Poppy Delevingne

The 31-year-old model has admitted she is a huge fan of denim products, especially for a festival, because it is the one item that complements every outfit, it can withstand the muddy conditions, whilst still making the wearer look "cool and sexy".

Speaking about the wardrobe staple to the fashion house Levi's, the blonde-haired beauty said: "It goes with everything. Denim is the dream. You can roll around in the mud in it, but you can also make it look cool and sexy."

And when the 'Kingsman: The Golden Circle' actress will swear by a pair of ripped boyfriend jeans and Levi's denim jacket for a music bash.

When asked about her go-to garments for a festival, she said: "A Trucker jacket and ripped boyfriend jeans."

But the star has insisted it is more important for people to "enjoy" the performances instead of what they look like to make "magical memories" during the festival.

She said: "Just enjoy yourself and the magical memories will come."

And the star applies the same "easy and stylish" principle to her holiday wardrobe.

Speaking previously about what she packs when she is jetting off on a vacation, she said: "I keep my resort wardrobe easy and stylish. I always pack lots of loose linen shirts and denim cut offs, Converse, vintage Reformation sun dresses, gold jewellery and statement shades. Plus a trunk full of swimwear, of course."

Poppy has revealed her holiday style is a world away from her 24-year-old sister Cara Delevingne's who is "more tomboy" than her.

She said: "Cara's holiday style is definitely more tomboy than mine. She'll be body surfing in the waves, while I concentrate on my freckle making."Read more at:unique formal dresses | cocktail dresses australia


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Dress codes these days

We’ve all been subjected to a uniform at some point in our lives. From school to part-time jobs, almost everyone has been given a set outfit that they had to wear.

For many, that stops when they start their career, although there are often some restrictions. They may be your own clothes, but do they have to be a certain style? Have a certain level of seriousness?

Work dress codes have cropped up in headlines a few times in the past year, with debates around everything from gender discrimination to proper political attire as a government representative.

Most are familiar with Nicola Thorp in the UK, who was sent home from her job as a receptionist without pay because she came to work in flat shoes and refused to buy a pair of heels to comply with the dress code.

Can employers invoke such strict dress codes? Of course they can, but there is a danger of becoming discriminatory against women. Unless the men’s dress code is equally as strict, companies can run into problems.

A casual move

Indeed, plenty of firms and public sector jobs have maintained a business attire dress code, which essentially means their staff’s wardrobe have two very different styles.

However, something is changing in the world of dress codes.

With start-ups and global companies such as Facebook adopting a more casual approach, the notion of dressing up in a three-piece suit every day for work is becoming less appealing.

Furthermore, the talent shortage, particularly within the tech sector, is having an effect.

Earlier this summer, Goldman Sachs, one of the largest banks in the US, announced that it has relaxed its traditional Wall Street-style dress code for its computer developers in a bid to attract top talent.

According to Reuters, the bank told its tech division to “exercise judgment in determining when to adapt to business attire”.

While most banks still adhere to a strict business dress code, more are adapting to casual business, including JPMorgan Chase and Barclays.

This will be good news for Irish tech jobseekers, with JPMorgan Chase reportedly considering a Dublin move in response to Brexit, while Barclays has already announced its decision to do the same.

Desirable dress codes

According to an employee survey conducted by placement firm Robert Half International, more than half of people prefer casual dress codes.

The survey also found that almost a quarter of CFOs surveyed have relaxed their dress codes in the last five years.

Dress codes are usually in place for two reasons: health and safety, or appearance. The latter is usually a mixture of brand representation and public-facing roles.

However, for firms that count a wide range of companies among their clients, even this is changing, as firms want to put them at ease by matching their dress code to a particular client on a given day.

Therefore, client managers who are normally extremely professionally dressed might lose the tie and jacket when visiting a more casually dressed client.

For others, such as technology employees, this is where the dress codes are really relaxing. It is far less important for developers, engineers and coders to be dressed a certain way than it is to simply be good at the technical elements of their job.

And, when it comes to attracting those who are the very best in their field, companies are employing forward-thinking ideas to entice talent by not being so restrictive.

In the fight for the best talent, money is not usually the deciding factor for those being headhunted. It often comes down to the company culture and, if part of that culture is a rigid dress code, it could be the reason one loses to another.

Couple that with the fact that more than half of the global workforce is made up of millennials who favour a casual dress code, and you’ve got a clear message to the corporate giants.Read more at:formal dresses australia | cocktail dresses online


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Far East rice water remedies

The world is looking to the Far East for inspiration in skin care routines.

Already, the Korean secrets are now being researched by the biggest cosmetic houses in a bid to create new lines. This interest has come about because of the amazing ways in which Japanese, Korean and Chinese women maintain their skin well into their 90s without much ageing. Some of their secrets are found right in our kitchens. One of the simplest and most effective one is the use of rice water as a skin beauty aid. This has immense benefits which include:

Reduces acne and open pores

Rice water cleansing helps to control oily skin and will minimise acne and enlarged clogged pores. Simply wash a cupful of rice and allow it to soak in one cup of water for half an hour. Use this water to cleanse your face twice daily. The skin will show definite signs of improvement after seven days.

Brightens the skin tone

Rice water is a used to brighten and even out the skin tone naturally. For it to work well, it should be used in a fermented state. Fermented rice water is very rich in anti-oxidants and nutrients. The combination of the nutrients work to give the skin a translucent effect. To prepare it, mix one cup of rice and one cup of water. Store it covered in a dry place for two days. After two days, it will have acquired a sour smell. Strain it and use the liquid to cleanse your skin. Results will show within seven days of this treatment.

Treats sunburn

Sun burnt skin is often painful and red. To soothe this condition immediately, rice water is used as a healing remedy. Simply pat the affected areas with the water until the skin is relieved.

Treats eczema and itchy skin

Rice water is used to treat several skin conditions that fall under dermatitis. Frequent use soothes itching, eczema, psoriasis, rashes and sensitivity.Read more at:marieaustralia | evening dresses online


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Finding time for a call with of-the-moment designers Laura Kim and Fernando Garcia would be best described as a challenge. But what else would you expect when the duo in question is flat out working on not one but two labels?

The first, Monse, is a relative newcomer on fashion’s ever-changing scene, having been launched in 2015; the second is one of the industry’s most fêted houses, Oscar de la Renta. From seasonal collections to wedding lines and more, here is a working couple that can’t stop, won’t stop.

When we finally manage to coordinate schedules and I find myself dialling across the Pacific to New York City, it’s Garcia who answers. Unfortunately, Kim has found herself caught up in Big Apple traffic and likely won’t make it in time to join our chat, he explains.

Apologies are profuse and sincere. It will take another week before I’m able to catch up with Kim and get her thoughts on the unique journey they’ve been on, and what’s next for both brands. It speaks volumes that the stories Garcia and Kim share separately are so in tune; clearly this mindful alignment plays a large part in why they founded Monse and were asked to rejoin the family house of Oscar de la Renta in the autumn of 2016 after only a two-year hiatus.

It was at de la Renta where Garcia and Kim’s paths first crossed, her as design director of the maison’s electrifying yet beautifully feminine designs, and him as senior designer. What followed was a meeting of minds and a desire to bring something new to market, from which the seed of an idea that would eventually become Monse grew.

“We were very scared that we would look like a version of Oscar [de la Renta], because it was all we knew till that point,” Garcia says, when asked about the young label’s starting point. “So we worked backwards: we looked at the market and we realised what was missing.

“You have your ultra-masculine brands that are very minimal and restrained, like The Row or Alexander Wang, or you have your ultra-feminine brands like Oscar or Giambattista Valli. We saw that there was a need for a brand that was in between what was existing.” Monse has certainly found its niche.

Since being released to fashion’s playground, a unique point of view has quickly become apparent: this is effortless, modern dressing that hinges on uncomplicated yet pulled-together separates working across a spate of looks. Shirting is a big part of the appeal. Deconstructed and redrawn with new proportions, the spring/summer 2017 line-up saw some variations come painted with super-slim stripes, with other designs left perfectly plain to better showcase the cleverly thought-out dimensions.

The autumn/winter 2017 collection offers an even bolder aesthetic, thanks to raw hems, pulled shoulders and full ruffles. “When we started we thought – you know what? – shirts at that point weren’t something that were being overly designed, or done in a modern way,” says Garcia, “and we went from there.”

From “there” to here, with six seasons shown to date, the label has an impressive roster of supporters who instantly get its unfussy and utterly contemporary appeal.

Take Thandie Newton, who attended the Golden Globes swathed in a gleaming white number dripping with crimson sequins, and who more recently stepped out at the Met Gala in a figure-hugging scarlet gown from the label’s autumn/winter 2017 collection (it had been decorated with light-catching Swarovski crystals, of course). As much as they might love such prominent exposure (and Newton herself: “She’s so hardworking and dedicated to her craft,” I’m told), Kim and Garcia are quick to mention that these aren’t just clothes for beautiful actresses or pin-slim models.

“Rickie de Sole [Fashion Market and Accessories Director at W] is a very good friend of ours, and her mother was one of our first clients. She wore a deconstructed shirt pinstripe dress as a top, and that made our year, because we’re able to cater not just to the young people that look at us as a young brand, but also to these women that find us new and fresh and still wearable for them.”

It comes back to the two perspectives that designing as a duo naturally imparts to the clothes themselves. “He designs to make a woman feel sexy and I design to make a woman comfortable with the attitude,” Kim says of how their partnership works.

“It’s true, I definitely find it fun to design sexy things, but Laura balances it by making sure that it’s comfortable,” Garcia concurs. “And what happens is that mixture creates this effortless look, because when something is too body-con in a very sexual way, it doesn’t feel effortless, it feels a little contrived, a little forced. So that balance is everything. She has to look like it took her five minutes to get ready, or it’s not going to work.”

The lithe models that streamed down the spring/summer 2017 catwalk summed it up: hair loose, hands in pockets and all kinds of cool.

At Oscar de la Renta, it’s an altogether different proposition – and one that Garcia and Kim seem equally enamoured with. As a self-confessed movie buff, Garcia describes the way they work across both brands in illuminating terms: “It’s like playing two different characters in a movie. You get to dress this woman here one day, then leave her alone for a bit so she doesn’t get tired of you, and then you go the other woman the next day, and she’s happy to see you and missed you. It’s thrilling.”

Yes, there’s a sense of modernity about the French label – albeit one tinged with a romantic classicism – but the grown-up opulence that pervades the collection speaks more of considered sophistication than its younger step-sibling, Monse. Of their move back to a brand that holds so much history for them both, Garcia is honest: “Was there hesitation? Perhaps. But we were reassured by our CEO [Alex Bolen] who knows us, and we know him very, very well.”

Kim is equally generous in her praise for the label, and how their return has worked: “Oscar de la Renta is where I grew up, and it’s owned by Oscar’s family, who care a great deal for us. It’s home to us.”

There was no doubt that the delivery of the pair’s first Oscar de la Renta collection, for autumn/winter 2017, was a brave, bold and pointed choice: it shared a catwalk with Monse – a clear signal of two maisons locked and drawn close to one another. The designers describe Oscar de la Renta and Monse as sharing a unique symbiosis, so this challenge to tried-and-tested show etiquette can be seen as a proud and public commitment to that ideal.

“It was too exciting to not have the opportunity to share a catwalk. It felt like nobody had done it, and here we have a very trusting CEO, who’s welcoming of all of our new ideas, and it was just too good to pass on.

“And it was, at the same time, sort of celebratory – it was us, inviting our closest editor and buyer friends, and just sort of celebrating this moment of reunion. It was just very joyous and we wanted to have everyone at the same party, and not split the party up.”

A baby brand in one hand, a historic label in the other: Laura Kim and Fernando Garcia have all the opportunity they could want to be a part of the new guard exploring and remoulding fashion’s universe. We’re watching closely.Read more at:formal dresses online australia | cocktail dress australia


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Marina Moscone

But unlike most women, who typically segue their adolescent preoccupation with playing dress-up and reading fashion magazines into an appreciation of personal style, the Vancouver-raised creative turned to design. After studying at The New School’s Parsons School, Moscone made a name for herself in the fashion world — including a several-year stint as the design director at Peter Som — before creating her eponymous collection with her sister Francesca.

Now based in New York, Moscone reflects on her inspiration, her esthetic and what’s new for spring/summer.

Q. When and why did you first get into fashion design?

A. I don’t believe there was a particular reason or moment in time, it has just always been part of the trajectory of my life. Looking back, I’m sure people thought I was crazy, as everything for me growing up revolved around fashion — since I was three. I knew every designer, every collection and every milestone in fashion … before I hit the double digits. I watched Jeanne Beker host Fashion Television and Tim Blanks host Fashion File on Sunday’s like it was my religion. I would spend all my allowance on the international publications. During school breaks, I would beg to go to my father’s office, where I would sit at the conference table and crank out sketches all day. Fashion has always been a significant part of my life.

Q. How would you describe your design aesthetic?

A. My design esthetic is very much influenced by the woman I design for — a woman of strength and certainty who doesn’t need a lot of pomp and circumstance to look and feel beautiful. I think she always has this natural romantic poise, and regardless of her mood that particular season — whether it’s slightly rebellious or elegantly ethereal — my collections often infuse architectural silhouettes, rich fabrications and paired down texture with no unnecessary, over-designed excess. There is a real poetry in designing clothes that echo a woman’s characteristics.

Q. What inspires you?

A. I am based in New York, where the surroundings never cease to inspire. The places, the people, the buildings, the food and the culture, to name a few, are all a wealth of inspiration. I also travel frequently — an ongoing source of inspiration. For me, inspiration doesn’t always start with a beautiful thing or place nor does it always come naturally.

Q. How, if at all, did you time in Vancouver influence your sense of style or design?

A. My upbringing in Vancouver influenced something much greater than style or design. Vancouver was a real anchor towards understanding opportunity. Canada is a very culturally diverse, beautiful and accepting country. In Vancouver, I grew up with immigrant parents — an Italian father and South African mother. Vancouver afforded me what it afforded them, opportunity to work toward my dream.

Q. What’s new for the latest season?

A. For Resort 2018, you will see a lot of rich texture, sculptural silhouettes and a beautiful marriage of colour. I develop all of my fabrics myself with my mills in Italy, and everything is made in New York. I really have to have my hands in the whole process.

Q. Lastly, what’s next for you?

A. Every season is an evolution of the Marina Moscone woman. I think the goal is to really build out a brand that has longevity, in the sense that you can buy something now and buy something in five years, and wear them both together. It’s about building blocks in every sense — in the business and in the actual garments. I want every piece to be special and have meaning, perhaps even provoke a story. I really like to focus on these details, and the big picture follows thanks to my beloved business partner and sister Francesca.Read more at:formal dress | cocktail dresses online


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Colourful Pow Wow

There was dancing, drumming and mostly a lot of smiling faces at a colourful event on the Penticton Indian Band reserve this weekend.

The Four Seasons Cultural Society Pow Wow, now in its second year, started Friday and lasts until Sunday at the Outma Squilx Cultural School..

"We are bringing it back, and it it has been awesome," said Kristine Jack, one of the organizers. "Everybody is so happy and we have more now that it is outside this year."

It was Jack, along with others, with the society who worked tirelessly to bring it back.

It used to be an annual event in the 1970s organized by the Four Seasons War Dance Club, a dance troupe that travelled all over B.C., Alberta and Washington.

This year Jack said people are coming from all over, including Montana, Arizona, Alberta, Saskatchewan and Manitoba, as well as locally.

Highlights Saturday were the princess pageant and honouring four pioneer women, a fashion show and feast as well as stick game tournaments.

The event also featured craft vendors and food.

Laurent Isadore, an artist with the Driftpile Cree Nation, from Northern Alberta, said he travels all over selling his art work.

Now considering moving to BC, he heard this was happening and wanted to be a part of it.

While Michelle Jacobs, an artist from Hedley, said she loves seeing all the people chatting and watching the dancers.

"I love pow wows, it's my favourite thing to do," she said.

Keisha Kruger, a jingle dress dancer from the Penticton Indian Band, participating in the inter-tribal dancing said she liked bringing all the nations together.

"I just like all the people getting together whatever their skin colour," she said. "It's celebrating all people and having fun.Read more at:bridesmaid dresses australia | formal wear


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Sustainable Fashion

Ethicusis a Farm to Fashion initiative that Vijayalakshmi Nachiar started is considered India’s first organic & sustainable fashion brand. Established in 2009, it began with an aim to revive the rich local hand weaving traditions of the area through Product Development & Design Intervention.

“At the Ethicus Studio, each product is a handcrafted design using intricate textures in a wide range of ecofriendly colours. In short the brand works towards creating a product of the highest quality using the finest of Ecologic Organic yarns employing the best of artisans to create world class textiles for today,” the designer shares.

VijayalakshmiNachiar, as creative head of Ethicus, ensures that a minimum of 2 collections are made every year, one for the summer & the other for winter. She says, “The designs are an amalgamation of contemporary and traditional. The weavers are equally involved in the design process to help ideate various techniques of weaving, bridging the relationship between the designer and the weavers. Every design follows a theme & tells a story!”

The entire design process is documented and a serious effort is on to archive the designs & the samples developed. And in line with its philosophy of 'Inclusive growth', all Ethicus products carry tags with the picture of the weaver on it. It also states his/her name and the number of days it took him /her to weave the product.

The exhibition in Hyderabad will showcase the collection - ‘Mumbai Meri Jaan’, a colourful and contemporary collection of sarees encompassing the visual experience and elements that highlight the daily life experiences of a Mumbaikar. The sarees will be available in the prices ranging from Rs 6500 to Rs 40,000/- “Also on display will be sarees from our latest initiative ‘Made by Hand’, which is our collaborative work with artisans from across the country, “ sharesVijayalakshmi.Read more at:cheap formal dresses online | formal dresses online australia


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Rei Kawakubo rarely

The Japanese fashion designer founded her brand Comme des Garcons in Tokyo in 1973 and quickly built up a reputation for creating austere, avant-garde or deconstructed garments.

Kawakubo's work is the subject of a Metropolitan Museum of Art exhibition which opened in May (17) and the fashion maven notes that the installation was one of the first times she felt truly embraced by fashion leaders.

"I feel I was never highly praised by the majority of people in my 40-year career," she told Asahi "I was always unwelcome by half of the people. At Japanese department stores, it is still rare to see a store of a (globally acclaimed) Japanese designer brand in the same floor space as high-end foreign brands."

Kawakubo, who also established Dover Street Market, worked alongside the curators of her Met exhibit, including Andrew Bolton. Titled Art of the In-Between, the display focuses on nine thematic conceptual pairings including absence/presence, fashion/antifashion, and high/low, and the designer took a hands-on approach to the presentation of her couture.

"I agreed to do this show on the conditions that it would not be treated as a retrospective and that I would be allowed to show my garments in a way that was different from ordinary fashion designer exhibitions," she said.

Kawakubo's exhibition encompasses around 150 pieces of her womenswear, from the 1980s to the present day. But even though she is being celebrated by the Met, the 74-year-old is adamant she is not an artist.

"A fashion designer is not an artist. Fashion is creation, but it always relates to business. To keep it simple, for me, fashion is a business," she added.Read more at:formal dress shops sydney | cheap formal dresses melbourne


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Cultural Appropriation

I see it in every other fashion headline, with every other outlandish re-invention of a pop star, with the smallest details of a shirt that’s supposed to lend you a notion of cool—cultural appropriation.

In an article in The New York Times, cultural appropriation is a damaging topic tied to the white man’s privilege, “a word now associated with the white Western world’s co-opting of minority cultures.” It happens when a high-end luxury French brand turned an aboriginal tool into a thousand dollar collector’s piece. It happens when Kylie Jenner decides to release camouflage pieces for her clothing line, the word popped up when Marc Jacobs sent white models with dreadlocks down the runway.

But appropriation can be confusing especially when we think about inspiration. Every piece of art, every fashion trend, and every other story whether told through book pages or on-screen has been influenced or inspired by another piece that came before it. Pablo Picasso is oft ascribed to the saying “Good artists copy, great artists steal” and the same thought permuted from T.S. Elliot to even Steve Jobs.

So where does one draw the line between being inspired and culture? And what can we do to reprimand the people who cross the line?

“The idea of cultural appropriation is a deeply rooted issue, but something that should not be demonized, when it is a contribution to the arts in the contemporary world, and through cultural appropriation, certain critical ouvres and masterpieces have been created,” says Jean Cruz, a cultural worker for a museum. She cites what we’ve established earlier in how the great artists continuously influence modern works. “Cultural appropriation by way of a transferral of ideas from culture to culture, according to James Young (a philosopher who did a study on cultural appropriation) had given conception like Jazz, or the works of William Shakespeare through subject appropriation in his plays—whose elements of drama have been appropriated by cultures around the world.”

In this we find another definition of cultural appropriation: an exchange of ideas and concepts to enrich one another. Jean cites how there are events such as the International Festival of Extraordinary Textiles that is “entirely dedicated to the intercultural exchange of crafts and textiles, marrying the themes of cultural history, tradition, and the preservation of heritage.”

But things get sticky when entertainment, mainstream fashion, and money get into the mix. For example, when Chanel released a boomerang with their iconic logo and sold it for $1,325, the price wasn’t the only thing that got eyebrows raising. It was when it sent a message that wasn’t taken quite well. The boomerang became just a throwaway piece (no pun intended) meant to display the ridiculousness of luxury. It didn’t loop back to how it meant so much to the aboriginal Australian culture. It then looked like a designer house was belittling a symbol of cultural heritage of a certain group of people.

When something is made into a trend, that thing is calibrated to something that is passing. This is why it is insulting when a certain cultural feature, which people have adapted and used in their different struggles, is reduced to the must-have item for the season. Or the whim of a superstar’s costume. It’s why Katy Perry had to apologize for donning a geisha costume for her AMA performance (among many other similar cases of cultural appropriation) Mic writes, “Between the lack of Asian women on stage, the heavy-handed use of bowing and shuffling around in the choreography, and the ethno-confused set and costume design, Perry presented her viewers a one-dimensional Eastern fantasy drawn by a Western eye right out of the gate.”

But cultural appropriation just doesn’t occur in the gaze of Orientalism. Take for example how sisters Kendall and Kylie Jenner suffered major backlash for superimposing their faces on hip-hop icons and rock stars. Local streetwear designer Rik Rasos weighs in,“Fashion should be fun and we don’t have to take ourselves seriously all the time. But people are very passionate with what they believe in, especially their idols. Maybe people think that these girls have not earned their stripes yet to do that.”

From what culture you’re drawing a reference from to who is doing the reference and if they are doing it right, a lot of it can be avoided with just one word: research. Rik says that an inspiration crosses the line when “you don’t immerse yourself in the culture and understand it completely.”

Almost the same thing rings true for designer Jeffrey Rogador, who loves using Filipino symbols in his runway creations, “We should always be sensitive and careful about everything especially when we do things that deal with race, color, religion, and gender. As a designer, it’s good to be updated and to keep up with modern times but we shouldn’t disregard our values and ethics.”

With social media, our world is growing smaller and it may lead us to believe that we’re “discovering” new things—like the girls at Coachella who found Native American headdresses the perfect way to cap off their cutesy ensemble—but this shouldn’t be your excuse. Next time you find something unusual to you or a novelty in your wardrobe, look closer and think: Is there a bigger story behind it?Read more at:white formal dresses | red formal dresses


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New uniforms debut

The 2017 Laurence Xu Haute Couture Show, an event highlighting the work of the world-renowned fashion designer, was held in the ballroom at the InterContinental Paris Le Grand on July 4, 2017, during Paris Couture Week Fall/Winter 2017. The uniforms that were showcased combine elements of classical, time-honored Oriental aesthetics and the silhouette of a modern Western suit, infusing new vigor and fashion into the attire.

The fifth-generation uniforms highlight the combination of traditional Chinese features and internationally popular elements. Repurposing the alluring look of the Cheongsam, a stylish traditional Chinese dress for women usually worn on more formal occasions, the uniforms feature a collar overlaid with a pattern of auspicious clouds and a lower hem with a pattern alternating sea and mountains which contrasts with the collar's clouds and sky, drawing a comparison between a Hainan aircraft that has just taken off, and the roc, a mythical bird denoting strength, as it lifts into flight. The 3/4 sleeves denote simplicity and just the right amount of modesty, symbolic of the cabin crew's high level of competence. The apron is designed like a tulip-shaped dress to emphasize, in equal measure, elegance, femininity, aesthetics and practicality. The Western-style draping incorporates popular international fashion elements alongside a sense of high-quality professionalism. The fusion of traditional Chinese elements and popular international fashion created an Oriental masterpiece that turned heads in Paris.

The new attire maintains and adds a new twist to the previous generations' iconic elements - the Oriental art-inspired patterns and gray-color theme that have always been an essential part of the uniform's design. The uniform pays a tribute to the designs of the previous generations, cleverly updated with a modern aesthetic that incorporates popular international fashion elements. The fourth-generation uniforms have been in use for seven years starting from 2010. Driven by Hainan Airlines' strategic vision of becoming one of the world's most prominent carriers, two years ago, the airline opened a discussion with Laurence Xu that led ultimately to the creation of the new uniforms. During the design process, Hainan Airlines and Laurence Xumet and talked frequently, going through more than 1,000 design blueprints and trying out more than one hundred samples of garments and accessories.

The debut of the new uniforms at this year's fall/winter session is not only the result of a combination of fashion with aviation, but also a cross-industry cooperation in terms of travel and fashion and a testament to Hainan Airlines' ingenuity. The uniforms are now an element of the masterful visual experience that has become part and parcel of what the airline's domestic and international passengers are treated to when they fly with Hainan. The ingenuity that led to the cross-industry partnership is just one component of the commitment that the airline has made in terms of catering to ever-changing passenger expectations. Another example of how that ingenuity played a role is when Hainan Airlines partnered with renowned international pianist Lang Lang in 2016, which culminated in the famous performer playing piano for passengers "in the clouds" on Hainan Airline flight. As for ground services, renowned designer Dr. Patrick Leung, at the invitation of the airline, designed its international VIP lounge, the HNA Club, which provides business class and club member passengers with a comfortable environment amid multifunctional facilities. With a lasting focus on details and a continued commitment to innovation, originality and keeping ahead of passenger expectations, the airline has been providing travelers with the highest quality services over its 24 years of existence.Read more at:formal dress shops brisbane | short formal dresses


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Natural fibres backbone

Union minister for agriculture Radha Mohan Singh today described natural fibres as the backbone of the Indian textiles industry. The minister noted that despite stiff competition from synthetic fibres, the demand for natural fibres was steadily increasing with a growing population. Natural fibre production involves millions of farmers and industries using them are creating rural jobs, he said.

Chairing a session on ‘Productivity and Product Diversification Challenges for Natural Fibres’ at Textiles India 2017, Singh said that given the bottlenecks in increasing the area under cultivation, the only way to improve production would be to increase productivity. Introduction of high-yielding varieties, best agronomical practices, efficient fibre extractors and effective utilisation for diversified products will improve productivity. This is the right time for all stakeholders to discuss and formulate a suitable strategy to increase productivity of all natural fibres.

Union minister for chemicals and fertilisers Ananth Kumar, who chaired a session on ‘Potential of Man-Made Fibres in India’, remarked that man-made fibres (MMF) were gaining wide applications in both conventional and technical textiles. Considering the global shift towards MMF, India is focusing to establish itself as a supplier of quality man-made textiles and apparel for the global market.

The minister highlighted the major opportunities for investment in MMF textiles in the following broad areas: import substitution, growing segments in international trade and domestic market opportunities. He added that a group would soon be formed for synergy between his ministry and the ministry of textiles, for jointly addressing challenges and opportunities.

Sharing her thoughts as the chair of a session on making India a sourcing hub and investment destination for the world, Union minister for commerce and industry, Nirmala Sitharaman recounted the historical fact that the Indian textile sector had attained global eminence long before many other sectors could establish themselves. Noting that India itself was a very big market, the minister said that the industry needed to tap opportunities in both domestic as well as international markets.

The session on skilling was chaired by the Union minister for skill development and entrepreneurship, Rajiv Pratap Rudy. The minister said that Skill India was an integral part of both Make in India and Textiles India. Rudy said that a key question facing the skill sector was that of creating a basic first-level skilling ecosystem in the country.

Citing examples of various beneficiaries, he highlighted the need for short-term skilling programmes, and formal interventions for skilled manpower. He said that work was being done in this direction by his ministry, to address the questions of how, for whom, where, curriculum, content, examination, certification and employment as it related to skilling requirements of the country.Read more at:evening dresses | formal dress shops


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