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TALKING TEXTILES. I am My Mother’s Only One (2015) Julia Wright Dorothy Waxman and Edelkoort Inc. are pleased to announce the winner of the 2016 Dorothy Waxman International Textile Design Prize: Rhode Island School of Design’s Julia Wright! Mohawk Group has generously supported this year’s prize of easy payday loans $5,000 which was awarded to Julia for the visual language she employs to make her textiles talk, from the sophisticated collage aesthetics of her jacquards to the creative use of bleach and dyes applied by hand. The jury also decided to create a Jury Special Mention for the work of Christian Frank Müller, who studies at the Kunstuniversitat Linz and previews the making of patterns with a human intervention before machines weave the rest of the textile.

Both works will join the other finalists on display at WANTED DESIGN this May 7 - 17, 2016 in New York: Sunset Park, 274 36th Street, Brooklyn, NY 11232 Jury Members: DOROTHY WAXMAN – President Julia Wright (United States) COLLAGES. Lidewij recently had a very interesting interview with Donatien Grau from AnOther Magazine. We would like to share it with you. Enjoy! "Lidewij Edelkoort is probably the world’s most famous trend-forecaster. Her work encompasses advising brands in fashion and the commercial world, such as Gucci, Estée Lauder, Lancôme or L’Oréal; teaching: between 1999 and 2008, she served as Dean of the Design Academy in Eindhoven, and now works on founding a new University in Poland; editing: she is the founder and editor of the magazines View in Colour and Bloom; and curating: she organised several shows, including "Skin Tight: the Sensibility of Flesh", at the Museum of Contemporary Art in Chicago.

In 2003, she was named as one the 25 most influential people in fashion by Time Magazine. How would you connect fashion to elegance? What is the role of history and art history in your conception of fashion? Would you describe fashion as a language and a discourse, as Barthes did it? It might. How rave culture got its groove back, inspiring everything from fashion to party drugs. For a long time, there was no cooler place to party than the Spanish island Ibiza. The tiny mass of land in the Mediterranean sea was home to the biggest dance floors (both legal and illegal) and an endless stream of world travellers looking to get high on electronica and ecstasy. So-called “super-clubs” like Space and Amnesia kept the hedonism going 24 hours a day and hosted up to 20,000 revellers at a time. For any serious raver, the pilgrimage to Ibiza was a right of passage. Despite the scene’s enduring reputation for Caligula-esque debauchery, raves of the ’90s might better be compared to religious experiences than the drink-to-get-drunk nightclub culture that took over at the turn of the millennium.

As much as it was about the music, drugs and fashion, it was also an escapist movement reacting to Thatcherism, Reaganism and the takeover of capitalist ideals in the ’80s. Raves were anti-establishment and espoused the values of peace, love and unity. Even Ibiza faltered. Why there's no such thing as an iconic image | Art and design.

A ripped Che Guevara poster in fluorescent pink and turquoise was my first contact with a so-called “iconic image”. Later came Tiananmen Square: the picture of a man blocking the path of a column of tanks in China, in 1989. I’ve mulled over both recently in connection with the label “iconic”. Of course, growing up in another time or place might prompt other “iconic” pictures. In Hollywood, there were the crafted photographs of Greta Garbo; in China, Mao. Think about the Byzantine church-image conflict. Reportedly, Saint Ernesto “Che” Guevara has joined the throng, at least in Bolivia, where he was executed in 1967. But is it Alberto Korda’s famous 1960 photograph of Che – reproduced millions of times – that’s iconic or Che himself?

Turning to Tiananmen Square, four photographers (I was one of them) took pictures of the man standing in front of the tanks from the Beijing Hotel. Where photography and the icon regrouped was in a 1979 Ansel Adams cover story published in Time magazine. Vogue’s Julia Hobbs relives the era with original Blitz Kid Stephen Jones and gets up-close with a new wave of style blazers. | British Vogue.

Follow Julia Hobbs as she explores this singular group of individuals and what caused them to push the limits of fashion. NEW Romantics: for some, the name may conjure up a popular Taylor Swift song, but its true meaning refers to a period of high fashion decadence and unparalleled glamour in London’s sartorial history. Back when the Eighties burst onto the scene in a flurry of lamé, ruffles and vinyl amidst the somewhat grey and uncertain socio-political background of the time, there was an underground group of Londoners who used eccentric clothes, accessories, make-up and music to rebel, restructure and escape.

Congregating in the clubs of the time – think Blitz and the legendary Billy’s on Dean Street, both now no longer there – the Blitz Kids, as they were also known, donned frilly shirts, pie-crust collars, French clown-inspired looks and any other striking, unusual pieces they could get their hands on to rail against the status quo. In pictures: Fifty years of the Notting Hill Carnival. Image copyright Getty Images Every year more than one million people descend on the streets of west London to enjoy two days of festivities at the Notting Hill Carnival. Disagreement over when the event was first held means the carnival's 50th anniversary will be marked again this year, as it was in 2014 and 2015.

The first parades in the 1960s had many similarities to those held now. BBC News looks at how the event has developed into what organisers claim is the largest street party in Europe. Image copyright Notting Hill Carnival In 1959 a Caribbean style cabaret was held at St Pancras Town Hall to showcase the styles of carnival. Image copyright Tom Vague/Notting Hill Carnival Other Caribbean events were held in London during the 1960s before a parade was organised in Notting Hill by a team led by social worker Rhuanne Laslett. The organisers said the aim of the festival was to bring cultures together through arts and Caribbean steel bands. Image copyright PA Image copyright AFP/Getty Images.