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    Handbag Designer Nancy Gonzalez Sentenced to 18 Months for Smuggling Exotic Skins

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    Nancy Gonzalez, whose clients included Britney Spears and Sofia Vergara, smuggled purses from her native Colombia to the United States using couriers. She will serve 18 months.The handbag designer Nancy Gonzalez built a cult following among celebrities and the South American superrich thanks to her use of brilliantly dyed precious skins. Once one of the largest purveyors of crocodile skin accessories in the world, her namesake brand sold totes and clutches in lime green alligator and lavender python skin for thousands of dollars, often through big-name retailers like Saks and Bergdorf Goodman.Now Ms. Gonzalez, 71, is facing considerable time in bright orange coveralls.On Monday, she was sentenced to 18 months in prison after pleading guilty in a Miami federal court to charges of smuggling hundreds of handbags made from the skins of protected wildlife into the United States from her native Colombia.Ms. Gonzalez, whose full name is Nancy Tereza Gonzalez de Barberi and whose business was incorporated into a luxury handbag company called Gzuniga Limited, was arrested in 2022 in Cali, Colombia, and then extradited to the United States last August. She admitted to recruiting as many as 40 couriers to carry up to four products at a time on commercial flights to be used at New York Fashion Week and industry events or to be sold in the Gzuniga showroom between February 2016 and April 2019.Prosecutors said that the handbags and purses, made from the hides of caiman alligators and pythons bred in captivity, were worth as much as $2 million. The designer’s lawyers said that the pieces were mostly samples and cost about $140 each, with only about 1 percent lacking the proper authorization to be brought into the United States.The trade in caimans and pythons is not banned but is strictly regulated under the rules of the Convention on International Trade in Endangered Species of Wild Fauna and Flora, of which both the United States and Colombia are signatories. According to prosecutors, Ms. Gonzalez never secured the necessary import permits from the U.S. Fish and Wildlife Service required by regulators.“It’s all driven by the money,” Thomas Watts-Fitzgerald of the U.S. attorney’s office in Miami, said on Monday. “If you want to deter the conduct, you want the cocaine kingpin not the person in the field.”We are having trouble retrieving the article content.Please enable JavaScript in your browser settings.Thank you for your patience while we verify access. If you are in Reader mode please exit and log into your Times account, or subscribe for all of The Times.Thank you for your patience while we verify access.Already a subscriber? Log in.Want all of The Times? Subscribe. More

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      Three London Fashion Brands Coming to the U.S.: Hunza G, Rixo and Me + Em

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      Three beloved London brands are making their way across the Atlantic to stake a bricks and mortar presence in the United States.Looks, left to right, from Rixo, Hunza G and Me+Em, three British brands that are coming to the United States.RIXO, Hunza G, Me + EmBritain’s fashion brands have long looked to the United States for a chance to supersize sales — with varying degrees of success. For every Boden, there is a Topshop, Ted Baker or Hunter Boots that failed to successfully crack the market. After all, the United States is much larger, more diverse and already has plenty of fashion labels to choose from. Garments with an appealing English eccentricity or appeal in their home market may feel out of touch in major American shopping hubs.But the pandemic led many Americans to spend more time online seeking out new brands, including ones from across the Atlantic. Now, three cultish London brands that experienced new popularity during that time have decided to set up shop on the East and West Coasts.What can they bring to the market that no one else has? The founders of Hunza G, Rixo and Me+Em explain their rationale for planting their flags on American soil.Hunza swimwear is made in a knitted seersucker fabric that molds to fit women who are different sizes on top and bottom.Sydney KrantzHunza GYou may not have heard of Hunza G, but chances are you’ve seen the label’s signature wrinkly-crinkly, super-stretchy Lycra swimsuits on the likes of Rihanna or Hailey Bieber or Kim Kardashian.Established in 1984 by the designer Peter Meadows, Hunza was known for tight and bright dresses that were a fixture on the 1980s club scene. Whitney Houston wore a lilac tank style for the “I Wanna Dance With Somebody” video, and Julia Roberts wore a blue and white cutout version for her first scenes in “Pretty Woman.” Almost 30 years later, in 2015, and after a period out of fashion favor, the label was revived under a new co-founder and creative director, Georgiana Huddart.We are having trouble retrieving the article content.Please enable JavaScript in your browser settings.Thank you for your patience while we verify access. If you are in Reader mode please exit and log into your Times account, or subscribe for all of The Times.Thank you for your patience while we verify access.Already a subscriber? Log in.Want all of The Times? Subscribe. More

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      Lawmaker Presses Loro Piana on Reports of Exploiting Indigenous Workers in Peru

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      A freshman congressman is demanding answers from the fashion house Loro Piana, which sources wool from his native Peru and faces accusations of exploiting workers there. A $9,000 designer sweater made out of the ultrarare fur of a South American animal called a vicuña is not exactly a typical area of focus for a member of the U.S. Congress.But when Representative Robert Garcia, a first-term California Democrat and the first Peruvian-born person to serve in the House, saw reports that the luxury design house Loro Piana was not fairly compensating Indigenous workers in Peru who source the rare wool in some of its priciest knit clothing, he decided to use his position to make some noise.“As the first Peruvian American member of Congress and co-chair of the Congressional Peru Caucus, I write regarding concerning reports about the sourcing of vicuña wool by Loro Piana, a subsidiary of LVMH Moët Hennessy Louis Vuitton,” he wrote to company executives last month.He demanded that the fashion house — whose products including shirts, scarves and coats can cost anywhere from $500 to $30,000 — explain how it could raise its prices so steeply while steadily reducing the amount it was paying the people who harvest the raw materials for it.“While Loro Piana’s prices have increased, the price per kilo for fibers paid to the Lucanas community has fallen by one-third in just over a decade; and the villages’ revenue from the vicuña has fallen 80 percent,” Mr. Garcia wrote.A member of the Totoroma community in Puno, Peru, during a vicuña roundup and shearing in 2021.Carlos Mamani/Agence France-Presse — Getty ImagesWe are having trouble retrieving the article content.Please enable JavaScript in your browser settings.Thank you for your patience while we verify access. If you are in Reader mode please exit and log into your Times account, or subscribe for all of The Times.Thank you for your patience while we verify access.Already a subscriber? Log in.Want all of The Times? Subscribe. More

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      At the Japan State Dinner, Jill Biden Turns to Oscar de la Renta

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      The first lady was glittering in crystals — four days after Melania Trump stepped out in pink at a Palm Beach fund-raiser. Together, the pictures offer a harbinger of what is to come.There were cherry blossoms. There were silk and glass butterflies. There were toasts. There was an entree inspired by a California roll and a performance by Paul Simon. But before that, there was the photo op, and the fashion.On Wednesday evening, as the Bidens hosted Prime Minister Fumio Kishida of Japan and his wife, Yuko Kishida, at the fifth state dinner of the Biden administration, Dr. Jill Biden, wearing an evening dress from Oscar de la Renta, stood with her husband to greet their guests of honor at the North Portico.Designed by Fernando Garcia and Laura Kim, the dress flowed in a watery fade from sapphire blue to light silver and was covered in hand-embroidered floral geometric beading.Why did it matter? It wasn’t as symbolically obvious as the cherry blossom print gown worn by Naomi Biden or Hillary Clinton’s heavy silk caftan, but in opting for de la Renta, the first lady was not simply supporting an American company that represents the melting pot myth of the country. She was connecting to a longstanding relationship: Oscar de la Renta has dressed almost every first lady since Jackie Kennedy; Dr. Biden first wore the label for her inaugural state dinner in 2022.On a night meant to underscore another powerful relationship — that of the United States and Japan — and reaffirm the strength of that mutual commitment through political stagecraft, the label was an apt choice.And it suggested that Dr. Biden, who has not always seemed interested in the game of fashion diplomacy, is gearing up with every means at her disposal to help amplify her husband’s message, not just as president but as the Democratic presidential nominee as he faces off against an opponent who revels in the reality TV nature of politics — complete with costumes.We are having trouble retrieving the article content.Please enable JavaScript in your browser settings.Thank you for your patience while we verify access. If you are in Reader mode please exit and log into your Times account, or subscribe for all of The Times.Thank you for your patience while we verify access.Already a subscriber? Log in.Want all of The Times? Subscribe. More

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      ‘Brandy Hellville & the Cult of Fast Fashion’: 5 Takeaways

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      Former employees of the brand, a Gen Z fashion favorite, recount race and size discrimination in a new documentary on HBO.The clothing store Brandy Melville is known for selling diminutive, single-size pieces popular among Gen Z: linen short shorts, heart-print camisoles and sweatshirts printed with the word “Malibu.”Behind its Cali-girl aesthetic is a business that mistreats teenage employees and cashes in on young women’s insecurities, according to “Brandy Hellville & the Cult of Fast Fashion,” a documentary released on Tuesday on HBO.The documentary intersperses former employees’ accounts of racism and size discrimination while working in its stores with a broader look at the labor and environmental costs of the fast-fashion industry. The filmmakers said Stephan Marsan, the company’s mysterious chief executive, did not respond to several requests for comment.Eva Orner, the documentary’s director, said in an interview last week that it was a challenge to get former employees on camera because so many were fearful of the company. Those who were included were identified by only their first names. “I’ve done a lot of stuff in war zones, and with refugees and really life-or-death situations, and people have been more comfortable being on camera,” she said.Eva Orner, the director of “Brandy Hellville & the Cult of Fast Fashion,” said many former employees feared retaliation from the company if they participated in the documentary.Lucas Allen/HBOMs. Orner, an Australian who won an Academy Award for the documentary “Taxi to the Dark Side,” had not heard of Brandy Melville before producers mentioned the company to her in 2022 as a potential subject of investigation. The more she learned, the more she was disturbed by the brand’s cultlike following among teenage girls, who see it flaunted by celebrities like Kaia Gerber and Kendall Jenner.We are having trouble retrieving the article content.Please enable JavaScript in your browser settings.Thank you for your patience while we verify access. If you are in Reader mode please exit and log into your Times account, or subscribe for all of The Times.Thank you for your patience while we verify access.Already a subscriber? Log in.Want all of The Times? Subscribe. More

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      Dianne Brill, a 1980s ‘It Girl,’ Makes a Splashy Return

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      “I’m back,” she says at her 66th birthday party. “Maybe not everyone knows it yet, but I am.”When Dianne Brill arrived at the Soho Grand Hotel for her 66th birthday party on Saturday night, she did so with the same sense of spectacle that made her an icon of Manhattan nightlife in the 1980s.People stopped and stared as she stepped out of a black S.U.V. Standing 6-foot-3 in white platform boots, Ms. Brill was wearing a silver satin wraparound dress and holding a glittering wand in one hand. Her hair was big and blonde, and she wore a big necklace that read “B-R-I-L-L.”“I’m back,” she said. “Maybe not everyone knows it yet, but I am, and that’s why I’m having this birthday party. To show everyone I’m back.”The party was billed as “One in a Brillion.” The dress code on the invitation was “Strictly Brill,” meaning the kind of thing Ms. Brill might have worn at nightclubs like Area and Danceteria four decades ago.She came to New York at age 22 from the suburbs of Tampa, Fla. Soon she seized the mantle once occupied by Edie Sedgwick and Bianca Jagger as downtown’s reigning “It” Girl. She also became a muse to Andy Warhol, who once stated, “If you were at a party and Dianne Brill was there, you knew you were at the right party.”Ms. Brill poses for Andy Warhol in 1984.Roxanne LowitWe are having trouble retrieving the article content.Please enable JavaScript in your browser settings.Thank you for your patience while we verify access. If you are in Reader mode please exit and log into your Times account, or subscribe for all of The Times.Thank you for your patience while we verify access.Already a subscriber? Log in.Want all of The Times? Subscribe. More

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      Virgil Abloh’s Legacy Reaches a New Stage

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      Shannon Abloh and the Fashion Scholarship Fund unveil a new plan.Many companies, including fashion companies, may be going silent about their diversity, equity and inclusion initiatives in the face of political change. The last round of major designer appointments may not have included a single creative director of color. But at least one group is doubling down on its commitment to broadening the style-talent pipeline.At its annual gala on April 8, Peter Arnold, the executive director of the Fashion Scholarship Fund, the nonprofit that is dedicated to expanding access to the industry for underprivileged students, and Shannon Abloh, the widow of Virgil Abloh, will unveil a new strategic plan for the Virgil Abloh “Post-Modern” Scholarship Fund. The new initiative will double the number of recipients and expand the way the fund defines support.As such, it marks the next step in Ms. Abloh’s efforts to consolidate her husband’s legacy.Mr. Abloh, the pioneering Black designer who founded the brand Off-White, collaborated with Nike and became the first Black creative director of Louis Vuitton men’s wear, died in late 2021 of a rare form of cancer.“When he became successful, Virgil was the first Black face that many kids saw in a room they didn’t know they could enter,” Ms. Abloh said via Zoom from Chicago just be fore getting on a plane to fly to New York for the Fashion Scholarship Fund event. “He and I talked about, How can we turn this into something that really means something over time?” The Virgil Abloh “Post-Modern” Scholarship Fund was part of the answer.Shannon Abloh with the designer Aurora James at the CFDA awards ceremony in November 2022.Nina Westervelt for The New York TimesNow, she said of the D.E.I. reversals, “it’s really nerve-racking, seeing the changes that are happening. But for me, all it means is that the work needs to continue to be louder. It just makes me double down and say, ‘OK, then we need to fight harder.’”We are having trouble retrieving the article content.Please enable JavaScript in your browser settings.Thank you for your patience while we verify access. If you are in Reader mode please exit and log into your Times account, or subscribe for all of The Times.Thank you for your patience while we verify access.Already a subscriber? Log in.Want all of The Times? Subscribe. More

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      Sobhita Dhulipala of ‘Monkey Man’ Charts an Unusual Path to Hollywood

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      Sobhita Dhulipala considers herself an outsider — wherever she is.She grew up in the southern Indian state of Andhra Pradesh, making her an outsider in the country’s financial and fashion capital, Mumbai. Her native tongue is Telugu, making her an outsider in predominantly Hindi-speaking Bollywood.And now, with the release on Friday of the high-octane, Jordan Peele-produced “Monkey Man,” in which she stars alongside Dev Patel, she is again an outsider, thrust into Hollywood’s limelight. In fact, the premiere of the film at South by Southwest in Austin, Texas, last month was the first time Ms. Dhulipala, 31, had ever set foot on American soil.“In India, I’m South Indian,” Ms. Dhulipala, who lives in Mumbai, said in a video interview from her hotel room in Los Angeles. “When I come to America, I’m Indian.”“It’s amazing that I get to come to this country with a film,” she added. “It’s like I come with an offering.”In the Amazon Prime series “Made in Heaven,” Ms. Dhulipala portrayed a social climber, navigating her way to ever higher rungs of Indian society.Amazon Prime Video IndiaThat real-life feeling of being an outsider is the undercurrent for many of her onscreen roles. In the Amazon Prime series “Made in Heaven,” Ms. Dhulipala’s character is a low-income nobody who schemes her way into upper-class circles. In “Monkey Man,” she plays Sita, a call girl whose business is the pleasure of powerful but despicable men.We are having trouble retrieving the article content.Please enable JavaScript in your browser settings.Thank you for your patience while we verify access. If you are in Reader mode please exit and log into your Times account, or subscribe for all of The Times.Thank you for your patience while we verify access.Already a subscriber? Log in.Want all of The Times? Subscribe. More

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      Giorgio Armani Doesn’t Think Much About Age

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      For those of us who grew up in the shadow of war, ambition was something natural, a vital drive. It was not so much a desire for fame and notoriety but rather an urge for personal fulfillment, a way to assert oneself outside the hardship and to overcome it. My mother and father taught me the value of commitment and hard work to get things done. It is a lesson that has never left me.It took me some time to find my way. First, I studied medicine, then came La Rinascente [an Italian department store, where Armani worked in display] and Cerruti — fashion, in other words. That was the moment when I found my ambition, when I discovered the power of clothes not only to change the way you look but, more profoundly, to influence the way you are and behave.Looks from Giorgio Armani Privè’s couture spring 2024 collection, shown in Paris in January. →Giorgio Armani PrivéGiorgio Armani PrivéGiorgio Armani PrivéGiorgio Armani PrivéGiorgio Armani PrivéGiorgio Armani PrivéGiorgio Armani PrivéGiorgio Armani PrivéGiorgio Armani PrivéGiorgio Armani PrivéGiorgio Armani PrivéI think the challenges — or problems — and the rewards of staying in the game go hand in hand if you do this work for as long as I have and if you remain present. The main pressure is staying relevant without giving in to the pressures of the moment, which often feel very urgent but are forgettable in the long run.In truth, I don’t think about age much. In my head, I am the same age I was when I started Giorgio Armani. Situations and people change, but the challenges and problems are all the same in the end. My way of tackling them hasn’t changed — with great determination. Audiences evolve, however, and this cannot be underestimated. Stylistic coherence, therefore, must be elastic. Otherwise one becomes rigid. The ultimate gratification is to become a classic — outside of and above fashion — and to be identified with a style.Current and upcoming projects: Designed 14 men’s, women’s and haute couture collections in 2023.This interview has been edited and condensed. More