(Photo:cheap formal dresses online)I HAD avoided it like the plague but there I was with my big toe caught in the loose threads of a pair of ripped jeans and doing an impromptu jig to keep my balance.
Okay, it was my fault in the first place to have taken it from the shelves in Uniqlo without noticing the rips, because they weren’t obvious on the white pair of boyfriend-cut jeans.
For older readers who haven’t the foggiest what I am talking about, ripped jeans are those with tears and cuts, especially over the knees. They are also called distressed jeans and it’s easy to see why.
The ripped parts often have loose, exposed threads and that was how my big toe came to grief. Apparently, getting snared is a common occurrence if you put on your ripped jeans in a hurry and forget to point your toes, ballerina-style.
So there I was hopping on one foot, trying to extricate my trapped toe and avoid crashing onto the wall of the tiny fitting room, giving me yet another reason to rail against this disgraceful disfigurement of a wardrobe classic.
Ripped jeans have their roots in the punk-grunge subculture which is basically a rejection of capitalism, and a poster boy for the grunge look was the late Kurt Cobain in the late 1980s-early 1990s. The look, however, never went mainstream.
I first noticed the return of ripped jeans several years ago. It started with modest cuts at the knees but even so, I found the way the wearer’s knees poked out when he or she sat down really odd.
This is not the first time that fashion has made fools out of us. Over the centuries, we have seen many ridiculous trends like metre-high powdered wigs, faint-inducing corsets, foot-binding, gigantic shoulder pads and rolling up one pant leg. But deliberately destroyed clothes must surely be the ugliest and stupidest trend ever.
Still, I figured the fad, like before, would fade.
But horror of horrors, it has become a global trend and no part of the jeans is spared. The look is not limited to mere rips at knee-point but huge tears and holes that can appear from hip to shin and even just below the buttocks, sometimes with flapping bits of denim and jagged, unsewn hems.
When a popular United Kingdom fashion brand described its distressed jeans as “toughened up with rips and tears to add some ‘edge’,” Kirsty Major, writing for vagendamagazine.com, mocked it as a pale imitation of the original edginess of the youth subcultures of punk, heavy metal and grunge who dressed in distressed denim “as a visual symbol of social dissent”.
“For punks, wearing jeans until they ripped was a symbol. They refused to participate in capitalism; wearing jeans until they literally fell off your legs reduced the number of jeans purchased and was a big economic middle finger to shops and advertisers.”
That was the heroic premise then but as Major mused, no one is personally wearing their jeans to death for that reason now.
Instead she wryly observed, “No, you bought them from the high street and those rips were put there by a migrant worker in Mauritius who got paid 22p (RM1.21) per hour.
“There is seriously nothing less edgy in the whole wide world.”
And all that feeds an industry that sells 1,240,000,000 pairs of denim jeans worldwide annually worth about US$56.2bil (RM240bil), according to statisticbrain.com
Making plain old jeans is a highly mechanised process but only up to the point of designing and cutting the cloth. After that, it is heavily dependent on manual labour to sew the pieces together.
It takes many more steps, also by hand, to ruin a perfectly good pair of jeans to give it the washed out, ripped and tattered appearance.
These steps include rubbing away the dye with sandpaper to create crease lines, sandblasting the garment to speed up its wear and tear by weakening the threads and tumbling in giant washing machines full of volcanic pumice rocks for the stonewash effect.
Naturally, all this adds to the cost of the jeans and therein lies the irony: you have to pay more to look poor.
What’s really galling is how celebrities are fuelling this “poverty de luxe” look.
A glamourmagazine.co.uk post on February 2017 gushes: “Be it skinny, mom, boyfriend or cropped, ripped jeans are the denim trend that is still going strong.
“And who better to get inspiration from than the celebs who can’t get enough of cold knees? Whether you opt for a floaty blouse and trainers for a daytime look, or killer heels and a bralet for a night on the town, let these celebs inspire your ripped jeans look…”
Scroll through the photos and you see famous faces teaming their branded ripped jeans (Kanye West’s pair by Saint Laurent, for example, costs about US$600 or RM2,565) with equally expensive coats, shoes and handbags.
People have always strived to improve their wealth so that they could live, eat and dress better.
I cannot recall a time in the history of the world when society deemed it fashionable to dress in mutilated clothes that imitate what desperately disadvantaged people, like the homeless, are forced to wear. What a mockery!
For those who don’t want to buy pre-ripped jeans, they can shred a pair of their own. There are plenty of YouTube DIY videos on that. That may be a better option but it still means joining in a senseless trend.
The look is ripping through other garments; it is also the in-thing to wear tops and shorts with holes, frayed edges and loose threads.
So is this a sign of our times?
Has our world, already losing its marbles grappling with mind-boggling issues like crackpot leaders, corrupt governments, diminishing resources, climate change, melting polar ice caps and terrorism, gone so off kilter that it is now cool, stylish and “edgy” to dress like the poor? Please, enough of this demented denim disaster.Read more at:plus size formal dresses
Christopher Massardo’s two-minute short film, Deja Vu, features fashion you can wear time and time again. The film will show at the Canadian International Fashion Film Festival on May 28 at the Globe Cinema as part of a screening of CANIFFF-nominated films.
Though the film itself could be described as hallucinogenic chic, the apparel featured isn’t avant-garde. In fact, it’s rather wearable and reasonably accessible. The contemporary and youthful style of the film is evident in its focus on familiar brands such as Alexander Wang, Calvin Klein and Ray-Ban.
The cinematography is effective in emulating a dream-like state, with each scene pulsing into the next as the camera shifts in and out of focus. It loops through images of flickering lashes, sensual stretches, blank stares and playful smiles. The model sports trends that have been popular for a few seasons, such as round reflective sunglasses, maxi skirts and dresses with high slits. There’s also a grungy aura that can be seen in the woman’s smoky eyes and dishevelled wavy hair.
The setting — a slightly run-down industrial building — is softened by filters that mimic a sunlit dreamscape, contributing to the grimy atmosphere. The model uses torn-up photographs of models as a live collage, adding a textural element to complement the digital nature of the piece.
The music’s rhythmic and repetitive beat matches the intensity of the hectic visual sequences. The model wears gowns, juxtaposing the casualness of her other garments. They add a touch of glamour but still manage to conform to the youthful understated tone of the film.
Deja Vu alludes to fashion providing a layer of armour — a shield to dissociate ourselves from the public. The film strives to imply that fashion can add confidence in situations of insecurity and should be a highlight of CANIFFF.Read more at:queenieau.com | formal dresses adelaide
“I just kept getting closer and closer to the actual thing that I wanted to do,” says Lily Kwong on a recent afternoon from a booth at Caffe Dante on Macdougal Street. “Which is that instead of using fashion as a means to an end to make an environmental impact, I wanted to do something generative and make things grow.”
The former model, who is first cousins with Joseph Altuzarra, has been working in landscapes since she was 23. Now 28 and with a degree in urban planning under her belt, plants have become her life full-time. On June 21, she’s taking on her biggest project yet, with a quarter-mile long installation on the High Line in partnership with liqueur brand St-Germain.
“People know me from working in the fashion industry, but I feel like it’s all been an evolution of getting closer to arriving at my true path, and what I’m meant to do, which is this work with plants,” Kwong says. “I grew up in Marin in the Bay Area, so I grew up in the Redwoods, outside, and Joseph Altuzarra, who is my cousin, our great-grandfather was an herbalist. Part of my chores growing up were always working with the farmers and working with plants. I feel like I always had an intuitive connection to plants because of my family.”
Kwong studied urban planning at Columbia, where she became interested in sustainability. “I happened to be working with Joseph when he launched Altuzarra, so I was working with all these brands like Calvin Klein and Nike, but I’d never made this sustainability connection with fashion,” she says. “When I found out that fashion is the number-two polluter in the world after oil, I just got really committed to working with sustainable fashion brands.”
When tapped by St-Germain to do the High Line project, she took her lead from the brand’s French influence. “I did not want it to be a literal take on a French maze, but layered with performance and other art forms,” she says. “I recently did an artist residency at Summit Series out in Utah, and I drove around and saw a lot of land art. So I’m trying to bring some of those land art ideas into the maze — we’re using botanicals and plants as paint, basically, to create a more comprehensive landscape, other than just something you’d see in a French garden.”
The maze will be filled with performers of ballet and modern dance, in costumes evoking pollinators like bees and butterflies.
Kwong was new to the brand when approached, but signed on at the chance to work on the famous New York structure. “The High Line, to me, is the most profound urban intervention in recent history,” she says. “One of my main missions as a New York is to reconnect people to nature. And I feel that a lot of people are pretty landscape-blind. I think [this project] is something that is really going to shock people into seeing the beauty of the plants and the plant life.”Read more at:pink formal dresses | purple formal dresses
Womenswear designer Jonathan Liang has a throng of girlfriends he relies on for their honest opinion, especially when it comes to his designs.
The Penang-born 29-year-old takes this sounding board – comprising his women friends from ”all walks of life” – so seriously that he tweaks his designs based on their opinions.
He has, for instance, changed the material of a garment that a friend found uncomfortable and altered the design of a dress that was deemed ”difficult to wear”.
”I have no ego,” says the soft-spoken designer who launched his eponymous label in 2015. ”Women know what they want… what sort of detail they like.”
The Paris-based designer says: ”I design for women who are complex and elusive.”
But these women, says the bachelor, are not a ”set type”. ”They vary from who I am hanging out with to who is visiting the studio at the moment.”
Going by his latest Spring Summer 2017 collection, his friends seem to like dramatic clothing – tailored shirts with exaggerated ruffles and statement dresses embroidered with flowers – a brand signature inspired by his grandmother’s flower garden in his hometown.
Liang was speaking to The Straits Times at multi-label fashion retailer SocietyA. He debuted there in February with selected styles from his Spring Summer 2017 collection.
Ms Lily Hamid, a buyer at SocietyA, says what drew her to his collection was its feminine yet strong aesthetic, as well as the use of beautifully embroidered fabric that Liang had helped to develop.
Ms Hamid says: ”We didn’t have to take long to decide to include him in our portfolio of designers… Jonathan’s collection has a good balance of both the masculine and feminine.”
Most pieces of his Spring Summer 2017 styles were snapped up quickly when they were launched in February, she adds, with the multi-label retailer having to place more orders to restock.
Liang, who has a background in fine arts, debuted on the fashion scene in 2009 when he took part in the Malaysia Fashion Week in Kuala Lumpur.
He had showcased a ”very student-like” collection inspired by the strong shoulder trend popularised by French brand Balmain at the time. Despite the self-deprecation, he won the Most Promising Designer of 2009 award.
”I’ve been drawing since I was young and I wanted to do something more three-dimensional, so I picked fashion.
”I guess an advantage of an arts background is that I can easily transfer ideas in my head onto paper,” says Liang, who has two younger siblings in their 20s. His parents are divorced.
Internships at luxury fashion houses Givenchy and Dior soon followed, prompting him to move to Paris in 2011.
He also had stints at contemporary Malaysian fashion brand d.d collective and French contempor- ary brand Surface To Air.
Still, Liang admits that he was not confident when he started his label in 2015 with his friend and business partner Jake Chen, who is based in Melbourne.
He adds: ”We treat this label like a start-up so, hopefully, once we’re ready and take on more resources, we can grow at a more exponential rate.”
His label is also stocked in department stores and boutiques in China, Beirut, Spain and Italy.
Not just creativity and successful runway shows. The future of Italian fashion, especially for small and medium-sized companies or for the younger ones, also depends on financial know-how and the identification of clear growth strategies on international markets.
The importance of external financial support as an accelerator for medium-sized companies that do not have strong brands — and having a 20-30% revenue share of foreign sales is not enough anymore — will be the main theme of KPMG advisory partner Maurizio Castello’s keynote speech at the Sole 24 Ore’s ninth annual Luxury Summit that starts today.
Foreign investors have long been attracted by the Made in Italy production chain: from 2014 to April of this year there have been 40 foreign acquisitions of Italian companies, while foreign companies bought by Italians were only 26.
“Italy’s presence abroad is slowly growing,” said Castello, who for example quotes some of the most prestigious foreign prey “captured”in recent years: Net-a-Porter, Roger Vivier and Woolrich, which were bought by Yoox, Tod’s and WP Work in progress.
Compared with other sectors, Italian fashion is still an industry where EBITDA multiples are higher, as evidenced by the value of the brands and their potential attributed by investors.
KMPG’s Castello warns, however, that with the end of acquisitions in Italy by the French luxury groups LVMH and Kering, the average multiples have dropped (from 14.7 times in 2011 to 9.5 in 2016).
The market today is paying more attention to potential and concrete value creation over the long term. Private equity funds are now the most active investors, and they are looking closely at smaller brands with potential growth in distribution and with opportunities for international expansion.
And now we come to a point strongly emphasized by Castello: “It is not true that companies don’t grow because of lacking of financing. It’s because they are often unclear what the growth strategy is and how to pursue it. As a result, it is difficult to attract external investors or to borrow to finance expansion.”
Private equity investors interviewed by KPMG complain in many cases the lack of a clear vision of business development, said Castello.
“Fashion is a very strong sector in terms of product and style,” Castello insists, “but less so in terms of the ability to develop sustainable and robust business plans based on planned revenues, the priority markets for its product, and expected financial impacts.”
A solid business model needs to find the right balance between brand, creativity and management team, to have a great focus on new consumers (who have new needs and tastes different from country to country) and present a viable expansion plan.
KMPG recommendations of these guidelines for the entrepreneur: avoid overlapping with management and delegate day-to-day decisions; respect roles and autonomy; evaluate the results.
“But the key point is increasingly to have a strong and credible brand development plan,” he said. “The external challenges are many, from international competition to penetration into new markets. So that makes it even more important to win over any cultural resistance within your company.”Read more at:queenieau.com | bridesmaid dresses australia
(Photo:www.queenieau.com)The season of multiple charity events is well on its way. On Thursday alone, we hit three of them.
The 10th Annual Spring into Style Fashion Event benefiting Crohn’s and Colitis Foundation was held at the Townsend Hotel in Birmingham. More than 350 guests enjoyed a gourmet lunch followed by a fashion presentation from Cheryl Hall of RGA Model Management. The luncheon also featured a silent auction, ultimate raffle and compelling testimony form Dr. Arielle Hodari Gupta. This year’s chairs are Dr. Robert & Anabelle DiPilla and co-chairs Nancy Hodari, Toni Sova and Karen Stefani. Harriett Fuller was named the 2017 honoree for her dedication and creation of this annual fashion event.
Second up was an innovative dinner party on behalf of the Museum of Contemporary Art Detroit. About 100 people attended the exclusive gathering at David and Jennifer Fischer’s private race car facility inside M1 Concourse Race Track in Pontiac. This was part of MOCAD’s Fourth Annual Interchange Art + Dinner Series summer fundraisers, where some of Detroit’s most avid art collectors open their homes and spaces for a range of exclusive evenings combining food, drink and art to create truly unique experiences. The Fischers allowed art to meet the automotive world, allowing guests to experience the newly completed M1 Concourse. Guests explored the unique M1 Concourse while sipping cocktails and noshing on a strolling dinner throughout the private garages. The ultimate was a thrilling ride on the 1.5 mile Champion Motor Speedway with a professional race car driver. Many of the guests went for several rides.
Lastly, Friends of the Arts Association hosted an enchanting evening of art and fare on the spacious garden at the home of Peter and Danialle Karmanos. Themed “Art After Hours,” the celebration was an immersion experience showcasing the fine and performing arts of Detroit Country Day School. Danialle Karmanos and Tracy Nystrom co-chaired the sold-out event. A large team of students impressively performed and displayed an array of fine and performing arts. Partygoers enjoyed an exquisite cheese table adjacent to a collection of fine wines poured by sommelier John Jonna. There was also a strolling dinner and a full bar. The big band entertainment was also from DCDS students. Detroit Country Day School in Oakland County provides a college preparatory education for the scholar, athlete and artist.
Chuck Bennett is the creator of TheSocialMetro.com and is the Fox 2 News Style Ambassador.Read more at:bridesmaid dresses online
We have come from then when a bra strap peekaboo was a taboo, to now when underwear is the new outerwear. As for fashion, aren’t we spoilt brats now? There are an array of options from off-shoulders, strapless, backless and back-slits to plunging necklines and sheer magic. Exposing lingerie has been one of the bombarding fashion statements of 2017. The range has special collections with lace (there is something about lace, we say!), straps, neon, etc. Wearing a trendy bra has become a fashion ‘thing’.
But choosing one is a big task, and we sought help from lingerie designer Neerja Lakhani, who solves all our bra-blems. “It is a trend to show off your inner wear today. And you can do that while wearing offshoulders or camisoles tops,” said Neerja explaining the strappy trend of the fashion world. An intricate style of garment peeking out from your outfit looks sexy and hot. The bolder the better is what we can call the lingerie movement of 2017.
The new trend of bralettes is hitting the stores and young girls have loved it and how! Well, don’t we know guys have loved the trend, too? Bralettes are ruling this summer, these seem cute and super sexy at the same time. Remember Deepika Padukone in Tamasha? “As far as backless and back slits are concerned, bralettes are best. They are super comfy as well as super trendy to show off. They come in different patterns and colour options. And go absolutely well with backless tops and dresses,” says Lakhani.
The chosen one
There are so many different types, brands, styles, patterns, in the market which leads to confusion. So, how can one determine which is the best for them? “There is nothing such as ‘perfect’ or ‘The one’. You should wear ones you feel most comfortable in. It is recommended to stick to the brand that fits you the best and doesn’t make you feel uneasy. Else, you can face irritation on the skin around breasts,” explains Lakhani.
Maintaining inner wear has always been an issue. It is necessary to take care of your bras as they are pretty expensive; plus, we all have that one bra we are most comfortable in. So, how to make the most out of it? When do I know it is time to dispose it off? Where are the answers to all these questions? “Maintaining a bra is difficult. People don’t understand that it stretches out and is wearable only till a fixed period of time. Ideally, one should get rid of a bra in 6-8 months. But if you wear it more than twice a week, its life span reduces,” says Lakhani.
People often make mistakes while washing a bra. Little do they know, it impacts a lot on its life. One should be really careful while washing and drying them. Neerja explains, “Washing bra or any lingerie in a washing machine is a strict NO. The more you stretch a bra, its life reduces. Any lingerie should be strictly handwashed with a small amount of light detergent to make it last longer. Do not use brushes while washing and ensure you don’t squeeze or dry it in the dryer.”
Those back bulges show off in most T-shirts or tops. Giving us a solution, the lingerie designer says, “There are special bras available for back bulges today. These are bras with broader side-supports that tend to give a better shape to the outfit.”
Padded bras: boon or bane?
Padded bras are over and over again considered to be a profanity in India. People are either unaware of the concept of padded bras, or they are unsure of when and why they should be wearing it. Neeraj elucidates, “The concept of padded bras is not something people here have still accepted. Actually, it is the most-preferred type in international markets. Padded bras also have different types. One should wear a light padded bra under a body hugging outfit. It helps enhance the shape, and the dress/top looks smooth on the outside. Then we have thick padded bras which help you increase cup size depending upon the intensity of the pad. It is even recommended for daily use. It has no side effects.”
Is it really necessary to sleep commando at night. How does it matter? “Absolutely. The way our body needs to fit in something loose and comfy, our breasts too need space. Sleeping without a bra on is recommended because it becomes airy and comfortable inside,” advises Neerja.
Redness of skin around breasts or irritation is common in summers due to sweat and tight bras. “One should try to stick to cotton, non-wired bras in summer. In a way, it gives better comfort than others. Cotton is very skin friendly and therefore helps us and the breasts breathe and survive the sweaty summers.” Now, no bra-blem, right?
Dress: right lingerie
1. Strapless dresses: strapless bodysuits
2. Low-back dresses: Convertible bra straps
3. Sleeveless or racerback dresses: Bra converters
4. Low-cut sides and backless halters: Stick-on bras with removable straps
5. Plunging neckline dresses: Strapless plunge bras
6. Low-cut dresses with narrow straps: Stick-on bras with drawstrings
Fancy lingerie gives me a boost. I don’t want to show off my lacy stuff, it is better underneath. I’d definitely invest in something alluring because I want to, not to allure someone else.Read more at:www.queenieau.com | bridesmaid dresses online
The lights went out. Total darkness. In the hushed silence we waited in line for the call. Adrenalin pumped through our veins. “Go, go, go.” We marched forward in perfect unison.
No, this wasn’t a counter terrorism operation. It was backstage at the first day of Australian fashion week. And I was about to make my first and only appearance in a (thankfully) fleeting career as a catwalk model.
I stepped onto the catwalk. “Stay focused,” I told myself. I heard the click of a thousand cameras and tried not to squint as a thousand flashes flared and repeated, “Look straight ahead. Don’t be distracted by all the beautiful people.”
As I approached the end of the runway I readied myself for the big reveal. And as I turned to the left (because I am an ambi-turner) I looked back and let the audience have what they had been waiting for. A thousand gasps. A thousand clicks. There it was: Stunned Mullet. I had been perfecting my “look” in parliament, practising the Stunned Mullet in question time, along with my other signature looks, “Deer in the Headlights” and “What you talkin’ bout Willis”.
It’s in my nature to disrupt. Not because I deliberately set out to, but because it is more often the case that I just end up being somewhere where I am not expected to be – like parliament or the catwalk of Australian fashion week.
And that is why I was keen to join other “muses” for designer Thomas Puttick’s first runway show. Inspirational women like Aminata Conteh-Biger, a refugee who established the Aminata Maternal Foundation to improve the health and wellbeing of women and children in Sierra Leone, and others including women in their 60s, singers, actors and creators; women who are making their voices heard across a range of industries and roles.
Puttick is only 23 and an incredibly talented designer. He also has an incredible story to tell about why he chose to feature “muses” in his show over models. Sustainability is hardly a word that is regularly related to fashion yet that is precisely what Thomas Puttick’s designs are all about – using beautiful fabrics tailored to create timeless pieces that complement women of all ages, body types and backgrounds. He makes clothes that last – not just because of his impeccable tailoring but because they are made for women of all ages, through the ages.
The domestic fashion industry in Australia is worth a whopping $28.5bn. Annual retail sales in 2016 reached $21bn and 37,000 people are employed in textile, clothing, leather and footwear manufacturing. We consume fashion like we consume fast food. We buy a new dress for every occasion because we wouldn’t be caught dead wearing the same thing – and because we can. Each season it’s out with the old and in with the new as we dispose of our “worn once” garments to make way for the next trend.
As difficult as it is to break into the fashion industry for any budding designer, it is even harder for Australian designers to compete in a global industry that is becoming increasingly geared toward throwaway fashion.
For me, participating in Puttick’s show was about supporting Australian entrepreneurship and talent. We have some amazing talent right here in Australia that deserves to be recognised. I try to wear Australian-designed and made whenever I can. I regularly shop for Australian designs and make sure I check the tags to see if the clothes I’m buying are designed and manufactured in Australia. Don’t get me wrong, I love a Gucci or an Armani just as much as the next woman but it really is hard to go past the Australian fashion gene pool and not be massively proud of what we are producing.
In choosing muses over models, Puttick also made a strong statement about domestic and family violence by donating the appearance fees to White Ribbon. I learned some time ago that you can’t make a difference by staying silent. And though I didn’t have to say a word this time, just walking out there with a thousand cameras clicking and a thousand lights blinking, I was honoured to be a part of something that could contribute to such a worthy cause – even if I did look like a stunned mullet.Read more at:formal dresses adelaide | queenieau.com
(Photo:)Models showcase Abayas for the Kuwaiti designer Rasha Al-Wazzan in collaboration with the Jewelry designer Zainab Ali during the KIFW.
The Kuwait International Fashion Week , in collaboration with Oriental Fashion Show, the unique event that puts Kuwait on the map of global fashion, kicked off last week in strategic partnership with Al-Hamra Tower and Maserati.
The charming experience held at the highest skyscraper, the 60th floor of Al-Hamra Tower on May 7-11 from 7:00 pm to 10:00 pm. New surprises for exclusive 2017 designs were featured every day during that period.
Al-Hamra expressed gratitude for hosting this exceptional event, which reflects its social responsibility towards Kuwait, and highlighting its position as touristic and marketing destination in the Arab world. The Kuwait International Fashion Week was the only Kuwaiti platform that showcases unique and high-end designs. The fashion designs were made specifically to meet the elegant Kuwaiti taste.
Meanwhile the CEO of Kuwait International Fashion Week Rabab Hamadi thanked Al-Hamra for their cooperation to organize this huge event in Kuwait which was a prominent and successful event in Fashion. She also praised the exceptional organization and facilitation provided by Al-Hamra which helped make this event a success. During the event, the Maserati medallion was the backdrop for the catwalk. The Levante S, Maserati’s first-ever SUV, was on display in Al-Hamra mall during the entire duration of the event. The attendees had the opportunity to test drive the Levante.
Ziad Bou Chacra, Brand Manager of Maserati Kuwait said: “We are proud to sponsor Kuwait International Fashion Week 2017.Maserati is renowned for its Italian craftsmanship, design and performance. And just like the fashion designs showcased throughout KIFW , each and every Maserati is a piece of art that provokes one’s emotion. We see ourselves as a natural partner of the event and we look forward to participating in similar events.”
Twenty collections for spring and summer of 2017 showcased their designs , featuring over 20 international designers from
Paris, Lebanon, Morocco, Algeria and Kuwait, and that to meet expectations of those looking for fine Arab and international designs.
Al-Hamadi said that this pattern in design combines readymade garments and high-end fashion, and focuses on apparel that is designed according to international fashion standards. She added that one of the main goals that the higher committee was seeking to achieve through the Kuwait International Fashion Week was to “strengthen Kuwait’s role and presence among the fashion capitals of the world, since it has all the capabilities, uniqueness, and historical style of the Kuwaiti woman.”
Al-Hamadi further noted that Kuwait has become home for mega malls that attract a lot of tourists every year. The Kuwait International Fashion Week serves as a marketing platform for tourism and shopping, and for increasing the current capacity of hotels and recreational facilities.
Several leading and important trademarks participated in the event such as : Lancome, Beidoun, YSL, Ali Hussein Al-Arbash, Noble Clinic, Twaaq Fragnaces, Bon Voyage travel agency, re7lah.com, Spa and More, Abdul Wahab Company, Misk Flowers Perfumes, Auguri company for advertising and publishing and Kuwait Times Newspaper as the media partner.
The Kuwait International Fashion Week sent several important messages, such as removing the stereotype that Arab countries are filled with conflicts, and instead show the world that the Arab World can reflect an image of creativity, art, elegance and beauty.Read more at:queenieau.com | bridesmaid dresses
Making his Mercedes-Benz Fashion Week Australia debut on Monday, May 15, Thomas Puttick is certainly one to watch, not only for his romantic take on tailoring and modern take on florals but his impressive resume.
Talk us through your career path – from interning to starting your label.
“My career up until now has been packed full, I love keeping on the go and pushing myself to deliver my best, so that has been really useful in some of the companies I’ve been in. McQueen was a great way for me to set a benchmark for the standards I hold myself to and from there I’ve carried those lessons with me through all my experiences. I think that’s what allowed me to organically find opportunities within Wang and Helmut, among the others.”
“My grandmother taught me how to sew and pattern make from a young age, so I guess in a way I’ve been groomed for this. I’ve always loved fashion and I’ve always been obsessed with how things are made and how you can improve on them so it’s a natural fit.”
What did you learn from your stints at Alexander McQueen and Alexander Wang?
“It taught me strong work ethics and it taught me pace. The standards were always very high, from an early age I was taught to work to luxury standards and I have found that really useful as I hold myself to these standards with everything I now do. I learnt a lot from Sarah [Burton] on how to introduce femininity into masculine silhouettes. And at Wang I learnt a lot about the business side of fashion. It was a really efficient and well-managed company that had a great balance of creativity and business ethic. I carry this through to how I work now.”
What can we expect from the MBFWA presentation?
“MBFWA will give the brand a platform to speak about our message, we have planned some really exciting and powerful ways to do that through the show and I can’t wait to see the positive dialogue it contributes to.”
Talk us through your inspiration and starting point for the collection.
“This season I focused on the work by German painter Henning Von Gierke. There was a fragility in his paintings that I found refreshing and I want to recapture it through movement.”
What does it mean to you to be nominated in the Woolmark prize?
“It’s incredibly exciting, I’ve always loved working with wool and they speak to the sustainable and conscious ethos that my brand is founded on so I’m looking forward to the process.”
What does it mean for your brand to be showing at MBFWA?
“It means a lot to me. The support we’ve received has been really encouraging and for the first time I’m able to present a collection in front of an audience. It’s given me a chance to think about exactly how I want to show the collection and what message I want to send.”
What’s next for Thomas Puttick?
“Apart from the show and Woolmark, I am running a Pop Up Shop during MBFWA at The Old Clare – this will be the brands first open retail experience. After MBFWA we will take the collection to Paris for the resort 2018 sales season. I feel strongly about capturing the international as well as Australian market. And from there I’m not too sure. I’ll keep making clothes with a conscious and hopefully will see them connect with women that will love them as much as we do.”Read more at:bridesmaid dresses