Crystal Birch is back with their latest collection of hats – titled, ‘The Evolution Collection’. 

We are always seeking ways to re-invent the art of hat-wearing. 

More and more, this age-old craft has been relegated to a portion of nostalgia; whether it was ouma’s hats to complement her Sunday’s best at church or the sun-hats that we wore kids on the beach – hats have always been essential to our experiences. We want hats to be more than just a memory. As a brand, Crystal Birch is our way of committing to millinery and its incredible ability to translate into new and contemporary contexts.

The question we most often get asked is ‘where do I wear my hat?’. We are here to share our vision or hat-wearing in our latest trans-seasonal collection as a guide to situate you, your hats and experiences in real time – but, as always, we are doing it with a twist. 

So, we introduce you to…our Evolution!

Hats are perceived as vintage and an analogue technique for dressing, but we know the advanced ways in which designing and creating our hats is always a push between the boundaries of the tension between hand-crafting and machinery. To propel us into a new age, we knew we had to seek a new avenue of exploration. In collaboration with digital developer Mbangiso “Baso” Mabaso, we are bringing forth our Evolution collection using virtual and augmented reality, fusing our vintage world firmly into the future. Through an experiential medium, we will be showcasing Evolution through a QR-led portal that transports viewers into a gallery space to experience the collection, surrounded by a variety of occasions in which to wear our hats; think a wedding, safari and more. The Evolution Collection will show you the many places that hats are perfect for. 

Evolution is our introduction into new technologies for our brand and our founder Crystal’s vision to bring millinery into modernity through education.

As we say, there’s a hat for occasion; you just have to know which ones.

Visit The Hat Factory to view ‘The Evolution Collection’ as a QR Experience 

Visit Crystal Birch’s website HERE

Tel:
+27 21 465 4505

Email:
[email protected]
[email protected] 

Address: 
1st Floor, 42 Newmarket street, Foreshore, Cape Town, 8001
Opening Hours:

Mon-Thurs: 8:00 – 16:00 
Fri: 8:00-15:00

For more news, visit the Connect Everything Collective homepage www.ceconline.co.za

The LVMH Prize for Young Fashion Designers is an annual international fashion competition organized by the French luxury conglomerate LVMH Moët Hennessy Louis Vuitton. The prize was established in 2014 with the aim of recognizing and supporting emerging talents in the fashion industry, and is open to designers under the age of 40 who have presented at least two collections during their brand’s development. Designers and brands are reviewed by panel of renowned fashion experts, including designers, journalists, and industry professionals, evaluate the applications and select a group of finalists – some of the panelists in the past have been titans of fashion like Maria Grazia Chiuri, Marc Jacobs, Phoebe Philo, Virgil Abloh and Jonathan Anderson. Both of our South African alumni, Thebe Magugu and Lukhanyo Mdingi have seen their positions as finalists catapult their careers and cement their status internationally and locally; opening doors as bridges between our region and the global fashion industry. Winners receive generous grants, mentorship and recognition that support long-term viability for their labels. 

It was announced yesterday that Setchu by Satoshi Kuwata is this year’s LVMH Prize winner. The label is a masterful fusion of traditional Japanese aesthetics and modern design, with an emphasis on quality materials and meticulous attention to detail, showcasing Kuwata’s harmonious blend of heritage and innovation through his travels and experiences.

The first winner of the The Karl Lagerfeld Prize is Bettter by Julie Pelipas. Julie is already a prominent figure in the fashion industry, known for her influential work as a stylist and fashion director. She gained recognition as the former fashion director of Vogue Ukraine, where she played a significant role in shaping the magazine’s aesthetic and editorial direction; Bettter is Julie’s manifestation as a designer, with her powersuits embodying effortless and contemporary minimalism characterized by clean lines, silhouettes, and a restrained color palette. The brand’s epitaph ‘UPCYCLING SYSTEM’ is Julie’s answer to sustainability; fusing the power-suit with upcycling materiality and a new era of fashion production.

The third finalist, also for The Karl Lagerfeld Prize, is Magliano by Luca Magliano; with the vision of the brand Luca’s relegation of the traditions in Italian heritage tailoring and craftsmanship into a new, gritty era. His brand is a youthful, rebellious answer to the question of how much tradition should be preserved, and what could be reinterpreted; with his collection earlier this year featuring factory workers as his models, and a celebration of LGBTQIA+ expression amidst Italy’s growing conservatism and political oppression.

Credits
Garment images courtesy of brand websites
Designer images courtesy of LVMH

Written by: Holly Beaton

For more news, visit the Connect Everything Collective homepage www.ceconline.co.za

Edward Enninful, the first black editor-in-chief of British Vogue, has announced his departure from the prestigious fashion magazine after a transformative six-year tenure. Under Enninful’s leadership, British Vogue underwent a remarkable evolution, embracing diversity and inclusivity – while championing social issues and amplifying underrepresented voices in the industry. Born in Ghana and raised in Britain, Edward expresses the truth of British identity; a tension of post-colonial struggles, and the triumph of the last few decades in recognition of the many cultural diasporas that make up the fabric of the United Kingdom. Scouted at the age of 16 in London, Enninful’s formative background was as a stylist. With his innate sense of style and vision, Enninful quickly rose to prominence, securing positions at top fashion publications such as i-D Magazine and eventually becoming the fashion director of W Magazine.

Prior to Edward’s appointment at British Vogue, the role was held for 25 years by Alexandra Shulman; so this step-back comes as a shock and a disruptive break in the status-quo for a role that is seen as the highest heights for a fashion journalist to reach. In a rapidly changing landscape, though, with print-publications migrating digitally or closing down entirely, and requiring rapid business-model restructuring; a role such as EIC of Vogue might be relegated to the prestige of a bygone era. It’s rumoured that Edward’s first love – styling – was not something he could tend to with conflicting interests and schedules in terms of his role at Vogue. Perhaps his departure indicates the kind of freedom that freelancing and independence affords at his level?

Beyonce

Even still, Enninful’s reign leaves an indelible mark. Some of his notable covers include; the “Forces for Change” issue (September 2019) in which Enninful curated a groundbreaking issue that featured 15 different covers, each celebrating powerful and diverse women making a positive impact on the world. The covers included changemakers like Adwoa Aboah, Jameela Jamil, and Greta Thunberg. Then, the “Activism Now” issue (September 2020), emphasised the importance of activism by dedicating multiple covers to activists from different backgrounds, including Marcus Rashford, Adwoa Aboah, and Salma Hayek. The issue highlighted their contributions to social justice causes. As a response to a global pandemic, Vogue united across all their publications – utilising fashion to celebrate the unsung heroes of the pandemic in the “Hope” issue (February 2021). The cover featured key workers representing different professions, showcasing their dedication and sacrifice during challenging times. The “Fashion Now” issue (February 2022) celebrated a full African cast of models as a statement against anti-tokenism in the fashion industry. Featuring Ruea and Akech are featured alongside Anok Yai, Majesty Amare, Amar Akway, Janet Jumbo, Maty Fall, Abény Nhial and Akon Changkou, photographer Rafael Pavarotti described the shoot as a “a celebration of the beauty and matriarchy of black women.” These covers under Enninful’s leadership played a significant role in promoting inclusivity, highlighting diverse voices, and challenging traditional beauty standards within the fashion industry.

Rumours have circulated about a feud between Anna Wintour, the editor-in-chief of American Vogue, and Edward Enninful. Speculation suggests that the feud stems from a perceived rivalry between the two influential figures in the fashion industry. Fashion media is full of drama – its toxic reputation is embedded into its reputation –  and these rumoured tensions may have arisen due to Enninful’s rapid success and the transformative changes he brought to British Vogue, potentially challenging Wintour’s dominance. Anna Wintour has been under fire for many years due to her continued lack of commitment to inclusivity, diversity and cultural change; she is a figurehead of luxury fashion’s ‘old guard’, which has historically been founded on principles of elitism, white dominance and gatekeeping. An article by Edmund Lee in The New York Times titled ‘The White Issue’ says, “More than any other institution, Vogue has defined fashion and beauty for generations of women, and the runway looks encouraged by the London-born Ms. Wintour, 70, have trickled down from haute couture houses to fast-fashion retailers and into the hands of everyday consumers. From Manhattan to Hollywood and beyond, she has helped set a standard that has favoured white, Eurocentric notions of beauty.” While this is merely speculation regarding the feelings between Edward and Anna, it’s certainly not a stretch to imagine that Edward breaking the castle that she helped build might have been seen as less than ideal.

Marcus Rashford and Adwoa Aboah

With Edward Enninful reportedly taking on ‘a global advisory role’ within Vogue’s parent company, Condé Nast – we wait with bated breath. In six years, Enninful’s role has amplified the direction fashion could truly be going in and that is a wondrous achievement. For that, we cannot thank him enough.

Written by: Holly Beaton

For more news, visit the Connect Everything Collective homepage www.ceconline.co.za