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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