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The Designer Turning Two Used T-Shirts Into High Fashion

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The Designer Turning Two Used T-Shirts Into High Fashion

This text is a part of a collection analyzing Accountable Vogue, and modern efforts to handle points going through the style business.

What makes the proper thrifted T-shirt?

For the designer Erin Beatty, it’s typically within the texture — not too stiff nor too mushy, and worn sufficient for the colour to be muted however not light. If there’s textual content or a brand, the extra vaguely recognizable the higher. She’s simply going to cut it up anyway.

A navy shirt that learn, “Wilmington Associates Quakers” was excellent for Ms. Beatty’s wants on a latest thrifting journey to City Jungle, a big retailer with somewhat yellow submarine signal out entrance within the East Williamsburg part of Brooklyn. However she wanted greater than only one good T-shirt.

Ms. Beatty, 43, is the artistic director of Rentrayage, an up-and-coming model she based in 2019, that takes its title from the French phrase that means to fix. Every bit by Rentrayage is upcycled — handcrafted from pre-existing objects, together with classic and deadstock supplies.

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Whereas upcycling has grow to be a extra frequent follow in style lately, it’s much less frequent to see a model completely dedicated to it. Ms. Beatty hopes to show the follow right into a long-lasting, viable enterprise — not simply an “artwork challenge,” she stated. “The purpose of that is: How will we make this actually work?” she stated.

This has additionally made Ms. Beatty, basically, an expert thrifter. In Connecticut, close to the place she lives along with her husband and two youngsters, she frequents the New Milford flea market Elephant’s Trunk. (The market largely offers in house décor; Rentrayage additionally sells house items, like colourful recycled glassware.)

Her method has been met with enthusiasm within the style business: One gown from the model’s first assortment, made out of three distinct floral attire, was chosen to be a part of “In America: A Lexicon of Vogue,” on the Metropolitan Museum of Artwork’s Costume Institute. Beginning later this 12 months, the road might be carried by retailers together with Neiman Marcus and Nordstrom. Ms. Beatty can be engaged on a collaboration with Madewell to repurpose its outdated clothes into new designs.

Certainly one of Rentrayage’s hottest items is a T-shirt made out of two pre-owned ones, deconstructed after which sewn collectively vertically down the center. The impact is a style Frankenstein: two on a regular basis objects mixed to make one thing new and extra fascinating.

“It will look actually cool,” Ms. Beatty stated after a while of sifting by way of shirts, sliding metallic hangers throughout metallic rack in brief screeching bursts.

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There was one thing romantic about the best way she regarded the garments no person wished, calling them “stunning and distinctive and not possible to recreate.” She had simply discovered a shirt to doubtlessly type the second half of the “Wilmington” tee. Initially white, it had been tie-dyed rudimentarily with a swirl of acid yellow, purple, teal and the occasional brown splotch.

Each T-shirts value $6. The reconstructed look might be priced round $125, a steep premium, however a value that Ms. Beatty thinks is truthful, given all that goes into making the clothes: sourcing and cleansing the shirts, figuring out the look (matching shirts primarily based on shade tone, dimension and really feel), slicing and stitching the garment.

“We’re working in New York Metropolis and paying truthful costs,” Ms. Beatty stated, referring to the wages she pays sewers and others.

The ultimate piece will incorporate Rentrayage’s brand, an eight-point star surrounded by squares that varieties a form of geometric orb that appears a bit just like the common image for recycling.

Nonetheless, Ms. Beatty stated, there might be individuals who see the high-priced shirt and suppose they’ll D.I.Y. it for a lot much less. She encourages them to take action. However for these prepared to purchase the shirt, there’s an emotional worth, too.

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“It’s symbolic — all of those ideas and selections have gone into that piece,” she stated. “It’s making style out of one thing that’s already existed. It’s saying there’s worth in one thing that’s been discarded.”

The trick of Rentrayage’s aesthetic, which is artistic however informal, “pulled collectively, however not too dressy,” as Ms. Beatty put it, is that its mash-ups require refined building. The jackets, particularly, are extremely technical — “stuff {that a} shopper can’t make,” stated Ms. Beatty, who studied at Parsons Faculty of Design after a stint as a product supervisor at Hole.

These jackets, best-sellers for the model, embody a denim jacket given crochet lace tails ($795) and a males’s blazer tailor-made with bustier panels from an Military inexperienced quilted liner ($925).

Whereas Ms. Beatty is finest recognized for her remixed classic items, she has been step by step incorporating extra deadstock materials into the road, touring to Italy to purchase from the warehouses that work with high-end manufacturers to dump their extra cloth. A slick quilted floral cloth from Italy, for instance, had been changed into a cropped jacket. The material’s earlier proprietor? Balenciaga, which had used it for a ruffled gown.

Earlier than Rentrayage, Ms. Beatty spent eight years because the artistic director for a model referred to as Suno, which she co-founded in 2008 with Max Osterweis. It was often called a lot for its daring prints as for its small-batch manufacturing and socially acutely aware values — at a time when these practices had been typically seen extra as a bonus than an expectation.

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Suno was modestly profitable. It was bought by main retailers and worn by celebrities together with Michelle Obama and Beyoncé, and launched collaborations with Keds and Uniqlo. It was additionally a finalist in a number of competitions for rising designers, together with the LVMH Prize and the CFDA/Vogue Vogue Fund. However the model closed in 2016, citing troubles round development and discovering exterior funding.

“After Suno closed, I used to be simply consumed with guilt over stuff,” Ms. Beatty stated. She had simply given beginning to her second little one and felt overwhelmed by the sheer waste inherent in child-rearing (together with, however not restricted to, all of that plastic packaging). “I ended up solely shopping for classic throughout that point, and at all times having to alter it with the intention to make it match proper.”

That gave her the thought for Rentrayage: a model targeted on reworked classic, and on “coaching the world to re-look at issues which have been discarded.” However how large can a line targeted on minimizing waste get? “Generally I feel you form of have to start out issues with the intention to see the trail,” she stated.

“Folks simply need a solution” as to how they’ll do higher, Ms. Beatty stated. “There isn’t one. It’s all about creeping ahead in each attainable method,” whether or not meaning changing artificial dyes with pure ones or discovering extra environmentally pleasant transport strategies.

Her small SoHo studio, the place she will be able to afford to make use of folks solely on a contract foundation, is crammed with large blue Ikea luggage filled with freshly laundered classic clothes prepared for his or her second lives in her subsequent assortment.

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She needs Rentrayage had much more entry to high-quality deadstock cloth from different big-name manufacturers, which have been criticized for a reluctance to confront waste.

“I’ve whole confidence in with the ability to make issues look cooler that exist already,” she stated. “However it’s about discovering these issues and getting access to these issues — as a result of what’s occurring now could be persons are so embarrassed by their very own waste that they don’t wish to acknowledge it.”

“It’s not like we use each ounce of material. There are materials that we have now to promote again off. However in each alternative that we make, we simply strive.”

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Dear Life Kit: My wife wants to use the last of our savings for a 4th round of IVF

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Dear Life Kit: My wife wants to use the last of our savings for a 4th round of IVF

Yasuhide Fumoto/Getty Images

Have a question you want to ask Dear Life Kit anonymously? Share it here. For our next episode, we’re looking for your queries on crushes or drama in the workplace.

Dear Life Kit is NPR’s advice column, where experts answer tricky questions about relationships, social etiquette, work culture and more. 

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This question was answered by marriage and family therapist Moraya Seeger DeGeare. The conversation has been edited for length and clarity.

Dear Life Kit, 

My wife and I have tried and failed to have a child via in vitro fertilization three times, and we are now scraping the bottom of our savings. We’re both heartbroken. 

She wants to use the last of our savings to try one more time. But I want to move on and try to adopt a child. 

She focuses on how she may never have a child. She often cries or gets angry if someone plays a movie on TV with pregnancy or childbirth in the plot. Our daily conversations veer into crisis as our focus returns to babies. I don’t know how to help her. — Baby Blues 

Headshot of therapist Moraya Seeger DeGeare looking confidently at the camera, she wears a bright yellow sweater and there is a colorful abstract painting in the background.

Moraya Seeger DeGeare is a marriage and family therapist.

Photograph by Nick Di Giugno

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My heart truly goes out to both of you. I’ve worked with couples working through this, and there’s no right and wrong.

We’re looking at several questions: How do I support this person I love? Should we try IVF again? And how can I tend to my grief when my partner is weeping next to me?

The first thing to do is calm your bodies down. There is a lot of pain here. Come together as a couple to bring less stress to your life. Work out together, meditate, go to therapy.

Once you both get to a place of calm, have a conversation about your emotions regarding the decision to try IVF again. One partner may be driven by practicality or the fear of losing money. Another may be driven by the desire to experience pregnancy. You may find that you have the same fears, but are expressing your feelings very differently.

Ask yourself some hard questions. Is the clock ticking in terms of a potential pregnancy? If we spend the money on IVF, how are we going to recoup the savings? What fears does your partner have about fostering and adoption?

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Then talk about what a meaningful life looks like for the both of you. We often attach ourselves to what the future is going to look like. When we do that, we attach to so many factors outside our control, like having a baby. But there are some aspects of the future that you do have autonomy over, like financial stability and healthy relationships. How can you flourish and create a beautiful life together? Create a plan around that.

Don’t forget to allow yourself to grieve. It’s easier to hold onto hope for a pregnancy when we allow ourselves to accept the idea that it might not happen, but also say it’s OK to try.

This story was written by Malaka Gharib. It was edited by Beck Harlan and Andee Tagle. The visual editor is Beck Harlan.

We’d love to hear from you. Email us at LifeKit@npr.org. Listen to Life Kit on Apple Podcasts and Spotify, or sign up for our newsletter.

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Steelers Need To Formally Name Justin Fields Starting QB, Ryan Clark Says

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Steelers Need To Formally Name Justin Fields Starting QB, Ryan Clark Says

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Whatever you’ve heard about 'Megalopolis,' see this gutsy Coppola film for yourself

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Whatever you’ve heard about 'Megalopolis,' see this gutsy Coppola film for yourself

Nathalie Emmanuel and Adam Driver star as Julia and Cesar in Megalopolis.

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In the early 1980s, Francis Ford Coppola, with classics like The Godfather and Apocalypse Now under his belt, set his sights on his next magnum opus: an ambitious, fable-like drama that would draw parallels between the U.S. and ancient Rome.

But after the costly flop of his 1982 musical, One From the Heart, Coppola wasn’t able to get another big-budget labor of love off the ground, and Megalopolis languished for decades. It was only a few years ago that he returned to the project, selling off part of his wine business and putting up $120 million of his own money. Even after production wrapped, setbacks continued, from challenges finding theatrical distribution to reports that Coppola had behaved inappropriately with women on the set, which the director has denied.

Now, against considerable odds, Megalopolis has arrived, and whatever you have or haven’t heard about it, I urge you to see it for yourself. You might conclude, like some of the critics at this year’s Cannes Film Festival, that Megalopolis is an unholy mess, full of disjointed plot points, didactic ideas and muddled historical allusions — an epic folly from a once-great filmmaker who long ago lost his mojo and possibly his mind. To which I can only say that every folly should have as much guts and passion as Megalopolis. I’ve seen it twice now, and both times I’ve come away dazzled by its beauty, its conviction, and its moments of brilliance.

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The story takes place in a city called New Rome, which looks a lot like New York, but with Roman flourishes, from the classical architecture to the bacchanalian parties and even a Colosseum-style sports arena. The plot essentially updates a famous Roman power struggle from 63 B.C.

Adam Driver plays Cesar Catilina, an architect and designer who longs to transform New Rome into a dazzling futuristic utopia. But Cesar is challenged by the cynical mayor, Franklyn Cicero — that’s Giancarlo Esposito — who sees Cesar as a delusional dreamer. Furthering the conflict is Cicero’s daughter, Julia, a hard-partying medical-school dropout played by Nathalie Emmanuel, who asks Cesar for a job.

There’s a speechy stiffness to Coppola’s dialogue that takes some getting used to. But the story itself is a fairly straightforward mix of romance, sci-fi noir and political thriller. Cesar does hire Julia as an assistant, and they become lovers. But many complications ensue.

There’s the mystery of Cesar’s late wife, who died years ago under strange circumstances. There’s also much dysfunctional-family drama involving Cesar’s filthy-rich banker uncle, played by Jon Voight, and a ne’er-do-well cousin — that’s Shia LaBeouf. Both men have their own sinister designs on the city’s future. And in the borderline-cliché role of an unscrupulous TV reporter, Aubrey Plaza steals every scene, as Plaza usually does.

There’s more, much more: horse-drawn chariots and nightclub unicorns, Old Hollywood-style film techniques and kaleidoscopic visual effects, wild sex and startling violence. There are also references to Pygmalion, Marcus Aurelius, Sapphic poetry and Hamlet, whose “to be or not to be” soliloquy Cesar at one point performs. He’s in the throes of an existential crisis, fearful that humanity’s time may be running out.

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And if Megalopolis has one subject, it’s time. The characters talk about time constantly. The trippy production design is full of clocks and sundials. Cesar has the supernatural ability to briefly freeze time in its tracks, but even he cannot halt its forward march for long. Watching the movie, I couldn’t stop thinking about Coppola, who’s now 85, and his own battle with time, including the four decades he spent trying to get Megalopolis made.

But whatever resentment Coppola may feel toward an industry that has both honored and shunned him over the years, there isn’t a trace of bitterness in the movie. Cesar believes in the future, and so does Coppola. Just because Rome fell, he seems to say, doesn’t mean the world has to. Wars can end, the planet can be saved and people can choose to live in a more inclusive and equitable society.

Most of all, Coppola clearly believes in the future of movies, and that, in a medium overrun with franchises, streaming junk and AI technology, there’s still room for a big-screen work of art as grandly improbable and deeply human as Megalopolis. Like so many of Francis Ford Coppola’s movies, it truly is one from the heart.

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