Festivities and fashion are inseparable, and keeping in tune with the celebratory spirit of the month, runway action is ready to take over Delhi.Organised by Fashion Design Council of India, the five-day fashion week, that starts on October 11 (Wednesday) at NSIC Grounds and wraps up on Sunday (October 15), will celebrate many milestones. It’s the 30th edition of the extravaganza, and many designers are also celebrating 25 years in the industry. These include Payal Jain, Abraham & Thakore, JJ Valaya, Anju Modi and Ashish N Soni. “I’m delving into my archives, revamping my sketchbook and re-inventing some key things done in the past. It might seem like it is very easy to work with blacks, but it’s a big challenge, something I wanted to take on,” says Soni, who’ll present all-black eveningwear for men and women, with textural innovation.
Focus is also on fabric engineering, with Rimzim Dadu’s opening show. “I have taken my fascination for cords and yarns further this season. Last season, I played with steel wires and this season, I have taken traditional metallic zari and tried to change its characteristic and behaviour by way of deconstruction and construction. So, it’s a modern take on zari and other traditional yarns like silk threads. Having said that, the steel wires do make a come back, in a new more fluid form,” she says.
Muses also take on centerstage, like Rina Dhaka’s modern nomad. Dhaka is also part of the two-tiered finale which will see prêt and couture come together. Ashish N Soni, Krishna Mehta, Pankaj & Nidhi, Rina Dhaka, Rohit Gandhi-Rahul Khanna will wrap the showcase, with Suneet Varma closing with couture and celebrating 30 years in the industry.
“I believe fashion is the politest way of speaking about sex. But, i like the subtle unspoken word, left to the imagination of the wearer. The glamour and sensuality in this collection comes through the use of sheer and lucid fabrics, the delicate placement of embellishments, the drapes and the unexpected details, and, what they reveal or conceal. Couture is like a sixth sense of seduction. It has its own vocabulary and language, like an elaborate braid entwined with history, myth and tradition. It may be modern, whimsical or demure, but always magnificent and carefully crafted ,” says Varma.Read more at:formal dresses online | formal dresses brisbane
What Kevin Koch does isn’t new. It’s where he does it that is surprising.
Koch is a textile artist, a custom tailor. For nearly 40 years, he’s put stitches through cloth, in a variety of ways and a variety of places around his hometown.
He turns measurements into a pattern and then cuts and sews a piece of clothing. Trousers, vests and sportcoats with expensive silk, wool or tweed are all possible. So are plain coats or button-front pants that Amish or German Baptist Brethren would wear.
This week will be his coming out party as an artist and tailor. As part of Fashion Week in Goshen to raise money for the renovation of the Goshen Theater, Koch House of Design will have a cocktail party and open house Thursday night at 211 E. Washington St. The historic former church building has become a residence. Now it’s the home of Koch and his wife Jeannie and the studio where they make clothing, helped by two of their four adult children and apprentices.
Washington Street is becoming a corridor for artists with businesses offering yarn, soap and floral arrangements. Koch works there too, practicing his craft but without many knowing how he brings beauty and elegance to the world.
“I’m a custom tailor. I’m trained in the very old tradition,” he said as he sat among sewing and embroidery machines and bolts of cloth in his basement workshop.
In 1980, as a recent graduate of Northridge High School, he picked up an order at Jean Lee Originals, which made band and cheerleading uniforms in Goshen. He started a job in the embroidery room and later went to work as an apprentice for Henry the Tailor, a shop operated by Enrique San Juan above the Maley’s store along Main Street.
“I just caught the bug,” Koch said.
He traveled the world, both studying and teaching this old craft. In his own Goshen workshops, he trained people from as far away as Senegal.
By the early 2000s, his business was changing due to mechanization and overseas factory production of cheap clothing. He struggled to find supplies and parts to keep his 90-year-old machines operable.
He almost quit the business in 2003. He took a job at Goshen College, but kept doing work on the side. His craft kept calling to him and during those seven years, he realized the internet could power his business in new ways.
He could use it to connect with other tailors, to sell suits to people from New York to Seattle. Even the suppliers that had gone out of business are being replaced because of a growing interest in bespoke clothing tailored for the wearer.
Most of his work made here has been worn by people living in other places. He didn’t make much for local residents, though he supplies varsity letter jackets for athletes from a number of local high schools.
He wants to introduce the new generation to the old methods of making clothes to unique bodies. The teens come to his workshop and are measured for the combinations of felt, leather and embroidery that are then custom made. “I love it when they come in,” he said. He thought his trade was dead, but a new generation is in love with artisan products and that makes him happy, he said.
People who come from other cultures, including Latinos, understand his methods better than many who live here and buy off the rack. The plain communities, as the Amish and conservative Mennonites are called, have a tradition of sewing, though changes in those communities mean more are turning to Koch, he said.
Whether it’s a teen in a letter jacket, an Amish preacher in a straight coat or a model wearing a vest with silk accents, Koch wants to use his craft to make someone look and feel good. “Good design matters because it touches the heart and character of who’s wearing it. Clothing is an expression of who we are. I wish more people would feel freer to wear who they are,” he said.
The old craft he practices is being appreciated in new ways. Local residents will get a chance to see it, to touch it, this week. Koch is working on a new line that will be debuted. At age 56, he wonders in new ways what could become of his line of work.
Do you prefer midiskirts that cover your knees to minis these days? When you wear a slip dress, do you sometimes layer a polo neck underneath it? On a lunchtime browse, do you find yourself drawn to a voluminous sleeve? If you are reading this, then the answer is probably yes. The look of 2017 is notably more demure than that of a decade ago. Hemlines have dipped a crucial few inches, from just above the knee to just below it. A collar up to your chin is the norm. Party dresses have sweeping sleeves, rather than plunging necklines. Or, to put it another way: for the simple reason that you are engaged with fashion, you have become a modest dresser.
When Victoria Beckham launched her fashion house a decade ago, her style had already left the Wag days behind. Cleavage and Daisy Dukes had been replaced by neat knee-length dresses whose necklines exposed only the clavicles. Since then her wardrobe – one of the most photographed and most influential in the world – has evolved further. Her clothes are now loose and fluid, concealing the shape as well as the surface of the body.
Meanwhile at Paris fashion week, the signature Valentino look has exerted a powerful slow-burn influence on fashion in the five years it has defined the house. Long, fluid, with a slender shape that hints at the body but doesn’t cling, it is a romantic silhouette – part Brontë heroine, part Renaissance principessa – that has proved catnip to modern party girls bored of LBDs.
“I’ve noticed a gradual change in silhouette over the five years I’ve been at Harper’s Bazaar,” says editor-in-chief Justine Picardie. “I see it on the catwalk, and I see it in the office. It’s very often a long-sleeved dress, and there’s a kind of gracefulness to it. This season, there are a lot of below-the-knee and full-length looks in the collections, and that’s filtered down to the high street.”
It is intriguing that this mainstream shift toward modesty has taken place at the same time as fashion explicitly aimed at women who dress modestly for religious or cultural reasons has become big business. The Modist made a splash in e-commerce when it launched on International Women’s Day this year with luxury fashion curated for women who cover up. Dolce & Gabbana now sells abayas. Nikestocks hijabs for athletes. At almost every global fashion week, the dominant fashion aesthetic has tilted toward longer hemlines, higher necklines and more voluminous fabric. Cool and covered – concepts that have tended to live at opposite ends of the style spectrum – are converging.
Is there a connection between modest dressing as a cultural and political issue, and modesty as a trend? At a time of heightened tensions around how a multicultural society can live in harmony, fashion is experimenting with the aesthetic of covered woman, which has itself become a kind of visual shorthand for Islam. “I think there is a link,” says Reina Lewis, professor of cultural studies at the London College of Fashion, who has written widely about modesty and fashion. “I’m seeing longer sleeves and hemlines, higher necklines, and more fabric. Not just more cover, but more volume, so it obscures the body’s shape.”
Fashion reflects the world around it, and women who dress modestly are highly visible both on the streets of modern cities and in media imagery. What’s more, the economics of the fashion industry put covered-up clothes front of mind. Valentino is owned by Mayhoola for Investments, the emir of Qatar’s investment fund. Middle Eastern clients are a significant market for many brands showing in Paris or Milan. Alexandra Shulman, now a columnist at the Business of Fashionafter 25 years as editor of Vogue, has observed a shift in the styling of catwalk fashion. Short dresses might be worn over trousers, for instance, rather than alone. “In a Chanel show, say, a good deal of the looks will have been styled in a way that fits modest dressing,” she says. While there is nothing to stop a client buying the short dress without the trousers worn beneath, “the subliminal effect is to make a covered look feel current”.
Ian Griffiths, creative director of Max Mara, saw the casting of hijab-wearing Halima Aden in his latest show as keeping in step with the times. “If you walk down a top-end shopping street in any major city, you wouldn’t be surprised to see a Max Mara coat worn with a hijab,” he told Vogue. “So why shouldn’t our runway reflect that, too?”
So is the modest mainstream a meaningful trend, or a red herring thrown up by the cyclical nature of fashion? “Bodycon has been the norm for so long that covering up has a certain novelty value for young women,” Shulman points out. And while fashion can function as social commentary, it can also be a kind of Rorschach test: we see what is already in our head, as much as what is in front of us. “When the fashion crowd dressed in great swathes of Comme des Garçons back in the 80s, people talked of black crows, not about being modest,” Lewis says. “Covering up has become politicised.”
Long dresses mean different things at different times. Erdem took his inspiration for a recent collection of tiered lace floor-length gowns from 1930s Deauville bathing beauties and the shipwrecked wardrobe of a 17th-century lady-in-waiting, Jean Kerr.
Whatever its origins, mainstream modesty is sticking around. Natalie Kingham, buying director of matchesfashion.com, tips a below-the-knee shirt dress as a key look for autumn, and for winter a pleated silk midiskirt with a knit and knee-high boots. Coco Chan, head of womenswear at online retailer stylebop.com, is confident that the polo neck as a layering piece has legs for another year. “With Raf putting it in his first show for Calvin,” she says, “that puts the polo neck right in the frame.”
If any fashion week trend can rival the midi for fashion-week staying power, it is “female empowerment” as a buzz-phrase of post-show designer chat, and many designers have drawn links between the two. Victoria Beckham said recently that a looser silhouette “puts power back into the hands of the wearer rather than the observer”. Where once the miniskirt was championed as a feminist statement because of its message of liberation, now a longer hemline is seen as the badge of a woman who does not feel the need to make her body shape central to her identity.
“I don’t think not being allowed to show their bodies comes into it, for our customers,” muses designer Justin Thornton of Preen, a label that has shifted over a decade from being famous for bandage-tight party frocks to being known for demure, calf-length dresses. “Thea [Bregazzi, Thornton’s wife and co-designer] and I are inspired by our friends, women in the industry, women who work. A more fluid way of dressing is definitely a positive choice for them.”
Shulman recognises this sentiment: “I’m normally the first into a sleeveless dress in hot weather, but two years ago I was in India, totally covered up, and I realised how comforting it was. I felt secure. So it’s true that there can be liberation in it.”
The issue of individual choice lurks in any discussion of female empowerment and modest dressing. Clothes can express what society values in women – and what it fears. These judgments exist everywhere, whether explicitly defined or not. “Dressing modestly can be about a patriarchal community wishing to control women’s sexuality,” Lewis says. “But that’s not specific to any one culture. The reality is women are more judged and regulated than men. Look at the fat-shaming that happens within our secular society.”
Fashion, as ever, is reflecting the world around it, for better or for worse. Onwards and upwards? With hemlines, it’s a little more complicated than that.Read more at:formal dresses | bridesmaid dresses
Alexander Wang seemed to go from fashion darling to fashion disaster on Saturday night, taking over Kanye West’s role at New York Fashion Week as the designer who pushed editors’ and bloggers’ patience too far.
Wang’s show in Bushwick was dubbed by critics “a fool’s errand,” “a big middle finger up,” “a f - - king joke” and “what Fyre Festival must have been like.”
A year ago, West’s show on Roosevelt Island prompted an editor to grouse, “I feel like we’ve been kidnapped.”
Of Wang’s party-hearty WangFest on a dead-end street in Brooklyn, blogger Bryanboy posted (on a private Instagram feed): “He got balls to put on the invite he will start at 9 p.m. ‘sharp’ (maybe in a different time zone) and showed almost an hour and half later with everyone standing on the street behind crowded barricades like herded cattle outside some stupid a - - warehouse in Brooklyn. We waited for nothing.”
W Magazine described “pushing” and “shoving” while the New York Times observed, “Even Kim Kardashian and Kris Jenner were stuck on the concrete outside, balanced on their teetering heels.”
WWD wrote of being “corralled behind metal police barricades,” but “[d]uring a postshow interview in a movie set trailer that smelled of vomit, [Wang] seemed oblivious.”
Models including Bella Hadid and Kendall Jennerarrived with Wang via a party bus after Manhattan stops for fans. Bryanboy said, in his post, “You force fed us a live episode of ‘Keeping Up With Kim and Kris’ via intravenous feed with no option to change the channel on the remote.” But perhaps all will be forgiven.
The blogger’s rant was deleted, and he told us, “I genuinely believe he’s a talented designer . . . this one simply stretched our patience thin.” Either way, he said he had a better time at “the bar next door, Honey’s, where it was more fun and the drinks are cheap, cheap, cheap!”Read more at:white formal dresses | red formal dresses
One of the biggest names in the bridal trousseau industry, noted Indian fashion designer and couturier JJ Valaya closed the debut edition of Bombay Times Fashion Week 2017 with a spectacular grand finale show. The designer is celebrating the Silver Jubilee of his brand in fashion.
In an exclusive chat with the Bombay Times, the New Delhi based couturier spoke about his latest collection.
He said, ”Actually this was the first part of the celebrations of 25 years of my brand in fashion. And by default, the Bombay Times fashion week 2017, became the first event. We have two more events lined up till the end of this year.”
Talking about the grand finale he stated, ”Tonight’s show introduced the three classics – that are always going to now remain signature with my brand year after year, which is essentially Guilstan, Jamavar and Punjab. These are my three collections. And today we also showcased a little hint of our couture brand. We showcased six pieces of that just to connect what our brand ethos is all about.”
Explaining what his three basic collections were about, Valaya said, ”Gulistan is flowers – is there anything more beautiful than flowers? No. I mean, just anything about flowers is beautiful. And I think they deserve a tribute year after year. So this is my tribute. This is something that I have been doing forever. And the first collection showcased on the ramp tonight is all about flowers.”
He added, ”The second is the Jamavar and this has been a signature with us for a long time. Clearly, this was one of India’s finest exports because the world copies it now – the paisleys and everything. And the third is Punjab, a tribute to my roots. And that’s fairly why I felt that I had to do a tribute. So those are my three looks.”
The designer had five of his friends walk for him including Harindra Singh, Niketan Madhok, Rajniesh Duggal, Arjun Khanna and Rahul Dev.Read more at:celebrity dresses | www.queenieau.com
When casting director James Scully gave a powerful talk about the abuse of models rife within the fashion industry at BoF’s VOICES gathering in December, he concluded with an ultimatum: if he continued to see evidence of bullying, cruelty and discrimination, he promised to name and shame the perpetrators publicly on social media. True to his word, Scully became the modelling industry’s whistle-blower, taking to Instagram to publicly address an incident at a Balenciaga casting during Paris Fashion Week in March. Many more models came forward with disturbing stories, and in May, another incidentmade headlines, this time involving Louis Vuitton and its Cruise show in Kyoto.
Within a week of his post about Balenciaga, Scully had become the de-facto advocate for models’ rights and was invited to meet with François-Henri Pinault, chairman and CEO of Kering, and Antoine Arnault, CEO of Berluti and son of LVMH chairman Bernard Arnault. Both executives were understandably concerned, and keen to improve the way their fashion houses employ and treat models. In an unprecedented move, both Pinault and Arnault agreed to collaborate on a bill of strict regulations that would be adhered to by their brands, which include Louis Vuitton, Christian Dior, Loewe, Marc Jacobs, Céline, Givenchy and Fendi at LVMH; and Gucci, Balenciaga, Saint Laurent, Bottega Veneta, Alexander McQueen and Stella McCartney at Kering.
“The Charter on the Working Relationships with Fashion Models and Their Well-Being” is the first time that the rival luxury conglomerates have united to implement regulations within the fashion industry. It includes a commitment to ban clothing sizes 32 for women and 42 for men (EU measurements), as well as asking agencies to present female and male models who are respectively sizes 34 and 44 or over.
There are also commitments to having a psychologist or therapist at the models’ disposal during their jobs; private fitting rooms; strict nudity and semi-nudity agreements; a ban on alcohol and provision of healthy food and drink at all times; the provision of transportation after 8pm; a ban on models under the age of 16; a ban on models between the ages of 16 and 18 working between 10pm and 6am; as well as the presence of a dedicated brand representative at all times. A “monitoring committee” will be put in place and models will be given a hotline to brand representatives to make complaints. The committee will meet with designers, models and agencies every six months to check in.
The manifesto marks an important milestone amidst claims of abuse and unethical treatment of models. But how will it be implemented across the board and can it actually solve one of the industry’s darkest problems?
One could argue that this is long overdue, however the pressure on brands to act has reached a seminal moment this year. Thanks to social media, models have a public platform to share their experiences. There’s also the fact that the incidents at Balenciaga and Louis Vuitton were covered by media outlets around the world, forcing their parent companies to take notice.
“I knew it was happening in our brands but I needed to have a bit of a wake-up call,” Arnault tells BoF. “We started thinking about establishing a few rules inside our group and then I heard that Kering was obviously also very concerned with this issue, and we decided to write it together.”
Of course, both LVMH and Kering will likely face challenges along the way. “It’s absolutely compulsory starting this fashion week; there will be no exception and we need to be absolutely perfect in the implementation,” asserts François-Henri Pinault. Arnault, however, concedes that the new regulations may take some time to implement. “I’m absolutely sure that this first fashion season will not be 100 percent compliant with this charter, unfortunately, but things will go in the right direction,” he says. “I hope that in the second fashion season, we will not only be 100 percent compliant, but also that this charter will have been completed and amended with probably new topics that we haven’t seen or identified yet.” The key, as Arnault points out, is that executives and a dedicated team will be paying closer attention to the casting process and treatment of models. “There will still be issues to raise and there will still be problems this season, and I want to hear them,” he says.
Certainly, there may also be room for improvement on the charter itself. “We’re going to meet every season and discuss how it’s working, and we can change this agreement every season,” says Scully. “I would love to see a little more regulation on the number of girls under 18 that are allowed to work, because I still think there are too many,” says Scully. “I was hoping everyone would take the example of Gucci where they don’t book anyone under 18.”
Scully believes one of the most important aspects of the charter is the hotline to a brand representative. “It really does give the models and the agents a voice,” he explains. “It’s going to be very difficult for people to behave in some of the ways they have done before because now, any model or agent can call this hotline and say, ‘I’ve been harassed. This person is pressuring me about my weight.’”
Ulrikke Hoyer, the Danish model who claims she was told she was “too fat for Louis Vuitton” at the brand’s Cruise show in May, is pleased with the action taken as a result of her whistle-blowing. “If telling my story had just a bit to do with this and if that can make changes for so many of my colleagues, then it’s been all worth it,” says Hoyer. “I am so happy for the actions that these two huge companies have taken [because] their influence sets the agenda for other fashion brands worldwide.” Hoyer encourages fellow models to share their stories of unethical treatment. “We models are in the middle of the whole thing and see and feel the environment first hand, so speak up if these words on signed papers won’t hold ground,” she advises. “We’ll see after these coming fashion weeks, and I am also sure that the press will keep a closer eye on what comes down the catwalk.”
Models, casting directors, stylists and designers were consulted for brainstorming sessions when drawing up the charter. Arnault’s partner, Natalia Vodianova, was also involved. “We have had countless discussions on it, and she has talked to me about her early years which was 15 years ago and she told me it was bad — probably even worse — because there were no social networks at the time to say something with if something happened,” he says. “Of course, we could have done it earlier but it’s never too late and I think it’s going in the right direction.”
One reason why fashion houses fail to efficiently address cases of mistreatment is because casting directors and stylists are often external contractors, and therefore removed from human resources departments. “If you behaved like a lot of these people did and you were working for that company as a regular employee, you’d be fired in one afternoon,” says Scully. “Everyone has been turning a blind eye to these people because they’re freelancers.”
Pinault and Arnault both say that they hope that charter will tightly control these external relationships and ensure they adhere to the standards. “When we contract with those external people — the casting directors and agencies — we will be precise in our contract about the strict respect of the charter in the way they work,” says Pinault. “It’s now a matter of controlling those people. Frankly, the first external partner that will try to fool us on that will be out. That’s the end of any contract or relationship with them.”
This isn’t the first time that efforts have been made to regulate the modelling industry. In 2012, the Model Alliance was established in New York to protect models working in the American fashion industry. In 2015, France passed legislation outlawing underweight models from working in the country’s fashion industry. Agencies face fines of up to €75,000 ($89,527) or imprisonment of up to six months if they breach the law. And while models there are required to undergo medical certification as evidence of their health every two years, Arnault and Pinault have introduced the same requirement on a six-month basis.
Other brands outside of the LVMH and Kering firmaments will be welcome to sign the charter, too. “I feel that in a way, they will have to comply because models will not accept being treated certain ways by brands and another way with others” says Arnault. “Once the two leaders of an industry apply reasonable rules, they will need to comply. They’re more than welcome to join even if they’re late to the party.” Pinault has plans to take it further, too. “I’m pretty sure, between Arnault and myself, [we] will have conversations with our competitors to try and convince them to follow the example and sign the charter,” he confirms. “Certainly, for professional institutions like the Camera della Moda, Fédération de la haute couture et de la Mode and the British Fashion Council.”
Will it work? It may take time, but already things are improving, according to Scully. “Places that used to be notorious for late fittings and over-casting are already improving their situations,” he says. “Even here in New York, models this season are sending me pictures saying, ‘There was food, there was water, they asked how I was!’”Read more at:purple bridesmaid dresses | www.queenieau.com
If you own traditional silk saris, you’ve presumably carefully wrapped them in a muslin cloth, and neatly stacked them in a suitcase with naphthalene balls. And that’s because you want to preserve the rich fabric and intricate work, so when that precious sari sees the light of day on special occasions, it’s as good as new.
But what if, after years of saving one, you wear it at a wedding, and someone points out that the Banarasi sari you are clad in is fake? To save you the embarrassment, here are expert tips to find out if the silk beauties you own or plan to buy are real or not.
Pure fabrics have a brighter look. To ensure you’re buying a genuine Kanjeevaram sari, scratch the zari on it to check if red silk emerges from the core. If not, it’s not a real Kanjeevaram weave. “You can take out the edges of the sari, if the warn that comes out is twisted and very soft, it’s real silk that you’re holding,” adds designer Gautam Gupta.
Or, reverse the fabric and if you see knots, you’ll know it’s pure handwoven. “Now designers finish off the back part, so the depth of the zari is the best way to check for authenticity,” adds Gupta.
On the reverse side, check for floats between the grids of warps and wefts on the sari. “Only a hand-woven Banarasi sari will have floats of such warp and weft technique. Another way to identify a real Banarasi sari is to check for six to eight-inch long patch of plain silk (extra selvedge in all Handloom fabrics) on the pallu,” says designer Rimple Narula. The motifs can also help you tell real fabric from the Chinese and Surat-produced replicas. “Original ones are likely to have motifs like amru, ambi and domak, which have been derived from Mughal patterns, and other such old Indian textile motifs that have been used by weavers for generations,” adds Narula.
Detecting a fake Chanderi can be tough, but it is said that if you carefully rub your hands over the silk, and if it sounds like walking on the snow, it is the real deal. “The sheer and delicate texture, light weight, and glossy transparency of Chanderi sets it apart from the textiles produced in factories. It has a warmth to itself,” says designer Aditi Somani.
THE FOLLOWING ARE SOME LITMUS TESTS FOR SILK TESTING
LIGHT-WEIGHT SILK: A common and easy way is the ring test as silk is naturally flexible and smooth. The condition here is that the silk should not be heavy. So, if you have a light-weight silk fabric, pull it through a ring. If it can easily be threaded and pulled through, it’s real silk.
LUSTRE TEST: The combination of threads gives a particular sheen to silk. The colour on the surface appears to change as the angle of the light changes. However, if the silk is artificial, it will give a white sheen irrespective of the angle of light.
BURN TEST: Now, here’s a test you might not want to try on your favourite piece of silk. But if you wish to, put a loose end of the sari through the flickering flame, if the silk starts to smell like burnt hair, it is genuine. Don’t worry you won’t end up ruining your sari. Fake ones mostly don’t smell at all even when you can see the threads burning. “This test works only with 100% zari. If there is polyester, then plastic will come out,” says Gautam Gupta. Here’s one last bit of information: If you are buying real zari, you can even ask for an authenticity certificate.Read more at:formal dresses perth | formal dresses canberra
(Photo:semi formal dresses)As an overture to the 69th annual prime time Emmy Awards coming up on Sept. 17, the Television Academy and FIDM Museum opened the Art of Television Costume Design Exhibition on Aug. 19. It is the 11th year of their partnership paying homage to the talents that clothe our favorite television characters. The exhibition features 139 Emmy nominations representing nine costume design nominations, in three categories. Included in the opening festivities was a special panel discussion for FIDM Alumni Association and FIDM Museum Fashion Council members featuring Mandy Moore and her “This Is Us” costume designer Hala Bahmet.
Emmy Award nominees, who gathered to see their creations “memorialized” in the FIDM Museum, were honored when Hayma Washington, chairman and CEO of the Television Academy, presided over their traditional Academy certificate presentation for nominees. FIDM President Tonian Hohberg, Barbara Bundy, director of the FIDM Museum and Sue Bub and Terry Ann Gordon of the Television Academy Costume Design & Supervision Governors, welcomed guests.
Just outside the entrance to the museum, nearly 1,000 guests, in an assortment of hot-weather fashion statements, enjoyed an al fresco summer soiree catered by Food Fetish.
“There is so much work that goes into these costumes that a viewer might not realize,” said designer Nick Verreos of FIDM. “For example, the replica of the wedding gown for then-Princess Elizabeth from ‘The Crown’ took six people almost seven weeks to hand-embroider, and that was just the train! It’s amazing what costume designers, and their teams, can accomplish under the time constraints imposed by film schedules. We have a red gown worn by Jessica Lange who played Joan Crawford in ‘FEUD: Bette and Joan’ and a blue chiffon beaded dress worn by Susan Sarandon (Bette Davis) that had to be made in one day. Incredible!”
In the crowd were six of this year’s Emmy-nominated designers: Lou Eyrich – “FEUD: Bette and Joan,” Allyson B. Fanger – “Grace and Frankie,” Alix Friedberg – “Big Little Lies,” Steven Norman Lee – ‘Dancing with the Stars,” Trish Summerville – “Westworld” and Mary Vogt – “Hairspray Live!” Also on the scene were designers Jacqueline Demetrio, Audrey Fisher, Ann Foley, Ayanna James, Jerian San Juan, Karin Wagner, Mark Bridges, Sonja Hays, Mandi Line, Mona May and Salvador Perez, president of the Costume Designers Guild; Eddie Marks, president of Western Costume; Ilse Metchek, president of the California Fashion Association; Joan and Donald Damask of the FIDM Museum Fashion Council, and Kevin Jones, FIDM museum curator.Read more at:formal dresses adelaide
Is your dry skin troubling you? Dry skin is an uncomfortable condition because of the scaling, itching, and cracking of the skin and it can occur for a variety of reasons. Some of the reasons behind your dry skin could be harsh soap, long hot showers, misusing moisturizer or some medical condition. But did you know that you can keep your skin moisturized and supple by using some simple home remedies? Yes, using natural homemade remedies you can take care of your dry skin. Here are some DIY face masks to take care of your dry skin. You can make these face masks with help of natural ingredients available in your kitchen.
Cucumber and aloe vera face mask
This mask will not only moisturize your skin but will also tighten your pores and brighten your skin. To make this mask, peel a cucumber and toss it into a blender and add 2 tablespoons of aloe vera gel to it. Blend until the ingredients form a thick consistent mixture. Smear this cucumber and aloe vera paste onto your face and rinse it with cold water after 30 minutes.
Egg and honey face mask
This nourishing face mask will help to rejuvenate your skin and give you a healthy glow. To make this face mask, in a bowl add 1 teaspoon of honey and 1 teaspoon of sunflower oil. To this add the white of one egg and mix them well. Apply this all over your face and after 15 minutes rinse it off with warm water.
Banana, honey and oatmeal face mask
This exfoliating face mask will deep cleanse your skin. To make this exfoliating face mask, in a blender add 1/2 ripe banana, 1/2 cup of oatmeal and 1 tablespoon of honey and blend well until it becomes a creamy paste. Apply it evenly on your face and after 15 minutes exfoliate your face with the mask by massaging it in circular motion while rinsing it off with warm water. Pat your face dry and apply some moisturizer.
Banana, yogurt and honey face mask
This face mask will moisturize your skin well, and to make it you just need ingredients that are easily found in your kitchen cabinet, Using a blender, blend together 2 fully ripe bananas, 1 tablespoon of honey and 1/2 cup of yogurt. You will get a consistent paste, apply it on your face and leave it for 20 minutes. After the face mask dries, wash it off with warm water.
Milk and honey face mask
Raw milk is a well-known moisturizer, using it on your face will give you quick results. This mask will hydrate your skin and keep it smooth and supple. To make this face mask mix 1 teaspoon of milk, 1 tablespoon of honey, 1 teaspoon of aloe vera gel and 2 drops of any essential oil. Mix all the ingredients well and apply it evenly on your skin. After 15 minutes wash it off with warm water. This mask will make your skin soft and smooth.Read more at:formal dresses melbourne | formal wear brisbane
NEW York is a long way from home but High Wycombe student Nakita Williams is ready for her first chance to hit the international runway when she heads to New York Fashion Week this month.
The invitation to the prestigious event comes after the 15-year-old Darling Range Sports College beauty caught the eye of Fremantle fashion designer Azulant Akora at Kalgoorlie Fashion Week last month.
Nakita said it was a dream come true.
“Walking in New York Fashion week is another career milestone for me,” she said.
“It’s a hard industry to be in but I’m lucky that I have so many people helping me and guiding me through.
“What I love about the industry is experiencing how people work behind the scenes, how much effort they put in to make everything look nice on the runway.
“Of course, being just 15 years old and to get dressed in the designer clothes plus hair and make-up done is a dream come true for most girls.”
Nakita said she had no illusions that the industry could be brutal.
“The fashion industry is constantly changing so if I’m given the opportunity, I always work to my best ability. But if I don’t get chosen I won’t feel upset because there’ll always be another opportunity in the future,” she said.