Evening for smart fashion

C.L.A.S.S. (Creativity Lifestyle and Sustainable Synergy), an unique multi-platform hub based in Milan, Italy, which specialises in integrating new generation of eco values into fashion and lifestyle brands, is set to host an evening for smart innovation in fashion on March 22, 2018, with support from the Council of Fashion Designers of America (CFDA).

The fashion platform has invited fashion’s industry leaders, designers, and members of the press to celebrate An Evening of Smart Innovation. An exceptional team of artists, filmmakers, food, and textile designers have created an immersive experience that will engage the guests’ senses highlighting that smart innovation is the new standard for fashion.

The experience will examine the four key areas that are vital to C.L.A.S.S.’s business philosophy; heritage, smart innovation, circular economy, and design responsibility.

The March 22, 2018 date is a deliberate choice as it marks International Water Day and serves as a way to advocate for sustainable water management, a key issue in textile manufacturing. Many of C.L.A.S.S.’s partners, such as Ecotec by Marchi & Fildi, Bember, and Roica by Asahi Kasei and Tintex Textiles use technological breakthroughs to offer fashion materials that provide significant reductions in water during the manufacturing process, an important step toward responsible future fashion systems.

Guests can see and feel materials during the event that showcases technological breakthroughs currently available. While C.L.A.S.S. works with leading brands that practice responsible design, the next step is to expand their reach and set a new level of standards that benefit the entire industry. To that end, they have identified C.L.A.S.S. Education, their new division, as an essential learning resource to support fashion schools. The new division was co-founded with James Mendolia, professor in the MFA Fashion Design programme at Fashion Institute of Technology. C.L.A.S.S. will also launch C.L.A.S.S. ecommerce platform, which will sell partner materials to support emerging designers and fashion start-ups.Read more at:marieaustralia | formal dresses 2017


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Wonderful fashion week

After Gucci’s heads and Dolce & Gabbana’s drones, Milan Fashion Week wrapped up Monday on a tranquil note with shows by Japanese designers.

The six days of previews for next fall and winter is likely to be the most talked-about in a long time. Gucci’s Alessandro Michele’s message reverberated well beyond fashion world’s epicenter when on Day 1, he sent out two models carrying replicas of their own heads through a pristine operating room backdrop. And the fashion crowd was awestruck on the penultimate day when Dolce & Gabbana unveiled their latest handbag, flown down the runway by a bunch of drones.

These houses are providing master classes in how to grab the attention of the new consumers. The trick remains to stay true to the brand’s traditions and DNA — something being undertaken by new and new-ish designers at Ferragamo, Roberto Cavalli, Marni and Jil Sander.

Highlights from Monday’s shows:


Mitsuru Nishizaki’s latest Ujoh collection combines British-inspired check, plaid and stripe fabrics with his own trademark asymmetrical and layered silhouette. It was the Tokyo-based designer’s third year showing in Milan.

Trousers got an update with mix-matched tapered legs, one in black, one in a red burgundy, with an asymmetrical button closure. The look is layered with a tunic-style sweater.

The attention to detail and workmanship come through in an off-the-shoulder black dress with a ruffled hem decorated with a field of blue embroidered flowers that continue into lacy 3-D adornments.

Nishizaki has tapped the Milan trend of wrapping, with knitwear that bunches and hugs the frame, and large oversized wraps that fasten over the shoulder with a leather strap. One in British plaid is covered with lurex intarsia.


Atsushi Nakashima, who debuted his first collection in Milan last year, sees similarities between Milan and Tokyo, in that both cities cherish and pass on traditions.

He stays close to his native Japan, however, when sourcing textiles. They included a double-face patchwork of panels that read inside and out, including washing instructions and instructions for wearing hoods.

The mixed men’s and women’s collection included a series of trenches, bombers and duffel coats in khaki and olive green, and his-and-hers matching sweatshirts with neon lizards, worn under suspenders.Read more at:cheap formal dresses | vintage formal dresses


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Du-Pont ventures into fashion

Television personality Amanda Du-Pont is taking her fans with on her journey to fashion royalty.

The Skeem Saam actress has ventured into fashion by launching her online store, Tribe Capitol.

"Tribe Capitol has been an idea brewing for years," says Du-Pont.

"When I was in university, I sold clothes and hair from the back of my boot. I later ventured [out] to do collaborations with other brands where I had my own lines.

"This for me was a trial. I was testing the market to see if I ventured into my own hub of products, would I sell out? Obviously, with all business, initial capital is needed, so it was just a matter of time and saving to have enough to start up."

She says that she was "blessed to have a silent partner and investor who got the ball rolling".

"I love fashion and have naturally gravitated to business. So meshing the two was a no-brainer."

The Swazi beauty says her online business has been doing very well in its first few days. "To my surprise, the store is doing well.

"My team and I were well aware that we are in January, so we expected minimal or no sales. But, to our surprise and [by] God's grace, our online store has gained so much traction," said Du-Pont.

Being a fashion guru is not an easy job so, to help achieve her goal of sitting nicely on the fashion high seat,

Du-Pont has opened up to suggestions from fans on what items they would like to buy.

"Tribe Capitol stocks trendy fashion items.

"Definitely my style or items I'm currently wearing. We are, however, a people's store and have a mailer where customers can communicate what they would like us to stock and in which sizes."

On her other plans for the year, she says: "I have a few ventures I'm currently working on with different brands and I'm excited for people to see these unfold throughout the year. I have also started my own YouTube channel."Read more at:formal dresses brisbane | formal dresses perth


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Pipeline Fashions

Tafadzwa Zimoyo Senior Arts Reporter

A local fashion house, Pipeline Fashions has pledged to support the fashion industry in Zimbabwe this year by hosting a number of shows in the country.

Speaking at their inaugural fashion show held over the weekend at a lhotel in Harare, one of the directors Simbarashe Mambanda said they were determined to make the fashion industry a success.

“We are looking to a great year as we will be hosting a number of fashion shows as a way of appreciating the existence of the fashion industry in the country,” he said.

He said it was an obligation of every person in fashion to help the industry grow.

“We have to support our own industry as its stakeholders therefore it is up to every Zimbabwean to support it.

“In that light we as Pipeline Fashions will continue hosting such fashion shows as our way of supporting the sector,” he said.

The event saw several male models among them Kumbirai Mukudu, Thomas Chizhanje and Praise Chitsawo going on the ramp to showcase some of the products that were on display.

On the night Pipeline Fashions also honoured several personalities in the fashion industry that included Lisborn Mhonda.

“Today we are having a fashion show for men but when we come back next time we are definitely making it bigger and better,” he said.

Mambanda and his counterpart Tawanda Ncube started as mobile vendors for clothes during lunch time in the capital and would use their personal cars to sell the clothes in the city.

They discovered a niche market for corporate and casual office wear which was in high demand.

They later switched from selling to hiring out suits for special occasions especially weddings.

Last year, they managed to a serve a huge clientele and also dressed local celebrities among them Josh Kayz, Kuda Mutsvene and the recently wedded Comic Pastor.

As their business grew, the two then upgraded to a boutique and are now planning to grow their branch network countrywide were they have already attracted a number of clients.

Loyal customers who were with them from the time they held car boot sales received gratuity gifts at the function.Read more at:formal evening dresses | formal dresses 2017


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Allison Williams Says People

Allison Williams' pop of orange will certainly stand out among the all-black ensembles on the Golden Globes red carpet this year, but wearing black in support of the Time's Up initiative means "everything" to her, she says.

"I love the idea of people all over the country wearing black," Williams told ET's Kevin Frazier. "I love that the people watching the Globes are going to wear black. I love that it's people coming together to do something, and if you're not wearing black, it's not that kind of militant thing. It's a message. It's a way of expressing your support for this movement and the fact that it's time to support one another."

In addition to the fashion blackout in protest against sexual harassment, Williams, as with so many of the actresses in attendance, was galvanized to speak about the positive change that is coming for the industry and beyond, with the creation of Time's Up's legal defense fund and tonight's celebration of social activists attending the Globes alongside actresses like Meryl Streep and Emma Watson.

"This movement isn't just for people who have access and money and who can hire the best lawyers in the world. It's for everyone in all industries," she explained. "It's a beautiful gesture of all the leaders of Time's Up to create this fund and ask from people who have a lot to pitch in and offer their services to people that don't have as much. So for whatever business they're in they can get the support they so badly need. That is the beautiful kind of cohesive part of this message tonight."

Get Out is nominated for Best Picture, Comedy or Musical, and Williams revealed that the reception to her character in the movie wasn't exactly surprising after playing Marnie on Girls for six seasons. "It's not like people were welcoming me with open arms," she said with a laugh. "It went from, like, distance to, like, fear."

"I understand that and I will sit in that until the next thing. I'm proud to have played the evilest part of a movie that needed to make an important point when it came out," she added.

Despite starring in one of the biggest movies of the year, Williams joked that the biggest way her life has changed is in her interactions with TSA. "Last time I had [an airport] greeter, I noticed that he was listening to his radio and laughing," Williams said. "Then I realized people were asking him if he was OK. They were constantly asking for his location in the airport. They were like, 'Where are you?' He's like, 'I'm at Starbucks.' They're like, 'Are you OK?' 'I'm OK.' People were joking, but it can't all be joking. Eventually they were like, 'Just let us know if something weird happens. Don't let her touch a teacup.'"Read more at:formal dresses sydney | white formal dresses


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Stretch your energy

Leading Italian knitted fabrics producer Eurojersey is inviting visitors to explore the potential and performing innovation of its Sensitive Fabrics at the ISPO Munich international trade fair for sporting goods and sports fashion, which takes place from 28-31 January 2018.

The Sensitive Fabrics range is said to allow the creation of garments that are suitable for every occasion. The brand is offering a winning combo of versatility and performance interpreted in a vast range of Sensitive Fabrics suitable for sportswear, “to unleash your potential and boost your energy, no matter what your favourite sport is.”

Urban ElastiCity

Urban ElastiCity is the mood chosen by Eurojersey for its 2018 advertising campaign and for the concept of its ISPO stand. An urban active concept represents embracing every movement, with fabrics that stylishly follow the body shape, sculpting the silhouette and providing a correct support.

For this edition of ISPO in Munich, Eurojersey has chosen to put the spotlight on the importance of performance, even in the toughest conditions, not only in its fabrics but also in the 3D installation of its exposition space. An all-embracing graphic design, which starts from the floor and spreads as far as the eye can see in a high-tech image, is represented by the new 2018 campaign exclusively previewed at this important trade event.

An image is projected and launched against the urban skyline of Milan. A testimonial is by Fabrizia D’Ottavio, former gymnast and Italian Olympic medal holder in rhythmic gymnastics at the XXVIII edition of the Olympic Games in the team event, who interprets lightness and rhythmicity in stretch your energy sensation of Sensitive Fabrics.

Comfort meets innovation

The company is inviting visitors to enter the world of Sensitive Fabrics to explore all aspects of the brand’s technical innovation. Fabrics have been developed to offer a highly technical content, balanced between fashion and performance, functionality and aesthetics, thanks to the perfect shape retaining, even after frequent washing and wear, as well as quick drying time.

Sensitive Fabrics are said to offer excellent comfort thanks to innovative technologies for advanced performance: shaping, laser cuts, flocking, pleats and the most advanced printing technologies, such as Ecoprint technology for delicate contrasts and tone on tone effects.

“Ideal for all weather conditions, fabrics also protect from sun rays and adapt naturally to the body shape with just the right compression,” the company explains. “Moreover, a high degree of elasticity facilitates body movements in any situation, generating unrestricted comfort even in the case of extreme performances.

“These fabrics are ideal for outfits that innovatively combine an extremely elevated research content with functionality and good looks, also thanks to very fine raw edged layers eliminating bulkiness, with zero pilling and wrinkle free – all factors, which testify to the high quality and versatility of Sensitive Fabrics.”


Eurojersey, founded in 1960, is a leader in designing and manufacturing of Italian-made warp knit fabrics, thanks to its patented range called Sensitive Fabrics.

Developed in 1989, Sensitive Fabrics are designed as lightweight, breathable, and versatile, with unique technical features and functionality and meet the most modern solid and printed trends. They are suitable for ready to wear, lingerie, beachwear and sportswear collections. These fabrics allow body mapping and matching between different materials, acting as a second skin due to their structure. The ultra-flat surface is perfect for raw cut hems, and is said to ensure that the fabric will not curl or pill, thus maintaining its look over time.

Today, the company has a unique vertical production plant in Europe, designed by the famous Italian architect Antonio Citterio, with a team of 197 people providing a pioneering example of efficiency and productivity with an annual production capacity of 15 million metres of fabric.Read more at:formal dresses online | cocktail dresses


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Fashion Weeks are outdated

The concept of ‘Fashion Weeks’ is an old and outdated format of doing business, according to the co-founder of Fashion Forward (FFWD), Ramzi Nakad, who said the Dubai-based designer platform will possibly let go of the imported event method and focus on integrating technology instead.

So far, the platform hosts bi-annual happenings that resemble fashion weeks, showcasing a series of runway shows by regional designers. But that is set to change, according to Nakad.

“The rise of digital communication and social media has sent the fashion industry into a complete overhaul, with immediacy and instant gratification becoming the name of the game,” he told Arabian Business in an exclusive interview.

Nakad said brands should think like tech companies about how consumers want to engage with them.

“There was a time when people looked to designers and platforms for the latest trends, but this is no longer the case. Today, consumers dictate what they want, and companies respond,” he said.

He added that FFWD will become consumer-centric rather than industry dependent by evolving the business into a fully integrated offline and online fashion platform versus its current physically limited bi-annual event “manifestation.”

“It will garner a regional and eventually international community of designers and consumers centered around emerging brands and sustainability, while enabling direct communication and sales channels between the designers and their customers by looking at models such as e-commerce and see-now-buy-now shows,” Nakad said.

International designers such as Tom Ford have taken to the new methods, including see-now-buy-now shows.

The Dubai government set a 2013 mandate to grow the city into an international hub by 2020. Since then, it launched several organisations such as the Dubai Design & Fashion Council (DDFC), Dubai Institute of Design and Innovation and Dubai Design District (d3), as well as endorsed privately-owned designer platform FFWD.Read more at:princess formal dresses | cheap formal dresses


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Luggage exhibit

As travel changed, so did luggage.

That's the story told by an elaborate exhibition about Louis Vuitton, the luxury luggage and fashion brand.

The exhibition, free to visit and on display in Lower Manhattan through Jan. 7, is called "Volez, Voguez, Voyagez," which means fly, sail, travel. It showcases the company's history, products and craftsmanship, demonstrating how designs changed with the evolution of travel. Luggage was designed first for transport by wagon, then for travel by sea, on trains, in cars and planes.

Trunks and bags are shown behind glass like works of art in a series of museum-like galleries. Lids open to reveal intricate compartments as if they were the contents of treasure chests. Included are cases and carriers designed for everything from toiletries to hats, from picnics to art supplies. Trunks with small drawers protected fragile objects; standing trunks had roll-out wardrobe racks so clothes could be hung, not folded. A plane is on display, along with a boat.

There's even a room where human artisans show how they cut leather and snip threads for luggage tags and handles, living proof of the craftsmanship behind the brand.

The company's history begins with Louis Vuitton himself. He started a trunk-making business in Paris in 1854 after leaving his village in eastern France and working for a box-maker. His designs were strong but light, distinguished by patterned motifs. The luggage has been a favorite of the rich and famous going back to Napoleon's wife Empress Eugenie, with later clients ranging from artist Henri Matisse to banker J.P. Morgan. The brand remains a favorite today among celebs from the worlds of fashion and Hollywood.

The location is in New York's financial district. But most visitors will likely lack the means to buy Vuitton products, which can run in the thousands of dollars. Still, attention-getting temporary displays like this are becoming a standard way for brands to tell their story.

"Many of these brands pop something up, draw a big audience, get some publicity, get reporters to talk about it," said Larry Chiagouris, professor of marketing at Pace University's Lubin School of Business. "You don't need to be there 12 months a year. You just need to establish a little publicity and move on."

Chiagouris says this type of showcase can also be far more effective than a traditional ad campaign. "Ads are very fleeting and don't generate the kind of independent interaction with a brand the way an exhibit would," he said. A show like this "takes something that has almost become wallpaper and suddenly puts it into your current mindset and consciousness."

Exhibitions also give designers the space and flexibility to fine-tune their message. In this case, the subdued, museumlike atmosphere creates a "mood that reflects the brand, somewhat elegant and somewhat understated," he said.

If You Go.Read more at:evening dresses | formal dress shops


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Announcing Reem Acra

This week, we are pleased to introduce four partners on BoF Careers.

Reem Acra rose to fame in the 1990s for the eponymous designer's intricately detailed bridal wear, expanding the offering to ready-to-wear in 2001. Delicate embroidery, ornate beading and feminine designs have attracted a strong celebrity clientele and stockists including Bergdorf Goodman, Saks Fifth Avenue and Neiman Marcus. The label is now hiring an account executive in New York.

Founded in 1992, Dice Kayek is a contemporary couture label based in Paris. Inspired by the founders Ece and Ayse Ege's Turkish heritage, the brand is characterised by architectural silhouettes, attention to detail and craftsmanship. Now stocked in 45 countries and with over 100 stockists, Dice Kayek is currently looking for a commercial manager in Paris.

With a playful approach to modern jewellery, Roxanne Assoulin is an emerging New York-based label on the rise. "Uncomplicated Indulgence" characterises the brands collectable stacks of candy-coloured chokers and bracelets, designs that have garnered a strong social media following. Based in New York, Roxanne Assoulin is seeking a public relations coordinator and a web director.Read more at:formal dresses online | bridesmaid dresses online


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Announcing Reem Acra

This week, we are pleased to introduce four partners on BoF Careers.

Reem Acra rose to fame in the 1990s for the eponymous designer's intricately detailed bridal wear, expanding the offering to ready-to-wear in 2001. Delicate embroidery, ornate beading and feminine designs have attracted a strong celebrity clientele and stockists including Bergdorf Goodman, Saks Fifth Avenue and Neiman Marcus. The label is now hiring an account executive in New York.

Founded in 1992, Dice Kayek is a contemporary couture label based in Paris. Inspired by the founders Ece and Ayse Ege's Turkish heritage, the brand is characterised by architectural silhouettes, attention to detail and craftsmanship. Now stocked in 45 countries and with over 100 stockists, Dice Kayek is currently looking for a commercial manager in Paris.

With a playful approach to modern jewellery, Roxanne Assoulin is an emerging New York-based label on the rise. "Uncomplicated Indulgence" characterises the brands collectable stacks of candy-coloured chokers and bracelets, designs that have garnered a strong social media following. Based in New York, Roxanne Assoulin is seeking a public relations coordinator and a web director.Read more at:formal dresses online | bridesmaid dresses online


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Rihanna only sleeps

She shared: "I have a lot of trouble switching off. Even when I get home early, which means before 1am, I start binge-watching shows or documentaries, which I love.

"I can't go straight to bed. As a matter of fact, I only sleep three or four hours a night."

The 'Diamonds' singer regards the likes of Whitney Houston, Mariah Carey and Tina Turner to be among the biggest inspirations in her own life.

But perhaps surprisingly, Rihanna has also taken inspiration from the late Princess Diana - and in particular, the so-called revenge dress she wore to the Serpentine Gallery's summer party in 1994, shortly after it emerged Prince Charles had been unfaithful to her.

The fashion-conscious star told French Vogue magazine: "Every time a man cheats on you or treats you badly, you need a revenge dress. Every woman knows that.

"But whether her choice of this knockdown dress was conscious or not, I am touched by the idea that even Princess Diana could suffer like any ordinary woman. This Diana Bad B***h moment blew me away."

Meanwhile, Rihanna previously admitted that her fashion sense was hugely influenced by her male friends.

The 'Work' hitmaker recalled: "When I was 13 or 14, I didn't want to wear what my mom wanted me to wear. I was very much a boy in my style, my demeanour.

"All my friends were guys. I loved things that boys did. I loved being easy with my clothes. I loved wearing hats and scarves and snapbacks on my head. It was my way of rebelling. I wanted to dress like my brother.

"After a while, it was just easier for Mom to dress us both the same. We wore the same jeans, the same T-shirts."Read more at:australian formal dresses | evening wear


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Singapore Fashion Awards

Jewellery designer Carolyn Kan of home-grown brand Carrie K took triple honours at the Singapore Fashion Awards 2017, held yesterday to recognise contributions to the local fashion industry.

Besides winning the inaugural Bespoke Award, created this year in a nod to the growing popularity of bespoke services, Carrie K also won the Best Collaboration of the Year prize for its Beauty and the Beast Collection in partnership with Disney.

Ms Kan, the founder of pro-local designers retail initiative Keepers, also received the Champion for Creatives and Designers Award for contributing to the industry with events such as Multiply: A Majestic Playground, in which more than 50 artists produced works at the New Majestic Hotel just before its closure.

"I am a dreamer but I could never have dreamt that this would happen - getting three awards that are very, very different, for projects I'm super proud of," said Ms Kan, who presented the Designer of the Year (Accessories) Award, a category she won in last year.

The win that means the most to the 44-year-old is the Champion award. She said: "I really do it out of love for the community, and I get back as much as I put in."

For her efforts, Ms Kan took home a trophy for each prize, $3,000 cash for the Bespoke Award and staycation vouchers at W Singapore Sentosa Cove, where the awards ceremony was held.

To celebrate, she is thinking of having a cookout session with her team.

A total of 13 awards were given out in three areas: Design, in which local designers are honoured; Marketing, which recognises the popularity and prominence of brands; and Contributor, in which make-up artists, photographers and stylists are celebrated.

In the Design category, the Designer of the Year Award (Fashion) was won by Ms Chelsea Scott-Blackhall of four-year-old streetwear label Dzojchen. She beat Aijek's Ms Danelle Woo and Nuboaix's Ms Jessica Lee and Mr Yong Siyuan.

The award, said Ms Scott-Blackhall, 35, is "that little bit of fuel. It's affirmation. It's pride".

"It means the world to me. Designers have to be tenacious but also humble. Singapore's such a small country but we drive design hard."

Ms Marilyn Tan of luxury label Marilyn Tan Jewellery won the other Designer of the Year award, for accessories. Designers of the Year each received prizes including $5,000 in cash, a trophy, a staycation at W Singapore Sentosa Cove, and beauty products.

In the Contributor category, Ms Elain Lim was named Make-Up Artist of the Year, Mr Marc Teng was Hairstylist of the Year, Mr Stefan Khoo was Photographer of the Year, and Mr Jeremy Tan was Fashion Stylist of the Year.

In the Marketing category, menswear label Benjamin Barker garnered the Best Marketing Award. And the Top 3 Most Popular Brands of the Year, determined by public voting, remained the same as last year: Love, Bonito; By Invite Only; and Beyond the Vines.

Winners were chosen by a panel of 12 judges based on factors such as the strength of their local market presence, the consistency of their performance and how well they communicated their brands.

The event, organised by the Textile and Fashion Federation, was attended by more than 360 guests, including guest of honour Sim Ann, Senior Minister of State for Culture, Community and Youth, and Trade and Industry.

The hour-and-a-half-long event also took a moment to remember couture and bridal gown designer Tan Yoong, who died in January. After he was conferred the Honorary Award, guests watched a photo montage of his works, and event host Yasminne Cheng shared an emotional story about how trying on one of his wedding gowns sparked her interest in fashion.

Both Ms Kan and Ms Scott-Blackhall said the awards were integral to keeping the fashion scene vibrant.

Awards such as these, said Ms Kan, are "not only important but inspiring" for designers.

She added: "When there's an event like this that honours the industry and I get to see the work other designers are doing, it spurs me on to push myself further."Read more at:evening gowns | cocktail dresses online


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As Gallagher family fanatics know, Shameless Season 8 is in full force with the first two episodes already airing and the third episode airing tonight. Emma Kenney, known best for her role as Debbie Gallagher, recently made headlines for landing the role of Darlene and David’s 16-year-old daughter, Harris, for the Roseanne reboot.

Jean Bentley of Cosmopolitan recently caught up with the with the young Shameless star with the hope of discussing the premiere of Season 8, her role as Debbie Gallagher, and her new role in the Roseanne reboot.

While Emma Kenney is just 18-years-old – landing the role of Debbie Gallagher when she was just 10 – she claims to feel as though she’s a grandma. According to Kenney, she has little desire to go out and party.

While those who follow the Shameless star on social media platforms know, she’s a little more social than she let on during the interview; she does share a lot of pictures of her curled up at home with her cat, Cheddar, and her dog, Charlie, as she streams TV shows and movies from her laptop.

Emma Kenney has starred in the role of Debbie Gallagher in Shameless since the series started eight years ago. As those who follow Shameless news know, the series was recently renewed for Season 9. While Season 8 is currently airing on television, Emma is hard at work filming scenes for the Roseanne reboot.

Many fans of Emma agree she’s a spitting image of Darlene (played by Sara Gilbert) when she was younger, so she was a very fitting actress to give this role to.

During the interview, the Shameless star noted it was not lost on her that both Shameless and Roseanne have some similarities in regards to being about families with less than ideal situations when it comes to finances.

Kenney opened up about how her role in Shameless allowed her to continue to live somewhat of a normal life that would have been lost if she had been the star in something more kid-friendly – such as something Disney related.

After all, when Kenney was hanging out with other 10-year-olds when the show started, they wouldn’t have recognized her from the show, as Shameless is not really a show that kids should be watching. So, in a lot of ways, Emma is grateful for the semi-normal life she was able to live growing up thanks to her role in Shameless.

The young Shameless star also took a few moments to open up about the recent pay dispute with her co-star Emmy Rossum. There was a period of time when fans were not sure if Emmy would continue her role as Fiona Gallagher – Emma’s older sister on the show – because Emmy wanted equal pay to her co-star, William H. Macy.

Kenney, like most of Emmy’s other co-stars – including Macy – supported Emmy on her quest for equal pay. In fact, Emma was thrilled her co-star was so public with the pay dispute with the hopes it would make a difference for other females in Hollywood.Read more at:formal dress | evening wear


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When TDAP espoused fashion

Trade fairs can be defined in a unified manner as a sophisticated platform for conducting business on a national and international scale. The Trade Development Authority of Pakistan (TDAP) in collaboration with Fashion Pakistan presented the Made in Pakistan Fashion Showcase in Karachi where an exceptional opportunity was provided to assess opinions from clients and determine local market potential, conduct research, evaluate competition, develop commercial structures and initiate joint ventures and project partnership. More than 700 foreign delegates from around the globe attended the event.

Some of the country’s top designers displayed their collections. These included Amir Adnan, Deepak Perwani, Maheen Khan, Adnan Pardesy, Wardha Saleem, Tena Durrani, Aamna Aqeel, Fnk Asia, Nova Leather, Hassan Riaz, Tena Durrani, Deepak Perwani, Jafferjees, Zuria Dor, Nauman Arfeen and Pink Tree Company.

The evening also comprised a segment that was dedicated to students from fashion institutes including PIFD, AIFD and TIP. Emerging talents including Farah Usman, Sundus Talpur, Salman, Zainab, Shahmeer Ansari, Sobia Halar and Naina also brought their creativity to the ramp.

Day one witnessed an interesting designer line-up. Deepak opened the show, showcasing a blend of the traditional and modern. His line incorporated mirror work and traditional embroideries on jackets and dresses. Amir’s menswear featured western wear in a monochrome theme and was the best representation of the modern Pakistani man. The offerings entailed modern cuts with cultural orientation.

Nova Leather presented their range of jackets, skirts, handbags and leather accessories, which were of high, export quality and were highly appreciated by the foreign design houses. Pink Tree Company was perhaps the winning segment of the show where designer duo Mohsin Sayeed and Hadiya experimented with traditional Pakistani textile such as Sindhi, susi and khaddar fabric. They used techniques such as hand-block print, tie-dye and hand-crushing.

Day two encompassed some attention-grabbing collections too. Aamna’s capsule collection, The White Susi, consisted of contemporary fusion silhouettes and ethnic embroideries on pure white cotton denim with kaleidoscope stripped susi. She focused on typical Sindhi embroidery and mirror work on jackets which had international appeal and looked chic. Adnan showed his fashion forward collection, Subculture, which was a funky mix of culture and street style. Pakistan is one of the biggest denim exporters so Adnan wasn’t hesitant to make the entire collection out of it. Flowing, sleek and edgy asymmetrical cuts with intricate detailing were noted on the ramp. Wardha collaborated with Jafferjees and presented a modern collection where there was a lot of youthfulness, colour and versatility in terms of design.

The highlight of day two was an innovative showcase by Zuria. The creations included young and hip silhouettes in solids colours – which are trending today. The brand produced wearable street style jackets as well. Nauman went for a crisp white collection, Blanche, with hints of gold inspired by the Japanese art of mending broken pottery with gold, Kintsugi. Nauman used material such as Khaddi cotton, denim and organza. Maheen of Gulabo closed the show with the design label staying true to their philosophy of creating wearable outfits. The show was directed and choreographed by Nubain Ali.Read more at:formal dresses online | formal dresses 2017


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Museum Fashion Exhibit

A new exhibit at Manhattan’s Jewish Museum, “Veiled Meanings,” opens on a striking note, showcasing three different veiled women’s garments that many Americans would not, on first look, associate with Jews, including the Afghani chadur.

The exhibit, a brief chronicle of garments common in Jewish communities of the past, has the potential to be a fascinating introduction to the astonishing diversity of Jewish life that, over the centuries, sprung up across the globe. Featuring garments from Germany, Iran, Yemen, Uzbekistan and India, among many others, the collection, drawn from that of Jerusalem’s Israel Museum, is a flurry of bright colors, dramatic shapes and astonishing hand-stitched embellishment.

Yet something about the presentation of the cultures from which the exhibit’s contents originated struck two Forward writers, Michelle Honig and Talya Zax, as troubling. The two discussed the exhibit; read excerpts of that conversation, below.

Michelle Honig: I felt there were some parts of the exhibit that were surprising, like the fact that Jewish women in Islamic countries wore the chadur.

Talya Zax: The exhibit showed the way culture changes when it moves. These clothes don’t make a comment on whether that is right or wrong, but they do show that this is how it’s always been: The culture we think of as our distinct culture is, in fact, anything but distinct.

MH: There were sumptuary laws that applied specifically to Jews, and you saw that in this exhibit: A lot of Jews were required to wear this garment to denote that they were Jews. Maybe the point of calling it “Veiled Meanings” is that they wanted to showcase cultures of Judaism that haven’t been showcased, that haven’t been dissected. And Ashkenazic Jewry has been dissected over and over again. But in a way, they other-ized it as well.

TZ: They could have drawn attention to Sephardic culture in a way that was a bit more cohesive.

MH: The truth is that fashion exhibits will always be other-ing, mostly because you’re removing the person from the garment. And garments are intrinsically human. When you put clothes on a mannequin, it almost becomes lifeless, which is compounded by the fact that these are cultures that we don’t really understand. Even though they did mention stories behind some of the dresses, it would have been nice to have a photo or a painting showing people living in them, instead of just explaining them.

TZ: One of the objects that I found most moving was the lulwi, a dress from Yemen that women wore the first Shabbat after they gave birth, which would also go over their shroud garment when they were buried. I also found it moving to see the wedding dresses that, after women passed away, would get repurposed to be Torah coverings or in some way connected to the worship-life of their community. These were congregations where women probably wouldn’t have been up there at the bima. But I think it’s interesting that after death, a woman’s garment can become part of that more prominent life. Depending on your perspective, it’s either very beautiful or a little troubling.

MH: Conceptually, that section of the exhibit was great and should have been the exhibit’s main focus. However, I felt that the exhibit’s main focus was further back with that wedding dress section. You had the huge, white American 1940s gown and, behind it, four other wedding garments from Sephardic countries, grouped together; it almost seemed like this metaphor for this dominance of Ashkenazic Jewry versus these smaller communities. And it was literally veiled, in this purple screened-off area: It was the most aesthetically powerful part, but it shouldn’t have been. The most aesthetically powerful part should have also been the most conceptually powerful part.

TZ: The “Exposing the Unseen” section is the exhibit’s largest section, which is where they display the undergarments. They wrote, in the press release, about how these garments, which were supposed to be only for women to see because they were hidden, were so elaborately done to draw attention to the attributes that they were trying to mask. I found that to be — I don’t want to say a fetishizing, but a fetishizing perspective. Instead of making it about women’s experience of that garment, it was about sort of sensationalizing it.

MH: The truth is, people are interested in the how’s and the why’s, even the undergarments. You want to make the exhibit human. That’s why a lot of fashion exhibits will focus on a designer, or focus on a specific person and their wardrobe. You want to understand the process; you want to understand how people lived.

TZ: That’s crucial, because a lot of us conceive of diaspora Jews, before they came to the U.S., as living poor, isolated lives. Some probably were, but I remember I went to see this exhibit on postcards of old European synagogues at the Museum at Eldridge Street last year, and I was like: When people talk about the shtetl, they never say that they had synagogues that went back to 1200.

MH: The shtetl almost seems like this temporary space where everything is haphazard.

TZ: Admittedly, this exhibit wasn’t super shtetl-oriented. But you see these garments that were billed as everyday garments, and you think, “I want to know what this says about the community.” There was one wedding dress, outside of the white wedding dress section: It was red silk, and it said that a girl and her father found the silk pods, collected and spun it, they dyed and wove the silk and sewed the dress. I want to understand how that fit into their lifestyle. I want to understand what it looked like on a day-to-day basis.

MH: The exhibit could have used extant documents, like letters or photos. People going to an exhibit want direction; they want to be told what you’re trying to say. You need to have a narrative and you need to have a theme. I would have enjoyed an exhibit with just wedding dresses from every community.

TZ: Or just religious garments.

MH: However, I thought that they were smart about their exhibit design. Everything was veiled. The garments were beautiful. You felt like there was a certain amount of wealth. Wealthy people tend to preserve their stuff, as opposed to poor people, who tend to work their clothes to the bone. The truth is, fashion exhibits in general don’t tend to talk about poor people because poor people in history are, sartorially, not that interesting. They are interesting in how they lived in their clothes: They were the working class, and they worked in them.

TZ: This actually brings out a key point: I think this exhibit was torn between wanting to provide a snapshot into a series of communities and wanting to give us something aesthetically pleasing to look at. If it had been about the community, I would want at least some attention to be paid, even if the garments weren’t there, to what poor people would have worn.

On a personal note, as a Jew writing about culture I think a lot about tradition. And I’m getting a little weary of seeing exhibits where the primary emotional draw is a hearkening to tradition. I felt that the primary draw of this, for Jews who came to see it, was either supposed to be curiosity paired with regret for the decline of these Jewish communities, or a welling up of Jewish identity, of feeling of “I come from these communities with these elaborate garments.” I would like to see an exhibit like this try to create a more nuanced emotional landscape for the people who come to see it.

MH: The thing is, when you do historical dress, it’s not another story of high fashion — it’s a human story. Because the humanity of it is what brings people, and that’s what moves them. And a lot of historical fashion exhibits fall flat in that sense, because they become this bland overview of these things that look like stuff. You want to feel something when you go to an exhibit, and in this one, I didn’t really feel anything.Read more at:formal dresses canberra | cheap formal dresses


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South Metropolitan

SOUTH Metropolitan Tafe’s best and brightest fashion students will showcase their collections to the public.

The annual graduate fashion show Proto will take place at Beaumonde On The Point in East Perth on November 16.

The show is the culmination of three years work for Advanced Diploma of Applied Fashion Design and Merchandising graduates from the Bentley campus.

Victoria Park resident Henrietta Grochowski said she was excited for the show but there were some nerves about putting her work on display.

“My original concept was looking at art deco and the opulence of that time,” she said.

“I used liquid silicone from a shop that usually sells it for boats and I’ve been able to mix vintage glamour with futurism; I’m really happy how it’s turning out so far.

“Everyone at the Tafe is good and supportive so it’s given us the opportunity to explore ideas and grow.”

St James resident Misun Hwang said she was inspired by architecture for her collection.

“What inspired me is that there is not much women’s tailoring and where there is, it’s not high quality,” she said.

“I wanted to make sustainable clothes too because that’s a big issue.”

Rivervale resident Felicity Sheppard said she was inspired by New South Wales wildflowers, as she visited the state during summer with her family.

“It’s a special place for me and I love picking flowers,” she said.

“For my collection I used flounces and ruffles with different felt and silk fibres.”Read more at:formal dresses online | formal dresses 2017


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Fashion's interwoven

A genetically engineered bioluminescent silk dress, a pineapple-fibre clutch bag and a cape made from cockerel feathers are among 300 items to go on display as part of the V&A’s next fashion exhibition.

Fashioned From Nature, which opens in April, will trace the relationship between fashion and the natural world since 1600 and examine the ways in which designers draw on nature for inspiration.

As well as modern items such as a dress made from the threads of silkworms that have been injected with genes from jellyfish, there will be historical garments, including a men’s waistcoat from the 1780s with an embroidered macaque monkey print, as well as more contemporary nature-inspired items such as a Gucci handbag with a stag beetle motif.

As well as nature, the show’s curator, Edwina Ehrman, wanted to put themes of sustainability at the exhibition’s core.

The V&A will showcase sustainably made garments by contemporary designers, such as the Calvin Klein dress worn by actor Emma Watson to the 2016 Met Gala which was made from recycled plastic bottles. The look was created as part of the Green Carpet Challenge, an initiative aimed at pairing sustainability and glamour.

As well as drawing attention to the some of the innovative fabrics being used today, from the leather substitute made by the Italian company Vegea using the byproduct from wine making, to Ferragamo using an orange fibre made with waste from the Italian citrus industry to an H&M Conscious dress made from recycled shoreline plastic.

On display alongside the genetically engineered silk dress – which was created by Sputniko!, the MIT Media Lab and South Korea’s National Institute of Agricultural Science and Technology, there will be other garments and items made with fabrics that sound otherworldly but are being created as part of efforts to reduce the fashion industry’s impact on the environment. From a dress grown from plant roots by artist Diana Scherer to a tunic and trousers made from synthetic spider silk by Bolt Threads x Stella McCartney.

The exhibition comes at a time when the fashion industry appears to be waking up to its environmental impact – or re-awakening to that impact; Ehrman points to figures such as Vivienne Westwood and Katharine Hamnett who have been concerned with sustainability for some time, and whose efforts are celebrated in the show.

There’s a burgeoning scene of cool brands that put sustainability at the heart of what they do, from ethical trainer brand Veja to Reformation, which turns sustainable fabrics into dresses favoured by the likes of Alexa Chung. And it also comes hot on the heels of news that Gucci will go fur free in 2018.

There will be a knitted sweater made with yarn from Wool and the Gang.

Among Ehrman’s favourite pieces on display is a Bruno Pieters suit from his Honest By label, which incorporates information about the fabric and origin into its design.

“It’s meant to be about transparency and traceability,” she said. But the best thing about the suit is that itis “good fashion”.

Ehrman wants visitors to leave “thinking about their own clothes and what they’re made of and what the impact of their choices might be”.

But, she added: “I don’t want anyone to leave feeling bashed on the head. I want them to leave feeling very optimistic about the future.”Read more at:blue formal dresses | green formal dresses


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Havana Fashion Week

The third Havana Fashion Week launched Wednesday night — with the first shows showcasing modest simplicity far from the extravagant designs seen in Paris, Milan or New York.

Until Sunday, 46 shows will hit the catwalk — featuring clothes, jewellery and leather goods from 71 independent designers, under the patronage of Unesco and the Cuban Association of Artisan Artists (ACAA).

“We are a country under (American) embargo, we are not able to import fabric and other things so we make our collections with what we can find,” explained Jesus Carmona, a 50-year-old designer and member of the organising committee.

Around 400 guests will gather each night in a warehouse-turned-brasserie bordering Havana's bay — known for hosting a meeting between then-president Barack Obama and local entrepreneurs in March 2016.

The pieces on show offer neither the glamour nor the avant-garde nature of Chanel's “Croisiere” collection, presented in Havana in May 2016 — instead reflecting the everyday.

The designers were asked to work around the theme of “crafts and identity,” incorporating the colours, vibrancy and sensuality of African ancestors as well as the science of Spanish knitting.

“It's ready to wear, affordable clothes, which you can wear everyday, in the evening, for cocktails, or even for work,” Carmona said.

“It's a concentrate of Cuban traditions.”Read more at:marieaustralia.com | bridesmaid dresses


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The sender thought it was cute but it strikes me as a bit odd. There is a quip attributed to Einstein that springs to mind on these occasions: that two things are infinite, the universe and human stupidity. A parent sharing pictures online of their offspring’s peachy bums painted orange and green is taking creepy to a new level — but even worse, it reminds me that my least favourite time of year lies just around the corner (in a dark alley dressed in a fright wig).

Halloween. How I hate thee. Once confined to a tacky corner in Poundland, now there are entire aisles of Waitrose devoted to cheap orange landfill. And don’t even get me started on that cobweb spray decorating every Nisa cornershop shelf from Haringey to Hackney.

Who’s the holiday for anyway? I was under the impression it was a kids’ thing. Halloween used to involve sweet seven-year-olds dressed as black cats in dance-class leotards and tights bobbing for apples, and offered them a joyous opportunity to stay up past bedtime.

Now it’s all about taking a selfie in front of a trendy gourd display on your mid-century sideboard, or Sue, 47, of Ealing, squeezing into her eldest daughter’s school uniform with a pair of stripy tights because “it’s scary but sexy”. Really?

Certainly, I’ll be carving a pumpkin but I won’t be dressing my one-year-old daughter in a costume my friends will find amusing simply to garner likes on Instagram. I have no desire to scare the living daylights out of kids or make them look like fools for the sake of a naff picture. That’s a no from this old witch.

There are small mercies: as far as I can see (and I’ll be watching), we haven’t gone to the sinister lengths of our cousins across the pond ... yet. Americans have a bizarre habit of dressing their toddlers as truly scary and unacceptable characters — think Hannibal Lecter tied to a board with a muzzle, a sexy mermaid in prosthetic breasts, a packet of cigarettes, or even condoms. Joking aside, images of this cruelty exist online and I find it disturbing.

If you’re not a pagan or Wiccan, then Halloween should just be a bit of light-hearted fun. Best practice is: buy some sweets for the trick-or-treaters (always say “treat” — don’t be a knob and make them juggle) and, if you’re taking the kids “begging”, then hold their hands, steer clear of lit pumpkins and, most important, let them decide what to dress up as. Dead Disney Moana, anyone?

Picture the racing pundit John McCririck in a floral Erdem dress and Jimmy Choos and you’ve got a mental image of me as a I reveal my runners and riders in the soon to be crowned Fashion Awards, the annual London Oscars of the sartorial world.

The nominees for the red-carpet ceremony in December are in and my votes go thus.

First gong of the evening, the Business Leader award, should go to … Ruth and Tom Chapman, Wimbledon natives and a brilliant business duo responsible for changing how Londoners shop with their recently sold, trailblazing business Matches Fashion. Many London designers owe them a debt of gratitude for backing their careers.

Next up is Designer of the Year, which should go to Phoebe Philo. If the rumours are to be believed, this Ladbroke Grove lady is leaving Parisian super-brand Céline for pastures new after showing, what I thought, was her best collection to date in the French capital recently. That said, the award will probably go to Raf Simons for his excellent work at Calvin Klein.

When it comes to bags and glad rags, Stuart Vevers has found the sweet spot between affordable and super-cool high fashion, reinventing American mega-brand Coach — he gets my vote for Accessories Designer of the Year.

And Model of the Year? It has to be ES Magazine cover girl Adwoa Aboah — this super-bright, strident beauty is so much more than a pretty face. Her work with female empowerment project Gurl Talk deserves a gong in its own right.

Why cosiness is the new luxury

My old flatmate, Tom, used to call me “Bridget”. While he was out frequenting east London pool halls and pubs, I would be in our flat with my cat dominating a familysize Cadbury’s Whole Nut, in my fleece, being a bit Bridget Jones.

And do you know what? I LOVED it. You can call it hygge, lagom or self-care Sunday but it’s all just “cosy” to me. Cosiness is next to godliness.

It’s a fine art, a hobby almost, that warrants three drawers of pyjamas and loungewear, which I rotate with pride.

And what about refreshments on this night in, you may ask? Well, let me tell you — I drink a hot Ribena (if you know, you know).

My cosy time isn’t wine-based — lucidity is key to a cosy night’s enjoyment. How else would I keep up with the cerebral calibre of television I watch? TOWIE can be taxing.

Some may say “she’s slovenly”; I say cosy, my friends, is the new luxury.Read more at:formal dress shops brisbane | red formal dresses


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Miss Grand International 2017

The national costume worn by the third runner-up of Putri Indonesia 2017 Dea Rizkita at the Miss Grand International 2017 reportedly had caught the attention of American fashion designer Nick Verreos.

On his blog post on the pageant, Verreos included the costume in his “Top 15 Favorite National Costumes from Miss Grand International 2017” list.

“Leave it to Indonesia to BRING IT when it comes to national costumes at beauty pageants. Lately their representatives have been seriously upping their Costume Couture game! This UBER intricate costume needs A LOT of explanation,” he wrote of the Indonesian costume that is entitled Motherland.

The 27-kilogram dress presents Indonesia as a maritime country with the dark blue color. It is also adorned with five blue crystals on the circular ornament that represent Pancasila.

Meanwhile, three blue crystals on the head represent body, soul and spirit; and five yellow crystals represent the youth generation as the nation’s next successor.

The wings feature on the costume represent tenderness, strength and prayers from the ancestors, whilst the backbone ornament represents Indonesia as the world’s backbone.

The belt represents fertility and brotherhood, the utilization of five traditional textiles represent the cultural diversity of Indonesia, whilst the temple miniature represents Indonesians’ belief of body as a temple and the symbol of self-enlightenment.

The costume has already been included in the Top 15 Voted National Costumes MGI list with seven million points from the votes. Currently Dea is competing for the top 10 spot.

“I hope she can get the best result […] Dea also has a mission of introducing Indonesian tourism and culture,” said Puteri Indonesia Foundation council chairman Putri K. Wisnu Wardani.

Last year, Ariska Putri Pertiwi who represented Indonesia in the competition took home the Best National Costume and was crowned Miss Grand International 2016.Read more at:plus size evening wear | cheap formal dresses online


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