Stella Jean Quits Milan Fashion Week over Lack of Inclusion

FILE - The 'We Are Made in Italy (WAMI)' collective celebrate on stage at the end of the Stella Jean women's Spring Summer 2023 collection presented in Milan, Italy, on Sept. 23, 2022. (AP Photo/Alberto Pezzali, File)
FILE - The 'We Are Made in Italy (WAMI)' collective celebrate on stage at the end of the Stella Jean women's Spring Summer 2023 collection presented in Milan, Italy, on Sept. 23, 2022. (AP Photo/Alberto Pezzali, File)
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Stella Jean Quits Milan Fashion Week over Lack of Inclusion

FILE - The 'We Are Made in Italy (WAMI)' collective celebrate on stage at the end of the Stella Jean women's Spring Summer 2023 collection presented in Milan, Italy, on Sept. 23, 2022. (AP Photo/Alberto Pezzali, File)
FILE - The 'We Are Made in Italy (WAMI)' collective celebrate on stage at the end of the Stella Jean women's Spring Summer 2023 collection presented in Milan, Italy, on Sept. 23, 2022. (AP Photo/Alberto Pezzali, File)

The only Black designer belonging to Italy’s fashion chamber withdrew Wednesday from this month’s Milan Fashion Week, alleging a lack of support for diversity and inclusion after the chamber “abandoned” a project to promote young designers of color working in Italy.

Stella Jean interrupted a press conference by the Italian National Fashion Chamber to announce that neither she nor five members of the We Are Made in Italy collective of designers of color would participate in fashion week, The Associated Press said.

She also said she had started a hunger strike Wednesday out of concern members of WAMI, an initiative launched in 2020 on the heels of the Black Lives Matter movement, could suffer a professional backlash for her activism.

The moves signaled a dramatic denouement of a nearly three-year-collaboration with the chamber to promote designers of color.

“The chamber told us, ‘We didn’t know there were Italian designers who weren’t white.’ We brought them to the runway. They supported us for two years. Then we were abandoned,” Jean told the press conference.

Italian Fashion Chamber President Carlo Capasa assured her from the dais that the chamber had no intention of retaliating in any way. He expressed regret that neither she nor the WAMI members would participate in Fashion Week.

“Stella’s contribution has always been appreciated. We Italians need to have our conscience stimulated,” he said. “As for WAMI, we are not people who retaliate. For us it is important to promote new brands.”

He noted that two WAMI designers from previous seasons were presenting collections during Milan Fashion Week, which runs from Feb. 21-27.

In addition, the chamber has included on the fashion week calendar the inaugural edition of the Black Carpet Awards recognizing the achievements of minorities in Italian society, and was hosting another diversity initiative by the owner and editor of US-based Blanc Magazine, Teneshia Carr.

Jean charged that the chamber had significantly cut back support for WAMI after she made an impassioned speech about the personal price she had paid for highlighting racial injustice in Italy during a runway show last September.

She also said it backtracked on a promise to create a Black board within the chamber to promote diversity and inclusion. Capasa told AP that he decided against the board after WAMI made social media posts that cast a negative light on some Italian fashion brands.

“We wrote a nice letter, saying we want to give them the liberty to express themselves,” Capasa said, adding that the chamber could not host any board that appeared to take public swipes at other members.

Italian-Haitian Jean, who made her Milan runway premiere in 2013 on the Armani runway, said she and her family have been subjected to retaliation for her activism for racial justice in Italy. She said that included death threats against her daughter by other minors, and the termination of professional relationships for her.

“When you speak of retaliations, of death threats, people, I work in fashion. I don’t traffic arms, I don’t traffic drugs or make money from trafficking women,” Jean said. “It is absurd, vile, shameful and inhuman that I must speak for people who feel their lives are in danger, who feel they will suffer the same retaliation.”

WAMI was launched by Jean, African-American designer Edward Buchanan and the head of Afro Fashion Week Milano, Michelle Ngonmo, to draw attention to the lack of minority representation in the Italian fashion world. It followed some racial gaffes by major fashion houses that made global headlines.

Ngonmo told the AP that financial support for the project from the chamber had dwindled over the three years it has run so far, and that Afro Fashion Week Milano wasn’t able to come up with 20,000 euros ($21,000) to support the five young designers in making solid looks to present, plus a video.

The Italian fashion chamber fully supported the collections for the two WAMI classes, each with five designers, but hasn’t funded the third generation, Ngonmo and Jean said.

A September show featuring Jean, Buchanan and WAMI was financed through other allies and their own contributions. The latest WAMI collections were to be presented by video on Feb. 22.

“Maybe the message is the whole industry needs to open their eyes and say, ‘What can we do to make that happen?’” Ngonmo told the AP.

Capasa emphasized that the project by Blanc Magazine’s Carr is receiving the same support he offered WAMI: a slot on the calendar and a physical space in the Fashion Hub where journalists and buyers can view the collections.

But Jean insists that Italy’s designers of color deserve special promotion by the chamber, whose role is the promotion of Italian fashion.

Jean said progress in recent seasons — including opening fashion week with WAMI designer Joy Meribe’s runway show, and Jean’s own return to the runway in September — had turned out to be “performative.”

“They used WAMI as a free pass of safe conduct for diversity,” Jean told the AP. She said she was withdrawing out of fatigue with the “continual fight” for recognition for designers of color in Italy.

“I am a fighter by nature, but I cannot be this way all the time,” she said.



Elegance of the Edwardians on Display at Buckingham Palace

Queen Alexandra's coronation dress is the centerpiece of the exhibition. HENRY NICHOLLS / AFP
Queen Alexandra's coronation dress is the centerpiece of the exhibition. HENRY NICHOLLS / AFP
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Elegance of the Edwardians on Display at Buckingham Palace

Queen Alexandra's coronation dress is the centerpiece of the exhibition. HENRY NICHOLLS / AFP
Queen Alexandra's coronation dress is the centerpiece of the exhibition. HENRY NICHOLLS / AFP

A rare exhibition is exploring the glamorous lives and fashions of two royal couples who reigned over Britain during the Edwardian period as the country tipped ever closer to World War I.
"The Edwardians: Age of Elegance", which opened on Friday at the King's Gallery in Buckingham Palace, brings together more than 300 works from the Royal Collection that will be on display until November 23.

The centerpiece is the coronation gown Queen Alexandra wore on August 9, 1902, made of silk embroidered with thousands of gold sequins and designed by the French house Morin Blossier, AFP said.

Alexandra, daughter of King Christian IX of Denmark and sister of King George I of Greece, married Edward, then Prince of Wales, on March 10, 1863, in the chapel of Windsor Castle.

She was 18 years old. He was 22.

Alexandra was to remain the princess of Wales for almost 40 years until Edward succeeded to the throne on the death of his mother, Queen Victoria, in 1901.

Under Edward VII began the Edwardian period.

The royal couple ushered in a new generation after the austere last years of Victoria's long reign, when she largely withdrew from public life, mourning the death of her beloved husband, Albert.

'Pure drama'
For her coronation as the new queen, Alexandra decided against wearing the traditional white or cream robes, which had an ecclesiastical feel.

"She wanted that moment to be a moment of pure drama," said curator Kathryn Jones.

Realizing that electric light was to be "used for the first time in Westminster Abbey ... she chooses a gold fabric so that she shimmers with thousands of tiny spangles", Jones told AFP.

The dress is fragile and has not been on public display for some 30 years.

Conservators have spent more than 100 hours preparing it for the exhibition.

"It's a powerful example of Edward and Alexandra's attempts to balance tradition and modernity as they stood on the cusp of the 20th century -- a shining moment of glamour before the world was at war," Jones says on the exhibition's website.
Edward's gold coronation mantle is also on display, along with two thrones commissioned for the event.

Photography was still in its infancy but it allowed thousands of pictures of the new queen to be seen around the world, turning her into fashion icon and symbol of elegance of the times.

Alexandra was a keen amateur photographer herself and some of her snapshots taken with a portable Kodak camera are on display.

Two massive portraits of the couple greet visitors arriving at the King's Gallery.

One room depicts their lavish lifestyle through paintings of opulent receptions, concerts, regattas on the Isle of Wight, lavish costume balls, garden parties and their residences at Marlborough House in London and Sandringham in Norfolk.

As collectors, they amassed textiles, artworks, tableware, paintings, furniture, sculptures, plants, and rare books.

There is a copy of Oscar Wilde's "Poems" with a rare handwritten note by the author.

Edward also discovered a passion for Faberge and ordered several miniature figures of his favorite animals.

Visitors can admire paintings and water colors by such artists as Frederic Leighton, Lawrence Alma-Tadema and John Singer Sargent, as well as bronze sculptures by Alfred Gilbert.

Several rooms are dedicated to the royal couple's travels across five continents.

The exhibition also includes works collected by Alexandra and Edward's son, who became George V and was crowned in June 1911, with his wife Mary.

By then, times were changing, and instability and political turmoil roiled Europe and the British Empire.

The Age of the Edwardians was fast coming to an end.