some element of this. We’ve had an Hermes edition and a Paul Smith X2. Whether it’s a watch or fashion brand, we’re looking for a reputation for good craftsmanship and heritage. Are they a leading authority in their area of expertise? These are some of the key criteria we look for.

Let’s touch on heritage for a moment, there is an increasing amount of investigative journalism that has uncovered instances where some brands have “betrayed” their heritage by seeking greater profit margins via outsourcing, does this mean Leica have to do deeper research on potential partners?

From a Leica perspective of heritage, we still build all our products in Germany and we’re continually expanding our production facilities. Brands we choose to work with are usually still dominantly produced in the countries of their heritage, Hermes is still made in a French workshop in-house and it’s a skill passed down. Technology has been added to the manufacturing process for efficiency but the core of tradition is still there. Leica already has a few key partners, we currently don’t plan to work with LVMH but we still use the same criteria to measure any partnership we choose to go into.

A skeleton view of the Leica M3

An increasing number of interesting photography blog posts involve how a DSLR died and the photographer had to depend on a smartphone, is this a symbol that dedicated cameras are likely to disappear much like how iPods have almost been replaced by the iPhone?

In the music world, vinyl is making a comeback. I come from an IT background and have witnessed an acceleration of technology and the digitisation of our lives. We are at the point where people realise there’s so much that can be done electronically and there are things which just can’t be replaced. People are looking for that “true” element which the mp3 cannot replace in vinyl media. The same likewise for photography. As a smartphone user, I had once believed that a smartphone might realistically replace a camera someday but the key issue here is one of physics. A smartphone has a limited amount of space and it would never be able to have the same image sensor as a dedicated camera might have. Even from the lenses, physics dictates that you need a certain size to capture lighting, a smartphone will never be able to have a big lens. A lot of what a smartphone is able to do today does not come from true optical engineering but post-processing software. What you take is not what you see in an iPhone. In a Leica camera, there’s very little post-processing, what you capture is what you see. I don’t believe the camera will go away, the market may become more selective and the cameras which are not too distinct from the smartphones like your entry level point and shoots, those are the ones which will disappear.

Even with the majority of images being used for social media, do we need such powerful optics? Not many people are printing photos anymore?

That’s not true, there’s a growing number of photography enthusiasts returning to print formats. Demand for film is coming back too. Furthermore, in the interior design community, more and more people want wallpaper prints of their personal images – that industry is booming, a smartphone shot can never be used for that sort of project.

The unibody Leica TL is considered to be trendy and fashionable, aimed at catering to the design oriented market.

With S, SL, M, Q, TL, X, D-Lux, V-lux and C lines, is Leica spreading itself thin? Surely there are some cross-segments in consumer needs/demands and it seems contrary to traditional business strategy to run specific product lines to address specific needs?

We continually evaluate our product lines and the various segments we are targeting. The M series is our heart and soul product for both amateurs and professionals whether it’s the optics or the mechanics. The Q product range is often used as a companion device for people who already have the M, there’s a lot of flexibility in capturing the moment without prior configuration. The point and shoot categories are the ones we monitor constantly to determine if they’re fitting the needs of target groups. The smooth, unibody TL was designed for the fashionable and trendy.

Many digital cameras shoot video now, it’s a feature curiously missing on the Leica M, was it a strategic choice or simply oversight?

With the ubiquity of smartphones, I feel that there is no lack of availability for devices which can capture video. That said, there are very few companies which deliberately remove a feature. Product managers tend to be relatively lazy, it’s easy to layer features upon features in a product, it’s very difficult to remove features and claim that’s new. Only one other company is brave enough to do this, and it’s Apple. The iPod was not the first mp3 player but it was the first to insist that it had to be operated from a central wheel, a product company which is willing to remove features and launch it is extremely brave. You have to be able to have that courage to understand what is your product and stay true to it, to me Leica is one of those rare product companies. The video feature is not something used by our true M users, they’re looking for that vintage raw feeling.

Arguably Turkey’s most eminent photographer, Ara Guler impressively portrayed life in Istanbul, city of his home and birthplace for over 60 years; now on display at Leica Singapore Galerie at The Fullerton Hotel

What product lines will eventually form the core of Leica’s business?

We have to stay true to our fans and heritage. The M product line is the heart and soul. We are focused on growing the professional lines, as this segment is already dominated by other brands thus the challenge is breaking into it. Finally, there is going to be outreach to new users and younger generation. Surprisingly, this region has a greater number of youths interested in a Leica.

Whether as a point of differentiation or a genuine interest, I’ve noticed more photographers are using film again, does this mean that Leica will be expanding its film based cameras?

We continue to have our film cameras. Analogue products exist not so much because they’re trendy but because like vinyl, photographers are looking for the warmth of film. There are certain things that a digital camera cannot replace, there’s an authenticity of film. It’s also a lifestyle, life is pretty faced already, using an analogue camera slows it down, you actually to return to the process of thinking – creation, framing and then the last action is that button press. The creation process is vastly different from a digital camera where you greater flexibility with your shots and then just delete what you don’t want.

Exhibited at Leica Singapore Galerie, Ara Guler is well known for his work covering political affairs, politicians and artists like Dali, Chagall, Hitchcock, Churchill, Picasso and Gandhi.

Does this imply that the analogue line will see very few improvements because you want to keep that “feel”?

Technology improvements are not in conflict, we will always apply what we believe is the best to the analogue line. That said, it’s true that there are fewer avenues for improvement as opposed to an electronic camera. There’s always new ways of improving on a product depending on the research.

Automated robot vacuum cleaners used to cost north of $500 and now they cost slightly more than a $100 due to Chinese clones, now that you’ve entered China with your own subsidiary, is there a concern on leaks of intellectual property?

I have to be politically correct and coming from Microsoft, I have to say that every company with intellectual property (IP) struggles in China. The Chinese government has begun to enforce stronger IP protection and that’s because Chinese companies have started creating IP for themselves and they need laws to protect their own intellectual property for it to be exportable globally. China eventually be on par with the rest of the world in terms of intellectual property protection when they see GDP improvement from IP rather than just manufacturing. I don’t know when that’s going to be but until then, there’s always going to be an element of risk for us. Unlike misuse of our branding and logo, our camera technology is quite protected because we are made in Germany and the barrier to entry is quite high. You must have the know-how and you can’t just go into a factory to curve out special glass lenses, assemble it and call it a Leica. From an optical engineering perspective, that is not something that can be copied in China.

Leica Singapore Galeria at The Fullerton Hotel

Leica Singapore unveiled the all-new Leica Galerie at the heritage location of Fullerton Hotel, reinforcing the importance in tradition, passion and culture of photography. The Leica Singapore gallery joins Leica’s international presence of Leica Galeries from Milan, Los Angeles, Prague, to Kyoto, Sao Paulo, Istanbul and more.

The new Leica Singapore Galerie Fullerton is a 850 square feet tribute to the culture and journey of photography. It is a showcase of Leica pictorial culture with a curated selection of historical and collectable Leica cameras from the Silver Jubilee Edition and the M3 Betriebsk Chrome.

Leica Singapore Galerie Fullerton opens with “Memories of Istanbul”, a collection from Magnum photographer and Leica Hall of Fame recipient, Ara Guler.

Bell & Ross White Camo and Gucci shows hints that Luxury Streetwear has gone “Silent”

Morgan Stanley and Goldman Sachs declared a global recession underway in March. The coronavirus recession is the first since 1870 to be triggered solely by a pandemic said World Bank President David Malpass in his foreword to the latest edition of the Global Economic Prospect report released this week. The global economy will shrink by 5.2% this year due to the massive shock of the coronavirus pandemic and the pause on economic system resulting from trans-national lockdown measures to contain it.

In May, Risk Managers responding to a World Economic Forum survey, expected a prolonged global recession with half of them forecasting bankruptcies and industry consolidation, the failure of industries to recover and high levels of unemployment, particularly among the young.

“The crisis has devastated lives and livelihoods. It has triggered an economic crisis with far-reaching implications and revealed the inadequacies of the past,” said Saadia Zahidi, managing director of the World Economic Forum.

Bell & Ross White Camo and Gucci shows hints that Luxury Streetwear has gone “Silent”

This has prompted soul searching among the “haves”, who during the 2008 Global Financial Crisis, returned to quiet luxury so as not to flaunt shows of wealth in the faces of the “have-nots”. This trend has convinced some critics to declare the death of streetwear, which came into recent luxury mainstream appeal riding the “more is more” bandwagon of Louis Vuitton-Supreme collaborations and Alessandro Michele’s “larger than life” Gucci  aesthetic.

Virgil Abloh is not just founder of hypebeast label Off-White, he’s also Kanye West’s creative director and Louis Vuitton’s new Artistic Director.

Streetwear began as an expression of personal identity which coincided with street activities. Right up till 10 years ago, it was a term used to describe urban subcultures – a dress code for the street adopted by street artists, musicians and skateboarders. Today, it’s a buzzword for logo-ed haute-beast couture resulting from the luxury fashion industry which co-opted hype beast for its culture of exclusivity. As a result of becoming a mainstream commodity, Virgil Abloh famously said, “streetwear is dead.”

But far from it, streetwear isn’t dead. It’s just gone quiet, prompting some observers to describe a new era of silent streetwear. Nick Paget, senior menswear editor at trend forecaster WGSN (an analytics and forecasting consultancy which predicted everything from athleisure to oat-milk) heralded a return to “familiar menswear language, like the mantra ‘god is in the details” as ‘loud’ designs, logos and colours continued to decline, renewing focus on “Fabrics and washes [will] become more important, as will trims and clever features relevant to a consumer’s lifestyle. Hand-craft and considered [details] will be key once again. The patina of age, too, will become more attractive.”

Lanvin Introduced the Bumper Sneaker for SS20 with a vintage “aged” design with faux patina inspired by ’70s running shoes.

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PRE – FALL 2017

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Post Pandemic Luxury Trends Forecast

Indeed, silent streetwear: a nascent trend which potentially replaces the loud and proud distinctiveness of hautebeast, has been something already seen in Gucci Spring/Summer 2020 as the pioneering Alessandro Michele re-introduced muted palettes and classical silhouettes. Even with the departure of Phoebe Philo from Celine over 10 years ago, aficionados haven’t been content to leave the Queen of minimalism to her devices, resurrecting her old lookbooks from her tenure at Celine on social media.

“Speak softly, carry a big stick.”

 

These are trends are as relevant in fashion as they are in post-pandemic watchmaking. That’s not to say that designs are not as distinctive but simply, they’re muted with splashes of calls to attention, a visual interpretation of Theodore Roosevelt’s “speak softly but carry a big stick.”

Young-ish marques like Bell & Ross and Casio’s G-Shock are riding on a wave of subtle luxuries where details rather than outright screaming “look at me” make a far greater impact than the usual execution of horological swagger. Utilising the form of the brand’s BR03 series, a well designed square evocative of aeronautical and aviation instrument panels, the new BR 03-92 White Camo is a Limited edition timepiece designed according to the principles of industrial aesthetics but with a decidedly “street” aesthetic – a splash of white camouflage on the dial. What’s remarkable is the constraint expressed here in white on grey hues in contrast to a previous Bell & Ross BR03 rendered in camouflage for streetwear purveyor – BAPE.

Even “louder” renditions of the series like the BR03-92 HUD Limited Edition are a demonstration of restraint on the part of the Swiss brand headquartered in Paris. Taking an innovation known as the Heads Up Display, a glass panel placed in the pilot’s line of sight that displays vital information so the pilot can maintain situational awareness, the green “computer screen” tint on the sapphire with 90-degree markers reminiscent in a real cockpit HUD is muted by virtue of a matte-finished black 42mm ceramic case. That’s not to say that Bell & Ross isn’t mindful of a return to ‘normal’ post-pandemic, since the new limited edition BR 03-92 White Camo does come with a white camouflage strap edition which instantly dials the hype back up to level 10.

BR03-92 HUD Limited Edition – S$5900

G-Shock too, the OG wristwatch of choice for skateboarders and men of the streets, also sees a return to a more inconspicuous presence on the wrist. Following its retrotastic take on the new metal G-Shock Grid, Casio has presented a fresh take on the popular street motif with a Digital Camouflage series.

Where Bell & Ross went with a traditional woodland pattern, G-Shock embraced a pixelated design that fits right into the modern “Space Force” environment. The digital camo motif is focused on the metallic dials of the collection unlike the GMW-B5000TCM-1, a metal G-Shock with the full digital camouflage treatment across the case and bracelet:  black camouflage pattern laser rendered in digital, gives it a distinct pixelated look against a backdrop of black DLC coating; and then completing the streetwear look are gold accents on the dial and gold-coloured pushers. None of those elements from late last year are present in this year’s collection.

Creating a retro 8-bit appearance, the digital camouflage is understated even on the largest, most conspicuous member of the family, the GA-140DC-1A with the almost fluorescent face. The bold combination of fluorescent yellow accents and black resin cases provides a sporty streetwear vibe, backed by the superior shock resistance and 200-meter water resistance characteristic of all G-SHOCK watches.

Streetwear is far from dead, it’s just more evolved. If streetwear takes its cues from the folks in the street, then main street is clearly reflecting a more dissonant voice against the exuberance currently enjoyed in Wall Street. That said, even in post-pandemic conditions with plummeting retail segments and generally dour consumer sentiments, anyone proclaiming the death of streetwear isn’t looking closely at reality. What we call “streetwear” today, at least for luxury consumers, has been influenced by media and as the luxury fashion landscape grows increasingly homogenised, folks in the street have often pushed back with their own perspectives and opinions on design aesthetics, in short, its ultimately influential consumers who drive the trends.

Then there are brands like Bottega Veneta who shape the discourse and tenor of luxury streetwear design, by virtue of genetic subtlety and inconspicuousness. Bottega Veneta’s Intrecciato bags have not only been historically logo-free but in these modern times, led creatively by Philo disciple Daniel Lee, Bottega is once again ahead of the curve with streamlined designs.

Consumers’ new focus on sustainability also echos Michele’s when he gave a statement as Gucci’s went seasonless, writing on the brand’s Instagram page: “Above all, we understand we went way too far. Our reckless actions have burned the house we live in. We conceived of ourselves as separated from nature, we felt cunning and almighty.”

Consumers’ new focus on sustainability also echos Alessandro Michele’s when he gave a statement as Gucci’s went seasonless

Speaking to Business of Fashion, Francesca Muston, Vice President of Fashion at WGSN said, “In the age of anxiety, consumers are looking to strip back and focus on what is really important — being mindful extends beyond meditation to being mindful about how we spend our time and money.”

Brands like Christian Louboutin, which became en vogue for their bright red soles, have also doubled down on neutrals like beige tones in a feat of historic irony. At some brands like Yves Saint Laurent, black have become dominant colours. The modern, post-pandemic streetwear wardrobe isn’t necessarily simple or basic, but when exaggerated motifs or colours are paired creatively with neutral tones, silent streetwear results: creatively resonant and culturally appropriate.

Though streetwear at its core has always been characterised by loud graphics and cultural commentary, it’s not hard to see that the word on the street has been quite literally a conversation on what the real foundations of our social and economic systems are – covid-19 has essentially lifted the veil on what is truly essential and streetwear purveyors are starting to realise that the time for hiding behind outsized silhouettes and gregarious motifs is over, everything will be stripped back to its bare essentials and quality, construction, and details will have to stand on their own.

 

Inside Chanel: Gabrielle Chanel at the heart of cinema creation

 

This year, Chanel is releasing a new series of Inside Chanel, which is themed around Gabrielle Chanel and the Arts. In the latest chapter, Chanel delves into the Parisian house’s legacy of cinema and how the Mademoiselle had revolutionised her generation of women.

Gabrielle Chanel was born in the age when cinema was introduced to the world. “It is through cinema that fashion can be imposed today,”  she said and as a fashion designer, her intuition has driven her to embark on a new quest of creations.

She was well aware of the infinite possibility of cinema, and her idea to liberate the body and endow it with rhythm took shape as moving pictures became the hub of arts.

 

 

Gabrielle Chanel made her entry into the cinema in 1931 with a Hollywood project Tonight or Never, where Gloria Swanson wears a wardrobe designed by Chanel and a bottle of N°5 perfume slips into the frames. Back in Paris, she collaborated with various directors and designed the costume for the female roles in movies including Marcel Carné on Le Quai des Brumes (1938), Jean Renoir on La Marseillaise (1938), The Human Beast (1938) and The Rules of the Game (1939).

During the time of pre-war cinema, Gabrielle Chanel has established her very own code of cinema costume. Every cut and fabric has formed the architecture on a scene and the feminine masculine styles on screens have redefined the way how women dress.

 

 

From the golden age of Hollywood to the French New Wave, explore Gabrielle Chanel’s legacy of cinema in the chapter 28 of Inside Chanel: 

 

 

Visit chanel.com to find out discover more chapters of the Inside Chanel series.

This article was originally published on www.lofficielmalaysia.com.

 

High Time For Summer: Rado Captain Cook Bronze Automatic

 

Rado has built a reputation as a master of materials by revolutionising traditional watchmaking with the use of hightech ceramic, ultra-light high-tech ceramic, colourful hightech ceramic and Ceramos in its design-centric collections.

So, it caught the industry by surprise in 2017 with the redux of Captain Cook—a 1960s vintage dive watch that pays tribute to the 18th-century explorer Captain James Cook—which received much acclaim, despite veering from Rado’s high-tech, scratch-resistant trajectory. In 2018, Rado launched its first watch using bronze, an age-old alloy that transforms over time to give a unique patina depending on the wearer’s habits and environments.

 

 

In 2020, the Swiss watchmaker, once again, reconnects past with future by riffing on the Rado Captain Cook collection in starkly contrasting bronze and high-tech ceramic—a wonderful juxtaposition of the oldest man-made material with the most modern of materials.

The latest iteration replicates the colours from nature to give the sturdy-looking model a wash of lush green and earthy bronze tones. Deftly combining a bronze case and bezel, and a box-shaped sapphire crystal with high-tech ceramic insert and a titanium case back with sapphire crystal, replete with a dark green leather strap, the watch will prove irresistible for those with a strong predilection for modern-vintage dive watches.

 

 

A high-quality Swiss-made ETA C07 movement, offering up to 80 hours of precision power, rounds things up for the Captain Cook watch—a triumphant showcase of elements that champion the ancient and modern, vintage and contemporary, traditional and innovative, enduring and evolving.

 

Visit rado.com to find out more.

This article was originally published on www.lofficielmalaysia.com.

Chanel’s iconic tweed gets translated high jewellery collection

 

It wouldn’t be a Chanel spectacle without its timeless tweed lined up on the runway. The Scottish woollen cloth has been a hallmark of the Parisian brand since the early ’20s when Gabrielle Chanel came upon the sportswear belonging to her lover, the Duke of Westminster.

Taken by the supple fabric, the designer began adapting tweed into her womenswear line — possibly setting the whole “borrowing from the boys” trend in motion.

 

Tweed Brode earrings, bracelet and necklace.

The house of Chanel now reimagines the beloved material to turn in a score of dazzling jewels that’s Tweed de Chanel. Referencing Mademoiselle Chanel’s standard of procuring only the softest wool for her ready-to-wear, the maison ingeniously captures the languid character of tweed using the techniques developed by the Chanel High Jewellery Workshop.

 

Tweed Chaine earrings, bracelet and necklace.

Here, exquisite gemstones are layered with precious metals to evoke the original inspiration. The Tweed Chaine bracelet, for instance, channels the warp and weft of tweed with yellow gold and platinum. Elevating the aesthetic of the weave, the artisans bring diamonds, cultured pearls and tsavorites of different cuts into play to mount them in an alternating pattern.

 

Tweed Graphique earrings, bracelet and necklace.

More than just a looker, the Tweed de Chanel necklaces, bracelets, rings, earrings and brooches promise the wearer a similar comfort of the feeling one gets when donning Chanel’s iconic collarless tweed jacket.

All 45 unique novelties across the nine chapters of the collection are fashioned to coddle the skin as each setting is pared down to the minimum in pursuit of reducing the asperity of the grain among the gems.

 

Visit chanel.com to find out more.

This article was originally published on www.lofficielmalaysia.com.

LVMH exits Tiffany deal as US riots further weaken retail segment

As news leaked of LVMH CEO Bernard Arnault talking to advisors on possible avenues for re-negotiating the acquisition of Tiffany & Co, the group’s largest deal to date, it has finally been verified via a corporate press statement that “considering the recent market rumours, LVMH confirms, on this occasion, that it is not considering buying Tiffany shares on the market.”

LVMH exits Tiffany deal as US riots further weaken retail segment

In November 2019, LVMH, the owner of Louis Vuitton, had secured an agreement to purchase Tiffany but was expected to close the deal in 2020 pending regulatory approvals; the global pandemic outbreak had put a pause on international trade and economic activity as markets closed in self-imposed quarantine as part of containment measures to prevent a wider spread.

Though no further details were forthcoming, the luxury conglomerate had convened a board meeting ahead of the US jeweller’s quarterly results due out today on June 5, to study potential options to force a re-negotiation of the $16.2 billion deal, among one of the strategies was exploring whether Tiffany was in breach of its obligations under the merger agreement; however the famed American jewellery brand did not believe there is a legal basis to renegotiate. Sources familiar with the matter told Reuters that the company is in compliance with financial covenants under the merger agreement with LVMH, and expects to remain so after declaring a quarterly dividend two weeks ago.

LVMH said that they “notably focused its attention on the development of the pandemic and its potential impact on the results and perspectives of Tiffany & Co with respect to the agreement that links the two groups.”

Although no further details were offered by LVMH at this time, many believe that Arnault’s temperature on the deal turned cold after the outbreak of mass protests and rioting following the killing of African American George Floyd by police officers in Minneapolis added further uncertainty to an already weakened retail segment in the vital US market.

7 films that Jaeger-LeCoultre timepieces co-starred in

 

For decades, Jaeger-LeCoultre is known for its dedication to the movie industry. The watchmaker has not only been working together with the most prestigious film festivals including Venice International Film Festival and Shanghai International Film Festival but also collaborating with movie productions on screens.

In Batman Begins, 2005, Christian Bale opted a classic Reverso for Bruce Wayne, the alter ego of Batman, while Robert Downey Jr. who is known for his insane collection of luxury watches, is spotted wearing a Deep Sea Master Compressor in The Judge, 2014.

 

Scroll down to take a look at the Jaeger-LeCoultre’s creations appeared in movies:

The League of gentlemen, 1960 -Jaeger-LeCoultre

The Thomas Crown Affair, 1999 -Jaeger LeCoultre Reverso Duo

Bad Teacher, 2011 -Jaeger LeCoultre Scott Delacorte

Batman Begins, 2005 -Jaeger LeCoultre Reverso

Fast & Furious 6, 2013 -Jaeger-LeCoultre Deep Sea Chronograph

Annie, 2014 -Jaeger-LeCoultre Grande Reverso Calendar

The Judge, 2014 -Jaeger-LeCoultre Deep Sea Master Compressor

Dr Strange, 2016 -Jaeger-LeCoultre Master Ultra Thin Perpetual

Visit www.jaeger-lecoultre.com to find out more.

This article was originally published on www.lofficielmalaysia.com.

Interview: Jacques Cavallier Belletrud on the wonders of Louis Vuitton California Dream

In 2019, Louis Vuitton introduced a series of three Les Colognes perfumes inspired by the summer time of California – Sun Song, an ode to sunshine; Cactus Garden, a walk across the exotic patio; and Afternoon Swim, a dive into the ocean.

And if there’s one thing missing within the series, it will have to be the mesmerizing colour of a Californian sunset.

This summer, Louis Vuitton completes its Californian summer-inspired Les Colognes perfumes line with the latest California Dream, a genderless scent to illuminate the elusive sunset of California.

 

 

“An infinitely blue sky by day turns iridescent at nightfall… I’ve always loved translating emotion into perfumes.”

-Jacques Cavallier Belletrud, master perfumer at Louis Vuitton.

 

Just like the ever-changing sky of sundown, California Dream is full of wonder, “My starting point was to create warmth that envelops coolness,” said Jacques Cavallier Belletrud. The fresh note of Mandarin is at the heart of this fruity-floral blend, layered with Ambrette for the accents of moist earth and pear. The musky note lingers the warm, untamed breeze into summer night, fetched by a hint of vanilla-tinged Benzoin.

The collaboration of Louis Vuitton and artist Alex Israel (@alexisrael) continues for California Dream. Inspired by Alex Israel’s art series “Sky Backdrop”, the glass bottle captures the golden hour sky in a palette of transparent pink fading into twilight blue.

In the same spirit of its previous launch, this latest addition includes a Louis Vuitton monogram fragrance travel case, designed with the signature wave painting of Alex Israel.

 

Scroll down to read a mini interview with master perfumer Jacques Cavallier Belletrud:

How did you catch the mood of the West Coast sunset into your fragrance? Was it based on any particular moment in your past travels there that led you to capture your memories in this scent?

California and Los Angeles are my second home, I love the sunset in Malibu near the ocean, I love the mix of blue and pink colors, it evokes the freshness and the softness. One day, it was the perfect balance, I could smell it, California Dream was born!

 

Do you have any particular memory of sunsets and what they mean to you?

Sunset is a very special moment, you have the energy of the day and the promising of the evening, I like this moment when something is finishing and something else is at the beginning.

 

How long was the process for this creation? Did you already have it in mind when you launched the other 3 Les Colognes in 2019?

It took me one year, in fact I was in Los Angeles introducing the first 3 Cologne Perfumes when I started to create California Dream.

 

 

Which comes first when you embark on the development of your next fragrance? The raw materials or the idea/concept behind it?

First, it’s the emotion(s) then, the raw materials and finally the concept, it can be the three in a very short sequence.

 

What’s your #stayhome scent during this period of controlled movement?

I have the chance to live in a wonderful place near Grasse and Cannes, surrounded by lot of trees and flowers, I can smell roses in the morning for example, I have also my private atelier where I have all my samples of raw materials, I am still connected to creation, even more than before!

 

Louis Vuitton California Dream is launching in-stores and online on 28 May 2020.

Visit louisvuitton.com to find out more.

This article was originally published on www.lofficielmalaysia.com.

Coach presents Pre-fall 2020 collection

 

Coach presents Pre-fall 2020 collection, titled Big Apple Camp, featuring a range of utilitarian chic looks as we slowly (and cautiously) stepping outdoors.

The collection and campaign portray the free-spirited energy of New York City’s in a warm, earthy palette. Ranging from ready-to-wear to footwear and accessories, the collection highlights an eclectic remix of materials and prints.

Retro-sports and daring elements from the streets made an unexpected collab meanwhile the signature monogram evokes a classic beat across the collection. It is all about expressing yourself in your very own code of style.

 

Swipe the gallery to take a look at Coach Pre-fall 2020 collection:

 

Visit malaysia.coach.com to find out more.

This article was originally published on www.lofficielmalaysia.com.

Fendi unfolds the secrets of the Peekaboo bags

Fendi releases a new video exploring the Roman house’s craftmanship of Laser-Cut, Interlace and Intarsio, which are used to create new exciting looks for the iconic Fendi Peekaboo bag.

The story begins with Fendi’s headquarters at Palazzo della Civiltà Italiana, where the time-honoured architecture serves as a prelude to the savoir-faire to mirror the symmetrical and simplistic silhouettes of the new Peekaboo. The four protagonists are then revealed, each featuring Fendi’s beautiful takes on distinct materials and workmanship.

 

 

Scroll down to learn more about Fendi’s craftmanship:

 

The Fendi Peekaboo X-Lite

FENDI PEEKABOO BAG LASERCUT

To bring this Peekaboo X-Lite to life, a resin-treated leather is laser cut to achieve the FENDI script, finished with striped Pequin pattern and FF monogram-embossed suede pocket.

The Fendi Intarsio Peekaboo

FENDI PEEKABOO BAG INLAY

The Intarsio (Inlay) Peekaboo bag brings together Fendi’s iconic Selleria Cuoio Romano leather, mink and fur.

On a base of hand-carved leather, the three materials are layered to create volume for the bag, where the first layer of leather and the mink on the outside will be sewn and joined by hand.

 

The Fendi Interlace Peekaboo

FENDI PEEKABOO BAG INTERLACE

The Interlace Peekaboo channels the most traditional workmanship. Leather stripes are braided into knots by hand and finalized with a maxi metal needle; isn’t it amazing how the handwoven leather put up the structural silhouette of Peekaboo?

 

See this new video by Fendi that showcases the craftmanship of the new bags:

 

 

Visit fendi.com to find out more.

This article was originally published on www.lofficielmalaysia.com.

Versace launches the #VeryVersace Challenge

 

In the name of its iconic Barocco V motif, Versace launches the #VeryVersace challenge on social media to inspire vision, which has started since 8th May 2020.

The Barocco V motif first made its debut on the Virtus bag as part of Versace Fall/Winter 2019 collection, and is now established as a full accessories collection ranging from bags, footwear to leather goods and fashion jewellery. Exuding a luxe accent, the 24 Karat gold-finished Barocco V motif shines across the collection, engraved with acanthus leaf to resemble the Italian house’s everlasting and ever-evolving legacy of creativity.

 

 

While we staying #AloneTogether, Versace is inviting its community to be a part of #VeryVersace challenge. Take the pictures of V-shaped objects and scenes around you that remind the Barocco V motif, upload the pictures to social media with #VeryVersace hashtag or drop it at [email protected]. The Italian house will be sharing its favourite picks across its social platforms and website throughout this May 2020.

 

Visit versace.com to find out more.

This article was originally published on www.lofficielmalaysia.com.

Armani reschedules its fashion calendar for 2020

 

In light of global healthcare issue, Armani announces new arrangements for its fashion collection shows and presentations including Giorgio Armani, Emporio Armani and Armani Privé.

The Italian fashion giant has made it official to reschedule the presentation of its men’s collection in this coming June, meaning both men’s and women’s collections will be showcased in September 2020 in Milan.

For Armani Privé show, the couture line is shifting from Paris back to Armani’s headquarters in Milan in January 2021 for a seasonless collection, which means there will be no shows for 2020.

Meanwhile, Armani Privé is opening its door starting June 2020 onwards, clients are welcomed to make appointments to the atelier for personal alterations.

 

Visit armani.com to find out more.

This article was originally published on www.lofficielmalaysia.com.

Burberry’s TB and Lola bag get brand new attitudes

 

This season, Burberry TB and Lola bag are upgraded with a sun-drenched palette to shake off the winter-time gloom. From classic crossbody to laid-back bum bags, we are getting on with the right mood (and the right bag) for this spring and summer seasons.

Both the new TB and Lola bag highlights the allure of prints and different materials including two-tone canvas and leather, quilted denim and gingham lambskin, all accentuated by the signature Thomas Burberry Monogram hardware.

 

 

Staying loyal to the animal theme on Burberry Spring/Summer 2020 show, the new TB bag sees the rich and elaborate prints of wildlife conjured on silk and jacquard-woven leather. Whilst the Lola bag features a monogram design printed with Bambi – which has already become a reflection of Riccardo Tisci himself.

 

 

Swipe the gallery to take a look at the new Burberry TB and Lola bag:

 

 

Visit my.burberry.com to find out more.

This article was originally published on www.lofficielmalaysia.com.

New Clash de Cartier channels the clash of attitudes

Last year, Clash de Cartier made its debut in rose gold, yellow gold and coral (a 100% sourced and non-treated Corallium Rubrum), celebrating the dynamic of contrast rooted in Cartier’s aesthetic heritage.

This 2020, Cartier reinvents the Maison’s new signature jewellery with white gold and pop of nature-inspired colours. A refined accent of amazonite is set amongst yellow gold studs, radiating in lagoon blue. Wear it alone to impress a sophisticated look, or wear it in stacks to express the rule-breaker in you.

Staying authentic to its ethos of cultivating contrast, the new Clash de Cartier preserves the same allure of fluidity as its elder siblings. The geometrical silhouette and curves capture the classical codes at Cartier with a contemporary tension; different materials and stones collide at the supreme craftsmanship of Cartier.

Swipe the galery to take a look at the 2020 edition of Clash de Cartier:

 

Visit cartier.com to find out more.

This article was originally published on www.lofficielmalaysia.com.

Elevated Cool: Introducing the Patek Philippe Aquanaut Ref. 5168G with Khaki Green Dial

What does it take to up the ante of an icon to give it a younger and more dynamic spin? In the case of the Patek Philippe Aquanaut  – a progression from the super coveted Nautilus – it meant rejigging the Nautilus by replacing its integrated bracelet and ears on the case sides with a composite strap and a cleaner profile.

Since the men’s Aquanaut was introduced in 1997 in steel and gold with smaller 36 mm dimensions, this Patek classic has evolved to spawn a number of variations, each one equally appealing and eye-catching.

In marking the Aquanaut’s 20th anniversary, Patek presented it in white gold for the very first timewith a bold and its biggest-ever case size of 42.2 mm, paired with a midnight-blue dial and strap.

At last year’s Baselworld, the white gold “Jumbo” Aquanaut version returned with a head-turning appearance in a khaki green colour scheme, injected with great verve and spirit yet remaining super refined and classy.

Its signature rounded octagonal case, echoing that of the Nautilus, benefits aesthetically from both polished and satin finishes, just as its bezel is juxtaposed with vertically satin-finished flats and polished flanks.

Distinguished as a Patek sports watch, the Aquanaut’s dial boasts an embossed checkerboard patternas a base that complements the luminescent white gold applied Arabic numerals, applied five-minute markers, and baton-style hour and minute hands. To complete the time and date indications are a sweep seconds hand and a date aperture at 3 o’clock.

To catch a glimpse of the timepiece’s inner workings, flip over to its sapphire-crystal caseback for a reveal of the elegant self-winding manufacture movement that orchestrates the Aquanaut’s narration of time. With its 3.3 mm height, the slimness of the calibre perpetuates the watch’s sheer finesse and performance courtesy of its 120 m water-resistance.

The composite strap in matching khaki green shade that is ultra-resistant to traction, wear, salt water and ultra-violet radiation, features the new patented Aquanaut fold-over clasp that optimises its security whenever it is opened and closed.

 Visit patek.com to find out more.
This article was originally published on www.lofficielmalaysia.com.

Fashion houses and brands to contribute to Coronavirus global pandemic

The fashion industry is experiencing one of its darkest days right now as the Coronavirus turns to be a global pandemic right now.

The Coronavirus crisis hasn’t only heavily impacted the lives of many, but also businesses worldwide including the fashion industry.

As the world fights it together, fashion behemoths and moguls are also coming together to do their part for the welfare of others. Whether it’s making cash contributions, supplying personal protective equipment products or supporting food bank, they are offering help in their own ways in the time of need.

 

 

MODA MALAYSIA

In partnership with FashionValet and IMARET, Malaysia Official Designers Association (MODA) is also joining in the efforts to combat against the COVID-19 pandemic by buying materials and sewing personal protection equipment (PPE) to frontliners in Malaysia. Funds will be administered by MODA to buy the fabric to be distributed to designers and volunteers involved to sew PPE hospital gowns as fast as possible.

The initiative sees local designers including Dato Radzuan Radziwill, Khoon Hooi, Alia Bastamam, InnaiRed, Melinda Looi, Celest Thoi, Jimmy Lim, Key Ng, You Sheng, Keith Kee, Kit Woo and their league of seamstresses volunteering to cut and sew these hospital gowns.

You can support the cause via materials or fund donation here.

 

CAPRI HOLDINGS

Capri Holdings Limited, a global fashion luxury group that owns Michael Kors, Versace and Jimmy Choo, announced today that its collective brands and their founders are donating more than $3 million in support of COVID-19 relief efforts.

Michael Kors brand will donate $1 million to support local relief efforts. In addition, founder Michael Kors and John Idol will make personal contributions of an additional $1 million towards these efforts which will be directed to NYU Langone Health and New York-Presbyterian Hospital, God’s Love We Deliver and A Common Thread.

 

DIOR

In addition to the efforts of its parent company LVMH, Dior opening up its Baby Dior Atelier in Redon in the aid of producing face masks on a volunteering basis in helping out the current situation. The Dior staff are joining in the production via a volunteer basis.

 

CHANEL

Like many French fashion house, Chanel has also pledged to produce protective gears to aid the French medical system and also donate $1.3 million to an emergency fund dedicated for the public health system in France.

In addition to that, Chanel has also promised to pay two months of salary to all its French workers to avoid them from relying on the unemployment fund from the French government

 

COACH

The Tapestry, Inc. family (the parent company of Coach which also owns Kate Spade New York and Stuart Weitzman) through the Coach Foundation has decided to commit USD2 million to the New York City Small Business Community Fund and also match the North America employee donations to COVID-19 response efforts through their matching gift program. Also, they will make an additional donation to an organisation crowd-sourced by employees.

 

BURBERRY

In their efforts to contribute to the fight against COVID-19, Burberry is facilitating the delivery of surgical masks, non-surgical masks and gowns for use by medical staff and patients by utilising our global supply chain network to fast-track the delivery of over 100,000 surgical masks to the UK National Health Service and also, retooling our trench coat factory in Castleford, Yorkshire, to make non-surgical gowns and masks for patients.

On top of that, Burberry will be funding research into a single-dose vaccine developed by the University of Oxford and donating to charities including FareShare and The Felix Project, dedicated to tackling food poverty across the UK.

 

Courtesy of Gucci

LVMH

The French conglomerate has leveraged its cosmetics factories including Guerlain, Dior Parfums and Givenchy Beauty to manufacture hydroalcoholic gel and distribute to health authorities in France. It is also ordering 40 million face masks from China for the country. Back in January, French company gave 16 million RMB (approx. RM 9.9 million) to The Red Cross Society of China.

Fendi men’s and accessories creative director Silvia Venturini Fendi also took to the Instagram to announce the foundation has contributed €100,000 (approx. RM475,000) to help the intensive care department of Presidio Sanitario Columbus in Rome last week.

 

KERING

The fashion giant, which owns Gucci, Saint Laurent, Balenciaga and Bottega Veneta, has donated 7.5 million RMB (approx. RM4.6 million) to the Red Cross Society of China and € 2 million (about RM 9.3 million) to the healthcare institutions in Italy including Lombardy, Veneto, Tuscany and Lazio.

The fashion group is also ordering three million surgical masks from China to distribute to French health services while tapping Balenciaga and Saint Laurent to produce masks and personal protective supplies.

The CEO of Gucci, Marco Bizzari, has also donated more than $100,000 (approx. RM430,000) to hospitals in the Emilia-Romagna region of Italy.

 

Masks produced internally at the Prada factory in Montone. Courtesy of Prada.

 

VIVY YUSOF & FADZA ANUAR

The co-founders of Fashion Valet have together launched a FV Covid-19 Support Fund on behalf of Imaret Malaysia (Islamic Medical Association of Malaysia Response and Relief Team) to ensure the adequate supplies of general and medical materials to the frontline staff in Malaysia. The couple has taken the lead by donating RM100,000 to the campaign.

For Malaysians, you can do your part by contributing to Mereka,  Mercy Malaysia, Kitafund, or The Lost Food Project.

 

HERMÉS

The high-end fashion label has pledged 5 million RMB (Approx. RM3.1 million) to the China Soong Ching Ling Foundation, honouring the medical professionals who have fought on the front line.

 

PRADA

The Italian luxury fashion house has donated two entire intensive care and resuscitation units each to three of Milan’s biggest hospitals including San Raffaele, Sacco and Vittore Buzzi. The brand will also use its production lines to produce masks and medical overalls to the country. The production plan provides for daily deliveries, which will be completed by April 6th.

 

Donatella Versace, courtesy of Versace.

VERSACE

The Donatella Versace-helmed Italian fashion house contributed 1 million RMB (approx RM600,000) to The Chinese Red Cross Foundation last month, while the creative director of Versace herself together with her daughter Allegra Versace Beck have donated €200,000 (approx. RM930,000) to the ICU of San Raffaele hospital in Milan.

 

GIORGIO ARMANI

The brand from Italy has funded numerous Italian hospitals and institutions with a total of €1.25 million (approx. RM5.8 million) to a group of Italian hospitals and institutions, including the Luigi Sacco and San Raffaele hospitals, the Istituto dei Tumori in Milan and more.

 

BIJI-BIJI INITIATIVE

The owner of Biji Biji ethical fashion, a Malaysian fashion company consisting of Biji-biji Initiative, Me.reka, and Taylors Me.reka Makerspace, is working with a group of volunteers and makers to make Protective Face Shields for the Covid-19 front-liners, which youou can make your contribution by clicking this link – www.mereka.my/protecting-our-frontliners.

 

MONCLER

The brand, known for its iconic winter puffer jacket, will donate €10 million (RM46 million) towards the construction of a new hospital in Milan that has 400 intensive care units.

 

SERGIO ROSSI

The Italian shoemaker has donated €100,000 (about RM460,00) to a hospital in Milan and has announced to dole out 100% of its online sales profits between 14th March and 20th March 2020.

 

BVLGARI

Jewellery house Bulgari donated an unspecified amount to the Istituto Lazzaro Spallanzani’s research department in Rome, which was among the first to isolate the DNA of COVID-19. The amount was reported to be sufficient to buy a microscopic image acquisition system that is worth about €100,000.

 

CHIARA FERRAGNI

The Italian fashion entrepreneur and her husband Fedez have helped to raise over €4 million (about RM18 million) through GoFundMe campaign. The couple has also contributed €100,000 towards the intensive care department of San Raffaele hospital in Milan.

 

RICHEMONT

The Swiss luxury behemoth who owns Cartier, Montblanc, Van Cleef & Arpels and more has pledged to give 10 million Renminbi (RM6.1 million) to China to combat the COVID-19.

 

INDITEX

The global fashion group, which owns Zara and Bershka, will make use of its supply chains to produce masks and gowns for medical workers and patients in Spain. Last week, the company has expected to ship 300,000 face masks from overseas and distribute it to the Spanish health authorities.

 

 

BRITISH FASHION COUNCIL

The pillar of British fashion industry did its part by working with the Department for Business, Energy and Industrial Strategy and the Department for Health and Social Care on a new initiative to produce essential protective products including masks.

 

CFDA

The Council of Fashion Designers America (CFDA) has urged the fashion community in US – companies, vendors and individuals – to assist in the manufacturing of personal protective equipment products like masks, gowns and gloves.

They will also repurpose the US$700,000 (approx. RM2.1 million), which is supposed to be for the annual CFDA Vogue Fashion Fund, to small businesses that apply for grants from 8th April onwards under the new fundraising initiative with Vogue to support small businesses – A Common Thread.

Courtesy of CFDA

This article was originally published on www.lofficielmalaysia.com.

Malaysians can now join #GucciCommunity to battle against COVID-19 pandemic

Following Kering’s donation and production of protective gear to healthcare front liners, Gucci is calling its global community to stand together in the fight against novel COVID-19 outbreak.

In support of the World Health Organization (WHO) and the Italian Civil Protection Department, Gucci is bringing the crowdfunding campaigns to its community’s (#GucciCommunity) attention on the Internet. Both campaigns focus on the contribution to backing health services with equipment and powering the scientists on developing vaccines, treatments against COVID-19.

View this post on Instagram

We Are All in This Together. Gucci stands with its global community to fight the #Covid19 pandemic by making two separate donations to crowdfunding campaigns. Locally, in Italy where the company is based, a 1 million euros donation to the Italian Civil Protection Department #DipartimentoProtezioneCivile in partnership with @intesasanpaolo’s #ForFunding platform to reinforce Italy’s health services and to source new ICU beds. Globally, Gucci donated 1 million euros to the United Nations Foundation’s Covid-19 Solidarity Response Fund in support of the World Health Organization @who through Facebook’s US$10 million Matching Fundraiser to monitor and collect data on the spread of the virus to strengthen ICUs across the world, supply protection equipment to health personnel and fast-track the creation of vaccines and therapies. The initiatives are captured in an original illustration gifted by Rome-based artist @mp5art, a person who holds their hand on their heart a message of human solidarity. “Gucci has created a world, open and free: a Gucci global community. We ask all of you to be the changemakers in this crisis, to stand together with us in the fight against the Coronavirus. We are all in this together,” say @alessandro_michele, Creative Director of Gucci, and #MarcoBizzarri, President and CEO of Gucci. Calling on our #GucciCommunity to join with us, give through our Donate Sticker on Stories to the United Nations Foundation’s Covid-19 Solidarity Response Fund in support of the World Health Organization @who, and on gucci.forfunding.it to donate to the Italian Civil Protection Department #DipartimentoProtezioneCivile. Discover more about the crowdfunding campaigns through link in bio. Starting from tomorrow, Gucci’s social channels will feature the official messages of @who to help spread useful information and prevention for the virus. #StaySafe #FlattenTheCurve

A post shared by Gucci (@gucci) on

 

“This pandemic calls us to an unexpected task, but it is a call to which we respond decisively, advocating the selfless work being carried out by health professionals, doctors and nurses who are working on the front lines to help those affected by the outbreak of the Covid-19 virus, particularly in our home country of Italy and around the world.”

-Creative director Alessandro Michele and President and CEO of Gucci Marco Bizzarri

 

For its home country Italy, Gucci dedicated webpage gucci.forfunding.it, where donations can be made to Italian National Civil Protection Department. At the same time, #GucciCommunity, who share the value of global solidarity, is invited to play their part by joining Gucci in United Nations Foundation’s COVID-19 Solidarity Response Fund through a Facebook US$10 million matching fundraiser.

The raised fund will be devoted to WHO’s lifesaving work across the globe. Starting from today, a donate feature will be available on Gucci Instagram Story whilst Malaysians can visit WHO site to be a part of this movement.

Follow @gucci on Instagram for more updates.

You can donate directly here at www.covid19responsefund.org.

 

This article was originally published on www.lofficielmalaysia.com.