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      The ‘Nontraditional’ Bridal Brand Capturing Hearts Online

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      Madison Chamberlain is carving a niche with her vibrant, over-the-top bridal designs.“Make me look like a disco ball.” For most designers this isn’t a common request, but for Madison Chamberlain, so-called disco brides, and anyone looking to splash extra color, sparkle or glam into their wedding day, are a mainstay of her business.Ms. Chamberlain, 29, started her bridal brand in 2022. “I’ve always been what you would call an occasion-wear designer,” she said. In college, at what was then known as Philadelphia University, she studied fashion design and made “jacquard coats decked out in embellishments and trimmed with orange fur,” she said. “Things that were just extreme.”In 2019, Ms. Chamberlain left a design assistant job at Free People, where she had worked on party dresses. She was feeling burned out from corporate fashion and dreamed of someday starting her own fashion line, one of “joyful things,” made in a size-inclusive, low-waste way.Ms. Chamberlain’s sweetheart veil in copper…Alyssa Rose Photographyand in white tulle.Alyssa Rose PhotographyFor about two years she worked for a wedding-invitation studio, painted pet portraits, did freelance design work and taught children’s art and sewing classes. Then, in 2021, a friend of a friend asked Ms. Chamberlain to make a dress for her wedding in New Orleans. She created a custom gown embellished with shimmering paillettes, and wound up being invited to the wedding. The experience inspired her to shift her focus to nontraditional bridal design.In August 2022, Ms. Chamberlain posted a TikTok video of her first veil, a rainbow sequin piece. It got more than two million views and sparked a flurry of inquiries. After that, she was able to make the brand her full-time job, running her business out of a studio in Philadelphia.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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      Who Was Bruce Nordstrom? The Force Behind the Multibillion-dollar Empire

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      Bruce Nordstrom was both the force behind his family’s multibillion-dollar retail dynasty and a stealth godfather to the fashion trade.“Nice” tends to be dirty word in business. The cliché holding that nice guys finish last has seldom seemed more true than in the landscape of contemporary retailing, where business is dominated by corporate consolidation, monopolistic practices and shareholder returns as the ultimate value.Yet nice, as it turns out, may not be altogether pejorative — at least judging by the career of Bruce Nordstrom, who died May 18 at age 90. It may even be a key to success.For decades, Mr. Nordstrom helped lead the Nordstrom retail empire, which was founded in Seattle in 1901 by his grandfather, an immigrant from Sweden. The fashion retail colossus began as a shoe store, and ultimately expanded to include 150 locations worldwide.Publicly traded since the 1970s and still family-run, the Nordstrom chain was predicated on an ethos of decency and niceness, Robert Spector wrote in “The Nordstrom Way,” his 1996 book about the company’s vaunted reputation for customer service.“I came at the reputation with skepticism,” Mr. Spector said by telephone from his home outside Seattle. “I wish it were more complicated, but they are who they say they are, decent and humble and focused on the customer first.”The Nordstrom culture of customer care is not only real, it originated from a family tradition of bottom-up managerial training. Bruce Nordstrom may have run a multibillion-dollar company, but he never forgot his beginnings sweeping floors and breaking down boxes for 25 cents an hour. “It may be the biggest competitive advantage they have,” Mr. Spector said of Nordstrom’s unusual company structure.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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      Gucci Debuts Cruise Collection at London’s Tate Modern

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      Turnarounds are hard, especially when the stakes are high. Can Sabato De Sarno deliver the goods with his debut cruise collection at the Tate Modern?As the sun set over the River Thames on Monday night, London’s favorite supermodel Kate Moss struck a pose for the mob of paparazzi gathered outside the soaring industrial heft of the Tate Modern. A stream of stars soon followed, including Dua Lipa, Paul Mescal, Debbie Harry, Solange Knowles and Demi Moore, her tiny Chihuahua Pilaf tucked under her arm like a handbag. They had gathered for Gucci and its creative director, Sabato De Sarno. The budget — and the stakes — could not have been bigger as he presented his debut cruise collection.Gucci is one of the most recognizable fashion brands in the world, generating almost 10 billion euros (about $119 billion) in revenue last year. But Gucci has been scrambling to recover after a sobering drop in its fortunes in recent years. The impact for Kering, its parent company, is considerable given that Gucci is responsible for half of the organization’s sales and two-thirds of its profit. Last month, Kering reported that Gucci had a sales slump of almost 20 percent in the last quarter, leading to a rare profit warning and sliding share price.This is not the fault of Mr. De Sarno, who was appointed 15 months ago and whose designs have only recently started arriving in stores following his Milan Fashion Week debut in September. However, the critical reception of his men’s and women’s wear collections — with a pared-back focus on crisp, contemporary silhouettes and accessories — has been muted, the concern being that he is too safe and straightforward. Certainly, they are less flamboyant than those of his predecessor, Alessandro Michele. But will the fashion industry and its increasingly jittery investors give Mr. De Sarno and his more minimal-leaning vision more time to rebuild the Gucci juggernaut?Dua Lipa and Paul Mescal at Gucci.Tristan Fewings/Getty ImagesFrançois-Henri Pinault, the chairman and chief executive of Kering, and Salma Hayek at the show.Tristan Fewings/Getty ImagesIf the ideas that emerged from the cruise collection, called “We’ll Always Have London,” are anything to go by, they should. The house of Gucci has longstanding roots in London — its founder, Guccio Gucci, worked as a baggage porter at the Savoy hotel, observing the luggage and lifestyles of the international elite. In his show notes, Mr. De Sarno wrote that he had found himself inspired anew by a city that “has welcomed me and listened to me.” The Tate Modern’s vast underground concrete caverns known as the Tanks had been decorated with more than 10,000 verdant plants that blossomed from the ceiling, floor and pillars. Models made their way through the rooms in clothes that felt lighter and more covetable than those in his debut collections — short suede coats and capes, immaculately tailored denim, and shifts and skirts lavishly embroidered with paillette daisies. There were plenty of nods to British fashion woven through the show, especially the pearls, knee-length pencil skirts and slouchy and sensible beige anoraks that could have been worn by Queen Elizabeth II. Dresses and coats covered with squares made of a shimmering bead fringe were a reference to Scottish plaids.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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      Zendaya Makes Two Arrivals to the Met Gala Red Carpet

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      The first thing you need to know about the black taffeta Givenchy spring 1996 haute couture dress Zendaya wore to make a late (re)entrance at the Met Gala is that it was the second John Galliano design she wore for the event. The first was a custom Maison Margiela couture dress he created specifically for her, which she wore at the start of the evening.The second thing you need to know about that second Galliano dress is that she bought it.The third thing you need to know about the dress is that it was originally Look No. 8 of Mr. Galliano’s first Givenchy couture collection, back when the appointment of the upstart Brit at the venerable Parisian house had set all of French fashion into an affronted tizzy.And the last thing you need to know is that all those things, added together at a peak eyeball moment, amount to a major declaration of independence by Zendaya, and perhaps the next step in Mr. Galliano’s return to the bosom of fashion following the documentary “High & Low: John Galliano” and his much lauded January Maison Margiela couture show.For Zendaya, the look, which was designed the year she was born, nods to the evening’s dress code in being vintage, rare and, with its full skirt and laced-up bodice, recalls the aristocracy of the ancien régime. It also represents “an investment in herself,” said Rita Watnick, the founder of Lily et Cie, the vintage clothing dealer in Los Angeles who sold the dress to Zendaya and Law Roach, her “image architect.”“It says, ‘I am not an emissary for a brand,’” Ms. Watnick went on. “‘I am my own emissary.’” That’s quite a news bulletin at a party that has become, for many brands and celebrities, a quasi-advertising moment.As for Mr. Galliano, his dresses have reappeared on red carpets before, but never under quite as big a spotlight. (Zendaya also wore vintage Galliano — a look from his spring 1998 collection — to Anna Wintour’s pre-Met dinner.) And while he may not have been granted the retrospective exhibition that the Met was rumored to have considered, being worn by an extremely high-profile co-host of the party of the year may be the next best thing. More

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      Jeff Bezos, Doja Cat and Pamela Anderson Pregame the Met Gala

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      Designers, athletes and celebrities swapped stories on dress fittings and gala prep routines on the eve of fashion’s biggest party.On Sunday evening, the rapper Doja Cat swept into an upscale French restaurant in SoHo carrying a disposable Starbucks cup. She stashed it at the bar, and then made her way to the rear of the room to kiss the actress Pamela Anderson on one makeup-free cheek.Ms. Anderson was hosting a party with the label Monse as a kind of amuse-bouche for the Met Gala the next night. About 100 designers, editors and models gathered at La Mercerie, the restaurant and home goods store, to greet one another with some version of the line: “I have such a busy day tomorrow.”Ms. Anderson planned to wake at 5 a.m. — a feat she said would not require an alarm clock — and then head to a park for a moment of peace before her first Met Gala. “I’m going to be walking all of those scary feelings out,” she said.Under the ceiling’s central arch, servers circulated trays of buttered radishes. Guests sipping Sancerre traded thoughts on increasingly elaborate gala prep routines. (Fillers came up, as did Ozempic.)Doja Cat said she would be sticking to “regular old beauty prep,” with the help of the makeup artist Pat McGrath.Clockwise from top left: Lauren Sanchez and Jeff Bezos; Pamela Anderson; Fernando Garcia and Laura Kim; and Lizzo and Gabrielle Union.Amir Hamja/The New York TimesWe 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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      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