Los Angeles premium denim brand Agolde partnered with Opening Ceremony on an exclusive capsule collection that aims to inject a bit of youth rebellion into classic workwear pieces.
The capsule, Opening Ceremony x Agolde, totals six pieces and is split in two groups. The graphics group includes two jean styles with the Open Ceremony logo on the hem and rainbow stitch work. The remaining capsule pieces, dubbed the carpenter group, features colorblocking on a denim jacket, skirt and pants.
“Agolde is a young brand, and from a timing perspective it felt like the right time to collaborate with a like-minded business that shares our same values and culture,” Agolde creative director Karen Phelps said. “We felt that Opening Ceremony did just that. There was a great synergy throughout the design and development process and the collection evolved organically, which I think is evident in the assortment and lends true to both brands’ visions.”
Phelps went on to say the capsule evolves the brand’s design with all of the details: hammer loops with screen-printed logos, copper and black hardware, the rainbow stitching and the two-tone denim colorblocking. 

The collection was made in downtown Los Angeles with retail pricing from $198 to $275. It’s available exclusively

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SHOWTIME: The Lido de Paris has enlisted jewelry designer Shourouk Rhaiem to create an exclusive collection of jewelry and merchandise in celebration of its current Paris Merveilles show. The designs, which will go on sale in the Lido’s boutique in June, will feature feathers, glitter and colored stones inspired by the world of the famous cabaret, while there also will be embroidered T-shirts and sweatshirts designed by Rhaiem.
The designer, who graduated from Studio Berçot in 2005, created her colorful Shourouk costume jewelry label in 2008 after stints working at John Galliano, Chloé, Roberto Cavalli and Jean Paul Gaultier.

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The Council of Fashion Designers of America and the Accessories Council have teamed on a new initiative for emerging talent.
The Elaine Gold Launch Pad will support young businesses with a zero to three-year history. The program — a four-year commitment — is underwritten with $1.5 million in funds, donated to the CFDA Foundation by the estate of accessories maven Elaine Gold.
Gold, who passed away in 2015, had been a charter and board member of the Accessories Council.
“The Elaine Gold Launch Pad supports early-emerging and young design talent and aspirational entrepreneurs, and encourages creativity within technology, sustainability and innovation through six months of mentorship and milestone-based awards,” said a statement announcing the new program.
Apparel, accessories, jewelry, textiles, knitwear and hybridized specialization designers are eligible to apply. Ten finalists are eligible for a total five fellowships. The application process is to begin this spring.
“Elaine Gold Design Fellows will be challenged to develop design-centric, innovative business model concepts with tangible rewards. Each designer will compete for a series of milestone based micro-awards, venture awards and end program awards of up to $175,000 based on viability and originality,” said the statement.
“It was really an honor and a privilege to do something to remember Elaine Gold,

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The actress appears to have altered her Armani Privé gown at the ceremony.

Transitional outerwear at its purest.

A hedonist streak ran through Daizy Shely’s fall collection. The designer said she was inspired by a strong-willed, independent woman who works hard by day and parties hard by night. Her show notes name-checked Queen Elizabeth I and Catherine Deneuve as a vampire in the Eighties movie “The Hunger.”
The Elizabethan references came via shirts with ruffled necks and sleeves, some worn with contrasting corsets on top. The Deneuve influence could be felt in the fishnet stockings and the ghoulish complexions of the models, who cultivated a general aura of gender fluidity.

“My woman hates clichés about gender,” Shely explained backstage. The designer is equally averse to perfection. “I try to do perfect pieces, but then dirty them with something,” she said.

She worked a deshabille look in creations that ran the gamut from sleek to trashily undone: On one end of the spectrum, a chic black off-the-shoulder jumpsuit; on the other, the finale look pairing Forties-style checked wool pants and a pink negligee with a corset that fully exposed the breasts. 
The nudity felt gratuitous: A message of empowerment does not require bared nipples. Shely had already stated her case via riotous combinations of Lurex, fruit prints, colorblock tailoring and dévoré velvet trimmed

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The fall fashion season is entering its final European leg as Paris Fashion Week gets set to begin. And along with the established names are a slew of newcomers worth checking out.
Ottolinger
After showing as part of VFiles’ emerging designer talent program during New York Fashion Week for the past two seasons, rising Berlin-based label Ottolinger counts among this season’s on-calendar presentation newcomers.
Known for their subversive, handcrafted, punk-tinged creations hooked on ugly/pretty mash-ups, deconstructed streetwear and cut-up, gender-ambiguous denim, cofounders Christa Bösch and Cosima Gadient like to challenge traditional notions of sexiness. Experimenting with collage constructions and fabric manipulation, the playful Swiss design duo is into things that look a bit “off.” “Sexy doesn’t have to be beautiful. We try to do stuff we don’t understand,” said Gadient.
The designers’ studio in Moabit, in Berlin’s Mitte district, is a bit of a creative laboratory, with the pair constantly “collecting, researching and analyzing stuff, always gathering and kicking things out again.” They take inspiration from “things that surround us,” said Gadient, and find beauty in the mundane. Case in point — the sling on a friend’s broken arm, which sparked a series of bandage pieces in the new collection.
For fall, they’ve also experimented with traditional

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A Manhattan federal court judge has confirmed an arbitration award holding the Julius Klein Group and four of its principals responsible for paying $209 million to LGC USA Holdings Inc.
Federal District Court Judge Jesse M. Furman on Monday entered judgment consistent with his opinion and order of Feb. 16 favoring LGC, an affiliate of the Leviev Group of Companies that is headed by Lev Leviev. In the final judgment, the judge noted that the arbitration award of June 30, 2016, was for $142.2 million, representing the face amount of the award of $111.9 million plus prejudgment interest at 9 percent from Feb. 15, 2014, up to Feb. 21, 2017. The federal court judgment also includes prejudgment interest in the amount of $27.9 million each day from Feb. 22 to Feb. 27, 2017, the date of entry of the final judgment.
Word first surfaced in September that Leviev’s firm had won an arbitration award in what was then called an ugly and bitter corporate divorce.
Leviev and the Julius Klein Group formed a joint venture in 2002 where Leviev said he had a 43.5 percent interest in KLG Jewelry. But the parties’ corporate divorce entailed much bickering. Given that the two are heavy

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LIGHTS, CAMERAS: Going Hollywood meant a one-name moniker for the costume designer Adrian, who was more often than not associated with Greta Garbo, Joan Crawford, Jean Harlow and the other marquee actresses he dressed.
That part of his portfolio, as well as his ready-to-wear designs, will be explored in “Adrian: Hollywood and Beyond,” an exhibition that bows at the Museum at the Fashion Institute of Technology on March 7 and runs through April 1. Researched by graduate students in the Fashion and Textile Studies: History, Theory, Museum Practice program, the show will home in on Adrian’s unexpected use of textiles, such as a Wesley Simpson cloth that was illustrated by Salvador Dalí. That will be among the garments showcased with textiles, ads and film clips that show Adrian’s use of printed textiles and unexpected construction methods. At the height of his career at MGM Studios, the designer’s creations were believed to be the most copied clothes in the world, since millions were tuning in to watch the big names, he suited up for the silver screen. His knack for translating Paris fashion trends for a star and magnifying the look for a dramatic effect that enhanced a film’s narrative distinguished his

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