So you've made it through interning, the resume and rounds of interviews to land your first job in fashion—now what? Your internship experience and ability to recite The Devil Wears Pradaverbatim may make you think you have all your initial skill sets down pat, but there's still a lot to learn in the first few months of a new job. No matter what your exact position is, here are the keys to starting your fashion career off with a bang.

1) Don't be afraid to ask questions. Always, always, always ask questions. You don't know everything—to be fair, you don't know a lot of things yet—and that's totally okay. Your bosses and supervisors will respect you more if you ask questions and do things the right way instead of winging things and messing them up.

2) Take initiative. You already got the job offer, don't expect formal invitations from your boss on a daily basis inviting you to do new job tasks—step up to the plate and get sh*t done. Don't wait around for someone to ask you to do something, figure out what needs to be done and do it— you will be that much more valuable to your company.

3) Always wear a good attitude. Yes, you work in fashion and yes, you're concerned about your daily wardrobe but all the Gucci in the world won't make a difference if your attitude *****. Focus on how you act amongst and work with your team first and foremost—a good attitude will get you ahead faster than any pair of shoes.

4) Do more than what's in your job description. If you thought those three little bullet points of responsibilities in your job listing were going to be all you do on a daily basis, think again. You're not here to get comfortable in your daily routine (there are plenty of other industries for that, fashion is not one). Go above and beyond and find ways to expand your position, making yourself more of an asset to your team. Yes, this means more work because the fashion industry is a lot of work, despite what you saw while watching The Hills.

5) Master the art of networking. In fashion, this is an especially crucial skill to learn right away. Try going to an industry event solo (no using your co-workers as a crutch) so you're forced to network with other people. The industry may seem huge but it's actually pretty small, you never know who you'll meet and be able to work with in the future. Networking within your own company also counts and is important too!

6) Let your personality shine through. This is not the time to be shy. Embrace your own personality, that's what's going to set you apart from others in your job.

7) Be accessible. That's not to say you should chain yourself to your desk or become a slave to your inbox, but, especially in your first couple years of working, you need to put in more time in order to make yourself indispensable.

8) Mind your social media reputation. Instagram, Snapchat, Twitter and Facebook are all important tools for helping to grow your personal brand (and a necessary presence in the fashion world), but use them wisely. The lines on what is and isn't professionally acceptable can get a little blurry, especially now with Snapchat. Good rule of thumb: don't post anything anywhere that you wouldn't be comfortable with your boss reading out loud in a meeting.

9) Ask for feedback. Schedule one-on-one meetings with your supervisors to ask for feedback on your job performance and ask any questions you may have. Listen, listen, listen to all feedback and make note of it so you can improve where necessary.

10) Utilize the resources around you. Chances are you're working with or in the vicinity of industry veterans who've already racked up years of experience. Use them for guidance and any questions you might have; they can teach you things about the fashion world that you won't find on Google.

11) Stay in the know. All clichés aside, you really do have to have a passion for fashion to excel (just don't write that on your resume or anywhere for that matter, please). With the industry constantly changing, it's important to keep up with all the latest fashion news, designer changes and It girls of the moment—it's important to know all those things in order to really **** it at your job.

12) Fake it 'til you make it. Everyone fakes some confidence when it comes to executing your job. You may feel like you have no idea what you're doing, but be confident in your decision-making and daily routine—you did land the job for a reason, after all.Read more at:http://www.marieaustralia.com | www.marieaustralia.com/formal-dresses-sydney

One thing you’ll have to work on is identifying the difference between cheap and inexpensive. The two seem like synonyms, but they are definitely not.

There are a lot of people who use these words interchangeably, but that’s only because they don’t understand the difference. When using these words – as pertaining to fashion – you will realize that they are far from synonyms and in fact have very different meanings.

Cheap does not always pertain to the price. When something is “cheap”, this can refer to the poor quality or shoddy material used. Some designer brands are guilty of creating “cheap” products even when charging very high prices.

Something can look “cheap”, too, by being too risqué. Sometimes, it’s the material that makes the item look cheap. If, of example, you buy a clothing item that’s completely made of synthetic materials it can often look cheap.

Inexpensive items, on the other hand, are affordable but well-made items. They are of very high quality, and can even look expensive because of the materials used. While people look at “cheap” items and wonder which flea market they came from, inexpensive items can still wow people.

They may even ask you for advice to see if they can buy the same item for themselves. Your goal is not to fool people into thinking you bought something designer-made or expensive. What you want is to find something relatively affordable but made from good materials and with high-quality craftsmanship.

Occasionally, you might get lucky and find a “bargain”. You should differentiate this term from the first two. A bargain is an expensive item you managed to snag at a remarkably low price. It’s a fortunate find, really. You have to do your research to get your hands on a remarkable bargain, though.

There are a lot of stores to try so you can choose where you might be able to pick up designer products without breaking the bank. Of course, if you do manage to snag a bargain, you might be tempted to tell everyone about the price of your great find. Try not to give in to that urge. If you really have to, then go ahead, but do it subtly. No one likes to hear about prices all the time. It can come off as a bit tacky.

That being said, the important lesson to take away here is that you want to find things that are inexpensive or bargains. You don’t want to buy cheap – ever. If you can, focus on quality all the time. This is how you can stick to inexpensive rather than cheap items.

It can be tempting to fill your wardrobe with disposable clothing, but think of the future. You’ll have to replace these cheap items eventually before too long, which will cost you more in the long run. Keep these things in mind as we further discuss building your wardrobe through investments.Read more at:http://www.marieaustralia.com/formal-dresses-adelaide | www.marieaustralia.com/formal-dresses-perth

Arriving, I find her briefing three press assistants on her upcoming catwalk show while simultaneously rifling through her closet — a dressing-up box filled with animal print and lacy confections — to choose her outfit for our shoot, while Desert Island Discs plays in the background.

Tucked at the end of a row of terraced houses close to London’s Portobello Road, Temperley discovered the six-bedroom property was on the market two years ago through her close friend, the designer Jasmine Guinness. The unique two-storey villa has a studio-style extension on the back of the property designed by the Victorian architect, Richard Norman Shaw.

She moved in 18 months ago with her son, Fox, 7, and her boyfriend, Greg Williams, 43, a portrait photographer, along with his two children from a previous relationship. ‘I’ve always been a Notting Hill girl at heart. I love that it’s so green, I love the market and my offices are around the corner.’

Temperley cites the interior designer Rose Uniacke (the creative genius behind the Beckham’s Holland Park home) as inspiration for fashioning her own interiors: ‘Rose has beautiful taste, sleek, clean but still really soft.’

The house’s all-white interior provides the perfect backdrop for Temperley to hang her beloved antique cut-crystal chandeliers and floor-to-ceiling mirrors sourced from Golborne Road’s Les Couilles du Chien — famous for its historic bric-a-brac — and the Clignancourt flea market in Paris. The most striking of these is an intricately etched diptych of French brasserie mirrors that sits proudly over her living room sofa.

For colourful accents, she looked to her archive of textiles, which ranges from heirlooms from her great-grandmother’s travels around the Orient to remnants of past fashion collections: ‘I have big haberdashery drawers, which are used for storing my collection in a warehouse in Greenford,’ she says. Having such a vast collection gives her the chance to indulge in some serious upcycling; a Mexican rainbow throw livens up a plain cream sofa while a wedding cloak from Turkmenistan makes a quirky wall-hanging.

Despite the global influences, the Union Jack is a recurrent motif: ‘When I worked in New York [in the mid-Noughties] I was called ‘Little Miss English’. I loved using materials such as lace and lots of references to Victoriana — all very British.’ Look closely, and you’ll find red, white and blue accents everywhere — on teacups, Roberts radios and on silk cushions.

‘To me, being British represents being able to be individual, eccentric and not taking yourself too seriously.’

Temperley was born and grew up in Somerset on her family’s cider farm in Martock, before moving to London aged 18 to study fine art at the Royal College of Art. The countryside has an ineluctable pull for Temperley and she carves her time between her office — ‘probably 80 per cent of the time, 10 per cent of the time here, 5 per cent in Somerset at the moment, and 5 per cent everywhere else’.

But if her west London home is all breathy shades of Farrow and Ball, Temperley’s country pile — a sublime 5.6-acre regency property called Cricket Court that was once the media magnate Lord Beaverbrook’s home — is the opposite: ‘In Somerset my sitting room is dark burgundy, we’ve got black bedrooms and an ochre-coloured library.’

To bring a little of the country back to the capital, Temperley peppers her house with beautiful bunches of wild flowers, sourced from florist Juliet Glaves, who grows her own blooms in Shropshire: ‘I always loved The Secret Garden and as a child I spent hours collecting flowers and drying rose petals on every surface. I am a hopeless romantic at heart and I love British country gardens and their flowers.’

Another great passion of Temperley’s is reading and no corner, staircase or table in the house is complete without stacks of books and fashion magazines: ‘Sally Tuffin [the British fashion designer-turned-ceramicist] has got an incredible fashion library at her home in Somerset and my dream one day is to have a room lined in books.’

As for the rest of the London house? It’s very much a work in progress, ‘especially being a working mum. It’s more collecting things and putting them together in a very relaxed way. Like in fashion design, when it comes to interiors things either work together or they don’t. I have a good eye and don’t like to be constricted to just doing clothes — I’d like to go into interiors. That’s the next chapter’.Read more at:www.marieaustralia.com/red-formal-dresses | www.marieaustralia.com/black-formal-dresses

For the fifth year in a row, Kering and Parsons School of Fashion rolled out the ‘Empowering Imagination’ design initiative. The competition engaged twelve 2016 graduates of the Parsons BFA Fashion Design program, who "were selected for their excellence in vision, acute awareness in design identity, and mastery of technical competencies." The winners, Ya Jun Lin and Tiffany Huang, will be awarded a 2-week trip to Kering facilities in Italy in June 2016 and will have their thesis collections featured in Saks Fifth Avenue New York’s windows.

The Kering and Parsons competition, which is currently in its fifth year, is one of a growing number of design competitions, including but not limited to the LVMH Prize, the ANDAM Awards, the Council of Fashion Designers of America/Vogue Fashion Fund, and its British counterpart, the Woolmark Prize, the Ecco Domani fashion award, and the Hyères Festival. among others.

In the generations prior, designers were certainly nominated for awards, but it seems that there was not nearly as intense of a focus on design competitions as a means for designers to get their footing, for design houses to scout talent, or for these competitions to select the best of the best in a especially large pool of young talent. Fern Mallis, the former executive director of the Council of Fashion Designers of America and an industry consultant, told the New York Times: “Take the Calvin [Kleins] and the Donna [Karans] and the Ralph [Laurens] of the world. Some of these people had money from a friend or a partner who worked with them, but they weren’t out spending their time doing competitions and winning awards to get their business going.” She sheds light on an essential element: The relatively drastic difference between the state of fashion then and fashion now. Fashion then was slower, less global, and (a lot) less dominated by the internet, and so, it made for quite different circumstances for the building of a fashion brand.

Nowadays, young designers are more or less going full speed ahead right off the bat. They show comprehensive collections, many of which consist of garments and an array of accessories. They are expected to be active on social media. They are expected to establish a strong industry presence (think: Go to events and parties). They are expected to cope with the fashion business that has become large-scale and international. They are expected to collaborate to expand their reach, and while it does, at times, feel excessive, this is the reality because the industry is moving at such a quick pace, one that some argue is unsustainably rapid. The result is designers and design houses consistently building their brands and very rarely starting small. Case in point: Young brands showing pre-collections within a few years of setting up shop (for a total of four collections per year, not counting any collaboration or capsule collections), and established brands showing roughly four womenswear collections, four menswear collections, two couture collections, and quite often, a few diffusion collections each year.

The current climate of 'more is more' (more collections, more collaborations, more social media, more international know-how, etc.) in fashion is what sets currently emerging brands apart from older brands, many of which started small. This reality also sheds light on the increasing frequency with which designers rely on competitions as a means of gaining funds, as well as a means of establishing their names and not uncommonly, gaining outside funding.

The Ralphs, Tommys, Calvins and Perrys started off a bit differently. Ralph Lauren, for instance, started a niche business. The empire builder, now 74, got his start working at a department store then worked for a private label tie manufacturer (which made ties for Brooks Brothers and Paul Stuart). He eventually convinced them to let him make ties under the Polo label and work out of a drawer in their showroom. After gaining credibility thanks to the impeccable quality of his ties, he expanded into other things. Tommy Hilfiger similarly started with one key garment: Jeans. After making a name for himself by buying jeans, altering them into bellbottoms and reselling them at Brown’s in Manhattan, he opened a store catering to those that wanted a “rock star” aesthetic when he was 18-years old with $150. While the store went bankrupt by the time he was 25, it allowed him to get his foot in the door. He was offered design positions at Calvin Klein (who also got his start by focusing on a single garment: Coats. With $2,000 of his own money and $10,000 lent to him by a friend, he set up shop; in 1973, he got his big break when a major department store buyer accidentally walked into his showroom and placed an order for $50,000). Hilfiger was also offered a design position with Perry Ellis but turned them down to start his eponymous with help from the Murjani Group. Speaking of Perry Ellis, the NYU grad went to work at an upscale retail store in Virginia, where he was promoted to a buying/merchandising position in NYC, where he was eventually offered a chance to start his own label, a small operation. After several years of success, he spun it off as its own entity. Marc Jacobs, who falls into a bit of a younger generation, started out focusing on sweaters.

These few individuals, some of the biggest names in American fashion, obviously share a common technique. They intentionally started very small. They built slowly from there, and they had the luxury of being able to do so. Others, such as Hubert de Givenchy, Alexander McQueen and his successor Sarah Burton, Nicolas Ghesquière, Julien Macdonald, John Galliano and his successor Bill Gaytten, and others, spent time as apprentices, working up to design directors or creative directors, and maybe maintaining a small eponymous label on the side. As I mentioned, attempting to compare these great brand builders or notable creative directors to the young designers of today is a bit like comparing apples and oranges, as the nature of the market now is vastly different from what it looked like 20 years ago, let alone 30 or 40 years ago.

With this in mind, fashion competitions have begun to play an important role in helping designers to cope with the increasing need to establish a brand early on. It seems to me that winning (or nearly winning) a prestigious fashion competition results in several key rewards.

Primarily, it puts a designer's name and brand on the map. This is likely the least noteworthy of the rewards, as chances are, if you are selected to participate in a design competition, your name and brand are already out there to some extent as one of the most promising young designers of the moment.

Second are the actual prizes, which commonly include mentoring from industry insiders and monetary grants. We know that participation in competitions, such as the CFDA/Vogue Fashion Fund, the Woolmark Prize, the Swarovski, Ecco Domani, the LVMH Prize, etc., gives emerging designers face time with and mentoring from some of the most successful names in the industry. Chris Peters, half of the label Creatures of the Wind (pictured above), whose brand has been nominated for half of the aforementioned awards says of such participation: “It feels like we’ve talked to possibly everyone in fashion that we can possibly talk to." The grants, which range anywhere from $25,o00 to $400,000 and beyond, are obviously important, as many emerging designers take this money and stage a runway show or launch pre-collections, which often affect the business' bottom line in a major and positive way.

The third benefit is, in my opinion, the most significant. It seems that competitions also provide brands with some reputability in terms of finding funding. At the moment, the sea of young brands which is terribly vast. Like law school graduates, there are a lot of design school graduates. With this in mind, these competitions are, for the most part, serving as a selection mechanism. Sure, the inevitable industry politics and alternate agendas exist (without which the finalists lists may look a bit different), but great talent is being scouted, nonetheless. Not only is it important to showcase the most promising young talent and provide them with mentoring and grant money, as a way of maintaining an industry, but these competitions also do a monumental service to young brands in terms of securing additional funding. One of the most challenging aspects of the business for young/emerging brands is producing and growing absent outside investors' funds, and often, the only way for brands' to have access to such funds is by showing a proven sales track record, something that is difficult to establish when you've already put all of your money into your business and it is just not enough. This is a frustrating cycle for young designers.

However, this is where design competitions are a saving grace. If we look to recent Council of Fashion Designers of America/Vogue Fashion Fund winners and runners-up, for instance, it is not uncommon to see funding (distinct from the grants associated with winning) come on the heels of successful participation. Chrome Hearts, the cult L.A.-based accessories label, acquired a minority stake in The Elder Statesman, the brand established by Greg Chait, the 2012 winner, this past March. A minority stake in 2011 winner Joseph Altuzarra's eponymous label was purchased by luxury conglomerate Kering in September 2013. Creatures of the Wind, the NYC-based brand founded by Shane Gabier and Chris Peters, which took home a runner-up prize in the 2011 competition, welcomed an investment from The Dock Group, a Los Angeles-based fashion investment firm, last year, as well.

Across the pond, the British Fashion Council/Vogue Fashion Fund has awarded prizes to a handful of designers who have gone on to land noteworthy investments. In January 2013, Christopher Kane (pictured below), the 2011 winner, sold a majority stake in his brand to Kering. Footwear designer Nicholas Kirkwood was named the winner 2013 in May and by September, a majority stake in his company had been acquired by LVMH.

Thus, while the exposure that fashion design competition participants gain, and the mentoring and monetary grants that the winners enjoy, are certainly not to be discounted, the takeaway is much larger than that. These competitions are becoming the new way for investors and luxury conglomerates to source new talent, and for young brands to land the outside investments that they so desperately need to produce their collections, expand their studio space, build upon their existing collections, and even open brick and mortar stores.

While no one has scooped up inaugural LVMH winner Thomas Tait’s brand yet or fellow winner, Marques'Almeida, it is likely just be a matter of time.Read more at:www.marieaustralia.com/short-formal-dresses | http://www.marieaustralia.com/formal-dresses-sydney

When you don't want to say it in words, let your actions do the talking. And we're talking about celebrities' relationships here. It seems that the words 'we are just good friends' is also passe. Nowadays, even a selfie with your lovely other half says it all. So, while the media can hound the actors everywhere they go for that one quote to admit to their relationship, the B-Town folks choose to do it in their own style. Most commonly, they walk hand-firmly-in-hand to events, parties and premieres — pretty much confirming their 'couple' status. Recently, Salman Khanmade a grand entry at Preity Zinta-Gene Goodenough's wedding party with Romanian model/actress Iulia Vantur and everyone went into a frenzy. They didn't walk in hand-in-hand, but well, that day doesn't seem too far away. Though at a recent event, when asked about his marriage plans, Salman siad, "It's between me and my fans." Iulia too shared on her phto-sharing profile that she's "in no hurry to wear her wedding dress." Here is taking a look at other celebrities who walked the red carpet together, and soon after walked down the aisle.

Despite the strong buzz about a relationship brewing between Bipasha Basu and Karan Singh Grover during the shoot of 'Alone', both actors kept mum about the reports. It was only when Karan was promoting his second film that he conceded that Bipasha 'is special and very dear' to him. Every time the media questioned them, the two actors consistently kept quiet about their relationship. At the same time, they never shied away from posting pictures of them, while going on their holidays.

Even when reports of their wedding plans made news, the couple at first denied them but soon confessed that April 29 was indeed the day on which they were tying the knot.

Yuvraj Singh and Hazel Keech

Indian cricketer Yuvraj Singh annouced at teammate Harbhajan Singh's wedding with Geeta Basra last October that Hazel Keech was the woman he'll spend the rest of his life with. A month later, when they went holidaying in Bali, he popped the question with a ring and she accepted. The two are said to be tying the knot later this year.

Kareena Kapoor Khan and Saif Ali Khan

While the public may not remember 'Tashan' best known for Kareena Kapoor Khan's size zero figure, she and Saif Ali Khan would never like to forget this film. It was during the Greece schedule of this film that the two fell in love. Though reports of their affair made news, they remained non-committal to the media. Until they walked the ramp together for her friend designer Manish Malhotra at a fashion event in 2007. That was the first time Saif told the media that they were a couple. Later, he even got her name inked on his left arm. The tied-the-knot on October 16, 2012.

Maanayata and Sanjay Dutt

Married twice before, Sanjay Dutt made known that Maanayata was the woman of his life when he walked in with her at an awards function in January 2007. A few days later, on January 11, 2007, he told a tabloid that he and Maanayata had a secret wedding at his house on November 19, 2006. However, after the news spread like wildfire, he went in denial mode. Their registered marriage in Goa on February 7 a year later became the subject of controversy, as they weren't residents of the state. A couple of days later, they solemnised their marriage vows as per Hindu rites.

Virat Kohli and Anushka Sharma

When the reports of Anushka Sharma and Indian cricketer Virat Kohli being a couple appeared, the two went in overdrive denying the news through their spokespersons. It was Virat who first revealed the relationship when he tweeted after watching her film, "Just watched #NH10 and I am blown away. What a brilliant film and specially an outstanding performance by my love @AnushkaSharma. SO PROUD:)" Even as they continued going steady, they didn't concede their relationship to the media until they walked in haathon-mein-haath at a fashion event July 2015.Read more at:http://www.marieaustralia.com/formal-dresses | www.marieaustralia.com/formal-dresses-brisbane

“Tiffany are so proud to now be not just in Rome but on this actual street, Via Condotti,” said Florence Rollet, group vice president of Tiffany Europe, last week.

The shop is housed in a 16th Century, arch-fronted building a gemstone’s throw from the nearby holy trinity of Italian high fashion; Gucci, Fendi and Prada. The interior is light and cool, a calm contrast to the bustling street outside. Silvery grey walls, white marble floors and subtle Japanese touches such as a painted mirrored screen recessed in the store’s high ceilinged fashion room provide the decor. Stately ariel photographs of the Empire State and Chrysler buildings by Jeffrey Milstein are on the walls, as essential to New York’s skyline as St Peter’s dome and the Coliseum are to Rome.

The fit between New York’s 179-year-old luxury jewellers and Rome is neat like a signature 6 pronged, platinum ‘Tiffany’ setting holding a brilliant-cut diamond. “Our diamonds pop from the other side of the room like nobody else’s,” said Melvyn Kirtley, Tiffany & Co.’s chief gemologist, here to support the launch. “This year we’re also celebrating 130 years of the Tiffany setting. It was invented by Charles Tiffany in 1886,” he explains. “Tiffany cleverly floated a diamond with this setting above the finger. This lets in more light which helps diamonds to dazzle. Before his innovation, all diamonds were set very low on the finger,” he said, frowning at the thought.

The linking figure between New York and Rome is Audrey Hepburn of course. In Breakfast at Tiffany’s and Roman Holiday Ms. Hepburn’s wide-eyed, elfin face bridges these two cities at a unique time of glamour and post-war optimism, the 1950s. This was also a period of economic confidence for both cities. So it was a coup for Tiffany & Co. to have model, artist and New York resident, Emma Ferrer, Hepburn’s beautiful 21-year-old grand-daughter to help with their launch celebrations. Rome-based British acting star Katy Saunders was also on hand to dazzle. Celebrations climaxed with an al fresco dinner and dancing to New York’s spin master, DJ Cassidy at Villa Aurelia, a 17th Century pile. The house and gardens overlook the ancient city from the Janiculum Hill, one of Rome’s famed seven hills.

If any of Tiffany’s new Roman customers needed reminding of the company’s glamorous heritage, on the ground floor of the shop is an area dedicated to archive pieces by Tiffany’s most feted jewellery designer, Jean Schlumberger. Displaying such unique and beautiful objects as Diana Vreeland’s Trophee de Vaillance pin which the legendary Vogue fashion editor commissioned from ‘Johnny’ Schlumgerger in the 1940s. Beside it is Liz Taylor’s Fleur de Mer brooch given to her by husband, Richard Burton. Tiffany bought it back from the Taylor estate at the auction of her jewellery in 2011. Ms. Taylor herself is forever connected to Rome her starring role in the film Cleopatra. It was made at Rome’s Cinecitta studios in 1963 and co-starred her future husband as Marc Anthony.

At the back of the shop a double-height square room features the Tiffany ’T’ collection as well as watches and younger, trend-setting pieces by Francesca Amfitheatrof, Tiffany’s current, and first woman, design director. “It took us a long time to find the right location,” said Ms. Rollet. “And now I’m thrilled. This place is perfect for us!”Read more at:www.marieaustralia.com/formal-dresses-perth | www.marieaustralia.com/formal-dresses-canberra

After Aishwarya Rai Bachchan gave us some impressive red carpet outings, all eyes were on Sonam Kapoor as she made her sixth Cannes appearance in a row. And boy, she lived up to our expectations in a whimsical Ralph and Russo sari-inspired gown with half cape. Her styling was bang on with pink lips, dewy makeup and middle-parted neat tresses.

Designers give thumbs up to the actor, without a second thought. “Sonam looks spectacular. I love the dramatic outfit. I loved the fact that Sonam wore no jewellery (except for a ring) and kept her hair straight with some interesting eye makeup,” says designer Manish Malhotra.

“I love this look. It is a great example of something experimentally grand and classic at the same time. I also like the jersey in the top portion, which adds a very modern and sporty vibe to a traditional embroidered half cape sari inspired gown. There is a duality I can sense here and it has surprising familiarity in terms of a classic Balenciaga vibe,” says designer Rahul Mishra.

Designer Rina Dhaka also loves her look, but believes that subtler looks can also work the same magic . “Sonam looks gorgeous. The outfit has a lot of volume, and yet it is controlled and figure hugging. I would call her a drape crusader,” she says, adding, “However, unlike Indian actors, international actors are going for understated, simpler looks. We guys tend to take on too much embroidery, making it look theatrical. These looks are bridal by western standards. But our audiences like this.”Read more at:www.marieaustralia.com/formal-dresses-brisbane | www.marieaustralia.com/formal-dresses-melbourne