Today’s editon of the TextileFuture ‘s Newsletter offers you four subjects, and this with the intensions of our editing team.
The first item is entitled “How leaders can adapt to a very different future”. It is not only for the top management but can also be a lesson for all people leading a business.
The second feature is entitled “How Ibrahim Kamara Found His Place in Fashion” and shows the stations of a very impressive career in the very difficult area of fashion.
The third item shows what it means “Why God Created Dogs”, it is a verypersonal statement of the guest author losing the family pet at the age of only three years.
The fourth feature “Vera Wang Is Cooler Than Ever at 72” shows a very innovative fashion career that continues even at the age of 72 years. Another success story in the world of fashion.
We at TextileFuture wish you to draw your own conclusions of the mixture between management, the fashion world and its career models and the family pet, just as taken from real life.
Here begins the first item:
How leaders can adapt to a very different future
By guest Homayoun Hatami and Liz Hilton Segel. This article was edited by Cait Murphy, a senior editor in the New York office.
This experience was a collaborative effort led by McKinsey Global Publishing, with contributions from Emily Adeyanju, Mike Borruso, Torea Frey, Steve Lackey, Stephen Landau, LaShon Malone, Janet Michaud, Charmaine Rice, Dana Sand, Dan Spector, Petra Vincent, and Nathan Wilson.
Over the course of the pandemic, businesses have largely—and often successfully—adapted to new ways of working. They’ve also embraced digitization and reorganized their supply chains. All of this has been necessary, but it will not be enough. To prepare for the post-COVID-19 era, leaders need to do more than fine-tune their day-to-day tasks; they need to be ready and willing to rethink how they operate, and even why they exist. To put it another way, leaders need to step back, take a breath, and consider a broader perspective.
The pandemic has both revealed and accelerated a number of trends that will play a substantial role in the shape of the future global economy. In our conversations with global executives, they have identified five priorities. Companies will want to adopt these five priorities as their North Star while they navigate the trends that are moulding the future. (Click on the tiles of the interactive below for more on each priority, including links to relevant articles.)
Take sustainability, the principle of producing goods and services while exacting minimal damage to the environment. Many companies have taken earnest steps in this regard because they wanted to. In the very near future, however, doing so will be as fundamental to doing business as compiling a balance sheet: consumers and regulators will insist on it. In this context, sustainability needs to be done as systematically as digitization or strategy development because it will be an important source of long-term competitive advantage.
Centre strategy on sustainability
Centre strategy on sustainability. Business can act to ensure that sustainability is more than a buzzword. One possibility is to consider investing in technologies that suck carbon from the atmosphere. Make no mistake: given current and future commitments, climate is going to be an increasingly important way to create competitive advantage.
Transform in the cloud
Transform in the cloud. The cloud’s potential to create value has long been clear—but now its capabilities are becoming grounded in reality. By enabling both speed and scale, the cloud is critical to innovation. By 2030, there could be USD 1 trillion at stake—and it’s likely that early adopters will win the lion’s share.
Cultivate your talent
Or consider the cloud. Its potential has long been recognized; now it is beginning to bring real results in innovation and productivity. A second priority, then, is for companies to deploy the cloud for good purpose. To do so, their people need to be “cloud literate”—that is, to have a keen sense of the cloud’s capabilities.
As ever, it’s the human element that makes the difference. Developing talent is therefore another priority. The organization of the future will not—or, at least, should not—look like the one that existed as recently as 2019. It will need to be more flexible, less hierarchical, and more diverse.
And faster. The pace of change is speeding up, and the landscape of business is more fluid than ever. The need for speed—a fourth priority—is therefore acute. But this speed needs to be sustainable. Businesses did remarkable things in the early months of the pandemic, fuelled by adrenaline and a sense of urgency. In the future, speed needs to be embedded into the organization. To put it another way, speed is not just about revving the engine faster, but designing it to run more efficiently and intelligently.
Finally, leaders need to recognize that people want meaning in their lives, and their work. Previous research has found that companies with a strong sense of purpose outperform those that lack one. And those who say they live their purpose at work are simply better employees—more loyal, more likely to go the extra mile, and less likely to leave. Purpose helps companies recognize emerging opportunities and connect with their customers. This, too, should therefore be seen as a priority and a source of competitive advantage.
How these five priorities are implemented will vary from company to company; some will be more important than others, depending on the market. But we believe—and executives around the world with whom we have worked agree—that mastering these five priorities will substantially improve the odds of success.
That is the start of the second feature:
How Ibrahim Kamara Found His Place in Fashion
After a journey that began on the war-torn streets of Sierra Leone, the Dazed editor in chief is now one of fashion’s most influential stylists.
By guest author Elizabeth Paton. She is a reporter for the Styles section, covering the fashion and luxury sectors in Europe. Before joining The Times in 2015, she was a reporter at the Financial Times both in London and New York.
Ibrahim Kamara was sitting in a steamy hotel room in West Africa not long ago, reflecting on a fleeting visit to Gambia, a country he once called home. Born in Sierra Leone in 1990, Mr. Kamara fled to nearby Gambia after civil war broke out, spending much of his childhood with an aunt and uncle before settling in London with his parents at 16.
After years away, Mr. Kamara, known to friends as I.B., had returned for a visit with the Senegalese photographer Malick Bodi. Mr. Kamara, now the stylist of choice for the likes of Virgil Abloh of Louis Vuitton men’s wear and Riccardo Tisci of Burberry, and recently named the editor of Dazed magazine, was in the process of retracing his past.
“I’ve been traveling by land and not air in Gambia for six days now, just driving through some of the places where I grew up and soaking it all in,” he said, hunching over his phone camera as a lazy ceiling fan chugged overhead. “How I tell fashion stories has been shaped so much by my early life here, from my community upbringing and being so close to nature to early memories of glimpses of Western magazines and pop videos. I’ve been wanting to come back for some time now. Too long, actually.”
Time is not something Mr. Kamara, 31, has had of late. In an industry where talented creative people can toil for years before their first big break, his trajectory from a Central Saint Martins fashion communications graduate to one of the most in-demand young stylists has been meteoric.
At a moment when Black representation in fashion remains a work in progress, Mr. Kamara’s distinctive voice — he first drew attention in 2016 with “2026,” a striking London exhibition that explored the changing nature of Black African masculinity on street-cast models in Soweto, South Africa — is upending conventional notions of how fashion can relate to race, gender and sexuality.
Currently he styles runway shows and advertising campaigns for top heritage houses like Burberry and Louis Vuitton men’s wear, as well as Erdem, and past clients include Stella McCartney and Dior. His work has appeared in British Vogue, Vogue Italia, System, W and i-D, where he was a senior editor at large. And in January of this year, Mr. Kamara was appointed editor in chief of Dazed, a quarterly youth culture magazine.
“An Ib Kamara comes along once in a generation,” said Mr. Abloh, for whom Mr. Kamara also styles Off-White collections. “His work is a prime example of how diversity can bring out the best of the fashion industry.”
Beyond the Covers
Mr. Kamara’s work tends to flirt at the intersection of raw realism, pop culture tropes and the alternative realities he creates. Of his debut covers for Dazed, one spotlighted suited Nigerian activists holding their national flag; another showed a young Black man in a Gucci tracksuit and hightops receiving an injection under the tagline “Freedom Is Coming But Where Are We Going?” Inside, an astronaut, slouching skater, Rastafarian, airline pilot and a businesswoman idled in a line, moving toward a visor-wearing vaccinator.
“Thank God Ib was not born in Britain,” said Lynette Nylander, the Dazed executive editorial director. Ms. Nylander, a former deputy editor at i-D and Teen Vogue, was hired alongside Mr. Kamara, who is dyslexic and for whom English is not his first language. The two had bonded over shared Sierra Leonean roots when they met in 2016.
“There aren’t many of us in fashion,” Ms. Nylander said. “But Ib has always been a bit of an outsider, adopting a nonconformist perspective from the world at large and then bringing it inside the fashion establishment. He has such an innate sense of the future, and uses so much color, that his ideas then become almost impossible to ignore.”
Both editors talked about the challenges of shooting content in a pandemic, often using a young team scattered across time zones. For Mr. Kamara, whose commercial projects for luxury brands have budgets that are often many times that of his magazine projects, the challenge of “learning how to be creative with nothing” has at times reminded him of his university days.
His September issue, published last week, is far from amateur, with three covers featuring Rihanna, one of the world’s most famous women. In one, she strikes an Amazonian pose in a gold snakeskin bodysuit; in another she wears a jungle green Louis Vuitton cap atop an Afro wig of Marge Simpson proportions. The third cover has her standing tall with a walking stick in a Burberry string bikini, trench and thigh-high boots. In a playful nod to one of her most famous songs, she’s under an umbrella. The tagline? “The Reign Never Stops.”
Mr. Kamara, who once worked on an ad campaign for Fenty, Rihanna’s clothing and cosmetics brand, styled the singer remotely (and notably in looks by key clients). In an inside photo, she is in a custom hooded cotton and canvas dress shaped like a marijuana blunt by the Jamaican designer Jawara Alleyne.
“I don’t often work with celebrities because many aren’t willing to push themselves creatively or get outside the box,” Mr. Kamara said, fiddling with a large diamond stud gleaming from his ear. “Until recently, I tended to work with my friends as it was just easier. But Rihanna is an exception — she is someone who always takes a risk. She resonates with our readership.”
Young people are still looking to magazines, Mr. Kamara said. They just want to see themselves better represented. Which means looking beyond Paris, London and New York to often overlooked cities in Africa and Asia, using local writers and photographers to spotlight those cultures, and then creating a dreamlike fashion universe to tell those stories, create narratives and push them into the mainstream.
“There’s an innocence and urgency that has remained untouched in Ibrahim’s work,” said the photographer Paolo Roversi, a longtime collaborator, adding that he loved his friend’s ability to “create hats with pasta, or mix something found on the street with an haute couture outfit.”
“He is completely true to himself, and that’s where his vision comes from,” Mr. Roversi said. “But his debut Dazed cover shoots were also a great example of how fashion can retain a dreamy, escapist aspect and still be a social commentary.”
The Move to Fashion
One distinctive thread running through much of Mr. Kamara’s work is his fixation with current affairs. It comes, in part, from his earliest memories in Africa and watching other worlds emerge through CNN and BBC. There is also a near forensic approach to detail, honed when he spent three years studying sciences to please his parents, who hoped he would become a doctor. Eventually, miserable, he moved toward fashion.
“Breaking that to my family was one of the hardest things — it was harder than coming out to my parents because African parents put so much pressure on careers and degrees,” Mr. Kamara said. It was his move to London and the sense of personal freedom he found there that propelled his creative self-confidence.
“There was this dreamlike feeling for a time, this sense of wonder that came from growing up between two very different worlds, that really made me who I am,” he said. “I wanted to harness that while still maintaining clear anchors to reality.”
At one point he thought he wanted to be a designer, in order to explore what would ultimately become foundations of his work: notions of queerness, gender exploration and fluidity, as well as Black and distinctively African beauty. Then came a short and unsuccessful stint in public relations, before a pivotal job assisting Barry Kamen, the late stylist who was at the forefront of the 1980s Buffalo scene.
“I realized styling could be a quicker way to tell the stories I wanted to tell,” Mr. Kamara said, pointing to the director Quentin Tarantino, the composer Hans Zimmer and Diana Vreeland as inspirations, thanks to their ability to create immediately recognizable “worlds” that were distinctly their own.
(One person Mr. Kamara doesn’t spend a lot of time styling is himself.) A devotee of a white tee and black pants, he, like many high-profile creative people, said he is “obsessed with clothes, just as long as they are not on me.”
“I’m still honing my own language,” he said. “I love what I do, so much that when I’m not working, you will still find me constantly researching. I have my notebook with me most times during the day.”
Mr. Kamara appears both sweet and still a little surprised about his professional success. At the same time, he is quietly steely about his right to influence and shape the fashion firmament. Mr. Tisci noted that while both he and Mr. Kamara were “quite shy people,” they used work to express themselves boldly.
“He knows how to make my vision come true,” Mr. Tisci said of Mr. Kamara’s influence, calling his recent spring-summer 2022 men’s wear presentation, styled by Mr. Kamara, “the moment where I really found myself at Burberry.”
Ms. Nylander said that while she and Mr. Kamara had both been “nervous” about their Dazed appointments, he had convinced her that it was not just an exciting opportunity but “one that was bigger than the both of us.”
The fashion industry as a whole is prone to the tokenization of Black talent. “Ultimately, there still aren’t many younger Black editors, especially at the top of the tree, who can make real decisions in magazines,” she said. “The mission now is to communicate well beyond art school kids and industry people.”
What may be harder to navigate is being constantly in demand. Mr. Kamara’s short visit to Gambia had been his first personal trip “in literally years,” he said, and he said that a punishing schedule had “taken a toll.” So can the balancing act required by social media. Instagram may have introduced Mr. Kamara to several key collaborators, like the South African photographer Kristin Lee Moolman, but even for those who have risen to powerful positions, it can create insecurities.
“In fashion, even if you are always looking forward, you often feel like you are only as good as your last work,” Mr. Kamara said. “So sometimes that grid can make me feel a little haunted.”
“I hope I inspire people of all colours and backgrounds to unapologetically express themselves,” he said. “That’s the outsider’s legacy. You do your own thing, then hopefully the world catches up to it one day.”
Here starts the third item:
Why God Created Dogs
Pets are a reminder to balance joy and grief. A fond farewell to the world’s greatest dog.
By guest author Karl Rove from the Wall Street Journal. He helped organise the political-action committee American Crossroads and is author of “The Triumph of William McKinley” (Simon & Schuster, 2015).
Just after 10 a.m. on Saturday, Sept. 4, Little Bit Rove, the world’s greatest dog, passed from this life to the next. She apparently had an arrhythmia from birth and despite the best efforts of Dr. Julie Page of Palisade, Colo., and her Valley Emergency Pet Care colleagues in Basalt, Little Bit’s loving heart gave out. She’d have been three in November.
My wife Karen and I had been without a dog since our border collie Nan died in August 2015. On Christmas 2019, Karen decided it was time. Her gift was a promise: I could pick out a dog from a nearby hunting preserve.
When we arrived at Joshua Creek Ranch, the cages on the hunting trucks were filled with a dozen or more dogs that the guides let out so we could see them all in action. From the scrum of animals, a sleek black English cocker spaniel emerged, running straight for us. She jumped on me, her little white tail wagging eagerly, as if to say “Nice to meet you! We’ll have fun today! If the rumours are true you’re looking for a dog, keep me in mind!” The issue was settled.
So Little Bit traded up, moving from a crowded kennel and the converted barrel in which she slept to a giant suburban home with doting parents. It was February 2020, just before we were all locked down and separated from family and friends. Little Bit’s arrival was fortuitous. Who knows what our mental health during Covid would have been like without her?
Despite the several dog beds scattered around our home, she set her eyes on ours as her preferred sleeping spot. At first she’d wait for an invitation, her snout and front paws perched on the bedspread. But a few weeks in she realized she was queen of the house and began jumping up into her rightful place in the middle where both her subjects could scratch and rub her.
Little Bit loved long walks, especially at the ranch where she’d match each of our miles with two or three of her own, zigging and zagging over hills and pastures. She wouldn’t get into our pristine swimming pool but jumped enthusiastically into every scum-covered cattle trough.
She required daily trips to the park and when she tired of playing chuckit—the brand’s launcher lets you huck a ball much further than your arm—she’d retrieve the yellow orb and run back, then swerve off at the last second, clutching the ball in her mouth and pointing toward home. She knew after meanderings through creeks, mud and foliage, she’d receive a rubdown with a beach towel, which she delighted in.
A great traveller, Little Bit loved riding in cars—any car, actually, which proved to be a challenge. Every open car door was an invitation to jump in. While riding in the back seat, she did two things with equal delight: observe the scenery and then fall asleep until delivered to her destination.
Everyone loved Little Bit, and she returned their affection, offering enthusiastic greetings to friends. Dog sitters would fight over the opportunity to be with her, though we eventually started driving for vacations so that she could come along.
Little Bit especially enjoyed going to work with Karen, who’d take her across the street to run on the Texas Capitol grounds and say hello to her pals, the state troopers standing guard.
She appeared in videos we shared with friends marking holidays or offering invitations to parties and ranch weekends. She even had her portrait painted by a former president, who captured her regal bearing, penetrating eyes and long ears.
For 18 months this loving, joyous spirit was a big part of our family. On vacation the Saturday before last, we slept in, Little Bit wedged right up against me for warmth. We went for her morning business, then she ran cheerfully through the hotel to report to Karen and snuggle more, rising after a while for breakfast. A few minutes later, she went into convulsions. She recovered somewhat on the frantic ride to the vet’s but was gone within the hour.
I’m no theologian, but believe God grants us pets to encourage us to give and receive unconditional love—to see loyalty personified and to remind us that we must balance joy and delight with loss and grief in this transitory life.
Karen and I are so grateful Little Bit was part of our family, even for a short while. She’ll always be in our hearts. RIP, LB.
And here begins the fourth feature:
Vera Wang Is Cooler Than Ever at 72
The designer, known for dressing Jennifer Lopez, Gwen Stefani, Amanda Gorman and Emily Ratajkowski, is attracting Instagram fans with her anything-but-bridal style and forever-young spirit.
By guest author Christina Binkley, Photography by Yoshiyuki Matsumura
This summer, Vera Wang, 72, treated her fans on Instagram to a video of herself letting loose to Nelly Furtado’s 2006 hit “Maneater” while contorting her hips, which were clad in fluorescent-yellow short-shorts. She flashed her bellybutton and poked her wiry arms into the air in slow-timed jerks. One commenter responded, “I’ll have what she’s having.”
Wang’s life has played out on her suddenly viral personal Instagram account, which boasts 663000 followers, up from about 23000 in early 2020. She mixes high fashion and un-fashion, vibing between adolescent and grandma, and posting moody vignettes that no corporate public-relations department would dare devise. Sometimes she wryly hawks her brands and licensing deals: Chopin vodka, Vera Wang Party prosecco, Kohl’s day dresses, diamond rings from Zales. Other times, she’s sharing the ennui of the pandemic, sprawled on the floor in leggings and a T-shirt after nine straight hours of watching CNN. Last June, she posed on a pile of oversize tires, wearing Louis Vuitton–logo leggings in front of a Bushwick automotive shop. Wang, who often shares photos of her gourmet meals, has also shared her love of McDonald’s, Hostess Ding Dongs and Carvel ice cream. She played Stinky Pig, a game that combines hot-potato strategy with porcine gaseous emissions. She posted a photo of herself phone-banking for Joe Biden in November.
At the Metropolitan Museum of Art’s Costume Institute Gala on Monday, Wang dressed poetry phenomenon Amanda Gorman in a custom crystal-embellished blue dress with long side drape and model and actor Emily Ratajkowski in a racy, lacy red gown inspired by the all-red bridal collection Wang did in 2013. Wang herself wore tiny black boxing-style shorts, a black bandeau top with an attached train, thigh-high stockings and her now-habitual towering platform shoes.
“I am more than my age, I hope,” says Wang. “I hope that women can not feel the boundaries. That they can have a career at 72.”
Asking, “Why, at age 40, did you decide to strike out on your own as a fashion designer?” the Harvard Business Review suggested in 2019 that Wang had been late to start a business, after a career as an editor at Vogue and accessories designer at Ralph Lauren, where she also oversaw licensing. And she was a figure skater who barely missed qualifying for the 1968 Olympic games. “I said, is 40 late?” she recalls.
Wang is the rare American designer of her generation who remains in control of his or her own famous fashion brand. She is creative director as well as chief executive of Vera Wang, overseeing a relatively small fashion atelier and a complex of brand licenses, most of which are wedding-related. You can buy a USD 90 pair of Vera Wang champagne flutes at Neiman Marcus and toast the bride and groom with a USD 25 bottle of Vera Wang Party prosecco and give the couple a USD 500 Vera Wang comforter set (on sale at Bloomingdale’s for USD 350).
“She is the fashion cat with nine lives,” says luxury industry consultant Robert Burke. “And she still sets the bar for bridal.”
The significant majority of her company’s revenues come from licensing her name, says Mark Katz, who is Wang’s chief operating officer and chief financial officer. He and Wang declined to share the company’s revenues. “We are a licensing company. It’s the Calvin model,” he says. “She studies every category and she’s intimately involved with all our licenses. She doesn’t just slap her name on a product.” Before aligning her name with a vodka brand, he says, “she can tell you how the potatoes are grown and harvested.”
Recently, Wang considered going into the bridal rental market, but declined offers from potential partners when she realised rentals are as much about dry cleaning as fashion.
Last spring, Wang inked a 10-year deal to launch a new line of wedding gowns with Pronovias Group, a Barcelona-based bridal brand and manufacturer with stores that will further extend her reach globally. The endeavor, Vera Wang Bride, launches today. The move followed the lackluster results of a David’s Bridal licensed line called White by Vera Wang. Its USD 199 polyester crepe bridesmaid dresses are currently on sale for as little as USD 20.93. Wang feels she shot too low with her David’s line—that it was so inexpensive that it failed to connect with the brides who aspire to her more luxurious brand. “They want you to be you, but they want you to be you, modified,” she says of David’s.
“We enjoyed a successful partnership with Vera Wang and appreciate our years of collaboration. We wish Vera all the best,” says a spokeswoman for David’s Bridal in an email.
The Pronovias Vera Wang Bride line, made at the company’s factories, is far more upscale, priced from USD 1,600 to USD 4,000. That is still more affordable than her own brand’s designs, which start at USD 4,500 and go up to sky’s the limit.
At her New York atelier, Wang over the years has nurtured what she calls “rooms” that focus on the elements of gown making—for instance, draping, or “flou,” tailoring and beading. She employs a cutter who slices each pattern into fabric and finishers who may sew 12 feet of silk hem on a dress. “That USD 20000 wedding gown actually costs more. Way, way more,” Wang says. “There’s not a price tag for that. Well, there is.” It’s subsidized by prosecco. “Somebody somewhere is paying the bills for this art.”
Despite the pandemic’s delays, quite a number of women got married this year in Vera Wang. They included Ariana Grande, Gwen Stefani and Issa Rae. Stefani and Rae wore two gowns, wedding and reception. Wang says that’s a growing mid-pandemic trend—buying two or three gowns for the stages of a wedding celebration. During red-carpet season, Wang’s teams flew weekly for masked fittings in Los Angeles. Wang dressed Oscar nominee Andra Day in slinky gold haute Vera Wang for the awards ceremony and a silver gown for a post-show celebration, and dressed Cynthia Erivo for her Critics’ Choice nomination. The actress Anya Taylor-Joy won a SAG award in April in a custom gown by Wang.
Wang is separated from her husband, Arthur Becker, and has two daughters, 28 and 30, both unmarried. Yes, the bridal designer sees the irony. “I say, you better hurry it up,” she says she tells her daughters, “because I’ve got to be alive to do your dresses…. And they roll their eyes and walk out of the room.”
Wang’s had some bumps along the way, including the 16-piece black bridal collection that she issued for fall 2012. It was inspired, she says, when she tried translating lingerie looks she was considering for a ready-to-wear collection. “I got all caught up in underwear.”
“I got a lot of shit for it. People said, ‘Oh she’s really depressed,’ ” Wang says, sounding annoyed. “I thought it was really cool. And by the way, if you see a black wedding gown [on the runway], can’t you also figure out that it could also be in white?”
Wang says she has spurned offers to invest in her company to help it grow, preferring instead to retain her control.
“I’ve tried to control my expectations that I was never going to be Miuccia Prada or Ralph Lauren,” Wang says. “Would it have been better to take big money and huge investment and blow the company out?” She pauses. “I might not have been there anymore.”
“I don’t think that I’m that great, to be perfectly honest with you, but whatever I’ve survived with, it’s because I’ve kept these thoughts in my brain,” Wang says. “This is a rough business.
Wang says she isn’t repelled by brides’ potentially pesky requests. “You’re not imposing your own self on them. That makes you more of a costumer than a designer,” she says. “I’m thinking of who she is, how she’s getting married—on the beach, at the [Hotel] Bel-Air.”
Wang’s many licensing deals have allowed her to play with an edgier eponymous ready-to-wear line that is lesser known and not widely sold. It shares an aesthetic with her own favorite designers, including Rick Owens. “Ready-to-wear is about who I am,” Wang says. “That is really me. Me the person. Me the creative.”
Wang’s personal style is often dark and tomboyish. She mixes designers over and under T-shirts, leggings and towering platform shoes: There’s Owens, and Off-White, Celine, Balenciaga. Wang was at Paris Fashion Week when the pandemic first hit in Europe. Her doctor advised her not to return to New York City, so Wang deployed to a Miami rental with her close team, including executive vice president of design, Keith Lissner, and his husband, and her global communications head, Priya
Shukla, Shukla’s husband and their then-4-year-old daughter.
Wang began to document their oddly languid Covid-pod residency on her personal Instagram account. Glamour shots in Dior haute couture were soon superseded by snaps of her serving sweet potato frittata and shaking her skirt in a dance-a-thon with Shukla’s daughter, Belle.
Wang returned to New York in late Spring, in time to spend part of her summer as usual in the Hamptons. Katz says the Pronovias deal was cut via five-to-six hour Zoom meetings. “They were painful but they got things done quicker,” he says.
In August, Wang posted a video of herself hobbling in stilettos as though down a runway, accompanied by Johnny Lee’s ‘Lookin’ for Love.
A week later, she poked fun at her still-growing status as a fashion icon. “I’m not just this gorgeous sex symbol at 72. I’m not this hot babe!” Wang said. “I am in control. When you own a company 100 percent, you are in control.” But one thing has eluded her: She says, “I’d like a date. That’d be nice.”
Newsletter of last week
What happened to that Comb-Over? – Stellantis to Run Off-Road and On-Track Activations with Jeep, Ram and Dodge Vehicles at Motor Bella – Photos That Defined 9/11, and the People in Them—20 Years Later – Retail’s need for speed: Unlocking value in omnichannel delivery – https://textile-future.com/archives/76261
The highlights of last week’s NEWS, for your convenience, just click on the feature to read.
Intuit agrees to Buy Mailchimp for About USD 12 Billion https://textile-future.com/archives/76456
Andes raises USD 15 million in Series A funding co-led by Leaps by Bayer and Cavallo Ventures https://textile-future.com/archives/76492
Agriculture negotiations chair says progress on new draft text depends on WTO members https://textile-future.com/archives/76622
Commercial air transport in August 2021: in recovery https://textile-future.com/archives/76434
Christo’s Plan to Wrap L’Arc de Triomphe Defies Falcons, the Pandemic—And Death https://textile-future.com/archives/76352
At Art Basel, UBS presents artists as spokespeople of our time to help reimagine, connect and empower us to build a better world https://textile-future.com/archives/76732
The All-New 2022 Toyota Tundra is Heading to Motor Bella (USA) https://textile-future.com/archives/76600
Swiss Bankers Association shaping financial centre’s future https://textile-future.com/archives/76641
Coats Children Interlinings https://textile-future.com/archives/76549
Chip Shortage drives Tech Companies and Car Makers Closer https://textile-future.com/archives/76346
CLIs point to moderating growth says OECD https://textile-future.com/archives/76449
Inditex – Second-quarter revenue, profits and cash hit historic highs https://textile-future.com/archives/76536
Crocs introduces bio-based Croslite™ material to reduce its carbon footprint https://textile-future.com/archives/76569
AATCC Announces 2022 “Wanderlust” Student Design Competition https://textile-future.com/archives/76431
ICAC – Review’ Articles Address Arbitration during Covid, the Cotton Portal, Textiles in Cameroon and World Cotton Day
Bluesign introduces management and phase-out concept for critical solvents https://textile-future.com/archives/76483
Research: TV, movies take 30 % of US entertainment time https://textile-future.com/archives/76546
How much money does your government allocate for R&D? https://textile-future.com/archives/76562
Swiss Economic forecast: Recovery continues but temporarily loses some momentum https://textile-future.com/archives/76603
Second quarter of 2021 Euro Area job vacancy rate at 2.3 %, EU rate at 2.2 % https://textile-future.com/archives/76655
July 2021 Euro Area international trade in goods surplus EUR 20.7 bn, EUR 15.7 bn surplus for EU https://textile-future.com/archives/76668
Boost education investment to tackle inequality of opportunity, says OECD https://textile-future.com/archives/76721
Three Finnish universities rise on THE World University Rankings https://textile-future.com/archives/76727
Mytheresa sales surge as it lures Americans. Here’s how https://textile-future.com/archives/76582
VF Corporation and Redress announce 2021 Winner of World’s Largest Sustainable Fashion Design Competition https://textile-future.com/archives/76369
Fashion returns to Museum https://textile-future.com/archives/76608
Swiss Empa – Better Fibers, Fireproof and comfortable https://textile-future.com/archives/76472
Discontent simmers Over How to Police EU Privacy Rules https://textile-future.com/archives/76282
BASF and CATL have signed a framework agreement to accelerate the achievement of global carbon neutrality goals https://textile-future.com/archives/76632
Finnish biotech firm NordShield raises EUR 4.2 million https://textile-future.com/archives/76575
Finnish firms gear up for year’s last quarter with fresh funding https://textile-future.com/archives/76736
EU sold production of high-tech down to EUR 311 billion https://textile-future.com/archives/76443
Baldwin to showcase data-connected UV, LED, corona, colour and inspection solutions at Label Congress https://textile-future.com/archives/76427
How the pandemic has shaped luxury spending trends https://textile-future.com/archives/76496
Tufropes to develop unique pentamerous technology based on Truetzschler Nonwovens’ and Voith’s CP equipment https://textile-future.com/archives/76698
Quantum leaps in patterning https://textile-future.com/archives/76646
Sharmini Coorey to Retire as Director of the IMF’s Institute for Capacity Development https://textile-future.com/archives/76387
IMF Managing Director Appoints Ilan Goldfajn as Director of the Western Hemisphere Department https://textile-future.com/archives/76392
Kornit Digital Commits to Saving 4.3 Trillion Litres of Water and 17.2 Billion Kilogrammes of Greenhouse Gas Emissions, and Reducing Overproduction in the Fashion Industry by 1.1 Billion Items by 2026 https://textile-future.com/archives/76628
U.S. Retail Sales rebounded in August Despite Delta Variant https://textile-future.com/archives/76702
International talent boosts growth for companies (and Finland) https://textile-future.com/archives/76708
Nestlé unveils plans to support the transition to a regenerative food system https://textile-future.com/archives/76724
New Industrial laser sintering Launch Webinar (September 15, 2021) https://textile-future.com/archives/76397 Virtual Panel Discussion by HeiQ’s Sustainability Officer (September 21, 2021) https://textile-future.com/archives/76487