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Award-winning South African cinematographer Carlos Carvalho has died after he was hit by a giraffe during filming last Wednesday (May 2).

The 47-year-old film-maker, who was shooting a feature film, was head-butted by the giraffe at a safari lodge.

According to British media reports, the bull giraffe named Gerald swung his head at Mr Carvalho at the Glen Afric Country Lodge in North West province, South Africa.

The injury rendered Mr Carvalho unconscious and he was flown to a hospital in Johannesburg by helicopter, where he later died, reported the Telegraph on Saturday.

Mr Drikus Van Der Merwe, a member of the film crew, was standing next to Mr Carvalho when the giraffe started chasing the boom swinger - a member of the film crew who holds the microphone on a pole.

"The giraffe followed him but we didn't feel threatened because he just seemed to be inquisitive," Mr Van Der Merwe was quoted as saying in the Telegraph.

He added that the crew was shooting close-ups of the animal's body and feet, and that Mr Carvalho was looking through the camera eyepiece when the giraffe suddenly swung his neck and hit Mr Carvalho's head.

"It came out of nowhere and Carlos didn't even see it coming. He wasn't aware of the danger," he said.

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Mr Van Der Merwe said he "never thought he (Mr Carlos) would die".

The owner of the safari lodge, Mr Richard Brooker, said the film-maker was standing in front of the giraffe when the animal spread his legs, bent his neck and swung his head at the man.

Mr Brooker added that the giraffe "did nothing wrong" and will remain at the lodge.

Mr Carvalho was the director of photography for the 2013 feature film The Forgotten Kingdom, which won the the Haskell Wexler Award for best cinematography at the Woodstock Film Festival.

His work in the film also won him an award at the African Movie Academy Awards in 2014.

According to the Telegraph, writer and director of The Forgotten Kingdom Andrew Mudge wrote on Facebook that he was "absolutely gutted" about Mr Carvalho's death.

He said the film-maker was "one of the kindest, most thoughtful and talented" people he had ever worked with.

After months of articulating points of difference, drawing up business plans and presenting collections to an expert panel of judges, the BFC/Vogue Designer Fashion Fund has been awarded to Molly Goddard.

The 29-year-old designer took home the top prize of £200,000 and a year-long mentoring scheme, impressing judges with her sharp focus and strong work ethic. She saw off competition from Marta Marques and Paulo Almeida of Marques Almeida, Huishan Zhang, Rejina Pyo, Samantha McCoach of Le Kilt, and David Koma.

The judging panel, chaired by Vogue’s editor-in-chief Edward Enninful OBE, and comprising industry heavyweights including the British Fashion Council CEO Caroline Rush CBE, Jourdan Dunn, Burberry chief marketing officer Sarah Manley, Harrods chief merchant Helen David, Label/Mix creative director Gemma Metheringham, Sarah Mower, JD.com president Xia Ding, Rodial founder Maria Hatzistefanis, Topshop CEO Paul Price and designer Erdem Moralioglu, were convinced that Goddard deserved to take home the 2018 prize, the 10th anniversary of the fund.

Edward Enninful said: "Molly Goddard is an original. She has a singular vision and an extraordinary focus that has propelled her label to an international level. A playful edge and a strong DNA make for a singularly off-beat formula. She is the definition of talent and what Britain does best in this creative industry." CHEAP AIR JORDANS

Goddard’s win seals an impressive year for the designer, who is proud of the fact that she has never relied on outside investment. She launched her brand in 2014 on a shoestring, and jokes that she is one of the most frugal designers in the business. “We made money from making and selling clothes. It’s hard,” she told Vogue. “It is difficult to not owe anyone money and not to lose any money – that in itself is an achievement. We decided to just take it really slowly, and it’s amazing that it worked.”

Now based in east London with a tiny team of four, Goddard’s fan base is steadily expanding as her repertoire of pretty-not-prissy tulle dresses swells to include meticulously smocked mini dresses and voluminous gowns, as well as gauzy separates and statement sweaters. Asked what has proved the best nugget of business advice, she said: “The big thing is structure and staff, making sure everyone is happy.” Is she good with numbers? “JORDANS FOR WOMEN I think I’m just quite tight! I hate wasting things. If fabric is £40 a metre it bores me – there’s something so fussy about it from the off. I like something that’s £10 a metre or £6 a metre, then you can pleat it and gather it…it’s not about preciousness.”

Success was never guaranteed. Goddard only started her brand at the behest of her boyfriend, Tom. “I failed my masters, I had nothing to show for those two years, and I needed something, imagery, so I could get a job,” she recalled. “I did the party presentation” – a get-together of friends, wearing her clothes – “because I thought I’d get a job. But then we got orders. I didn’t have any set-up so it was just me, sewing away. Then, it’s like, ‘Molly Goddard, the brand!’ and I think, God, I never even decided that that’s what I wanted to call it! I should have named it something wild.”

The shortlist for outfit of summer 2016 runs something like this. Simone Biles in a leotard at the Rio Olympics, all stars and stripes and extra sparkle. Uma Thurman in a polo neck in the forthcoming Pirelli calendar. Taylor Swift on the beach with Tom Hiddleston, wearing lace-up brogues and a mustard-coloured sweater. Bella Hadid, naked but for two carefully positioned red roses, in the September issue of French Vogue.

Simone Bile at the Rio Olympics
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Simone Bile at the Rio Olympics. Photograph: UPI/Barcroft Images
Notice what is missing: the bikini. For half a century, the iconography of summer and the bikini have been almost interchangeable. A bikini, a tan, a beach: that was what summer should look like. But the bikini is in decline. Retailers report a rise in sales for one-piece swimsuits – 30% year on year at Selfridges, 65% at online retailer Figleaves – while Victoria’s Secret are closing their “Swim” line, which was weighted towards skimpy bikinis, and plan to use the space in store to expand the athleisure offering.

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In the wake of the burkini controversy, it would be easy to pin the demise of the bikini as collateral damage in the culture war currently being fought on Europe’s beaches. That the burkini represents a level of threat such that it must be resisted with armed police reflects how the beliefs around women’s bodies for which this garment stands are, rightly or wrongly, perceived as a clear and present danger. But while it is temptingly neat to plot the bikini’s fall as a status symbol against the rise of modesty wear as a political issue, the reality is not that simple.

The problem is not that the bikini is too sexy for 2016. The problem is that the bikini represents a wholesome, respectable, entirely non-controversial level of sex appeal which simply no longer exists. This is not just about politics. It is about how the internet’s easy access to never-ending nudity rendered the bikini anachronistic: in the era of NSFW images, the sedate two-piece is losing its allure. And it is also about the escalation of hostilities in the field of body image, and how the very phrase “bikini body” has become controversial, representing an ideal we love to hate. The bikini triumphed for the second half of the 20th century because it represented an ideal of sex, summer, freedom and youth which was saucy enough to be compelling, but not fundamentally controversial.

To feel good in a bikini was an aspirational idea but – until the age of the photoshopped selfie and the Insta-model, when the body ideal became impossible – not an unrealistic or alienating concept. For all its flimsiness, the bikini stood for a consensus that is now under attack – and not from one enemy, but from all sides. The whole point of the bikini was that it was both gently provocative and entirely respectable, a line which it is increasingly difficult to walk.

In the era of NSFW images, the sedate two-piece is losing its allure
The rise of the burkini was foreshadowed by that of the kaftan. As the power-tanning of the 1980s and early 1990s hazed into the bohemian, health-conscious millennium and noughties, the kaftan was added to the packing pile. Awareness about the dangers of sun damage rose, the need to maximise the surface area of tanned skin fell away, and a whole new industry of “beach fashion” – cover-ups, tummy chains, gold tattoos – grew to fill a space once occupied by the need to get brown. Simultaneously, the rise of paparazzi click-bait created a new, confidence-battering image bank. If you weren’t haunted by the photos of actresses looking ridiculously gorgeous, you were haunted by the photos which proved even ridiculously gorgeous actresses sometimes look awful on the beach. Suddenly, women were wearing more clothes on the beach. The high-street kaftan unwittingly drove modesty creep on the beach long before the burkini, but thanks to its more easily mood-boardable aesthetic – 60s bohemian Marrakesh, rather than 21st-century Saudi – nobody noticed, or cared.

Margot Robbie on the cover of the Vogue June 2016 edition. Photograph: Vogue
Before its impact was felt on bikinis, modesty creep had all but taken out topless sunbathing, once the norm on many beaches in France, Spain and Italy. Part of this, ironically, is down to sartorial norms from elsewhere being imposed on the beaches of Europe – not from Islamic culture, but from the US, where topless sunbathing was never standard behaviour. Recent generations of European teenagers have taken their beach dressing cues not from their mothers and grandmothers, but from American pop culture, where the top stays on. When Kate Moss mentioned in an interview three years ago that she sunbathed topless – “I try to avoid a white boob” was how she phrased it, with impressive devotion to the fashion singular – it was reported as evidence of her rebellious nature.

There is a positive aspect to the triumph of the one-piece. That the new iconography of women’s bodies is about sport and fitness – and, as such, takes its aesthetic cues from the all-in-ones of the racing pool, the gymnast’s mat, or the dancer’s studio – is progress, surely, from the bikini’s none-too-subtle reference to the pairing of bra with knickers. But the bikini, in its pomp, represented fun and relaxation, semi-nudity without specific intent beyond that to read and doze and gossip and eat ice-creams. Who knew such simple pleasures would one day become so controversial?

On Wednesday night, as the minibuses ferrying the media to the David Jones launch crawled through the torrential rain, 45 minutes late, some journos quipped that the organisers should have checked the weather forecast and moved the launch to Melbourne.

Well, it may not be long before Melbourne rolls out the black carpet, following the department store's announcement on Friday that it is packing its houndstooth-embossed bags for Victoria.

The finale in Wednesday night's parade. David Jones' move to Melbourne could see more of its shows taking place there. Photo: Mark Nolan

What would this mean for future launches, which have been exclusively held in Sydney? And what of the store's ambassadors? Will the executive team come under pressure to recruit a more "Melbourne" face alongside Sydneysider Jesinta Campbell and Los Angeles-based Jessica Gomes?

All these questions will be answered in time but one thing is certain: Melbourne is now the undisputed fashion capital of the country.

David Jones' parent company, Woolworths Holdings, is also moving its operations centre to Melbourne, which will consolidate the head offices for its Country Road, Trenery, Mimco and Witchery brands, creating a fashion super centre unrivalled in the country.

Add to this list Myer and the Just Group, as well as leading labels such as Thurley, White Suede,  Scanlan Theodore, and Toni Maticevski all Melbourne-based, and the case is even stronger.

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Montana Cox arrives ahead of the David Jones Spring/Summer 2016 Fashion Launch at Fox Studios. Photo: Mark Nolan

Sure, Sydney can lay claim to Camilla and Marc, Camilla, Dion Lee and Zimmermann; but expect to spot more designers in the Qantas lounge as the department store powerhouses command more attention down south.

Melbourne's fashion festivals have been challenging Sydney's supremacy for some time. The Melbourne Fashion Festival entered its 21st year in a commanding position after a move to the Melbourne Museum precinct in 2016 helped it smash its attendance record.

Search for Melbourne talent? David Jones ambassadors Jason Dundas, Jesinta Campbell and Jessica Gomes before Wednesday night's launch. Photo: Getty Images

David Jones will argue that the move was about creating efficiencies and made good business sense, although a sizeable sweetener from the Victorian Government would not have hurt.

Still, the message it sends to the fashion world and consumers is that Australia's best trend forecasters, buyers and merchandisers will soon all occupy the same space. 

It's unlikely that the average consumer will notice much difference as a result of the change, although having the senior team close by could mean improvements to Victorian stores will flow thicker and faster.

There are a lot of developments happening at David Jones in the next 12 months. The recent signing of Neil Perry to helm the food division will pay dividends for Melbourne's tired food hall but details are not yet forthcoming. 

This move, while it caught many in the fashion and retail industry by surprise, is hardly a shock. 

Woolworths Holdings, via the Country Road Group, employs more than 600 people at its Richmond base, the lease for which was due to expire in two years.

Moving the staff to a purpose-built facility elsewhere in Richmond alongside its David Jones executives is a commonsense decision, albeit with symbolic consequences.

In the new year, the David Jones crew will have to decide whether to hold its February winter launch in Melbourne.

And judging by the number of VIPs clad in black at the summer launch, they're dressing like it's already happened.

Would it surprise you to hear that Kendall Jenner and Carrie Underwood have been wearing pants made of wood? It shouldn’t! They’re not stiff or awkward; in fact, it’s more likely that you probably couldn’t even tell that the skinny jeans and slouchy sweats worn by your favorite paparazzi bait are, in fact, made from eucalyptus trees.

The fashion business is in the midst of a reset, waking up to a whole new set of fabrics that go beyond the polyesters and synthetics of previous generations to find solutions that are both eco-friendly and fashion-forward. It’s about time: The fashion industry is the second-most-polluting industry in the world, just behind oil. Cotton, which has long been regarded as the most breathable and natural fabric, takes acres of land to grow and significant inputs of water. The average cotton T-shirt requires 2,700 liters of water from cultivation to dyeing, according to the World Wildlife Fund. Plus, conventional cotton uses pesticides, which are detrimental both to farmers and the soil that they work.

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Enter Tencel, a wood-based fiber favored by labels like the L.A.-based DSTLD, which uses it in its hip-hugging, low-rise skinny jeans. Lenzing of Austria, one of the go-to suppliers for environmentally conscious brands, converts the pulp from sustainably harvested eucalyptus trees to produce cellulose, which is processed. The result is a fiber that’s highly breathable, much softer than cotton, and far less prone to wrinkling, and has been in part responsible for some acclaim: Lenzig was recognized by the European Commission in 2000 with an award for its eco-advances in sustainable technology.

Kendall Jenner steps out in DSTLD's ankle length skinny jeans made of Tencel, a wood-based fiber.
Photo: Courtesy of DSTLD
Lenzing is also prized for its “closed loop” production cycle: The solvent employed to convert the pulp into a usable piece of fiber is nontoxic, and it’s recovered during the manufacturing process. Its production units also run on renewable energy more than half the time. Add to this that Tencel, which Lenzing refers to as a “botanic fiber,” is completely biodegradable, and you have something close to a completely green fashion product. And rather than being coarse or shapeless (common complaints of eco-friendly apparel), “customers can’t believe how soft and luxurious it feels,” says Paul Roughley, DSTLD’s design director. The only downside is that Tencel is not as widely available as cotton and can cost twice as much.

But that’s not deterring other brands from adopting this botanic fiber. It girl–beloved slow-fashion brand Reformation has become very vocal about its love for the pulp-based alternative. The label’s website touts Tencel as the “Beyoncé of fabrics” for all of its planet-loving properties. Eucalyptus for Tencel can be grown on marginal lands rather than on land used for food crops, and with little irrigation, and it uses 80 percent less water than cotton, says Yael Aflalo, founder and CEO of Reformation. From scoop-neck tanks to minidresses, Reformation uses Tencel throughout its collection. “Tencel has pretty much all the same characteristics of cotton, so it’s a very easy alternative to knit fabric. It’s pretty much a ‘no trade-off’ fabric for us,” Aflalo adds.

And it’s not just Tencel: Culver City, California–based startup MeUndies sources a similar pulp fiber, the moisture-wicking MicroModal, for its men’s and women’s underwear. (For Modal, it’s beechwood fiber, rather than eucalyptus, that is processed.) London-based designer Alice Asquith launched an eco-activewear brand more than a decade ago called Asquith. In 2007, she discovered bamboo towels, she says, and fell instantly in love: “I just loved their softness, absorption, and durability.” It helps that bamboo grows faster and absorbs more carbon dioxide from the environment than hardwood trees. Like cotton, it’s breathable. And the fabric offers durability, drapes beautifully, absorbs moisture, and, according to Asquith, has antibacterial properties that make it “great for sensitive skin—and it wears so well that it’s the opposition of disposable fashion.” To improve flexibility, however, Asquith’s lounge pants, tanks, and tees are made with 95 percent bamboo fabric (the remaining 5 percent is elastic). She has since developed a blend of bamboo and organic cotton for her leggings that she calls “Bambor”; it is about 60 percent bamboo, 30 percent cotton, and a little elastane. And as the world skews increasingly toward a fixation on health and wellness, it very well may be the future. “To me, it has always felt very odd that people wear synthetic fabrics for such a holistic practice as yoga or Pilates,” says Asquith. “It’s like putting organic food in your body— it’s just better for you.”

OVER THE LAST 119 years, outdoor-gear brand Filson has been a go-to for fishermen, hunters, hikers—and businessmen with rugged aspirations; its bags have become a ubiquitous sight in the wilds of New York’s subways. One reason for that fealty is rigorous field tests, said Alex Carleton, the Seattle company’s creative director. When he was brought on two years ago, he spent a few months hiking through Yellowstone, fly-fishing on the Skagit and mountaineering in Denali, all the while ruminating on what the Filson faithful might need next.

Along the way, Mr. Carleton gained a new appreciation for the sibling government agencies, the National Park Service and the U.S. Forest Service—and discovered that Filson had a longtime relationship with the latter, having provided it with uniforms from the 1940s to the ’70s. While touring the Pacific Northwest, Mr. Carleton kept seeing iconic Smokey Bear signs (“Only YOU can prevent forest fires”), which sparked a special collection in partnership with the U.S.F.S. using the wisdom-dispensing bear.

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The nostalgic wares are especially timely with the centennial of the N.P.S. coming up on August 25. The collection, which launched last week, includes items like a Pendleton blanket emblazoned with Smokey’s face. The stand out piece (collectability alert) is an updated version of Filson’s Mackinaw Field watch with imagery of Smokey atop his slogan. It comes with six “vintage” Smokey postcards and a bandanna printed with fire-safety tips, among other things. Only 1,000 numbered watches will be released. In truth, only 999 are for sale; Mr. Carleton has already claimed one for himself.

A pretty little vanity table, cluttered with a paddle brush, some hair rollers and a host of cosmetics – does this paint a picture of the typical woman’s morning view?

Let me backtrack – we’re not in an age where the "typical" woman can be defined, I understand that. We have moved beyond traditional stereotypes of femininity and fought out of the era when we were forced to wear tightly bound, tortuous corsets. Why women are choosing to put themselves through the atrocities of waist-trainers is something I fail to comprehend – but that’s another story. (Though I’ll just add that waist-trainers are unhealthy contraptions propagated by the Kardashians, aimed at making us want unnatural, exaggerated body shapes. I think they should be boycotted, rather than promoted by celebrities and bloggers.)

My point is that, aside from the misery brought by corsets, there was once a certain, enjoyable aspect to one’s daily getting-ready routine. Sitting in front of the mirror, putting on dollops of make-up, brushing one’s hair and dressing up – it’s a pastime known to women across all cultures. Dressing for a special occasion is often an hours-long ordeal. Trying on numerous outfits, shortlisting a few, then picking the favourite, takes time and passion. A lot of us revel in pairing together different skirts and tops or dresses and scarves, and experimenting with the goods our wardrobes have to offer – the styling opportunities are endless.

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While I’m still one of those women who takes pleasure in a traditional, feminine approach to putting together an outfit, basics, denims and casuals have cropped up alarmingly in fashion during the past few years, and have turned many women against a mode of dressing that requires such efforts. Decadent brunches, peppy birthday bashes and baby showers are all opportunities for us to dress up and wear skirts, silks and swanky pieces that we don’t get much wear from on a day-to-day basis. Jeans traditionally don’t factor into this category, because they can be worn almost everywhere else. But a shift in style standards has brought basic, casualwear to the forefront of fashion.

Look at an image of guests seated front row at one of the Paris couture fashion week catwalk shows, and amid the glamour and splendour of sensational street style, you’re bound to spot at least one pair of jeans – and not dressy jeans, either. These denims will be torn, shredded and frayed; they will be blaringly casual, and while the outfit may be accompanied by a killer blazer or fanciful ruffled top, these more formal additions don’t take away from the fact that there are jeans in the front row – and moreover, it’s perfectly acceptable.

I’m a huge devotee of denims and love that they have been given more space in terms of where and when you can get away with wearing them. I just fear that we’re on the verge of falling into a rut, becoming overdependent on our plain old jeans, even when more formal occasions arise. We overlook opportunities where we can dress up and have fun with more playful, girlie garments and accessories. Even when we do wear jeans, we often resort to pairing them with an unmemorable top and lacklustre – if any – accessories.

If you can’t be torn away from your tatty old jeans, even for more fancy festivities, at least give your look some pretty pizzazz with a few impressive accessories. The quirkier, the better. The goal should be to make your dazzling pearl choker or dramatic tassel earrings the conversation starter of your outfit, rather than have your worn-out denims be the subject of scrutiny.

The fashion industry is notorious for being exclusive and rejecting change. Also, many of the people working in the fashion industry are motivated and set in their ways, which only adds to it being one of the hardest industries to break into. Although the basic foundations of the fashion industry have remained the same, it appears as though many fashion-lovers, designers, and models are breaking down the fashion industry’s exclusivity barrier and making room for a less talked about subject: plus-sizes.

Thin models will always be a part of the fashion industry, but this new plus-size trend is spreading and has ultimately started a major conversation on social media. In the meantime, many fashion designers, models, and brands are scrambling to do what they can to support plus-sizes before this subject is no longer news-worthy.

From exclusive plus-size collections to groundbreaking runway shows, here are 4 examples that demonstrate plus size fashion’s positive influence on the industry:

1. David’s Bridal Brings Zac Posen to the Everyday Woman

NEW YORK, NY – APRIL 15: Designer Zac Posen attends the ‘All We Had’ Premiere during the 2016 Tribeca Film Festival at BMCC John Zuccotti Theater on April 15, 2016, in New York City. (Photo by Mike Coppola/Getty Images for Tribeca Film Festival)

In 2014, Zac Posen took a turn towards plus-sizes… and budgets! You’ve probably seen several of Zac Posen’s designs on the red carpet, but it would have been difficult to find a Zac Posen design for the average woman, particularly in regards to size and price, prior to this collaboration. However, Zac teamed up with bridal gown giant David Bridal in 2014 to create a wedding dress line spanning sizes 0-26 with prices at $1,350 and under!

2. Plus-Size Model Graces Marc Jacob’s Fashion Week Runway

NEW YORK, NY – SEPTEMBER 17: Beth Ditto walks the runway at the Marc Jacobs Spring 2016 fashion show during New York Fashion Week at Ziegfeld Theater on September 17, 2015, in New York City. (Photo by Dimitrios Kambouris/Getty Images for Marc Jacobs)

In 2013, global authorities, such as the European Union (EU), began to take note of the startling Danish Fashion Institution claim that the fashion industry is one of the world’s worst polluters, second only to oil.

Designs from hand-made, eco-friendly, footwear label, FEIT. (Photo: supplied by FEIT).

This unfavourable title was awarded due to the harmful chemicals used during the cultivation of materials, the toxic waste that remains after production, the levels of water wastage and general overconsumption resulting in health hazards for textile workers and consumers.

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Nowadays, while the status of fashion’s environmental impact is yet to be updated, the situation still remains bleak. According to Green Cross Switzerland and Pure Earth, pesticides, such as the ones used in the cultivation of cotton, still remain one of the world’s top six pollutants.

Furthermore, due to the demands of fast-fashion, that seeks an endless stream of disposable garments at low prices, experts predict that this worrying trend will continue.

Nonetheless, despite challenges, several labels are taking an initiative to end waste and create sustainability fashion’s latest must-have item.

Local and regional fashion students and designers have reason to rejoice. Fashion Forward Dubai (FFWD) on Monday announced an empowerment programme dubbed EPIC (Empowerment Program through Industry Collaboration), to provide growth opportunities to regional talent.

The programme is designed to break down the barriers that are currently faced by regional design talents trying to find a footing in the fashion and retail industries.

Known industry names will be involved to organize events, workshops, sponsorship opportunities and scholarship programmes, among other measures, organisers announced, naming Samsung Electronics MENA as a partner.

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“EPIC is designed to nurture talents, working as a catalyst for creatives to benefit from sought-after industry resources while developing the skills and know-how needed to progress in an ever-growing and highly competitive landscape,” said Ramzi Nakad, COO and co-founder of FFWD in a statement.

The announcement comes soon after a report issued by the Dubai Design and Fashion Council (DDFC) found that though the regional fashion industry is growing quickly, it has not reached optimal level yet. To enable it to keep growing, a number of systemic gaps need to be addressed — such as the link between educational institutions and the industry, the need for multi-disciplinary programmes, better access to investors and the market, and increased visibility. EPIC is designed to help bridge these gaps.

In 2016, EPIC will arrange a series of workshops for designers to learn from industry professionals, and will also provide scholarship opportunities for Master-level courses at the Domus Academy in Milan. Additionally, participants in the programme will be able to access retail opportunities at pop-up stores across the region, and interact with some of the biggest names in fashion at FFWD’s showroom space in Paris during Paris Fashion Week, and in Dubai during Season 8 of Fashion Forward, scheduled for October 20-23 this year.