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Oversized Geometry With BCBG Max Azria At NYFW

This is about the presentation of label BCBG Max Azria during New York Fashion Week (NYFW) for Fall/Winter 14.

New York Fashion Week started strongly today with BCBG Max Azria. In spite of the bitter cold and snowy conditions outside, plenty of fashionistas were present for the rendez-vous — some of them even decided to come in stilettos. Franco-Tunisian Max Azria has been in the industry for a while and is constantly reinventing trends. Him and his wife & co-designer, Lubov Azria, unveiled a beautiful collection featuring maxi-dresses, parkas, knee-high boots, fur muff and oversized tee-shirts. Max Azria mentioned, “Being one of the first designers on the runway requires a lot of guts. We always do something that other people are not doing. It’s all about length, geometrics and colors.” The designs were definitely carefully-shaped and oversized, enhancing the feminine silhouette with a masculine feel. Scroll through our gallery to discover the BCBG Max Azria’s collection and if you want to talk about it, tweet @okayafrica with #bcbgmaxazria.

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Photo by Don Paulsen/Michael Ochs Archives/Getty Images

Hugh Masekela's New York City Legacy

A look back at the South African legend's time in New York City and his enduring presence in the Big Apple.

In Questlove's magnificent documentary, Summer of Soul, he captures a forgotten part of Black American music history. But in telling the tale of the 1969 Harlem Cultural Festival, the longtime musician and first-time filmmaker also captures a part of lost South African music history too.

Among the line-up of blossoming all-stars who played the Harlem festival, from a 19-year-old Stevie Wonder to a transcendent Mavis Staples, was a young Hugh Masekela. 30 years old at the time, he was riding the wave of success that came from releasing Grazing in the Grass the year before. To watch Masekela in that moment on that stage is to see him at the height of his time in New York City — a firecracker musician who entertained his audiences as much as he educated them about the political situation in his home country of South Africa.

The legacy Masekela sowed in New York City during the 1960s remains in the walls of the venues where he played, and in the dust of those that are no longer standing. It's in the records he made in studios and jazz clubs, and on the Manhattan streets where he once posed with a giant stuffed zebra for an album cover. It's a legacy that still lives on in tangible form, too, in the Hugh Masekela Heritage Scholarship at the Manhattan School of Music.

The school is the place where Masekela received his education and met some of the people that would go on to be life-long bandmates and friends, from Larry Willis (who, as the story goes, Masekela convinced to give up opera for piano) to Morris Goldberg, Herbie Hancock and Stewart Levine, "his brother and musical compadre," as Mabusha Masekela, Bra Hugh's nephew says.

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