How to be the glamour girl
2013年10月8日
They were right. Your face is your fortune. So, attract attention to it, but don’t go overboard with make-up.
Keep it matt, says hair and make-up stylist Clint Fernandes. "Mumbai’s coastal weather makes the skin greasy and grimy. If you put on glossy make-up, a few moves down, your skin will end up looking oily."
For the same reason, use only waterproof products. "And no smoky eyes," he warns. "By the end of a rigorous garba round, you’ll end up looking like a panda." Instead, apply liberal mascara, use coloured kohl and smash it out. You can also dab on some glitter with a make-up adhesive.
How to be the glamour girl
Fernandes suggests you follow the one-element rule (since your clothes are likely to be the attention grabber, anyway). If you are doing up your eyes, keep the lip shade light. Use just a fresh coat of lip gloss to make them look plump and fresh. Try to avoid rouge. Instead, use a bronzer to highlight the cheekbones. Women with darker skin should choose warmer shades of coral, copper, gold and brown. Fairer skin responds well to green, pink, blue and magenta.
Knots and crosses
A blow dried mane looks lovely when you are expected to sit pretty. When you are showing off your moves, keep it tied up. Different kinds of braids — especially the fishtail — are very hot right now, as are high ponytails, says hairstylist Savio Pereira. If Blake Lively could wear the fishtail plait (khajuri choti) on the red carpet, it should work fine for you. But high buns are last season. "The idea is to keep your hair out of your face while dancing," says Pereira. Accessorising it with bits of diamante and semi-precious jewels adds a festive touch. "The season is all about colour, so if you don’t wish to permanently colour your hair, add coloured hair extensions."
Men have less to worry about. "Simply spike or gel your hair back, or go with the quiff (combines the 1950s pompadour hairstyle, the 50s flattop, and sometimes a mohawk), and you’re good to go."
http://www.kissydress.co.uk/black-prom-dresses | http://www.kissydress.co.uk/long-prom-dresses
Keep it matt, says hair and make-up stylist Clint Fernandes. "Mumbai’s coastal weather makes the skin greasy and grimy. If you put on glossy make-up, a few moves down, your skin will end up looking oily."
For the same reason, use only waterproof products. "And no smoky eyes," he warns. "By the end of a rigorous garba round, you’ll end up looking like a panda." Instead, apply liberal mascara, use coloured kohl and smash it out. You can also dab on some glitter with a make-up adhesive.
How to be the glamour girl
Fernandes suggests you follow the one-element rule (since your clothes are likely to be the attention grabber, anyway). If you are doing up your eyes, keep the lip shade light. Use just a fresh coat of lip gloss to make them look plump and fresh. Try to avoid rouge. Instead, use a bronzer to highlight the cheekbones. Women with darker skin should choose warmer shades of coral, copper, gold and brown. Fairer skin responds well to green, pink, blue and magenta.
Knots and crosses
A blow dried mane looks lovely when you are expected to sit pretty. When you are showing off your moves, keep it tied up. Different kinds of braids — especially the fishtail — are very hot right now, as are high ponytails, says hairstylist Savio Pereira. If Blake Lively could wear the fishtail plait (khajuri choti) on the red carpet, it should work fine for you. But high buns are last season. "The idea is to keep your hair out of your face while dancing," says Pereira. Accessorising it with bits of diamante and semi-precious jewels adds a festive touch. "The season is all about colour, so if you don’t wish to permanently colour your hair, add coloured hair extensions."
Men have less to worry about. "Simply spike or gel your hair back, or go with the quiff (combines the 1950s pompadour hairstyle, the 50s flattop, and sometimes a mohawk), and you’re good to go."
http://www.kissydress.co.uk/black-prom-dresses | http://www.kissydress.co.uk/long-prom-dresses
Have you ever eaten an eighteen-course French meal and passed out from the exertion? No, me neither. Apparently when they autopsied Louis XIV his stomach was three times the size of an average man.
Sometimes it feels a bit like that during Paris fashion week. You feel bloated, stuffed, saturated. It’s with fashion, rather than food. The latter is thin on the ground, bar the ubiquitous croques.
It means that some of the week’s subtler delicacies can be overpowered, or overshadowed. That was a bit of an issue at the Hermes show. Last season, Christophe Lemaire netted attention by presenting his collection in the Tuesday evening slot normally reserved for Alexander McQueen. He took us up into an old school library to show an old-school collection. It was a highlight. This time, he showed after the Louis Vuitton extravaganza, Marc Jacob’s final hurrah after 16 years.
Lemaire’s soft voice was, understandably, somewhat drowned out. Even a silk-print lined yellow crocodile skirt felt meek by comparison.
That’s sweet for LVMH. In July they were fined $8 million (roughly £6.8 million by the Autorité des Marchés Financiers, regulators of the French stock market, for “failing to inform the market that it was preparing to raise its stake in Hermes.” Said stake was raised to 23.1%. LVMH are not appealing the fine, the highest the AMF has ever imposed.
It also overshadowed the spring 2014 Miu Miu show, a label owned by LVMH rival Prada. The Miu Miu show was sweet, pastel-hued, with riff-referencing on Miuccia Prada greatest hits, including sickly delights like vinyl skirts, toilet-bowl heels and clattering glass-bead fringes. We’ve seen them all from her before, ditto those crocheted tights and mixes of off-colour taking us back to the mid-nineties rather than the late sixties. But as a greatest hits of Miu Miu they felt fresh even a second time around. They were cloyingly sweet, but didn’t overpower.
Overpowering was something of a theme. The heat was overpowering at Giambattista Valli, a few million wattage bulbs blasting down on a collection of elegant, spare silhouettes with a couture flair. There were touches of Arte Povera, humble prints taken from rough wooden planks applied to silk gazar coats, or dresses and coats seemingly made from hopsack, embroidered with fragile blooms.
The Italian Fausto Puglisi’s second collection for Emanuel Ungaro overpowered all by itself, a riotous parade of curly-whirly wired flounces, polka-dots, stripes, zippered slits and slats and visible nipples. Frequently all in the same outfit. No hopsack, just frocks to make you hop in the sack. Puglisi is riotous fashion fun. His own label, shown in Milan, was inspired by an imaginary fusion of Axl Rose and Carolina Herrera. Their sartorial offspring made eye-boggling viewing.
In Paris, chez Ungaro, it was Prince blasting through the hallowed halls of a Parisian hôtel particulier previously reserved for royalty and Popes. Puglisi has a good handle on the sensuality that was always a theme of the house of Ungaro, and revved up the vulgarity, which truth be told was also very much part of the Ungaro oeuvre.
It wasn’t all ruffles and flounces. Carol Lim and Humberto Leon tried their hand at environmental causes, bemoaning the plight of overfishing. You got the message – they scrawled “No Fish No Nothing” across a charity sweatshirt. Good. I couldn’t help but wish they’d just lampooned the Jaws logo as a new version of their ubiquitous house tiger motif. No matter. This was an enjoyable romp, even if it did have meaning. Embroidered sea-life looked sweet, sometimes the visual restricted to a wave pattern at the hem, or an abstract Japanese woodcut of falling water they used in their menswear collection. And the show was a spectacle, a waterfall tumbling in back and speakers bouncing puddles of liquid like a giant aquatic sound-system. Beautiful briny fun.
It was also enlivening to see Delfina Delettrez’s inventive bijoux. She staged a Surrealist tea-party, handing out edible cosmetics – chocolate “lipstick” in early-nineties earth tones, a chantilly mousse packed like expensive face-cream, test-tube phials of prosecco – and displaying her collection on magically levitating plates. Actually floating. The effect was achieved with magnets, a neat underline of her collection’s title, “Never Too Light”.
Delettrez is an original thinker. She comes up with the sort of ideas that seem so wonderfully obvious, you wonder why no-one alighted on them before, like rings clambering up the finger, the metal hidden around the back and seeming to outline the digits with semi-precious stones. They’ll be picked up and ripped off pretty soon, just like her trademark eye-shaped rings and earrings, or the earrings she designed from two pearls, the larger hanging behind the ear. Delettrez’s “Timeless Watches” have antecedents in the work of Martin Margiela, but they looked fresh with a crystal “watch face”. They certainly underlined the Andre Breton air to this Surrealist dinner-party. And the cosmetic food didn’t overpower it, or you.
A word on a few other collections: I like the flocking and colour of Ann Demeulemeester. She’s a name whose look is practically set in stone, locked down in monochrome. When she surprises with something punchy, like this spring offering, it’s especially arresting. Haider Ackermann feels stuck in a groove. However beautiful his clothes are – and they are so, so beautiful – you long for him to try something new, rather than preaching to the converted. Especially as the preaching is becoming pedantic.
You have that feeling sometimes with Maria Grazia Chiuri and Pierpaolo Piccioli of Valentino. They’ve mined dreamy, creamy romance for so long, it can sometimes knock you sick. How many lace princess dresses does one woman – even one incredibly rich jet-setting woman with half-a-dozen homes and thrice as many wardrobes – really need?
The best pieces in the spring Valentino collection said something fresh, the variations on precise shirting, in white or blue, knotted at the neck or dropping a cape at the back. A blue shirt was paired with a pleated skirt alternating between embroidery and transparency. It looked gorgeous, but acknowledged that women lead a life that isn’t always so precious. It cleansed our palette. It moved us on.
http://www.kissydress.co.uk/purple-prom-dresses | http://www.kissydress.co.uk/princess-prom-dresses
Sometimes it feels a bit like that during Paris fashion week. You feel bloated, stuffed, saturated. It’s with fashion, rather than food. The latter is thin on the ground, bar the ubiquitous croques.
It means that some of the week’s subtler delicacies can be overpowered, or overshadowed. That was a bit of an issue at the Hermes show. Last season, Christophe Lemaire netted attention by presenting his collection in the Tuesday evening slot normally reserved for Alexander McQueen. He took us up into an old school library to show an old-school collection. It was a highlight. This time, he showed after the Louis Vuitton extravaganza, Marc Jacob’s final hurrah after 16 years.
Lemaire’s soft voice was, understandably, somewhat drowned out. Even a silk-print lined yellow crocodile skirt felt meek by comparison.
That’s sweet for LVMH. In July they were fined $8 million (roughly £6.8 million by the Autorité des Marchés Financiers, regulators of the French stock market, for “failing to inform the market that it was preparing to raise its stake in Hermes.” Said stake was raised to 23.1%. LVMH are not appealing the fine, the highest the AMF has ever imposed.
It also overshadowed the spring 2014 Miu Miu show, a label owned by LVMH rival Prada. The Miu Miu show was sweet, pastel-hued, with riff-referencing on Miuccia Prada greatest hits, including sickly delights like vinyl skirts, toilet-bowl heels and clattering glass-bead fringes. We’ve seen them all from her before, ditto those crocheted tights and mixes of off-colour taking us back to the mid-nineties rather than the late sixties. But as a greatest hits of Miu Miu they felt fresh even a second time around. They were cloyingly sweet, but didn’t overpower.
Overpowering was something of a theme. The heat was overpowering at Giambattista Valli, a few million wattage bulbs blasting down on a collection of elegant, spare silhouettes with a couture flair. There were touches of Arte Povera, humble prints taken from rough wooden planks applied to silk gazar coats, or dresses and coats seemingly made from hopsack, embroidered with fragile blooms.
The Italian Fausto Puglisi’s second collection for Emanuel Ungaro overpowered all by itself, a riotous parade of curly-whirly wired flounces, polka-dots, stripes, zippered slits and slats and visible nipples. Frequently all in the same outfit. No hopsack, just frocks to make you hop in the sack. Puglisi is riotous fashion fun. His own label, shown in Milan, was inspired by an imaginary fusion of Axl Rose and Carolina Herrera. Their sartorial offspring made eye-boggling viewing.
In Paris, chez Ungaro, it was Prince blasting through the hallowed halls of a Parisian hôtel particulier previously reserved for royalty and Popes. Puglisi has a good handle on the sensuality that was always a theme of the house of Ungaro, and revved up the vulgarity, which truth be told was also very much part of the Ungaro oeuvre.
It wasn’t all ruffles and flounces. Carol Lim and Humberto Leon tried their hand at environmental causes, bemoaning the plight of overfishing. You got the message – they scrawled “No Fish No Nothing” across a charity sweatshirt. Good. I couldn’t help but wish they’d just lampooned the Jaws logo as a new version of their ubiquitous house tiger motif. No matter. This was an enjoyable romp, even if it did have meaning. Embroidered sea-life looked sweet, sometimes the visual restricted to a wave pattern at the hem, or an abstract Japanese woodcut of falling water they used in their menswear collection. And the show was a spectacle, a waterfall tumbling in back and speakers bouncing puddles of liquid like a giant aquatic sound-system. Beautiful briny fun.
It was also enlivening to see Delfina Delettrez’s inventive bijoux. She staged a Surrealist tea-party, handing out edible cosmetics – chocolate “lipstick” in early-nineties earth tones, a chantilly mousse packed like expensive face-cream, test-tube phials of prosecco – and displaying her collection on magically levitating plates. Actually floating. The effect was achieved with magnets, a neat underline of her collection’s title, “Never Too Light”.
Delettrez is an original thinker. She comes up with the sort of ideas that seem so wonderfully obvious, you wonder why no-one alighted on them before, like rings clambering up the finger, the metal hidden around the back and seeming to outline the digits with semi-precious stones. They’ll be picked up and ripped off pretty soon, just like her trademark eye-shaped rings and earrings, or the earrings she designed from two pearls, the larger hanging behind the ear. Delettrez’s “Timeless Watches” have antecedents in the work of Martin Margiela, but they looked fresh with a crystal “watch face”. They certainly underlined the Andre Breton air to this Surrealist dinner-party. And the cosmetic food didn’t overpower it, or you.
A word on a few other collections: I like the flocking and colour of Ann Demeulemeester. She’s a name whose look is practically set in stone, locked down in monochrome. When she surprises with something punchy, like this spring offering, it’s especially arresting. Haider Ackermann feels stuck in a groove. However beautiful his clothes are – and they are so, so beautiful – you long for him to try something new, rather than preaching to the converted. Especially as the preaching is becoming pedantic.
You have that feeling sometimes with Maria Grazia Chiuri and Pierpaolo Piccioli of Valentino. They’ve mined dreamy, creamy romance for so long, it can sometimes knock you sick. How many lace princess dresses does one woman – even one incredibly rich jet-setting woman with half-a-dozen homes and thrice as many wardrobes – really need?
The best pieces in the spring Valentino collection said something fresh, the variations on precise shirting, in white or blue, knotted at the neck or dropping a cape at the back. A blue shirt was paired with a pleated skirt alternating between embroidery and transparency. It looked gorgeous, but acknowledged that women lead a life that isn’t always so precious. It cleansed our palette. It moved us on.
http://www.kissydress.co.uk/purple-prom-dresses | http://www.kissydress.co.uk/princess-prom-dresses
Hot fuzz: Break out the autumn fur
2013年9月23日
The fur has been flying this season as the provocative material’s prominent return to the catwalk has reopened much debate about the ethics of wearing animal pelts. But the designers who went for the real McCoy, showing mink, fox or beaver, were matched by those who chose to mimic such textures with less controversial methods.
Teddy-bear fur – boiled and brushed wool that apes the plush texture of a cuddly toy – was used to great effect at MaxMara in the house’s classic camel, where it was cut into oversized sports-inspired shapes and styled in layered looks. That colour was also woven into horizontal stripes with a deep shade of midnight. Dries Van Noten became the latest designer to collaborate with the German teddy-bear manufacturer Steiff, which has been creating fabrics for fashion since 2007, when Prada used its woven fur for an autumn/winter collection that marked the designer’s boredom with fur – albeit only a temporary lack of interest. Bernard Wanning, the chief executive of Steiff Schulte, says: “We produce the highest-quality alpaca and mohair woven fur, famed for its opulence and lustrous finish. [Our relationship with Prada] brought great interest from designers, many of whom come to us simply asking for ’the Prada fur’. We have continued to supply Prada with mohair fur for the past six years.”
The luxury of using Steiff – apart, of course, from the use of high-quality, natural fibres – is that with more than 6,000 shades and 20 finishes to choose from, its fur can be produced to the exact specifications of a designer; Van Noten’s take was long-haired and shaggy and traditional-teddy coloured.
While full-on fur is an automatic no-no in many fashionable circles, in England at least – attendees of the Milan collections in February proved that many other nations embrace real pelts for warmth and glamour – there are many grey areas. Just as leather is seen as a socially acceptable by-product of the nation’s love for roast beef and cheeseburgers, so, too, are similar animal skins.
A sleeker look, though one that still provided a sense of tactile warmth, came from the use by myriad designers of pony skin, which despite the misleading name is actually made from cowhide – it is simply treated in a different way from when it is tanned into leather. Show-pony looks came from Trussardi – where Umit Benan’s last collection for the house was minimal, sleek and modern – Victoria Beckham, and Marni, the last house showing many looks with the real-furry deal, too.
Shearling outerwear has shaken off its Del Boy connotations thanks to the embrace of brands such as Céline, Burberry Prorsum and Acne in the past. It too can be treated in myriad ways, and so designers can create soft, suede-like aviator jackets with cosy fleece-lining, shaggy straightened-out fur-like fronds, or something altogether more polished with a sleek outer and closely shorn inner. This season, Topshop Unique experimented with fuzzy textures, creating fleecy shearling jackets and T-shirts as well as more fluffy scarves and accessories.
For those who choose not to use animal skins at all – led by Stella McCartney, who has famously taken a stance against the use even of leather for her self-titled line – there are manufactured alternatives to suit most budgets, and some are so realistic that the wearer has been chastised for their seeming cruelty. In 2010, Karl Lagerfeld gave the fake stuff his seal of approval when he used it on skirts, trousers, boots and bags at Chanel’s autumn/winter show, at the time declaring that “technical advances are so perfect you can hardly tell fake fur from the real thing”.
But it’s not only about fur-like finishes this season, as pieces are given a fuzzy treatment instead. Coats in brushed wool and mohair abound – and should be paired with a wise investment in a lint-roller, prone as such fabrics are to moulting – while fluffy knits in natural and man-made fibres are a trend that will only get bigger as the weather gets colder.
http://www.kissydress.co.uk/princess-prom-dresses | http://www.kissydress.co.uk/prom-dresses-2012-2013
Teddy-bear fur – boiled and brushed wool that apes the plush texture of a cuddly toy – was used to great effect at MaxMara in the house’s classic camel, where it was cut into oversized sports-inspired shapes and styled in layered looks. That colour was also woven into horizontal stripes with a deep shade of midnight. Dries Van Noten became the latest designer to collaborate with the German teddy-bear manufacturer Steiff, which has been creating fabrics for fashion since 2007, when Prada used its woven fur for an autumn/winter collection that marked the designer’s boredom with fur – albeit only a temporary lack of interest. Bernard Wanning, the chief executive of Steiff Schulte, says: “We produce the highest-quality alpaca and mohair woven fur, famed for its opulence and lustrous finish. [Our relationship with Prada] brought great interest from designers, many of whom come to us simply asking for ’the Prada fur’. We have continued to supply Prada with mohair fur for the past six years.”
The luxury of using Steiff – apart, of course, from the use of high-quality, natural fibres – is that with more than 6,000 shades and 20 finishes to choose from, its fur can be produced to the exact specifications of a designer; Van Noten’s take was long-haired and shaggy and traditional-teddy coloured.
While full-on fur is an automatic no-no in many fashionable circles, in England at least – attendees of the Milan collections in February proved that many other nations embrace real pelts for warmth and glamour – there are many grey areas. Just as leather is seen as a socially acceptable by-product of the nation’s love for roast beef and cheeseburgers, so, too, are similar animal skins.
A sleeker look, though one that still provided a sense of tactile warmth, came from the use by myriad designers of pony skin, which despite the misleading name is actually made from cowhide – it is simply treated in a different way from when it is tanned into leather. Show-pony looks came from Trussardi – where Umit Benan’s last collection for the house was minimal, sleek and modern – Victoria Beckham, and Marni, the last house showing many looks with the real-furry deal, too.
Shearling outerwear has shaken off its Del Boy connotations thanks to the embrace of brands such as Céline, Burberry Prorsum and Acne in the past. It too can be treated in myriad ways, and so designers can create soft, suede-like aviator jackets with cosy fleece-lining, shaggy straightened-out fur-like fronds, or something altogether more polished with a sleek outer and closely shorn inner. This season, Topshop Unique experimented with fuzzy textures, creating fleecy shearling jackets and T-shirts as well as more fluffy scarves and accessories.
For those who choose not to use animal skins at all – led by Stella McCartney, who has famously taken a stance against the use even of leather for her self-titled line – there are manufactured alternatives to suit most budgets, and some are so realistic that the wearer has been chastised for their seeming cruelty. In 2010, Karl Lagerfeld gave the fake stuff his seal of approval when he used it on skirts, trousers, boots and bags at Chanel’s autumn/winter show, at the time declaring that “technical advances are so perfect you can hardly tell fake fur from the real thing”.
But it’s not only about fur-like finishes this season, as pieces are given a fuzzy treatment instead. Coats in brushed wool and mohair abound – and should be paired with a wise investment in a lint-roller, prone as such fabrics are to moulting – while fluffy knits in natural and man-made fibres are a trend that will only get bigger as the weather gets colder.
http://www.kissydress.co.uk/princess-prom-dresses | http://www.kissydress.co.uk/prom-dresses-2012-2013
Some things stayed the same, probably for the best, such as Marchesa’s romantic fairytale dresses and Oscar de la Renta’s vintage pencil skirts and taffeta ball gowns, while other things evolved by taking more liberties; a perfect example being a slightly more androgynous flavour at Alexander Wang and BCBG Max Azria along with Vera Wang’s strategically-constructed shapes using a fluid fabric medium at New York Fashion Week (NYFW).
Rather than overt trends, there was a liberating ‘play as you please’ air about the shows with no stifling restrictions that made each presentation independently great, and therefore hard to narrow down to the top 10. In the end, it was about which ones planted a memory and stayed strong to a signature rather than erratically dabbling about.
Carolina Herrera amazed with optical illusionary prints on sheers that came alive as they moved down the runway. A few of them made us a little dizzy, but it was a mesmerising visual experience altogether. The leather triangular patchwork was another interesting feature; breaking up the prints and adding structure but maintaining the sheer insets so that the overall effect was not too strict.
Donna Karan drew us in with her drop waist leisurely dresses slung together casually with broad leather belts and boho with edge prints. The woman is an absolute master at working a piece of fabric as anything she touches, turns effortlessly perfect. Most of the outfits were fluid but it was a controlled fluidity that was key. Admittedly, some of the pieces bordered on indulgent but that was forgivable in the larger scheme.
One of Kate Middleton’s ultimate favourite evening wear designers, we can completely understand the princess’s soft spot for Jenny Packham’s embellished sparkling creations. While Packham is known for her elegant-beaded dresses, at NYFW, she showed a bit more creativity with simpler soft silk bow tie necklines, high-waist languid skirts, and pastels paired with brighter solids. She is the best girly designer in the spotlight at the moment who you can’t help but love.
Marchesa broke new ground by allowing itself a little more leeway to experiment with less than perfect on purpose silhouettes. The design house is loved for its heavenly fairytale designs on tulle and lace adorned with embroideries and drenched in embellishment. A floral-detailed dress fell playfully free at the bottom and sensual strategic layering was empowered by uneven fringe accents. The collection held more weight than just pretty lace frocks.
Our list would be incomplete without Naeem Khan, whose universal ethnic touch makes him a favourite among celebrities for red carpet events. He showed endless brilliance with a Frieda Kahlo-inspired collection featuring characteristic rich-embroidered red and black roses on ultra feminine figure hugging organza dresses, plenty of lush embellishments of which the detailing on the short box vests that accompanies the shorter full-skirted dresses was our favourite.
Vera Wang had some fun layering neutrals with cobalt, red, and yellow in mesh and gauze fabrics to create feminine but sporty dresses. It was a simple concept yet difficult to maneuvre given the delicate medium she used to give that careless appearance, which was in truth anything but.
We were glad to see Oscar de la Renta take it down a notch with at least half his collection focused on tapered, seriously smart skirt suits and dresses before the puffy silk numbers and florals took over. The navy and black with hints of white lace was an exciting aspect that we wish he had used more, but it certainly did the trick.
Diane von Furstenberg (DVF) packed a punch with a safari-inspired collection that was more than just zebra and orange blue savanna prints. The matching uniform printed tops and bottoms were bold and had an elongating effect that is characteristic of DVF’s empowering signature.
Narciso Rodriguez won us over with the little things. The slight uneven pointed overlapping short skirts, the clean mix of burn out devore and slices of black. It seems the triangular-folded geometric layering is starting a trend, witnessed at Victoria Beckham, Vera Wang, and here to name a few. His sharp sense of tailoring is worth a special mention in particular.
BCBG Max Azria stayed strong to the composed insertion of floral prints within neutral blacks and white seen at their Resort 2014 showcase, except the prints were more colourful making them jump out more against the plain canvas. Crisp, white, blue cotton oversize shirt dresses with pockets made for statement day wear. It was fresh, clean, and liberating.
http://www.kissydress.co.uk/princess-prom-dresses | http://www.kissydress.co.uk/black-prom-dresses
Rather than overt trends, there was a liberating ‘play as you please’ air about the shows with no stifling restrictions that made each presentation independently great, and therefore hard to narrow down to the top 10. In the end, it was about which ones planted a memory and stayed strong to a signature rather than erratically dabbling about.
Carolina Herrera amazed with optical illusionary prints on sheers that came alive as they moved down the runway. A few of them made us a little dizzy, but it was a mesmerising visual experience altogether. The leather triangular patchwork was another interesting feature; breaking up the prints and adding structure but maintaining the sheer insets so that the overall effect was not too strict.
Donna Karan drew us in with her drop waist leisurely dresses slung together casually with broad leather belts and boho with edge prints. The woman is an absolute master at working a piece of fabric as anything she touches, turns effortlessly perfect. Most of the outfits were fluid but it was a controlled fluidity that was key. Admittedly, some of the pieces bordered on indulgent but that was forgivable in the larger scheme.
One of Kate Middleton’s ultimate favourite evening wear designers, we can completely understand the princess’s soft spot for Jenny Packham’s embellished sparkling creations. While Packham is known for her elegant-beaded dresses, at NYFW, she showed a bit more creativity with simpler soft silk bow tie necklines, high-waist languid skirts, and pastels paired with brighter solids. She is the best girly designer in the spotlight at the moment who you can’t help but love.
Marchesa broke new ground by allowing itself a little more leeway to experiment with less than perfect on purpose silhouettes. The design house is loved for its heavenly fairytale designs on tulle and lace adorned with embroideries and drenched in embellishment. A floral-detailed dress fell playfully free at the bottom and sensual strategic layering was empowered by uneven fringe accents. The collection held more weight than just pretty lace frocks.
Our list would be incomplete without Naeem Khan, whose universal ethnic touch makes him a favourite among celebrities for red carpet events. He showed endless brilliance with a Frieda Kahlo-inspired collection featuring characteristic rich-embroidered red and black roses on ultra feminine figure hugging organza dresses, plenty of lush embellishments of which the detailing on the short box vests that accompanies the shorter full-skirted dresses was our favourite.
Vera Wang had some fun layering neutrals with cobalt, red, and yellow in mesh and gauze fabrics to create feminine but sporty dresses. It was a simple concept yet difficult to maneuvre given the delicate medium she used to give that careless appearance, which was in truth anything but.
We were glad to see Oscar de la Renta take it down a notch with at least half his collection focused on tapered, seriously smart skirt suits and dresses before the puffy silk numbers and florals took over. The navy and black with hints of white lace was an exciting aspect that we wish he had used more, but it certainly did the trick.
Diane von Furstenberg (DVF) packed a punch with a safari-inspired collection that was more than just zebra and orange blue savanna prints. The matching uniform printed tops and bottoms were bold and had an elongating effect that is characteristic of DVF’s empowering signature.
Narciso Rodriguez won us over with the little things. The slight uneven pointed overlapping short skirts, the clean mix of burn out devore and slices of black. It seems the triangular-folded geometric layering is starting a trend, witnessed at Victoria Beckham, Vera Wang, and here to name a few. His sharp sense of tailoring is worth a special mention in particular.
BCBG Max Azria stayed strong to the composed insertion of floral prints within neutral blacks and white seen at their Resort 2014 showcase, except the prints were more colourful making them jump out more against the plain canvas. Crisp, white, blue cotton oversize shirt dresses with pockets made for statement day wear. It was fresh, clean, and liberating.
http://www.kissydress.co.uk/princess-prom-dresses | http://www.kissydress.co.uk/black-prom-dresses
On the street before today’s Tom Ford show in London, guests were excitable, even frenzied. Hilary Alexander stood on the sidewalk outside Lindley Hall begging passers-by for a cigarette, as she’d freshly run out. A kind gentleman finally obliged.
Ford admitted a few months ago that he regretted the extravagant (some called it "ostentatious") presentation of his last womenswear show – which, you may recall, garnered "lukewarm" reviews instead of the stellar ones he expected — but luckily, he didn’t do away with the army of male models that greeted guests indoors, proffering champagne and smiling pleasantly. Their presence did feel less overwhelming than last season, however, in that there were fewer of them and they weren’t styled like clones. When asked for seating directions, one of them politely admitted he didn’t know the arrangements – he were only there as eye candy.
The venue itself was very dimly lit, so dark that the only thing clearly visible before the show was the sparkle of a sequinned Tom Ford jacket worn by one of the female guests. All the walls were mirrored, with soft grey couches as the seating. It was hard to imagine what the room could possibly be used for other than a Tom Ford show: A Bond villain’s lair? An incredibly luxurious sex club?
André Leon Talley (resplendent in blue taffeta) sat front row near Natalie Massenet and Carine Roitfeld; opposite was Anna Wintour, who was soon joined by Ford’s two celebrity guests. Gauging from the buzz that surrounded them, it was clear they were celebrities, but who? It was impossible to tell. Twitter finally yielded the answer: Cate Blanchett and Colin Firth. Blanchett shared what looked like a genuinely warm catch-up with Ford’s partner, Richard Buckley, before taking her seat.
The collection itself had the usual mix of animal skins, leathers and furs, but mainly revolved around skin-tight minidresses and bodysuits, which were embellished in everything lace, ribbons, and reflective mosaic tiles that cast tiny slivers of light over the crowd. There were glossy leather jackets, sexy lace-up ankle booties, belted waistlines, and visible thongs beneath sheer skirts. A number of outfits featured netted stockings (or were they thigh-high boots?) with criss-crossing laces up the front.
The runway finished quietly, without a finale. As guests filtered out, the tinkle could be heard of one or two champagne glasses being stepped on in the darkness.
http://www.kissydress.co.uk/high-low-prom-dresses | http://www.kissydress.co.uk/
Ford admitted a few months ago that he regretted the extravagant (some called it "ostentatious") presentation of his last womenswear show – which, you may recall, garnered "lukewarm" reviews instead of the stellar ones he expected — but luckily, he didn’t do away with the army of male models that greeted guests indoors, proffering champagne and smiling pleasantly. Their presence did feel less overwhelming than last season, however, in that there were fewer of them and they weren’t styled like clones. When asked for seating directions, one of them politely admitted he didn’t know the arrangements – he were only there as eye candy.
The venue itself was very dimly lit, so dark that the only thing clearly visible before the show was the sparkle of a sequinned Tom Ford jacket worn by one of the female guests. All the walls were mirrored, with soft grey couches as the seating. It was hard to imagine what the room could possibly be used for other than a Tom Ford show: A Bond villain’s lair? An incredibly luxurious sex club?
André Leon Talley (resplendent in blue taffeta) sat front row near Natalie Massenet and Carine Roitfeld; opposite was Anna Wintour, who was soon joined by Ford’s two celebrity guests. Gauging from the buzz that surrounded them, it was clear they were celebrities, but who? It was impossible to tell. Twitter finally yielded the answer: Cate Blanchett and Colin Firth. Blanchett shared what looked like a genuinely warm catch-up with Ford’s partner, Richard Buckley, before taking her seat.
The collection itself had the usual mix of animal skins, leathers and furs, but mainly revolved around skin-tight minidresses and bodysuits, which were embellished in everything lace, ribbons, and reflective mosaic tiles that cast tiny slivers of light over the crowd. There were glossy leather jackets, sexy lace-up ankle booties, belted waistlines, and visible thongs beneath sheer skirts. A number of outfits featured netted stockings (or were they thigh-high boots?) with criss-crossing laces up the front.
The runway finished quietly, without a finale. As guests filtered out, the tinkle could be heard of one or two champagne glasses being stepped on in the darkness.
http://www.kissydress.co.uk/high-low-prom-dresses | http://www.kissydress.co.uk/
Stella Carakasi will debut her Spring 2014 lifestyle collection for women during New York Fashion Market Week in Manhattan at the Atelier Designers tradeshow September 16-18. The juried and curated show exhibits international fashion collections of womenswear, jewelry and accessories and is known for modern, contemporary and casual lifestyle looks.
The Stella Carakasi collection launched at the Stitch tradeshow in Las Vegas last month to great acclaim. “Spring 2014 represents our full transition to the Stella Carakasi label,” says Carakasi, Head of Design and the line’s namesake. “My vision is clear. We are refining our designs, using better fabrics, and fortifying our foundation of neutrals, textures and layers. I am thrilled that our customers appreciate the quality and uniqueness, as well as the comfort and practicality of our line.”
The Stella Carakasi collection is a division of Two Star Dog, Inc. (TSD) and debuted in 2012 to great excitement in the industry. Although the label is only one year old, Carakasi has been at the helm for 20 years. She joined TSD in 1993 and quickly made design history as the first U.S. company to create The Original Hemp Jean and full collections of garment-dyed sportswear made of hemp. With her new collection, the company is now becoming known for its quality, unique fabric combinations and surprise details.
SPRING 2014 is all about the balance that comes from opposing elements, the tension created when opposites attract. Unpredictable and exciting, like the buzz of the city on the first warm spring night…
Compared to collections past, this season is as much about introducing fresh ideas as it is about reasserting house signatures. There’s still the trademark masterful draping and asymmetrical cuts that Stella Carakasi has become known for, but the contrast with straight lines and cleaner silhouettes makes these pieces even more compelling, uncomplicated and effortlessly beautiful.
EARLY SPRING: Just as everyone is ready to shed winter layers and dark colors, Stella Carakasi peels back that famous London fog with a color palette that pushes us into spring: vibrant orchid, vivid saffron and French blue reveal themselves through cool shades of grey. Mesh combined with jersey skews sporty and pushes the modern envelope. Sheers in soft French blue slightly obscure, but always complement the crisp, chic hues that permeate the collection.
SPRING 1: Everything just clicks. The printed Georgette is perfectly in tune with this season’s play on sheer and solid. The palette is cool, modern and wearable. Paper white and half tone neutrals of pearl and mist compliment a rich navy that is the soul of a collection that reads spring, but with more of a New York state of mind.
SPRING 2: Effortless sophistication and versatility preoccupy the designer’s transition from day to evening, work week to weekend. The colors are a blend of cool neutrals, a fashionable olive drab with a sunset color pop. Button details and fabric combinations, crochet combined with solid and printed mesh. The digital print is modern and ethereal. Pixilated colors of summer create a tile mosaic that’s refreshing and clean and easy on the eyes.
SPRING 3: There is a sense of lightness-of-being starting with the pared down beautifully succinct color pallet: fossil grey, white and a soft Bermuda blue. Simplicity is the rule and the relaxed mood is sustained by airy casual linen separates. Uncomplicated pull-on-and-go vacation clothes, but with the expected twists turns and combination pieces the California designer has become known for.
http://www.kissydress.co.uk/princess-prom-dresses | http://www.kissydress.co.uk/pink-bridesmaid-dresses
As one of the hosts on E!’s Fashion Police, it’s imperative that Kelly Osbourne keeps a firm grip on the style baton.
Her lilac hair was ahead of the curve, but with every Tom, Dick and Katy Perry having waved pastel locks in front of a camera since Kelly’s first purple rinse... she needs something else.
And these days, she seems to have it in the form of a style fusion that’s equal parts kitsch and tailored.
The daughter of Ozzy and Sharon showed off this look to its finest as she arrived at the Lincoln Centre in New York for the first day of New York Fashion Week.
Her pretty hair tied back to show off just a blunt fringe, Kelly toned down her upper body with a chic leather trimmed black shirt and matching blazer.
This left her to have a bit more fun on her bottom half in a blue and black striped satin skirt and a pair of glitter encrusted pumps.
She’s got the look: Kelly has her own style down pat, and was impeccable for the first day of Fashion Week
Earlier in the day, Kelly had arrived for a slot on The Today Show in a rather more casual outfit that featured wide legged trousers, steel-toed pumps and a plunging top.
Kelly is obviously just one of the celebrities rolling out for the commencement of one of the biggest weeks in the Big Apple’s calendar.
Rachel Zoe, who was crowned Stylist of the Year at the Style Awards on Wednesday night, covered up her tiny baby bump in blue at Supima.
Meanwhile, Bella Thorne was a vision in white at NYFW.
Kelly, who is engaged to vegan chef Matthew Mosshart, 29, has come on leaps and bounds since her first flourish onto the scene as an enfant terrible, and is now considered quite the fashion icon.
The young woman has even beaten an addiction to cocaine.
Osbourne has now opened up about the extent of her substance abuse in a revealing interview with British Cosmopolitan magazine last year.
She told the magazine: ’I was never one of those people who was like, "Let’s party; let’s go and do loads of coke". In fact, I would never even tell anyone I had drugs because I wanted them all to myself. I was quite selfish.’
But Kelly admitted she decided to clean up her act when her mother was diagnosed with cancer when the star was just 18.
She said: ’I was faced with the choice of a career or spending what could have been the last days of my mother’s life with her. I said, "F**k you, career, hello, Mother". I became my mum’s nurse 24/7. I thought I was going to lose her – it was awful.’
She met Mosshart at the wedding of her supermodel pal Kate Moss in July 2011, and the panellist explained she is already excited about the prospect of having children with her future husband.
She told Cosmopolitan: ’I’m so lucky to have somebody as special as Matthew. I tend not to talk about relationships, because everything else is so out there and the only thing that is mine is my fiancé.
’The only thing I’ll say is that you will never learn what love is on any level until you let someone love you the way you deserve to be loved. I want to have kids – a boy and a girl… I’d like to live in England when I do, as I will not have a baby call me ‘Mom’. I will kill myself before being called that.’
After meeting her beau at their wedding, Kelly declared Kate and her The Kills rocker husband, Jamie Hince, are her among her closest pals, saying: ’Kate Moss and Jamie Hince are my best friends. Kate is the sweetest person ever.’
http://www.kissydress.co.uk/princess-prom-dresses | http://www.kissydress.co.uk/green-prom-dresses
Her lilac hair was ahead of the curve, but with every Tom, Dick and Katy Perry having waved pastel locks in front of a camera since Kelly’s first purple rinse... she needs something else.
And these days, she seems to have it in the form of a style fusion that’s equal parts kitsch and tailored.
The daughter of Ozzy and Sharon showed off this look to its finest as she arrived at the Lincoln Centre in New York for the first day of New York Fashion Week.
Her pretty hair tied back to show off just a blunt fringe, Kelly toned down her upper body with a chic leather trimmed black shirt and matching blazer.
This left her to have a bit more fun on her bottom half in a blue and black striped satin skirt and a pair of glitter encrusted pumps.
She’s got the look: Kelly has her own style down pat, and was impeccable for the first day of Fashion Week
Earlier in the day, Kelly had arrived for a slot on The Today Show in a rather more casual outfit that featured wide legged trousers, steel-toed pumps and a plunging top.
Kelly is obviously just one of the celebrities rolling out for the commencement of one of the biggest weeks in the Big Apple’s calendar.
Rachel Zoe, who was crowned Stylist of the Year at the Style Awards on Wednesday night, covered up her tiny baby bump in blue at Supima.
Meanwhile, Bella Thorne was a vision in white at NYFW.
Kelly, who is engaged to vegan chef Matthew Mosshart, 29, has come on leaps and bounds since her first flourish onto the scene as an enfant terrible, and is now considered quite the fashion icon.
The young woman has even beaten an addiction to cocaine.
Osbourne has now opened up about the extent of her substance abuse in a revealing interview with British Cosmopolitan magazine last year.
She told the magazine: ’I was never one of those people who was like, "Let’s party; let’s go and do loads of coke". In fact, I would never even tell anyone I had drugs because I wanted them all to myself. I was quite selfish.’
But Kelly admitted she decided to clean up her act when her mother was diagnosed with cancer when the star was just 18.
She said: ’I was faced with the choice of a career or spending what could have been the last days of my mother’s life with her. I said, "F**k you, career, hello, Mother". I became my mum’s nurse 24/7. I thought I was going to lose her – it was awful.’
She met Mosshart at the wedding of her supermodel pal Kate Moss in July 2011, and the panellist explained she is already excited about the prospect of having children with her future husband.
She told Cosmopolitan: ’I’m so lucky to have somebody as special as Matthew. I tend not to talk about relationships, because everything else is so out there and the only thing that is mine is my fiancé.
’The only thing I’ll say is that you will never learn what love is on any level until you let someone love you the way you deserve to be loved. I want to have kids – a boy and a girl… I’d like to live in England when I do, as I will not have a baby call me ‘Mom’. I will kill myself before being called that.’
After meeting her beau at their wedding, Kelly declared Kate and her The Kills rocker husband, Jamie Hince, are her among her closest pals, saying: ’Kate Moss and Jamie Hince are my best friends. Kate is the sweetest person ever.’
http://www.kissydress.co.uk/princess-prom-dresses | http://www.kissydress.co.uk/green-prom-dresses
20 Face Packs To Increase Fairness
2013年9月3日
In our Indian society, there are a lot of women who are purchasing beauty products in order to get a fair. Women with dusky complexion are taking treatments to improve their complexion. If you want to reduce those dark blemishes on your face and neck you should consider these face packs to increase fairness.
Women who are desperately seeking ways to look fair and improve skin complexion can now turn to these natural face packs. The best thing about these face packs is that they can be used on any type of skin. With the introduction of these herbal face packs to increase fairness, you can now say goodbye to all those expensive beauty products in the market which promised you a fairer skin.
Experts say that it is best to use only natural ways to increase complexion and look youthful. So Boldsky has put together a list of 20 simple and easy face packs to increase fairness where you can now look youthful and a lot more beautiful.
Try these Face Packs To Increase Fairness:
Sandalwood Face Pack
Sandalwood paste is used to get fair and flawless skin. Mix sandalwood powder with ground almonds to make a skin lightening face pack. It is safe to use on a sensitive skin too.
Lotus Face Pack
Pluck out the best petals from the lotus flower. Grind the petals with honey and milk to make a paste. Use this paste once a week to lighten your skin naturally.
Orange face pack
This citrus fruit is very good for lightening the skin. All you need to do is make powder with the dried orange peels. Add few drops of milk to the powder to make a fine paste. Apply this paste on the face and neck. Rinse with cold water when dry.
Apple Face Pack
To get a glowing skin in just 10 days, apply an apple pulp face pack along with a spoon of honey added to it. Leave for 15 minutes till it dries. Rinse with rose water. This pack works very well in improving skin complexion.
Strawberry Face Pack
You need to first mash the strawberries and apply the pulp on the face. Leave for 10 minutes and then wash off with rose water. This strawberry face pack helps to improve skin complexion thus making you look fair.
Cucumber Face Pack
The best way to make you look fair is by using cucumber juice with honey. Mix and make a face pack. Apply the pack on the face and neck once in a week to get desired results.
Honey Face Pack
The sweet honey does wonders when it comes to skin whitening. If you want to look fair and youthful, make a honey face pack with only a dash of lemon juice added to it. Apply on the face and neck and wash when dry.
Aloe Vera Pack
Aloe vera is very good for the skin. It helps to reduce blemishes and gets rid of marks on the face. Massage your face with freshly cut aloe vera every night before you go to bed.
Turmeric Face Pack
If you want to get the desired fairness, try this ingredient. Turmeric is an ingredient which you can use to improve your complexion. Turmeric, milk and honey face pack helps to get a fair and flawless complexion. Turmeric also reduces acne and lighten dark blemishes from the face.
Milk Face Pack
If you want to look milk white, you need to use milk. Dip the cotton ball in a bowl of milk and cleanse your face with it to improve skin complexion.
Oatmeal Face Pack
One of the best and natural ways to become fair is by using an oatmeal face pack. Mix oatmeal with sour curd and make a paste. Apply on the face and neck. This skin whitening face pack does wonders.
Potato Face Pack
The ingredients in potato has mild bleaching agents which can make you look fair in a period of time; when use thrice a month. Potato pulp and a dash of lemon juice is used to make a face pack. Apply and leave till dry, and rinse using warm water.
Tomato Face Pack
This red fruit consists of vitamins which is needed for skin care. Crushed tomatoes, a pinch of turmeric and milk when applied on the face is a great way to get the desired fairness. This remedy has to be done twice a week.
Almond Face Pack
Grind a handful of almonds and take out the oil from it. Use this oil to massage your face and neck in a circular motion. This will increase the blood circulation and improves skin complexion too.
Gram Flour Face Pack
One of the best herbal face packs to increase fairness is made out of gram flour and rose water. Gram flour mixed with buttermilk will add complexion to your skin, giving it a youthful look.
Avocado Face Pack
The green mushy fruit is grounded and mixed with milk to make a face pack to make your skin colour lighter. Apply the avocado face pack on your neck and face and leave until dry. Repeat this process twice in a week.
Lemon For The Skin
Lemon juice is a common and natural ingredient which is used to bleach the skin. Cut a fresh lemon and massage your face and neck for 10 minutes. This facial when done thrice in a month will make your skin glow. Lemon should not be used on dry skin.
Lavender For The Skin
This is one of the best herbs for skin care. Lavender is used to get rid of acne marks and lighten the skin too. Grind lavender herbs along with milk and use the paste to get that desired glow.
Onions
This is one of the best used ingredients to make a herbal face pack to increase fairness. Grind two red onions in a mixer and apply this mixture on your face and neck. This natural remedy will help lighten blemishes.
Multani Mutti
This powder is also known as fuller’s earth. You need to mix one portion of multani mutti along with half tablespoon of rose water to make a thick paste. Apply the paste on your skin and leave till dry. Rinse with warm water.
http://www.kissydress.co.uk/sexy-prom-dresses | http://www.kissydress.co.uk/pink-bridesmaid-dresses
Women who are desperately seeking ways to look fair and improve skin complexion can now turn to these natural face packs. The best thing about these face packs is that they can be used on any type of skin. With the introduction of these herbal face packs to increase fairness, you can now say goodbye to all those expensive beauty products in the market which promised you a fairer skin.
Experts say that it is best to use only natural ways to increase complexion and look youthful. So Boldsky has put together a list of 20 simple and easy face packs to increase fairness where you can now look youthful and a lot more beautiful.
Try these Face Packs To Increase Fairness:
Sandalwood Face Pack
Sandalwood paste is used to get fair and flawless skin. Mix sandalwood powder with ground almonds to make a skin lightening face pack. It is safe to use on a sensitive skin too.
Lotus Face Pack
Pluck out the best petals from the lotus flower. Grind the petals with honey and milk to make a paste. Use this paste once a week to lighten your skin naturally.
Orange face pack
This citrus fruit is very good for lightening the skin. All you need to do is make powder with the dried orange peels. Add few drops of milk to the powder to make a fine paste. Apply this paste on the face and neck. Rinse with cold water when dry.
Apple Face Pack
To get a glowing skin in just 10 days, apply an apple pulp face pack along with a spoon of honey added to it. Leave for 15 minutes till it dries. Rinse with rose water. This pack works very well in improving skin complexion.
Strawberry Face Pack
You need to first mash the strawberries and apply the pulp on the face. Leave for 10 minutes and then wash off with rose water. This strawberry face pack helps to improve skin complexion thus making you look fair.
Cucumber Face Pack
The best way to make you look fair is by using cucumber juice with honey. Mix and make a face pack. Apply the pack on the face and neck once in a week to get desired results.
Honey Face Pack
The sweet honey does wonders when it comes to skin whitening. If you want to look fair and youthful, make a honey face pack with only a dash of lemon juice added to it. Apply on the face and neck and wash when dry.
Aloe Vera Pack
Aloe vera is very good for the skin. It helps to reduce blemishes and gets rid of marks on the face. Massage your face with freshly cut aloe vera every night before you go to bed.
Turmeric Face Pack
If you want to get the desired fairness, try this ingredient. Turmeric is an ingredient which you can use to improve your complexion. Turmeric, milk and honey face pack helps to get a fair and flawless complexion. Turmeric also reduces acne and lighten dark blemishes from the face.
Milk Face Pack
If you want to look milk white, you need to use milk. Dip the cotton ball in a bowl of milk and cleanse your face with it to improve skin complexion.
Oatmeal Face Pack
One of the best and natural ways to become fair is by using an oatmeal face pack. Mix oatmeal with sour curd and make a paste. Apply on the face and neck. This skin whitening face pack does wonders.
Potato Face Pack
The ingredients in potato has mild bleaching agents which can make you look fair in a period of time; when use thrice a month. Potato pulp and a dash of lemon juice is used to make a face pack. Apply and leave till dry, and rinse using warm water.
Tomato Face Pack
This red fruit consists of vitamins which is needed for skin care. Crushed tomatoes, a pinch of turmeric and milk when applied on the face is a great way to get the desired fairness. This remedy has to be done twice a week.
Almond Face Pack
Grind a handful of almonds and take out the oil from it. Use this oil to massage your face and neck in a circular motion. This will increase the blood circulation and improves skin complexion too.
Gram Flour Face Pack
One of the best herbal face packs to increase fairness is made out of gram flour and rose water. Gram flour mixed with buttermilk will add complexion to your skin, giving it a youthful look.
Avocado Face Pack
The green mushy fruit is grounded and mixed with milk to make a face pack to make your skin colour lighter. Apply the avocado face pack on your neck and face and leave until dry. Repeat this process twice in a week.
Lemon For The Skin
Lemon juice is a common and natural ingredient which is used to bleach the skin. Cut a fresh lemon and massage your face and neck for 10 minutes. This facial when done thrice in a month will make your skin glow. Lemon should not be used on dry skin.
Lavender For The Skin
This is one of the best herbs for skin care. Lavender is used to get rid of acne marks and lighten the skin too. Grind lavender herbs along with milk and use the paste to get that desired glow.
Onions
This is one of the best used ingredients to make a herbal face pack to increase fairness. Grind two red onions in a mixer and apply this mixture on your face and neck. This natural remedy will help lighten blemishes.
Multani Mutti
This powder is also known as fuller’s earth. You need to mix one portion of multani mutti along with half tablespoon of rose water to make a thick paste. Apply the paste on your skin and leave till dry. Rinse with warm water.
http://www.kissydress.co.uk/sexy-prom-dresses | http://www.kissydress.co.uk/pink-bridesmaid-dresses
She may be famous for playing tough and tomboyish roles, but Michelle Rodriguez looked stunning in an elegant evening dress in California on Monday.
The 35-year-old was in town to present her Fast & Furious co-star, Vin Diesel, with a star on the Hollywood Walk of Fame.
The actress had a huge smile on her face throughout the ceremony as she handed over the accolade to the action hero.
The Texas-born star managed not to fall over despite the dress being extremely long, as she met fans and signed autographs.
The slim-fitting grey dress, which tied around the waist, had a simple pattern around the hem flattering the petite actress.
Wearing her hair down in a natural wave, Michelle praised the 46-year-old who looked humbled to receive the award.
Stunning in grey: Michelle Rodriguez wore a floor-length dress for the ceremony
Paying tribute to the actor, the Avatar star said: ’I love Vin Diesel. On top of just being one of my best friends ... this man dares to dream when people forget to dream.
’This guy, he looks at the impossible and says, "When do we start?"
Michelle became close to Vin after first starring alongside him in The Fast and the Furious in 2001.
The tough guy showed a softer side as he celebrated with his girlfriend, the Mexican model Paloma Jiminez, five-year-old daughter Hania Riley and three year-old son by his side.
His parents, Delora and Irving, were also in town for their son’s big day.
Dressed in a black pinstriped suit and black open necked shirt, he put his hand on his heart as he knelt down beside his star on Hollywood Boulevard.
Vin’s was the 2,504th star to be handed out in Monday’s rite of passage that all those in the entertainment business hope one day to go through.
’Everyone had known me just as a bouncer in New York because I wasn’t able to get any work,’ he said at the ceremony while talking about his early days in acting.
’There was something too ambiguous about the way I look that would prevent me from ever getting a Star.
He added: ’As my daughter says; "Dreams do come true".’
http://www.kissydress.co.uk/black-prom-dresses | http://www.kissydress.co.uk/princess-prom-dresses
The 35-year-old was in town to present her Fast & Furious co-star, Vin Diesel, with a star on the Hollywood Walk of Fame.
The actress had a huge smile on her face throughout the ceremony as she handed over the accolade to the action hero.
The Texas-born star managed not to fall over despite the dress being extremely long, as she met fans and signed autographs.
The slim-fitting grey dress, which tied around the waist, had a simple pattern around the hem flattering the petite actress.
Wearing her hair down in a natural wave, Michelle praised the 46-year-old who looked humbled to receive the award.
Stunning in grey: Michelle Rodriguez wore a floor-length dress for the ceremony
Paying tribute to the actor, the Avatar star said: ’I love Vin Diesel. On top of just being one of my best friends ... this man dares to dream when people forget to dream.
’This guy, he looks at the impossible and says, "When do we start?"
Michelle became close to Vin after first starring alongside him in The Fast and the Furious in 2001.
The tough guy showed a softer side as he celebrated with his girlfriend, the Mexican model Paloma Jiminez, five-year-old daughter Hania Riley and three year-old son by his side.
His parents, Delora and Irving, were also in town for their son’s big day.
Dressed in a black pinstriped suit and black open necked shirt, he put his hand on his heart as he knelt down beside his star on Hollywood Boulevard.
Vin’s was the 2,504th star to be handed out in Monday’s rite of passage that all those in the entertainment business hope one day to go through.
’Everyone had known me just as a bouncer in New York because I wasn’t able to get any work,’ he said at the ceremony while talking about his early days in acting.
’There was something too ambiguous about the way I look that would prevent me from ever getting a Star.
He added: ’As my daughter says; "Dreams do come true".’
http://www.kissydress.co.uk/black-prom-dresses | http://www.kissydress.co.uk/princess-prom-dresses
Dressing Keri Russell in The Americans
2013年8月22日
If you’ve been relishing ITV’s new drama The Americans (those seeking to fill the void left by Homeland undoubtedly will) you won’t have failed to be mesmerised by the immaculate wonder that is Keri Russell.
The 37-year-old actress plays Elizabeth Jennings, who is one part a working ’mom’ of two, another part KGB spy who kicks some serious ass - and with a gorgeous, side-parted mane of glossy brown hair to boot.
The show is set in Virginia in 1981, which means no shoulder pads, crazy hair or offensive style statements. Instead, Russell’s character is decked out in elegant, high-waisted jeans, cute mohair jumpers and chic trench coats, all of which highlight the actress’s impossibly slim figure.
As soon as the show’s costume designer, Jenny Gering, discovered the year the series was set in, she knew she had to get on board.
"I was 13, I was the same age as the daughter on the show in 1981 so for some reason it’s a time period that really, really resonates with me," Gering told The Telegraph.
"In 1981 it was still much more of a late 70s vibe" explains Gering. "When most people think of the 80s they think of the obvious, big hair, neon and shoulder pads but for me there were such beautiful things being made at that time."
In the show, the Jennings masquerade as a husband-and-wife team of travel agents, so Gering’s brief was not to make anyone stand out or look clichéd - especially as the couple happen to befriend an FBI agent who moves in across their street.
Gering sourced Russell’s character’s plethora of knee-high boots, silk blouses and gold chains from "so many" vintage stores around New York state, with the occasional item replicated by hand in better fabrics.
"I wanted that late 70s, early 80s strong woman, classic cut, beautiful textiles, you know Faye Dunaway in that look, Charlotte Rampling - that sort of sexy without trying too hard woman," explains Gering of her vision for Elizabeth Jennings.
"It’s not very bright, there’s not a lot of black, it’s very autumnal, it’s very earthy, it’s very rich… so that was sort of, those were my, where I was heading," adds Gering, who was the costume designer for the 2011 film Limitless.
Wholesome tones aside, Russell’s character just also happens to be a master of disguise, with a selection of highly coiffed wigs, glasses, augmented eyebrows and all manner of provocative clothing gracing screens when she is in scheming mode.
"[We] really have fun with her alter-ego" laughs Gering. "And she’s [Russell] so game for anything, she’s just such a joy to work with because she gets into it and she has a real, true appreciation for beautiful things and an understanding of fashion."
Viewers do get a stronger whiff of the Eighties in the show via Martha Hanson, who plays an FBI secretary and informant (and subsequent lover) to Matthew Rhys’s Philip Jennings.
"Martha is definitely more a part of the corporate structure where you really start to see women with the silk blouse with the little tie and the blazer, that classic 80s business gal look," reasons Gering.
And what of Paige Jennings, Elizabeth’s 13-year-old daughter played by Holly Taylor?
"Well for me that was just so close to my heart because I was poring over all my old yearbooks from school and photos and, you know, I just so relate to that character" explains Gering. "It’s adorable seeing a little thing in maybe a heel that’s a teeny bit too high for her to walk in and wearing her sweater just a little bit too tight to show off her new figure and it’s those little things that I love."
Needless to say, Gering is on board for the second series of the Fox-produced drama. Of her preparation she concludes: "I’m poring over 1982 fashions at the moment."
http://www.kissydress.co.uk/high-low-prom-dresses | http://www.kissydress.co.uk/
The 37-year-old actress plays Elizabeth Jennings, who is one part a working ’mom’ of two, another part KGB spy who kicks some serious ass - and with a gorgeous, side-parted mane of glossy brown hair to boot.
The show is set in Virginia in 1981, which means no shoulder pads, crazy hair or offensive style statements. Instead, Russell’s character is decked out in elegant, high-waisted jeans, cute mohair jumpers and chic trench coats, all of which highlight the actress’s impossibly slim figure.
As soon as the show’s costume designer, Jenny Gering, discovered the year the series was set in, she knew she had to get on board.
"I was 13, I was the same age as the daughter on the show in 1981 so for some reason it’s a time period that really, really resonates with me," Gering told The Telegraph.
"In 1981 it was still much more of a late 70s vibe" explains Gering. "When most people think of the 80s they think of the obvious, big hair, neon and shoulder pads but for me there were such beautiful things being made at that time."
In the show, the Jennings masquerade as a husband-and-wife team of travel agents, so Gering’s brief was not to make anyone stand out or look clichéd - especially as the couple happen to befriend an FBI agent who moves in across their street.
Gering sourced Russell’s character’s plethora of knee-high boots, silk blouses and gold chains from "so many" vintage stores around New York state, with the occasional item replicated by hand in better fabrics.
"I wanted that late 70s, early 80s strong woman, classic cut, beautiful textiles, you know Faye Dunaway in that look, Charlotte Rampling - that sort of sexy without trying too hard woman," explains Gering of her vision for Elizabeth Jennings.
"It’s not very bright, there’s not a lot of black, it’s very autumnal, it’s very earthy, it’s very rich… so that was sort of, those were my, where I was heading," adds Gering, who was the costume designer for the 2011 film Limitless.
Wholesome tones aside, Russell’s character just also happens to be a master of disguise, with a selection of highly coiffed wigs, glasses, augmented eyebrows and all manner of provocative clothing gracing screens when she is in scheming mode.
"[We] really have fun with her alter-ego" laughs Gering. "And she’s [Russell] so game for anything, she’s just such a joy to work with because she gets into it and she has a real, true appreciation for beautiful things and an understanding of fashion."
Viewers do get a stronger whiff of the Eighties in the show via Martha Hanson, who plays an FBI secretary and informant (and subsequent lover) to Matthew Rhys’s Philip Jennings.
"Martha is definitely more a part of the corporate structure where you really start to see women with the silk blouse with the little tie and the blazer, that classic 80s business gal look," reasons Gering.
And what of Paige Jennings, Elizabeth’s 13-year-old daughter played by Holly Taylor?
"Well for me that was just so close to my heart because I was poring over all my old yearbooks from school and photos and, you know, I just so relate to that character" explains Gering. "It’s adorable seeing a little thing in maybe a heel that’s a teeny bit too high for her to walk in and wearing her sweater just a little bit too tight to show off her new figure and it’s those little things that I love."
Needless to say, Gering is on board for the second series of the Fox-produced drama. Of her preparation she concludes: "I’m poring over 1982 fashions at the moment."
http://www.kissydress.co.uk/high-low-prom-dresses | http://www.kissydress.co.uk/
Kate Moss for Liu Jo Fall 2013 Campaign
2013年8月15日
Kate Moss fronts the new Liu Jo campaign for fall 2013. The British supermodel has been the Italian label’s ambassador for three years now, however she still manages to surprise fashionistas with each new campaign. The new season ads, lensed by Solve Sundsbo, bring an interesting mix of elegant yet sultry options with an effortlessly chic flair.
The Liu Jo fall 2013 campaign features both pieces which are suitable for the transitional days to come and warm jackets which will come in handy later on, when the cold days will make us want to reach for the coziest pieces from our closet. Though versatility might not be the first thing that comes to mind when looking at the new season outfits from Liu Jo, the fabulous color palette, which revolves mostly around neutral tones allows plenty of mixing and matching opportunities. Plus, the creative combos prove that neutrals can be the farthest thing from boring if cleverly combined.
Covetable new season essentials from the new Kate Moss for Liu Jo fall/winter 2013 campaign? Gorgeous long sleeve dresses, lacy tops, cool tweed jackets, sexy shorts or sultry lacy tops, to name just a few. Plus, let’s not forget sequin-embellished jackets which add a sophisticated touch to any look. The focus on refinement also extends to accessories, particularly handbags, which are both practical and classy. The footwear alternatives on the other hand, are more varied, being more trend focused compared to the bags and purses spotted in the new ads. Nonetheless, these can be a sensible choice for fashionstas who crave a good balance between comfort and style.
Unlike many other fashion campaigns for the new season, the Liu Jo fall 2013 ads focus on wearable ensembles that can be easily adapted to work in real life, being a great source of inspiration for the rapidly approaching fall days and even later on. Have any of the looks from the new Liu Jo campaign caught your eye?
http://www.kissydress.co.uk/ | http://www.kissydress.co.uk/sexy-prom-dresses
The Liu Jo fall 2013 campaign features both pieces which are suitable for the transitional days to come and warm jackets which will come in handy later on, when the cold days will make us want to reach for the coziest pieces from our closet. Though versatility might not be the first thing that comes to mind when looking at the new season outfits from Liu Jo, the fabulous color palette, which revolves mostly around neutral tones allows plenty of mixing and matching opportunities. Plus, the creative combos prove that neutrals can be the farthest thing from boring if cleverly combined.
Covetable new season essentials from the new Kate Moss for Liu Jo fall/winter 2013 campaign? Gorgeous long sleeve dresses, lacy tops, cool tweed jackets, sexy shorts or sultry lacy tops, to name just a few. Plus, let’s not forget sequin-embellished jackets which add a sophisticated touch to any look. The focus on refinement also extends to accessories, particularly handbags, which are both practical and classy. The footwear alternatives on the other hand, are more varied, being more trend focused compared to the bags and purses spotted in the new ads. Nonetheless, these can be a sensible choice for fashionstas who crave a good balance between comfort and style.
Unlike many other fashion campaigns for the new season, the Liu Jo fall 2013 ads focus on wearable ensembles that can be easily adapted to work in real life, being a great source of inspiration for the rapidly approaching fall days and even later on. Have any of the looks from the new Liu Jo campaign caught your eye?
http://www.kissydress.co.uk/ | http://www.kissydress.co.uk/sexy-prom-dresses
In my beauty bag: Margi Robertson
2013年8月8日
Margarita Robertson is the founder and designer of Dunedin-based label Nom*D.
Her label was one of the ’New Zealand Four’ who showed at London Fashion Week in 1999 - the first Kiwi label to show at an international fashion week, (although NOM*d was already retailing in London at the internationally-renowned Liberty’s).
Sister to Elizabeth Findlay of Zambesi, Margi and her husband Chris also own retail store ’Plume’ in Dunedin. In recognition of her exceptional contribution to the New Zealand fashion industry, Margi was recently awarded an honorary Bachelor of Design (Fashion) from Otago Polytechnic.
We caught her at hair and makeup tests for her upcoming Auckland show as part of the Marr Factory series, and asked her about her beauty routine.
"I wear makeup six days a week, sometimes seven - pretty much every day of the week if I am out and about. The only time I don’t wear any is if I am planning to spend the day at home doing the housework, or other housey type things. Generally I just feel a bit more confident if I am wearing makeup when I go out.
As a teenager, our mother always encouraged us to cleanse, so that nightmare chore of cleansing and moisturising and doing that sort of thing in the morning has been instilled in me from my youth... As far as topical application goes, I’ve gone through the years of wearing a lot of makeup, that punky type thing and lots of eyes, but as I have become older I have really gone for the ’less is more’ approach. But when I say ’less’ I don’t mean ’none’!
In the morning I moisturise with La Mer and I use a Kiehls eye cream (I wash my face with a facecloth in the shower). I use a M.A.C. Prep + Prime always, and then I have a Chanel foundation, ’Lift Lumiere’, which I have used for several years. I use M.A.C Prep + Prime Lip and a M.A.C lipstick - ’M.A.C. Red’ at the moment, and I always have a bit of a touch-up of the eyebrows. I don’t use eyeliner or mascara as a rule because I feel that my eyes are too lined now for that sort of thing. For evening I put a bit of eyeshadow on, I use a M.A.C pot for a little bit of darkening - but very, very little.
For my hair, I do something as quickly as possible, generally! I’ve had a Keratin treatment and I don’t have too many frizzy bits as a result, and what I am loving is that I don’t need too much product - I have had drawers full of product that I don’t use or don’t like because I always used to be using product to tame the frizzies. My hair is naturally curly.
At the moment I am using a Keratin Straight shampoo and conditioner that I was given to use since I had the Keratin treatment. I have a Kevin Murphy styling cream or I use Redken Diamond Oil. I get my hair cut at Aart in Dunedin. David there did a trim when I had the Keratin treatment, but now that I have long hair I haven’t been a continual hairdressing client and of course I don’t get it dyed any more, either.
I’m addicted to Shellac! Every two weeks I go and get a Shellac nail polish done and it’s been amazing, it’s strengthened my nails which is incredible. Every month I also get a pedicure done which I love, it’s a really nice time out for me. Prior to discovering Shellac I was never really a nailpolish wearer but I’m quite enjoying that now. I use a Chanel handcream and I have been using an amazing Kiehls vanilla and cardamom body lotion. I alternate it with Clarins Toning Body Balm - they both smell gorgeous and give great moisture treatments.
I’m the Comme de Garcons perfume girl. I usually have about five years from a perfume, and my current favourite is Avignon which is from the Incense series.
I am definitely low maintenance. I am all about fast."
http://www.kissydress.co.uk/high-low-prom-dresses | http://www.kissydress.co.uk/sexy-prom-dresses
Her label was one of the ’New Zealand Four’ who showed at London Fashion Week in 1999 - the first Kiwi label to show at an international fashion week, (although NOM*d was already retailing in London at the internationally-renowned Liberty’s).
Sister to Elizabeth Findlay of Zambesi, Margi and her husband Chris also own retail store ’Plume’ in Dunedin. In recognition of her exceptional contribution to the New Zealand fashion industry, Margi was recently awarded an honorary Bachelor of Design (Fashion) from Otago Polytechnic.
We caught her at hair and makeup tests for her upcoming Auckland show as part of the Marr Factory series, and asked her about her beauty routine.
"I wear makeup six days a week, sometimes seven - pretty much every day of the week if I am out and about. The only time I don’t wear any is if I am planning to spend the day at home doing the housework, or other housey type things. Generally I just feel a bit more confident if I am wearing makeup when I go out.
As a teenager, our mother always encouraged us to cleanse, so that nightmare chore of cleansing and moisturising and doing that sort of thing in the morning has been instilled in me from my youth... As far as topical application goes, I’ve gone through the years of wearing a lot of makeup, that punky type thing and lots of eyes, but as I have become older I have really gone for the ’less is more’ approach. But when I say ’less’ I don’t mean ’none’!
In the morning I moisturise with La Mer and I use a Kiehls eye cream (I wash my face with a facecloth in the shower). I use a M.A.C. Prep + Prime always, and then I have a Chanel foundation, ’Lift Lumiere’, which I have used for several years. I use M.A.C Prep + Prime Lip and a M.A.C lipstick - ’M.A.C. Red’ at the moment, and I always have a bit of a touch-up of the eyebrows. I don’t use eyeliner or mascara as a rule because I feel that my eyes are too lined now for that sort of thing. For evening I put a bit of eyeshadow on, I use a M.A.C pot for a little bit of darkening - but very, very little.
For my hair, I do something as quickly as possible, generally! I’ve had a Keratin treatment and I don’t have too many frizzy bits as a result, and what I am loving is that I don’t need too much product - I have had drawers full of product that I don’t use or don’t like because I always used to be using product to tame the frizzies. My hair is naturally curly.
At the moment I am using a Keratin Straight shampoo and conditioner that I was given to use since I had the Keratin treatment. I have a Kevin Murphy styling cream or I use Redken Diamond Oil. I get my hair cut at Aart in Dunedin. David there did a trim when I had the Keratin treatment, but now that I have long hair I haven’t been a continual hairdressing client and of course I don’t get it dyed any more, either.
I’m addicted to Shellac! Every two weeks I go and get a Shellac nail polish done and it’s been amazing, it’s strengthened my nails which is incredible. Every month I also get a pedicure done which I love, it’s a really nice time out for me. Prior to discovering Shellac I was never really a nailpolish wearer but I’m quite enjoying that now. I use a Chanel handcream and I have been using an amazing Kiehls vanilla and cardamom body lotion. I alternate it with Clarins Toning Body Balm - they both smell gorgeous and give great moisture treatments.
I’m the Comme de Garcons perfume girl. I usually have about five years from a perfume, and my current favourite is Avignon which is from the Incense series.
I am definitely low maintenance. I am all about fast."
http://www.kissydress.co.uk/high-low-prom-dresses | http://www.kissydress.co.uk/sexy-prom-dresses
Last night at NYC’s Chelsea Market, historian and curator Catherine Ormen took us into the boudoirs of centuries past with the opening of Lingerie Française, a traveling exhibition that examines the evolution of eleven French lingerie brands (Aubade, Barbara, Chantelle, Empreinte, Implicite, Lise Charmel, Lou, Maison Lejaby, Passionata, Princesse tam.tam and Simone Perele)—all of which are still in business—via underthings from the late 1800s through present day. “Lingerie transforms the body’s silhouette in accordance with fashion,” offered Ormen during the show. “Those forms and silhouettes change every decade, and it’s these changes that interest me.”
Equally interesting were the reasons behind the changes—for instance, the shift from corsets to bras in the early twentieth century was spurred by a sudden obsession with health and hygiene. Lovely as the 1890s Chantelle corset on display—with its ornate bows and boning—was, doctors finally realized that corsets’ restrictive nature was harmful, and some even associated the contraptions with cholera. Color didn’t come into play until designers began working with nylon in the late fifties. Beforehand, women were largely restricted to white, nude, blush, or black, the latter of which was almost exclusively reserved for prostitutes. And the G-string was popularized in the eighties, because women became fixated on attaining buff bodies by any means necessary. “There was a triumph of the body in the eighties,” explained Ormen. “People discovered sports, jogging, diets, and cosmetic surgery, and beauty became a question of willpower. You had a beautiful body because you wanted one, and people wanted to show it.”
What Ormen found most fascinating, however, was the lingerie of the seventies. “Lots of women didn’t burn their bras during the [Women’s Liberation movement of] the seventies,” explained the curator. “In fact, all the brands had their best-sellers during this period. It’s amazing, because it goes against everything you’ve heard, but it’s true.”
Other highlights of the show include the intricately constructed, breast-hiking forties brassieres, which came into vogue as a result of Dior’s New Look, as well as a wall of simple, shapeless pieces from the late twenties, and a hologram that depicts how underpinnings have developed over the last century. “Each era of lingerie has its own history,” said Ormen. “And choosing your lingerie is an important act in the morning. It can help you feel more comfortable, more beautiful, and more self-confident.”
http://www.kissydress.co.uk/sexy-prom-dresses | http://www.kissydress.co.uk/high-low-prom-dresses
Equally interesting were the reasons behind the changes—for instance, the shift from corsets to bras in the early twentieth century was spurred by a sudden obsession with health and hygiene. Lovely as the 1890s Chantelle corset on display—with its ornate bows and boning—was, doctors finally realized that corsets’ restrictive nature was harmful, and some even associated the contraptions with cholera. Color didn’t come into play until designers began working with nylon in the late fifties. Beforehand, women were largely restricted to white, nude, blush, or black, the latter of which was almost exclusively reserved for prostitutes. And the G-string was popularized in the eighties, because women became fixated on attaining buff bodies by any means necessary. “There was a triumph of the body in the eighties,” explained Ormen. “People discovered sports, jogging, diets, and cosmetic surgery, and beauty became a question of willpower. You had a beautiful body because you wanted one, and people wanted to show it.”
What Ormen found most fascinating, however, was the lingerie of the seventies. “Lots of women didn’t burn their bras during the [Women’s Liberation movement of] the seventies,” explained the curator. “In fact, all the brands had their best-sellers during this period. It’s amazing, because it goes against everything you’ve heard, but it’s true.”
Other highlights of the show include the intricately constructed, breast-hiking forties brassieres, which came into vogue as a result of Dior’s New Look, as well as a wall of simple, shapeless pieces from the late twenties, and a hologram that depicts how underpinnings have developed over the last century. “Each era of lingerie has its own history,” said Ormen. “And choosing your lingerie is an important act in the morning. It can help you feel more comfortable, more beautiful, and more self-confident.”
http://www.kissydress.co.uk/sexy-prom-dresses | http://www.kissydress.co.uk/high-low-prom-dresses
What inspires you to start designing?
David Longshaw: For as long as I can remember I’ve wanted to be a designer. At primary school I remember drawing branded sweaters, polos and teddys with a big DL on (I had a bit of a Ralph Lauren complex). Then at secondary school I became more interested in experimental designers ( the idea of being able to be so completely creative through clothing people, but also with the stores/shows/exhibitions being able to create a world that they can inhabit) and found out most of my favourite designers had studied at St Martins – so when I was about 15 years old I went to the open day and asked what I needed to do to get in and promptly did it (and some extras to make doubly sure I got in the first time).
How did your position at Alberta Ferretti help influence your design career?
From St Martins (BA hons) and the RCA (MA) I had developed my own creativity and style. What I learnt from working at Ferretti was the adaptation of that raw creativity and style into something wearable and desirable for women.
How do your illustrations and story-writing influence your designs?
It works differently each season, but often I create an animation or story that then inspires the look and feel of the collection for AW13-14. I created an animation “Painting Over Harry” to inspire my collection of the same name. In the animation Iris longs to live in the “glamorous days of black and white films”. And obsessed by the 1970s wedding of Princess Anne, she decorates her new home with images from that “magical day”. Wallpapering her home with 70s inspired patterns, Iris then has a change of heart (partly due to Harry informing her that the “magical day” ended in divorce) and decides that really the thing to do is paint everything black and white so it will look as chic as the black and white films she loves. Unfortunately for Harry, her pet bird, (well a sculpture she talks to and treats as a pet) this involves painting him too. The collection itself takes its nod from the mood and feel of the animation- with wallpaper prints (I created for the set) appearing on the garments. Even Iris’s dickey that she wears in the animation is scaled up and recreated for the collection. Luxury printed silks and lace are juxtaposed with neoprene and other contradictory fabrics. The prints and the garments depict Iris’s initial optimism for all things 70s through the use of colour, shape and silhouette – but with her own twist on events and style coming through. Later in the collection there is a darker more subtle side to the prints (depicting Iris’s yearning for the glamorous days of black and white films) but Iris being Iris, everything is not quite what it seems.
Are you influenced by any vintage eras when it comes to designing?
It constantly changes depending on the theme of my collection, but I often reference vintage with my own twist on it.
You seem to be very interested in texture, what inspires this?
I think as a designer it’s natural to be interested in texture as it’s such a huge part of creating the garments and a way of developing something unique.
How would you describe your brand?
Creatively intriguing. I want to design clothes that people love to wear, but also create a whole little world they can enter (through my animations/stories, etc.). The idea of this is that you can buy a dress or scarf and simply love the piece because of its cut, fabric and print, but if you want, there are layers of design and process (the stories and characters) you can then discover and enjoy, which helps build brand loyalty and for me opens up the possibility of fun, creative collaborations that people will enjoy.
Who do you think your designs appeal to?
The young and creative at heart, but they definitely don’t have to be any particular age or work in anything creative. People that love colour and detail.
What are your plans for the future and where do you see the brand going?
More frocks, more products, more drawings, more creative projects, more Maudes.
http://www.kissydress.co.uk/princess-prom-dresses | http://www.kissydress.co.uk
David Longshaw: For as long as I can remember I’ve wanted to be a designer. At primary school I remember drawing branded sweaters, polos and teddys with a big DL on (I had a bit of a Ralph Lauren complex). Then at secondary school I became more interested in experimental designers ( the idea of being able to be so completely creative through clothing people, but also with the stores/shows/exhibitions being able to create a world that they can inhabit) and found out most of my favourite designers had studied at St Martins – so when I was about 15 years old I went to the open day and asked what I needed to do to get in and promptly did it (and some extras to make doubly sure I got in the first time).
How did your position at Alberta Ferretti help influence your design career?
From St Martins (BA hons) and the RCA (MA) I had developed my own creativity and style. What I learnt from working at Ferretti was the adaptation of that raw creativity and style into something wearable and desirable for women.
How do your illustrations and story-writing influence your designs?
It works differently each season, but often I create an animation or story that then inspires the look and feel of the collection for AW13-14. I created an animation “Painting Over Harry” to inspire my collection of the same name. In the animation Iris longs to live in the “glamorous days of black and white films”. And obsessed by the 1970s wedding of Princess Anne, she decorates her new home with images from that “magical day”. Wallpapering her home with 70s inspired patterns, Iris then has a change of heart (partly due to Harry informing her that the “magical day” ended in divorce) and decides that really the thing to do is paint everything black and white so it will look as chic as the black and white films she loves. Unfortunately for Harry, her pet bird, (well a sculpture she talks to and treats as a pet) this involves painting him too. The collection itself takes its nod from the mood and feel of the animation- with wallpaper prints (I created for the set) appearing on the garments. Even Iris’s dickey that she wears in the animation is scaled up and recreated for the collection. Luxury printed silks and lace are juxtaposed with neoprene and other contradictory fabrics. The prints and the garments depict Iris’s initial optimism for all things 70s through the use of colour, shape and silhouette – but with her own twist on events and style coming through. Later in the collection there is a darker more subtle side to the prints (depicting Iris’s yearning for the glamorous days of black and white films) but Iris being Iris, everything is not quite what it seems.
Are you influenced by any vintage eras when it comes to designing?
It constantly changes depending on the theme of my collection, but I often reference vintage with my own twist on it.
You seem to be very interested in texture, what inspires this?
I think as a designer it’s natural to be interested in texture as it’s such a huge part of creating the garments and a way of developing something unique.
How would you describe your brand?
Creatively intriguing. I want to design clothes that people love to wear, but also create a whole little world they can enter (through my animations/stories, etc.). The idea of this is that you can buy a dress or scarf and simply love the piece because of its cut, fabric and print, but if you want, there are layers of design and process (the stories and characters) you can then discover and enjoy, which helps build brand loyalty and for me opens up the possibility of fun, creative collaborations that people will enjoy.
Who do you think your designs appeal to?
The young and creative at heart, but they definitely don’t have to be any particular age or work in anything creative. People that love colour and detail.
What are your plans for the future and where do you see the brand going?
More frocks, more products, more drawings, more creative projects, more Maudes.
http://www.kissydress.co.uk/princess-prom-dresses | http://www.kissydress.co.uk
High heels hurt after just one hour
2013年6月3日Almost half of women have suffered foot problems after wearing an uncomfortable pair of shoes, but 43 per cent will suffer in the name of fashion, The College of Podiatry found.
A third also admitted that they had worn heels they knew did not fit, simply because they "looked nice" - and could not find a pair in their size.
Consultant podiatrist Mike O’Neill, from the College of Podiatry, warned that such behaviour can cause long-term damage including arthritis, stress fractures, and trapped nerves, which may even require surgery or steroid injections.
On average, high heels start to hurt after 1 hour, 6 minutes and 48 seconds, but a fifth 20 per cent started to feel the pinch within just 10 minutes.
One in four, 28 per cent, have resorted to dancing bare foot in a nightclub or bar when they could not put up with the pain any longer.
And a third have been forced to remove their shoes and walk home barefoot because they could not bear the pain any longer.
This is despite the fact that women typically own 17 pairs, more than double the eight pairs owned by the average man
Only 12 per cent of men have put up with stylish but uncomfortable shoes, the study of 2,000 British adults found.
That may explain why the fairer sex are likely to have more issues with their feet, and are twice as likely to suffer from corns, cracked heels and bunions.
Nine in ten women - 90 per cent - have experienced problems and 20 per cent say they are "embarrassed" by their feet while 12 per cent are so ashamed they cover them constantly.
Despite these problems, 19 per cent of women have refused to seek help because they believed their foot complaint was not important.
And it appears younger women are more likely to be doing themselves harm as the younger the woman, the higher their heel. 20 per cent of those aged 18 to 24 own a pair of six inch heels.
This compares with 10 per cent of those aged 25 to 34 and just 3 per cent of 35-44 year olds.
Podiatrists report the biggest cause of foot problems in the UK is footwear, with a lack of public awareness a contributing factor.
Mr O’Neill said: "There’s absolutely no doubt women who wear high heels are putting themselves at risk of permanent injury in the name of fashion.
"Given a choice between a stylish pair of shoes or nice feet, many will go for the stylish shoes.
"Killer heels are the ultimate in power dressing, and women often wear them in a bid to look more attractive to men.
"However, the higher the heel, the more they tilt your body forward and the more you have to lean back to compensate.
"This can put your pelvis out of alignment and cause compression of the spine.
"High heels ram your foot forward, which squishes your toes together and can cause ingrown toe nails, rough areas of skin, blemishes, and calluses.
"And because your toes are squashed, the moisture gets trapped, causing soggy toes, which is a breeding ground for athlete’s foot."
Walking on the balls of your feet causes aches and pains, stress fractures, trapped nerves and increased wear and tear on the joints and soft tissue, which can lead to arthritis.
Women may not notice the pains until later in life, and may have difficulty reverting back to flat shoes as wearing high heels shortens the achilles tendon, Mr O’Neill said.
He recommended that women are better off wearing stacks than heels higher than two inches.
Beautician Hannah Joseph, 26, from Southampton, Hampshire, said: "I go for style over comfort every time.
"I think it’s important I look good when I go out, and I’m prepared to put up with the pain.
"My feet may be scrunched up and sore as a result, but people rarely see them so I don’t mind."
Podiatrist Lorraine Jones, also from The College of Podiatry said: "It’s shocking how little regard we show for our feet.
"Feet are one of the hardest working parts of the body and in a lifetime you will walk in excess of 150,000 miles.
"We are seeing a lot of cases which could have been prevented - particularly among women.”
Top ten foot problems suffered by women:
Blisters (55 per cent)
Cracked heels (45 per cent)
Veruccas (28 per cent)
Corns (24 per cent)
Ingrown toe nails (20 per cent) and Athletes foot (20 per cent)
Bunions (13 per cent)
Joint problems (11 per cent)
Excessive foot odour (9 per cent)
Arthritis (8.8 per cent)
Muscular problems (8 per cent)
A third also admitted that they had worn heels they knew did not fit, simply because they "looked nice" - and could not find a pair in their size.
Consultant podiatrist Mike O’Neill, from the College of Podiatry, warned that such behaviour can cause long-term damage including arthritis, stress fractures, and trapped nerves, which may even require surgery or steroid injections.
On average, high heels start to hurt after 1 hour, 6 minutes and 48 seconds, but a fifth 20 per cent started to feel the pinch within just 10 minutes.
One in four, 28 per cent, have resorted to dancing bare foot in a nightclub or bar when they could not put up with the pain any longer.
And a third have been forced to remove their shoes and walk home barefoot because they could not bear the pain any longer.
This is despite the fact that women typically own 17 pairs, more than double the eight pairs owned by the average man
Only 12 per cent of men have put up with stylish but uncomfortable shoes, the study of 2,000 British adults found.
That may explain why the fairer sex are likely to have more issues with their feet, and are twice as likely to suffer from corns, cracked heels and bunions.
Nine in ten women - 90 per cent - have experienced problems and 20 per cent say they are "embarrassed" by their feet while 12 per cent are so ashamed they cover them constantly.
Despite these problems, 19 per cent of women have refused to seek help because they believed their foot complaint was not important.
And it appears younger women are more likely to be doing themselves harm as the younger the woman, the higher their heel. 20 per cent of those aged 18 to 24 own a pair of six inch heels.
This compares with 10 per cent of those aged 25 to 34 and just 3 per cent of 35-44 year olds.
Podiatrists report the biggest cause of foot problems in the UK is footwear, with a lack of public awareness a contributing factor.
Mr O’Neill said: "There’s absolutely no doubt women who wear high heels are putting themselves at risk of permanent injury in the name of fashion.
"Given a choice between a stylish pair of shoes or nice feet, many will go for the stylish shoes.
"Killer heels are the ultimate in power dressing, and women often wear them in a bid to look more attractive to men.
"However, the higher the heel, the more they tilt your body forward and the more you have to lean back to compensate.
"This can put your pelvis out of alignment and cause compression of the spine.
"High heels ram your foot forward, which squishes your toes together and can cause ingrown toe nails, rough areas of skin, blemishes, and calluses.
"And because your toes are squashed, the moisture gets trapped, causing soggy toes, which is a breeding ground for athlete’s foot."
Walking on the balls of your feet causes aches and pains, stress fractures, trapped nerves and increased wear and tear on the joints and soft tissue, which can lead to arthritis.
Women may not notice the pains until later in life, and may have difficulty reverting back to flat shoes as wearing high heels shortens the achilles tendon, Mr O’Neill said.
He recommended that women are better off wearing stacks than heels higher than two inches.
Beautician Hannah Joseph, 26, from Southampton, Hampshire, said: "I go for style over comfort every time.
"I think it’s important I look good when I go out, and I’m prepared to put up with the pain.
"My feet may be scrunched up and sore as a result, but people rarely see them so I don’t mind."
Podiatrist Lorraine Jones, also from The College of Podiatry said: "It’s shocking how little regard we show for our feet.
"Feet are one of the hardest working parts of the body and in a lifetime you will walk in excess of 150,000 miles.
"We are seeing a lot of cases which could have been prevented - particularly among women.”
Top ten foot problems suffered by women:
Blisters (55 per cent)
Cracked heels (45 per cent)
Veruccas (28 per cent)
Corns (24 per cent)
Ingrown toe nails (20 per cent) and Athletes foot (20 per cent)
Bunions (13 per cent)
Joint problems (11 per cent)
Excessive foot odour (9 per cent)
Arthritis (8.8 per cent)
Muscular problems (8 per cent)