CFDA & Lifewtr Designers Emerge at Chelsea Piers

CFDA & Lifewtr presented on Thursday to a packed house at Chelsea Piers that included Katie Holmes, the collections of three emerging designers and graduates of the CFDA+ accelerated educational program: Adam Dalton Blake, Tiffany Huang and Ghazaleh Khalifeh.

“I’m looking forward to the exposure,” said Dalton Blake, whose Fifteen Love collection was inspired by tennis uniforms from the Eighties. The designs were reminiscent of the outfits worn by Ben Stiller and Gene Hackman’s “Royal Tenenbaum” characters, especially the quirky factor. A photo of Dalton Blake’s father is printed on the back of some of the garments.

Khalifeh was inspired by different cultures, seen through the lens of an Iranian nomadic woman — the designer — crossing borders. “With so much material in our world, the garment industry should up-cycle,” said Khalifeh, whose beautiful and exotic pieces had metallic filament woven through fabrics, including old Afghani rugs.

The collection of Tiffany Huang explores fears and superstitions with help from virtual and artificial reality. For example, a sandwich boardlike blue tunic is covered with painted eyes that are sad when it rains. “Each garment is embedded with technology,” said Kai Lu, who worked on the tech. “Once you enter the world of the clothes, it triggers reactions.”

“Fashion is just an extension of the art world,” said Olga Osminkina-Jones, vice president of hydration at PepsiCo Global Beverage Group. “Those with a creative spirit have been told that this isn’t a real job. I hope Lifewtr and the CFDA will be able to give the designers, not just an outlet, but hope. These designers will show up on 40 million bottles in the real world.”

Steven Kolb, CFDA’s president and chief executive officer, said the featured designers still have an innocence to their collections because that they haven’t conformed to “the box the industry puts them in. They have the power to tap directly into consumers through their own omnichannel opportunities. I could also see them at Opening Ceremony or Instagram.”Read more at:plus size formal dresses | cheap formal dresses

Fashion’s Fastest-Rising Star

Kaia Gerber celebrated her 16th birthday on Sunday, making it surely only a matter of time before the emerging model becomes one of the most in-demand names in the fashion world. But thanks to her natural beauty and impeccable connections, the teen has already made her mark on the industry.

Kaia took her first steps into the modeling world when she was just a tot, as mother Cindy Crawford pointed out this weekend when she shared a photo on her Instagram page of the duo, taken by Patrick Demarchelier for Vogue Magazine. She made her solo debut in 2015, when she appeared in Interview Magazine, Teen Vogue, and Carine Roitfeld’s CR Fashion Book.

Spring 2016 saw the teen land her first high-profile campaign for Marc Jacobs’ Daisy Fragrance. Kaia has stuck with the brand ever since, appearing in the Marc Jacobs Beauty Fall 2016, Spring 2017 and Summer 2017 ad campaigns. She has also starred in ads for Chrome Hearts, Alexander Wang, Miu Miu Scenique Eyewear, and, most recently, the Hudson Jeans Fall/Winter 2017 campaign.

In terms of editorial work, Kaia has appeared in some of the biggest publications in the business, including Vogue Paris, Love Magazine, Pop Magazine and Teen Vogue. The one place she hasn’t appeared yet is on the catwalk. Will the upcoming Spring/Summer 2017 Fashion Weeks change that? Our eyes are peeled.Read more at:short formal dresses | bridesmaid dresses

Texarkana designer climbs success ladder with formal wear

It’s likely not often a young Texarkana man grows up to design wedding gowns for a living.

But that’s the dream of one young Texarkana native, Brandon Norman, who tapped into his considerable artistic talents to design formal wear that’s both classic and sexy.

Lately, he’s focused on wedding gowns, but this year saw him design more than a closet full of striking prom dresses.

The Texarkana Gazette reports that Norman, just 24, always flashed artistic talent with a love for drawing animals. These days, he puts his creativity into fashioning another sort of beautiful form, having first learned the craft of design out west.

It was in San Francisco that he studied at the Academy of Art, majoring in fashion design. Formal education there didn’t work out for him, but while working several jobs at Gap, he started making custom clothing for others, building up a portfolio and experience.

Norman’s lived back at home recently — after several years in California and a couple in Dallas — to focus on evolving his own fashions, but he’s now poised to venture to Las Vegas and work in fashion with celebrity clientele.

After all, he prefers working with people where he’s at. He doesn’t like sending work.

”I’d rather work hands-on with those same people,” he says. With people like the Las Vegas clientele reaching out to him, he knows it’s time to head back out west.

Looking at his recent dresses, he can talk about what he strives to do with each one. One he made this past week in just six hours. The woman who gave him the job was thinking about a dress that was out of her price range, but she also wanted it to have a split and other details.

”A halter, high split in the middle, deep back. It has an illusion with the sweetheart neckline and it’s also a halter top,” Norman described it. ”But you can’t really tell because of the applique that I put over. It’s an applique over then I also put an overlay.”

He creates fashion that’s a statement — they’re once-in-a-lifetime pieces.

”Like you wear it and it’s going to be remembered type thing,” Norman said. People tell him it’s kind of ironic that he creates this type of work, considering he sports tattoos and piercings. He may not look the type to make classy, elegant formal dresses, but that’s what he’s doing.

”They would think I make shorts and leather jackets or something like that, and I’m making wedding gowns,” Norman said with a laugh.

It’s perhaps no surprise, looking at his style, that Oscar de la Renta was an inspiration.

”He started everything for me,” the young designer recalled.

How did his dreams lead him here? From the third grade onward, he painted. He took lessons from local art teacher Nancy Martin.

”I’ve been with her forever,” he said about her lessons. In his award-winning art, he enjoyed capturing the eyes of animals, giving that perspective.

Norman started fashion illustration in junior high, and that was his in for fashion. He took sewing lessons in high school, simply sewing pillows, and began working with the sewing machine. He later applied for fashion school. He didn’t know exactly what he’d do, but he knew it would be something artsy.

While at the Academy of Art, he didn’t feel like he received the education he expected. He was only 19 but felt he needed more. So he left school and worked on his connections. He was featured in San Francisco Fashion Week one year. He sewed in his apartment, learning by trial-and-error, making simple dresses and T-shirts.

”I always kind of knew that I wanted to do wedding gowns, but I didn’t have the skills that I have now to do it,” he reflected.

Norman was part of a fashion show for the first time in 2013. A college friend asked him to join a show at the last minute. She asked him to make 23 pieces in two weeks. He got to work and did it.

”They were dresses, but more clubby risque. Less fabric,” he said.

He didn’t really know what he was doing, but it gave him exposure and he put the word out that he had a clothing line. Called Duhbuhlyoo, it’s named after his grandmother (her name is Wilola).

Connections helped him grow the business.

”As long as you know people, you’re good,” Norman said. ”Everything I know is basically self-taught.” Everything he’s done has given him a lesson. He doesn’t pay too much attention to trends but says that it works out that he is trendy.

”I kind of consider this as my college,” he said. ”And I’m working, making money.” He’s ambitious. In 10 years, he’d love to have a fashion house with his work overseas. Everywhere but low-key, that’s how he puts it.

”I want to be known worldwide for what I do,” Norman said.

When it comes down to the work itself, Norman sits down for a consultation meeting to go over a design. He sketches as the client talks. ”We kind of work hand-in-hand in person,” he says. It’s tougher to get a sense of it all through email and social media, but Facebook does bring him lots of business.

He has two main questions to explore in any consultation.

”What they want the most and what they could do without the least,” he says. After all, people may not know what’s too much for a dress. He tries to find a balance that will make it work and make it classy.

Wedding gowns are a relatively new passion for him, and it was all prom dresses before that. His little sister’s prom dress got everyone’s attention, he said, and he estimates he created between 15 and 18 prom dresses this past spring. ”They were all over,” he said.

Does he have advice for young people who want to pursue fashion design? People have told him it won’t work out for him and he’ll have to change his mind about his career. But he’s succeeding. He wakes up and does it, and he goes to sleep thinking about it. It’s a passion, and he doesn’t know what he’d be doing if not for this.

Norman’s parents have been supportive, too, seeing art his as an investment. His grandma lives next door and she’s been his main supporter. Her house has become a museum of all his art, he says.

”If this is really something you want to do, then no matter what anyone says, do it,” Norman said.Read more at:celebrity dresses | evening dresses

Diana’s top 20 fashion moments

1. The Wedding

It may have been of its time, but Lady Diana Spencer’s fairytale 1981 wedding dress delighted royal fans.

The full silk taffeta gown with a 7.6 metre train by David and Elizabeth Emanuel had romantic billowing sleeves and was trimmed with bows and lace flounces. The bride’s ivory silk tulle featured 10,000 mother-of-pearl sequins.

2. The Honeymoon Tweed Suit

For a honeymoon picture on the Balmoral estate in Scotland in August 1981, Charles wore his kilt and Diana – looking like a newlywed in love – rocked a casual, brown tweed wool day suit by Bill Pashley.

3. Polka-dots

On a tour of Canada in 1983, Diana matched the colours of the Canadian flag in a white dress with red polka-dots, a red jacket with large curved collar and white hat edged in red.

Spots were a go-to choice for the Princess, including the green and white polka-dot dress she wore on the steps on the Lindo wing after the birth of Prince William. The Duchess of Cambridge echoed the look in a blue spotty shift dress after the birth of Prince George.

4. Bow Tie Di

Imagine the Queen in a tuxedo? Diana turned the tables on royal wear when, on occasion, she ditched princess dresses for a sharp tuxedo.

In 1985, she surprised her fashion fans when she stepped out in a white dinner jacket, black trousers and silk black bow tie to see the band Genesis perform a charity gig in Birmingham.

5. Dynasty Diana

Diana was dubbed Dynasty Di – after the 1980s’ glitzy American soap opera – for her love of over-sized shoulder pads and glamorous gowns.

In 1985 at a charity fashion show, she wore a shimmering silver pleated floor-length, wide-shouldered Bruce Oldfield gown with a daring cut-away back – and perfected the look with big blow dried hair – to meet Dynasty star Joan Collins.

6. Eighties’ style.

It was the mid 1980s and Diana made the most of the decade’s penchant for bows and flounces. On a tour of Italy in 1985, she wore a Jacques Azagury dress featuring an over-sized black velvet top half decorated with blue stars and royal blue layered organza skirt tied with a low bow.

7. The Travolta Dress

When Diana took to the dance floor with actor John Travolta during a state banquet given by President Ronald Reagan in 1985, it was in a midnight-blue off the shoulder, velvet gown by Victor Edelstein.

One of the Princess’s most famous dresses, it was the star attraction when Diana auctioned off scores of her outfits for charity in 1997.

8. The Elvis Dress

Catherine Walker’s long, white silk strapless dress encrusted with pearls and sequins, with a matching bolero jacket was worn by the Princess in 1989 to the British Fashion Awards in London and on an official visit to Hong Kong.

Diana called it her Elvis dress and the high upturned collar accentuated her height.

9. Asymmetric

Diana favoured the asymmetric look – in particular a floor-length Catherine Walker pink sequined ivory crepe gown with one covered shoulder and one long sleeve which was worn at a state banquet in Brazil and the Stepping Out movie premiere in 1991.

10. Clashing Colours at the Taj Mahal

It was 1992 and the Princess – her troubled marriage in tatters – posed alone outside the monument to love, the Taj Mahal in India.

Contrasting against the ivory white marble mausoleum, Diana stood out in a vibrant orange collarless jacket and clashing purple tulip skirt.

11. Halter neck

Diana looked confident in a yellow and blue silk halterneck by Catherine Walker in 1992.

12. The Revenge Dress

It was 1994 and the night Charles, in a television interview, admitted he was unfaithful to Diana with Camilla Parker Bowles.

The same evening, Diana appeared at the Serpentine Gallery in what was dubbed her revenge dress – a figure-hugging, low cut, off-the-shoulder little black dress, paired with a choker and pearl earrings.

Greek fashion designer Christina Stambolian revealed the Princess initially thought it was ”too daring” and only opted for it at the last minute.

13. Diana at Wimbledon

Diana looked chic in a simple, red, sleeveless shift dress with multiple pockets at the men’s singles final at Wimbledon in 1994.

14. Gelled back hair

Diana’s brand new, modern, slicked back hair was showcased when she addressed members of the Council of Fashion Designers of America in New York in 1995. It was seen as demonstrating her new found independence.

15. Jackie O

Diana channeled Jackie Kennedy Onassis’s style for an appearance marking the 50th anniversary of VE Day in 1995, when she appeared in a pale blue pillbox hat and matching suit.

16. Versace

A striking sleek purple floor length Versace gown and Jimmy Choo shoes were Diana’s choice of outfit for a fundraising gala dinner in 1996. She counted Versace as a friend and often wore his gowns.

17. Casual Diana

In the last year of her life, Diana launched her anti-landmine drive. For her trips to Angola and Bosnia, she dressed down in khaki or black capri trousers and simple open necked white or pastel shirts with rolled up sleeves – and showed she wanted the focus on her work, rather than her fashion.

18. Mario Testino shoot

A Vanity Fair photo shoot in 1997 with celebrity photographer Mario Testino reinvented the Princess style-wise and redefined her life post-divorce.

She looked relaxed, happy and carefree, dressed in a variety of glamorous gowns – including a Catherine Walker black halter neck trimmed on the neckline and straps with black bugle beads, which she also wore previously in 1994.

19. The Princess in Pakistan

She stepped out in a series of delicate traditional shalwar kameez on a solo visit to Pakistan, causing fashion experts to predict a rise in their popularity in high street stores. At the time, Diana was dating heart surgeon Hasnat Khan – whose family lived in Lahore.

20. Cool confidence

Diana exuded confidence in the months before her death. Her outfits were sleek and sophisticated, lower cut and often shorter and more daring.

In June 1997 – just two months before she died and on one of her last public engagements – the Princess visited the Albert Hall to watch Swan Lake, dressed in a short, powder blue fitted dress by French designer Jacques Azagury.Read more at:evening dresses | white formal dresses

The Problem With ‘Full Look’ Styling in Fashion Magazines

Once upon a time, stylists — or sittings editors, as they were once known — were largely anonymous figures gathering together the best clothes from the latest collections and artfully composing looks to be shot for glossy magazines.

Today, fashion stylists are more visible than ever and the profession has become highly desirable for a younger generation that is more informed than ever about the inner workings of the industry. But as fashion publishers become more heavily dependent on advertisers, the nature of the profession is changing. This change is most visible in terms of the restrictions placed upon stylists by fashion brands to only feature “full looks” from a given collection.

“I definitely feel that it’s become more common in the past couple of years,” says one established stylist, speaking on condition of anonymity, who started out by assisting top-tier figures and has six years’ experience working on editorial shoots. “It’s been specifically noticeable when a house takes on a new creative director, and the style of the brand is being redeveloped or fully changed. It does really affect the job. Either one really needs to find a look in the collection that loosely works with the theme of the shoot — this especially comes across when shooting advertisers — or it might even restrict the photographer, forcing one to shoot it only partially as a portrait or detail shot.”

Certainly, the brands that hold the most sway over how their collections are styled for editorial are those with hefty advertising budgets, and this power proves particularly valuable when a new brand aesthetic is being established.

Of all the fashion houses to issue styling diktats to fashion magazines — including major labels like Saint Laurent, Céline, Christian Dior, Balenciaga and Louis Vuitton — Calvin Klein, it appears, is currently the most demanding. With Raf Simons in place as its recently appointed chief creative officer, the New York-based brand is keen to cement the Belgian designer’s vision for the brand by issuing stern commandments for editors. The rule is that any items from Simons’ debut ready-to-wear collection (Autumn/Winter 2017) must be photographed as a full catwalk look, not styled with any other brands (even non-branded apparel and vintage clothing) or even items from other looks from the same catwalk collection. Even accessories must not be worn with any other piece of clothing: the brand will provide a nude nylon bodysuit to accompany a pair of boots. Essentially, the clothes shouldn’t be styled at all, but merely placed on the model as seen on the runway and in the brand’s advertising campaigns.

“A full look gives a stronger message,” says a senior fashion publicist, also speaking anonymously. “With a new creative director, a change in aesthetic means that you can define what the look is and it boils down to having a very clear vision and a purer communication of it.” From a publicist’s point of view, there’s also the logistics benefit of sending each complete look as a package. “A look will go from shoot to shoot,” the publicist explains. “If you split a look up, it becomes fragmented. When it’s [sent out and photographed] as a full look, it’s not split up between five different shoots around the world.”

This new normal in fashion photography has left many stylists frustrated, however. “You’re not a good stylist if you do full looks — you’re a dresser,” asserts Alexandra Carl, fashion director of Rika, a biannual style title, who has also contributed to W and Vogue Italia. “It takes away the creativity and kills the inspiration because it’s so heavily controlled. How am I or a photographer going to make a stamp on it?” As an independent title, Carl says that the pressure from advertisers on Rika is not as strong as when she works on mainstream publications. “People should look at the credits and be surprised,” she says. “The Balenciaga collection is already beautiful, so it’s not difficult to make it look good as it is. It’s much harder to mix in commercial pieces and make it look cool.”

On the other hand, some argue that a seasoned stylist can and should work within the parameters of such restrictions and produce inspiring imagery regardless of pressure from all-important advertiser brands. “When you work editorially, you get a list of advertisers and that has been going on for a really long time — I was a baby at Bazaar when I got that list,” Melanie Ward told BoF earlier this year. “I have to explain to people, ‘This shoe is the reason we’re on this shoot. It’s paying for the shoot, so it’s up to us to just take a beautiful picture with this shoe and see the character and imagine her wearing the shoe and she has to own the shoe.’ You have to rise to the challenge and not be negative about everything. Take it as a positive challenge!”

The heavily controlled restrictions placed upon traditional magazines have coincided with the rise of social media and a surge of more relatable imagery from personal style bloggers and influencers, who mix high street brands with high-end labels and profit from lucrative affiliate partnerships with multi-brand e-commerce sites. “[It] can be traced back to ‘real people’ wanting to see fashion clothes worn in real life,” says Camille Charrière, who began her personal style blog, Camille Over the Rainbow, in 2010 and now has over half a million followers on Instagram. “If magazines refuse to mix the high and the low, or at least all the high together, I do think that could explain why people would be less interested in buying into that type of content as its too contrived to reflect the way we consume fashion nowadays.” She adds that stylists should be able to work with creative autonomy and that when editorials resemble “marketing tools” it is “something that millennials, in particular, are simply not interested in.”

Do style bloggers and influencers face the same pressure from brands to wear ‘full looks’? “All the time,” says Charrière. “But I simply refuse to work under those conditions, as it’s not doing anyone any favours. It’s not what my audience wants to see and by agreeing I wouldn’t be doing the brand any service either. The most important thing is to stick to your own voice. Brands will just have to learn to trust us, as we do them.”

For a new generation of creatives, single-look styling can also have negative financial repercussions. “A lot of the time, when you’re shooting an editorial as a young creative, there’s very little budget or none at all,” says London-based photographer Daisy Walker. “You’re basically shooting for free to advertise yourself and the advertisers are dictating to magazines, who are then dictating to [creatives].” The result, she says, is that the images end up looking nothing like the original pitch and the creatives involved are left with a portfolio that is not a true representation of their talent.

As the aforementioned anonymous stylist notes: “Ironically, one gets paid to style a campaign, or even an advertorial, where full looks are naturally being shot, so shooting full looks due to a policy in an average editorial isn’t far from doing commercial work for the brand, but without a fee.”

A representative for Saint Laurent has denied the brand demands ”full look” styling from editors, saying it doesn’t require full looks exactly as shown on the runway and allows accessories of other brands to be styled with its ready-to-wear products.Read more | cocktail dresses australia

Kris Jenner Copying Caitlyn Jenner’s Style?

Kris Jenner Copies CaitlynKris Jenner is a copycat, according to a silly tabloid story that ridiculously and wrongly accuses her of copying Caitlyn Jenner’s clothing style. Gossip Cop can bust this factually inaccurate nonsense.

“Pathetic Kris Copies Caitlyn,” reads the mean-spirited headline from Star, which is often quite pathetic itself. The tabloid goes on to cruelly write, “Kris Jenner constantly snags her ex-hubby’s style but only winds up looking like a loser!” The piece was sparked after the Kardashian-Jenner matriarch recently stepped out wearing a long-sleeved white dress that was reminiscent of one Caitlyn wore with short sleeves. Now the gossip magazine is deeming Kris “fashion clueless,” and even alleging, “Sometimes the style sneak even shows up at the same soiree in a duplicate dress.”

Of course, there’s no evidence that’s ever happened, and if Kris and Caitlyn really did attend the same event in the same outfit, the photos would be all over the internet and in magazines, just as they are any time two stars accidently dress alike. But the outlet maintains this supposed behavior is no accident. “Kris has the inside track on what clothes Caitlyn is sent by designers and then tries to top her by buying something just like it,” a so-called “source” is quoted as saying. “Kris goes out of her way to embarrass and annoy Caitlyn by showing up in essentially the same thing but she just winds up looking pathetic.”

Again, the publication provides no proof that Kris has shown up somewhere in “essentially the same thing” as her former husband, aside from mentioning both wore red gowns for a Christmas party (a natural holiday color) and little black dresses at a fashion event (a typical design for all women). The article is accompanied by undated photos of the former spouses both separately wearing animal print designs and white dresses on different occasions. Considering both are extremely common styles, the pictures in no way support the narrative that Kris is going out of her way to mimic Caitlyn’s look. In fact, Star is actually trying to dupe readers.

A simple Google search reveals the momager wore a leopard-print dress in 2011 and again in 2013, several years before Caitlyn donned one of her own in 2015. Similarly, for the white dresses shown paired with jackets, Kris stepped out in hers in March 2016, while Caitlyn wore something somewhat alike in April 2017. So, who’s really copying who? The tabloid has accused Kris of “raiding” her ex’s closet when, really, it just made up this story after a single instance of her stepping out in something similar to what Caitlyn once wore.

Every single other example, as detailed in the tabloid, doesn’t hold up. Yet the magazine has the nerve to call Kris a “loser.” Significantly, the photo above clearly shows Kris and Caitlyn did not actually “look like twins” at the aforementioned fashion event. That is just one of the many lies featured in this largely unfounded report.Read more at:formal dresses adelaide | plus size formal dresses

Didn’t Make It to Antwerp for “Margiela: The Hermès Years”?

Amid the ’90s nostalgia of 2017, no designer’s legacy is more pervasive than that of Martin Margiela. Considering that the Belgian nonconformist set out to challenge the fashion system—not just with his designs, but also with his way of conducting business—the industry’s current fixation on him is more than a little ironic.

Flashback to the late ’90s. The corporatization of the industry was creating a surfeit of celebrity designers: John Galliano, Alexander McQueen, Marc Jacobs. Margiela was not among them; he declined to be photographed and communicated with the press strictly via fax. By choosing to remain anonymous, Margiela focused the spotlight on his work, “making,” as one critic put it, “clothes about clothes.” One of his late-’80s collections featured a top made out of a plastic bag and a vest cobbled together from broken plates and wire; for his Fall 1994 collection, he enlarged a doll’s wardrobe to human scale.

Such iconoclasm seemed worlds away from establishment fashion and brands, the most bourgeois being Hermès, where Margiela was named creative head of womenswear in 1997. The appointment raised more than one eyebrow. “At first, this idea seemed really abstract to some people,” the designer admitted to Voguenot long after his debut. “But now that the collection has been seen, it’s no longer a question of two worlds—young/old, avant-garde/conservative—or opposites; it’s more about a shared point of view.”

Though Margiela’s designs for Hermès didn’t resemble the forward-leaning work he created for his own label, he did apply a deconstructivist philosophy to his work at the French luxury goods brand. Exploiting his access to the finest materials and craftsmanship, Margiela created adaptable clothes built to last: Seamless sweaters could be worn inside-out; a coat might have removable collars and closures. By highlighting quality, Margiela aimed to create a forever wardrobe. But he wasn’t playing safe; the subversive result was to discourage the conspicuous consumption our industry relies on.

At Hermès, Margiela created clothes that worked for the women they were designed for, rather than ones that caused a stir on the runway. As a consequence, they were partially overlooked in their time. That situation has been somewhat rectified by “Margiela: The Hermès Years,” an exhibition at Antwerp’s MoMu organized by curator Kaat Debo with help from Margiela himself. “Something that was really important for Martin [was] to explain the innovations he introduced in materials and techniques together with the team of Hermès,” Debo said by phone. “He also felt that at the time, people really didn’t grasp it entirely.”

Structured as a dialogue between Margiela’s work for his own maison and for Hermès, the exhibition indeed makes it clear that both endeavors were linked. “The interesting thing,” said Debo, “is that the ideas kept coming back at the maison and [at Hermès]. At the time, Martin himself was not really aware that he was doing that. It really shows that it’s one DNA translated into two different worlds.”

“Margiela: The Hermès Years,” has attracted nearly 50,000 visitors since it opened in March. As it nears its conclusion, we are adding eight of the 12 collections Margiela designed for the French house to our Runway archive. Images from these low-key affairs, presented in the brand’s Rue du Faubourg Saint-Honoré store to a greatly pared-down guest list, are almost as rare as vintage Margiela for Hermès pieces. (This in contrast to an active Maison Martin Margiela market in which museums and collectors vie for hard-to-find treasures.) “I think the reason is that a lot of women are still wearing [them],” explained Debo. “When we borrowed objects from private lenders, some women were really hesitating to give the pieces. All of them said, ‘We’re still wearing these pieces,’ which to me [demonstrated that] the concept really works how Martin envisioned it. It’s true that you can [wear his pieces for Hermès] for 15 or 20 years. And that’s amazing.”Read more at:marieaustralia | long formal dresses

Prestigious fashion award for Moloi-Motsepe


(Photo:formal dresses 2017)Dr Precious Moloi-Motsepe has been nominated as the first recipient of the Fashion 4 Development Franca Sozzani Award.

This was announced last night at the opening of the Mercedes-Benz Fashion Week, held at the Mall of Africa’s Waterfall Park in Midrand.

The prestigious international award is in commemoration of the late Franca Sozzani, the editor-in-chief of Vogue Italia, whose passion and commitment played a significant role in promoting fashion as an engine of transformation and economic development and creativity.

Moloi-Motsepe, the African Fashion International (AFI) chief executive, was nominated by Sozzani’s son, film director Francesco Carrozzini, and Norway’s Crown Princess Mette-Marit.

The award celebrates Moloi- Motsepe’s “considerable efforts in connecting, creating and promoting African fashion designers and opening up new avenues for disadvantaged women”.

“I am truly honoured to be nominated for the inaugural Franca Sozzani Award. It’s an award I share with all my colleagues, clients, designers and fashion creatives in Africa,” said Moloi-Motsepe.

“They inspired me to become a true pioneer of luxury African fashion to create, co-create, develop and grow a global audience that recognises and rewards Africa’s creativity, ingenuity and craftsmanship.”

The award will be presented at Fashion 4 Development’s seventh annual official first ladies lunch. This event takes place during the 72nd session of the UN General Assembly at the historic Pierre Hotel in New York on September 19.

AFI will also be running a parallel event in the hotel, showcasing some of the exceptional talent and designs from Africa.

The gathering unites first ladies, diplomats, fashion VIPs and other influential people from around the globe to recognise and celebrate the unprecedented co-operation between diplomacy and fashion, for the greater good of women and children worldwide.

“Over the past decade, African fashion has transformed on a global scale. I am so proud and privileged to have played a key role in recognising and celebrating our history and heritage through our passion for fashion and all things African,” said Moloi-Motsepe.

”From the beginning, I focused on building a world-class platform for African designers. A fashion platform that promotes African creativity and innovation. A platform that showcases all that Africa has to offer in all its abundance, uniqueness, authenticity and style.

”Fashion is a hugely forward- looking business,” she added.Read more at:formal dresses sydney

You can still do whatever you want to do and more

I work as a freelance illustrator and designer and my office is located right at the end of my nana’s kitchen table. I also write and illustrate books as well as doing stand-up comedy which I’m hoping to do more of this year.

I went to St Mary’s Secondary School in in Killester and studied art, geography and French for my Leaving Cert.

I loved art because I was good at it. It was just as well because I was awful at pretty much anything else I did in school and had no interest.

I didn’t do too well in the Leaving Cert; I think I got something like 260 points but that didn’t stop me getting to where I wanted to be. I was just happy I passed everything if I’m being honest.

I went on to study graphic design in Coláiste Dhúlaigh for three years and got my diploma there. I went on to get a first-class honours in DIT where I studied visual communication.

I felt like I really came out of my shell after studying for six years and knew exactly what I wanted to do.

I enjoyed my degree but it hasn’t really affected my career. Whether [the work] is freelance or in an office [I] have never asked about it.

For the area I’m working in, it’s more about your skill-set and how your mind works and how easily you can problem solve.

If I was to go back and fill in my CAO choices again, I think I’d do the same thing! I think I was meant to do what I’m doing but if I had to pick something else, it would either be animation or fashion; not that I have any clue about it!

My advice to anyone awaiting results is not to sweat it. What’s done is done and the Leaving Cert is only the tip of the iceberg; in a good way.

It doesn’t define you as a person and it only helps you get to where you want to go a bit quicker.

If you don’t do so well you can still do whatever you want to do and more! If I can do it, anyone can, once they put their mind to it.Read more at:formal dress | cocktail dresses australia

Designer speaks up on Ivy’s black bridal gown in ‘Wildflower’

Last week’s WildflowerWildestWedding ended with an electrifying scene, as Ivy unleashes her fury against her would-be groom, Arnaldo Ardiente, and his no-good family.

Maja Salvador, who plays the troubled heroine in ”Wildflower,” delivered a heart-stopping performance as an enraged bride; brilliant as her performance was, we can’t help but admit that the jeweled, black bridal gown added to the shock value—and wow, did it truly have audiences gawking.

Val Taguba, bridal designer to Ivy’s black wedding gown, recounts the exciting moment he was called in to be part of the most scandalous wedding on teleserye to date.

“At first I was reluctant due to the very short notice. But when [the production stylist] said it will be in black, I said yes, without hesitation,” he says. “Perhaps, I needed a break from all the white bridal gowns I am endlessly making!”

To have a bride wear any color other than white is controversial as it is, but to have her wear black is completely brazen. And yet somehow, to have Ivy wear black, a color widely associated to death, bitterness and misfortune, simultaneously also modern fashion’s most versatile color, just seems perfect; it’s impossible to envision a vengeful Ivy wearing any other color then.

“The divine Maja Salvador was a vision in black bridal ballgown,” commends Val, who without a doubt was also at the edge of his seat watching the episode. “She was sultry, seductive and dangerous all at the same time. As she walked down the aisle, in her Val Taguba Black bridal ballgown, she was all woman, looking fragile and yet ready to explode at anything and anyone who stands her way. Simply said, I was happy the dress I made for her has served its purpose.”

With the pictures of BrideInBlack trending in social media, it’s worth pondering if a black bridal gown could be trendy in real life as it is in thrillers. Exciting as it is, Val still recommends choosing white gowns for a wedding. He remarks: “White should still be the color of a bride’s wedding dress. It looks more pure, more romantic and doesn’t invite intrigue like a black bridal dress.”

Not really to dissuade any bride from choosing the color she wants for her gown, Val also admits, if the bride can pull off a black gown like Maja, then why not? It is a style fit only for the daring woman, or as the hapless groom, Arnaldo Ardiente, puts it, a woman who is “never one for tradition.”Read more at:evening gowns | cocktail dresses australia