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Fashion Designer Elie Tahari Buys Manhattan Condo

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Elie Tahari recently snapped up a one-bedroom, one-and-a-half-bathroom condo in Nolita, though it’s unlikely that he’ll be spending much time there. According to the New York Post, the fashion designer most likely purchased the 1,148-square-foot apartment for one of his two children. Situated on the sixth floor of a condo building designed by New York firm Roman and Williams, the unit sold for $3.25 million, a bit more than the asking price of $3.15 million.

The home features herringbone hardwood floors throughout, with a foyer that opens onto a combination kitchen/dining space and formal living room with a stately fireplace. Though the listing for this specific unit has been taken down since Tahari’s purchase, photos of other units in the building show oversized picture windows trimmed in black wood and luxurious marble bathrooms. The bedroom also comes with a windowed walk-in closet, perfect for the progeny of a celebrated fashion designer.

Building amenities include a gym, concierge, private storage, and rooftop deck. Regarding the apartment, “I bought it because I still think [New York] real estate is a great investment and I have always loved Roman & Williams’ design,” Tahari told the Post. “So when it came up for sale, I thought it would be a good opportunity.” Tahari also owns a 2.5-acre Hamptons property, which he’s renovated during his ownership and which he has been trying to sell since 2017.

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Fashion & Style

Longines Lifts Off With A New Pilot Watch Collection

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Longines’ Spirit range of pilot watches appeared in 2010 as a limited edition run. The concept of ‘Spirit’, Longines said, was to pay tribute to ‘the pioneering spirit that led exceptional men and women to surpass themselves, pursue new ambitions and believe in the impossible’. Specifically, it had in mind early explorers and aviation greats like Amelia Earhart, Paul Emile-Victor and Howard Hughes. It’s the sort of derring-do watch brands love to associate themselves with. On this score Longines had more qualification than most, seeing as the above were all customers – as were Hans von Schiller, captain of the ‘Graf Zeppelin’, and Charles Lindberg. (The latter worked with Longines on a navigational watch known as the Longines Lindberg, an early example of a branded collab, and a publicity winner when it came out in 1931.)

Now Longines has bought the Spirit range back to life. The collection is made up of two three hand/calendar models (in 40mm and 42mm) and a chronograph. They feature a matt black, grained silver or ‘sunray’ blue dial and are available on a steel bracelet, or a dark brown, light brown or blue leather strap. While there’s no mistaking the pilot watch stylings, some of the more overt design flourishes – the outsized numerals, for example – have been reigned in from previous iterations, dialling down the self-consciously retro appearance and making this collection feel more contemporary.

longines

Longines

Longines was the first Swiss company to assemble its watches under one roof – now an industry badge of honour. It is known both for its super-precise quartz movements (deviating by just five seconds a year) as well as being great value for money, two qualifications that don’t always go hand in hand.

longines

Longines

The handsome new collection is impressive stuff and a happy reminder of the days when the men and women took to the skies in search of the unknown. Or, indeed, the days when you could take to the skies at all.

longines.com

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Pandora will only use recycled metals by 2025

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  • Marie Claire is supported by its audience. When you purchase through links on our site, we may earn commission on some of the items you choose to buy.

  • After announcing earlier this year that it would be carbon neutral by 2025, Pandora has now vowed to stop using mined silver and only use recycled metals in its jewellery by that same date, in a bit to become one of the most sustainable fashion brands in the industry.

    Pandora CEO Alexander Lacik explained, ‘Silver and gold are beautiful jewellery materials that can be recycled forever without losing their quality. Metals mined centuries ago are just as good as new. They will never tarnish or decay. We wish to help develop a more responsible way of crafting affordable luxury like our jewellery, and prevent that these fine metals end up in landfills’.

    At time of writing, 71% of the silver and gold in Pandora’s jewellery comes from recycled sources, and by increasing this, the brand said, it will be cutting its carbon emissions by two thirds for silver and 99% for gold.

    Pandora also mostly uses man-made stones, including cubic-zirconia and nano-crystals, rather than mined stones.

    Recycling metals uses up fewer resources, so it will effectively mean a reduction in CO2 emissions, water usage and other environmental impacts.

    In January, Pandora also announced that it would source 100% renewable electricity at its jewellery factories in Thailand.

    The brand will work with its suppliers to guarantee sufficient supply of responsibly sourced recycled silver, certified according to leading supply chain initiative standards such as the Responsible Jewellery Council.

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    “I just knew what was going to happen” says Li Edelkoort

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    Trend forecaster Li Edelkoort studied fashion design but found she was better at predicting the future than drawing. She spoke to Dezeen about her career and why, at a time of crisis, she is hopeful for the future.

    “There will be new words, there will be new codes, there will be new ideas of how to make and how to produce,” she said, predicting that a better world could emerge from the current upheaval.

    Edelkoort, one of the world’s most influential forecasters, spoke to Dezeen in a live video interview in April, on the first day of Virtual Design Festival as she announced her latest venture, the World Hope Forum.

    We call this thing, the World Hope Forum because it’s the antidote to the World Economic Forum in Davos where only the super rich and the famous come together about more money,” she said, after publishing a manifesto for the initiative on Dezeen.

    “Hopefully the creative forces in this world can come together, to make new proposals and also showcase proposals that already work.”

    “How do we make money without making havoc?” she asked. “So that is the opportunity we have, and that’s a terrific opportunity. Because, you know, we never would have had such a thing without this disaster.”

    “The virus is forcing us to do things which we already wanted to do”

    Edelkoort spoke to Dezeen live from Cape Town, where she was waiting out the coronavirus pandemic after speaking at the Design Indaba conference.

    “The virus is forcing us to do things which we already wanted to do: travelling less, buying less, wasting less, working less,” she said. “But nobody knew exactly how to jump off the bandwagon. So we kept on going because that is how you do things.”

    Trend forecasting is a major industry these days but Edelkoort, 69, is probably the most recognisable of all its exponents, advising brands from fashion to finance and technology companies so they can pre-empt consumer trends and gain insights to help them plan ahead.

    Originally working for the fashion industry, she now consults with clients including Google, Coca-Cola, Siemens and Accenture while her trend briefings and publications are attended and read by business leaders around the world.

    Her presentations are like performances, with music and imagery backing up her soothing, slow delivery as she paints abstract pictures of emerging themes such as nomadism (2012) and stillness (autumn/winter 2021/2022).

    They are often floatily optimistic in a New Age kind of way, although she is not afraid to call out the garment trade for its wastefulness or make apocalyptic predictions, such as when she declared the death of fashion and accused the industry of being “a ridiculous and pathetic parody of what it has been”.

    But her fashion clients seem to love it. “They actually enjoyed it,” she said of one brand when she presented her anti-fashion manifesto at an internal seminar. “They giggled when I said all the bad things about marketing. They all started to giggle like crazy because they knew it was true.”

    “I dare to say things a bit earlier”

    Her predictions on the impact of coronavirus, first published in Dezeen in early March, caused a global sensation. The interview has clocked up over 800,000 page views, making it by far the most popular story Dezeen has ever published.

    In it, she said the pandemic offered “a blank page for a new beginning” in the longer term but would first trigger “a quarantine of consumption” that would cause immense economic hardship while forcing people to focus on simple pleasures such as reading and cooking.

    Reading the interview now, many of her predictions seem obvious. But she was the first to say it. “I’m basically just a broadcaster of the mental situation of creative people,” she said.

    “I dare to say things a bit earlier and maybe very clearly [so] it makes sense, it resonates.”

    Edelkoort, whose first name Lidewij is usually shortened to Li, grew up in Wageningen, a small agricultural town in the centre of the Netherlands. One day as a youth she entered a competition to design a carnival costume organised by a local newspaper.

    “It was too serious for carnival, but it was exactly what was on the podiums in Paris,” she recalled. “It was actually a micro dress with a little shirt.”

    “I was not such a good drawer or designer but I just knew what was going to happen”

    A journalist working on the paper spotted her talent and suggested she go to design school, so she enrolled on a fashion design course at Academie voor Beeldende Kunst Arnhem (Arnhem Academy of Visual Arts, now called ArtEZ), graduating in 1972.

    “And we recognized while I was doing my education that I have this skill of seeing a bit more far,” she said. “I was not such a good drawer or designer but I just knew what was going to happen.”

    At that time, trend forecasting was a little-known part of the fashion industry. The discipline had emerged in the late 1960s and early 1970s when Parisian advertising and styling companies working with fashion labels started advising their clients on consumer trends.

    “It was not well known, that profession,” Edelkoort recalls. “But one day a lady came to do a lecture and she spoke about the styling offices in Paris.”

    “I was fascinated by that story,” she added. “And [the lecturer] discerned in me something like that. She said: ‘you are such a person’.”

    After graduating, Edlekoort spent three years working as a stylist at Amsterdam’s De Bijenkorf department store.

    “That was my real school; my second school,” she said. “I was only 21. Department stores are very, very cool sorts of knowledge banks, and everything you learn you can use for the rest of your life.”

    She then moved to Paris to join fashion foresight agency Nelly Rodi as a forecaster and stylist.

    “Holland was so small,” she remembered. “I needed to go away. So I went to Paris. And there I first worked with Nelly Rodi. She was the next school if you want; she taught me colours and yarns; she taught me how to stretch the elastic of time further.”

    In 1986 she established her own forecasting agency, Trend Union, which she runs to this day. Now based in New York, she publishes regular reports on trends including colour, textile, design and architecture.

    In 1991, she began her ongoing relationship with design education, becoming head of the Man and Leisure department at Design Academy Eindhoven.

    She became the school’s chair in 1998, remaining in place until 2008 and overseeing a remarkable rise in the school’s profile and influence as it transformed from being a technical school attached to local industrial giant Philips, into a pioneering laboratory exploring new ways of approaching design.

    “I’m always doing things with education,” she said. “That’s my hobby. And then also because of the Design Academy, I became a curator and writer so my life never stops. It always evolves. I just follow the lead.”

    In 2011 she co-founded the School of Form, a new design school in Poznań, Poland and in 2015 she was appointed dean of hybrid design studies at Parsons School of Design in New York.

    “They will be trained like no other generation”

    Design students, especially those graduating this year, have been hit hard by the pandemic, with lockdown preventing them from accessing studios and workshops.

    However, Edelkoort feels the pandemic could have a positive impact on the current generation of students.

    “It’s very beautiful to see how they work,” she said. “Don’t forget that all the graduates in the world are in their little rooms without machines, sometimes not even with the materials to make their work. And so they are super creative at this point trying to find a solution.”

    “And so they will be trained like no other generation. They will be completely independent; very good and improvising their offer and their vision.”

    By contrast, students who graduated in the previous decade “were very, very lost because of the society being so f*cked up,” Edelkoort said. “They didn’t really know how to position themselves.”

    “So although they will now enter a pretty terrible economic landscape, at the same time, they will have the position and the possibility and the fortune to build a society they love.

    “They’re hopeful,” she concluded. “Things will be happening and changing and it will be magnificent. That I know.”

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