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Fashion United
28-04-2025
- Entertainment
- Fashion United
Designing for every body: Yitty's VP of design talks trends and trials in shapewear
Founded in 2022 by Grammy-award winning artist Lizzo and sportswear giant Fabletics, Yitty has encountered many lifetimes over its short existence. What began solely as a shapewear brand championing body diversity has expanded into a lifestyle name through new categories like sleepwear and swimwear. Its launch coincided with the rise of the shapewear market, which at the time was already estimated to be worth 2.4 billion dollars and has since more than doubled in size, according to Global Market Insight. While long-standing brands like Spanx and Nike have largely led the way in this sector, in more recent years the category has been driven by celebrity-founded labels that, next to catering to evolving consumer demands, are also able to infuse cultural trends into their respective movements. Kim Kardashian's Skims and Rihanna's Savage X Fenty are among those, as is Yitty, which has been making a mark of its own on the premise of ensuring broad inclusivity through its range of products. Overseeing the design department is Kara Lacayo, who joined Yitty towards the end of 2022 and currently serves as vice president of design. To the role, Lacayo brought experience from Victoria's Secret, Betsey Johnson, Target Australia and JCPenney, giving her a wealth of insight across both intimates and ready-to-wear which has helped to inform her design values in the present day. FashionUnited spoke with Lacayo about design trends circulating the shapewear market, opportunities within inclusive sizing and how Yitty is forming a shape of its own in a fast developing category. What current trends in shapewear and lingerie are resonating with today's consumers? At Yitty, we regularly engage with our customers through exclusive member events and private groups to better understand what they want from us, and to see how they're responding to future designs already in development. These conversations are an invaluable part of our creative process and often reaffirm the values we've built our brand on: comfort, versatility, and wearability. Our community consistently tells us how much they appreciate pieces that feel incredible on the body, don't dig in or pinch, and deliver that ultra-soft, second-skin sensation. There's a clear shift underway in the category, with shapewear and lingerie evolving beyond restrictive functionality towards seamless, all-day styles that perform beautifully and are designed to be seen. This trend was evident at Paris Fashion Week, where bras, delicate slips, and lacy bodysuits took centre stage in many collections. Consumers are embracing this movement towards lingerie as outerwear, and we continue to design with this transformation in mind. Are there any particular colour palettes, fabrics or innovative features gaining momentum in the shapewear market for 2025/26? Looking ahead to 2025/26, the shapewear market will continue embracing cosmetic tones, which are becoming more nuanced and expansive—moving well beyond traditional black, ivory, pink, and a single shade of 'nude' to better reflect the full spectrum of skin tones. Since there is no one-size-fits-all nude, the broadening range supports greater inclusivity and personalisation. At the same time, we're seeing increased interest in fashion-forward colour options that bring individuality and personality into shapewear. The growing demand for both approaches is actively reshaping how consumers shop the category, encouraging more expressive and personalised choices. People are no longer seeking shapewear purely for functionality—they want pieces that reflect their skin tone and their unique style. How are the preferences of Gen Z and Millennials helping to shape Yitty's design direction? Gen Z and Millennials are completely redefining the conversation around shapewear. They're looking for pieces that slot seamlessly into everyday life—products that support how they move and express themselves, without compromising on style or comfort. For them, shapewear is a means of self-expression, not something to be hidden. At Yitty, we've always embraced that mindset, creating pieces designed to be styled, layered, and shown off. As lingerie increasingly becomes a form of outerwear, are there similar trends emerging in this regard for shapewear? Absolutely! Yitty has been leading the way, designing stylish and comfortable shapewear that's made to be worn both underneath and as part of an outfit. This crossover has been a cornerstone of our design approach and brand identity. Since Yitty's launch, there's been strong demand for shapewear that sculpts, supports and enhances without compromising style. It's no longer about what's hidden—it's about wearing shapewear proudly. Yitty campaign imagery. Credits: Yitty. We've integrated our signature shaping technology into various lifestyle collections, like Shaping Swim and Shaping Apparel, to meet this growing need. At our member events, we often receive requests for swimwear, dresses, and tops with the same shaping features found in our Nearly Naked line. We're excited to keep pushing boundaries, creating garments that empower our customers to feel confident, comfortable, and stylish in every area of life. How is the growing demand for inclusive sizing impacting design innovation at Yitty? Inclusive sizing has been part of Yitty's DNA from the start, launching with sizes from XS to 6X. That commitment drives us to go beyond traditional grading. We don't simply scale patterns up or down—we ensure each size provides the same fit, support, and aesthetic. It often means rethinking construction, incorporating specific design elements for larger sizes, and involving real people in our fitting process. We experiment with different fabrics and tailoring techniques to ensure the best result for every body. Are there currently any challenges when it comes to the design and manufacturing of inclusive shapewear? One of the key technical challenges is how fabric performs across size ranges. What works perfectly for a smaller size may need to be reengineered to maintain comfort, support, and performance in larger sizes—and vice versa. We devote substantial time to testing and refinement to ensure that every size meets our exacting standards for softness, durability, support, and style. Maintaining the design's sexiness while scaling inclusively is a rewarding challenge. Elsewhere, when merging functionality with fashion, what are some of the biggest design challenges? The most rewarding challenge is making technical garments appear effortless and stylish. Aesthetically, we aim for minimal seams and a smooth, clean finish. Functionally, we require structure and support. Every measurement is crucial, and even the smallest detail can affect overall fit and performance. We're constantly exploring new ways to conceal shaping zones or integrate support in a way that doesn't disrupt the design. Fit is everything—which is why we rely on real bodies throughout the process. Though it may look seamless on the outside, every component is carefully considered. What's the typical design-to-market timeline at Yitty? How do you maintain creative agility? Our product calendar is at the heart of everything we do. For long-lead categories like intimates and shapewear, we often plan years in advance. Right now, we're ideating for spring 2027—even though 2026 hasn't arrived yet. That said, we build in flexible phases where we can pivot based on emerging trends or customer feedback. Staying closely aligned with colour and print trends helps us stay relevant, and that's where we can move the fastest. Capsule collections and limited drops give us the space to test new ideas and respond quickly to our community. How has the role of shapewear evolved since you stepped into your role at Yitty and what role do you believe the brand has played in this evolution? Since stepping into my role, I've seen shapewear become far more expressive, inclusive, and joyful. It's no longer about changing or correcting your body—it's about celebrating it. Yitty has helped to lead that change. We've worked hard to redefine shapewear as a confidence-boosting tool, not a correctional one, and we've been bold in how we speak to and design for all body types. That inclusivity remains central to everything we do. How has your past experience at Victoria's Secret and Betsey Johnson informed your design philosophy today? Both brands taught me valuable lessons. At Victoria's Secret, I learnt how to be creative within a large, fast-paced organisation. Betsey Johnson was the opposite—smaller and much more hands-on. There, I was involved in every step of the process and even worked directly with Betsey herself. Experiencing both ends of the spectrum gave me a deep appreciation for structure and spontaneity. At Yitty, I bring those worlds together—combining technical excellence with personality and fun. How does trend forecasting in the lingerie/shapewear space differ from that of ready-to-wear? How do you stay ahead? Ready-to-wear is more seasonal, while lingerie and shapewear tend to be more evergreen. That said, we still lean into seasonal trends when it comes to colours, prints, and styling details. For example, we'll introduce strapless options ahead of summer or go for richer tones in autumn. Staying ahead means constantly observing, listening, and adapting. As competition heightens in the shapewear market, how do you ensure Yitty continues to stand out in terms of innovation, design, and values? Yitty isn't just creating shapewear—we're building a community rooted in empowerment and confidence. From the start, we've listened closely to our customers, and their feedback shapes our evolution. We've led the market in shaping apparel, but we're also branching into adjacent categories our community is asking for—like loungewear, intimates, and lifestyle pieces. These newer categories set us apart, delivering on the same promise of comfort, performance, and style. Even when a product is performing well, we keep pushing to make it better. That drive for innovation, paired with our deep connection to the community, is what keeps us ahead. What can be expected from forthcoming Yitty launches, collaborations, or collections? Are there any new innovations and features on the horizon? Absolutely. There are so many exciting launches on the way, and I can't wait to see how our community responds. We've got new fabrics and category expansions lined up for this year and beyond. We're especially leaning into intimates, so expect new silhouettes and elevated materials. One innovation I'm really thrilled about is a new shaping apparel fabrication—it offers our signature support with an even more premium feel. I'm confident our customers are going to love what's coming next.
New York Times
22-04-2025
- Entertainment
- New York Times
New Voices Help Museums Tell New (or Forgotten) Stories
When Daniel Merritt became chief curator of an art museum at 32, he did not expect his profession to require him — or the public — to put on skis. But last winter, Merritt, who works at the Aspen Art Museum in Colorado, couldn't resist turning Ruthie's, an abandoned restaurant on an Aspen Mountain ski slope, into a temporary exhibition space. Collaborating with Aspen One, the company managing the property, he organized 'Alex Israel: Heaven,' a show of Israel's life-size cutout portraits of celebrities who had died since the debut of Instagram, including Tina Turner and Sean Connery. The exhibition drew about 5,000 schussing visitors over its 19-day run. 'Going up the lift in a blizzard was intense,' Merritt recalled in a video interview. But, he added, 'I moved here and fell in love with skiing, which I think also was what drove me to start thinking about things that were literally off the beaten path.' Presenting the unexpected — although not necessarily from a high altitude — is a mission among a group of younger professionals in museums nationwide. Having become associate curators or full curators before turning 40, they are helping institutions broaden their audiences and their collections, ushering in new modes of storytelling, and focusing on populations and cultures that were previously ignored. They are helping to redefine not only what an exhibition can be, but also what an artwork is. 'Curators in the past used to primarily take care of the paintings, the objects, whatever was a part of a museum's collection,' said Minna M. Lee, interim executive director of the Association of Art Museum Curators. In recent years, she said, they 'have spent more time trying to show material that sometimes reflected the community' of museum constituents — a movement often led by younger people. Maritza M. Lacayo, a 34-year-old associate curator at the Pérez Art Museum Miami, said she tried to allude to the city in every show she organizes. For 'José Parlá: Homecoming,' an exhibition by a Miami-born Cuban American artist that runs through July 6, Lacayo proposed recreating Parlá's studio inside the museum. She wanted to celebrate his work — colorful, large-scale paintings often inspired by the city's graffiti-covered walls — after his recovery from a life-threatening illness. 'We had him finish one of the paintings in the gallery,' she said in a phone interview. 'We'd never done anything like that before.' So for one weekend last fall, visitors watched Parlá create. 'I wanted the community to see what I've seen and to understand these paintings at a deeper level by watching him actually perform,' Lacayo said. According to the curators' association, the population of young professionals is rising. Today, the average age of the association's new members is 34.9, versus 41.7 in 2015. In 2005, it was 58. One factor that may be fueling this trend, Lee said, is the growing interest in art of the African, Asian and Latin diasporas, which is often 'driven by young people.' It is a field that inspires not only Lacayo but also curators like Ashley James, 38, an associate curator of contemporary art at the Guggenheim Museum in New York, who last year was selected to organize the 2024 Kingston Biennial, a Jamaican showcase of Caribbean diasporic work. For the young seeking to climb the curatorial ladder, more museums and organizations also now offer internships — often paid. 'Here, we have been working hard on that pathway that connects from high school all the way through young curators,' said Ian Alteveer, the Beale family chair of contemporary art at the Museum of Fine Arts, Boston. A small museum without a permanent collection, like the Aspen, where Merritt said he had a collaborative relationship with the director, Nicola Lees, can sometimes offer a faster route to a senior position. And a few years ago, even the august Metropolitan Museum of Art reduced the 14 years of service it required for an employee to rise from assistant curator to full curator. 'That's too long a stretch of time for people to be getting ready,' said Andrea Bayer, the Met's deputy director for collections and administration. 'So it's now a 10-year period,' she added in an interview, 'and people who are hired are given credit for work that they've done elsewhere.' Experience outside of museums can also enhance a career trajectory. Lauren Rosati, 39, an associate curator of Modern and contemporary art at the Met, began organizing experimental-music events when she was still in graduate school. Her goal now is to get museum visitors not only to see art but also to hear it. The latest example is Jennie C. Jones's 'Ensemble,' the museum's new roof garden commission, which opened on April 15 and features three powder-coated aluminum-and-concrete sculptures that are inspired by stringed instruments. One 'is modeled on an Aeolian harp, which is an instrument that is designed to be played by the wind, and we have heard it singing upstairs,' Rosati said. Recently, she arranged for two musicians to be filmed while playing music on the sculptures' strings; the video is on the museum's website. Rosati, who has also helped reintroduce film programming to the museum, said she wanted to expand 'the visibility and scope and potential for media and performance at the Met, including sound and sound technology.' At the Guggenheim, Alexandra Munroe, senior curator at large, global arts, said she had often sought to hire younger curators for their knowledge of areas of scholarship that were only just developing, like contemporary Asian and Asian American art. 'One thing that the younger curators bring us, of course, is artists of their own generation,' she said in an interview. Munroe's staff includes Kyung An, now 39 and curator of the Guggenheim's Asian Art Initiative. An oversaw the museum's first acquisition of a video work by the transgender Asian American artist Wu Tsang, as well as a show of experimental Korean art. Also head of the museum's Global Exhibitions Initiative, An is focusing on organizing touring shows that reach across disciplines and encapsulate the Guggenheim's identity. As a young professional in a museum's long-established system, 'you have the ability to interrogate that a little bit and disrupt it, if possible,' she said. 'With a lot of respect,' she added with a laugh. Carrie Dedon, 37, the associate curator for Modern and contemporary art at the Seattle Art Museum, always considers an audience that naturally disrupts the status quo: children. As the museum's only curator with offspring under 5, she often works with its education department to make sophisticated shows more inviting to the smallest visitors. 'Poke in the Eye: Art of the West Coast Counterculture,' which Dedon organized last summer, featured audio guides in the form of 1960s-era phones and a huge table holding touchable clay. But Dedon noticed that her daughter, then 3, would never be able to reach the table the museum installed. ''Can we just put a stool in the space?'' Dedon recalled asking her colleagues. 'Because I have kids at home, I'm seeing those things,' she said. Although many young curators are drawn to Modern and contemporary art, they are also making an impact with work that is centuries old. 'I'm by no means an expert on every object that I curate,' said Courtney Harris, 36, an associate curator of decorative arts and sculpture at the Museum of Fine Arts, Boston. 'So I try to keep that in mind as I write labels, and I think about using a conversational voice.' Harris, for instance, recently acquired for the museum's collection an 18th-century Dutch ceremonial goblet inscribed with a toast to good trade. In writing the label for the glass, which will soon go on view, she started not with scholarly details but with a question: 'Do you think this deal went well?' The text asks visitors to reflect on how they celebrate successes. To connect the museum to the public, Harris has also relied on a favorite tool of her generation: social media. For 'Tiny Treasures: The Magic of Miniatures,' a 2023-24 show, she and the exhibition designer, Luisa Respondek, created videos of Harris's fingers handling some of the objects, which instantly revealed the artworks' scale. The material went viral; one video, of an 1853 patent model library step-chair, became the museum's top Facebook post ever, with 1.6 million views. It earned 2.35 million on Instagram. Another young curator, Ross Patterson II, has helped shed light on a subject many museumgoers think they already know: World War II. Patterson, 35, is lead curator of the new exhibition 'On American Shores: The Aleutian Islands Campaign' at the National World War II Museum in New Orleans. The show focuses on American efforts to regain Alaskan territory that the Japanese captured in 1942. Those battles are not frequently discussed, said Patterson, whose father's great-uncle served in the Aleutians. While organizing the show, the museum's first on the campaign, he said he wanted 'to bring forward some of these stories that are often forgotten.' Illuminating neglected stories and revealing new ones is a purpose these curators said they embraced, whether forging a first-time partnership with an institution in Asia or discovering an artist close to home. 'I think young voices are critical in shaping the discourse on our history, on contemporary ideas, on who gets to be heard, and who gets to speak,' Rosati of the Met said. Young curators, she added, 'are critical in that debate.'
USA Today
03-04-2025
- Sport
- USA Today
Snowboarder dies after suffering major head injuries at California ski resort
Snowboarder dies after suffering major head injuries at California ski resort Nathan Clardy, the 25-year-old snowboarder's father, said his son had recently graduated from the fire academy in Southern California. Show Caption Hide Caption Swiss Olympic snowboarder Sophie Hediger dies in avalanche at 26 Sophie Hediger, a Swiss Olympic snowboarder, was killed after she was caught in an avalanche in Arosa, Switzerland. SNTV A family is mourning the loss of a snowboarder who died after seriously injuring his head at an eastern California ski resort. Roman Lacayo, 25, died Saturday at the Kirkwood Mountain Resort in Kirkwood, California, the Alpine County Sheriff's Office said in a press release. Lacayo was on a snowboarding trip with his girlfriend and a few other couples. The group had driven up to the resort on March 27, his father, Nathan Clardy, told USA TODAY Thursday afternoon. 'It appears that as he was going down the mountain, he took a pretty basic fall, but there was a large boulder in his vicinity,' his father said, adding that he hit his head. Someone called for help around 12:20 p.m. that day. Deputies arrived and found Lacayo suffering from major head injuries, the sheriff's office said, adding that "injuries were not compatible with life." Kirkwood Mountain Resort is owned by Vail Resorts. The parent company confirmed the man's death in a statement to USA TODAY on Wednesday morning. According to the resort, Kirkwood Ski Patrol also responded to the medical incident, which happened on an intermediate trail for snowboarders with more experience. The resort said Lacayo was taken to the Barton Medical Clinic in the facility's base area. He was pronounced dead just before 1 p.m., the sheriff's office said. 'On behalf of the full team here at Kirkwood, we extend our deepest sympathy and support to the guest's family and friends,' the resort said in its statement, calling the situation 'a serious incident.' Snowboarder had the 'instinct to serve' Lacayo's loved ones started a GoFundMe to support his family after his death. As of Wednesday afternoon, community members had raised over $40,000 of its $50,000 goal. Calling him an 'aspiring firefighter,' fundraiser organizers shared a baby photo of Lacayo grinning while donning a firefighter helmet. They said he had an adventurous spirit, a kind heart and an infectious smile. Clardy said his son's death has been a 'devastating' loss to their family. Lacayo is the oldest of five. He leaves behind two brothers and two sisters. According to Clardy, his kids grew up in the firehouse, but he never pushed firefighting onto his sons. Still, Lacayo wanted to pursue it. 'I'm a fire captain and my sister is a corrections officer, so just the instinct to serve has always been there,' he said. 'I was honored that he chose to and wanted to. He earned his place there. He did a great job. The door had opened up for him … and the next step was him securing a job.' A fire captain himself, Clardy said his son graduated from the fire academy he works at about three months ago. "The day he left for the trip, in the a.m., we were completing one of his applications to a city department," his father told USA TODAY. Roman Lacayo's father cautions snowboarders to wear helmets When speaking to Sacramento-based television station KCRA-TV about his son's death, Clardy cautioned snowboarders to protect themselves by wearing helmets. He told USA TODAY Thursday that he has been snowboarding for nearly three decades. All of his kids snowboard as well. The father said his younger kids wear helmets when they participate in the sport, but he and his oldest son haven't always done so. Lacayo wasn't wearing a helmet during his accident, he said, adding that somewhere along the way his son mimicked him or it just became normal for them to snowboard without helmets. Clardy said as a fire captain he knew better but didn't practice what he preached. His son's death is a reminder of the importance of wearing safety equipment and he will never snowboard without a helmet ever again, he added. Lacayo was always taking care of others, his father said, adding that he was the one who provided his family with the light they needed, not to mention entertainment. He was "an amazing guy," according to Clardy. Lacayo should be back home by Thursday evening and his memorial service is set for April 17, Clardy said. "Whether he had chosen the fire service or not, Roman was an amazing person," he said. "His personality and how genuine he was about always taking care of other people ... making sure other people were in a good place before he was in a good place, that's just how his heart was." This story has been updated with new information. Saleen Martin is a reporter on USA TODAY's NOW team. She is from Norfolk, Virginia – the 757. Email her at sdmartin@
Yahoo
03-04-2025
- Health
- Yahoo
Aspiring firefighter dies in snowboarding accident at popular ski resort
An aspiring firefighter died after suffering from serious injuries while vacationing at an eastern California ski resort over the weekend. Roman Lacayo, 25, was visiting the Kirkwood Mountain Resort when he sustained "major head injuries" in a snowboarding accident, the Alpine County Sheriff's Office said in a press release. On Saturday, the Kirkwood Ski Patrol responded to a "medical incident" on the resort's intermediate trail and transported Lacayo to the Barton Medical Clinic, located in the facility's base area, a resort spokesperson confirmed to Fox News Digital. Authorities were called to the clinic at approximately 12:20 p.m. after receiving reports of a snowboarding accident, according to police. He was pronounced dead just before 1 p.m. Popular Spring Break Activity Lands American Tourist In Hospital: 'Felt Like I Was In A Car Accident' The Alpine County Sheriff and Coroner's Office did not immediately respond to Fox News Digital's request for additional information. Read On The Fox News App Lacayo was visiting the resort with his girlfriend and friends when he fell and hit his head, KCRA-TV reported. "On behalf of the full team here at Kirkwood, we extend our deepest sympathy and support to the guest's family and friends," Ricky Newberry, Kirkwood's vice president and general manager, said in a statement to Fox News Digital. "Our thoughts are with all those affected during this difficult time." Yosemite National Park Employee Dies From Mysterious Injuries In Staff Housing Lacayo had recently graduated from a Southern California fire academy and was "close to achieving his dream," Nathan Clardy, Lacayo's father, told KCRA-TV. "It's heartbreaking because as a dad, I wasn't there with him. I know there's nothing I could have changed, but just not being there with him," Clardy said. Two days before his death, the aspiring firefighter filled out an application to join one department, the station reported. Clardy is now grappling with his son's death as the family makes preparations to transport his remains to his home in Corona, telling KCRA-TV the process has been a "logistical nightmare." "He embodies what we call service above self," Clardy said. "And even prior to the fire service, his natural instinct was to take care of other people." Lacayo's family did not immediately respond to Fox News Digital's request for article source: Aspiring firefighter dies in snowboarding accident at popular ski resort
