Patti + Ricky Focuses on Inclusive Design With New York Pop-up and Collaborations

ALL ARE WELCOME: Raised by parents whose careers were rooted in fashion retail, Alexandra Connell had an insider’s view of brand building from a young age. But her father Steven Bochner, who led Swatch’s sales into the U.S. and later served as president of Christian Dior Jewelry, always advised her to choose a different field.
He only coalesced, when she asked, “What if I sold empowerment?”
Her online store,, specializes in apparel and accessories for the physically challenged. “He always wanted me to help people and he knew that I was very passionate about wanting to help people with disabilities,” she said.
Launched about 10 months ago, the multibrand e-tailer caters to the more than 50 million Americans with either a mental or physical disability. Diagnosed with dyslexia and ADHD as a child, Connell was always keenly aware of how disabilities and looking or acting differently could have a major impact on a person’s life. The company’s name is a tribute to her mother Patti who died 10 years ago and her cousin Ricky who is unable to walk or speak.
“My mother was always on trend and when she got sick with a brain tumor, there was nothing fashionable out there for her.

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Adidas’ Nic Galway on Building Successful Collaborations

Before joining Adidas, where he’s worked for almost two decades, Nic Galway, the global senior vice president of design for Adidas Originals and Style, studied automotive design. He parlayed that into a job at Adidas, where he helped facilitate collaborations before they were called collaborations — specifically the launch of the Y-3 line with Yohji Yamamoto.
He still works with Yamamoto, but is juggling many more projects, including the successful partnership on the Yeezy line with Kanye West, who he said has pushed him and the team at Adidas to move beyond their comfort zones. Galway sat down with WWD’s style director Alex Badia to talk about merging Adidas’ heritage with the future, the future of men’s wear, and what makes a strong collaboration.
WWD: I’ve seen that car design and shoe design are related. Do you think that’s the case?
Nic Galway: I studied back in the mid-Nineties. And when I joined Adidas, there was no one in the company at all who studied shoe design and sneaker design wasn’t something you could study at all. There are a lot of people who are into automotive who really thought they wanted to study this, but when they got into the world it

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EXCLUSIVE: Gemfields and Muse Showroom Launch E-commerce Site to Sell Their Collaborations

Gemfields, one of world’s leading suppliers of responsibly sourced colored gemstones, is launching an e-commerce platform with partner Muse Showroom.
The partnership between the two began in 2016. Gemfields, which owns Fabergé and operates its own emerald mine in Zambia and ruby mine in Mozambique, wanted to create collections from its stones, and the Muse Showroom fine jewelry client base offered a way to collaborate and create pieces using them. Over the past few years, the collaboration has grown from brands exclusively at Muse to friends of the New York-based showroom and emerging designers as well.
Until now, the collections have been selling piecemeal at a variety of retail channels but Jennifer Shanker, founder of Muse Showroom, wanted a place to show the comprehensive assortment of charms, rings, earrings, bracelets and necklaces.
“My goal was to curate a space that showcases the full breadth of beautiful pieces from the Gemfields x Muse collaborations,” Shanker said. “I wanted to give customers visibility and access to current and past collections, connecting them with stunning colored gemstones and talented designers in one easy, shoppable destination.”
The idea of a website had been on Shanker’s mind for several years but “…we didn’t want to compete with our retailers, but

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Tod’s Seeks to Surprise With Drops, Collaborations

MILAN — Tod’s chief executive officer Diego Della Valle is overturning his company’s business model and launching a new project called Tod’s Factory, in a reference to Andy Warhol.
“It’s work in progress, we started developing it around six months ago,” Della Valle revealed ahead of the Tod’s runway show in Milan on Friday. “It means we will start dropping more collections throughout the year, capsules and limited editions, in collaboration with different individuals and friends of the house.” The executive declined to provide additional details about the designers, but said the first such collection would bow in June or July.
“Collections can no longer be presented every six months, and this is part of a new way to communicate and tell our story,” he explained. “This business model offers great opportunities, we can be faster and better control the collections.” Della Valle declined to say whether the women’s fall show, designed by a team, would be the last for the house. “We want to surprise you,” he said. He has been reviewing the role of a creative director after the exit of Alessandra Facchinetti in 2016, leaving the job to the brand’s team.
Della Valle is courting a younger customer and the collaborators on

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Jean-Charles de Castelbajac on the Blurry World of Collaborations

COPY CAT: With appropriation being one of the topics du jour, Jean-Charles de Castelbajac set out to explore “the dialogue between his designer and artist sides” for his new solo show. Entitled “The Empire of Collaborations” and opening at Paris’ Galerie Danysz on Saturday, it takes on the blurry world of collaborations, or “iconoclastic encounters.”
“The major issue nowadays is the ‘karaoke.’ I am amazed that world-famous celebrated designers are stealing and copying historical works from other designers without reinventing the design and without any tribute to the original designer, erasing all the fashion history,” said de Castelbajac, who throughout his own fashion career has tangoed with a number of iconic artists and brands, kicking off with a Snoopy hookup with Iceberg in 1974, as the house’s first creative director. He called that the “first-ever cartoon sweater. The second was with Andy Warhol where we shot him for the campaign.”
The designer has even coined his own term for his penchant for “reinterpreting the territories of tradition” incarnated by emblematic brands such as J.M. Weston or Hermès: “contemporary archeology.”
“Vintage is today celebrated as a post-creativity. I have been inspired by brilliant artists all my life, but I never copied their work. I

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Jack Spade Expands Collaborations for 20th Anniversary

Jack Spade New York has extended its collaborative efforts for spring, partnering with Sperry and the Museum of Modern Art on a collection of accessories that will bow later this month.
These collaborations will join ongoing ones with Barneys New York and Save Khaki United and are intended to mark the 20th anniversary of the brand.
They were spearheaded by Cristiano Quieti, senior vice president and president of Jack Spade New York, and are titled “Friends of Jack.” The partners were chosen, the company said, because all share a “connective thread — they are iconic East Coast, often New York City brands, with an appreciation for great design.”
The Sperry shoes will include slip-ons and lace-ups with stripes or colorblocking that will retail for $ 75 to $ 100. They will be available on the Sperry and Jack Spade web sites as well as in select Sperry stores.
The Museum of Modern Art capsule offers seven canvas accessories including totes, wallets and a paddle bag that will be sold on both companies’ web sites and will retail for $ 38 to $ 298.

The portfolio bag from the Museum of Modern Art partnership. 

The Barneys bags include messengers, totes, briefcases, wallets and card cases that sell for $ 648 to $ 698 while

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Debbie Reynolds and Carrie Fisher: A History of Their Mother-Daughter Collaborations

Only a day after iconic actress and writer Carried Fisher died at age 60 after suffering a heart attack, her equally famous mother, Hollywood legend Debbie Reynolds, died at age 84, reportedly due to a possible stroke.

Calling Debbie Reynolds’ and Carrie Fisher’s relationship “complicated” is likely an understatement. They had a fraught relationship that many Fisher used as inspiration for in some of her most famous writings, including semi-autobiographical book and subsequent film Postcards from the Edge and her 2008 memoir Wishful Drinking. The pair shared the screen, stage and page on a variety of occasions. Let’s take a look.

Fisher made her television debut as a 13-year-old in Debbie Reynolds and the Sound of Children. Fisher played a Girl Scout, which was fitting, given her mother’s well-documented love of the organization. The program — footage of which is scarce to non-existent — was based on the old “Monday’s child…” rhyme and featured Reynolds and children singing songs along those lines.

Reynolds and Fisher made their Broadway debut in the same production, 1973’s revival of Irene. Fisher was 16 and played “Debutante;” the show’s run was widely lauded and ran for nearly 600 performances. Reynolds was nominated for her only Tony Award for her role as Irene O’Dare, though she lost to Glynis Johns for A Little Night Music. (The show earned four Tony nominations in all.)

Fisher adapted her 1987 novel Postcards from the Edge into a film of the same name in 1990. Despite the obvious parallels between her relationship with Reynolds and that of the film’s central characters, both Fisher and director Mike Nichols brushed off the idea that it was drawn directly from their relationship.

“I wrote about a mother actress and a daughter actress,” she told Entertainment Weekly in 1990. “I’m not shocked that people think it’s about me and my mother. It’s easier for them to think I have no imagination for language, just a tape recorder with endless batteries.”

Fisher then reunited Reynolds with her old pal—and onetime frenemy—Elizabeth Taylor in These Old Broads, a 2001 television movie that aired on ABC. (Reynolds’ first husband (and Carrie’s dad) Eddie Fisher infamously left his family to marry Taylor in 1959.)  Fisher wrote the film’s teleplay, and as Shirley MacLaine recalled to the Los Angeles Times, “It was a very serious thing for them — here’s the daughter of one, who’s the stepdaughter of the other. The three of them met and decided what they would and wouldn’t say. It was really quite Hollywoodishly historical.” The film notably included moments where Reynolds and Taylor banter about a “Freddie Hunter” who their characters fought over some years before.

Fisher and Reynolds then turned their relationship into an actual movie with this year’s Bright Lights: Starring Carrie Fisher and Debbie Reynolds, from documentary veterans Fisher Stevens and Alexis Bloom.

“Carrie wanted to make Bright Lights for Debbie and Debbie wanted to make it for Carrie,” HBO Documentary Films president Sheila Nevins told Variety Wednesday.

Much of the film’s footage was shot in 2015, and HBO is weighing the pair’s death this week in its consideration of the documentary’s air date.

“If this was a Hollywood script, no one would believe it,” Nevins continued. “They just loved each other so much. The bond was just unbreakable.”

Fashion Deals Update:

Which Stars Had the Most Fashion Collaborations in 2015? An In-Depth Investigation

When we started looking back at the biggest and best style moments of 2015, one thing stood out: Pretty much everyone had a collaboration. (Here’s where you imagine Oprah yelling “You get a collab! You get a collab! YOU get a collab!”) But some celebs were on a whole other level when it came to their partnerships. So much so that we felt it was our duty to round up the most sought-after celebrity collaborators of the year, and you’ll never believe who came out on top (Okay, fine, you totally will).

Kendall and KylieMatt Baron/Getty

Note: We had to set some parameters here. We only included collaborations with fashion and beauty brands that were active and/or announced in 2015, as well as the celebrities’ own brands when applicable. If the celeb is the face or ambassador of a brand but didn’t design something specifically for them, that doesn’t count. Also, although we love and respect Kendall and Kylie Jenner as individuals, many of their partnerships include them as a duo, so we counted them as one. Phew!

Celeb collaboration graphic 2015Jenners, Port and King: Getty; Chung and Olivia: S

And the winner is…Kendall and Kylie Jenner! Together, these two stylish sisters have clothing collaborations with Topshop, PacSun and Forever New (in Australia) as well as a shoe line that they announced this year. Kendall also has a lipstick with Estee Lauder (she is also the face of the brand), while Kylie has her Hair Kouture extension line with Bellami and, of course, Lip Kit by Kylie, which sold out in minutes…twice.

First look at Kendall + Kylie for @topshop holiday. The collection is available this Friday!

A photo posted by King Kylie (@kyliejenner) on

Olivia Palermo also had an impressive showing this year. The fashion plate acts as Ciaté London’s creative director, has a jewelry collection with BaubleBar, a line of sunglasses with Westward Leaning and a shoe collection with Aquazzura (technically late 2014, but we’ll count it). Lastly, she announced in October that she’ll be teaming up with Nordstrom for a collection slated to hit stores in February 2016.

Whitney Port had a big year — from that whole getting married thing to her four collaborations. As you know from The City, Port has her clothing line Whitney Eve (which also teamed up with FabFitFun this year — it’s a collab within a collab!). Plus, she has a partnership with Wella hair care, a line for QVC and designed a charitable tank top for that helps send children to school.

Jaime King, who gave birth to her second child this year, was all about the motherhood-themed collaborations. She had a collection with A Pea in the Pod, a children’s line with Sapling Kids and “mother-and-child-inspired” jewelry with Juno Lucia. Finally, revealed just last week that she’s launching her first makeup line with ColourPop.

RELATED VIDEO: Kendall and Kylie Have Huge Fashion News!

Jamie Chung rounds out our list with three big team-ups, with Havaianas, Make Up For Ever and Sachi jewelry. We have to give her a special shoutout though, because she’s also worked with everyone from Ralph Lauren to Fossil to Pandora jewelry this year in less official roles.

Which celebrity designer is your favorite? Who would you like to see team up next? Let us know in the comments!

— Lindy Segal

Style News – StyleWatch –

Fashion Deals Update:

Celebrating 20 Years, SITE Santa Fe Shows New Commissions and Collaborations

Janine Antoni and Stephen Petronio, Honey Baby, 2013. Copyright Janine Antoni and Stephen Petronio; Courtesy of the artists and Luhring Augustine, New York.

Celebrating 20 Years: SITE Santa Fe’s Collaborative Spirit

A significant anniversary invites a retrospective view, and for SITE Santa Fe’s 20th, the institution is doing just that, in a yearlong series of exhibitions featuring artists who have presented major works at SITE in the past. But for this 20th-anniversary celebration, SITE is not only looking back at its own history, or reprising past projects, rather refreshingly the exhibits that comprise “SITE 20 Years/20 Shows” take the form of new work, commissions, and collaborations.

Ann Hamilton, The common SENSE (detail), 2014-2015. Courtesy of the artist.

SITE Santa Fe opened in 1995 with its first International Biennial: Longing and Belonging: From the Faraway Nearby, curated by Bruce Ferguson, and has since produced eight biennials, and over 80 exhibitions, helping to launch or galvanize the careers of numerous curators and artists. The notion of reconnecting with artists who have contributed to the institution’s history, taking a look at then and now, exemplifies SITE’s mission to form strong bonds with the international art community while cultivating deep roots within the community of Santa Fe and the wider Southwest region.

Amy Cutler, Cautionary Trail, 2005. Courtesy of the artist and Leslie Tonkonow Artworks + Projects, New York.

Presented in three installments, over spring, summer and fall, “SITE 20 Years/20 Shows” first opened in March with work by Gregory Crewdson, Deborah Grant, Roxy Paine, Mary Reid Kelley with Patrick Kelley, Rose B. Simpson, and Jessica Stockholder. The fall installment, opening October 23, will feature installations by Terry Allen, Janet Cardiff and George Bures Miller, Wangechi Mutu with Edgar Arceneaux, and Susan Silton with The Crowing Hens. The summer exhibition of “SITE 20 Years/20 Shows” is currently on view, until October 4, with installations and collaborations by Ann Hamilton, Janine Antoni with choreographer Stephen Petronio, Amy Cutler with musician Emily Wells and hairdresser Adriana Papaleo, Harmony Hammond with artist Francis Cape, and Dario Robleto with historian Patrick Feaster and Lance Ledbetter of Dust-to-Digital Records. While the wall texts throughout the show acknowledge the contributions of each of the artists to SITE Santa Fe’s exhibitions of the past–Ann Hamilton, for instance, showed in the first Biennial and Janine Antoni showed a major solo show at SITE in 2002–the focus rests on the artists’ current practices.

Dario Robleto, The Pulse Armed With a Pen (An Unknown History of the Human Heartbeat), 2014. Courtesy the artist and Inman Gallery, Houston. Photo: Paul Hester, The Menil Collection.

The installations in the current configuration of “SITE 20 Years/20 Shows” exhibit few connections between them, with each occupying its own discrete room in the gallery. But if there is one conceptual thread running throughout, it is the notion of collaboration–collaboration among artists, between artists and institutions, artists and choreographers, musicians, historians, and so on. A successful collaborative effort can achieve results that a single artist couldn’t produce on her own, a kind of synergistic effect that provides new contexts and new meanings to an artist’s work. In an unsuccessful collaboration, on the other hand, compromises become more apparent than cooperation, resulting in a situation where one person’s vision might supersede another to the detriment of the whole artwork. The wide range of artistic collaboration, both successful and unsuccessful, can be found in SITE Santa Fe’s current exhibition.

Janine Antoni and Stephen Petronio, Honey Baby, 2013. Copyright Janine Antoni and Stephen Petronio; Courtesy of the artists and Luhring Augustine, New York.

Janine Antoni’s collaboration with the choreographer Stephen Petronio, for instance, sheds new light on Antoni’s practice with regard to the grotesque and expressive potential of the human body–in this case a male dancer’s lithe form, emulating the movements of the body in utero–in a somewhat disturbing but entrancing video. And Dario Robleto’s collaboration with sound historians Patrick Feaster and Lance Ledbetter results in a series of small vinyl albums–recordings of the human heart and early gospel spirituals–with extensive liner notes that convey a historical depth and artistic sensibility (despite the somewhat twee aesthetic), enhancing our apprehension of these early recordings visually, textually, and sonically.

Harmony Hammond and Francis Cape, Angle of Repose, 2015, installation view. Courtesy of the artists and SITE Santa Fe. Photo: Eric Swanson.

The collaborative installation by painter Harmony Hammond and sculptor Francis Cape, Angle of Repose (2015), on the other hand, is less apparent as a collaboration at all. Comprised of one of Hammond’s layered monochrome paintings leaning against a wall and a collection of re-made handcrafted furniture by Cape, the two works are somewhat independent of each other, but their proximity yields a new conversation between the works. Their pairing seems more like a very astute curatorial choice, rather than a true collaboration that results in one unified work.

Amy Cutler, installation view, 2015. Courtesy of the artist and SITE Santa Fe. Photo: Eric Swanson.

While Hammond and Cape’s collaboration demonstrates restraint and subtlety, Amy Cutler’s installation commits the sin of sensorial overload. Created with musician Emily Wells and hairdresser Adriana Papaleo, the installation sets out to devise a three-dimensional version of one of Cutler’s surreal paintings. Braided hair intertwined between aspen logs that form a primitive hut in the center of the gallery, lit from within, houses bundled lumps of more hair. An eerie soundtrack of breathing permeates the dark atmosphere. The ambience is meticulously crafted, but the literalness of such a proposal deprives the viewer of the sense of imagination and wonderment one can experience in the scenes of Cutler’s strange and richly detailed paintings.

Ann Hamilton, The common SENSE, 2014-2015, installation view, SITE Santa Fe, 2015. Courtesy of the artist. Photo: Eric Swanson.

At turns impressive, delightful, and poignant, Ann Hamilton’s installation is one of the most richly rewarding of the show. Created in cooperation with the University of Washington’s Burke Museum of Natural History and Culture’s Ornithology collection, the common SENSE · the animals (2014-2015) is comprised of digital scans of bird and animal specimens taken from the collection, printed on stacks of newsprint, and presented salon style across the whole room. Invited to tear off sheets of the newsprint and take some of the pictures home, viewers are confronted with the consequences of their impulse to consume–as each sheet is torn away, the installation is lessened, pointing to the ultimate finitude of natural resources. In the wake of the tragedy of Cecil the lion in Zimbabwe, Hamilton’s installation becomes all the more moving.

Marie Watt, installation view, 2015. Courtesy of the artist and SITE Santa Fe. Photo: Eric Swanson.

The emphasis on collaboration at SITE Santa Fe is not a passing fancy, or just relevant to this particular exhibition, but rather is something that runs deep within the institution’s programming and curatorial mission. This is evidenced in a concurrent exhibition at the museum, Unsuspected Possibilities, supported by a Robert Rauschenberg Foundation Artistic Innovation and Collaboration Grant, featuring works by Marie Watt, Leonardo Drew, and Sarah Oppenheimer. Marie Watt’s installation in particular perfectly and beautifully illustrates SITE Santa Fe’s continued commitment to collaborative processes and community engagement. The artist, who is of Iroquois descent, involved local Santa Fe students and community members to help embroider designs on fragments of Pendleton blankets, which were then assembled into magnificent constructions, and hung like an advancing regiment through the gallery space. It’s a breathtaking installation, made all the more impressive knowing the many hands that touched it.


–Natalie Hegert

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Preventing AIDS: Community-Science Collaborations

Preventing AIDS: Community-Science Collaborations

This book is designed to help frontline prevention organizations answer two questions that are of utmost importance. First, how effective are their services; and second, can their work be improved? The absence of rigorous evaluation is a barrier to stable funding for community organizations, and the strategies in Preventing AIDS: Community-Science Collaborations can help overcome that barrier. The book examines six unique efforts to prevent the spread of AIDS among high-risk populations such as prostitutes, injection drug users, impoverished pregnant women, migrant workers, transgendered persons, and prison inmates. You’ll learn about the difficult but critically important cooperative efforts between community organizations who do frontline prevention work and university scientists who evaluate the effectiveness of that work. Handy tables and figures make important data easy to access and understand.To view an excerpt online, find the book in our QuickSearch catalog at

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