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But he changed it to Regret Iyer. The BBC's Geeta Pandey meets him in the southern Indian city of Bangalore to find out if he has ever regretted his decision. Mr Iyer wears many hats - he describes himself as a writer, publisher, photographer, journalist, cartoonist and many other things. When I met the 67-year-old at his home earlier this month, he told me it was his childhood aspiration to be a journalist and it was that which ultimately led to him changing his name. The writer's bug had bitten him early - as a college student in the late 1970s, he wrote an article asking the existential question many teenagers ask, "Who am I?" It was published in the college magazine and that was all the encouragement he needed to believe he could be a journalist. He began by writing "letters to the editor" - in today's digital world, they would be similar to a comment on an online article - and many got published. He became more ambitious and sent an article to Janavani, a popular Kannada-language evening newspaper, on the history of Bijapur town. A few days later, he got it back with a "regret letter". The letter began with the editor thanking him for his interest in the newspaper, but expressing his regret at being unable to carry the story. "I was disappointed, but not disheartened," he told me. Image caption Mr Iyer describes himself as a writer, publisher, photographer, journalist, cartoonist and many other things Image caption He received hundreds of regret letters from newspapers and magazines Over the next few years, he kept sending unsolicited letters, articles, cartoons, photos and even poems to English and Kannada newspapers.http://www.bbc.co.uk/news/world-asia-india-42091967
I want every woman to wear these clothes. And if men want to jump in these overalls, they can jump in these overalls,” Brooks said. “I think that was my main goal. But it did start with me. The question posed was like, ‘What do I wanna be seen in?’ I remember saying to Alex, ‘I want something that’s comfortable. I want something that is so universal that I can go from night to day, or day to night.’” This kind of mentality fits right into Universal Standard’s set aesthetic of simple yet elevated high-quality garments. Brooks wasn’t trying to design throwaway fast-fashion, that’s for sure. “There’s like these one-hit wonder kind of clothes, where you buy this outfit for $25, $30 and then — this happened to me the other day — it freaking rips,” Brooks said. “That’s not what this is. These are quality pieces, timeless, classic pieces that, when you look back 20 years from now and you see a picture of yourself in Universal Standard, you’re gonna be like, ‘I’m glad I chose that outfit. I don’t look crazy.’” In designing such a streamlined collection, Brooks is sending a message to the fashion industry about the one thing they still don’t quite get about plus-size women: All they want is more.
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They included some of the most exciting design talents in the country today, such as Sindiso Khumalo, Thebe Magugu, Rich Mnisi, AKJP, Cleo Droomer, Gert-Johan Coetzee, Lukhanyo Mdingi, Maria Mccloy, Selfi, Ifele and Ephymol. Khumalo, Magugu, Mnisi and AKJP were challenged to conceptualize and design a range made from sustainable fibers as part of Woolworths’ Better Cotton Initiative.Woolworths also took the opportunity during this cycle of SAFW to create an immersive installation on-site designed and produced with the people and the planet in mind. It featured BCI cotton sheeting accented with raw BCI cotton slivers, which was earmarked for donation after SAFW to The Clothing Bank to benefit unemployed South African women.Meanwhile, SAFW’s main contender for the title of the fashion week on the continent, the annual Lagos Fashion and Design Week, took place at about the same time as SAFW.The seven-year-old event, organized by Style House Files, with founder and executive director Omoyemi Akerele at the helm, attracts designers from across Africa. The international fashion press, particularly from the U.K., has been a constant presence at LFDW, including this year.Akerele acknowledged that “press coverage consistently helps position the designers who show on the platform for visibility within Nigeria, Africa and the global fashion industry — factor that contributes to them being easily identifiable to buyers when we present the designers to buyers at trade shows across multiple markets.” Such trade shows include WWD MAGIC in Las Vegas, Tranoï in Paris and Pitti Super in Milan.That said, Akerele stressed that “beyond the runway, our core focus has always been on education, providing access to market, showcasing opportunities and discovering new talents.” In fact, Fashion Focus, LFDW’s talent nurturing and discovery arm, this year presented the Fashion Focus Five, consisting of Emmy Kasbit, Morafa, Imad Eduso, Samuel Noon and Mo Agusto. They showed their collections for the first time at LFDW after a year of workshops and mentoring with established designers such as Maki Oh, Lisa Folawiyo and Mai Atafo, who also presented their collections during fashion week.In addition, LFDW launched an incubator platform earlier this year “as a tool for further supporting our emerging designers," Akerele said. She cited Gozel Green, Sisiano, Onalaja, Titi Belo and Deji Eniola.LFDW is also credited with improving local designer retail in Nigeria, Akerele said. “The creativity on the runway has created an increased demand for fashion that’s designed on the continent. In 2011, there was only one store — Temple Muse — that stocked African designers (sparingly). Fast-forward to 2017: multibrand stores include Temple Muse, Alara, Grey Velvet, Zinkata, Luxe 21, Dunes Abuja, Meidei, Zazaii and so many more. [There are designer] stand-alone stores for direct sales to customers.
For the original version including any supplementary images or video, visit http://wwd.com/fashion-news/designer-luxury/african-fashion-weeks-boost-local-design-talent-11048728/
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