Givenchy's catwalk shows are public debates that its designer Riccardo Tisci has with himself each season, where his inner demons and personal obsessions do battle for his soul.
The spring 2013 collection presented Sunday night, Sept. 30, was no different. The threads of religion, romance, gothic imagery and female power run through all his collections.
His staging showed the different directions in which he is swayed: a church organist in an elegant wooden scaffold at one end of the Paris high school interior courtyard where the show was staged, a rocking DJ duo at the other.
Just like the soundtrack, the clothes competed for attention. Tisci went back to the house's archive, and discovered some striking new moon shape tailoring - seen to great effect in stiff silk tops and theatrical cocoon jackets.
His women varied from the rapacious to the devout: a Catherine de Medici calico blouse one second, then a simmering femme fatale in a tunic of white jacquard, the sort of fabric a cardinal would wear. And as the church organist hit some super moody chords, a posse of sexy nun models paraded around the musician.
Most looks were finished with tough chic metal chokers, mini shoulder straps, bracelets and heels - adding punch to the ensembles.
'They came from Carlo Molino, but from his furniture not his work,' said Tisci backstage, as a mob of fans showered him with compliments.
It's been quite a season for Molino, the fantastical Italian architect and photographer of the faintly perverse, seeing as Consuelo Castiglioni at Marni in Milan cited him last week as an influence on her new geometric fashion.
There was little geometric about this Givenchy show, whose finale featured floor-length white chiffon blouses, with one side cut out to reveal tuxedo pants underneath. Every second look was trimmed and completed with a fluttering ruffle, a romantic touch to the dynamic yet fervent style.
However, though thoroughly accomplished, the show did not quite reach the heights of recent Givenchy outings. There were no special bookings or visiting super models like Gisele Bundchen or Natalia Vodianova, one of the highlights of Givenchy shows. Moreover, the trip to the archive, while intriguing, meant the collection broke less ground than one is used to with Tisci.
That said, even a couple of points off his A-game, a Givenchy show by Tisci is always a truly compelling affair.
This article is brought to you by MATCHMAKING.
Sunday, September 30, 2012
Celine: It's a New Dawn Baby
There was a new dawn in fashion today in Paris; a new era of proportion, led by the house of Celine, whose latest collection was the freshest take on modern dressing seen so far this season - a poetically evocative affair. In fact, Celine's creative director, Phoebe Philo, has become the most important women's designer capable of creating both sought after runway clothes and accessories while also seriously addressing women's practical needs.
As is her wont, Philo gave each guest her mood board, a carefully selected catalog of interior photographs mostly culled from Casa Vogue and the World of Interior telegraphing her cocooning frame of mind. A melange of hippie Victoriana and decayed modernism, they elegantly illustrated the mysterious connections in Philo's imagination.
The show, on Sunday, Sept. 30, was also all about the new sense of proportion seen across Paris runways - displaced oversized pockets or chess piece shaped tuxedo dresses and coats. Celine's new voluminous one button blazer had an intriguing '70s air and certainly lots of room to hide a baby bump or some extra pounds. And, to inject fashion buzz, there were lots of couture knots, most memorably in twisted knot blouses.
And by knots we mean football sized versions in silk or leather, used in cool, intriguing blouses.
'It's a about femininity, being gentle and support. Yes, support is really key, as I was having a baby when making this collection, and support means a lot then,' Philo said backstage. One thing is for sure, this is the first runway in which a Baby Bjorn to hold an infant has served as inspiration for one of the world's most anticipated runway shows.
Apart from making trendsetting clothes, Philo is also delivering in the accessories department. In a season when shoes seam to be the new handbags, she put Birkenstock-like shearling sandals in black and purple mink pumps on her catwalk, which are sure to be a bestsellers. Coming from a designer who has taken her bow in New Balance sneakers before, this is a statement from a woman who knows how to give comfort to her customer. But not only women would like to have these well-tailored luxury clothes. There have been rumors that a men's line is in the planning as soon as Philo can devote more time to the project after just having had her third child.
This news article is brought to you by PERSONAL FINANCE BLOG - where latest news are our top priority.
As is her wont, Philo gave each guest her mood board, a carefully selected catalog of interior photographs mostly culled from Casa Vogue and the World of Interior telegraphing her cocooning frame of mind. A melange of hippie Victoriana and decayed modernism, they elegantly illustrated the mysterious connections in Philo's imagination.
The show, on Sunday, Sept. 30, was also all about the new sense of proportion seen across Paris runways - displaced oversized pockets or chess piece shaped tuxedo dresses and coats. Celine's new voluminous one button blazer had an intriguing '70s air and certainly lots of room to hide a baby bump or some extra pounds. And, to inject fashion buzz, there were lots of couture knots, most memorably in twisted knot blouses.
And by knots we mean football sized versions in silk or leather, used in cool, intriguing blouses.
'It's a about femininity, being gentle and support. Yes, support is really key, as I was having a baby when making this collection, and support means a lot then,' Philo said backstage. One thing is for sure, this is the first runway in which a Baby Bjorn to hold an infant has served as inspiration for one of the world's most anticipated runway shows.
Apart from making trendsetting clothes, Philo is also delivering in the accessories department. In a season when shoes seam to be the new handbags, she put Birkenstock-like shearling sandals in black and purple mink pumps on her catwalk, which are sure to be a bestsellers. Coming from a designer who has taken her bow in New Balance sneakers before, this is a statement from a woman who knows how to give comfort to her customer. But not only women would like to have these well-tailored luxury clothes. There have been rumors that a men's line is in the planning as soon as Philo can devote more time to the project after just having had her third child.
This news article is brought to you by PERSONAL FINANCE BLOG - where latest news are our top priority.
Friday, September 28, 2012
Dresses that hid Frida Kahlo's pain come to light decades on
MEXICO CITY (Reuters) - The colorful dresses of Mexican painter Frida Kahlo will go on display for the first time in November after being kept hidden from public view for 50 years at the request of her husband, acclaimed muralist Diego Rivera.
Curators of the Kahlo's 'Blue House' in Mexico City discovered a trove of 300 dresses, bathing suits, accessories and photographs in 2004 and are now ready to show the public 22 items from the unique wardrobe that turned her into a fashion muse.
The exhibit explores Kahlo's fascination with Mexico's indigenous women and her penchant for richly embroidered ethnic frocks, flowery headpieces and ornate silver jewelry that earned her a photo shoot with Vogue magazine in 1937.
It also reveals how she chose clothes to hide her disfigurement after a bout of childhood polio that left one leg thinner than the other and a devastating bus accident that broke her spine in three places and left her in constant pain and scarred from subsequent surgeries.
'We must remember that Frida - like Diego - wanted the colors, the dress, the culture of Mexican women to be public and known,' said Carlos Phillips, head of the museums that exhibit Kahlo and Rivera's work.
'They were attempting to rescue a people which had been abandoned. Mexican society dressed like Europeans. Those types of clothes weren't appreciated as much anymore,' he said.
Kahlo and Rivera are two of Mexico's most celebrated figures, and their on-off stormy marriage was among the most prominent of the 20th century art world.
Kahlo, who died from pneumonia in 1954 at age 47, led a troubled life fraught with illness and tumultuous love affairs. A member of the Mexican Communist Party, she was a fierce supporter of the country's traditional culture.
'Frida Kahlo without a doubt is a very important icon in the fashion scene,' said Kelly Talamas, editor of Vogue magazine for Mexico and Latin America.
'She had more of a dark side, and also had her side in which she was inspired by the colors and the textures and the people and the culture here in Mexico,' she said. 'I think that's what's most inspiring to designers, that the pieces that she wore create a story.'
Vogue has commissioned contemporary Frida-inspired pieces from several designers to display alongside the originals.
PAIN AND DISFIGUREMENT
Kahlo began painting as a teenager while convalescing from the crash in 1925 and her work and the numerous self-portraits for which she is best known reflect the searing pain she lived with until her death.
The museum had respected Rivera's request to keep Frida's clothing under lock and key for half a century after she died in 1954. Rivera had wanted to preserve the items and protect them from people who might not take care of them properly.
When they did start examining the items, they were thrilled to find the exact outfit worn in the 1937 Vogue shoot.
Seen by Reuters, it features a European-inspired green, ruffled blouse with high neck and long sleeves, with small buttons down the back, and a voluminous, ivory-colored silk taffeta skirt with a floral print and lace hem. A magenta shawl wrapped around the shoulders completed the look. The blouse now has some stains from Kahlo's oil paints.
'She didn't just choose any dress. This particular dress ... symbolizes a strong woman,' said Circe Henestrosa, the exhibit's curator.
'It's also a dress that projected her political beliefs and her desire to promote her Mexican identity. As far as her disability, it's a dress that allowed her to hide her physical imperfections,' she said.
(Writing by Bernd Debusmann Junior and Louise Egan; Editing by Simon Gardner)
This news article is brought to you by TECHNOLOGY NEWS - where latest news are our top priority.
Curators of the Kahlo's 'Blue House' in Mexico City discovered a trove of 300 dresses, bathing suits, accessories and photographs in 2004 and are now ready to show the public 22 items from the unique wardrobe that turned her into a fashion muse.
The exhibit explores Kahlo's fascination with Mexico's indigenous women and her penchant for richly embroidered ethnic frocks, flowery headpieces and ornate silver jewelry that earned her a photo shoot with Vogue magazine in 1937.
It also reveals how she chose clothes to hide her disfigurement after a bout of childhood polio that left one leg thinner than the other and a devastating bus accident that broke her spine in three places and left her in constant pain and scarred from subsequent surgeries.
'We must remember that Frida - like Diego - wanted the colors, the dress, the culture of Mexican women to be public and known,' said Carlos Phillips, head of the museums that exhibit Kahlo and Rivera's work.
'They were attempting to rescue a people which had been abandoned. Mexican society dressed like Europeans. Those types of clothes weren't appreciated as much anymore,' he said.
Kahlo and Rivera are two of Mexico's most celebrated figures, and their on-off stormy marriage was among the most prominent of the 20th century art world.
Kahlo, who died from pneumonia in 1954 at age 47, led a troubled life fraught with illness and tumultuous love affairs. A member of the Mexican Communist Party, she was a fierce supporter of the country's traditional culture.
'Frida Kahlo without a doubt is a very important icon in the fashion scene,' said Kelly Talamas, editor of Vogue magazine for Mexico and Latin America.
'She had more of a dark side, and also had her side in which she was inspired by the colors and the textures and the people and the culture here in Mexico,' she said. 'I think that's what's most inspiring to designers, that the pieces that she wore create a story.'
Vogue has commissioned contemporary Frida-inspired pieces from several designers to display alongside the originals.
PAIN AND DISFIGUREMENT
Kahlo began painting as a teenager while convalescing from the crash in 1925 and her work and the numerous self-portraits for which she is best known reflect the searing pain she lived with until her death.
The museum had respected Rivera's request to keep Frida's clothing under lock and key for half a century after she died in 1954. Rivera had wanted to preserve the items and protect them from people who might not take care of them properly.
When they did start examining the items, they were thrilled to find the exact outfit worn in the 1937 Vogue shoot.
Seen by Reuters, it features a European-inspired green, ruffled blouse with high neck and long sleeves, with small buttons down the back, and a voluminous, ivory-colored silk taffeta skirt with a floral print and lace hem. A magenta shawl wrapped around the shoulders completed the look. The blouse now has some stains from Kahlo's oil paints.
'She didn't just choose any dress. This particular dress ... symbolizes a strong woman,' said Circe Henestrosa, the exhibit's curator.
'It's also a dress that projected her political beliefs and her desire to promote her Mexican identity. As far as her disability, it's a dress that allowed her to hide her physical imperfections,' she said.
(Writing by Bernd Debusmann Junior and Louise Egan; Editing by Simon Gardner)
This news article is brought to you by TECHNOLOGY NEWS - where latest news are our top priority.
Girl Scout Cookie boxes get design makeover
(Reuters) - Girl Scout Cookies, a perennial U.S. snack favorite, will get a new-look package for the upcoming sales season, the organization said on Friday.
The new design will showcase five entrepreneurial skills that the $790 million business teaches girls, the Girl Scouts said in a statement.
'We have more than 50 million cookie customers across the country, and the cookie box is the most tangible and powerful way for us to communicate directly with consumers,' said Girl Scouts of the USA Chief Executive Anna Maria Chávez.
The skills that will be displayed are goal setting, decision making, money management, people skills, and business ethics.
The new boxes feature the group's trefoil emblem and they show girls kayaking, working in a park and speaking at scout events, among other activities.
The new look is part of a Girl Scouts brand renewal as the 3.2 million-member organization marks its 100th birthday. The last cookie package makeover was in 1999.
Anthem Worldwide, a unit of marketer Schawk Inc, did the redesign. David Hume Kennerly, a Pulitzer Prize-winning photographer, took pictures of Girl Scouts from the New York area for the boxes.
The Girl Scout Cookie Program starts in October and runs through May, with sales peaking in late January or early February.
(Reporting by Ian Simpson; Editing by Gary Hill)
This news article is brought to you by INTERNET NEWS - where latest news are our top priority.
The new design will showcase five entrepreneurial skills that the $790 million business teaches girls, the Girl Scouts said in a statement.
'We have more than 50 million cookie customers across the country, and the cookie box is the most tangible and powerful way for us to communicate directly with consumers,' said Girl Scouts of the USA Chief Executive Anna Maria Chávez.
The skills that will be displayed are goal setting, decision making, money management, people skills, and business ethics.
The new boxes feature the group's trefoil emblem and they show girls kayaking, working in a park and speaking at scout events, among other activities.
The new look is part of a Girl Scouts brand renewal as the 3.2 million-member organization marks its 100th birthday. The last cookie package makeover was in 1999.
Anthem Worldwide, a unit of marketer Schawk Inc, did the redesign. David Hume Kennerly, a Pulitzer Prize-winning photographer, took pictures of Girl Scouts from the New York area for the boxes.
The Girl Scout Cookie Program starts in October and runs through May, with sales peaking in late January or early February.
(Reporting by Ian Simpson; Editing by Gary Hill)
This news article is brought to you by INTERNET NEWS - where latest news are our top priority.
Thursday, September 27, 2012
"Fifty Shades of Grey" sparks marketing mania
NEW YORK (Reuters) - Wildly popular erotica trilogy 'Fifty Shades of Grey' has inspired publishers, record labels, sex shops, and even crafty parents to submit - to the desire to cash in, that is.
The trio of novels by British writer E.L. James that has so far sold 32 million copies in the United States has spawned a legion of fans clamoring for anything and everything Grey-related. And businesses are aiming to meet that demand.
Manhattan sex shop Babeland co-founder Claire Cavanah said after the final book in the trilogy was released in the United States in January, customers 'were asking for specific toys that they had read about,' but when the trilogy was re-released in April, 'the product sales started to really spike.'
Since then Cavanah noticed a sevenfold increase in demand for a particular sex toy featured in a sex scene between the book's two main characters, the dominant Christian Grey and ingénue Anastasia Steele. Riding crops, restraints, blindfolds, and spanking powder have also been popular.
The store also sells special 'Fifty Shades' kits and hosts 'Fifty Shades'-themed workshops that teach the mostly female attendees how to use the sex toys, but Cavanah said that wasn't the only curiosity - 'They also just want to get together and see each other.'
Fans have also been offered 'Fifty Shades'-themed fashions, accommodations, and more recently, an official music album.
'Fifty Shades of Grey: The Classical Album,' featuring Bach and Chopin, is the only spin-off item James has so far endorsed.
Released by EMI with tracks James personally selected, it debuted at No. 1 on the U.S. classical charts in September. The album resulted after another 'Fifty Shades' compilation series hit No. 1 in July on iTunes, said EMI Classics Vice President Wendy Ong, 'and she (James) noticed, and we started talking.'
Asked about the other spin-off products at the New York album launch, James told reporters, 'All of this has been a huge shock to my system. If people want this stuff, why not? If we can get it out there to people, then ... that's a good thing.'
'WUTHERING HEIGHTS' BONDAGE
Yet some eyebrows have been raised at other efforts by entrepreneurs, including one British hotel that replaced its nightstand Bibles with copies of 'Fifty Shades,' with the Damson Dene Hotel owner Jonathan Denby telling Reuters that the hotel wanted to provide 'something that people actually want to read.'
Even baby clothes have been subjected to the marketing blitz. One Toronto couple emblazoned baby onesies with sayings like '9 months ago my mommy read 50 Shades of Grey' and 'All Mommy wanted was a night with Mr. Grey.'
The feedback has been mixed, but seller Kyle Lawley said that he and his wife had been surprised by strong sales. 'Some people say 'it's taboo, I'd never put my kid in that,' and others say it's clever, it's funny, it's humorous,' he said.
Publishers are also looking to cash in on the trend. Penguin's 'Diary of a Submissive: A Modern True Tale of Sexual Awakening,' has been marketed by directly comparing it to 'Fifty Shades', which was initially self-published on the Internet.
Other publishers, such as those of racier versions of literary classics such as 'Jane Eyre', and 'Sherlock Holmes', say the link is less transparent.
A new version of 'Wuthering Heights' will be released in October featuring Catherine and Heathcliff engaging in bondage.
The books publisher, Total-E-Bound founder Claire Siemaszkiewicz, said James' series made it easier for sexed-up books to gain a market foothold, but dismissed criticism that the classics have been sullied, saying they have been brought 'to a new generation of reader.'
A 'Fifty Shades' movie is also in the works, but James has vowed she will not write any more books for the series. Still, her next book should whet fiction fans' appetites.
'It's an erotic tale, yeah. That's all I'm going to say about it,' she said coyly.
(Additional reporting by Alicia Powell, Editing by Christine Kearney and Richard Chang)
This article is brought to you by PERSONALS.
The trio of novels by British writer E.L. James that has so far sold 32 million copies in the United States has spawned a legion of fans clamoring for anything and everything Grey-related. And businesses are aiming to meet that demand.
Manhattan sex shop Babeland co-founder Claire Cavanah said after the final book in the trilogy was released in the United States in January, customers 'were asking for specific toys that they had read about,' but when the trilogy was re-released in April, 'the product sales started to really spike.'
Since then Cavanah noticed a sevenfold increase in demand for a particular sex toy featured in a sex scene between the book's two main characters, the dominant Christian Grey and ingénue Anastasia Steele. Riding crops, restraints, blindfolds, and spanking powder have also been popular.
The store also sells special 'Fifty Shades' kits and hosts 'Fifty Shades'-themed workshops that teach the mostly female attendees how to use the sex toys, but Cavanah said that wasn't the only curiosity - 'They also just want to get together and see each other.'
Fans have also been offered 'Fifty Shades'-themed fashions, accommodations, and more recently, an official music album.
'Fifty Shades of Grey: The Classical Album,' featuring Bach and Chopin, is the only spin-off item James has so far endorsed.
Released by EMI with tracks James personally selected, it debuted at No. 1 on the U.S. classical charts in September. The album resulted after another 'Fifty Shades' compilation series hit No. 1 in July on iTunes, said EMI Classics Vice President Wendy Ong, 'and she (James) noticed, and we started talking.'
Asked about the other spin-off products at the New York album launch, James told reporters, 'All of this has been a huge shock to my system. If people want this stuff, why not? If we can get it out there to people, then ... that's a good thing.'
'WUTHERING HEIGHTS' BONDAGE
Yet some eyebrows have been raised at other efforts by entrepreneurs, including one British hotel that replaced its nightstand Bibles with copies of 'Fifty Shades,' with the Damson Dene Hotel owner Jonathan Denby telling Reuters that the hotel wanted to provide 'something that people actually want to read.'
Even baby clothes have been subjected to the marketing blitz. One Toronto couple emblazoned baby onesies with sayings like '9 months ago my mommy read 50 Shades of Grey' and 'All Mommy wanted was a night with Mr. Grey.'
The feedback has been mixed, but seller Kyle Lawley said that he and his wife had been surprised by strong sales. 'Some people say 'it's taboo, I'd never put my kid in that,' and others say it's clever, it's funny, it's humorous,' he said.
Publishers are also looking to cash in on the trend. Penguin's 'Diary of a Submissive: A Modern True Tale of Sexual Awakening,' has been marketed by directly comparing it to 'Fifty Shades', which was initially self-published on the Internet.
Other publishers, such as those of racier versions of literary classics such as 'Jane Eyre', and 'Sherlock Holmes', say the link is less transparent.
A new version of 'Wuthering Heights' will be released in October featuring Catherine and Heathcliff engaging in bondage.
The books publisher, Total-E-Bound founder Claire Siemaszkiewicz, said James' series made it easier for sexed-up books to gain a market foothold, but dismissed criticism that the classics have been sullied, saying they have been brought 'to a new generation of reader.'
A 'Fifty Shades' movie is also in the works, but James has vowed she will not write any more books for the series. Still, her next book should whet fiction fans' appetites.
'It's an erotic tale, yeah. That's all I'm going to say about it,' she said coyly.
(Additional reporting by Alicia Powell, Editing by Christine Kearney and Richard Chang)
This article is brought to you by PERSONALS.
Balmain: Rococo Rockstar Fashion
So many people have claimed to be, or have been given the mantle of being, the new Versace that it's an almost redundant phrase. But if any brand is where the house of Versace ought to be today then it is Balmain.
Not only because both Gianni Versace and Balmain's designer, Olivier Rousteing, rely on the same key elements to create their bravura collections - emotion and slick technique, married to a genuine love of women and their ability to truly dazzle.
Rousteing's latest runway display, a spring 2013 collection shown in Paris on Thursday, Sept. 27, was a bravura performance, where he blended elements of New Wave, haute glam and Latin rococo grandeur.
Medieval lady knights marched up and down the catwalk, clad in spun gold armor; two-tone gentile rockstars simmered in black and white redingotes; femme fatales emoted in micro check harlequin jumpsuits.
The sheer technical audacity was pretty awesome - from finely spun jacquard guipure tunics that looked like malleable stucco to a divine screen goddess Prussian blue mini cocktail exploding with crystals. Balmain's designer is also a great cutter - his hyper wide shouldered, square gorged jackets and forgiving, nipped at the ankle pants were flawless.
Another thing Rousteing and the late, great Versace share in common: models love to wear their clothes. The catwalk's latest new comer star, pouty-lipped blond Danish beauty Nadia Bender, all done up in crystals and shiny shoulders, jumped up and down for joy backstage as she 'posed' with Rousteing for photos.
'Cuban Latin power, Sade and '90s inspiration. Steven Meisel and Peter Lindberg's shoots, the power years of the '90s, when Linda Evangelista was fighting with her husband in the street in shoots. Powerful women,' said Rousteing, referring to the very glory years of Versace.
Rousteing within just two seasons is already in a league of his own and has taken over Christophe Decarnin's successful ground work to make this a must-see show in Paris. If only the Grand Hotel space would feel a bit more glamourous. Next time make it the Ritz Pool.
This news article is brought to you by MUSIC UNITED 1 - where latest news are our top priority.
Not only because both Gianni Versace and Balmain's designer, Olivier Rousteing, rely on the same key elements to create their bravura collections - emotion and slick technique, married to a genuine love of women and their ability to truly dazzle.
Rousteing's latest runway display, a spring 2013 collection shown in Paris on Thursday, Sept. 27, was a bravura performance, where he blended elements of New Wave, haute glam and Latin rococo grandeur.
Medieval lady knights marched up and down the catwalk, clad in spun gold armor; two-tone gentile rockstars simmered in black and white redingotes; femme fatales emoted in micro check harlequin jumpsuits.
The sheer technical audacity was pretty awesome - from finely spun jacquard guipure tunics that looked like malleable stucco to a divine screen goddess Prussian blue mini cocktail exploding with crystals. Balmain's designer is also a great cutter - his hyper wide shouldered, square gorged jackets and forgiving, nipped at the ankle pants were flawless.
Another thing Rousteing and the late, great Versace share in common: models love to wear their clothes. The catwalk's latest new comer star, pouty-lipped blond Danish beauty Nadia Bender, all done up in crystals and shiny shoulders, jumped up and down for joy backstage as she 'posed' with Rousteing for photos.
'Cuban Latin power, Sade and '90s inspiration. Steven Meisel and Peter Lindberg's shoots, the power years of the '90s, when Linda Evangelista was fighting with her husband in the street in shoots. Powerful women,' said Rousteing, referring to the very glory years of Versace.
Rousteing within just two seasons is already in a league of his own and has taken over Christophe Decarnin's successful ground work to make this a must-see show in Paris. If only the Grand Hotel space would feel a bit more glamourous. Next time make it the Ritz Pool.
This news article is brought to you by MUSIC UNITED 1 - where latest news are our top priority.
Wednesday, September 26, 2012
Fashion For Grown Ups at Rue du Mail
If there is such a thing as intellectual fashion then its leading thinker is Martine Sitbon, whose latest collection was an elegant statement on how cultural references allied with cerebral cutting and fabrics can create clothes that tell us something about our own thoughts.
Sitbon, the designer of Rue du Mail, the brand she founded on atmospheric Right Bank street in Paris, referenced a '60s idea of the future throughout, with clever hints of designers like Andre Courreges and Pierre Cardin, the first era when the mass media began to follow fashion. Yet, her retro futurist patent leather and plastic-coated boxy jackets never felt old, more a telling comment on our own naive idea about the future.
Sitbon's favorite material was a semi-sheer stiff chiffon, with an outer layer whose lines and mini dots echoed early TV network logos; while her marvelous soundtrack consisted of clanking beats and whirring motors, like a space ship taking off in a black and white film.
'I wanted joie de vivre. A gal that was tough but also pretty girly. Individuality, but no easy perfection,' the designer said, after finishing with a series of see-through nylon trench coats and parkas, a high-tech menswear trend that has moved into women's wear this season.
Circles, short lines, scribbles all dashed across the cocktail dresses, before developing eventually into flowers, in this artfully styled collection. A future that was sweet yet also hardy.
'Flowers, yes but pretty abstract ones,' added the designer, before greeting a flock of young models, thanking her for the show, treating her like the cool big sister they always wanted.
This news article is brought to you by SPACE AND ASTRONOMY NEWS - where latest news are our top priority.
Sitbon, the designer of Rue du Mail, the brand she founded on atmospheric Right Bank street in Paris, referenced a '60s idea of the future throughout, with clever hints of designers like Andre Courreges and Pierre Cardin, the first era when the mass media began to follow fashion. Yet, her retro futurist patent leather and plastic-coated boxy jackets never felt old, more a telling comment on our own naive idea about the future.
Sitbon's favorite material was a semi-sheer stiff chiffon, with an outer layer whose lines and mini dots echoed early TV network logos; while her marvelous soundtrack consisted of clanking beats and whirring motors, like a space ship taking off in a black and white film.
'I wanted joie de vivre. A gal that was tough but also pretty girly. Individuality, but no easy perfection,' the designer said, after finishing with a series of see-through nylon trench coats and parkas, a high-tech menswear trend that has moved into women's wear this season.
Circles, short lines, scribbles all dashed across the cocktail dresses, before developing eventually into flowers, in this artfully styled collection. A future that was sweet yet also hardy.
'Flowers, yes but pretty abstract ones,' added the designer, before greeting a flock of young models, thanking her for the show, treating her like the cool big sister they always wanted.
This news article is brought to you by SPACE AND ASTRONOMY NEWS - where latest news are our top priority.
Sunday, September 23, 2012
Stars favor bold colors and sophistication for Emmy fashion
LOS ANGELES (Reuters) - At the first big red carpet event of the award season, stars donned bold colors and sophisticated designs in the sweltering heat at television's Emmy Awards on Sunday.
Bright yellow was a popular choice on the red carpet among the younger starlets and veteran actresses, including Julianne Moore (in full-length Christian Dior haute couture), 'Homeland' star Claire Danes (in strapless, draped Lanvin), Leslie Mann (in yellow and white Naeem Khan), 'Modern Family' Emmy winner Julie Bowen (in Monique Lhuillier), 'New Girl' actress Hannah Simone (in asymmetric Pucci) and 'Big Bang Theory's' Kaley Cuoco (in a strapless peplum Angel Sanchez).
'It would definitely get an award for bringing the dead back to life in its color,' Bowen said of her dress backstage after winning the Emmy for best supporting actress in a comedy. 'It was bold for me, but it's a classic shape.'
Hal Rubenstein, fashion director at InStyle magazine, praised the bold color choices and selected Julianne Moore's full-length yellow Dior couture gown as his favorite.
'On one hand, it recalls the best of Dior, and yet it was mixed through with all the modernity that (designer) Raf Simons brought to the house of Jil Sander and now will bring to the house of Dior,' Rubenstein said.
Despite an unseasonably hot September day with temperatures hovering near 90 degrees, actresses managed to look cool in blue, white and grey gowns.
'New Girl' star and nominee Zooey Deschanel wore a pastel blue Reem Acra dress with a full tulle skirt, keeping her hair and makeup simple. Heidi Klum turned out in a turquoise Alexandre Vauthier gown and starlet Hayden Panettiere was attired in a teal and gold asymmetric Marchesa dress.
Pale gray was a hot color for fall, seen on 'Revenge' star Emily VanCamp in J Mendel, 'Homeland' actress Morena Baccarin in Basil Soda and 'Veep' star Anna Chlumsky in Christian Siriano.
Siriano also dressed 'Mad Men' bombshell Christina Hendricks in a pale grey-white strapless gown, echoed by 12-year-old 'Mad Men' starlet Kiernan Shipka in a pale grey strapless Zac Posen. Lucy Liu shimmered in a fitted, metallic Versace strapless dress.
'The dresses were more influenced by the weather than the trends from the runway for fall. The clothes were actually very bright and sophisticated, there were a lot of ethereal colors and bright colors ... the colors were big, bright and happy,' Rubenstein said. 'I thought people looked good.'
Fashion stylist and expert Sam Saboura was less impressed, saying he was 'underwhelmed.'
'I thought it was a little subdued. I wasn't blown away by anyone in particular, but key trends tonight were a lot of strapless and A-line dresses,' Saboura told Reuters. 'Last year we saw a lot of flared gowns hugging the body with mermaid tails, but the A-line was a little softer, a little more relaxed.'
Deep red jewel tones also proved popular, with comedian Tina Fey leading a host of stars in a strapless Vivienne Westwood, echoed by Julia Louis-Dreyfus in Vera Wang, Jena Malone in burgundy J Mendel and 'Big Bang Theory' nominee Mayim Bialik in a modest but glamorous Pamella Roland number.
Actress Nicole Kidman in an Antonio Berardi column sheath with blue sequined embellishments had fashionistas and fans split. Saboura said he felt the dress 'did not do her justice,' while Rubenstein said it was 'clean and modern.'
Floral prints added interest to the red carpet. Julianna Margulies wore a strapless floral baroque-style Giambattista Valli gown and Ginnifer Goodwin donned a white and red embellished Monique Lhuillier, a choice that Saboura called 'interesting.'
'There was a lot of sparkle and shine,' Saboura said. 'I thought it'd be more garish than glamorous, and I thought it was actually understated glamour tonight.'
(Reporting By Piya Sinha-Roy; Editing by Stacey Joyce)
This news article is brought to you by GAMING NEWS - where latest news are our top priority.
Bright yellow was a popular choice on the red carpet among the younger starlets and veteran actresses, including Julianne Moore (in full-length Christian Dior haute couture), 'Homeland' star Claire Danes (in strapless, draped Lanvin), Leslie Mann (in yellow and white Naeem Khan), 'Modern Family' Emmy winner Julie Bowen (in Monique Lhuillier), 'New Girl' actress Hannah Simone (in asymmetric Pucci) and 'Big Bang Theory's' Kaley Cuoco (in a strapless peplum Angel Sanchez).
'It would definitely get an award for bringing the dead back to life in its color,' Bowen said of her dress backstage after winning the Emmy for best supporting actress in a comedy. 'It was bold for me, but it's a classic shape.'
Hal Rubenstein, fashion director at InStyle magazine, praised the bold color choices and selected Julianne Moore's full-length yellow Dior couture gown as his favorite.
'On one hand, it recalls the best of Dior, and yet it was mixed through with all the modernity that (designer) Raf Simons brought to the house of Jil Sander and now will bring to the house of Dior,' Rubenstein said.
Despite an unseasonably hot September day with temperatures hovering near 90 degrees, actresses managed to look cool in blue, white and grey gowns.
'New Girl' star and nominee Zooey Deschanel wore a pastel blue Reem Acra dress with a full tulle skirt, keeping her hair and makeup simple. Heidi Klum turned out in a turquoise Alexandre Vauthier gown and starlet Hayden Panettiere was attired in a teal and gold asymmetric Marchesa dress.
Pale gray was a hot color for fall, seen on 'Revenge' star Emily VanCamp in J Mendel, 'Homeland' actress Morena Baccarin in Basil Soda and 'Veep' star Anna Chlumsky in Christian Siriano.
Siriano also dressed 'Mad Men' bombshell Christina Hendricks in a pale grey-white strapless gown, echoed by 12-year-old 'Mad Men' starlet Kiernan Shipka in a pale grey strapless Zac Posen. Lucy Liu shimmered in a fitted, metallic Versace strapless dress.
'The dresses were more influenced by the weather than the trends from the runway for fall. The clothes were actually very bright and sophisticated, there were a lot of ethereal colors and bright colors ... the colors were big, bright and happy,' Rubenstein said. 'I thought people looked good.'
Fashion stylist and expert Sam Saboura was less impressed, saying he was 'underwhelmed.'
'I thought it was a little subdued. I wasn't blown away by anyone in particular, but key trends tonight were a lot of strapless and A-line dresses,' Saboura told Reuters. 'Last year we saw a lot of flared gowns hugging the body with mermaid tails, but the A-line was a little softer, a little more relaxed.'
Deep red jewel tones also proved popular, with comedian Tina Fey leading a host of stars in a strapless Vivienne Westwood, echoed by Julia Louis-Dreyfus in Vera Wang, Jena Malone in burgundy J Mendel and 'Big Bang Theory' nominee Mayim Bialik in a modest but glamorous Pamella Roland number.
Actress Nicole Kidman in an Antonio Berardi column sheath with blue sequined embellishments had fashionistas and fans split. Saboura said he felt the dress 'did not do her justice,' while Rubenstein said it was 'clean and modern.'
Floral prints added interest to the red carpet. Julianna Margulies wore a strapless floral baroque-style Giambattista Valli gown and Ginnifer Goodwin donned a white and red embellished Monique Lhuillier, a choice that Saboura called 'interesting.'
'There was a lot of sparkle and shine,' Saboura said. 'I thought it'd be more garish than glamorous, and I thought it was actually understated glamour tonight.'
(Reporting By Piya Sinha-Roy; Editing by Stacey Joyce)
This news article is brought to you by GAMING NEWS - where latest news are our top priority.
Porta Nuova Geometrical Marni
Few shows have better summed up the new geometry trend dominating the current fashion season than the sensitively architectural Marni spring 2013 collection, presented Sunday, Sept. 23, in Milan.
Then again, the show's location did hint why. Marni stages their runway shows behind Porta Nuova, the giant skyscraper dotted redevelopment of north central Milan.
Just the banking and regional businesses are radically re-writing the Italian fashion capital's skyline practically every month, so Marni's thoroughly elegant collection suggested a new fashionable vernacular of sharp edged sculpted chic.
Semi circles and sliced dots dominated the checks that were the key fabric in this show; boxy handbags had geometric weaves - their very repetition adding to the modernist elan. Consuelo Castiglioni, creative director of Marni, ignited and led a huge movement in fashion of large vinyl and applique accessories. This season, her looked was stripped back - the few brooches and earrings made in carved wood.
The new high-tech influence even extended to the Geisha geta footwear; finished with metallic trim they will surely ignite a major trend.
'Clean, fresh but with controlled volume. Inspired by Carlo Mollino and Anni Albers ideas in Bauhaus,' explained the designer, referring to fantastical Italian architect and the legendary German textile designer and printmaker.
Castiglioni also took a lot of risks with her silhouette - adding multiple peplums to flared skirts and dresses in a deft display of cutting. Yet, though buildings are required to be solid, these Marni clothes were almost weightless, many of the ribboned nylon coats and bonded leather tunics floating slightly off the body. Thus, even if they were voluminous, they looked light and airy.
This news article is brought to you by WOMEN'S BLOG - where latest news are our top priority.
Then again, the show's location did hint why. Marni stages their runway shows behind Porta Nuova, the giant skyscraper dotted redevelopment of north central Milan.
Just the banking and regional businesses are radically re-writing the Italian fashion capital's skyline practically every month, so Marni's thoroughly elegant collection suggested a new fashionable vernacular of sharp edged sculpted chic.
Semi circles and sliced dots dominated the checks that were the key fabric in this show; boxy handbags had geometric weaves - their very repetition adding to the modernist elan. Consuelo Castiglioni, creative director of Marni, ignited and led a huge movement in fashion of large vinyl and applique accessories. This season, her looked was stripped back - the few brooches and earrings made in carved wood.
The new high-tech influence even extended to the Geisha geta footwear; finished with metallic trim they will surely ignite a major trend.
'Clean, fresh but with controlled volume. Inspired by Carlo Mollino and Anni Albers ideas in Bauhaus,' explained the designer, referring to fantastical Italian architect and the legendary German textile designer and printmaker.
Castiglioni also took a lot of risks with her silhouette - adding multiple peplums to flared skirts and dresses in a deft display of cutting. Yet, though buildings are required to be solid, these Marni clothes were almost weightless, many of the ribboned nylon coats and bonded leather tunics floating slightly off the body. Thus, even if they were voluminous, they looked light and airy.
This news article is brought to you by WOMEN'S BLOG - where latest news are our top priority.
Saturday, September 22, 2012
Sharon Stone bounces back from migraine at Milan fashion week
MILAN (Reuters) - U.S. actress Sharon Stone bounced back from a hospital admission at Milan fashion week to chair a star-studded fundraising gala on Saturday.
Stone, 55, was admitted to hospital with a migraine after attending a runway show by Italian fashion house Fendi on Friday, raising questions over whether she could chair the Saturday AIDS research fundraiser as planned.
The 'Basic Instinct' star suffered a health scare in 2001 when she was hospitalized for a brain aneurysm - bleeding in the brain that can cause stroke - after suffering severe headaches.
Dressed in a deeply plunged long black draped dress, the actress smiled at cameras and reassured reporters outside the event about her condition.
'Thank you. I feel fine and I'm good and I've got a clean bill of health and I'm happy to be here,' Stone told Reuters Television.
'I'm totally happy to be here for something so meaningful to me.'
The American Foundation for AIDS Research said in a statement: 'She was examined and given a clean bill of health. And as she said, wild horses couldn't keep her away.'
The gala was attended by Italian designers Silvia Venturini Fendi and Roberto Cavalli and Fiat heir Lapo Elkann. It featured performances by DJ Mark Ronson and rapper Theophilus London.
(Writing by Naomi O'Leary; Editing by Sophie Hares)
This news article is brought to you by GAMING NEWS - where latest news are our top priority.
Stone, 55, was admitted to hospital with a migraine after attending a runway show by Italian fashion house Fendi on Friday, raising questions over whether she could chair the Saturday AIDS research fundraiser as planned.
The 'Basic Instinct' star suffered a health scare in 2001 when she was hospitalized for a brain aneurysm - bleeding in the brain that can cause stroke - after suffering severe headaches.
Dressed in a deeply plunged long black draped dress, the actress smiled at cameras and reassured reporters outside the event about her condition.
'Thank you. I feel fine and I'm good and I've got a clean bill of health and I'm happy to be here,' Stone told Reuters Television.
'I'm totally happy to be here for something so meaningful to me.'
The American Foundation for AIDS Research said in a statement: 'She was examined and given a clean bill of health. And as she said, wild horses couldn't keep her away.'
The gala was attended by Italian designers Silvia Venturini Fendi and Roberto Cavalli and Fiat heir Lapo Elkann. It featured performances by DJ Mark Ronson and rapper Theophilus London.
(Writing by Naomi O'Leary; Editing by Sophie Hares)
This news article is brought to you by GAMING NEWS - where latest news are our top priority.
Bottega Veneta: Chic Yet Suggestive
One cannot fault Bottega Veneta's creative director Tomas Maier for lack of clarity in his approach.
Maier wants women to wear neat, lady like dresses this spring, so his runway show of Saturday, Sept. 22, in Milan featured some 30 dresses out of a total of 33 looks. And precious few coats and jackets, even if ? like the dresses in the collection ? they were all pretty fabulous.
'I told the first model to act like she had just got her first big job out of law school. 'You bought a dress and a brief case, and you think you are looking very confident and perfect.' But maybe the black tights was not such a good idea, nor the red nails!' Maier ? a German who lives in Miami but designs for an Italian label - told FWD post show backstage.
From the sharp-shouldered silhouette of last season, Maier softened his cut and his sleeve lengths to more fluid finish. Yet even though there was a certain sweetness, there was always an undertow of toughness. So the pretty floral silks were mixed up with studs, leather and snakeskin strips.
In a season deluged in prints and colors, it was refreshing to enjoy Maier's take on mixing fabrics. Forget about patchwork, his was a careful assemblage of geometric cuts of material ? though all suggesting ladylike poise. So the most dynamic moments were 'antique' plaster-colored poplin dresses finished with studs and metal strips that managed to be refined yet suggestive as well.
'A woman is not all that you see but has always secrets underneath,' the designer chuckled.
This news article is brought to you by INTERNET NEWS - where latest news are our top priority.
Maier wants women to wear neat, lady like dresses this spring, so his runway show of Saturday, Sept. 22, in Milan featured some 30 dresses out of a total of 33 looks. And precious few coats and jackets, even if ? like the dresses in the collection ? they were all pretty fabulous.
'I told the first model to act like she had just got her first big job out of law school. 'You bought a dress and a brief case, and you think you are looking very confident and perfect.' But maybe the black tights was not such a good idea, nor the red nails!' Maier ? a German who lives in Miami but designs for an Italian label - told FWD post show backstage.
From the sharp-shouldered silhouette of last season, Maier softened his cut and his sleeve lengths to more fluid finish. Yet even though there was a certain sweetness, there was always an undertow of toughness. So the pretty floral silks were mixed up with studs, leather and snakeskin strips.
In a season deluged in prints and colors, it was refreshing to enjoy Maier's take on mixing fabrics. Forget about patchwork, his was a careful assemblage of geometric cuts of material ? though all suggesting ladylike poise. So the most dynamic moments were 'antique' plaster-colored poplin dresses finished with studs and metal strips that managed to be refined yet suggestive as well.
'A woman is not all that you see but has always secrets underneath,' the designer chuckled.
This news article is brought to you by INTERNET NEWS - where latest news are our top priority.
Lovingly Lingerie at Versace
What a difference a season and shift in focus make.
In a substantial change of gears, Donatella Versace gave us a new lingerie-propelled vision of the Milan house while at the same time re-centering the brand on its traditional signature style.
Staged Friday night, Sept. 21, in the Italian fashion capital, the show opened up with an interesting new path for Versace - saucy underwear. Oddly, even though Versace is known for sexy fashion, exploring lingerie is something they have never much done before.
Versace had the models marching out in bras bristling under swung open blazers or in hot pants made of lace. Tops were cut in see-through guipure, silk minis trimmed with the material too. The best cocktail in this spring 2013 collection was a skimpy negligee dress.
The gutsy entrance into this sector coupled with the clothes' sense of racy refinement led to some great looks, and a whole new take on underwear as outer chic.
'It was time to take a few risks, even if always respecting what Versace stands for,' a tanned and slim Versace, dressed in a sleek black pantsuit, told FWD post show.
Gone too was the sleek finish one associates with Versace, and in came some rumpled silk sheath dresses that had great punch. And when the designer did send out silk print evening gowns they were in arrestingly muddied and marbleized hues. Anchored by multi-strap posh boots, this was a new departure for Versace, but a direction where the Medusa-head brand immediately looks very much at home.
This article is brought to you by DAILY HOROSCOPE.
In a substantial change of gears, Donatella Versace gave us a new lingerie-propelled vision of the Milan house while at the same time re-centering the brand on its traditional signature style.
Staged Friday night, Sept. 21, in the Italian fashion capital, the show opened up with an interesting new path for Versace - saucy underwear. Oddly, even though Versace is known for sexy fashion, exploring lingerie is something they have never much done before.
Versace had the models marching out in bras bristling under swung open blazers or in hot pants made of lace. Tops were cut in see-through guipure, silk minis trimmed with the material too. The best cocktail in this spring 2013 collection was a skimpy negligee dress.
The gutsy entrance into this sector coupled with the clothes' sense of racy refinement led to some great looks, and a whole new take on underwear as outer chic.
'It was time to take a few risks, even if always respecting what Versace stands for,' a tanned and slim Versace, dressed in a sleek black pantsuit, told FWD post show.
Gone too was the sleek finish one associates with Versace, and in came some rumpled silk sheath dresses that had great punch. And when the designer did send out silk print evening gowns they were in arrestingly muddied and marbleized hues. Anchored by multi-strap posh boots, this was a new departure for Versace, but a direction where the Medusa-head brand immediately looks very much at home.
This article is brought to you by DAILY HOROSCOPE.
Friday, September 21, 2012
Amanda Bynes charged with driving on suspended license
LOS ANGELES (Reuters) - Former child star Amanda Bynes was charged with two misdemeanor counts of driving on a suspended license on Friday, after the actress was stopped and cited by police last week in Burbank city, police officials said.
According to documents obtained by celebrity website TMZ.com, Bynes was cited twice by the same airport authority police official on September 16 - the second incident an hour and a half after the first - for driving on a suspended license near Burbank's Bob Hope Airport.
Bynes' black BMW was impounded and she is scheduled to appear at Burbank Superior Court by October 16 to address the charges, according to senior assistant city attorney Denny Wei at Burbank City Attorney's office.
Bynes, 26, who had her own TV comedy sketch show on Nickelodeon at the age of 13, is also set to appear in court next week to address two misdemeanor hit-and-run charges, stemming from two separate incidents in April and August.
She was also charged earlier this year with driving under the influence when she hit a police car in April and will attend a pretrial hearing on October 29.
The actress has been involved in a string of minor car accidents and violations in and around Los Angeles in the last six months, and incidents of bizarre behavior.
Paparazzi who have been trailing her every move for weeks reported that she locked herself in the dressing room of a Hollywood clothing store for two hours last week, according to TMZ.com.
Bynes, whose last film was 'Easy A' in 2010, has strenuously denied drinking and driving. 'I am doing amazing,' Bynes told People magazine earlier this week, adding 'I don't drink and drive. It is all false.'
She also told People that she had retired from acting and was moving to New York to launch a fashion line.
Bynes' representatives did not return calls for comment on Friday.
The actress joins a list of young celebrities whose careers and personal lives have derailed after early promise.
'Freaky Friday' actress Lindsay Lohan, 26, is currently trying to make a career comeback after five years of trips to court, rehab and prison stemming from drug and alcohol issues.
Pop singer Britney Spears suffered a highly publicized meltdown in 2007 that resulted in her father being appointed to manage her affairs. Spears, now 30, made a successful comeback in 2009 and made her debut as a judge on TV singing contest 'The X Factor' last week.
(Reporting By Piya Sinha-Roy and Jill Serjeant; Editing by Eric Walsh)
This article is sponsored by build website.
According to documents obtained by celebrity website TMZ.com, Bynes was cited twice by the same airport authority police official on September 16 - the second incident an hour and a half after the first - for driving on a suspended license near Burbank's Bob Hope Airport.
Bynes' black BMW was impounded and she is scheduled to appear at Burbank Superior Court by October 16 to address the charges, according to senior assistant city attorney Denny Wei at Burbank City Attorney's office.
Bynes, 26, who had her own TV comedy sketch show on Nickelodeon at the age of 13, is also set to appear in court next week to address two misdemeanor hit-and-run charges, stemming from two separate incidents in April and August.
She was also charged earlier this year with driving under the influence when she hit a police car in April and will attend a pretrial hearing on October 29.
The actress has been involved in a string of minor car accidents and violations in and around Los Angeles in the last six months, and incidents of bizarre behavior.
Paparazzi who have been trailing her every move for weeks reported that she locked herself in the dressing room of a Hollywood clothing store for two hours last week, according to TMZ.com.
Bynes, whose last film was 'Easy A' in 2010, has strenuously denied drinking and driving. 'I am doing amazing,' Bynes told People magazine earlier this week, adding 'I don't drink and drive. It is all false.'
She also told People that she had retired from acting and was moving to New York to launch a fashion line.
Bynes' representatives did not return calls for comment on Friday.
The actress joins a list of young celebrities whose careers and personal lives have derailed after early promise.
'Freaky Friday' actress Lindsay Lohan, 26, is currently trying to make a career comeback after five years of trips to court, rehab and prison stemming from drug and alcohol issues.
Pop singer Britney Spears suffered a highly publicized meltdown in 2007 that resulted in her father being appointed to manage her affairs. Spears, now 30, made a successful comeback in 2009 and made her debut as a judge on TV singing contest 'The X Factor' last week.
(Reporting By Piya Sinha-Roy and Jill Serjeant; Editing by Eric Walsh)
This article is sponsored by build website.
Etro's Eastern Delight
Stepping out of the box can be a nervy but liberating experience, which is what the latest catwalk show by Etro felt like, seeing that this spring 2013 collection was very much a new riff on the Milan house's DNA.
In a season dominated by patchwork prints, Etro - the luxury Italian print label par excellence - boldly moved into new terrain with Orientalist imagery and a modernist take on society host hic. Eastern fauna and flora replaced the classical paisley that is Etro's signature.
Instead, designer Veronica Etro insisted on exotic hand-painted prints, deliberately eschewing the easy call of Photoshop assemblages or found imagery from Tumblr - an important trend elsewhere.
'I think if you don't take risks you never grow, so that's why risks are needed. In fact, obligatory,' Etro told FWD, after letting her print makers run wild. Everything from mega butterflies to geckos cavorted across her fabrics.
Etro is not the only house looking East - Prada did the night before - though the house's take was far more risqu?; especially all the billowing silk dresses - cut off the shoulder or open-shouldered in a sexy yet always polished silhouette.
Though the key item in this show, staged Friday, Sept. 21, in Milan, was the kimono. Cut short as if for boudoir or used with black and white tuxedo style panels and lapels. Like this nervy show, they were suggestive yet never cheap.
This news article is brought to you by RELATIONSHIPS ADVICE 201 - where latest news are our top priority.
In a season dominated by patchwork prints, Etro - the luxury Italian print label par excellence - boldly moved into new terrain with Orientalist imagery and a modernist take on society host hic. Eastern fauna and flora replaced the classical paisley that is Etro's signature.
Instead, designer Veronica Etro insisted on exotic hand-painted prints, deliberately eschewing the easy call of Photoshop assemblages or found imagery from Tumblr - an important trend elsewhere.
'I think if you don't take risks you never grow, so that's why risks are needed. In fact, obligatory,' Etro told FWD, after letting her print makers run wild. Everything from mega butterflies to geckos cavorted across her fabrics.
Etro is not the only house looking East - Prada did the night before - though the house's take was far more risqu?; especially all the billowing silk dresses - cut off the shoulder or open-shouldered in a sexy yet always polished silhouette.
Though the key item in this show, staged Friday, Sept. 21, in Milan, was the kimono. Cut short as if for boudoir or used with black and white tuxedo style panels and lapels. Like this nervy show, they were suggestive yet never cheap.
This news article is brought to you by RELATIONSHIPS ADVICE 201 - where latest news are our top priority.
Thursday, September 20, 2012
Caramel and Cream at Emporio Armani
If one is looking for creamy sophistication with a girly touch, then the thinking ladies' destination should be Emporio Armani, where septuagenarian Giorgio has just presented a nimble and natty series of new looks.
On a balmy Thursday, Sept. 20, morning, in the designer's custom-made 'theatre' in Milan, Armani sent out a romantic and flirty vision of modern fashion, doubly emphasized by the passionate series of uber-Italian ballads to which the models slid along the shiny black catwalk.
Armani is a designer whose enormous sense of his own worth and huge global success means he exists well apart from fashion trends. Thus, in a season where 90 percent of all skirts end around the knee, Armani cut them way up the thigh, the better to emphasize the slinky silhouette that he has decreed for spring 2013.
Italy's most famous designer was also equally dismissive of the print revolution that has swept fashion, preferring a monochrome look, albeit one leavened by metallic hues - there's a industrial plant's worth of platinum - and iridescent checks of the softest palette.
'It's a pure Armani,' commented the designer post show.
Though almost chamomile calm, this was a winningly smooth Armani show, from the cafe creme, caramel and cinnamon color palette to the surgical cutting - carefully crafted boleros, the neatest of gold tunics and sweetly rippling pants suits.
In a word, if you are looking for a fashion revolution, don't expect to knock on the reigning king's door. Armani the monarch is in the business of selling reassurance, even if with plenty of sizzle.
This article is brought to you by FREE DATING.
On a balmy Thursday, Sept. 20, morning, in the designer's custom-made 'theatre' in Milan, Armani sent out a romantic and flirty vision of modern fashion, doubly emphasized by the passionate series of uber-Italian ballads to which the models slid along the shiny black catwalk.
Armani is a designer whose enormous sense of his own worth and huge global success means he exists well apart from fashion trends. Thus, in a season where 90 percent of all skirts end around the knee, Armani cut them way up the thigh, the better to emphasize the slinky silhouette that he has decreed for spring 2013.
Italy's most famous designer was also equally dismissive of the print revolution that has swept fashion, preferring a monochrome look, albeit one leavened by metallic hues - there's a industrial plant's worth of platinum - and iridescent checks of the softest palette.
'It's a pure Armani,' commented the designer post show.
Though almost chamomile calm, this was a winningly smooth Armani show, from the cafe creme, caramel and cinnamon color palette to the surgical cutting - carefully crafted boleros, the neatest of gold tunics and sweetly rippling pants suits.
In a word, if you are looking for a fashion revolution, don't expect to knock on the reigning king's door. Armani the monarch is in the business of selling reassurance, even if with plenty of sizzle.
This article is brought to you by FREE DATING.
Armani aims to boost bags, shoes offer
MILAN (Reuters) - Giorgio Armani is to broaden his line of bags and shoes to meet the growing demand for easy-to-wear and timeless fashion items and boost the Italian designer's profit margins.
Sales of accessories are the fastest-growing sector in the luxury goods industry because they offer design pieces that fit wardrobes easily and can be worn for more than a season.
Accessories also drive profit margins for luxury makers because prices to customers largely offset production costs.
'The only stores opening on the streets now sell accessories,' Armani, whose luxury empire spans from clothing to luxury hotels, told reporters on Thursday after presenting his Emporio Armani young line collection for next summer.
Armani said he expected sales of accessories to account for up to 40 percent of his global turnover in the near-term.
Clothing represented 57 percent of the group's 1.8 billion euros ($2.35 billion) sales in 2011.
The unlisted Armani empire reported a 13.6 percent rise in revenues last year, helped by a 45 percent boost in China, the fastest-growing luxury market.
The Armani group has six clothing lines, including the top Giorgio Armani collections. It also makes sunglasses, fragrances and make-up with licensees such as eyewear maker Luxottica.
The hands-on designer, who has repeatedly said he has no intention to sell his business, said on Thursday he aimed to grow further this year despite concerns about the euro zone debt crisis.
For the Emporio Armani show, Armani said he preferred to propose clothes that will be found in stores rather than special outfits you only see on catwalks.
'Catwalks serve to inspire buyers. It is useless to create a beautiful show if only a small part of that goes into stores,' Armani said, wearing a blue t-shirt and jeans.
The Giorgio Armani collection will be presented on Sunday, as part of the Milan fashion which runs until September 25.
(Editing by Mike Nesbit)
This news article is brought to you by INTERNET NEWS - where latest news are our top priority.
Sales of accessories are the fastest-growing sector in the luxury goods industry because they offer design pieces that fit wardrobes easily and can be worn for more than a season.
Accessories also drive profit margins for luxury makers because prices to customers largely offset production costs.
'The only stores opening on the streets now sell accessories,' Armani, whose luxury empire spans from clothing to luxury hotels, told reporters on Thursday after presenting his Emporio Armani young line collection for next summer.
Armani said he expected sales of accessories to account for up to 40 percent of his global turnover in the near-term.
Clothing represented 57 percent of the group's 1.8 billion euros ($2.35 billion) sales in 2011.
The unlisted Armani empire reported a 13.6 percent rise in revenues last year, helped by a 45 percent boost in China, the fastest-growing luxury market.
The Armani group has six clothing lines, including the top Giorgio Armani collections. It also makes sunglasses, fragrances and make-up with licensees such as eyewear maker Luxottica.
The hands-on designer, who has repeatedly said he has no intention to sell his business, said on Thursday he aimed to grow further this year despite concerns about the euro zone debt crisis.
For the Emporio Armani show, Armani said he preferred to propose clothes that will be found in stores rather than special outfits you only see on catwalks.
'Catwalks serve to inspire buyers. It is useless to create a beautiful show if only a small part of that goes into stores,' Armani said, wearing a blue t-shirt and jeans.
The Giorgio Armani collection will be presented on Sunday, as part of the Milan fashion which runs until September 25.
(Editing by Mike Nesbit)
This news article is brought to you by INTERNET NEWS - where latest news are our top priority.
Wednesday, September 19, 2012
Gucci's Arrested Aristocrat
Taking risks is what all serious, admirable and gutsy designers are obliged, indeed designed to do.
Which is what Gucci's creative director Frida Giannini did this season with an aristocratic vision of next season, a technically complicated display of triple layered chiffon and long-necked highborn style. Though Gucci was founded with the goal of creating beautiful novel products for the Grand Hotel frequenting class of pre-war Europe, ultimately what also separates it from its Italian rivals is sizzle, panache and a charming sense of decadence. Which, we're afraid, is what was lacking in this polished show staged Wednesday, Sept. 19, in Milan, the opening day of the Italian spring 2013 collections.
Giannini has been a truly expert hand when it comes to accessorizing and 'blinging' out a look. Her shows are always as much about the bag, the scarves, the shoes, and the sunglasses as they are about the clothes. For next spring, Giannini opted to zero in on a demanding blown up silhouette with puff sleeves, endless ruffles cascading around the neckline and deep armpits. All this came in a nostalgic palette of pinks, canary yellows and mustards - all reminiscent the show's inspiration, the super well dressed aristos captured by Richard Avedon, most notably the portrait of Mariella Agnelli, defiant with a hyper trophous neck.
However, the very fact that these clothes did not work on some of the world's most beautiful girls led by Anja Rubik and Karmen Pedaru was telling. There was also a certain costume vibe to the show, explained by Gucci's proximity to classic Hollywood cinema and the use of top notch stars in the house's ad campaigns, notably newlywed Blake Lively in the current ads.
However, none of this seemed in synch with the current mood of sporty fashion, where designers are celebrating health rather than self-indulgence.
That's not to say that this was a weak collection, since it did bring Gucci into new territory with its grand dame cutting of tulip sleeves, lasso collars and Flamenco dancer open back verve. Moreover, a trio of lizard print dresses and matching clutches in real snakeskin had tremendous pep. What woman could ever refuse one of the rather divine bunch of grapes precious necklaces, destined to be Red Carpet hits. A terrain where Gucci has brilliantly re-written the rules, with its laudable and spectacular soirees to celebrate the restoration of classic movies, all paid for generously by the Tuscan brand.
And yet, this Portico poised chic while smartly done was not an important fashion moment. Merely, an admirable attempt.
This news article is brought to you by GAMING NEWS - where latest news are our top priority.
Which is what Gucci's creative director Frida Giannini did this season with an aristocratic vision of next season, a technically complicated display of triple layered chiffon and long-necked highborn style. Though Gucci was founded with the goal of creating beautiful novel products for the Grand Hotel frequenting class of pre-war Europe, ultimately what also separates it from its Italian rivals is sizzle, panache and a charming sense of decadence. Which, we're afraid, is what was lacking in this polished show staged Wednesday, Sept. 19, in Milan, the opening day of the Italian spring 2013 collections.
Giannini has been a truly expert hand when it comes to accessorizing and 'blinging' out a look. Her shows are always as much about the bag, the scarves, the shoes, and the sunglasses as they are about the clothes. For next spring, Giannini opted to zero in on a demanding blown up silhouette with puff sleeves, endless ruffles cascading around the neckline and deep armpits. All this came in a nostalgic palette of pinks, canary yellows and mustards - all reminiscent the show's inspiration, the super well dressed aristos captured by Richard Avedon, most notably the portrait of Mariella Agnelli, defiant with a hyper trophous neck.
However, the very fact that these clothes did not work on some of the world's most beautiful girls led by Anja Rubik and Karmen Pedaru was telling. There was also a certain costume vibe to the show, explained by Gucci's proximity to classic Hollywood cinema and the use of top notch stars in the house's ad campaigns, notably newlywed Blake Lively in the current ads.
However, none of this seemed in synch with the current mood of sporty fashion, where designers are celebrating health rather than self-indulgence.
That's not to say that this was a weak collection, since it did bring Gucci into new territory with its grand dame cutting of tulip sleeves, lasso collars and Flamenco dancer open back verve. Moreover, a trio of lizard print dresses and matching clutches in real snakeskin had tremendous pep. What woman could ever refuse one of the rather divine bunch of grapes precious necklaces, destined to be Red Carpet hits. A terrain where Gucci has brilliantly re-written the rules, with its laudable and spectacular soirees to celebrate the restoration of classic movies, all paid for generously by the Tuscan brand.
And yet, this Portico poised chic while smartly done was not an important fashion moment. Merely, an admirable attempt.
This news article is brought to you by GAMING NEWS - where latest news are our top priority.
Robyn Lawley: First Plus-Size Ralph Lauren Model
She's one of fashion's hottest new faces.
Robyn Lawley is turning heads, not just for her beauty, but for her 6 foot 2 inch height and curvy size 12 shape. At age 23, the Australian model has embraced her figure, and mainstream fashion magazines are taking notice.
Gracing the covers of French Elle and Vogue Italia, she recently became the first plus-sized model ever to spearhead a campaign for high-end fashion designer Ralph Lauren. She is defying the odds with this unheard of move in an industry that glorifies being thin.
'Robyn is absolutely paving the way for fuller figured women to land these larger campaigns,' People magazine's senior writer Jen Garcia said.
She began modeling at age 16, but struggled to keep up with the industry's skinny standards.
'I did unfortunately. I got a huge amount of pressure to diet. And my body, it was such a battle for me to do that because I'm such a big bone, and I'm tall and I'm broad. I really struggled to maintain that size,' Lawley said on ' Good Morning America' this morning.
Feeling a bit discouraged, she decided to take a break to move to France.
'I gave up trying to be a model. And then I moved to France and fell in love with food all over again, and came back much bigger than I was. And I saw plus- size models doing well. And I decided that I wanted that, I wanted to be in magazines,' Lawley said.
She persevered and landed her first contract as a plus-size model for the legendary Wilhelmina Modeling Agency at age 19.
'She's happy in her own skin, and that's something a lot of girls can look up to. And I think she's setting a great example for the fashion industry as a whole,' Garcia said.
Lawley kept a positive attitude when asked if she thought more plus-size models would be emerging in the fashion industry.
'I hope so. I hope, I'm sure we will see. You know there's so many plus-size models in New York doing so well in the moment, and it's only going to get better,' said Lawley.
For Robyn Lawley's Nutella Souffle recipe, click here.
Also Read
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Tuesday, September 18, 2012
Amazon to close fashion website endless.com
SAN FRANCISCO (Reuters) - Amazon.com Inc is closing its fashion website endless.com as the world's largest Internet retailer focuses on a new, upgraded apparel and accessories section of its main website.
On September 27, endless.com will become part of Amazon.com/Fashion, according to a statement on the front page of endless.com on Tuesday.
Endless.com was launched in 2007, specializing mainly in women's shoes and handbags.
Starting next week, endless.com said customers will be able to buy shoes, handbags, jewelry and watches from more brands from Amazon's main website, along with apparel.
The switch is part of a big push by Amazon this year to expand further into fashion and apparel, one of the fastest-growing retail categories online. EBay Inc, Amazon's main rival, has done well with its fashion offerings in recent years.
'We are shifting our Endless business to Amazon in order to focus on the Amazon Fashion experience,' an Amazon spokesman said on Tuesday.
Zappos and Shopbop, two other fashion websites owned by Amazon, are staying.
'Between Amazon, Shopbop and Zappos, our customers have easy access to an assortment of quality brands and a variety of shopping experiences for any fashion need,' the spokesman added.
Amazon also has a successful flash sales website called MYHABIT with a significant focus on fashion items.
(Reporting by Alistair Barr; Editing by Leslie Adler)
This article is brought to you by FREE DAILY HOROSCOPE.
On September 27, endless.com will become part of Amazon.com/Fashion, according to a statement on the front page of endless.com on Tuesday.
Endless.com was launched in 2007, specializing mainly in women's shoes and handbags.
Starting next week, endless.com said customers will be able to buy shoes, handbags, jewelry and watches from more brands from Amazon's main website, along with apparel.
The switch is part of a big push by Amazon this year to expand further into fashion and apparel, one of the fastest-growing retail categories online. EBay Inc, Amazon's main rival, has done well with its fashion offerings in recent years.
'We are shifting our Endless business to Amazon in order to focus on the Amazon Fashion experience,' an Amazon spokesman said on Tuesday.
Zappos and Shopbop, two other fashion websites owned by Amazon, are staying.
'Between Amazon, Shopbop and Zappos, our customers have easy access to an assortment of quality brands and a variety of shopping experiences for any fashion need,' the spokesman added.
Amazon also has a successful flash sales website called MYHABIT with a significant focus on fashion items.
(Reporting by Alistair Barr; Editing by Leslie Adler)
This article is brought to you by FREE DAILY HOROSCOPE.
Mulberry whimsy, abstract Ilincic end London Fashion Week
LONDON (Reuters) - London served up a thick slice of cute, abstract and surreal themes on Tuesday to end its reign on the fashion calendar with the Mulberry, Roksanda Ilincic and Meadham Kirchhoff shows.
British brand Mulberry, famously known for its covetable bags, offered up a collection of sorbet-colored and floral-inspired outfits on the last day of London Fashion Week's spring/summer 2013 shows.
The collection saw Mulberry go back to its roots, taking inspiration from the rich florals of the English countryside, displaying clothes in delicate shades of peach, mint, and cream, embellished with detailed floral motifs.
Creative director Emma Hill revamped a 1970s silhouette using flowing dresses with low backs and tailored jackets, but introduced a sexy edge with bonded leather.
Outerwear was inspired by English country heritage, with models in military peacoats and boxy biker jackets over evening dresses in tan and black leather. Navy prints and jacquard textures, added the whimsical twist that the brand has become known for.
As always, all eyes were on the accessories as Mulberry debuted its Willow collection of bags and clutches, centered around a tote bag with floral prints and detailed petals added to Mulberry's signature postman lock.
'It's a great British brand. It's timeless pieces that just go with everything. There's such a variety of colors and styles, it's a brand that I just really love,' British Olympic heptathlon champion Jessica Ennis told Reuters from the front row of the catwalk.
The show was held at London's Claridges Ballroom, which had been transformed into an English country garden, with pastel-colored garden gnomes and wheelbarrows dotted around, accompanied by lush floral hangings. Guests were treated to slices of angel cake and fruit juices.
ILINCIC
Designer Roksanda Ilincic offered a more abstract-inspired collection of elegant day dresses, skirts, and blouses with a modern graphic feel in the grand setting of the Savoy Hotel.
Sherbet lemons, burnt tangerines, and dusky pinks were paired with crisp whites, pale greys and cobalt blues to provide sharp color contrasts across the designer's spring/summer 2013 line.
Colorful tweed dresses, soft jersey maxi skirts and cute neck ties also featured, along with delicate ruffled details, chic cardigans and knitted pencils skirts.
Ilincic told Reuters she was inspired the work of two artists, Niki de Sainte Phalle and Josef Albers for her latest collection, comparing the differences between their work and their personalities.
'Like feminine and masculine, sportswear with eveningwear, something luxurious with something quite accessible and everyday, and it was a combination of everything really.'
The designer said she liked to mix different things to create interesting opposites taking the color palette from Albers and the shapes of the clothes from Sainte Phalle.
'The color palette came from Josef Albers, and he's known for his minimal color combinations, which have lots of different shades of yellow, or white, honey color, mixed with black and blue,' she added.
Meadham Kirchhoff presented a dramatically elaborate show entitled 'A Cautionary Tale' which saw the catwalk decadently decorated with iced cakes, fresh floral bouquets and wallpapered screens printed with birds and flowers.
Models meandered down the runway in pieces adorned in rich textures and patterns, in hats or with flowers in their hair, and an abundance of ribbon and bows embellished over the majority of the collection.
Denim, satin, taffeta and tulle featured heavily across the line, as well as woven jacquards. Jackets, trousers and skirts were covered with ornate embroidery, beading and sequin detailing.
'I just wanted to create something that was really beautiful and only beautiful,' designer Edward Meadham told Reuters after the show.
Meadham and his design partner Benjamin Kirchhoff, are famous for their highly creative and surreal shows and did not disappoint with a surreal production and their offering of flouncy patterned dresses, lace bloomers and plush full skirts paired with beaded trousers.
'It's all about make-believe, it's all about making people want to desire and I think that's kind of maybe a reflection as well on that,' Kirchhoff told Reuters.
(Additional reporting by Piya Sinha-Roy, editing by Paul Casciato)
This article is brought to you by FREE DAILY HOROSCOPE.
British brand Mulberry, famously known for its covetable bags, offered up a collection of sorbet-colored and floral-inspired outfits on the last day of London Fashion Week's spring/summer 2013 shows.
The collection saw Mulberry go back to its roots, taking inspiration from the rich florals of the English countryside, displaying clothes in delicate shades of peach, mint, and cream, embellished with detailed floral motifs.
Creative director Emma Hill revamped a 1970s silhouette using flowing dresses with low backs and tailored jackets, but introduced a sexy edge with bonded leather.
Outerwear was inspired by English country heritage, with models in military peacoats and boxy biker jackets over evening dresses in tan and black leather. Navy prints and jacquard textures, added the whimsical twist that the brand has become known for.
As always, all eyes were on the accessories as Mulberry debuted its Willow collection of bags and clutches, centered around a tote bag with floral prints and detailed petals added to Mulberry's signature postman lock.
'It's a great British brand. It's timeless pieces that just go with everything. There's such a variety of colors and styles, it's a brand that I just really love,' British Olympic heptathlon champion Jessica Ennis told Reuters from the front row of the catwalk.
The show was held at London's Claridges Ballroom, which had been transformed into an English country garden, with pastel-colored garden gnomes and wheelbarrows dotted around, accompanied by lush floral hangings. Guests were treated to slices of angel cake and fruit juices.
ILINCIC
Designer Roksanda Ilincic offered a more abstract-inspired collection of elegant day dresses, skirts, and blouses with a modern graphic feel in the grand setting of the Savoy Hotel.
Sherbet lemons, burnt tangerines, and dusky pinks were paired with crisp whites, pale greys and cobalt blues to provide sharp color contrasts across the designer's spring/summer 2013 line.
Colorful tweed dresses, soft jersey maxi skirts and cute neck ties also featured, along with delicate ruffled details, chic cardigans and knitted pencils skirts.
Ilincic told Reuters she was inspired the work of two artists, Niki de Sainte Phalle and Josef Albers for her latest collection, comparing the differences between their work and their personalities.
'Like feminine and masculine, sportswear with eveningwear, something luxurious with something quite accessible and everyday, and it was a combination of everything really.'
The designer said she liked to mix different things to create interesting opposites taking the color palette from Albers and the shapes of the clothes from Sainte Phalle.
'The color palette came from Josef Albers, and he's known for his minimal color combinations, which have lots of different shades of yellow, or white, honey color, mixed with black and blue,' she added.
Meadham Kirchhoff presented a dramatically elaborate show entitled 'A Cautionary Tale' which saw the catwalk decadently decorated with iced cakes, fresh floral bouquets and wallpapered screens printed with birds and flowers.
Models meandered down the runway in pieces adorned in rich textures and patterns, in hats or with flowers in their hair, and an abundance of ribbon and bows embellished over the majority of the collection.
Denim, satin, taffeta and tulle featured heavily across the line, as well as woven jacquards. Jackets, trousers and skirts were covered with ornate embroidery, beading and sequin detailing.
'I just wanted to create something that was really beautiful and only beautiful,' designer Edward Meadham told Reuters after the show.
Meadham and his design partner Benjamin Kirchhoff, are famous for their highly creative and surreal shows and did not disappoint with a surreal production and their offering of flouncy patterned dresses, lace bloomers and plush full skirts paired with beaded trousers.
'It's all about make-believe, it's all about making people want to desire and I think that's kind of maybe a reflection as well on that,' Kirchhoff told Reuters.
(Additional reporting by Piya Sinha-Roy, editing by Paul Casciato)
This article is brought to you by FREE DAILY HOROSCOPE.
Tweet, blog, stream and flog fashion on social media catwalk
LONDON (Reuters) - Luxury labels demonstrated the instant selling power of social media during London Fashion Week like never before with videos broadcast live online to the world from shows crammed with tweeting, blogging designers, editors and celebrities.
Retail clothing chain Topshop reached the largest online audience for a live-streamed London fashion show on Sunday, with two million viewers tuning in from more than 100 countries to see Topshop Unique's latest collection.
According to figures compiled by the retail chain, more than 200 million people were exposed to images and content from the runway as part of Topshop's partnership with Facebook, where fans were led to Topshop's live-stream from their shopping site.
Most importantly, Topshop were able to see a direct impact from their social media coverage as people streaming online were able to immediately purchase the looks on the runway. Numerous items, including a dress that was the first outfit on the catwalk, sold out even before the show was over.
'People have been trying to figure out for some time, how do you make these 'likes' into something relevant, how does the social aspect mix with your brand, and I think we are going to be the first brand to unlock that, we're going to be the case study...(to) commercialize that social audience,' Justin Cooke, Topshop's chief marketing officer, told Reuters.
In other efforts to embrace digital technology, House of Holland partnered with online bidding site eBay on a virtual pop-up shop and designer Alice Temperley showcased some of her recent Temperley London collections using 'online runways'.
'The traffic to the website kind of peaks when you tweet with Pinterest, Instagram,' Temperley told Reuters. 'It's just full-time work for a whole team of people, but it's the way things are going.'
In addition to being an instant virtual shop, social media provides brands with a longer lasting forum for the online fashion communities keen to discuss every aspect of a collection, according to Lucy Yeomans, editor-in-chief of fashion retail site Net-A-Porter.com and former editor of UK's Harper's Bazaar.
'I think anyone who doesn't tap into the power of social media is just missing a massive trick, it's not just a marketing tool,' Yeomans told Reuters.
EDITORS VS BLOGGERS
It's not just the brands that are using social media to connect with their consumers. Fashion editors have fought back against the fashion bloggers who briefly eclipsed their dominance on the front rows of the catwalks by jumping on the social media train with tweets, blogs and pictures of their own.
Magazine and newspaper editors have become social media celebrities in their own right -- Jo Elvin, editor of UK's Glamour Magazine, has more than 63,000 Twitter followers, while Joe Zee, creative director of US Elle Magazine, has 155,000.
Generally, a journalist's media coverage of a brand is still generally considered three times more powerful in value compared to advertising, as it gains an endorsement with an editorial story from the journalist, according to Katie Mitchell-Baxter, account manager at PR company Good Relations.
For fashion week alone, the British Fashion Council (BFC) estimates that more than 100 million pounds in orders are generated each season and that international media coverage was worth 61 million pounds.
Claudia Crow, creative director of boutique consultancy Talk PR, said that publications such as Vogue, Harper's Bazaar, The Telegraph and The Times are now at the forefront of reporting fashion news quickly, which was important for them in order to stay ahead of the competition from smaller outlets and bloggers.
'Journalists can make or break a line. If they write a good or a bad report, it's amazingly powerful, it's amazingly effective,' Crow said.
(Editing by Paul Casciato)
This news article is brought to you by FREE ROMANTIC DATING SITE BLOG - where latest news are our top priority.
Retail clothing chain Topshop reached the largest online audience for a live-streamed London fashion show on Sunday, with two million viewers tuning in from more than 100 countries to see Topshop Unique's latest collection.
According to figures compiled by the retail chain, more than 200 million people were exposed to images and content from the runway as part of Topshop's partnership with Facebook, where fans were led to Topshop's live-stream from their shopping site.
Most importantly, Topshop were able to see a direct impact from their social media coverage as people streaming online were able to immediately purchase the looks on the runway. Numerous items, including a dress that was the first outfit on the catwalk, sold out even before the show was over.
'People have been trying to figure out for some time, how do you make these 'likes' into something relevant, how does the social aspect mix with your brand, and I think we are going to be the first brand to unlock that, we're going to be the case study...(to) commercialize that social audience,' Justin Cooke, Topshop's chief marketing officer, told Reuters.
In other efforts to embrace digital technology, House of Holland partnered with online bidding site eBay on a virtual pop-up shop and designer Alice Temperley showcased some of her recent Temperley London collections using 'online runways'.
'The traffic to the website kind of peaks when you tweet with Pinterest, Instagram,' Temperley told Reuters. 'It's just full-time work for a whole team of people, but it's the way things are going.'
In addition to being an instant virtual shop, social media provides brands with a longer lasting forum for the online fashion communities keen to discuss every aspect of a collection, according to Lucy Yeomans, editor-in-chief of fashion retail site Net-A-Porter.com and former editor of UK's Harper's Bazaar.
'I think anyone who doesn't tap into the power of social media is just missing a massive trick, it's not just a marketing tool,' Yeomans told Reuters.
EDITORS VS BLOGGERS
It's not just the brands that are using social media to connect with their consumers. Fashion editors have fought back against the fashion bloggers who briefly eclipsed their dominance on the front rows of the catwalks by jumping on the social media train with tweets, blogs and pictures of their own.
Magazine and newspaper editors have become social media celebrities in their own right -- Jo Elvin, editor of UK's Glamour Magazine, has more than 63,000 Twitter followers, while Joe Zee, creative director of US Elle Magazine, has 155,000.
Generally, a journalist's media coverage of a brand is still generally considered three times more powerful in value compared to advertising, as it gains an endorsement with an editorial story from the journalist, according to Katie Mitchell-Baxter, account manager at PR company Good Relations.
For fashion week alone, the British Fashion Council (BFC) estimates that more than 100 million pounds in orders are generated each season and that international media coverage was worth 61 million pounds.
Claudia Crow, creative director of boutique consultancy Talk PR, said that publications such as Vogue, Harper's Bazaar, The Telegraph and The Times are now at the forefront of reporting fashion news quickly, which was important for them in order to stay ahead of the competition from smaller outlets and bloggers.
'Journalists can make or break a line. If they write a good or a bad report, it's amazingly powerful, it's amazingly effective,' Crow said.
(Editing by Paul Casciato)
This news article is brought to you by FREE ROMANTIC DATING SITE BLOG - where latest news are our top priority.
Monday, September 17, 2012
Burberry's Fashionable Counter Punch
A gloomy profit warning knocked a billion dollars off the market value of Burberry last week; the house's chief creative officer Christopher Bailey must have put a lot of that back on today with a glimmering, path-breaking metallic show in Hyde Park in London.
Inspired by pre-World War I company archive images of capes and corsets, the show was a gutsy statement that thumbed the nose at the market, a savvy reminder that when it comes to meshing technology and fashion no brand competes with Burberry.
Just as we sat down on our front-row benches, editors received personal emails from Bailey, with links to a live feed, one of them a mini virtual show in Burberry's mammoth new Regent Street store, where the sales staff all come armed with iPads, the better to show clients any look at its best - on catwalk, look book or ad campaign.
'Fashion shows have become major events; thanks to the Internet we have a global life audience of millions. So we have to provide entertainment,' said Bailey backstage after the show, staged Monday, Sept. 17.
He certainly did that with mini capes in orange see-through plastic or silver leather, mini capes cut for a super-heroine and Eisenhower jackets made as mini balloons and shorn of sleeves.
It all felt a good deal more radical that Bailey's usually hyper edited shows, but the bravura cutting added glory to the meat and bones of this collection, which included the best coats we are going to see on any runway this season, anywhere. From rouched double sheen satin trenches to posh militarist double-breasted town-coats, where the panels, darts and sheer sleekness of the silhouette were truly great.
Plus, you could see the front-row antennas practically twitching when Bailey wowed with a trio of peacock feather cocktail dresses in forest green or Yves Klein blue that were pretty jaw-droopingly good. Panache, power, pride they had it all, moreover, they looked fantastic on the web.
Talk about a home run show, a clutch hitter moment for Bailey when the market is weak, but the creativity has never been stronger.
This article is brought to you by MATCHMAKING.
Inspired by pre-World War I company archive images of capes and corsets, the show was a gutsy statement that thumbed the nose at the market, a savvy reminder that when it comes to meshing technology and fashion no brand competes with Burberry.
Just as we sat down on our front-row benches, editors received personal emails from Bailey, with links to a live feed, one of them a mini virtual show in Burberry's mammoth new Regent Street store, where the sales staff all come armed with iPads, the better to show clients any look at its best - on catwalk, look book or ad campaign.
'Fashion shows have become major events; thanks to the Internet we have a global life audience of millions. So we have to provide entertainment,' said Bailey backstage after the show, staged Monday, Sept. 17.
He certainly did that with mini capes in orange see-through plastic or silver leather, mini capes cut for a super-heroine and Eisenhower jackets made as mini balloons and shorn of sleeves.
It all felt a good deal more radical that Bailey's usually hyper edited shows, but the bravura cutting added glory to the meat and bones of this collection, which included the best coats we are going to see on any runway this season, anywhere. From rouched double sheen satin trenches to posh militarist double-breasted town-coats, where the panels, darts and sheer sleekness of the silhouette were truly great.
Plus, you could see the front-row antennas practically twitching when Bailey wowed with a trio of peacock feather cocktail dresses in forest green or Yves Klein blue that were pretty jaw-droopingly good. Panache, power, pride they had it all, moreover, they looked fantastic on the web.
Talk about a home run show, a clutch hitter moment for Bailey when the market is weak, but the creativity has never been stronger.
This article is brought to you by MATCHMAKING.
Rainbow metallics reign supreme at Burberry show
LONDON (Reuters) - Designer Christopher Bailey sent his models down the runway in an explosion of rainbow-colored metallic trench coats as part of his latest spring/summer collection for Burberry.
Models strode the catwalk in corsets, pencil skirts and sleek silk dresses in raspberry pinks, emerald greens and sapphire blues, laced with a metallic edge.
Trench coats, a Burberry staple which reaches back to the company's foundation, appeared in a variety of different forms. Classic styles were covered in colored metallic lace, capes came in both long and short versions and cropped jackets came with boxy shoulders and slim silhouettes.
The collection was inspired by Norman Parkinson photographs from the 1940s and 50s, Bailey said.
Burberry's chief creative officer said he looked into the archives for inspiration, where he found corsets and capes the brand had produced in the early 1900s, and combined the elements to create his latest collection.
'The collection was a bit more joyful and quite sassy and a bit sexy,' Bailey told reporters backstage.
'It's about taking those kind of authentic signature DNA elements from what Burberry is about, our heritage and our history. But then making them, of the moment and kind of giving them a spirit.'
Burberry held three events to celebrate their latest collection, which incorporated live video streaming and social media across the world to its fans.
'We were kind of looking at it in three different ways and we did different messaging for each different audience and community but they all were part of the same energy,' Bailey said.
'Fashion is also about entertainment and people are intrigued and excited about fashion and I think when you do a show, it's kind of a perfect opportunity for people to feel your brand and your image and kind of these ideas, music, lights and beautiful girls.'
The star-studded event was attended by U.S. Vogue Editor Anna Wintour, tennis player Andy Murray and burlesque performer Dita von Teese.
'The coats are always one of my favorite things, but I'm really loving all the accessories right now too,' she told Reuters. 'When Christopher swings towards my direction and does retro, I always find myself in the store buying important pieces to have in my wardrobe.'
The designer addressed concerns over Burberry's future following the company's profit warning last week that had many investors worried about a slowdown in the luxury market.
'I'm not going to pretend it's not challenging out there but I think what's important is that we stay very true to our DNA, to our heritage but also excite people,' he told Reuters.
(Reporting by Li-mei Hoang, editing by Paul Casciato)
This news article is brought to you by ANIMALS AND PETS - where latest news are our top priority.
Models strode the catwalk in corsets, pencil skirts and sleek silk dresses in raspberry pinks, emerald greens and sapphire blues, laced with a metallic edge.
Trench coats, a Burberry staple which reaches back to the company's foundation, appeared in a variety of different forms. Classic styles were covered in colored metallic lace, capes came in both long and short versions and cropped jackets came with boxy shoulders and slim silhouettes.
The collection was inspired by Norman Parkinson photographs from the 1940s and 50s, Bailey said.
Burberry's chief creative officer said he looked into the archives for inspiration, where he found corsets and capes the brand had produced in the early 1900s, and combined the elements to create his latest collection.
'The collection was a bit more joyful and quite sassy and a bit sexy,' Bailey told reporters backstage.
'It's about taking those kind of authentic signature DNA elements from what Burberry is about, our heritage and our history. But then making them, of the moment and kind of giving them a spirit.'
Burberry held three events to celebrate their latest collection, which incorporated live video streaming and social media across the world to its fans.
'We were kind of looking at it in three different ways and we did different messaging for each different audience and community but they all were part of the same energy,' Bailey said.
'Fashion is also about entertainment and people are intrigued and excited about fashion and I think when you do a show, it's kind of a perfect opportunity for people to feel your brand and your image and kind of these ideas, music, lights and beautiful girls.'
The star-studded event was attended by U.S. Vogue Editor Anna Wintour, tennis player Andy Murray and burlesque performer Dita von Teese.
'The coats are always one of my favorite things, but I'm really loving all the accessories right now too,' she told Reuters. 'When Christopher swings towards my direction and does retro, I always find myself in the store buying important pieces to have in my wardrobe.'
The designer addressed concerns over Burberry's future following the company's profit warning last week that had many investors worried about a slowdown in the luxury market.
'I'm not going to pretend it's not challenging out there but I think what's important is that we stay very true to our DNA, to our heritage but also excite people,' he told Reuters.
(Reporting by Li-mei Hoang, editing by Paul Casciato)
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Jonathan Saunders: Disco Delightful
London's first major show this weekend was by Jonathan Saunders, whose disco drama chic was a pretty masterful example of sleek glamour and cool self-editing.
Saunders, a Scotsman who has made the U.K. capital his home, got his inspiration from the glory days of Disco, i.e., the late 70s, when he had been barely born in Glasgow. But he took the glitz and excess of the dance culture somewhere very new with a wonderful sense of edgy posh. He may create clothes with fabrics worthy of a diva, but Saunders cuts his silhouettes very lady like indeed.
'I wanted to capture the things I see in an Antonio Lopez Polaroids. Their drama, their intense colors,' Saunders told FWD, referring to the legendary illustrator and chronicler of the Me Decade.
Using huge swirls, zigzags and twists of bold blocks of color and materials like neon sequins, metallic leathers and micro disk silk, Saunders created a collection that dazzled without ever falling into excess. It helps that his cuts are relatively restrained - slip dresses, almost prim tops and boyfriends' jackets. To keep it sexy, the Scotsman added in micro bras and large Disco Queen shades, yet the ensembles never looked stagey.
Saunders is creative and important in that he taps exuberance into cool panache: his women attract attention, but always admiringly. In a lesser designer's hands this would be a pastiche; in Saunders case it's a major new trend.
Staged Sunday evening, Sept. 16, in the bowels of Tate Modern, on the south bank of the Thames, the show was also London's best staged - a twisting angled catwalk, Kevlar walls before austere concrete columns and an ace soundtrack by Jean Noel Young.
'It was all this stuff I used to admire when I was kid, but could never afford. And I was born in 1977. That and the way Michael Clark dancers would arch their backs,' the designer added, referring to the famed Scottish choreographer.
So, after presenting London's best menswear collection in June, Saunders has presented the most telling women's show in September. He is on something of a roll.
This news article is brought to you by ECONOMY BLOG - where latest news are our top priority.
Saunders, a Scotsman who has made the U.K. capital his home, got his inspiration from the glory days of Disco, i.e., the late 70s, when he had been barely born in Glasgow. But he took the glitz and excess of the dance culture somewhere very new with a wonderful sense of edgy posh. He may create clothes with fabrics worthy of a diva, but Saunders cuts his silhouettes very lady like indeed.
'I wanted to capture the things I see in an Antonio Lopez Polaroids. Their drama, their intense colors,' Saunders told FWD, referring to the legendary illustrator and chronicler of the Me Decade.
Using huge swirls, zigzags and twists of bold blocks of color and materials like neon sequins, metallic leathers and micro disk silk, Saunders created a collection that dazzled without ever falling into excess. It helps that his cuts are relatively restrained - slip dresses, almost prim tops and boyfriends' jackets. To keep it sexy, the Scotsman added in micro bras and large Disco Queen shades, yet the ensembles never looked stagey.
Saunders is creative and important in that he taps exuberance into cool panache: his women attract attention, but always admiringly. In a lesser designer's hands this would be a pastiche; in Saunders case it's a major new trend.
Staged Sunday evening, Sept. 16, in the bowels of Tate Modern, on the south bank of the Thames, the show was also London's best staged - a twisting angled catwalk, Kevlar walls before austere concrete columns and an ace soundtrack by Jean Noel Young.
'It was all this stuff I used to admire when I was kid, but could never afford. And I was born in 1977. That and the way Michael Clark dancers would arch their backs,' the designer added, referring to the famed Scottish choreographer.
So, after presenting London's best menswear collection in June, Saunders has presented the most telling women's show in September. He is on something of a roll.
This news article is brought to you by ECONOMY BLOG - where latest news are our top priority.
Sunday, September 16, 2012
Modern ladylike elegance dominates London's catwalks
LONDON (Reuters) - Designers applied a more subtle approach to their latest collections on day three of London Fashion Week on Sunday, with the use of clean crisp lines, sharp tailoring and bold pops of color.
Printed silks, crisp cottons and embellished detailing appeared on the runways, indicating a move towards simple but modern elegance for the spring/summer 2013 collections.
Christopher Raeburn, Nicole Farhi and Margaret Howell opened the day with different shades of white which drew inspiration from marble quarries and 1950s escape maps.
Silky trench coats, structured day dresses and elegant separates made up the collection of Nicole Farhi, whose designs were inspired by the quarries of Carrara in Tuscany.
'The coloring comes from the marble mountain that you see at different times of the day. So you start with white, then greyishness and then at dawn, you get that pinky feeling,' Farhi said.
Her collection featured crisp chalky whites, pale slate greys, tints of honey and almond, and faded washes of peachy sienna. Farhi said she wanted all her pieces to be structured, which is seen in the stiffness of the fabric, the origami folds of the dresses and pleated detailing.
Thin lines of beads were used to embellish, providing a twist upon a simple summer dress. Skirts with leather strips and slouchy knitted jumpers also made up the collection.
The ladylike trend continued at Temperley London, where organza, chiffon and silk dresses were tailored and adorned with intricate beading, delicate embroidery and lace cut-outs.
The collection titled 'Return to Elegance' was an interpretation of the 1950s silhouette, with full flowing skirts in cool shades of pale blue, white, orange and navy. Accessories included round white-rimmed sunglasses and chic statement hats.
'I make clothes for beautiful women who know how to dress without trying to make a statement, and in a couple of years to come, they still like my dress,' Temperley said backstage before her show.
The designer held her show in London's opulent Grand Connaught Rooms, with actress Anna Friel, singer Pixie Lott and model Tali Lennox in attendance.
Friel, a long-time fan of the designer, said 'I think it's elegant, it makes me feel incredibly feminine. I'm a big vintage fan and I think a lot of the designs ... are timeless.'
Temperley's creations are a favorite of Prince William's wife, the Duchess of Cambridge - Kate Middleton - but the designer was keen to be seen as more than a favorite of the royal.
CANDY-CANE STRIPES
'I don't like to be labeled to it, (the duchess) is a beautiful girl and there's lots of beautiful women that wear Temperley,' the designer said.
Vivienne Westwood took a more quirky approach to ladylike elegance with a medley of beautifully tailored dresses, jackets and skirts with graphic floral prints, candy-cane striped shirts and cropped Capri pants.
Sleeveless silk dresses in mustard yellow, midnight blue and cherry red were paired with lace and broderie anglaise buckled boots.
Models sported bold cartoonish make-up, painted over their red, green and yellow faces, and 1950s-inspired hairstyles.
The end of the day saw Paul Smith's signature style of sharp tailoring, quirky details and bold pops of color.
Stripes, contrasting details and two-tone effects were spread across the collection on jackets, shirts, dresses and trousers.
The designer mixed materials such as lace with silk, creating a modern graphic cut-up look with bright optimistic colors and easy shapes to wear.
'I just wanted clothes that were easy to put on and easy to buy things, that you could add to your existing wardrobe,' Smith said.
The big show of the night was a concert extravaganza for royal milliner Philip Treacy, who made his comeback after a 10-year hiatus.
The hat sculptor has gained a strong following in the fashion set with the likes of Lady Gaga, Sarah Jessica Parker and Grace Jones among his fans.
The designer paid tribute to the fallen with his new collection, dedicating it to late designers Isabella Blow, Alexander McQueen and pop star Michael Jackson.
Set against the dominant grandeur of the Royal Courts of Justice in London with Jackson's music playing, models wore stunning headpieces and Jackson's clothes, which are set to be auctioned off in Beverly Hills in December.
Treacy's creations ranged from horn-like structures, feathered curlicues and facial veils to a miniature fairground, Mickey Mouse ears and a yellow smiley face. Models wore iconic garments that documented Jackson's career, in black, red, gold and white.
The biggest pieces were left for the finale, with a spinning light headpiece and a full body cocoon decorated with lights.
(Additional reporting by Piya Sinha-Roy and Basmah Fahim; Editing by Pravin Char)
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Printed silks, crisp cottons and embellished detailing appeared on the runways, indicating a move towards simple but modern elegance for the spring/summer 2013 collections.
Christopher Raeburn, Nicole Farhi and Margaret Howell opened the day with different shades of white which drew inspiration from marble quarries and 1950s escape maps.
Silky trench coats, structured day dresses and elegant separates made up the collection of Nicole Farhi, whose designs were inspired by the quarries of Carrara in Tuscany.
'The coloring comes from the marble mountain that you see at different times of the day. So you start with white, then greyishness and then at dawn, you get that pinky feeling,' Farhi said.
Her collection featured crisp chalky whites, pale slate greys, tints of honey and almond, and faded washes of peachy sienna. Farhi said she wanted all her pieces to be structured, which is seen in the stiffness of the fabric, the origami folds of the dresses and pleated detailing.
Thin lines of beads were used to embellish, providing a twist upon a simple summer dress. Skirts with leather strips and slouchy knitted jumpers also made up the collection.
The ladylike trend continued at Temperley London, where organza, chiffon and silk dresses were tailored and adorned with intricate beading, delicate embroidery and lace cut-outs.
The collection titled 'Return to Elegance' was an interpretation of the 1950s silhouette, with full flowing skirts in cool shades of pale blue, white, orange and navy. Accessories included round white-rimmed sunglasses and chic statement hats.
'I make clothes for beautiful women who know how to dress without trying to make a statement, and in a couple of years to come, they still like my dress,' Temperley said backstage before her show.
The designer held her show in London's opulent Grand Connaught Rooms, with actress Anna Friel, singer Pixie Lott and model Tali Lennox in attendance.
Friel, a long-time fan of the designer, said 'I think it's elegant, it makes me feel incredibly feminine. I'm a big vintage fan and I think a lot of the designs ... are timeless.'
Temperley's creations are a favorite of Prince William's wife, the Duchess of Cambridge - Kate Middleton - but the designer was keen to be seen as more than a favorite of the royal.
CANDY-CANE STRIPES
'I don't like to be labeled to it, (the duchess) is a beautiful girl and there's lots of beautiful women that wear Temperley,' the designer said.
Vivienne Westwood took a more quirky approach to ladylike elegance with a medley of beautifully tailored dresses, jackets and skirts with graphic floral prints, candy-cane striped shirts and cropped Capri pants.
Sleeveless silk dresses in mustard yellow, midnight blue and cherry red were paired with lace and broderie anglaise buckled boots.
Models sported bold cartoonish make-up, painted over their red, green and yellow faces, and 1950s-inspired hairstyles.
The end of the day saw Paul Smith's signature style of sharp tailoring, quirky details and bold pops of color.
Stripes, contrasting details and two-tone effects were spread across the collection on jackets, shirts, dresses and trousers.
The designer mixed materials such as lace with silk, creating a modern graphic cut-up look with bright optimistic colors and easy shapes to wear.
'I just wanted clothes that were easy to put on and easy to buy things, that you could add to your existing wardrobe,' Smith said.
The big show of the night was a concert extravaganza for royal milliner Philip Treacy, who made his comeback after a 10-year hiatus.
The hat sculptor has gained a strong following in the fashion set with the likes of Lady Gaga, Sarah Jessica Parker and Grace Jones among his fans.
The designer paid tribute to the fallen with his new collection, dedicating it to late designers Isabella Blow, Alexander McQueen and pop star Michael Jackson.
Set against the dominant grandeur of the Royal Courts of Justice in London with Jackson's music playing, models wore stunning headpieces and Jackson's clothes, which are set to be auctioned off in Beverly Hills in December.
Treacy's creations ranged from horn-like structures, feathered curlicues and facial veils to a miniature fairground, Mickey Mouse ears and a yellow smiley face. Models wore iconic garments that documented Jackson's career, in black, red, gold and white.
The biggest pieces were left for the finale, with a spinning light headpiece and a full body cocoon decorated with lights.
(Additional reporting by Piya Sinha-Roy and Basmah Fahim; Editing by Pravin Char)
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Designer Vivienne Westwood recycles ideas for latest collection
LONDON (Reuters) - British fashion designer Vivienne Westwood claims she hopes no one will buy her latest creations - for the sake of the planet.
'I'm a fashion designer, I have not given up my job or anything, so of course I try not to waste, and my way of not wasting is to try concentrate on quality not quantity. And you know my message, it is buy less, choose well, make it last,' Westwood told Reuters.
'I wish they wouldn't buy this new collection,' she added. 'Don't buy any clothes for ages until you really have to.'
Her latest offerings may however prove hard to resist for fashion lovers. She describes them as recyclings of really good ideas her brand has had in the past.
Held in the grand setting of the Foreign and Commonwealth Office, her show featured a medley of beautifully tailored dresses, jackets and skirts with graphic floral prints, candy-cane striped shirts and cropped capri pants.
The result was a mixture of ladylike elegance with a quirky twist. Sleeveless silk dresses in mustard yellow, midnight blue and cherry red were paired with lace and broderie anglaise buckled boots.
'The Red Label collection has always been madam ... it's a bit I'm this woman kind of thing,' Westwood told Reuters.
'I think it's influenced a bit by, well, I won't say, you'll have to decide for yourselves.'
Models sported bold cartoonish make-up, painted over their red, green and yellow faces, and fifties-inspired hairstyles.
A hot pink one-shouldered floor-length gown drew sighs from the crowd, as did an off-the-shoulder ditsy printed piece.
Printed headscarves and embellished belts tightly cinching in models' waists also featured, along with wallpaper-inspired florals, glossy silk dresses with sequin detailing and ruching.
The designer herself wore a sequined hat, a white t-shirt emblazoned with her eco-slogan 'Climate Revolution' and platform shoes. She painted a moustache and circle around her eye in black during the finale of the show, in which Westwood and two models held up a Climate Revolution banner.
(Additional reporting by Basmah Fahim; editing by Andrew Roche)
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'I'm a fashion designer, I have not given up my job or anything, so of course I try not to waste, and my way of not wasting is to try concentrate on quality not quantity. And you know my message, it is buy less, choose well, make it last,' Westwood told Reuters.
'I wish they wouldn't buy this new collection,' she added. 'Don't buy any clothes for ages until you really have to.'
Her latest offerings may however prove hard to resist for fashion lovers. She describes them as recyclings of really good ideas her brand has had in the past.
Held in the grand setting of the Foreign and Commonwealth Office, her show featured a medley of beautifully tailored dresses, jackets and skirts with graphic floral prints, candy-cane striped shirts and cropped capri pants.
The result was a mixture of ladylike elegance with a quirky twist. Sleeveless silk dresses in mustard yellow, midnight blue and cherry red were paired with lace and broderie anglaise buckled boots.
'The Red Label collection has always been madam ... it's a bit I'm this woman kind of thing,' Westwood told Reuters.
'I think it's influenced a bit by, well, I won't say, you'll have to decide for yourselves.'
Models sported bold cartoonish make-up, painted over their red, green and yellow faces, and fifties-inspired hairstyles.
A hot pink one-shouldered floor-length gown drew sighs from the crowd, as did an off-the-shoulder ditsy printed piece.
Printed headscarves and embellished belts tightly cinching in models' waists also featured, along with wallpaper-inspired florals, glossy silk dresses with sequin detailing and ruching.
The designer herself wore a sequined hat, a white t-shirt emblazoned with her eco-slogan 'Climate Revolution' and platform shoes. She painted a moustache and circle around her eye in black during the finale of the show, in which Westwood and two models held up a Climate Revolution banner.
(Additional reporting by Basmah Fahim; editing by Andrew Roche)
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Saturday, September 15, 2012
John Rocha's Punky Provencal Chic
Victorian gentility met Provencal romance in one of the strongest collections in years by the London season's most Continental designer John Rocha.
Rocha frequently mingles in ideas he gets from all his 'night jobs,' into his runway shows, and this spring 2013 collection staged Saturday, Sept. 15, in Somerset House, London was no exception.
One of Rocha's occupations is teaming up with important developers to create distinctive, destination properties. The Morrison, the hotel he designed in Dublin, is still Ireland's top boutique hotel a decade and half after opening; and his latest project is an art installation using 28,000 pieces of Waterford crystal (another key client) at Chateau la Coste in Aix-en-Provence.
So for next spring, the designer mingled together the bold hues of Provence - spicy red, faded leaf yellow and dry clay - with his signature voluminous style. At his best, Rocha manages the delicate balancing of fusing punky shapes with ladylike sensibilities. He did that with flair today, cutting the curvaceous dresses with patrician jacquards, rich guipure and opulent lace; then topping them with Dickensian headgear - huge swirling clouds of organza. Using a spinning top silhouette, whose multi-surface staggered layers of fabrics had an uncanny depth, Rocha created clothes of great distinction that were edgily urban yet charmingly rural at the same time.
'The palette of Provence, its unique light and shadows, well, I fell in love with it in la Coste. No wonder it influenced me,' Rocha told FWD post-show.
Rocha is often called Ireland's best designer, but he's also - with the possible exception of Sir Paul Smith - the most personally successful designer in the U.K. His many projects - notably his massive retail business with Britain's biggest department store chain, Debenhams - have made him a very wealthy man. Yet, also one able to remain true to himself, and to the influences and friends he first acquired when moving from his hometown of Hong Kong to Ireland 30 years ago.
No wonder this show felt like a celebration. Rocha has plenty to celebrate.
This article is brought to you by FREE DATING SITES.
Rocha frequently mingles in ideas he gets from all his 'night jobs,' into his runway shows, and this spring 2013 collection staged Saturday, Sept. 15, in Somerset House, London was no exception.
One of Rocha's occupations is teaming up with important developers to create distinctive, destination properties. The Morrison, the hotel he designed in Dublin, is still Ireland's top boutique hotel a decade and half after opening; and his latest project is an art installation using 28,000 pieces of Waterford crystal (another key client) at Chateau la Coste in Aix-en-Provence.
So for next spring, the designer mingled together the bold hues of Provence - spicy red, faded leaf yellow and dry clay - with his signature voluminous style. At his best, Rocha manages the delicate balancing of fusing punky shapes with ladylike sensibilities. He did that with flair today, cutting the curvaceous dresses with patrician jacquards, rich guipure and opulent lace; then topping them with Dickensian headgear - huge swirling clouds of organza. Using a spinning top silhouette, whose multi-surface staggered layers of fabrics had an uncanny depth, Rocha created clothes of great distinction that were edgily urban yet charmingly rural at the same time.
'The palette of Provence, its unique light and shadows, well, I fell in love with it in la Coste. No wonder it influenced me,' Rocha told FWD post-show.
Rocha is often called Ireland's best designer, but he's also - with the possible exception of Sir Paul Smith - the most personally successful designer in the U.K. His many projects - notably his massive retail business with Britain's biggest department store chain, Debenhams - have made him a very wealthy man. Yet, also one able to remain true to himself, and to the influences and friends he first acquired when moving from his hometown of Hong Kong to Ireland 30 years ago.
No wonder this show felt like a celebration. Rocha has plenty to celebrate.
This article is brought to you by FREE DATING SITES.
London designers trawl Americana, tropical themes
LONDON (Reuters) - The catwalks exploded with bright colors on the second day of London Fashion Week, as designers sent brightly printed dresses, embellished denim and tie-dye printed leather down the runway on Saturday.
Jeweled embellishments, ornate embroidery and tropical prints also made a strong appearance during the shows as designers embraced a lighter and more playful side for their latest womenswear spring/summer 2013 collections.
Spring was in the air at Jasper Conran's show, where walls were decorated with neon lights laid out in the shape of large flowers. Models walked barefoot onto the lush green catwalk, in embellished denim, broderie anglais and sequined dresses.
The collection was influenced by all aspects of Americana, Conran told Reuters, citing Janis Joplin, cowboy boots and photographer Robert Mapplethorpe as inspiration.
'I've done denim for the first time on the catwalk, so it starts quite sort of blues, and whites and silvers. And then it explodes.'
'Everything has a reference back to Americana, so it's all logically done, with a healthy dose of illogicality,' he added.
Hot pinks, mustard yellows, mossy greens punctuated the collection, which featured knitted crochet dresses, micro shorts, and floral-printed blouses.
The Americana theme continued further south at Holly Fulton's show, which was attended by British actress Gemma Atherton, and the International Herald Tribune's Suzy Menkes.
'I think Holly's designs are very easy to wear, and they're bold, so it still has this very fashion forward aspect without being too crazy,' Atherton told Reuters.
Fulton did not disappoint her audience, sending down an explosion of flamingo pinks, aqua blues and zesty yellows.
Printed rose cut-outs were featured across the collection, sewn onto sweaters, stuck on PVC raincoats and laid over contrasting patterns.
Models sported messy braids, bright red-orange lips and oversized sunglasses. The collection follows the journey of a woman across West Coast America to Mexico and features art-deco inspired prints, appliqué and floral embroidery.
'I use a lot of silks as kind of bases for a lot of the pieces, because you get such a good representation of color for the print,' Fulton told Reuters.
'It's quite an embellishment heavy collection. That's kind of how I started out and that's my first love, so it's been really amazing and I absolutely love this collection. I've had a brilliant time making it.'
Tie-dyed rainbow leather pieces, jacquard separates and floaty floral dresses edged with lace made up the collection at Henry Holland.
The colorful collection also featured frilly details on cropped tops and dresses, gem embellishments and knitted separates.
Designer Daniella Helayel finished the day with an exciting tropical display of sleek dresses at Issa London, a favorite brand of the Duchess of Cambridge, Kate Middleton.
Inspired by the Garden of Eden, models sported freshly cut orchids in their hair which was twisted into elaborate styles.
The collection featured an array of printed dresses and gowns, in tangy oranges, bright yellows and cobalt blues with lush imagery of tropical foliage, birds and flowers.
(Additional reporting by Basmah Fahim, editing by Paul Casciato)
This news article is brought to you by ANIMALS AND PETS - where latest news are our top priority.
Jeweled embellishments, ornate embroidery and tropical prints also made a strong appearance during the shows as designers embraced a lighter and more playful side for their latest womenswear spring/summer 2013 collections.
Spring was in the air at Jasper Conran's show, where walls were decorated with neon lights laid out in the shape of large flowers. Models walked barefoot onto the lush green catwalk, in embellished denim, broderie anglais and sequined dresses.
The collection was influenced by all aspects of Americana, Conran told Reuters, citing Janis Joplin, cowboy boots and photographer Robert Mapplethorpe as inspiration.
'I've done denim for the first time on the catwalk, so it starts quite sort of blues, and whites and silvers. And then it explodes.'
'Everything has a reference back to Americana, so it's all logically done, with a healthy dose of illogicality,' he added.
Hot pinks, mustard yellows, mossy greens punctuated the collection, which featured knitted crochet dresses, micro shorts, and floral-printed blouses.
The Americana theme continued further south at Holly Fulton's show, which was attended by British actress Gemma Atherton, and the International Herald Tribune's Suzy Menkes.
'I think Holly's designs are very easy to wear, and they're bold, so it still has this very fashion forward aspect without being too crazy,' Atherton told Reuters.
Fulton did not disappoint her audience, sending down an explosion of flamingo pinks, aqua blues and zesty yellows.
Printed rose cut-outs were featured across the collection, sewn onto sweaters, stuck on PVC raincoats and laid over contrasting patterns.
Models sported messy braids, bright red-orange lips and oversized sunglasses. The collection follows the journey of a woman across West Coast America to Mexico and features art-deco inspired prints, appliqué and floral embroidery.
'I use a lot of silks as kind of bases for a lot of the pieces, because you get such a good representation of color for the print,' Fulton told Reuters.
'It's quite an embellishment heavy collection. That's kind of how I started out and that's my first love, so it's been really amazing and I absolutely love this collection. I've had a brilliant time making it.'
Tie-dyed rainbow leather pieces, jacquard separates and floaty floral dresses edged with lace made up the collection at Henry Holland.
The colorful collection also featured frilly details on cropped tops and dresses, gem embellishments and knitted separates.
Designer Daniella Helayel finished the day with an exciting tropical display of sleek dresses at Issa London, a favorite brand of the Duchess of Cambridge, Kate Middleton.
Inspired by the Garden of Eden, models sported freshly cut orchids in their hair which was twisted into elaborate styles.
The collection featured an array of printed dresses and gowns, in tangy oranges, bright yellows and cobalt blues with lush imagery of tropical foliage, birds and flowers.
(Additional reporting by Basmah Fahim, editing by Paul Casciato)
This news article is brought to you by ANIMALS AND PETS - where latest news are our top priority.
Fashion designers take runway risk in hunt for handsome rewards
LONDON (Reuters) - There can be no greater tension in the fashion world than the brief moment just before the music starts, the lights blaze and the models hit the catwalk.
The collection is ready, top editors, buyers and journalists wait by the runway with baited breath, models get last minute attention and designers pray that months of effort and expense will be rewarded with critical and commercial success.
For designers, the prospect of spending an extraordinary sum on glamorous venues, booking the best models, set production costs and marketing, is a risk many are willing to take to be exposed to the international press and the top buyers who flock to London for its groundbreaking designs and fresh new talent.
'I think the idea of doing a catwalk show at London Fashion Week is a huge investment for a designer and obviously not one that we would really encourage them to do unless they're really ready,' British Fashion Council Chief Executive Caroline Rush told Reuters.
'But the images that come from that, and the marketing material and the collateral, last a good six months, so if you amortize that over the six months in terms of the coverage that you can achieve and the audience that reaches, if you can do it, it is a really great investment.'
The fashion industry remains notoriously cagey about the exact figures spent on catwalk shows. Not surprising given the lavish displays on show in New York, London, Milan and Paris.
Chanel Designer Karl Lagerfeld is famous for extravagance, having once erected a huge iceberg in the middle of the glass-domed Grand Palais in Paris, just to accentuate a chilly theme.
'We know that some of our designers do their shows for 30,000 pounds ($48,700), but we also know that the brands spend an awful lot more than that in terms of the staging, the setting, the build, creating that whole brand environment,' Rush added.
With such a hefty price tag, it is not surprising that coming up with the funds can be a struggle for new designers and particularly in European and North American markets wrestling with weak economies and a Euro zone crisis alongside shrinking corporate and household budgets.
'Right now, the economic crisis really makes the young, new labels hard to survive. If you don't have the mentors, industry experts, financial support, it's really hard to continue,' designer Haizhen Wang told Reuters.
Haizhen, along with Vita Gottlieb and Teija Eilola are getting support from fashion business award Fashion Fringe to host their first catwalk show at London Fashion Week.
It is a big moment for the designers, who have been preparing their debut collections, and learning about how to run a fashion business successfully with the help of guest judge Christopher Bailey, chief creative officer of Burberry.
'It's an amazing opportunity to be able to have a fashion show,' said Eilola. 'Obviously, a fashion show is about creating more of an event of showing the collection, rather than just saying these are the sketches, these are garments.'
'It does help you to give yourself and everyone else who is interested in the collection, an excitement about it,' she added.
Former Fashion Fringe winner Corrie Nielsen has built her name up from her first show to become a highly successful and sought-after label. She won the prize in 2010 and recently showed her latest collection on Friday to hundreds of guests.
'It's exposure to the world,' Nielsen told Reuters. 'It's also your name and where you're at. The more you do it, and the better you become, the bigger name you get, it all has to do with PR and promoting it, marketing, everything.'
But a catwalk show is no longer the only way fashion labels can gain themselves international exposure. Designers such as Eudon Choi, Emilia Wickstead and Dion Lee are all opting for presentations this season.
'With a presentation you often get see the clothes a lot closer. Last season, Richard Nicoll did a presentation, which actually got him a lot more attention than if he had done a runway show. It was perfectly executed and held at the ICA gallery and it became a really intelligent way to show his collection,' Tilly Macalister-Smith, Acting Fashion Editor of Vogue.com, told Reuters.
Designer Emilia Wickstead, who chose to hold a salon show, said she wanted to bring back a sense of intimacy.
'Sometimes in the fashion industry, we all get carried away doing these crazy things but it's as important to me for a garment to be beautiful on the outside as well as on the inside, and I love keeping the intimacy.'
Presentations don't work for every brand however, as designer Alice Temperley found.
'For us, it didn't work because the clothes needed a kind of romance, and being brought to life,' Temperley told Reuters.
The need to stage a catwalk shows will never die out, said Macalister-Smith.
'The sense of pomp and circumstance, romance, fantasy and drama that is evoked from a catwalk show is absolutely crucial to the industry,' she said.
'I don't think that the method of a catwalk show will ever die because it clicks inherently with something in the human condition, that we want to be invited, we want to be seen, you want to see who's there, you want to see the clothes.'
(Additional reporting by Piya Sinha-Roy, editing by Paul Casciato)
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The collection is ready, top editors, buyers and journalists wait by the runway with baited breath, models get last minute attention and designers pray that months of effort and expense will be rewarded with critical and commercial success.
For designers, the prospect of spending an extraordinary sum on glamorous venues, booking the best models, set production costs and marketing, is a risk many are willing to take to be exposed to the international press and the top buyers who flock to London for its groundbreaking designs and fresh new talent.
'I think the idea of doing a catwalk show at London Fashion Week is a huge investment for a designer and obviously not one that we would really encourage them to do unless they're really ready,' British Fashion Council Chief Executive Caroline Rush told Reuters.
'But the images that come from that, and the marketing material and the collateral, last a good six months, so if you amortize that over the six months in terms of the coverage that you can achieve and the audience that reaches, if you can do it, it is a really great investment.'
The fashion industry remains notoriously cagey about the exact figures spent on catwalk shows. Not surprising given the lavish displays on show in New York, London, Milan and Paris.
Chanel Designer Karl Lagerfeld is famous for extravagance, having once erected a huge iceberg in the middle of the glass-domed Grand Palais in Paris, just to accentuate a chilly theme.
'We know that some of our designers do their shows for 30,000 pounds ($48,700), but we also know that the brands spend an awful lot more than that in terms of the staging, the setting, the build, creating that whole brand environment,' Rush added.
With such a hefty price tag, it is not surprising that coming up with the funds can be a struggle for new designers and particularly in European and North American markets wrestling with weak economies and a Euro zone crisis alongside shrinking corporate and household budgets.
'Right now, the economic crisis really makes the young, new labels hard to survive. If you don't have the mentors, industry experts, financial support, it's really hard to continue,' designer Haizhen Wang told Reuters.
Haizhen, along with Vita Gottlieb and Teija Eilola are getting support from fashion business award Fashion Fringe to host their first catwalk show at London Fashion Week.
It is a big moment for the designers, who have been preparing their debut collections, and learning about how to run a fashion business successfully with the help of guest judge Christopher Bailey, chief creative officer of Burberry.
'It's an amazing opportunity to be able to have a fashion show,' said Eilola. 'Obviously, a fashion show is about creating more of an event of showing the collection, rather than just saying these are the sketches, these are garments.'
'It does help you to give yourself and everyone else who is interested in the collection, an excitement about it,' she added.
Former Fashion Fringe winner Corrie Nielsen has built her name up from her first show to become a highly successful and sought-after label. She won the prize in 2010 and recently showed her latest collection on Friday to hundreds of guests.
'It's exposure to the world,' Nielsen told Reuters. 'It's also your name and where you're at. The more you do it, and the better you become, the bigger name you get, it all has to do with PR and promoting it, marketing, everything.'
But a catwalk show is no longer the only way fashion labels can gain themselves international exposure. Designers such as Eudon Choi, Emilia Wickstead and Dion Lee are all opting for presentations this season.
'With a presentation you often get see the clothes a lot closer. Last season, Richard Nicoll did a presentation, which actually got him a lot more attention than if he had done a runway show. It was perfectly executed and held at the ICA gallery and it became a really intelligent way to show his collection,' Tilly Macalister-Smith, Acting Fashion Editor of Vogue.com, told Reuters.
Designer Emilia Wickstead, who chose to hold a salon show, said she wanted to bring back a sense of intimacy.
'Sometimes in the fashion industry, we all get carried away doing these crazy things but it's as important to me for a garment to be beautiful on the outside as well as on the inside, and I love keeping the intimacy.'
Presentations don't work for every brand however, as designer Alice Temperley found.
'For us, it didn't work because the clothes needed a kind of romance, and being brought to life,' Temperley told Reuters.
The need to stage a catwalk shows will never die out, said Macalister-Smith.
'The sense of pomp and circumstance, romance, fantasy and drama that is evoked from a catwalk show is absolutely crucial to the industry,' she said.
'I don't think that the method of a catwalk show will ever die because it clicks inherently with something in the human condition, that we want to be invited, we want to be seen, you want to see who's there, you want to see the clothes.'
(Additional reporting by Piya Sinha-Roy, editing by Paul Casciato)
This news article is brought to you by CELEBRITY MUSIC NEWS - where latest news are our top priority.
Friday, September 14, 2012
London Fashion Week opens with tribal-inspired designs
LONDON (Reuters) - Designers turned to nature for inspiration on the opening day of London Fashion Week on Friday, showcasing a collection of sheer silk dresses, delicate embroidery and elegant show pieces all featuring a floral-inspired theme.
Britain's capital took over the baton from New York, which wrapped up its week with sparkly dresses and bold geometric prints, with a pared-down color palette of fresh pastels and faded dip-dyes.
Designers Antoni & Alison opened the day with a series of quirky silk printed dresses, followed by Fyodor Golan, whose show was in the grandiose lounge of the Waldorf Hilton and inspired by Mayan and Aztec cultures.
Models floated down the steps in shift dresses, loose kaftans and bold show pieces varying in electric blue, canary yellow, autumnal amber, and bright pink hues, with intricate beading embroidery and tribal-inspired prints and cutouts.
'We wanted to show lightness and spirituality and at the same time to have that sexuality there. So it's that contrast but it's not in your face, it's still strong and gives you power but it's very emotional, something that will engage you,' Designer Fyodor Podgorny told Reuters after the show.
Podgorny along with his partner Golan Frydman has consistently impressed critics since their debut collection two years ago.
The duo kept their look neutral, with slicked back ponytails and bare faces on models offset by delicate painted tribal tattoos and intricate facial jewellery covering eyes and noses.
Veteran fashion journalist Hilary Alexander said she was impressed by the attention to detail and vibrant colors.
'It's not for everybody, a woman who's a minimalist would probably throw up her hands in horror but I happen to love them,' Alexander said.
Designer Corrie Nielsen told Reuters that her collection, entitled Florilegium, was inspired by the Royal Botanic gardens in London and Japanese artist Makoto Murayama.
'Everything has been cut three-dimensionally and shaped, inspired from the flower,' Nielsen said.
The collection also featured sleek tailored pieces alongside dip-dyed silk blouses and origami-folded jackets in pale yellows, pinks and creams.
Sheer dresses embellished with embroidered appliqué details in icy blues, mint greens and lilacs were seen at Bora Aksu.
Models were adorned with cut-out felt crowns, sporting braids and back-combed hair, wearing light printed and embroidered gowns inspired by art deco and botanical gardens.
'I just wanted to create something that was really light,' Aksu said.
'There's texture on it but it's very light, there's prints and embroideries and stuff but it's almost like a light layer, so nothing is really heavy. I wanted to make it like air.'
Romantic florals and pastels defined the opening day of London Fashion Week, but Felder Felder added an edgy twist to their spring collection, teaming bold hues and muted leopard prints with floaty fabrics and shortening hemlines of shredded knitwear dresses.
Singer Kate Nash, dressed in a black suede dress and leather jacket, serenaded the crowd as models accessorized with aviator sunglasses and beach hair strutted down the runway in miniscule shorts, dresses with high slits and suits paired with midriff-baring tops.
Models swanned through the intimate presentation room in feminine tailored dresses made from light fabrics with prints and woven textures, in an array of pastel hues, at Emilia Wickstead's presentation.
The designer said her new collection a twist on Truman Capote's 'swans' and inspired high society dames from the late 1950s who were required to look chic and elegant at social events.
'I wanted it to be uplifting, fashion forward and really play on my inspirations a lot,' Wickstead told Reuters.
'I loved the matador shorts so I played a lot on that, I thought that was quite fresh, keeping summer fun and flirty but at the end of the day, my style is quite sophisticated and neat, so I wanted to make it more playful.'
Wickstead, who is six months pregnant, was one of the designers to benefit from the 'Kate effect' after the Duchess of Cambridge stepped out in some of her designs.
Wickstead told Reuters she wasn't able to comment on her royal client, but did say it was 'inspiring' to dress 'anyone who is sophisticated and high profile and of a lovely nature and a great look.'
Middleton isn't the only high-profile client to favor Wickstead's chic designs. 'Downton Abbey' actress Laura Carmichael, who wore a dress by Wickstead at New York's prestigious Met Ball Gala earlier this year, praised the designer's latest collection.
'She's got such a talent for doing completely classic, simple things and managing to be very dramatic and sexy with it in the most classy way,' Carmichael said.
(Editing by Paul Casciato)
This news article is brought to you by ADVANCED DATING ADVICE - where latest news are our top priority.
Britain's capital took over the baton from New York, which wrapped up its week with sparkly dresses and bold geometric prints, with a pared-down color palette of fresh pastels and faded dip-dyes.
Designers Antoni & Alison opened the day with a series of quirky silk printed dresses, followed by Fyodor Golan, whose show was in the grandiose lounge of the Waldorf Hilton and inspired by Mayan and Aztec cultures.
Models floated down the steps in shift dresses, loose kaftans and bold show pieces varying in electric blue, canary yellow, autumnal amber, and bright pink hues, with intricate beading embroidery and tribal-inspired prints and cutouts.
'We wanted to show lightness and spirituality and at the same time to have that sexuality there. So it's that contrast but it's not in your face, it's still strong and gives you power but it's very emotional, something that will engage you,' Designer Fyodor Podgorny told Reuters after the show.
Podgorny along with his partner Golan Frydman has consistently impressed critics since their debut collection two years ago.
The duo kept their look neutral, with slicked back ponytails and bare faces on models offset by delicate painted tribal tattoos and intricate facial jewellery covering eyes and noses.
Veteran fashion journalist Hilary Alexander said she was impressed by the attention to detail and vibrant colors.
'It's not for everybody, a woman who's a minimalist would probably throw up her hands in horror but I happen to love them,' Alexander said.
Designer Corrie Nielsen told Reuters that her collection, entitled Florilegium, was inspired by the Royal Botanic gardens in London and Japanese artist Makoto Murayama.
'Everything has been cut three-dimensionally and shaped, inspired from the flower,' Nielsen said.
The collection also featured sleek tailored pieces alongside dip-dyed silk blouses and origami-folded jackets in pale yellows, pinks and creams.
Sheer dresses embellished with embroidered appliqué details in icy blues, mint greens and lilacs were seen at Bora Aksu.
Models were adorned with cut-out felt crowns, sporting braids and back-combed hair, wearing light printed and embroidered gowns inspired by art deco and botanical gardens.
'I just wanted to create something that was really light,' Aksu said.
'There's texture on it but it's very light, there's prints and embroideries and stuff but it's almost like a light layer, so nothing is really heavy. I wanted to make it like air.'
Romantic florals and pastels defined the opening day of London Fashion Week, but Felder Felder added an edgy twist to their spring collection, teaming bold hues and muted leopard prints with floaty fabrics and shortening hemlines of shredded knitwear dresses.
Singer Kate Nash, dressed in a black suede dress and leather jacket, serenaded the crowd as models accessorized with aviator sunglasses and beach hair strutted down the runway in miniscule shorts, dresses with high slits and suits paired with midriff-baring tops.
Models swanned through the intimate presentation room in feminine tailored dresses made from light fabrics with prints and woven textures, in an array of pastel hues, at Emilia Wickstead's presentation.
The designer said her new collection a twist on Truman Capote's 'swans' and inspired high society dames from the late 1950s who were required to look chic and elegant at social events.
'I wanted it to be uplifting, fashion forward and really play on my inspirations a lot,' Wickstead told Reuters.
'I loved the matador shorts so I played a lot on that, I thought that was quite fresh, keeping summer fun and flirty but at the end of the day, my style is quite sophisticated and neat, so I wanted to make it more playful.'
Wickstead, who is six months pregnant, was one of the designers to benefit from the 'Kate effect' after the Duchess of Cambridge stepped out in some of her designs.
Wickstead told Reuters she wasn't able to comment on her royal client, but did say it was 'inspiring' to dress 'anyone who is sophisticated and high profile and of a lovely nature and a great look.'
Middleton isn't the only high-profile client to favor Wickstead's chic designs. 'Downton Abbey' actress Laura Carmichael, who wore a dress by Wickstead at New York's prestigious Met Ball Gala earlier this year, praised the designer's latest collection.
'She's got such a talent for doing completely classic, simple things and managing to be very dramatic and sexy with it in the most classy way,' Carmichael said.
(Editing by Paul Casciato)
This news article is brought to you by ADVANCED DATING ADVICE - where latest news are our top priority.
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