Latest news with #vintagefashion
Yahoo
7 days ago
- Business
- Yahoo
Gap releases curated vintage collection
This story was originally published on Fashion Dive. To receive daily news and insights, subscribe to our free daily Fashion Dive newsletter. Dive Brief: Gap dropped its third GapVintage collection on Tuesday. The capsule, which was compiled by Gap's vintage curator Sean Wotherspoon, features 148 seasonal pieces. It's the largest drop by the vintage curator since his partnership with the company began in 2023. The collection is available exclusively through Gap's e-commerce website, and prices range from $55 to $90, per a company spokesperson. As of press time, a majority of the pieces were sold. Dive Insight: Gap launched the GapVintage project in February, and teased that it would release multiple collections. It released the second collection in April but didn't specify a timeline for upcoming drops. The new capsule includes denim, T-shirts, shirts, pants, skirts and sweatshirts. When GapVintage was announced, Wotherspoon said the vintage and secondhand market continues to resonate with younger generations, and he was excited to see Gap take curated control of its vintage supply. To that end, GapVintage is among the newly announced categories Gap is focusing on as it works to rebuild its image and cultural relevance. Upon his hiring, CEO Richard Dickson was tasked to lead the charge of reinvigorating the company. Under Dickson, Gap has launched GapStudio, an elevated subbrand designed by Zac Posen, who was recently hired as Gap Inc.'s creative director and executive vice president. Collaborations have been another key part of the strategy. This year, Gap brands have collaborated with Malbon Golf, Dôen and Disney. These efforts have contributed to Gap gaining new customers and maintaining long-time fans. 'We are bridging the generation gap,' Dickson said in an earnings call in May. The Gap brand is showing signs of reaching that consumer relevance, he added. Q1 marked the sixth consecutive quarter of positive comps and eighth quarter of market share gains. 'We are building a consistent brand narrative that we are applying with relentless repetition,' Dickson said. Recommended Reading Gap Inc. braces for as much as $300M in tariff-related costs Error in retrieving data Sign in to access your portfolio Error in retrieving data Error in retrieving data Error in retrieving data Error in retrieving data
Yahoo
29-06-2025
- Entertainment
- Yahoo
Sofia Richie Grainge's Archival Saint Laurent Gown Is the Richest Outfit in Monaco
When you buy through links on our articles, Future and its syndication partners may earn a commission. Sofia Richie Grainge has embarked on her first Euro summer since her 2023 wedding in the South of France. To no surprise, it's off to a stylish start. First, the new mom embraced French girl attire in a striped blouse and mesh Alaïa ballet flats for a stop in Paris with her husband, Elliot Grainge. Next, the power couple jetted off to Monaco, where Grainge's aesthetic took a sultry—and archival Saint Laurent—turn. On June 5, the model swapped neutrals for a vibrant vintage dress. With help from her new stylist, Thomas Christos, Grainge got her hands on an original design from Yves Saint Laurent Spring 1979. Despite being 46 years old, the floor-length piece looked good as new. As seen on the runway, the one-shoulder gown was black with red crescent-shaped moons. This pattern aligned with the collection's overarching "Celestial" theme. On the accessories front, Grainge sourced Saint Laurent's current catalog for a complementary purse. She carried her black-and-red bag as a clutch, but it can also be worn as a crossbody with a gold chain. Unlike her one-of-a-kind gown, the minaudière is still available to shop. To finish, Grainge frosted herself with minimal gold necklaces, bracelets, and stud earrings, as to not overshadow the divine dress. Always on board for a vintage find, Grainge gave the mature gown new life. It actually looked quite different on the catwalk. Contrary to Grainge's simple styling, the runway model layered it underneath a coordinating red, pink, and black trench coat. Then, the stylist added a statement necklace, plus a feathery headband—one of the collection's trademark motifs. Finally, the model paired black tights with strappy gold sandals. Today, the entire ensemble might feel '80s-inspired, but it was rather ahead of its time. This concoction of colors was years away from becoming the norm. While some celebrities keep their vacations private, it seems Grainge is taking us along for the ride. And while she's so far remained loyal to runway brands, we might see some preppy sweaters and Reebok sneakers soon. She loves a high-low moment almost as much as her expanding vintage archive.
Yahoo
28-06-2025
- Entertainment
- Yahoo
Groundbreaking Fashions Focus of Tokyo Exhibition
— A virtual fashion museum owned by one of Japan's most influential vintage stores is venturing into the physical realm with a new exhibit. The exhibition features groundbreaking looks from a variety of Japanese and international designers, spanning the 1970s through to the 2000s. More from WWD Tender Store Owner Cheryl Daskas Dies at 71 Kate Middleton's Trooping the Colour Outfits Through the Years: Seeing Pink in Alexander McQueen and More Looks Julien's Auctions to Offer Key Menswear Pieces From Celebrities, Designers The brainchild of buyer and curator Hideo Hashiura of the vintage store Laila, La Museum opened as a virtual fashion archive in July 2024. It staged a small, one-day exhibit at a forest villa in Nagano prefecture in May, thanks to a proposal by the well-known architect Kazuyo Sejima of SANAA, which designed the striking building. The museum's latest exhibit is its first to last multiple days and to tell a visual story of a particular period in fashion history. La Museum Shibuya opens Saturday for a two-week period in the basement of a nondescript office building just steps from one of Tokyo's most bustling neighborhoods. The building's demolition is scheduled to begin at the end of the month, and so Hashiura and his team were given free reign over the space. 'We have been running the virtual museum for almost a year and have done a couple of exhibits on the history of fashion design,' Hashiura said. 'But to really understand the detail and the design, the most important thing is to be able to see the clothes up close, as well as at eye level. If you're looking up at the clothes, you miss the full picture.' The Shibuya exhibit by La Museum is broken into five sections. Each has its own theme, but all of the mannequins are arranged at floor level, with visitors invited to move between and among them, providing a unique opportunity to see looks from all angles and just inches away. But still, Hashiura's dream is to bring people even closer to these archival looks. The exhibition catalogue. Courtesy photo. 'I would love to do an exhibit with 1,000 mannequins all lined up in long rows, and with 50 fitting rooms also in a row, and to invite people to actually try on the clothes. It's a fine line, because clothing is fragile and easily damaged by the oil on our fingers, perspiration and just general use, but also fashion is a product. It's not art — it's meant to be worn,' Hashiura said. La Museum's collection consists of about 7,000 pieces, all of which are by designers and brands that Hashiura and his team source for the Laila stores. The first Laila location opened in 2002, and it quickly became an arbiter of Japanese vintage culture for its rare, hard-to-find runway pieces. The exhibit at La Museum Shibuya features around 50 looks from La Museum's online exhibit '1950s-2010s Part 2 History of Modern Fashion Design,' which opened in March and continues to run concurrently. Pieces from Issey Miyake, Yohji Yamamoto, Comme des Garçons, Kenzo and Kansai Yamamoto are displayed alongside designs by Alexander McQueen, Helmut Lang, John Galliano and Vivienne Westwood. Another section focuses on the Antwerp Six designers, while a Martin Margiela trench coat with a long tail stands before a photo installation by Maison Martin Margiela, which was only shown once before, at the Grand Palais in Paris in 2006. On another wall in the space are projected images by photographer and editor Shoichi Aoki, known for his work on the Japanese street-style magazines Street, Fruits and Tune. Screened from an old-school slide projector, the photos were captured in Paris on Oct. 19, 1989, documenting the runway and surrounding scenes of the Maison Martin Margiela spring 1990 collection. Next to this are seven mannequins dressed in looks from the same collection, using the same styling that was shown on the runway. Hashiura said despite the time and effort required to install and then uninstall a physical exhibition such as this one, he hopes to do others in the future if the opportunity arises. He continues to build La Museum's collection — he recently purchased about 20 pieces from Kerry Taylor Auctions in New York—and wants to share this with the public as much as possible. La Museum Shibuya runs from Saturday until June 29 in Tokyo, and is open to the public free of charge. Best of WWD Bottega Veneta Through the Years Chanel's Ambassadors Over The Years Ranking Fashion's Longest-serving Creative Directors
Grazia USA
11-06-2025
- Entertainment
- Grazia USA
Hailey Bieber Just Wore These $24 Vintage Cat-Eye Sunglasses — Here's Where to Shop the Exact Pair
Photo Credit: @haileybieber/Instagram Model, beauty mogul, and fashion muse Hailey Bieber just gave her followers a masterclass in effortlessly cool summer style — and the internet is obsessed. On June 8, Bieber shared a sultry Instagram carousel that instantly made waves across fashion feeds, featuring a sleek black swimsuit and cowboy hot, sun-soaked skin, Rhode undereye patches, and a pair of vintage, black, cat-eye sunglasses from cult-favorite eyewear brand Giant Vintage. If her sunnies gave you déjà vu, you're not alone — the look calls back to old-Hollywood glam with a thoroughly modern edge. Think Brigitte Bardot meets Y2K cool girl, all wrapped up in one perfectly filtered post. Hailey Bieber's Vintage Summer Vibe The eyewear of the moment? The TWEAKS Black Cat Eye Sunglasses (retailing for $24), available now at Known for their nostalgic 90s and Y2K aesthetic, Giant Vintage has long been a favorite among trendsetters and stylists who want retro flair without luxury markup. The sleek angular frames and glossy black finish perfectly match Summer 2025's vibe: cool, nostalgic, and booked and unbothered — and with a price point under $30, they're a no-brainer summer buy. Photo Credit: @haileybieber/Instagram Why Everyone's Obsessed with Giant Vintage Right Now Bieber isn't the only A-lister giving the retro eyewear brand some love. Giant Vintage has organically earned street cred with celebs and influencers alike for its blend of sustainable, deadstock frames and trend-driven silhouettes. Their collections channel everything from 70s disco to 90s rave, all with a touch of off-duty model energy. In a world where designer sunglasses often come with a three-figure price tag, Giant Vintage delivers the same 'cool girl' aesthetic at a fraction of the price — and with eco-conscious perks, too. Get the Hailey Bieber Look for Summer 2025 Want to recreate the look for your own main-character summer moment? Pair the TWEAKS Black Cat Eye Sunglasses with a minimal black bikini, a slicked-back bun, and your favorite dewy skin tint. Bonus points for adding gold hoops and glazed donut skin — a Hailey Bieber signature. Whether you're poolside in the Hamptons or soaking up sun at your local rooftop bar, this under-$30 find will instantly elevate your summertime vibe. Giant Vintage Giant Vintage TWEAKS Black Cat Eye Sunglasses, $24: SHOP NOW
CBC
05-06-2025
- Business
- CBC
I was a lifelong thrifter, committed to buying second-hand. Then I became addicted
This First Person column is the experience of Jennifer LoveGrove, who lives in Toronto. For more information about CBC's First Person stories, please see the FAQ. When I got home from work, there were packages piled at my door. My partner was on his way to my place. There wasn't time to open them, to try on the new outfits, to post another thrift haul on Instagram. Worse, I couldn't admit I'd bought something else — something surely perfect this time! — despite all the neglected outfits bursting from my closet. Cringing, I shoved the packages under the couch and out of sight. That's when I knew I had a problem, one more embarrassing than dangerous. It happened gradually, while wearing ratty sweatpants, during the years between the pandemic and turning 50. I had become addicted to shopping. I've been a thrifter for as long as I can remember. I grew up in a small town and loved yard sales. As a child, I'd try on my grandmother's shoes and jewelry, and as a teen I was thrilled to get like-new, hand-me-downs from a fashionable aunt. In high school, we'd cram into the car of whomever agreed to take us vintage shopping in nearby Hamilton. When I was younger, buying second-hand was not only affordable, but one-of-a-kind fashion was a way I expressed my creativity. Buying used offered uniqueness; no one else in theatre class would be wearing the same 1960s paisley dress with the sleeves cut off and a Dead Kennedys band logo glue-gunned onto the back. Decades later, with the growing awareness of fast fashion's substantial role in the climate crisis, I became even more committed to buying second-hand. Swaps, thrift stores and sites like Poshmark and Facebook Marketplace provided the familiar thrill of the hunt and unique finds, while aligning with my values of sustainability. But when the pandemic hit, my relationship to shopping changed. With plans cancelled or indefinitely postponed, I was alone, depressed and had nothing to look forward to. Learning to play the drums helped, but a painful injury knocked me down again. Despite having nowhere to wear new outfits, I began to cheer myself up by shopping. It began, ironically, with a local Facebook group dedicated to mindful consumption of second-hand fashion, which provided not just great outfits but social contact and even exercise in the form of bike rides to go pick up purchases. I was still committed to second-hand fashion, but suddenly I couldn't get enough. When packages arrived, opening them boosted my mood, but the lift was temporary. A vintage leather skirt offered hope that I'd someday attend another concert, but it didn't fit. The beautiful cashmere cardigan was a steal but unbearably itchy against my sensitive skin. Not only was I over-buying used clothing, I began buying new, too. If I liked something used but it wasn't in my size or sold to someone else, I'd obsess, unable to let go, stalking it like prey. A pair of high-rise wide-leg Levi's launched my enthusiasm into obsession. The used ones from Facebook didn't quite fit, and though I checked Poshmark frequently for my size, I lost patience, finally succumbing to buying them new. WATCH | Second-hand shopping cool among people focused on sustainability: Sustainability driving thrifting boom 6 years ago Duration 2:43 I should have stopped then; instead I doubled down. I just hadn't found the right outfit yet, the style or look that would make me feel better. My shopping — and credit card debt — was out of control. One used Free People tunic was practical; did I need it in three colours? I was ashamed. Once committed to ethical consumption, I'd become the opposite. A hypocrite. After lockdowns and isolation were behind me, my shopping addiction persisted until I eventually realized I'd become the kind of shopper that I'd spent most of my life obnoxiously judging: impulsive, undisciplined, unoriginal. Change of life changed my shopping — again The moment I found myself hiding the unopened packages under the sofa coincided with the distressing changes of menopause. My body and my moods felt alien to me. Nothing fit and everything ached. I was so bloated, I convinced myself it was a third-trimester Post-Menopausal Immaculate Conception (it wasn't). The body-shaming voice in my mind, fed by patriarchy and the 1990s heroin-chic propaganda of my youth, had surged back. If only I could find something flattering — soft pants, wrap dress, linen tunic — I would feel good again. I resented my body, but I felt worse for caring at all. Clearly I'd failed as a feminist if I'd internalized harmful fatphobia. But once I stopped berating myself, I was able to see the emotional layers. As a young thrifter, I was expressing a creative and ethical identity. During the pandemic, I wasn't buying outfits, I was buying hope. After perimenopause invaded my body, I was buying comfort. I was trying to buy back my past self. That realization made the addiction less shallow, but it didn't make it vanish. I still needed to curb the impulses and regain my confidence. Now, before clicking the checkout button, I force myself to answer a series of questions: Did I truly need this, would it last, did I have something similar? I'm learning to (mostly) avoid temptation. Resisting the urge to buy The Dress That Will Solve All My Problems is one challenge; accepting my aging body — with its fluctuating sizes, random acne, sore shoulders and anxiety — is another. New outfits don't bestow body acceptance, but playing the drums and cycling — physical activities I love — are healthier mood-boosters. So is telling my inner critic to shut up. Despite the best intentions, I learned how easily my behaviour can veer away from what I aspire to if I'm not vigilant. I'm still paying for all this, literally, but I'm upcycling my old concert T-shirts into new looks, purging my closet and feeling more myself.
