Orbunosex clothing, slow fashion, athleisure, androgynous or ecological—what is the future of fashion? Thankfully, it doesn’t any more lie in assembly line productions, fast fashion labels or fleeting trends. Or, so thinks the younger lot. We speak to five designers showcasing in the GenNext category of the upcoming Lakme Fashion Week Winter/Festive 2017, about the future of fashion.
Fashion goes wholesome and holistic
With athleisure becoming a staple rather than a trend, we are further bound for some more relaxation of rules. Designer Sumiran Sharma, running the label, Anaam, feels androgynous is the way to go. “In my opinion, the future of fashion shall be the no-gender clothing orbunosex clothing. Same silhouettes for both men and women. One product would cater to both the markets. Also, the future of fashion is sustainable fashion, ethical fashion and handloom fashion.” That sounds like music to our ears.
Virtual is a reality
Akshat Bansal loves working with shades of white and black. His label Bloni will be incorporating elements of athleisure in his upcoming collection. “I strongly believe that we haven’t evolved and explored much, India has much more to offer than we can ever imagine. Part of my collection will be bringing unconventional newness to our handcrafts and traditional wear.”
As for the future of fashion, he says, “It is high fashion for one and sustainable for another. Perhaps with the growing technology and especially virtual reality, it’s going to be more unreal then today. People travelling for shows and the real experience of touch and feel of fabrics and fashion will slowly eliminate. Augmented reality is soon going to change the sense of fashion since now it’s all about seeing it on the gadget.”
Some unique and under-used techniques
His current collection speaks a lot about his frame of mind. Deepak Pathak’s to be showcased collection is reminiscent of Bengali fishermen. He shares, “The garments are draped, twisted and tucked and have clean lines in an uncluttered palette of black and grey with organic embellishments.” As for the future of fashion, he believes, “It lies in hand rendered surfaces, a technique which I feel will be used more in seasons to come.”
Eco-fashion is here to stay
The designer-duo Saaksha and Kinnari feels, “Eco- fashion is going to be at the forefront of future fashion. Fast fashion is not only losing momentum, it is also losing popularity. The length or lifetime of a garment will be taken into account as will the notion of developing a garment with a cultural and emotional connect. More and more fashion brands are being deterred from purchasing or producing materials that are not made with recycled, organic materials.”
Yet another happy vision that we want to believe. As for the their upcoming collection, “It is based on the parallels between masculinity and femininity, delicate and dramatic. Where we chose softer more feminine silhouettes like flowy dresses, pleated skirts, and pussy-bow blouses, we used edgier colours such as bold reds, dramatic blues and steel greys. Where we used more masculine, stronger silhouettes such as the oversized jackets, the tank tops, and power trousers, we mixed softer fabrics and colours such a chanderi, chiffons with pinks, and dull golds.”
Fabric manipulation & surface techniques
Shenali and Rinzin, running the label Untitled Co, gives utmost importance to fabrics, which they pronounce as both their inspiration and foundation. “The industry is always on the look-out for something new. I believe that we as a brand love to play with traditional techniques and re-invent the existing. So, I think interesting surface techniques in terms of embroidery and fabric manipulation will be the next big things in fashion industry,” share the two, who’ve worked with clean lines and soft pastels for their upcoming collection.Read more at:formal dresses | semi formal dresses
The atmosphere was tense as the first shows of London Fashion Week Men’s began the day after the country headed to the polls for the latest general election. The Conservative party clung to power (barely), but the results were decisively shaped by the power of the youth vote, a surprise outcome that sent shock waves across the British capital and beyond.
It seemed fitting, therefore, that many of the spring 2018 collections were a fierce celebration of the next generation.
Big-league brands were all but absent from the five-season-old schedule: Burberry now holds its combined men’s and women’s show during womenswear in September, while this season J.W. Anderson decamped to the Pitti Uomo men’s trade fair in Florence, Italy.
As a result, there was a conspicuous absence of foreign fashion editors and buyers (at least compared with years past), and it was up to a chorus of emerging names to fly the flag for British menswear and its future on the international scene.
Luckily, many were up to the job. Here are some of the best things we saw during the four days of shows.
• Charles Jeffrey held his first, jaw-dropping stand-alone show
The Scottish-born designer, illustrator and radical creative Charles Jeffrey graduated from Central Saint Martins in 2015 after paying his way through school by hosting Loverboy, a wild monthly club night at the Vogue Fabrics nightclub in London’s Dalston neighborhood.
The party didn’t just make Jeffrey the talk of the town; it also spawned his avant-garde gender-bending menswear label of the same name, which had its debut stand-alone catwalk show after three seasons under the umbrella of Fashion East’s MAN.
The runway was a bizarre and joyous riot of colorful energy featuring dancers, pink cardboard dragons and lashings of gay couture; the show notes described it as “a euphoric unity of debauchery.”
Jeffrey, who considers his label to be the product of a collective of fellow art school creatives, be they seamstresses, dancers or choreographers, has been nominated for the 2017 LVMH Young Designers Prize. And the garments spoke volumes about the ambition of his vision: a mishmash of tailored, peplum-waisted gowns or baby doll dresses, accessorized with Tudor wimples, top hats and sunglasses; denim pantsuits; bondage pants, and T-shirts bedecked with slogans mocking tabloid headline hysteria (“Children High On Drink and Drugs” was one example).
But beneath the pantomime and theater, serious ideas were at work, including musings on self-expression, hedonism and the right to freedom. “We need to dance in the face of threats,” Jeffrey said. “It’s not enough to stay woke. We also need to be alive.”
• …while Grace Wales Bonner stripped things back
Winner of the 2016 LVMH prize and currently making waves in the industry with collections that ask boundary-pushing questions about black male culture and identity, Grace Wales Bonner is a rising star of the London menswear scene.
“I was thinking more in terms of minimalism this time,” Wales Bonner, 26, said after offering a procession of monochromatic suits and shorts-and-jacket combos, all with a lean and tailored silhouette that revolved around neat shoulders and flared trouser hems.
This being Wales Bonner, there was also more to consider than first met the eye. In past seasons, she has woven together historical and cultural narratives to give a rich and dense subplot to her clothes. But the inspirations this season were stripped back to an essay about the gay African-American activist and author James Baldwin, which was handed out to the audience, alongside pictures from “The Homoerotic Photography of Carl Van Vechten” (some of which were reprinted on singlets).
The designer said she had meditated on different states of being and “sexuality, more than sensuality. It is more severe that way.” That clarification of vision, and its rigorous execution on the catwalk, brought a fresh power to her work.
• And Craig Green delivered his best show to date
The final day of the London season, Green presented a superb show that demonstrated why he was named British menswear designer of the year at the British Fashion Council’s awards in December.
Shown deep in the dank belly of an unused Victorian railway station, the collection explored the idea of garments as tools for a journey — maps of self-exploration, where paths can be discovered through distinctive patterns and codes. So there were kite-like constructions fixed atop black sportswear looks in highly technical fabrics, and billowing denim pants paired with ribbed windbreakers and tops scored with lines that appeared to dissect the wearer.
Then came an eruption of colors: vivid patterns of palm trees and sunbeams printed on stiffened, corrugated fabrics that Green said were inspired by the thought of venturing toward paradise. Next, hemlines became longer and hoods became larger, until a final triumphant procession of robed jackets underscored both the designer’s continuing obsession with uniform and communal forms of dress .
When Green’s offerings are at their most theatrical, it’s easy to see why Ridley Scott tapped the 30-year-old to create costumes for his latest movie, “Alien: Covenant.” At their most understated — think jeans, T-shirts and perfectly cut workwear jackets — it’s also easy to see why the Craig Green brand continues to expand and grow.
• Elsewhere, Dame Vivienne proved the old guard can still come out on top
Trust Vivienne Westwood to take a runway bow in scribbles covering her body and clothing (including a T-shirt with an obscene slogan), chanting about politics and riding high on the sculpted shoulders of a dashing young acrobat.
The show began with rappers shouting out about the state of British politics from a colorful children’s playpen at the bottom of the runway. Then out spurted male and female performers, cavorting and cartwheeling in clothes mirroring Westwood’s favorite social causes: trash was encased in bright fishnets or tumbling out of satin bodices; plastic-bottle slippers on models’ feet.
Westwood runway staples deconstructing formal aristocratic attire — pinstriped suiting, paper crowns, slogan patterned prints and genderless corseted gowns — remained a rallying cry against the establishment.
It was outlandish, outrageous and a clear inspiration for many of the younger designers showing on the schedule. London’s best-known punk queen still packs serious punch.
• David Beckham was back on the calendar
Kent & Curwen is a 1920s vintage British menswear brand that has had new life breathed into it by Daniel Kearns, its creative director since 2015, and David Beckham, one of the brand’s owners.
The duo were on hand to present their spring collection, with Victoria Beckham, Beckham’s fashion designer wife, snapping away from the photo pen while models made their way around a sports court to show the latest wares. David Beckham said that the clothes — cricket whites, striped rugby sweaters and classic lightweight rain jackets — continued to be inspired by the brand’s sporting roots, and a sense of patriotism at a time when many Britons feel somewhat at sea.
“I feel that we should show a sense of pride in where we come from,” Beckham said of the collection, which used codes of traditional university sporting attire and sports badges, but with a 21st century update.
The dominant force on the London menswear scene continued to be sportswear. There was techno-fabric outerwear in sun-baked hues on display at Belstaff, speeding through different cultures, climates and terrains. Zip-up jackets, tight shorts and tracksuit silhouettes were offered by Cottweiler, spawned from ideas around off-grid Californian desert communities. And the Momentum collection from Hussein Chalayan was packed with slick, futuristic clothes designed to be in constant motion.Read more at:www.queenieau.com | bridesmaid dresses
(Photo:formal dresses online)In a scene at the beginning of “Wedding Crashers,” the Vince Vaughn character, Jeremy Grey, calls his co-worker and close friend into his office on a seemingly urgent matter.
“What’s going on?” asks John Beckwith, played by Owen Wilson.
He responds with a sigh and says they have three big weeks ahead of them. Then he delivers the kicker: “It’s wedding season, kid!”
“I’ve got us down for 17 of them already,” he continues.
They go on to debate which they enjoy more, Christmas or wedding season. The answer, of course, is wedding season.
It’s a classic movie, a comedy I can sit down and watch any time it’s on TV. Right about now, I feel like the Owen Wilson character and someone just told me I’m booked for 17 weddings. But the reality of wedding season becomes far less celebratory off-screen. Consider: the traveling, the gifts, finding baby (or dog-) sitters, buying new outfits and scheduling days off from work. If you happen to be in a wedding party, forget it. The list of responsibilities doubles. If you happen to also be getting married yourself in the same year — well, just hope your wedding is set for early in the season.
As the calendar flipped to June, I found myself in the midst of another jam-packed wedding season, with an estimated price tag somewhere north of $1,500, all things considered. Sometimes it’s better to just not think about the costs.
For my wife and me, the season actually kicked off in late April, when my cousin got married at a beautiful venue in Manhasset. Next weekend will mark our second wedding of the season, a two-day party in Queens for one of my good friends from college, who was a groomsman in my wedding last May. Another close friend with whom I lived with for a few years (also one of my groomsmen) is due up in July.
He was kind enough to book a venue just a mile from my home. August features a fourth wedding, this one the farthest away, in Maine, for another cousin. The season winds down in September with one final wedding on Long Island for another cousin. At least, unless another invitation pops up in the mail.
If you’re noticing a trend here, yes, I have a lot of cousins. My father is one of seven children and they have a combined total of 21 offspring, giving me a whole bunch of cousins. And we’re almost all in our early 20s to mid-30s — prime wedding time. So, the barrage has been non-stop.
Last year, my wife and I attended six weddings, including our own, and had to decline invitations to two. The season started and ended at the same venue: The Three Village Inn in Stony Brook. My wife’s cousin had gotten married there in a winter wedding and 10 months later my mom got married in the same location.
The wedding ended on a late October afternoon and, as we walked outside, we saw the outdoor chapel set up for another wedding, the lights beautifully shining on the chairs below. My wife spotted a familiar face: our co-worker’s mother. It just so happens our co-worker was getting married at the same venue.
How many people ever know two couples marrying in consecutive weddings on the same day at the same location?
At this point, I’ve attended so many weddings I could probably consider a career as a wedding planner. (My wife will cringe when she reads that sentence. Women always assert that men contribute nothing toward the planning.)
My experience with weddings, however, began even before I got invitations regularly. In high school, I worked as a photographer’s assistant for a family friend. This was before digital became the norm, so my responsibilities included changing the film, carrying bags and holding lights. It was a fun weekend gig, it paid well and I got to hang out with bridesmaids.
I worked all kinds of weddings, mostly in the city. I can remember missing Bobby Jones’ one-hitter for the Mets in a playoff victory over San Francisco in 2000 to clinch the series because of a wedding. Back then, without cellphones, there was no way to keep tabs on a game without sneaking off to a bar and hoping there was a TV.
The most recent wedding I attended happened to be the same night as a Rangers playoff game. A cellphone on our table had the game streaming all night.
You got to love technology.
The “Wedding Crashers” duo references 115 rules that they compiled crashing a random wedding. I found a website that lists all 115 and, although most are irrelevant for the typical person attending a wedding with a date, a few are still helpful.
For example, rule No. 91: “Never dance to ‘What I Like About You.’ It’s long past time to let that song go. Someone will request it at every wedding. Don’t dance to it.”
(Photo:www.queenieau.com)With an optimistic heart we welcomed the first month of Summer and dipped an apprehensive toe into the whirlpool of summer style.
A week of blue skies, balmy evenings, and BBQ’s compelled us to dig out our summer clobber, swap the heavy fur lined coats taking up valuable wardrobe space with lighter, brighter garments.
I set aside a morning to take on this mammoth task, determined to make the transition into a lighter style and banish the winter wools to the bottom drawer until the darker evenings swing back around.
If the saying ‘dress for the weather not the style’’ was our mantra , then this yearly ritual would never take place. I have come to learn, and reluctantly accept, that Ireland is indeed a country that will happily throw four seasons at us in one day.
BATTLING THE ELEMENTS
Summer wear can be a real conundrum for those of us who will battle the daily elements on Irish soil, finding the right balance between looking seasonal yet still appropriate for our unpredictable weather can be a grueling task.
At present the shops are awash with beautiful Boho style dresses, light floaty skirts and floral separates, ideal for holidaying abroad.
However we have to adapt a realistic approach when shopping about when and how much wear we will get from each item. We cannot get blind sided by the fantastic coloured beachwear on display, luring us in on the false promise of long days on sandy beaches with a cocktail in hand.
These are ideal for a two week holiday abroad but in some cases are not always the appropriate choice for our own shores and tempermental weather conditions.
We need to be savvy with what we purchase to ensure our summer wardrobe serves us well. With the exception of a few days where the higher sun factor may need lathering on, we still cannot stray too far from a light knit or jacket.
Think relaxed tailoring in the form of smart/casual jackets. (there are lengths, shapes and colours to suit all styles and shapes)
Worn over a dress with heels it will bring you from day to night or with jeans and t-shirt for a more relaxed daytime look.
Kimonos, are a great investment piece. They add colour and a playful seasonal addition to your wardrobe. Again think sleek separates ideal for layering.
If you are a little reluctant to expose your legs or indeed fancy something a little different culottes or palazzo style pants are a fresh variation on a summer dress, still carrying that summer vibe, bang on trend and again can be smartened up with a nice heel for work or evening wear. Go for a slip on loafer for a daytime approach on this look.
COLOUR IS KEY
Add a pop of colour in a new handbag, take inspiration from the SS17 catwalks with a brightly coloured bag, as seen at Victoria Beckham and Stella McCartney
Upgrade your eyewear to a colourful shade or a playful style. The oversized earring is the perfect way to embrace this seasons look.
Quiet often simple designs and subtle additions make the most impact. One brightly coloured piece can instantly update your look.
A psychedelic print scarf added to a ponytail or worn turban style around your head, as seen on Giorgio Armani, will elevate a simple outfit to an SS17 worthy look
For those of us less brave, try tying it around the strap of your favourite handbag for an instant update.
Reinvigorating our summer wardrobe doesn’t have to involve a total overhaul. Pick up key pieces when shopping that you can add to what you already own.
Be a little more daring with colour, it’s the time of year when we can bring out our own personality through our clothes by adding quirky and fun touches.
Embrace a little change and be confident enough to let your personality shine through!
(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
(Photo:formal dresses adelaide)There are few things more irritating than smug, feigned confusion, and yet everyone, from the Metro to female-focussed news websites, is exclaiming their bewilderment. The centre of all this fuss: a top. I’m not going to claim that the top is a firm wardrobe favourite of mine, and at £25 it is, perhaps, a little overpriced, but I can’t deny I’m tempted to take the plunge, if only to buy it a drink and congratulate it on all the ridiculous drama it’s caused.
What exactly is the item’s crime? A derogatory slogan? Hand-appliquéd sachets of pig’s blood? No. The top has—strap yourselves in—a big purple ruffle. This ‘scandal’, if we can call it that, is similar to outcries that have spread across the internet in response to other vaguely weird new items of clothing from high-street stores like the clear plastic-insert mom jeans from Topshop, which spurred the Tab headline: “Look at these ‘clear knee mom jeans’ from Topshop and tell me that God isn’t dead.”
My first reaction to seeing these articles was the same as my first reaction to any source of minor stress in my life: I thought about Meryl Streep’s monologue from The Devil Wears Prada where she chastises her wardrobe-incompetent new assistant for pretending to be entirely above fashion when, in reality, it’s an industry in which everyone plays a part. If journalists think the top is ugly then that’s fair, but certainly not worth the writing of an entire article.
What they are claiming is that it makes no sense, which is flat-out wrong. That top existing at this moment in time makes all the sense in the world. It’s no secret that ruffles are ‘in’—they’ve been trickling down the fashion food chain since approximately SS16—and, despite being wrongly pronounced dead more times than the perpetually sleepy goldfish you had as a child, band and skater tees are managing to cling to some form of ironic-grunge relevance. What’s apparently really bothering and confusing people is that anyone could possibly like the top—after all, it isn’t nude, doesn’t involve tastefully ripped denim, and doesn’t have city names printed on the front in a font that scream “wanderlust”, “go see the world”, and “I’m a trust fund baby”. Of course, shops are still stocking these things, and they’re still selling—nobody would try and deny that—but there’s something about the ruffled monstrosity that represents an attitude to fashion that’s coming up faster than some can handle.
In 2016, we were warned by one fashion columnist to “beware the frill” and to “be restrained” lest we look like an overenthusiastic toddler, or even a Gone with the Wind character. Instead, the key advice was to keep our fashion neutral—simple bags and cream clothes were in. Only a few sources dared to recommend a bare shoulder, or a bit of clashing print. The change since then hasn’t just been the typical shift from one season to another, but rather a meaningful shift in attitude—we’re being recommended bright and bold colours, frills, and even gingham! The idea of being afraid of coming across “too much” of something, and of practicing mannequin-like restraint in fashion, is being put aside by brands and publications with major voices.
It’s easy to attribute this to runoff from the recent work of Gucci, Prada, and the like,
and it’s undeniable that they’ve played a key role. Alessandro Michele is, without a doubt, uniquely visionary and has injected some serious fun and excitement into recent fashion weeks. However, this change has come from the ground up, as well as from the top down. Polyster Zine, a publication I’ve loved for years and, which seems to gain traction by the day, comes with the tagline: “Have faith in your own bad taste”. Makeup artists who made their name on Instagram such as Bea Sweet and Juliana Horner are changing what’s considered normal when it comes to painting your face, and the two way street of influence between us ‘millenials’ and the runway can be seen in the success of Desigual’s snapchat filter makeup, and the screeching, crash-and-burning failure of Dolce and Gabbana’s ‘influencer’ show.
It’s reasonable to ask what the importance of this all is, as it might seem like the current ‘thing’ is just to dress colourful and wacky, wearing giant purple frills across your body, and, in a year or so, it will be over. However this attitude crucially overlooks the culture surrounding the shift—it isn’t just clothes that are getting more fun, more experimental, and more risky. Unicorn-themed drinks, competitions between eateries to see who can produce the most convoluted crossover food item, and even the holy territory of enchantingly surreal memes all signify a visible cultural movement towards the absurd and the bold in a way that’s broad and far-reaching enough to stick around for a while. In terms of clothes, it’s very possible that the buzz around bright colours will fade and ruffles will fall out of favour. What we’ll be left with, however, is the idea that your bralet-legging-leopard-veil combo might be as unpleasant as a ramen burrito, but that it’s winning in its own way, just by turning heads.
This change also has major implications concerning the prevalent classism and snobbery within fashion. When the ‘big thing’ is minimalist, beige shapes, which are just meant to make your body look as ‘instaworthy’ as possible, all you want is the best possible version of these simple pieces. In the case of clothes like these, high-end names (which come with high-end prices) really do hold weight, otherwise you’re just wearing ‘normal’ and, let’s face it, boring clothes.
This means that wearing something from Primark (or the like) is often looked down upon. As the unusual becomes usual, however, wearing something from Primark can be a badge of honour—you managed to find something that cool and weird that cheaply? Because, while Primark probably can’t do a better version of a plain Cos shift dress, if it takes an unusual top from any of the big players in high street fashion and adds its own take, with an extra ruffle or a few rainbow tassles, it immediately becomes a completely worthwhile contender.
Anyone looking to channel these ‘go bigger and brighter’ looks won’t feel it necessary to look down at cheaper more attainable alternatives, which not only makes fashion phenomenally more accessible for people from poorer backgrounds, but equally helps to break down this classist snobbery within the fashion world. So, with the attitude of Miranda Priestly, let us shoo the bitter columnists who can’t handle ASOS’s ruff, or the seismic shift of which it’s only playing a microscopic part.
It doesn’t matter if the top’s ugly, and it doesn’t even matter that the band named on it doesn’t exist. Someone out there—one happy person —will be wearing it this week with a pair of bright red latex culottes, or a matchy-matchy lilac skirt, or maybe just a pair of jeans that onto which they’re building up the courage to sew a patch. And they won’t care what the Metro says. And they’ll look fantastic.Read more at:celebrity dresses
Fashion is not just the clothes, the hair, the shoes or the accessories; fashion is every little element combined that makes “the look.” Make-up is one of those crucial elements that can make or break your desired look. While going natural is acceptable, a little make-up can enhance any look. Here are a few tips to make sure you don’t waste a great outfit on bad make-up.
Always remember that make-up is applied in layers. Just like with other fashion elements, you have to start with the right foundation; then you have to build on it. When it comes to clothes, it’s about matching the right shirt or blouse with the right skirt, then matching the right skirt with the right shoe, adding the right accessories etc. When it comes to make-up, you have to match the right eye shadow with the right lip, then match that combo with the right sparkling highlighter. The right make-up can complement any look that you want to create as long as you remember that every element has to work together.
Make-up artist Ebony Harris, uses multi-colored shadows, glitters, and everything else in her make-up arsenal to capture her clients’ vision for their look.
“I always ask my clients, ‘What’s the occasion?’ or ‘What does your favorite outfit look like?’ so, that I can make sure that I apply the perfect look,” said Harris.
Seeking out interning and networking experiences while also looking for opportunities to transform one’s career is what Tiffany Lyght offers up as advice for aspiring students of fashion, retail and merchandising.
Lyght, who serves as digital analyst at The Children’s Place, is a graduate of the University of Wisconsin–Oshkosh, and launched her career as a client specialist at Gucci before pursuing a master’s of business administration degree at LIM College. Lyght’s résumé includes stints at Nautica and Tommy Hilfiger. She joined The Children’s Place in 2015 as the retailer’s e-commerce associate buyer, and was moved into her current role last year.
Here, as part of an ongoing series of career path feature stories in WWD, Lyght shares her insights about higher education in the industry as well as lessons she’s learned along the way.
WWD: How did your coursework and your experience at LIM help inform your career decisions?
Tiffany Lyght: LIM’s MBA program exposed me to the varying dimensions of business in the fashion industry. Although the coursework was challenging, the program was rewarding. It gave me the opportunity to learn from professors who were experts in their fields and work with extraordinary people from around the world. During my time at LIM, I improved my interpersonal and professional skills through group projects, presentations and internships. I also established relationships with mentors who assisted in the development of my career path.
WWD: If you could go back in time and give career advice to your younger self, what would you say?
T.L.: I would advise my younger self to take full advantage of internships. Specifically, to explore all areas of interest and understand the dynamics within various departments and their effect on the organization as a whole. Through this exploration, you may find an area you really enjoy and excel at. Gaining this knowledge early on can have long-term benefits and help you establish a definitive career path.
WWD: How would you describe your career path? What were some of the challenges you faced?
T.L.: My career path has been quite diverse, as I constantly yearn to learn more. I started working in sales and acquired knowledge through the customers and their perspective on the product. I then transitioned into merchandising, where I got the opportunity to influence the product throughout all stages — from development to its arrival in stores. While in merchandising, I was introduced to the e-commerce side of the business. I was intrigued by e-commerce and how data can be analyzed. So now I’m focusing on digital analytics.
WWD: Have you had mentors at LIM or in the industry? If yes, how have they helped you?
T.L.: A mentor once told me, “Work hard, stay positive and you will make it happen.” These words inspired me to make a dream become a reality — move to New York and start a career. Years later, I’ve found that no matter where I am in my career, having a good mentor is essential to my professional development.
Whether it be in the workplace or in our personal lives, we’re constantly learning and are confronted with challenges. By sharing their wisdom and knowledge, mentors provide important guidance and feedback.
WWD: What advice would you give someone considering a career in the retail and fashion apparel market?
T.L.: Intern and network! Internships are invaluable. They allow you to get firsthand experience while test-driving a career. Internships not only allow you to apply your academic knowledge to real-world situations; they also build your confidence in your abilities.
Internships also provide opportunities to network and establish relationships with mentors. The information and advice you get from these mentors can help reduce your learning curve and stimulate the growth of your career.Read more at:formal dresses adelaide | bridesmaid dresses online
(Photo:formal dresses)It is a truism of the history of dress that decade-defining looks generally don’t congeal until quite late in the period they eventually come to represent.
The miniskirts and Crayola colours of the 1960s, the power shoulders of the ’80s, the minimalism of the ’90s — all reached critical mass well into the midpoint of those eras, when whatever had been bubbling up in wardrobes and on sidewalks found its reflection in the wider world.
Well, we have finally reached that stage in the 2010s. The tectonic plates of fashion have shifted. Look around. What do you see?
Look to the runway: during the recent round of fashion shows, suits — and sleeves and long skirts — dominated. Look to the street, and the stores.
”Women who once bought strapless dresses with a little skirt are now buying evening gowns with sleeves and high necks,” said Claire Distenfeld, the owner of Fivestory, the destination boutique on the Upper East Side of Manhattan. ”Four seasons ago we couldn’t sell a blouse, and now everyone wants a blouse. Young women who used to come in and buy Balmain’s nonexistent dresses are leaving with knee-length skirts with a sweater or blouse by Emilia Wickstead.”
And speaking of Balmain — even that label offered long knits, long sleeves and long crocodile skins among the short-‘n’-fringed styles in its last collection.
Look to the red carpet: there was Ruth Negga owning the last awards season in a series of generously sleeved frocks, and then showing up at the Oscars almost entirely covered in red Valentino — long sleeves, high neck, long skirt — and making pretty much every top 10 best-dressed list of the night. Ditto Jessica Biel (in long-sleeved, high-necked, floor-length gold KaufmanFranco) and Isabelle Huppert (in long-sleeved, crew-necked, floor-length white Armani Privé).
Look to your own closet.
”It’s a macrotrend,” said Ghizlan Guenez, founder of The Modist, a new fashion site.
Which is to say, a trend that goes beyond fashion. But what exactly is it?
The end of the naked look. The beginning of a new age of female ”pluri-empowerment” (as Iza Dezon, a trend forecaster, told CNN), as expressed through the kind of dress that prioritizes the individual and her needs over the clichés of female role play. Arguably it began, as these things do, at least three years ago — The New York Times began chronicling young women on the streets of Brooklyn layering clothes in creative ways that shielded or swaddled their bodies back in 2015. But it is only now reaching critical mass, thanks to a convergence of social, political and cultural factors as reflected in clothing.
And as far as those issues go: women, fashion has you covered. In every sense of that word.
”We live in an age of reality TV and transparency, where everything is out there,” said Lucie Greene, worldwide director of the innovation group at J. Walter Thompson.
”Images of women being intensely beautified, sexualized and shown like dolls over many years has had an impact on me, as I believe it has on us all,” Phoebe Philo, the creative director of Céline, wrote in an email.
As an alternative, Philo has focused her work at Céline on designing clothes — often oversize, soft, enveloping — that act almost as a chrysalis from within which the woman can emerge.
This is one kind of esthetic reaction, but not the only one. It is not only about hemlines, for example, at least not in the vein of Newtonian fashion physics (everything that goes up must come down). It’s not about power dressing in the old, battering ram shoulder sense, but in the sense that when you feel secure and comfortable and protected, you feel stronger.
It is reflected in both the hip historiana of Giambattista Valli’s floral silk chiffons with their long sleeves, sweeping skirts and chaste necks, and the head-to-toe character-actor dressing at Gucci. In the boho Puritan lines of Pierpaolo Piccioli’s Valentino and the slouchy tailoring of Stella McCartney, the elegant rock-star suiting of Haider Ackermann and the windswept Victorian romance of Erdem. Also the swaddling chic of Michael Kors.
”When people are seated at fashion shows wearing pasties, the only thing that could be shocking is a tailored suit,” Kors said, referring to the surprise appearance last month of Nicki Minaj at 10:30 a.m. on a Saturday at the side of Haider Ackermann’s runway, her left breast almost entirely exposed. Also the fact that the whole look was still somehow much less seductively relevant than Alek Wek in a perfectly cut black cashmere tuxedo coat, skinny black trousers and black polo neck sashaying her way down the catwalk in front.
Perhaps because, as Greene said, one of the hallmarks of these clothes is that to a certain extent they ”reject the strictures of the male gaze.”
”They are not about what men want any more,” she continued, ”but about what women want.”
As women have found their voice politically, they have begun to express themselves sartorially, be it through white pantsuits, so-called pussy hats or the modest fashion movement. Clothes are an integral part of the debate over the freedom to make your own choices — whether about what you do with your body or who touches your body or what you put on your body — that began with the rise of gender-neutral dressing, picked up steam thanks to both the leaked tape of Trump talking about grabbing women and the debate over the hijab, and became even more visible during the Women’s March on Washington in January.
”Elegant” is a word that comes up a lot in association with the move to the more covered. ”Sophisticated” and ”practical,” too.
”I am convinced,” Kors said, ”that there is something far more alluring about women wearing things that give them confidence, that don’t make them feel as if they have to tug at their hemlines or yank at their straps.”Read more at:semi formal dresses
(Photo:plus size formal dresses)Now that Bench has launched its first ever fashion week, fans of its biennial underwear show need not worry. Ben Chan, chair of Suyen Corp., assured the public that the tradition would continue to live on with a huge show, which always manages to court controversy while leaving little to the imagination, sometime this November at the Mall of Asia Arena to mark Bench’s 30th anniversary.
Chan and his collaborators did away with the underwear show’s 2016 edition to focus their energies and resources in charting new directions for Bench. During the last three decades, Suyen Corp. has grown to include not only Bench, but also several homegrown and foreign brands like Human, Kashieca, Vero Moda, Cotton On, and American Eagle Outfitters.
That new thrust resulted in the recently concluded three-day Bench Fashion Week, another first in the history of Bench as well as local fashion retailing. Prior to the series of events held at Bench Playground, Suyen Corp. and its brands used to participate in fashion weeks organized and produced by other groups.
This year it decided to have full creative control by producing its own fashion week featuring not only its brands, but also the collections of three young Filipino designers—one designer per day—such as Sassa Jimenez, Rik Rasos and Pat Bondoc of Proudrace, and Ziggy Savella.
Chan also used the occasion to formally introduce Italian hunk Pietro Boselli as Bench’s new endorser on the last day of its three-day fashion week. Dubbed as the “hottest math teacher alive,” Boselli, a model and math professor, also has a PhD in mathematics and engineering tucked under his belt.
“I didn’t feel that the underwear show was getting old,” said Chan. “Controversy isn’t new to me. There has always been controversy ever since we started staging it.”
But with the advent of social media, the show reached a new level of controversy and condemnation from moralists and women’s groups the last time it was staged in 2014. Since the context of the show and its numerous segments were lost on piecemeal photos and videos uploaded by the audience on social media, Chan suddenly found himself being pilloried from all sides.
“It was one headache I didn’t need,” he said. “But when I recently asked a number of millennials whether I should continue with the show or not, they wanted to know why I was apprehensive, especially now that they are of age to watch it.”
That was when Chan realized that his much-awaited underwear and jeans extravaganza still resonated with today’s young audiences. The marketing whiz always credits his ability to stay relevant by constantly conducting dialogues with various groups, especially the youth. It’s the only way to go, he said, in a retail market now flooded with local and global brands.
“I will never get tired of talking to millennials,” he said. “The planning of this fashion week was no exception. We derived valuable ideas from other people. But at the end of the day, we ourselveshad to decide what to do.”
Three days of featuring three attractions per day can hardly be called a week, but Bench is slowly getting there. Leading stylist Noel Manapat, a longtime consultant for Suyen Corp., said that the next edition this September will definitely be bigger, as they will also feature 10 up-and-coming Filipino designers vying for the top three slots in the first Bench Design Awards.
Organizers of Amazon Fashion Week in Tokyo will be flying to Manila in September to be part of the judging panel. The top three winners will get to show their respective collections in the next Tokyo Fashion Week.
If these winners get lucky, they might even be able to expand their market abroad. Organizers of Tokyo Fashion Week, including a Japanese government agency, have a program called Asian Fashion Meets Tokyo, which aims to bridge various Asian designers with the Tokyo market.
“We have yet to open our contest to applicants,” said Manapat. “Once we do, everyone from all over the Philippines is welcome to join, as long as they’re Filipinos 35 years old and below. We’re open to a mix of new as well as established names because it takes a certain amount of skill and experience to produce cohesive and well-constructed pieces.” (The contest is now open. For details, go to benchblog.ph/benchdesignawards.)
It’s not even a prerequisite to require designers, including Jimenez and company, to sell their clothes through Bench or any of Suyen Corp.’s local brands. If they do wish to sell them, the company will most likely feature these pieces at its high-end multi-brand chain called Assembly.
As for the featured retail pieces in the recent Bench Fashion Week, everything is now available in stores throughout the summer months. Unlike abroad, consumers won’t have to wait for the fall/winter season to purchase what they’ve seen in spring/summer.
“Some are already available, while others will be shipped within the remainder of the summer season,” said Manapat. “Our show isn’t really for buyers. It’s meant for consumers and the press. You have nothing to wait for because we’ve taken a see-now, buy-now approach.”
Organizers also carefully matched the featured brands with the featured designers. Day 1 was devoted to women’s wear with collections from Kashieca, Vero Moda, and Sassa Jimenez. Day 2 was all about young, edgy streetwear with collections from Human, Cotton On, and Proudrace. Day 3 featured smart, casual, and contemporary dressing with collections from American Eagle Outfitters, Bench, and Ziggy Savella.Read more at:short formal dresses
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