National Geographic : 2016 Sep
Back in Fashion 103 has more than doubled since the 1990s, to about a hundred million skins last year, mostly mink and some fox. Trappers typically add millions of wild beaver, coyote, raccoon, muskrat, and other skins. That’s besides untold millions of cattle, lambs, rabbits, ostriches, crocodiles, alligators, and caimans harvested for food as well as skins. But you hardly need the numbers. Just look around. Once the resolutely conventional winter-fashion choice of Park Avenue matrons and country club partygoers, fur has gone hip- hop and Generation Z. It turns up now in all sea- sons and on throw pillows, purses, high heels, key chains, sweatshirts, scarves, furniture, and lampshades. There are camouflage-pattern fur coats, tie-dyed fur coats, and fur coats in an op- tical illusion M. C. Escher box pattern. There’s even a fur pom-pom that’s a Karl Lagerfeld Mini-Me, created by the designer in his own image and dubbed Karlito. So how has fur made such a comeback from the intense social ostracism of the 1990s? Or for that matter, from the notoriety of the 1960s, when the cartoon character Cruella de Vil han- kered after the fur of Dalmatian puppies, and the real-life trade was threatening the survival of Models wait to walk a runway in Milan to show the newest collection of coats and hats by Simonetta Ravizza, who is renowned for her fur clothing. Her designs include clothes made from mink, fox, and ermine, as well as from common fur, such as goat, printed to look like leopard or other rare species.