It’s New York Fashion Week, and there is a frenzy backstage as models are worked into their dresses and mob the assembled engineers for instructions of how to operate the technology that magically transforms a subtle gesture into a glowing garment suggestive of the bioluminescence of jellyfish. I know there’s not enough time for them to do their work. Almost instinctively, I find the designer and bargain for 20 more minutes.

While I wonder to myself how I got here, backstage at a runway show, I also know I am witnessing what may be the harbinger of how a fourth industrial revolution is set to change fashion, resulting in a new materiality of computation that will transform a certain slice of fashion designers into the “developers” of a whole new category of clothing. By driving new partnerships in tools, materials and technologies, this revolution has the potential to dramatically reshape how we produce fashion at a scale not seen since the invention of the jacquard loom.

The jacquard loom, as it happens, inspired the earliest computers. Ever since, textile development and technology have been on an interwoven path — sometimes more loosely knit, but becoming increasingly tighter in the last five years. Around that time, my colleagues and I embarked on a project in our labs to look at “fashion tech,” which at the time was a fringe term. These were pioneers daring to — sometimes literally — weave together technology and clothing to drive new ways of thinking about the “shape” of computation. But as we looked around the fashion industry, it became clear that designers lacked the tools to harness the potential of new technologies.

For a start, all facets of technology needed to be more malleable. Batteries, processors and sensors, in particular, had to evolve from being bulky and rigid to being softer, flexible and stretchable. Thus, I began to champion “Puck [rigid], Patch [flexible], Apparel [integrated],” an internal mantra to describe what I felt would be the material transformations of sensing and computation.

As our technologies have steadily become smaller, faster and more energy efficient — a progression known in the tech industry as Moore’s Law — we’ve gone on to launch a computer the size of a postage stamp and worked with a fashion tech designer to demonstrate its capabilities. In this case we were able to show dresses that were generated not just from sketches and traditional materials, but forward-looking tools (body scans and Computer Assisted Design renderings) and materials (in this case, 3-D printed nylon). At the same time, we integrated a variety of sensors (proximity, brain-wave activity, heart-rate, etc.) that allowed the garments themselves to sense and communicate in ways that showed how fashion — inspired in part by biology — might become the interface between people and the world around them.

Eventually, a meeting between Intel and the CFDA lent support to the idea that if technology could fit more seamlessly into designs, then it would be more valuable to fashion designers. The realisation helped birth the Intel Curie module, which has since made its way down the catwalk, embedded into a slew of designs that could help wearers adapt, interpret and respond to the world around them, for example, by “sensing” adrenaline or allowing subtle gestures to illuminate a garment.

As the relationship between fashion and technology continues to evolve, we will need to reimagine research and development, supply chains, business models and more. But perhaps more than anything, as fashion and technology merge, we must embrace a new strand of collaborative transdisciplinary design expertise and integrate software, sensors, processors and synthetic and biological materials into a designer’s tool kit.

Technology will inform the warp and weft of the fabric of fashion’s future. This will trigger discussions not just about fashion as an increasingly literal interface between people, our biology and the world around us, but also about the implications that data will generate for access, health, privacy and self-expression as we look ahead. We are indeed on the precipice of a fourth industrial revolution.Read more at:www.marieaustralia.com/red-carpet-celebrity-dresses | www.marieaustralia.com/black-formal-dresses

When designer and model Mari Giudicelli stepped foot inside the Rio Market in Astoria, Queens, she was like a kid in a candy store. “I looove it!” she exclaimed at the sight of a jar of goiabada—a guava paste you can eat with cheese. Her eye catches something else on the shelf: “These are delicious! Everybody had these bite-size cake desserts made with condensed milk and chocolate powder (called brigadeiros) at their birthday parties when we were little. They’re a staple, like hot dogs are here in the U.S.”

With the Olympic Games in their second week, the Rio-born beauty was on a quest to find little pieces of home in sprawling New York. Guidicelli has lived here for six years, leaving her hometown in Brazil to attend Parsons School of Design and later FIT in hopes of becoming a fashion designer. Now she has her own shoe label that is on the up-and-up, comprised of incredibly chic, Brazilian-made loafers, slides, and mules in leather and exotic skins. And while her business and modeling gigs presently have her travel schedule at an all-time high, she relishes the moments she can go home to the Botanical Gardens neighborhood where she grew up to see family and friends about once a year.

Currently, Giudicelli is living and working in Williamsburg, Brooklyn, and missing that trip back to her grandmother’s house for moqueca (fish stew) and beach visits highlighted by acai bowls and sugarcane juice drinks. “When I was in Rio, I used to go to the beach on my lunch break,” she explains. “It’s much chiller there; I had time to really hang out during the day, but when I moved to New York, I quickly realized that I needed to get moving or I’d get left behind.” One day recently, though, Giudicelli did slow down to enjoy a day in New York inspired by Rio. She visited the market in Astoria, and said hello to a good friend, also Brazilian, who started a sweet shop on Porter Avenue in Brooklyn called My Sweet Brigadeiro. Guidicelli hung out at Beco restaurant, dining on traditional post-beach snacks like chicken croquettes and grilled sausage with onions, and had a beer. To end her Rio tour of NYC, she stopped by Miss Favela in Williamsburg to have feijoada, of which she says, “Whenever I crave it, I go to Miss Favela to get it.”

While sipping a caipirinha at the bar at Miss Favela she noticed the Olympics on the TV. She’s proud of her country for hosting the games this year. “I have some friends back home who are stubborn about Rio hosting and they think it’s bad for the country, but overall, a lot of the locals are enjoying it and partying in celebration,” she explains. “It’s not putting Rio on the map, because Rio already was on the map, but overall, I think it’s a positive thing. I think it’s really awesome.” For Giudicelli, home is where the heart—and really great food—is.

Above, Giudicelli finds a taste of Rio in the streets of New York.Read more at:http://www.marieaustralia.com/formal-dresses-brisbane | www.marieaustralia.com/****-formal-dresses

Ten minutes is all Sabyasachi Mukherjee has. “Can you keep the interview short,” I’m asked, as the announcement of his participation in the finale of Lakme Fashion Week’s upcoming Winter Festive show is made. Is ten minutes enough to recap the 14-year journey of this master of colour, cut and construction, I wonder. But I realised that Sabyasachi in rapid-fire mode can make ten minutes seem like twenty! Excerpts:

What is it about LFW that made you return?

It’s here that I first made a mark as a designer. I’m familiar with the format, and know the people. It is like a homecoming. The good thing about LFW is that everything is taken care of – from building the set to inviting people. So I have the freedom to focus on the clothes. It is like putting together a complete show, but doing only half the work!

Finales are a challenge – given the expectations of people in the fraternity, profiles of attendees and the intangible themes created by Lakme for interpretation into garments…

Well, it’s not at all difficult for me. This is my fifth finale at LFW. Once the make-up and hair are set, it is easy to imagine the look and what the girls must wear. I’m way too senior to worry about pre-show stress. My biggest pressure comes from whether I will like what I create. Beyond that, even the critics’ reaction doesn’t really concern me.

Will this line too be about Indian-ness?

Whether I do Western, Eastern or a combination, I always use Indian handcrafts, and all my clothes are handmade. Traditional textiles, block prints, weaves and embroidery are a constant in my collections. The theme being “Illuminate”, this line is about red-carpet clothes with a strong shimmer quotient.

Sunday was National Handloom Day. Considering our diverse range of homespun textiles, do you think everyday must be celebrated as handloom day in India?

Absolutely. It is mandatory at my stores. My staff wears only handloom saris or kurtas made of hand-woven fabric. My Instagram hashtag says ‘Wearing handloom everyday.’

Social media plays a significant role in promoting tradition. Smriti Irani’s ‘I wear handloom’ campaign on Twitter and the 100 Saree Pact are recent examples. Isn’t it time designers too found new ways to promote heritage?

Yes. As more and more Western brands enter the market, our designers must first establish an identity of their own. The Zaras of the world are bringing active prêt into the country, so it is important for us to revive the market for Indian clothes. Reinventing tradition and rethinking marketing strategies are critical at this point.

Has the hustle of today’s business taken fun away from fashion? How do you strike a balance between creative expression and commercial viability?

Oh, that’s very simple. I set my own rules. For instance, this year, I had too much on my calendar. I didn’t do ramp shows, I only had a showing on Instagram. Established designers must create new templates that suit their creativity instead of allowing the market to set the pace for them. Because, at the end of the day, only if you have the time and space for creative expression, can you create beautiful clothes that determine the durability of your brand.

If you were to spell out two major problems faced by the fashion world, what would they be?

Lack of originality. Lack of self-belief.

Fashion has evolved into a glamorous industry, and today, many youngsters want to be part of it. But most of what we see on the ramp and in the retail space are risk-free repetitions.

Well, for designers to evolve, the market has to evolve. But the mood is changing. There are designers who are willing to push boundaries and clients who are ready to experiment. Facebook, Pinterest and Instagram are changing the way people see and respond to fashion. The horizons are widening. This is a wonderful time for young designers to launch their labels and sustain their inventiveness.

Very few Indian designers have taken the effort to document fashion. What about you?

Yes, I will at some point in time get down to writing about my brand. But for that, I will first have to find the right publisher!

Many corporate players are keen on collaborating with designers.

I receive so many proposals for collaborations that I refuse one every day! I am collaborating with Asian Paints, Forever Mark and Christian Louboutin. Another huge one is coming up – but I will not be able to speak about it at the moment.

Do seasons really matter any more in the world of fashion?

Global warming is making designers understand the importance of season-defying clothing. And people too, I feel, don't shop for seasons any more. They just want beautiful clothes.

Can you update us on your forays into jewellery design and interiors?

I have collaborated with Hyderabad’s Kishandas & Company to create some iconic pieces that are hugely popular — and of course, plagiarised! I have a line coming up for Forever Mark. As for interiors, I wanted to design homes, but people did not seem to have enough confidence in me! (laughs) So I ended up doing up my own stores. I have also done up the Cinema Suite for the Taj in London. Celebrities who have stayed in the hotel have appreciated it. A significant collaboration in interiors is happening in October.

Your suggestions to keep traditions going…

People need to be educated about handmade textiles and crafts. A time will come when China will lose out to India because as people become aware, they will only want to support products that are ethically sourced and foster craft communities. Surprisingly, the new millennials are in favour of luxury that is completely handmade. I see that as a positive sign.Read more at:http://www.marieaustralia.com/short-formal-dresses | www.marieaustralia.com/backless-formal-dresses

2016 Museum of Modern Art Party in the Garden - Inside
Vera Ellen **** is an American fashion designer who is mostly known for her dresses. But most do not know that she started out with a higher education at Sarah Lawrence College.

She had a bachelor degree in art history. The founder of Vera **** Bridal House has become one of the most successful entrepreneurs. She was able to fulfill her dreams with a college degree. She is one of the world's most successful business tycoons that learned about entrepreneurship. If you want to have a degree in design or fashion, and at the same time explore business, then following Vera ****'s career path might be something you can consider. According to Rasmussen, **** has an estimated net worth of $115 million.

**** grew up with Chinese roots but she was born and raised in New York. She initially graduated from Chapin school in 1967 and then attended the University of Paris. Afterwards, she went to Sarah Lawrence College in Westchester County and took a degree in art history.

What many do not know is that she competed in the U.S. Figure Skating Championships. She was featured in Sports Illustrated, 1968 edition. When she did not make the cut for the US Olympics, she set her sights on fashion.

With her background in art, she entered Vogue as an editor immediately after graduating from Sarah Lawrence. She was the youngest editor in the publication. She moved on to Ralph Lauren 17 years later. At the age of 40, she became an independent bridal wear designer.

With her experience and education, she now works with renowned fashion designers and designs for the likes of Victoria Beckham, Ivanka Trump, Avril Lavigne and Kim Kardashian.

She does not limit her designs to wedding dresses alone. She also ventures into the realm of evening wear and retail.

Vera ****'s success stems from her love of fashion. To this day, she still enjoys skating though as a "multidimensional" sport.Read more at:http://www.marieaustralia.com/formal-dresses-brisbane | www.marieaustralia.com/black-formal-dresses

TO PUT the art and talent of Mindanaoan fashion design into the spotlight, Kagay’anon fashion designers put their hands together to organize the 5th Mindanao Fashion Summit at the Limketkai Center Rotunda from August 4 to 6, every 4 p.m.

“Being a core event of the Higalaay festival, the opening salvo, the Mindanao Fashion Summit can really highlight fashion designers here in Cagayan de Oro and also in different points of Mindanao to let everyone see what they can do in the world of fashion design especially now that there are only so few opportunities for these designers to show off their works to the public. This is why we have the Mindanao fashion Summit because Kagay-anon designers believe that even if they join national fashion shows like the Philippine Fashion week, most of them still aren't getting the right encouragement as a fashion designer.” said Robbie Pamisa, the overall organizer of the event.

The Fashion Summit is a three-day event composed of seven sub-categories such as the Mindanaoan collection, the Menswear collection, and the Ororama orange collection for the first day, the Guest Designers’ collection, the Fashion Institute of the Philippines collection and the Loop Lifestyle Fashion Show for the second day, and the Holiday Grand collection for the third day which will serve as the culmination of the fashion event.

Mindanaoan Fashion designers from Cagayan de Oro as well as Davao, Butuan, Iligan, and Bukidnon have come to showcase their talents. Some of the fashion geniuses of the event include Alma Mae Roa, Angela Soriano, Ann Semblante, Benjie Manuel, Boogie Musni Rivera, Gil Macaibay III, John Mark Magellan’s, Joshua Guibone, Juniel Doring, Kiko Domo, Mark Christopher Yaranon, and Mavy Cooper de Leon.

One of the highlights of the event is the Oro Fashion Designers’ Guild and the Designers Assembly featuring a collection of clothes using Mindanao material such as the Mindanao silk. Sponsors such as Ororama and The Loop Towers will also be showcasing their products in the fashion event.

“Even student fashion designers from the Fashion Institute of the Philippines have been encouraged to participate so that they will be able to experience how a fashion show works. This is also a way for us to fulfill our mission to be another avenue for fashion designers to show what they have,” Paisa said.Read more at:http://www.marieaustralia.com/short-formal-dresses | www.marieaustralia.com/long-formal-dresses

Aneeth Arora refers to herself as a ‘textile and dress maker’ rather than a fashion designer. That’s because she makes her own fabrics, a process she enjoys, and says that if it’s only designing, then there is not much left to it other than giving shape to the fabric. Aneeth will be showcasing her collection in the city at an exhibition titled Nayaab, which features creations by 12 handpicked designers, who work with craftsmen to produce intricate garments.

Aneeth’s collection is entirely in off-white with gold and silver details. She’s transformed luxurious brocade and wispy Chanderis into shimmery jackets, summer dresses, flowy maxis and tunics, smart scarves, skirts of varying lengths and long kurtis. Adding a dash of colour to the display is the capsule featuring clothes with hand embroidery and beads. Her trademark anti-fits find their place here. The collection is laidback, with a few elements of androgyny and some downright girly.

A part of what’s on display here was showcased at the Amazon India Fashion Week Spring Summer 2016, where she put together the famous pyjama party with sleeping bags and models in comfortably trendy shorts and dresses.

For Nayaab, she’s also specially created a few outfits that are not available at the stores.

Pero, which started in 2009 with one tailor and one runner out of Aneeth’s house in Delhi, now has 80 people working out of a bigger space. “If you count the weavers I work with, the number is far more,” she says.

Right from the beginning, the 32-year-old has worked with handlooms from all over India. For example, the block prints are done with weavers in Gujarat and Rajasthan, ikat is done in the South and the woollens are from Himachal… “We are inclined to anything that’s handmade,” she says. This includes Mexican braids, lace from Europe and crochet from Afghanistan.

The last decade has seen a revival in handloom, with more designers incorporating them in their designs. This has, in turn, brought about a change in the buying pattern of clients.

“There was a point when weavers didn’t see a future in what they were doing and sent their children to work with construction companies. Now, they know there is a market for weaves and they are confident. Their families are getting involved in it again. It’s all going uphill from here,” says Aneeth, contented.Read more at:www.marieaustralia.com/purple-formal-dresses | http://www.marieaustralia.com/long-formal-dresses

Fashion designer Manav Gangwani feels that the Hindi film industry acts as a catalyst for the Indian fashion industry.

He believes that since Bollywood has a huge fan base, it helps in getting a designer’s brand recognised.

Gangwani says the Indian couture industry has significantly evolved over the past years and it is the responsibility of the fashion fraternity to keep this evolution constant. “Over the years, I have always added a modern twist to the silhouettes in my couture collections. The couture industry has significantly evolved over the past years. I think it is important that we keep this evolution constant,” Gangwani said in an earlier occasion.

The designer, who has styled Bollywood stars like Hrithik Roshan, Kangana Ranaut and Aishwarya Rai Bachchan, believes that associating with such celebrities does a world of good to a designer’s creations.

“Bollywood certainly acts as a catalyst for the Indian Fashion industry in terms of retail. In one way or another, the designers prefer to commercially dress up a celebrity outfit for a film rather than showcasing it exclusively on the ramp. Since Bollywood has millions of followers, the brand recognition through it goes a long way,” Gangwani told in an interview.

The designer, who also had the honour of dressing the King Of Bhutan Jigme Khesar Namgyel Wangchuck, shared that the “potential customers are more discerning than ever and have a growing penchant for exclusivity”.

The growing couture industry has set high standards for aspiring designers and that intense competition makes designers put their best work forward, he added.Read more at:http://www.marieaustralia.com/formal-dresses-brisbane | www.marieaustralia.com/black-formal-dresses