Zarmina Zahid is the Creative Director of Sable, the brand behind Elaheh Lawn. She has a wealth of experience of working for couture houses in Paris and Milan. Her designs have inspired a fusion we see so often in Europe, US and the domestic market. Her inspiration is derived from her vast travels across the globe. The designs at Sable are cultured to a mixture of East and West and an understanding of the psyche of our local fashion aficionados.
In an exclusive interview with The Nation, Zarmina talks about her career and success. Following are the excerpts:
What inspired you to become a fashion designer?
I was always very artistic. I think you are born with a need to make beautiful things. In my case it was more of a coincidence.
What does fashion means to you?
To me fashion should bring out the best in a person thus giving them a greater self-confidence and self-esteem.
How you get the creative ideas of versatile designs?
I have always been inspired by nature’s beauty and colour.
What do you think about designer lawn trend going on these days? How is your brand different from others?
My lawn is better than most of lawns as we tried to use the best Pima lawn in the market. We tried to eliminate patch work. Our fronts are beautifully embroidered but yet very comfortable to wear. The feel is very soft. Our embroideries are so neat that you have to feel some of them if it is print or embroidery. We have reconstructed Chantilly lace dupattas to come in lawn price bracket. We have used all pure fabric.
Any plans to showcase your collection in international fashion exhibitions?
Actually before launching sable vogue and Elaheh lawn, I was fortunate enough to outsource to fashion houses in Europe. We are working on new projects soon will exhibit our collection in abroad as well.
What’s your take on Pakistan’s fashion Industry; do you think we are moving towards the right direction?
Pakistan’s fashion industry has come a long way. Our skilled workmanship is absolutely remarkable. Truthfully there is one aspect that saddens me about our leading designers, when they attend various fashion functions they are all wearing Gucci, Roberto Cavali or Zara but not their own. They are our fashions icons public follows them, what they are projecting to the public that their designs are not good enough.
Would you like to tell us about your upcoming projects?
Frankly right now I am so tied up in my lawn that I can’t think ahead , but projects just happen to come my way, I’ve never planned. In my case Allah is my planner.Read more at:prom dresses uk
It’s easy to be dazzled at the National Gallery of Australia’s blockbuster Cartier exhibition, but there’s one section that shouldn’t be missed.
It’s past Dame Nellie Melba’s glittering collection, past the maharaja’s opulent Patiala necklace, beyond Lady Mountbatten’s candy-coloured Tutti Frutti diamond bandeau. It’s just before the royal room where Queen Elizabeth’s and the Duchess of Cambridge’s tiaras catch the light, and well before the celebrity jewels: Elizabeth Taylor’s rubies, the Duchess of Windsor’s flamingo brooch and Grace Kelly’s devastating 10.47 carat emerald-cut diamond engagement ring.
It’s a small room off to one side, dedicated to the Cartier workshop in Paris. Here the glass vitrines are not filled with sparkling baubles; instead they hold the small hammers, miniature saws, loupes, chisels and other well-worn tools used to create the jewellery. And while those staggeringly beautiful pieces glint away in their display cases, it’s the journey they took from fanciful idea to glittering bauble that’s just as interesting.
The NGA exhibition, which opened last week, showcases more than 300 items from the French jewellery house’s 150-year history. Along with the rings, brooches, tiaras and necklaces there are bejewelled clocks, cigarette cases, archival drawings and photographs.
The exhibition’s co-curator Margaret Young-Sánchez says while Cartier’s style evolved, there is also a sense of continuity. Although the founder, Louis-Francois Cartier, was not a designer, he had strong ideas about design, and because he was friends with “everyone who was anyone”, he knew what they wanted. “He was able to push the design ethos forward in a way that they weren’t simply following trends, they were creating trends,” she says.
The 1920s were a high point for Cartier designs, and the exhibition sparkles with art deco jewellery, geometrical lines inlaid with white diamonds and multicoloured stones.
In 1925 the Maharaja of Patiala, Bhupinder Singh, travelled to Paris with his crown jewels. While it was traditional for Indian royalty to reset their ceremonial jewellery for each generation, Young-Sánchez explains that this maharaja took his jewels to Cartier for an ultramodern look.
His hefty treasure chest included almost 3,000 diamonds, a number of Burmese rubies and the 234.6-carat De Beers yellow diamond, then the seventh-largest diamond in the world. With careful consultation, the Cartier team created what became known as the Patiala necklace, completed in 1928, and said to be one of the most expensive pieces of jewellery ever made.
While they may not all be on that scale, each Cartier piece is unique. And from idea to bauble, a piece of jewellery goes through numerous hands – among them designers, then jewellers, setters and polishers.
In Canberra for the opening of the exhibition, Pierre Rainero, Cartier’s head of image, style and heritage, explains that unlike other houses, the emphasis has never been on a single designer or jeweller; instead it’s about the group. “Of course the designer is responsible, he’s the creator of the idea, but as far as the jeweller is concerned, his interpretation in terms of volume, in terms of conception, in terms of articulation has an incredible impact on the final aesthetic. Even the setters and the polishers have an impact on the beauty of the object.”
A new Cartier creation begins life in various ways: it could be a design idea or inspired by the purchase of a significant stone. Cartier is also commissioned to make special pieces by royalty, by celebrities and by others of substantial means.
Although Cartier jewellery designers work mostly with gouache on paper, they know how a piece will look in various lights and when it moves. There is a difference, says Rainero, between “a design that is jewelled and a piece of jewellery that is designed”. And, he says, in that matter-of-fact French way: “Cartier is about design and style – and not just about assembling stones.”
The design then goes to a jeweller who is tasked with bringing it to life. One of the reasons Cartier became so renowned was because their jewellers pioneered the use of platinum. The precious metal is unwieldy, with a high melting point, and was difficult to use in jewellery until Louis-Francois Cartier figured out how to do so. Its rarity, durability, whiteness and the comparatively small amount used – leaving the gems to sparkle – made it popular with those who could afford it.
Once the jeweller has worked the metal, the piece goes to the setters who place the gems. Usually cut when they are bought, the stones are occasionally recut by Cartier craftsmen into small gems as part of a design. The house’s signature panther brooches, for example, are covered in tiny jewels. “In some circumstances we are obliged to recut each of the diamonds to create the smooth soft aspect of the diamond. So they are not totally brilliant cut in the traditional way, they are recut the certain way to be set to create a smoothness.”
While it’s thrilling to see the pieces in a museum, Rainero says each piece is designed to be worn so it must not snag clothing or be uncomfortable. “Their destiny is to be worn and to play with light on the body and … they are conceived to be articulated, to be in total harmony with the movement of a person and the comfort of the skin and that is something that we cannot measure when you see the piece in a window.”
Throughout the creation process, the piece goes back and forth to the polishers, who use all manner of items – including feather shafts, ribbons of paper and soft wooden dowels – to polish the metal internally and externally. This painstaking polishing is one of the marks of quality, says Rainero: “That’s the first thing that we do at Cartier [or at] any jewellery specialist … is to look at the back, how it is done, how it is made and how it is polished.”
Usually the designer who works on a piece follows it through this process. For the Patiala necklace, a design team worked on its multiple strands over the three years.
At the time the necklace was the largest commission Cartier had received but Rainero says the company is regularly commissioned to make jewellery on the same scale these days. “I can mention one recently,” he says, smiling slightly, “and I think the maharaja would be ashamed.”
Ashamed? What does that mean? He smiles once again: “Because the number of stones we had to assemble was much more than that one,” he says. “More, much more.”Read more at:marieprom | blue prom dresses uk
Dian Erra Kumalasari is a fashion designer from Indonesia. Her line, Oerip Batik, features traditional Indonesian woven fabric and is targeted towards backpackers worldwide. The designs are ready-to-wear, conventional pieces which are different from the luxury, high fashion lines that Indonesian designers have been trying to push into the spotlight of late. Coming from the small rural village of Ngawi, West Java, Kumalasari is currently trying to promote Indonesian batik to the world, while at the same time supporting marginal groups in Indonesia who make a living from traditional weaving.
Kumalasari’s conventional and anti-mainstream designs have turned up in the United States, as well as several countries in Europe including Belgium, Holland, the Czech Republic and, most recently, Italy. In January, she had a fashion show in Thailand and in February one in Milan.
Along with her designs, the fashion shows also showcased customized umbrellas from Indonesian umbrella craftsman, Heru Mataya. Each piece in Kumalasari’s collection is influenced by the story and philosophy of its weaver. The fashion show in Borsang Village, Shankampaeng Chiangmai, Thailand from January 19 to 21 was also an excellent example of a cultural exchange between these two Asian countries. Each of Kumalasari’s fashion shows open with traditional Indonesian dancing.
Bolstered by a little group in her workshop in Bekasi, West Java, Kumalasari began her journey in 2008 and reached the international market in 2015, teaming with European wholesalers and Indonesians abroad to present her line. She uses social media platforms such as Facebook and Instagram, on which she has 12,000 followers. Her worldwide purchasers generally shop on the web.
At her most recent Milan fashion show, Kumalasari focused on East Nusa Tenggara’s Sumba and Lembata batik. “I hope my fashion events in Europe will popularize Sumba’s traditional woven fabric and increase the appreciation of various fabrics of ancestral legacy in the archipelago,” she said. “I’ve committed to set aside my sale proceeds to be donated to the local community.”Read more at:prom dresses online | evening dresses uk
Pierre Hardy, who has been designing shoes for three decades, has no shortage of advice for those wanting to dress people from the ankle down. At the top of the list? “Be absolutely, definitely, strongly, deeply sure of what you love or what you want, and hold on to this,” says Hardy, who designed for Christian Dior and Hermès in the ’80s and ’90s before setting up his namesake line in 1999. A successful career in footwear requires a breadth of creative, commercial and technical expertise. We asked five leading designers how they got their start—and made it to the top.
Where to study shoe design
“I went to school to learn technique… [including] how to cut the leather, how to choose the leather, how to stitch a shoe by hand,” says designer David Tourniaire-Beauciel, who was appointed creative director of Robert Clergerie in May 2017. In addition to technical skills, design courses can also hone your vision and aesthetic, says British designer Sophia Webster. She funded her MA Fashion degree (with a focus on shoes) at the Royal College of Art by designing for Chinese high-street brands and interning for Nicholas Kirkwood simultaneously. While a design degree remains the most popular route, there are those, like Hardy, who advocate a more general artistic education. “They deliver a better [understanding] of global art culture and a strong cultural knowledge,” he says.
Choose the right shoe design school
Cordwainers College, which was absorbed into London College of Fashion in 2000, remains a popular choice for aspiring shoe designers. Household names like Jimmy Choo, Nicholas Kirkwood and Sophia Webster all studied there. But a prestigious program isn’t the only route into the industry. “We are not looking for particular schools, it’s more the work experience and the portfolio itself,” says Mara Schmitz, a senior consultant at Freedom Recruitment, who have placed people in design roles at fashion giants Alexander McQueen, Louis Vuitton, and Gucci, as well as footwear specialists Tod’s, Hunter and Jimmy Choo.
Perfect your graduate collection
“We go to the universities and screen the best talent for them,” Schmitz explain of the recruiter’s presence at graduate shows, “and that’s sometimes the first step into the first job”. This was certainly the case for Paul Andrew, design director of Italian footwear label Ferragamo. He attended the lesser known Berkshire College of Art and Design, but thanks to talent scouting, he found his graduate collection the subject of interest from Alexander McQueen and American Vogue.
Get an internship
In getting your first work experience placement, it pays to be persistent. Designer David Tourniaire-Beauciel, who was appointed creative director of Robert Clergerie last year, knocked on the door of Stephane Kélian’s factory in his hometown of Romans-sur-Isère five times before they gave him a shot. While submitting your CV is the first step, once you hear back, you can expect your portfolio to take centre stage. Portfolios should include “good mood boards and, if it’s luxury, nice hand sketches,” says Schmitz. For Hardy, a face-to-face interview is the most important step.
“Even if everybody speaks English in the studio—and Italian at some points—understanding French makes every day working life much more efficient,” says Hardy of work in his Paris-based studio. But it’s not just about speaking the same language literally. “Fashion is a very sharp field of culture and [requires] subtle understanding,” he continues, “and working in a French environment requires an innate sensibility”. Aside from cultural cohesion, Aquazzura co-founder Edgardo Osorio credits being multilingual as helping him develop a “completely different perspective” and an international understanding of the marketplace.
Don’t start your own company too soon
“There’s nothing quite like actually working in the industry to learn your craft,” says the British-born Paul Andrew, who laboured under other designers, including Narciso Rodriguez and Calvin Klein, for a decade before launching his namesake label in 2013. “Get as much experience as you can making mistakes on other people’s budgets,” advises Webster. Her advice is echoed by Osorio, who began interning at 14 in his native Colombia. “For me, I think the worst mistake you can make is to start your own company right after you study,” he says.
Spend time in factories
“The time you spend in the factory is very, very important,” says Tourniaire-Beauciel. They are first and foremost where you learn the essentials of shoe-making. Webster cites a period interning in Italy for a company who had “a factory underneath their main head office” as vital in showing her the process of making a shoe, while Andrew credits his time at Narciso Rodriguez “travelling back and forth to Italy and working in factories” as where he “really honed my craft.” After that, it’s where you ensure your designs come to life in the way you intend. “To design a sketch, at the end, it’s nothing—you need to give the information,” explains Tourniaire-Beauciel, who spends two of the six-month seasonal cycle in the factory itself. This involves discussing the drawing with every member of the manufacture team, and finding solutions to everything from budget to heel architecture. “It’s a discussion—sometimes there is some argument,” he admits.
“I think it’s important that what you’re doing is different,” Osorio says. “You have to create your own little world because if it looks too much like someone else, [your customer is] already buying someone else.” That’s not to say your aesthetic shouldn’t evolve over time. “Love what you hated and hate what you loved,” advises Tourniaire-Beauciel, citing the Buffalo shoes with high wedges that he designed in the ‘90s. “Ten years later it was considered the ugliest shoe in the world, and now there is a comeback.”
Know your customer
Whether pitching yourself to an existing brand or going out on your own, understanding your position in the marketplace is critical. “When you design you need to understand: Who are you designing for? For which brand? For which price?” Tourniaire-Beauciel explains. For Webster, this involves “being mindful of what women want to wear, [even if it’s] something understated and classic. Learning that was a bit challenge of me because when I started I just did everything super multi-coloured and all high heels.”
“I had definitely thought about the sort of woman I wanted to dress and the sort of woman I wanted the brand to appeal to,” Andrew recalls of going out on his own. Likewise for Osorio, whose international background allowed him to identify the U.S. as the best place to start retailing his collection: “I knew the clients, I knew the department stores, I knew the boutiques [and] I was familiar with the environment of where I wanted to be and what I wanted to say.”
“In fashion, you need the relations with manufacturers, suppliers, artisans [to make a collection happen],” says Osorio. These contacts are acquired only by working for someone else first, “unless your family is in the fashion industry or you’re very, very rich,” he explains.
Contacts outside your factories are important, too. “I sort of begrudged it at the time, but I was always thrown into the showroom to present the collection to all the buyers and press,” says Andrew of his years designing at Donna Karan. “But in retrospect it was amazing, because I got to build relationships with these key executives in the industry, and when I went to launch my own line all I had to do was pick up the telephone. My collection in my first season was at Barneys, Saks [Fifth Avenue], Bergdorf Goodman and Harrods.”
Build your business
“There is a big step between presenting 10 to 15 models in a showroom… and making it a real collection and a real brand,” says Hardy. “I wasn’t prepared for that—I was just a stupid designer dreaming about shoes. You have to be efficient, you have to be competitive and you have to be communicative.” Getting the right assistance is essential, and many designers look close to home. Osorio set up Aquazzura with his partner Ricardo D’Almeida Figueiredo, while Webster’s husband Bobby runs the commercial side of her line. Another option is to seek external support. “We hired a management team from another luxury group that had a lot of luxury experience,” says Osorio.
Spread the word
“You will get written about when you’re new,” says Webster, “but after that, you have to consistently be creative, and you’ve got to pace yourself.” Osorio, whose line gained traction thanks to the concurrent rise of street style in 2011, recommends new brands “only focus on a digital strategy” when they first start looking to raise their profile. “When you don’t have any money, you need to only focus using that voice and doing it well,” he continues, citing his shoes appearing “in those [street style] pictures and on certain people” as making “a huge difference”.
“You can never dream big enough,” says Osorio. “You just need to work your ass off, believe everything is possible, have a big smile on your face and be very nice to everybody.”Read more at:cheap prom dresses uk | prom dresses
It has long been an accepted expedient for bridegrooms to hire their wedding regalia; more often than not the Best Man’s duties include the return, next day, of two morning suits and two toppers. And now, it seems, a similar duty sometimes devolves on the chief bridesmaid on behalf of the bride.
Soon after the war, a London dress firm announced themselves as “Bridal Specialists.” The idea was to act as fairy godmother to girls coming out of the forces who had so many clothes to buy as well as their wedding garments. But the young are incorrigibly conventional: “something borrowed” they must have for luck; but something hired, what next!
It was not until evening-dresses had been added to the repertoire and were being hired by well-dressed, moneyed women short of clothes coupons, that girls began to feel that to hire a wedding dress was not to do a shamingly undone thing.
Clothes coupons are old history now, but clothes are much more expensive than they were. This, combined with the capricious desire in nearly every feminine heart for a white wedding, has led to this one firm hiring out during what is probably known as the peak nuptial season, several hundred wedding dresses a week.
The dresses cost from 4½gn. to 20gn. to hire, including all accessories: headdress, veil, flowers, gloves, shoes. Bridesmaids’ dresses are from 2½gn. to 6gn.; children’s 2gn. There is no deposit. The dresses are cleaned after each wearing, and none is worn more than five times before being discarded. There is a postal service for provincial hirers; if the bride cannot come to London to make her choice and be personally fitted, she writes for a catalogue or sends her own sketch of the dress of her dreams. From this sketch, a dress is chosen for her by the “show-room visualisers.” One imagines these visualisers as wearing confetti-tinted spectacles, and having a permanent pew at the back of St Margaret’s, Westminster.
The choice of dresses is very large and a new collection is designed each season. There is, however, a perennial demand for something “traditional.” Most people’s idea of a wedding dress is a kind of hybrid period dress, in which the medieval and the ecclesiastical are hopelessly confused, the whole being topped off with a neo-Italianate head-dress – and, as like as not, a Victorian posy. Also, of course, they see a high modest neckline and long sleeves; for in these decolletés days, when a little exposure goes no way at all, a mildly low-cut or short-sleeved wedding dress is quite out of the question. Tradition is against it. Yet, how long is tradition?
The white wedding-dress itself was an innovation of the early nineteenth century not, as is generally believed, a symbol of virginity. It came in simply as a fashion trend following the manufacture of lace, which had brought about a vogue for wearing white in court circles. But right up to late Victorian times wedding dresses were often coloured, frequently grey or lavender; and up to Victoria’s accession they were often low-necked, and short-sleeved. In fact, they followed the fashion of the day, instead of casting back, as they do in our times, to earlier periods. It was really not until daytime skirts became short and skimpy, in the 1920s that the wedding dress became a separate fashion feature, virtually fancy dress.
The hire of an evening dress, inclusive of gloves, evening bag, and shoes, is from 2½gn. to 10gn. They are cleaned after each hiring, discarded after five. Furs are from 1gn. to 7gn. This evening dress service is most useful for those who only hit the high spots once or twice a year but want to hit to kill; and also for those who hit them so often in the same places and with the same circle of friends that their wardrobes are unable to give a continuous variety performance. In addition, there is a brisk tourist trade with visitors to this country travelling light by air and not wishing to pack evening clothes. And again, British women going on cruises can make special arrangements for longer periods of hire, thus being able to take three or four dresses with them for the cost of buying one.
So there we are. Never again need we turn down the last minute invitation which finds us with not a stitch we would care to be seen dead in; and never again need we refuse that attractive proposal to get married next week and sail in luxury for a honeymoon in the Bermudas.Read more at:cheap prom dresses | graduation gowns
Nobody sent out an agenda, but this season’s Paris shows effectively felt like a huge conference of voices speaking about how to represent women in the era of Time’s Up. Threads of the same conversations kept coming up and intertwining—in what designers said in interviews, in the symbolism we read into their clothes, and in the running commentaries between colleagues in cars and cafés.
We all saw, felt, and engaged in the issues. For one: How can fashion act as a conduit for female power? We saw throwbacks to ’80s skirtsuits and shoulders dissected and rethought in a time when female employment equality and political power urgently demand to be backed. We saw serial cases of classics—tweeds, camel coats, tartans—being morphed into modernity by brainiac imaginers. We witnessed cultural influences from Islam taking in head coverings and modest dressing.
We felt the inspiration of the past meeting our new day: 1968-er Paris revolutionaries and sci-fi knocking at the doors of fashion consciousness. Finally, at a moment when there are so many wildly complicated issues to process, there was love for the designers who backed up and calmed us down with beautifully simple clothes—and equally for the ones who took us off, up, and away into the realms of visual wonder.
Closing remarks, then? Hard to summarize, but this much is true: When smart designers work into the creative tensions of our times, great things can happen.
“Marine Serre titled her terrific third collection Manic Soul Machine, a reflection, as she put it, on the roller-coaster ride of the first six months of leading her own label. It’s apt. The hyper-speed at which the industry moves means designers like Serre have to deal with not only the voraciousness of the hunger for newness but being able to present to the world a cohesive and consistent image from the get-go as well. It’s yet harder still if you’re someone like Serre, who is not only a significant talent but also self-aware and reflective about how fashion can find its place in today’s world and what it should actually stand for. Consideration of the political, the societal, the cultural, the sexual—they’re as much part of who she is as they are part of making great clothes. Which she does, and then some.”
“Maria Grazia Chiuri understands her own time. Dovetailing as it has with the Trump era, her Dior tenure has coincided with a great feminist uprising. She’s held up a mirror to feminism’s fourth wave, quoting the Nigerian novelist Chimamanda Ngozi Adichie one season and the art theorist Linda Nochlin in another. This season, Chiuri saved almost all the slogans for her set, which elaborately reproduced magazine covers and protest art of the late 1960s. And she took up the clothes of that era—the crochets, the embroideries, the patchworks—and filtered them through Dior’s luxury lens. The charm of the collection was in its rich craftiness.”
“Lucky were the girls in the Paco Rabanne show. With their effortlessly undone hair and fresh makeup, they shone in an outstanding Julien Dossena show—the sort that made women watching not only think, That’s amazing, but also, I think I can take something from this! The ingredients: Paco Rabanne’s chain mail heritage, convincingly meshed in with perfect French classics. ‘I wanted to get back that super-cultivated, super-Parisian thing,’ said Dossena in a preview at the Paco Rabanne studio. The genius was all in Dossena’s layering methods. Instead of leaving all the chain mail as theoretical ’60s space-age showstoppers, he put his through a ’90s filter—those days of grunge and minimalism when the answer to making anything dressed-up work was to layer it over a T-shirt, put it with a white shirt, and stick on a pair of flip-flops. These flip-flops came smothered in the plastic paillettes, mind.”
“There will be coat wars ahead. So many collections, so much outerwear this season! At Loewe, Jonathan Anderson made a very strong pitch for owning the top of the field, with a score of no less than 15 coats on his runway—something to cover every possible use, from a walk in the country, to commuting, to school runs, attending private views, events, dinners, and the like. Why stop at a duffle coat, a tufty shearling, a black-and-white chevron-patterned fit-and-flare midi? There is evening, too: a quite elegantly beautiful black trapeze with puffy leather cuffs. Even to those of us who’ve barely been to an opera, the idea of arriving somewhere in that evening coat was aspirational.”
Comme des Garçons
“Rei Kawakubo put on a hugely enjoyable display of over-the-top fabulosity today—a show created from frills and fantasy, and crinolines, and lace, and flowers—her vision of super-girly Vaudevillian charm, taken to delightful heights of excess. Kawakubo had been reading ‘Notes on Camp,’ Susan Sontag’s 1964 essay. This was one of those Comme des Garçons collections that is an uplifting shot in the arm for fashion in general; an argument for creativity and the joy of dressing up. It ended in a moment of sweetness that will be a memory of the season—Kawakubo’s girls, lining up hand in hand, smiling at the audience as they left the stage. As Sontag wrote in that essay, ‘Camp taste is, above all, a mode of enjoyment, not judgment. Camp is generous, it wants to enjoy. . . . Camp is a tender feeling.’ ”
“It was the first time women and men walked together in a unified show, and for Demna Gvasalia, it represented a conceptual and personal leap forward. Instead of merely imitating the heritage looks of Cristóbal Balenciaga, he’d dedicated R&D time to working on a high-tech computer-enabled process for molding tailoring for women and men alike. Bodies had been 3-D scanned, the ‘fittings’ were done in a computer file, and then molds were printed out. Progressive ideas are much needed in fashion today, on all kinds of levels. Demna Gvasalia’s mission to recode Balenciaga tailoring in the cyber age might not be a future solution—it still involves the use of synthetics, and you could argue that it negates the skills of the human hand. Nevertheless, the thinking behind this collection marks Gvasalia as a designer who wants to be an agent of change in the fashion industry, and who goes for social change, too. ‘I don’t want to be just a T-shirt-and-hoodie man. We sell them, of course—but I feel I have a responsibility to do it in a way which brings a message.’ Ethics x aesthetics. Sounds like a timely way forward.”
“Among the catwalks and the commentariat, what we’ve been talking about is how to represent women. Femaleness is a spectrum, not a grab bag for definitive pronouncements about power or romanticism. Sarah Burton’s is a subtle woman’s voice speaking through these complexities. Shoot from one end of her collection—an impeccable female tuxedo—to the gowns at the finish, and you will see someone working through our climate of change. Her empathy and stunning couture-level skills went into a collection she described as being about ‘extreme nature. Metamorphosis. A soft armor for women.’ ”
“In this season, when so many designers have been fusing, hybridizing, and patchworking garments together, let’s take a moment to applaud the woman who started it all. Chitose Abe’s skill—apart from the ability to make one outfit out of parts of many garments—is knowing the right archetypes to call on at any given time. This Fall, as classics have become a subject du jour, she was yet again on point, polishing up her assemblages with menswear tweeds, trad rainwear, school-blazer stripes, banker-stripe shirting, navy blazers, and generic down jackets. The general effect was half-and-half, this time arranged on a vertical axis rather than back-to-front (a point humorously underscored by the unmatched footwear). This was a strong, graphic collection that will surely fly.”
“Space has been a recurring motif throughout Nicolas Ghesquière’s career; it’s animated some of his most imaginative, exciting work—remember the articulated C-3PO leggings? Here, he was operating in a much more grounded manner, though of course, this being Vuitton, the results were far from pedestrian. Metal chains and doodads elaborately trimmed cropped jackets; dense beadwork decorated the oddly asymmetrically draped halter tops for evening. Ghesquière must’ve liked the off-ness of that gesture. The models wore only one glove on their bag hand. Flat envelope bags and large totes printed with what looked like computer motherboard circuitry were the new developments on that front.”Read more at:prom dresses 2017 | marieprom
The backlash against Miroslava Duma is gaining momentum by the hour with figures including Naomi Campbell, Bryanboy and Marc Goehring of the magazine 032c voicing their anger at offensive, racist and transphobic comments from the Russian digital entrepreneur and cofounder of Buro 24/7 on social media.
On Wednesday, Goehring, a stylist and fashion editor, posted a picture of himself on Instagram wearing a T-shirt with an image of Duma and the words “Hi my name is Miroslava Duma. I am a racist. I am a homophobe. I am a transphobe.”
On Tuesday, fashion blogger Bryanboy said on Twitter: “Racism and bigotry is never cool. I guess I’m too weird…” He was referring to a video from six years ago that shows Duma making transphobic comments.
At the time, Duma was speaking at a lecture titled “Fashion in the Internet Era” in Moscow hosted by the BrainON Intellectual Club. WWD obtained the transcript of the video. She talked about her dislike of female fashion being worn by men and said that, somewhere, a little boy could see it and therefore a “certain kind of censorship is needed.”
“Honestly, I dislike that. Because somewhere, on TV or in a magazine, a little boy could see it. And that boy wouldn’t understand it correctly, wouldn’t react correctly.”
She pointed to Bryanboy and Andrej Pejic and stated her publication Buro 24/7 would never publish someone like Pejic. “There’s this weird person called Bryanboy.…There’s another weird person called Pejic. Who else can you remember here? Thank God there aren’t that many of them! We’re very concerned about the beauty and purity of the images we publish on Buro 24/7.”
Earlier this week Duma posted a picture of flowers and a card that she said was sent by her designer friend Ulyana Sergeenko. The card said “To my Ni**as in Paris,” a quote from a Jay Z and Kanye West song. Duma later apologized on Instagram: “I sincerely apologize for my regrettable Instagram story that went out. The phrase referenced is from a Kanye West and Jay Z song by the same title. The word is utterly offensive, and I regret promoting it and am very sorry. I deeply respect people of all backgrounds and detest racism of discrimination of any kind. My organizations and I are committed to our core values of inclusion and diversity.”
Campbell voiced her anger, posting an image of Duma’s image of flowers and a card on Instagram stories: “Seriously?! Why would you a) write this b) post this…this better not be real!” Campbell reposted an image from street style photographer Adam Katz Sinding. He called the actions of Duma and Sergeenko “upsetting.”
“When I screenshot Mira’s story that evening, I had no idea it would become so big,” Sinding said. “That being said: The initial action was very much not cool. However, the ‘apologies’ and excuses were what really dug their graves. And even more so…the comments sent to my DMs, which I have published in my Story Highlight on the subject on Instagram. The sheer ignorance is astonishing. Listen: We ALL have said hurtful things about others in our lives. Every one of us, bar none. Severe or small. This is not the point. The act is in poor taste. The apology confirmed that this was not just a ‘joke’ but an actual case of blatant ignorance. These are two well-traveled people…the ignorance-card doesn’t work here. As we grow, we learn, and as we learn, we adapt. Even if Kanye were my BEST FRIEND, I wouldn’t be saying this kind of thing.”
On Wednesday, Buro 24/7 Singapore posted an apology: “As a publication in a culturally diverse country such as Singapore, we have always positioned ourselves as storytellers in an inclusive community. Racism and bigotry have no place in our editorial policies and guidelines. Buro 24/7 Singapore stands firmly united against the usage of any disrespectful words and behavior toward any community. We will continue to craft stories from a place of love and respect.”
Duma issued an apology on Instagram regarding the exchange between Sergeenko and Duma of the picture of flowers and a card.
She also released a statement pertaining to the video: “First things first: I am deeply ashamed by the comments I made in 2012. Frankly, I’m as shocked as anyone to be viewing that footage today, and to see for my own eyes how utterly offensive and hurtful my actions were back then. And when I consider that my comments were made in front of an audience of students — young people with open minds and positive attitudes — it makes them seem all the more insensitive and out of touch.
“As we all know, the world is evolving at an extraordinary pace, and we as humans evolve, too. The person I was six years ago is not who I am today. In the intervening years, I have committed myself to a journey of personal growth, where ignorance has been replaced by acceptance, and discrimination by inclusion. I deeply respect people of all backgrounds: I believe in equality for everyone, regardless of ethnicity, gender identity, religion or sexual orientation.
“If any positive change is to come from recent events, then I sincerely hope that the public discussions surrounding me might shine a light on the broader need to stamp out discrimination from society once and for all. It is true that I come from a culture where words and attitudes may be different from the Western ideals that I, in fact, have come to understand and accept. I know now, better than ever, that I should be an example of positivity and progress for the people who follow me, and that my platform and privilege can be used as agents of change — particularly in our current political environment.
“I’d like to formally apologize to any individuals or communities that I have offended. Similarly, I’d like to extend this apology to the professional organizations I am affiliated with. The comments I made are in no way representative of those organizations or their teams.
“I do not expect instant forgiveness, nor forgiveness at all, for those I’ve offended. I know that my actions must speak louder than my words or gestures on social media— and I pledge to do the necessary work to gain back people’s trust and respect.”
As a result of the furor, Duma has been removed from the board of The Tot, a children’s company she started with Nasiba Adilova in 2015.
This isn’t the first time that Duma has been lambasted for offensive comments on social media. Four years ago, Buro 24/7 posted an image of Garage magazine’s editor in chief Dasha Zhukova, who was positioned sitting on top of a black female model — posed as a chair — in bondage clothing.Read more at:evening dresses | prom dresses
The fashion world is currently focused on all things men, with the London menswear shows down, Milan just finished and Paris starting today. And while your peripatetic Buzz will be getting among the action in the City of Light, there are still some things to reflect on from her last week in Florence.
Against the backdrop of the Pitti Uomo trade fair, US heritage brand Brooks Brothers celebrated its 200th anniversary, making it, we’re told, America’s oldest retailer.
In an industry where making it to 10 years is cause for celebration, it’s no wonder that they pulled out all the stops for this festa.
The catwalk show was held in the Palazzo Vecchio’s ornate Salone dei Cinquecento; if Buzz has learned anything in her time covering international fashion events, it’s that gaining access to venues such as this is a huge part of the appeal.
To a live soundtrack of Alicia Keys’s Empire State of Mind performed by 53 members of the Italian Philharmonic, models emerged onstage before doing their circuit of the room with its backdrop of Renaissance frescoes.
Among the men’s looks were a handful of women’s styles designed by Zac Posen, a thoroughly charming gentleman if Buzz has ever met one. The men’s looks were a mix of preppy casual through to eveningwear and new takes on the tux.
Following the show, a small group was invited to dinner upstairs. Regular readers will be aware that if Buzz loves anything more than fashion, it’s food. And let it be on the record that the potato and ricotta gnocchi with black truffle and aged parmesan was one of the single finest dishes of squishy deliciousness that Buzz has ever sampled. E’ vero.
Another major event in Florence was the launch of Gucci Garden in the Palazzo della Mercanzia on the Piazza della Signoria, a quite unique concept for a fashion house.
Creative director Alessandro Michele has certainly shaken things up at Gucci since he took over two years ago, and this is one more example of his broad approach to fashion and creativity, aided by curator Maria Luisa Frisa.
The exhibition sits across two floors, and is a mix of commissioned contemporary art by Jayde Fish, Trevor Andrew (aka GucciGhost) and Coco Capitan, and archival fashion, accessories and ephemera from Gucci’s nine-decade history mixed with contemporary pieces from Michele’s first years in situ.
The ground floor is a unique retail experience, boasting items available only at this location, from scented candles, stationery and homeware to fashion and accessories, including one-off pieces. But be warned, the price tags are indigestion-inducing. I plumped for eating like a gourmand for a week (resulting in further plumping) over bringing home one of those candles.
Back at home, and back to menswear, it appears that luxury brands are banking on the gentrification of the Australian gent. From today in Sydney’s Bondi Junction Westfield, Louis Vuitton opens its menswear pop-up featuring the latest spring-summer collection from designer Kim Jones.
As well as ready-to-wear, it will also house accessories including surfboards. How very appropriate to market. This is their second such exercise, after a similar offering in late 2016 in the Sydney CBD, for which the designer himself made the trip. The pop-up is open until February 4.Read more at:formal dresses uk
Gilson Gray has introduced a modern dress code across both its Edinburgh and Glasgow offices.“Dress For Your Day” offers employees at the firm the option to replace formal business suits with a more relaxed style of workwear, including smart jeans, which “allow staff to inject personal style into their look while maintaining the firm’s professional image”.
While many businesses now adhere to a ‘Dress Down Friday’ practice, Gilson Gray’s ‘Dress for the Day’ policy – crafted by HR director Lesley Naylor and marketing director Vanessa Kennedy – aims to give staff more opportunity to show off their personality, both within the business and with clients.
Ms Naylor said: “Pretty much every corporate firm has a ‘Dress Down Friday’ rule, but as a business that likes to defy convention, we thought that rules stating what you can and cannot wear should go much further than one day. And the fact that we are a legal firm, and not say some new-start tech company, that wants to push these boundaries makes it all the more exciting.
“Dress For Your Day” will allow employees to bring a bit of themselves to work. We want to remove the daily dirge of corporate suits and dark colours that have been associated with solicitors and legal firms from time immemorial.
Ms Kennedy said: “We value our staff’s individuality and their personalities are what make them such a brilliant bunch of professionals for our clients to work with.
“The only basic rule is that we are asking for staff to look neat and well-groomed and be appropriately dressed for their daily business interactions.
“Of course, as part of our regular business practice, there will be times when a more formal business dress will be required and staff are expected to dress accordingly for these occasions.
“Giving employees more freedom with their workwear should not only provide a great boost for morale, innovation and company culture, it allows us to better reflect our brand and to showcase what makes Gilson Gray different.
With an arctic air mass crossing over southeast Georgia, residents can expect cold weather with bitter winds. With the upcoming cold weather, it is important to know how to dress to stay warm. Many still want to look fashionable while bundling up — so here are a couple of the best fashion trends this season to keep you warm and stylish.
Thigh High Boots
One winter trend this season is boots that reach just above the knee. These boots add an extra layer of warmth when worn over pants or even make it possible to wear a skirt or dress in the winter without having frozen legs. These boots are most often seen in a suede fabric and come in multiple colors including black, grey and mauve. To purchase this style, Stuart Weitzman thigh high boots are for sale on nordstrom.com in multiple colors. For a more affordable style, target.com has pairs for $59.99 in light brown, black and grey.
Not only are these jackets warm — they are also stylish. This current fashion trend has been seen on many runways, including the Vivenne Westwood show. There are both long and short styles in a variety of colors. Some of the most popular colors for the season include black, dusty pink and metallics. For a warm style check out this shiny insulated jacket by Michael Kors that can be purchased on nordstrom.com. Patagonia also offers a new Micro Puff Hoody in designs for both men and women. This new jacket is lightweight and water resistant but can also keep the wearer warm.
Sweaters With Flared Sleeves
Knit sweaters have always been a popular choice for colder weather, and this season designers have added a new flair to the traditional approach. The trend this season is longer sleeves that flare out at the end and give a lengthening effect to the wearer’s arms. An affordable and warm option for this trend is available on the Romwe.com. They offer a knitted, flared-sleeve sweater in multiple colors such as maroon, grey, blue and black for $9.99. Another popular sweater that is a top seller this season is Anthropolgie's knit turtleneck pullover.Read more at:formal dresses uk | uk prom dresses