It is the only platform for designers of men’s clothes on the continent that does not have to share the spotlight with the more traditional women’s fashion scene, organizers of the South Africa Menswear Week (SAMW) say.

In its 5th edition this year, SAMW showed African designers challenging the imagination of menswear style and standing up to be counted alongside some of the world’s top fashion creators.

Mzuksi Mbane – an accounting graduate with no formal design training, used his brand ‘Imprint’ to stay true to African influences, with a range of distinct prints on soft but structured pieces and inspired by style beyond the designer’s home base, South Africa.

“For me I always play around with the story of a traveler, so it’s not just a person focused in SA, it’s an African man from all over Africa because if you look at my collection that I did for Winter, it was focused a lot from Morocco so it was Africa from South Africa, it carried stories from Morocco and then I had pieces there that I took from Ghana, so there is always that mix because it is supposed to unify a, it is supposed to focus on roots that we share as Africans. So yes I take a lot from Africa as a whole,” said the designer.

“Imprint’s style is quite contemporary and the details, oh my gosh! It’s fantastic and the mixture of the colours, it’s not every day you see a designer that can combine such kind of basic colours together and come up with such details,” said Evans Johns, a guest at the show.

UK-born Nigerian designer, Tokyo James’ urban street-wear chic went beyond the African print staple for looks he said are meant to cater to the tastes of men anywhere in the world.

“I draw inspiration from Nigeria but I design for a global audience. I strongly believe Africa is part of the world so I tend not to like to just limit myself to just to the Africa aesthetic. Africa is part of the world so when I am designing I am designing for the man in general, so it could be a European man, it could be the Asian man, it could be the African man. I am designing for the man, basically just as long as you are a man you can wear Tokyo James,” he said.

Sponsored by carmaker Lexus, the event was held at The Palms in Woodstock, Cape Town – an airy space that organizers said was classy yet simple enough not to compete with the spirit of SAMW, which aims to take men’s fashion more seriously.

“There are hundreds of fashion weeks on the continent, the problem is they are mostly driven by entertainment or other effects. What we have done to separate ourselves from everybody else is to focus on the clothes. We have only the best designers that get curated and the whole process to curate, to get the best clothing on to our runway and that is why everyone comes here to look at this point where the clothes is, because if they wont to see what are the new trends, what is happening in African fashion, this is where they come to find it because we have got the best people on our platform on our ramp,” said Ryan Beswick, executive director of SAMW.

SAMW takes place twice a year and is modeled around the London Fashion Week Men’s.

It also provides opportunities for African designers to eventually show their work in London – one of the world’s top fashion capitals.

This year, some critics challenged African designers to take it to the next level and make a bigger mark on the global scene by setting a new standard of quality.

“We take the style as it is and we know how to interpret the African traditions and the style and you know… the ethnicity and what happens is that the rest of the world takes that style and adapts it and kind of, sometimes improves on it, so we need to learn to refine our own style ourselves and make it top notch that when the world sees it they are like wow! You know? And they stand back and they look and they think, there is nothing you can actually improve on,” said Boitumelo Pooe, from the South Africa Fashion Council.

South Africa has one of the continent’s most successful fashion industries and was worth more than 200 billion rand ($15 billion) at the end of 2014.

Other designers who took part in the event were Nao Serati, Nguni Shades Kidd Hunta and Craig Jacobs as well as Jenevieve Lyons and Kim Gush.Read more at:http://www.marieaustralia.com/formal-dresses | www.marieaustralia.com/black-formal-dresses

Fashion is a female-fueled business. Many glossies have mastheads filled with women; there are tons of female designers; public relations, a key cog in the fashion-industry machine, is two-thirds women. Yet gender inequality is still a legitimate issue in the field — very few European design houses arehelmed by female talent, and women have only recently begun to catch up in terms of top-level executive roles at places like LVMH.

We’re still a ways off from having gender parity in the most influential roles in fashion, not to mention equal pay, and better parental leave policies. But there are some advantages to being a female designer — an innate understanding of the female body and what women truly want to wear, for starters. In honor of International Women’s Day on March 8, shopping app Spring gathered 33 of its female-led brands — including some of our favorite forward-thinking names in the biz — for a campaign called #SpringStories. The original shoot, lensed by Diego Uchitel, explores dozens of designers’ experiences in (and contributions to) the fashion industry.

As part of #SpringStories, users on the e-tailer’s app will be able to “swipe” to donate to I Am That Girl, a charity that aims to “help girls establish physical, emotional, and mental well-being and transform self-doubt into self-love by providing a safe space to have honest conversations about things that matter,” according to the organization’s site. Spring will then match all contributions to the charity.

A handful of the app’s featured designers shared with Refinery29 the ongoing challenges they face as women in the fashion industry, as well as the highlights of getting to design for other women.

Getting the necessary capital to put out collection after collection is tougher for female talents, according to Laura Cramer, cofounder of Apiece Apart. "To build a grounded business poised for growth, you either need to raise money or have deep pockets. The uphill battle for women raising money is much steeper, particularly if you look at data around VC funding, where women-led companies get less than 5%," Cramer says. "Early in our pitching days, I was pregnant and would watch eyes fall to my enlarging belly as we described our road map to success. A man will never know the feeling of people calculating your age, your marital status, and your child-bearing readiness."

And once funding has been achieved, some designers feel a lack of support between women in the industry. “I think a lot of women don't support each other in the ways they should, and it always blows my mind that support and love isn't people's default setting all of the time," says Aurora James of Brother Vellies. "There are a lot of women in this industry, and there is enough success for all of [us]."

Camaraderie is important, certainly, but it's necessary to have women installed in powerful, well-financed creative director roles at the biggest fashion conglomerates to truly work toward having equal opportunities in the industry. "There are many female designers, but not in the top tiers of fashion," says Becca McCharen of Chromat. "The brands backed by companies like LVMH and Kering are predominantly run and owned by men."

Women are especially adept at "designing for changing bodies, with curves, and incredibly diverse days," Cramer explains. Yet there's a (albeit, generalized) contrast in what drives designers' ideas, according to Tanya Taylor: "Men design for desire and women design for purpose," she says. "The biggest challenge is how you make purpose desirable."

Though there certainly are ways to make clothing that elicits desire without being overtly ****. "Becca [McCharen] from Chromat — she has an incredible understanding of the female body in all of its many incarnations and she designs for that; she basically builds scaffolding for the body," James raves. "She supports women both ideologically and literally. It's lingerie, but it's not about *** — show me a man who has done anything like that."

#SpringStories' eclectic roster also includes labels like Negative Underwear, Misha Nonoo, Marcia Patmos, Rebecca Minkoff, Outdoor Voices, and Eileen Fisher.See more at:http://www.marieaustralia.com | www.marieaustralia.com/bridesmaid-dresses

A decade on from creating the hit Galaxy dress that became a defining look of the noughties, Roland Mouret has celebrated the 20th anniversary of his label by bringing his catwalk show home from Paris to London for fashion week.

And that dress was back, too – in spirit, at least. “When I think about the Galaxy dress now, I see that it was all about the women who wanted to wear it,” Mouret said backstage after the show at the National Theatre on Sunday, referring to the curvy, back-zipped dresses that made him a star.

“It wasn’t the dress that said anything, it was the women who wore that dress who had something to say. It was a dress for a woman who knows her body. A woman who is in a relationship with a man but who also goes out into the world and has a life outside of that relationship, too. That inner woman is the icon, not the dress.”

The anniversary show – his first in London after 10 years of showing his collections in Paris – was a celebratory affair, with the foyer of the National Theatre turned into a catwalk. It provided a suitably theatrical atmosphere for the wearing of high-voltage dresses on a grey Sunday morning, and an appropriate setting for a designer who rivals Stella McCartney as one of Britain’s foremost names in red-carpet fashion. At last week’s Bafta awards, the author JK Rowling and the Star Wars actor Daisy Ridley both wore Roland Mouret.

The Galaxy elements on this catwalk were updated for 2017. The cleavage that was an essential part of the dress when it was worn a decade ago by everyone from Cameron Diaz to Carol Vorderman is now out of fashion, so the distinctive origami folds of the neckline were raised several inches higher and instead of framing a balcony-hoisted decollete, they accentuated bare shoulders.

The full-length back zip was present and correct, made even more steamy by being emphasised with a small keyhole of cut-out fabric in the small of the back. The fabric has also moved with the times, from stretch crepe to wool knit and velvet, which give the shape of the body a less stark frame.

Mouret was born in Lourdes, south-west France, where his father was a butcher, but now lives between London and Suffolk. His UK-based company employs 75 people, and has been a champion of British manufacturing.

Sunday’s show, which was attended by about 100 of Mouret’s best customers, as well as editors and retailers, was set to a ***** soundtrack that began with Burt Bacharach’s The Look of Love and ended with Leonard Cohen’s I’m Your Man. It was followed by a champagne trunk show at which orders were being taken for delivery in a few months’ time.

The only archive design Mouret resurrected faithfully was a dress from his pre-Galaxy days, of which no pattern existed because “in those days, I just draped and sewed the dresses on to the girls”.Read more at:http://www.marieaustralia.com/evening-dresses | www.marieaustralia.com/formal-dresses-2017

Even when going incognito, she oozes A-list glamour.

And Jessica Alba looked sensational as she stepped out in West Hollywood to grab a refreshing drink with her daughters Honor, seven, and Haven, four, at Verve Coffee Roasters on Sunday.

The 34-year-old actress, who is married to producer Cash Warren, perfected the low-key look in a grey cotton ****-dress with a **** split, which she teamed with a khaki and navy plaid shirt.

Jessica oozed laid-back cool in her chic ensemble which comprised of a soft cotton dress, which skimmed her gym-honed figure while a large split up one side revealed her legs.

The Sin City starlet ensured her accessories were equally on-point, topping off her look with a stylish navy felt fedora.

Yet again giving the look a matching addition, Jessica toted an oversized navy leather handbag, which boasted a large front-facing pocket with a gold buckle.

The stunning star topped off the edgy ensemble with a pair of ankle boots with a low heel.

Jessica wore her ombre locks loose over hers shoulder with a slight kink styled into her hair.

Clearly completely comfortable for her day trip, the actress opted to forego make-up, allowing her stunning complexion to stand out.

Getting ready to take her girls and their friend into the car, Jessica juggled her car keys, a parking ticket and two refreshing soft drinks.

The day trip comes just days after the actress and entrepreneur launched her new make-up range.

Jessica is the founder of lifestyle brand The Honest Company, which promotes and sells natural and non-toxic home and body products.

The company has introduced a new line of make-up - Honest Beauty - and established its first pop-up shop at The Grove in Los Angeles.

Speaking with Women's Wear Daily of the new venture, Jessica explained that the line had been inspired by her years in the business, and wanting dependable, quality make-up.

'I've been working since I was 12, so I have over 20 years' experience with make-up, and I am used to a really high standard of effectiveness and quality,' she told the website.

The Sin City star also revealed that she was always planning on launching a make-up line, but she just wanted to take time to make sure she got it right.

read more:www.marieaustralia.com/backless-formal-dresses

www.marieaustralia.com/****-formal-dresses

Star and fashion designer Melissa McCarthy shares her guide for feeling fabulous and the emotional inspiration behind her new clothing line. Subscribe now for instant access to this PEOPLE exclusive!

Melissa McCarthy‘s foray into the fashion world with Melissa McCarthy’s Seven7 is already a bonafide success — but that doesn’t mean her daughterswill start looking to mom for fashion advice.

“My daughters have their own sense of style, which is a thousand times better than having mine,” McCarthy tells PEOPLE in this week’s cover story.

Georgette, 5½, and Vivian, 8, McCarthy’s daughters with husband Ben Falcone, are already setting their own trends.

“Georgie is very specific in what she wears,” McCarthy, 45, says. “Vivie can be more flexible, but she’s said to me on several occasions, ‘That’s my style, Mama.’ And I can tell when she wears something and feels good in it.”

The actress says she only intervenes in the girls’ attire when safety is involved.

“For me it’s like: As long as you’re not going to the park in a long skirt that you’re going to trip and fall on, you go for it,” she says. “If there’s no danger issue, wear whatever you want. I can tell you like it, I can tell you feel good about yourself in it, so knock yourself out.”

McCarthy tells PEOPLE she’d support her daughters even if they wanted to wear a shirt “wrapped like a turban” around their heads.

“I just think you’re going to have so many people saying, ‘You shouldn’t, you can’t, that’s not okay,’ that there’s no way I’m going to be one of those people. I’m gonna help fight that as much as I can. So turbans for everyone,” she jokes.

Vivian is so fashion-forward that one of her designs is even featured on a t-shirt in McCarthy’s range.

“My daughter Vivie drew that cat last year saying ‘Le Meow.’ Because, she explained, ‘everyone should have a fancy cat,'” McCarthy explains. “I can’t even think of what I’ll do when I see someone on the street wearing it. And when Vivie sees it? I’d better be standing next to her to watch her little heart fill up.”

read more:www.marieaustralia.com/evening-dresses

www.marieaustralia.com/short-formal-dresses

A Penn Hills man will have items from his clothing line featured in a fashion show in Pittsburgh on Saturday.

Cary Heard, owner of CDH LABEL Clothing Co., has teamed up with The Ladies of Distinction — a recently-formed group of women in Pittsburgh and surrounding areas who are focused on community outreach, fundraisers and programming that benefits the educational growth of underprivileged youth — to headline his first fashion show as they present, “Make Me Over,” an extravaganza with a vision to “spread self-love awareness in the community and embody the greatness that exists in all of us.”

Heard, 22, said the show's goals were relatable to him as he relied on support from family and friends to pursue his ambition to become a fashion designer.

“I was always encouraged because I was good at (designing clothes). It was a talent and people wanted to see it grow,” said Heard, who has been featured three times in Pittsburgh's Fashion Week.

He said his friend's mother bought him a new sewing machine when he was 14 under the condition that he practiced sewing daily.

Heard said receiving the gift turned out to be a “pivotal point” to change his hobby into something he could make into a career.

Kim Heard, his mother, said Cary was “full-blast” with designing after that.

“He wanted to make things for himself, and his style changed. He was passionate about looking good in his clothing and making things he could wear. His peers asked him to make things and that snowballed into making vests for guys, and he made dresses for his dates to semi-formals, and then prom gowns,” Kim Heard said.

Fellow designer Starr Thomas has worked with Heard for more than five years, a time in which she said the duo has both collaborated and given one another input on designs.

“Our bond is just motivating one another and giving each other confidence to keep going,” she said.

Thomas said that since she's known Heard, his attitude toward others has always been “be confident in yourself,” and that he lives his own life that way.

“He's so passionate about (designing clothes). That's part of what makes him special. That, and his talent,” she said.

Heard's passion, talent and demeanor toward life has propelled him into headlining fashion shows.

Saturday's show will provide an opportunity for others to have confidence.

“Make Me Over” creators hosted an open online contest, where 40 contestants submitted photos and essays describing why they thought they deserved a makeover.

Two winners were selected, and on Saturday they will have a complete makeover and get a chance to walk the runway sporting a new look which includes hair, makeup and wardrobe.

Heard described one of the winners as a single mother who devotes the majority of her time to her daughter and hasn't had “much time for maintenance on herself.”

The second winner was nominated by her friend. Heard said she is “very involved” with community outreach, and is a “mother figure to many young people in the community.”

The person who nominated her wrote that she was deserving of the makeover due to her “strong cultural presence.”

Heard said all of the submissions received were “heartfelt,” and that he's glad to headline a show encouraging self-confidence, and gives fellow-designers chance for exposure.

“I'm hoping to make (the show) an annual thing. I hope it will bring a crowd that will create networks for myself and our other designers,” he said.Read more at:www.marieaustralia.com/****-formal-dresses | http://www.marieaustralia.com/cheap-formal-dresses

The Slovenian-born Trump wore an off-white dress with three-quarter length, bell-shaped sleeves to address the Republican National Convention on Monday night.

The dress was by Roksanda Illincic, whose designs are very popular in London and among celebrities, among them Gwyneth Paltrow, Keira Knightley and Daisy Ridley, to name just a few.

Samantha Cameron, wife of the former British prime minister, wore a colourful, flared Roksanda dress to leave Downing Street last week.

But the designer's most prominent fan is probably the Duchess of Cambridge. The former Kate Middleton has worn her designs to at least three events this (northern) summer, including a brilliant yellow dress with blocks of white to Wimbledon.

And then there's Michelle Obama, who wore Roksanda's beaded wool satin dress and wool coat to meet the Chinese president in 2011, among other occasions.

Though the first lady has chosen designers from across the globe during her years in the White House, she wore American designers to address both Democratic conventions at which her husband was nominated: Maria Pinto in 2008 and Tracy Reese in 2012.

Women's Wear Daily reported that Trump bought Illincic's "Margot" dress online from the Net-a-Porter fashion site.Read more at:http://www.marieaustralia.com/formal-dresses-brisbane | www.marieaustralia.com/formal-dresses-melbourne

DEAR MISS MANNERS: Every New Year's Eve, my family and I receive friends and acquaintances at a formal (dinner jacket) party.

A few ladies come dressed in trousers. When once I was asked my preference as to how a lady should be dressed for such occasion, and I responded "dressed with a skirt," the person called my decision one worthy of a dinosaur.

May I ask, please, is there a formula to indicate how a lady should be attired?

GENTLE READER: What you are asking for is trouble.

Mind you, Miss Manners thoroughly agrees that it is a shame that many ladies no longer really dress up, even for gala occasions.

She has noticed an odd trend in the last decade or so. It used to be that gentlemen groused about wearing dinner jackets and tried to get away with less, or with some funny variation, while ladies wore serious evening dresses. Now she still sees unmatched couples, but more often the gentlemen in conventional evening dress, while the ladies are austerely attired in plain black silk trousers with perhaps a bright jacket.

This is perhaps a skewered view, because Miss Manners is speaking of private formal dinners and parties, not charity ***** honoring some designer, and not award ceremonies. But she sees this even among those few who still have some formality in their lives — and who would not therefore consider it a one-time waste to invest in evening clothes.

For that matter, orchestras commonly comprise properly dressed males while the females, for whom one black dress (or, for cellists, perhaps the festive trousers known as palazzo pajamas) would be a working uniform, wear informal black outfits.

Miss Manners recognizes that life has been getting increasingly informal. Nevertheless, she notices that the resulting hunger for more style — or just an occasional change — breaks out at proms and weddings, often with peculiar results.

So she is in sympathy with your wish. All the same, she knows that indignation and derision are the inevitable reactions to any attempt to discuss, let alone mandate, dress.

Changing fashion, comfort and self-expression will all be cited, and Miss Manners does not deny that these are factors worthy of consideration. But it is not that hard to satisfy all three within the different general standards that apply to different occasions. That Miss Manners happens to prefer skirts to trousers does not prevent her from looking suitably informal (not to mention fetching) at picnics.

Nevertheless, issuing any directive other than the conventional "black tie" (or "white tie") will just annoy people, who will ignore it anyway.

DEAR MISS MANNERS: I have seen holiday cards where a friend has put a slash through her printed name on the sign-off.

read more:http://www.marieaustralia.com

www.marieaustralia.com/evening-dresses

It's the most wonderful time of year...for a wedding? That's right! If the thought of getting hitched outside during your favorite snowflake falling time of year is intimidating, don't fret. Where there is a will there is a way. Warm your friends and family up to the idea of an outdoor winter wedding ceremony by taking these cold weather tips to heart.

Get hitched in a warmer climate


Because obviously, an outdoor winter wedding ceremony set in Southern California or Miami, is a lot more bearable than say, being stuck in the middle of an NYC blizzard. Yes, it will still be a bit cool out, but more along the lines of early fall (think 50s and low 60s), as opposed to below freezing temperatures. Destination wedding, anyone?

Warn your friends and family

There's nothing worse than showing up to a winter wedding, only to discover it's being held outside and you had no idea. "Give your guests a forewarning so they come prepared," advises lifestyle expert and event designer Jung Lee of Fete NY. If you plan on moving the party indoors after you say, "I do", having a coat check for guests is an absolute must.

Gift your girls a cozy faux fur shrug

It's the least you can do for forcing them to stand by your side in the freezing cold. Kidding! Seriously though, a chic faux fur shrug will not only keep your bridesmaids warm for photos and throughout the ceremony, but it's an item they can definitely wear again post-wedding. Plus, it looks killer in pictures! "I also love the idea ofthe bridesmaids having warm hand muffs and the groomsmen tucking a flask in their jackets," says Lee.

Crank the heat up

Like it or not, you're probably going to have to bring in some heaters. Everyone has a different tolerance for chilly weather, but after 10-15 minutes of sitting outside in the cold, most people become uncomfortable, cautions Lee. "Heaters then become a good solution. Remember that some can be loud and others don't provide warmth unless you're in close proximity to them, however."

Provide blankets, wraps or both for guests

They serve a practical need by keeping everyone warm and also make for a cute design opportunity styled up in a cozy corner, points out Los Angeles-based event planner Leslie Kaplan, owner of ENCORE. The softer and bigger the blankets, the better! Bonus points to brides and grooms that incorporate an area for guests to gather and warm up pre or post-ceremony: think a rustic fire pit or a more modern fireplace, suggests Kaplan.

Embrace warm drinks

Upon arrival, Kaplan recommends greeting your guests with a toasty beverage, such as hot chocolate or having a cider bar. Lee, on the other hand, loves Hot Toddies served in a footed glass with a cinnamon stick. "Mulled wine is another great option," she offers.

read more:www.marieaustralia.com/formal-dresses-perth

www.marieaustralia.com/formal-dresses-canberra

Before the hordes of his extended fashion family descended on Somerset House last night, Sam McKnight was pacing through the two floors of an exhibition of his life as one of the great sessions hairstylists. He stopped in front of a formal British Vogue portrait of Princess Diana, taken by Patrick Demarchelier in 1990. “I put on the tiara and had to make her hair big for it,” he remembered. “But, oh, God, then we had such an amazing day afterward. We were chatting and she suddenly asked, ‘If you could do anything, what would you do?’ And I said, ‘I’d cut it off!’ And she said, ‘Well, let’s do it now!’”

Thus, Diana, Princess of Wales, got the best slicked-back look of her life, the cut that defined her chic, grown-up, independent years—and her cutoff from her marriage. “I didn’t realize at the time,” McKnight said, “but in retrospect, with everything that was going on in the background, she wanted a change.” McKnight, after that, became Diana’s entrusted hairdresser. As photographer Nick Knight puts it elsewhere in the show, McKnight has that general effect on women when he’s working. “When he goes near the girls, they relax.”

It’s a testament to McKnight’s popularity in the magazine and fashion show milieu he has worked in since 1977—nearly 40 years!—that so many (who are sometimes so difficult) cooperated and gave permission, and that Chanel and Vivienne Westwood lent spectacular clothes to illustrate the interpretive cut and ****** of what a great hairstylist contributes. Straightaway, as you step off the street into the exhibition, you’re plunged into the next best thing to a backstage hair-and-makeup station and the kind of frenetic scene that goes on minutes before Chanel, Fendi,Dries Van Noten, or Balmain shows take to the runway. In place of the mirrors there are videos—say, of Kendall Jenner getting her Balmain hair look at a recent presentation—which have been recorded by GoPros worn by McKnight’s assistants. Every facet and every angle of the transformations—sometimes with four pairs of hands working on one girl’s hair—are captured.

From then on in, it’s easy to see how this exhibition will become a magnet for kids who want to experience the atmosphere of fashion and worship at a temple of a sublime hair alchemist. Shonagh Marshall, the curator at Somerset House, has run the numbers on the hairstylist’s Vogue covers, many of which are displayed on a faux newsstand. “Sam has been involved with 190 Vogue covers, which is more than any one photographer, or anyone else over that time,” she reported.

That’s not bad for a Scottish lad, born the son of a miner in 1955, who made his way to being a central team player with photographers and editors in the high supermodel years. Glorious images of Linda Evangelista, Christy Turlington,Cindy Crawford, and Tatjana Patitz abound. “It was a golden era. We were on the road the whole time with Patrick Demarchelier, traveling the world with the same 10 people,” McKnight said, laughing. “We were making it up as we went along, really.”

The massive sweep of the show brings out the important collaborations of his career, with photographers Demarchelier, Knight, Tim Walker, and more; with fashion editors Lucinda Chambers and Edward Enninful; and makeup artists Mary Greenwell and Val Garland. It’s studded with celebrity—Lady Gaga, Tilda Swinton, Kylie Minogue—and honors the spectacular shape-shifting talents of Kate Moss, from her early days as a fresh tousle-haired ’90s teen in love on a beach: “Johnny Depp was there,” McKnight recalled.

There are the moments when McKnight changed models’ fates with short, blonde crops—Jeny Howorth’s in the ’80s and Agyness Deyn’s in the aughts. We see his process, with the hairpieces, wigs, and frizzing techniques integral to creating Westwood and Chanel shows, in both videos and installations masterfully laid out by Michael Howells. Right at the end, there’s a room Howells describes as “Sam the Man,” the walls checkerboarded with pictures of flowers from his garden and the ridiculous varieties of wigs he poses in on his Instagram feed these days. It’s testament to the energy and humor of a talent happily adapted to an industry that is constantly working on the new, in the now; an inspirational treat for all those who remember and for all the many thousands of young eyes that will be opened for the first time by this extravagant journey through one man’s career.Read more at:http://www.marieaustralia.com/long-formal-dresses | www.marieaustralia.com/vintage-formal-dresses

Nicole Wezowicz, Class of 2016 at Syracuse University, was the winner of the inaugural “Fashion Without Limits” design initiative at the institution.

Last fall, model and entrepreneur Emme, Syracuse Class of 1985, created FWL in response to a need for increased availability of size 12-plus fashion throughout all levels of distribution in the fashion industry today.


photo:www.marieaustralia.com/formal-dresses-brisbane
The Syracuse contest required students in their junior year to design an evening dress for Emme. After reviewing the finalists’ designs on campus at the April 10 fashion and beauty communications fashion show, presented by the S.I. Newhouse School of Communications, Emme selected Wezowicz as the recipient of the award. “As our first Syracuse University FWL winner, designer Nicole Wezowicz’s beautiful blue lace evening dress highlighted her attention to detail for a curvy shape as a refreshing take for a red carpet-ready dress, despite never having created a dress for a woman above a size 12 before,” Emme said.

Wezowicz will receive $500 and Emme will wear her winning design at a red carpet event.

The intention of the initiative is to educate and teach new designers how to drape on a large-size body. Wolf Form donated 12 forms in Emme’s measurements.

In addition to appearing in the campus fashion show, Wezowicz’s dress was on display at the College of Visual and Performing Arts fashion show in New York City last month.

“The journey all of us have all taken with Fashion Without Limits this year opened our eyes to the tremendous opportunity to have Syracuse University Fashion Design as a leader in the inclusive fashion movement underfoot today,” Emme said. “The road before us to change the face of fashion within fashion design schools is no easy feat, but through the leadership of professors Jeffrey Mayer and Todd Conover, there are plans to expand the curriculum.”

read more:www.marieaustralia.com/short-formal-dresses

Aside from New Year’s Eve specials, it’s a lean week for original programming. Still, there are a few stand-out offerings. Here’s what caught my eye on television this week:

Sunday: “Undercover Boss” 7 p.m., CBS: Yeah, it’s just a reality program, but it’s one of the only new network offerings tonight, so we’ll take it.

Monday: “Happy New Year, Charlie Brown” 7 p.m., ABC: The ol’ blockhead hunkers down with some choice Tolstoy during these Peanuts’ festivities.

“******: Cape Cod, USA” 8 p.m., HBO: This documentary explores the grip of addiction through the stories of eight twenty-somethings.

Tuesday: “The 38th Annual Kennedy Center Honors” 8 p.m., CBS: Host Stephen Colbert pays tribute to Carole King, George Lucas, Rita Moreno, Cicely Tyson and Seiji Ozawa; James Taylor, Janelle Monáe, Yo-Yo Ma and others perform.

“Almost Genius” 9 p.m., truTV: This new reality comedy series looks at folks who fall just short of their goals. They should be knocking on my door any day now.

Wednesday: “The Twilight Zone” 6 p.m., Syfy: The annual marathon features 156 episodes of the acclaimed anthology series and ends on Jan. 3.

“In Defense of Food” 8 p.m., PBS: Michael Pollan trots the globe in search of people who eat for health.

Thursday: “The Simpsons Movie” and New Year’s marathon, 5 p.m., FXX: The animated motion picture kicks off a back-to-back showing of 56 episodes.7 p.m.

“**** Clark’s Primetime New Year’s Rockin’ Eve With Ryan Seacrest 2016” 7 p.m., ABC: Whew! That title was so long that it’s almost 2017. The special breaks for local news and resumes at 10:30 p.m.

“Pitbull’s New Year’s Revolution, Part 1” 7 p.m., Fox: Jussie Smollett, Shawn Mendes and others help the performer ring in 2016 from Miami.

“Live from Lincoln Center” 7 p.m., PBS: Alan Gilbert leads the New York Philharmonic in a Parisian-themed New Year’s Eve special.

“NBC’s New Year’s Eve Game Night With Andy Cohen” 9 p.m., NBC: The Bravo star hijacks the prime time portion of Carson Daly’s annual holiday event.

“NBC’s New Year’s Eve With Carson Daly” 10:30 p.m., NBC: And again, Daly is relegated to late night.

Friday: “Sherlock on Masterpiece” 8 p.m., PBS: It’s practically the only non-rerun programming on tonight, but it’s really the only programming you need. The special finds Benedict Cumberbatch and Martin Freeman’s Holmes and Watson solving a case in 1895 London.

Saturday: “Galavant” 7 p.m., ABC: Four episodes of last season’s surprise hit musical comedy air back-to-back-to-back-to-back.

“Austin City Limits” 7 p.m., PBS: Alabama Shakes and Vintage Trouble perform.

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Amid the flood of horror stories about demonetisation comes a heart-warming incident from Bulandshahr district where the groom’s father asked the bride’s father to welcome the baraatis (wedding guests from the groom’s side) with a simple cup of tea to avoid an expensive marriage in light of the note ban.Traditionally the baraatis are given many gifts from the bride’s family, but seeing how stressed the bride’s father was about trying to arrange cash for the marriage, the groom’s family told him that a ‘simple ceremony’ would do just as well.“The marriage was fixed before demonetisation. We faced a cash crunch like everyone else. After queuing up for 10 days, we got Rs.2,000 only. We told the bank officials that there was a marriage in our house. We got a letter of approval but even after that we did not get any cash,” the groom’s father Vijender Singh told The Hindu.

Thoughtful gestureMr. Singh said that he then spoke to the bride’s father Kali Charan, who was also facing a cash crunch.“When I spoke to Mr. Charan, he was sounding down as he could not arrange funds for the ceremony. I proposed to him a simple marriage ceremony. He initially hesitated as he was feeling bad. But I managed to convince him and finally we decided to hold a simple ceremony,” Mr. Singh said.The marriage between Dinesh and Veena took place on Sunday.Dinesh hails from Jaleelpur village in Jahangirabad in Bulandshahr district while the girl is from Jaypee Nagar.“We, along with the baraatis, reached Bulandshahr on Sunday. After completing all rituals, a cup of tea was offered to the baraatis,” Mr. Singh said.Mr. Charan said that he initially “hesitated” to do a simple ceremony due to social stigma.‘Initially hesitant’“Even on the day of marriage we were feeling bad about how the baratis and locals in our village will react. But everybody encouraged the step and appreciated us. I am thankful to God that I have chosen a good family for my daughter,” said Mr. Charan.The district administration also appreciated the thoughtful gesture of the groom’s family.Setting an example“During demonetisation, we have experienced that rural areas have suffered the most. But decisions like holding simple marriages shows that our nature is to help each other. This example must go on to serve humanity. The State government will facilitate the family for setting an example,” said Bulandshahr district magistrate Aunjaneya Kumar Singh.Read more at:http://www.marieaustralia.com/princess-formal-dresses | www.marieaustralia.com/red-formal-dresses

Since its inception, Aarong has been determined to bring about effective changes in the lives of artisans and underprivileged rural women, by facilitating and advertising their handicraft. Today, it has become the foundation of independent cooperative groups and family-based artisans. Now, it is known as a contemporary life outlet, among people not only in Bangladesh, but all over the world.

This wedding season, you can adorn yourself with one of Aarong’s festive looks. On November 17, Aarong launched their latest product line – the Wedding Collection.

Aarong has introduced a series of looks and styles to try out this wedding season for brides, the bridal entourage and the wedding attendees. What’s more, they are promoting Jamdani, Muslin and Katan sarees as the choice of outfits to wear for the bride and her close ones.

The line is introducing bridal wear in some uncommon hues, moving away from the routine “red” to peach, pink, purple, blue, green and beige. These unconventional colours can also look grand on the big day, and this is the idea that the creators of Aarong are attempting to establish.

Jamdani saris will be incorporated with remarkable embroidered and printed blouses, helping ladies look regal on their special day. The wedding entourage also has a lot to look forward to. This special compilation includes Katan and Jamdani sarees, paired with embroidered blouses, ideal for any reception soiree. Katan sarees can be worn in bright or bold colours and contrasted with multi-layered pearl jewellery and complementing blouses. Furthermore, the collection also includes Jamdani saris in light shades such as light pink, peach and white, and these can be paired with frilled petticoats or dupattas.

Along with gold, the creators encourage the brides to try out silver jewellery with complementing stones, layered pearl neckpieces and hair ornaments. Hence, the looks are a mix of modern and traditional, and are not only advised for the bride, but also for the close relatives or wedding attendees.

This collection also comprises of saris, appropriate for the bridesmaids, the cousins, the sisters, and even the parents of the to-be-weds. Aarong has prepared similar ‘matching’ attires for the bride and the groom, that are perfect for particular occasions like Holud, Mehendi, Aiburo Bhaat, and so on. For the bridegroom, as well as his family and friends, there is also an exclusive range, that includes Sherwanis and Panjabis. Aarong also provides a variety of gift options such as ceramic dinner set, cushion and bed covers, as well as women’s accessories, such as bags and purses.Read more at:http://www.marieaustralia.com/white-formal-dresses | www.marieaustralia.com/backless-formal-dresses

Tiffany Trump has been viewed as the least known of Donald Trump’s children. The 23-year-old, who was raised separately from her siblings and made a late appearance on the presidential campaign trail, has been dubbed the “forgotten” Trump.

All the same, this has not made her exempt from the fury of her father’s detractors. This could be most clearly glimpsed during New York Fashion Week where there were reports the President’s second youngest child had been snubbed by fashion writers.

Former Wall Street Journal style columnist Christina Binkley shared a photo of Ms Trump sitting with two empty seats beside her, saying: "Nobody wants to sit next to Tiffany Trump at Philipp Plein, so they moved and the seats by her are empty”.

Fortunately for Ms Trump, who is the billionaire developer’s only daughter from his second marriage to Marla Maples, Whoopi Goldberg swooped in to save the day.

Despite the fact Goldberg has been an outspoken critic of Mr Trump, she suggested it was unfair for anger at his policies to be directed at Ms Trump given she was simply there to enjoy the catwalk.

"You know what Tiffany? I'm supposed to go to a couple more shows. ... I'm coming to sit with you," Goldberg said on The Viewwhich she hosts on ABC on Wednesday.

"Because nobody is talking politics at the [shows], you're looking at fashion! She doesn't want to talk about her dad. She's looking at the fashion!"

Goldberg, who previously said she would leave America if Mr Trump became President, argued the incident was "mean”, saying: "Girl, I will sit next to you because I've been there where people say, 'Ooh, we're not going to sit next to you. I'll find your a*se and sit next to you."

Fashion writer, Binkley, has now said Ms Trump was not actually snubbed at the show. She said the seats remained unoccupied for two minutes or less and the first daughter seemed unaware of what was going on.

Nevertheless, Nikki Ogunnaike, senior fashion editor at Elle, said the actual show started late due to frenzied last minute seating change, with editors at the show “fleeing” so they would not have to sit around Ms Trump. The tweets made headlines, with fashion designer, Plein, even weighing in to defend her by saying she is not a “politician” and merely a “teenager”.

Ms Trump, who thanked Goldberg for her show of support on Twitter, was raised separately from the other Trump siblings. She moved to California at the age of five and was brought up by her mother, Ms Maples, while her father and siblings were based in New York.

In a 2015 interview, Ms Trump said of her father: “I don’t know what it’s like to have a typical father figure. He’s not the dad who’s going to take me to the beach and go swimming, but he’s such a motivational person.”Read more at:http://www.marieaustralia.com/cocktail-dresses | www.marieaustralia.com/red-carpet-celebrity-dresses

In one shot, the actress posed in a barely-there Burberry cape, revealing quite a lot of her *******, and it is this picture which has been criticised. Broadcaster Julia Hartley-Brewer condemned Watson for her hypocrisy in campaigning against page three while then bearing all in a ‘posh magazine’, while also suggesting that she wouldn’t be taken seriously for the move.

Watson, however, defended herself, stating that she was ‘stunned’ by the controversy, and didn’t see what her ‘**** have to do with it’. Indeed, many have backed the actress up, arguing ****** and fashion have nothing to do with feminism. And yet, in society at the moment, it does seem that way.

Women across the globe struggle to be taken seriously unless dressed in a certain way. Even our own Prime Minister is fodder for tabloid’s style sections; focusing more on her shoes than her politics. This certainly wasn’t the case for her predecessor David Cameron.

Similarly, professional women are only taken seriously when conforming to the predetermined white male power ideal. Suits, straight and sleek hair, minimal makeup (that is still flattering to a feminine ideal) is encouraged, and leaves very little room for women of colour, gender nonconforming people, and others.

This double standard between genders is evident not only in professional spheres, but in everyday life. Women who choose to wear the hijab, for example, are sometimes demonised and are branded as oppressed, with those expressing such an opinion often having no factual knowledge of the context behind the garment. Surely a woman’s choice of how they present themselves to the world is their business and their business alone. As Watson argued, ‘feminism is…about freedom, it’s about liberation, it’s about equality’.

Fashion and style is an incredibly powerful tool which one can use to express oneself and its value most definitely shouldn’t be discounted within feminism. Denouncing stereotypes of style and outdated ideals of beauty can empower some, and allows people to embrace their uniqueness and difference. Others, however, may be empowered by embracing typically gendered style, or what may be branded as ‘conservative’ fashion.

The importance here, though, is not what they are wearing but that what they are wearing is a consequence of them exercising their choice, and how it allows them to express their personal beliefs and message.

Watson’s choice to wear a revealing top is just as valid as her choice to wear a suit on any other day. A person’s style should not impact their validity or respectability. It is not for other people to say what may empower an individual. That choice is yours, and yours alone. Whether a woman chooses to pose for **** photo shoots, or cover herself from head to toe, it does not make either any less feminist nor any less of a role model.Read more at:http://www.marieaustralia.com/formal-dresses-adelaide | www.marieaustralia.com/backless-formal-dresses

Ports 1961 just announced their company’s collaboration with iconic sportswear and boxing brand Everlast, made famous by the world’s greatest boxers and actors. The collection is now available in stores and on farfetch.com. Milan Vukmirovic, menswear creative director, has revived his Everlast classics such as the “Rocky” hoodie and other essentials. They are all adorned with a trademarked star camouflage motif. Unveiled on the catwalk at the runway show that opened Milan Men’s Fashion Week, this collaboration is a tribute to the fighter inside us all.

A true highlight of the menswear collection, Ports 1961’s signature men’s bow sneaker was also a hit. Their bow sneaker features a distinctive suede bow on top instead of laces or more predictable fasteners. Each pair of bow sneakers is raw-cut, hand-stitched and hand-knotted to be uniquely distinctive to the wearer. As well as bow fasteners, the sneakers can also be opened and closed with a central zipper in the heel for convenience and ease of wearing. These sneakers are available in fabrics and shades to match this season’s garments in classic raw-cut suede and leather. For comfort and durability, they feature hardy rubber soles.

Fashion East Men’s presentation for autumn/winter ’17 offered a significant designer lineup. Fashion East, with the continued support of Topman, was excited to reveal a double billing of bright, emerging talent. Sponsored by London Fashion Week’s Menswear, the showcase featured up-and-coming designers Charles Jeffrey Loverboy, Feng Chen **** and Per Gotesson.

A Central St. Martin’s MA graduate, Jeffrey is an illustrator with a radically creative style. For his Loverboy label, his cast included artists, musicians and friends who stomped stylishly down the runway. They created a club-night scene that the audience identified with immediately. Jeffrey’s tailoring was impeccable. His signature knits collaged with chainmail showed up with Swarovski bug-encrusted boxers and foam accessories.

**** was born in Beijing, but her business is based in London. She launched her label Feng Chen **** in 2015 after the completion of her MA at London’s Royal College of Arts. ****’s 2017 collection explored and celebrated connectivity in the digital age. She combines functionality with an astute attention to detail and puts a strong focus on outerwear pieces as the core of her collection. Her clothes are available in New York City.

Gotesson is originally from a small town in the province of Smaland in Sweden. This London-based designer is also a graduate of London’s Royal College. His looks are voluminous denim pieces in classic blues and monochromes juxtaposed and worn with white tops. The collection played with proportions and was an experimental take on the designer’s own wardrobe. “It’s about scale and about finding balanced pieces between either huge or small,” he explained.Read more at:http://www.marieaustralia.com/mermaid-trumpet-formal-dresses | www.marieaustralia.com/backless-formal-dresses

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

It's about fashion, fabric and one of the most fantastic days in a couple's life.

For the fifth year, the MTSU Department of Human Sciences and Oaklands Mansion are partners in presenting "Wedding Dresses through the Decades." The exhibit is slated for Sunday, Jan. 10, through Sunday, March 6, at the mansion, 900 N. Maney Ave. in Murfreesboro.

"We are building a tradition that links generations," said Deborah Belcher, chair of the human sciences department. "The historic details and family stories are exquisite, heartwarming and engaging."

A broad diversity of styles in the exhibit represents the changing tastes and mores of American society.

"The Textiles, Merchandising and Design program at MTSU maintains a 750-plus piece collection of historic garments, and we'll have four of our wedding gowns on display," said Teresa King, a professor in the human sciences department.

Those four gowns are from the years 1860, 1891, 1900 and 1912. Overall, the display includes wedding dresses from 1947 through today, including the 2008 gown of WSMV-TV anchor/reporter Demetria Kalodimos, an original design by Rosie Woodruff of Textile Fabrics in Nashville.

"The TXMD program also offers a course entitled 'History of Fashion,' which introduces students to the study of garments and accessories throughout history," said King. "Students will have the opportunity to visit the Oaklands wedding gown exhibit and see history unfold as told from a bridal history perspective."

In addition, King said students from the "Fashion Illustration" course have visited previous exhibits and sketched original renditions of wedding gowns from various periods.

"Both experiences allow students to apply the knowledge gained from these TXMD courses," King said.

In addition, items from the MTSU collection will be on display in windows in the Learning Resources Center and the Ellington Human Sciences Building on campus beginning in mid-January after students return for the spring 2016 semester.

These garments will include two dresses from the 1970s and a man's suit and a woman's suit from the 1940s.

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Having stormed the 2015 catwalks, the 1970s trend is now tilting its felt beret towards our make-up bags. Good news for the party season, when a red lip and a metallic wash on the lids are ideal for anyone who struggles beyond the realms of a slick of foundation, bronzer and mascara.

Because while the era's make-up is rich in glamour, colour and confidence, it's also easy to emulate. So channel Jerry Hall and Diana Ross, and let Alex Babsky, UK make-up ambassador for Lancôme, show you how to get the look with a contemporary update.

Take one (above)

"Choose one element of the glam look - a shimmery or emerald eyeshadow, for example - and temper it with a subtle approach to the rest of your make-up. Think a nod to the 1970s, not Studio 54 pastiche," advises Babsky.

Here, he layered powder over cream shadow, in just one colour, "for more oomph" - using Stargazer Eye Dust in 17 (£4) and Anthony Vaccarello for Lancôme Hypnôse Eyeshadow Palette in Green Fever (£38). The strong eyes are balanced by "soft, liquid bronzer fusing into light, illuminating foundation, with a non-clumpy mascara [Lancôme Hypnôse Volume-à-Porter, £22.50] and natural brow".

Glow show

"The basis for all these looks is a perfected, but barely powdered, slightly sheeny skin finish," says Babsky. Look for an illuminating foundation, such as Lancôme Miracle Cushion (£29.50), which Babsky used here, or apply liquid illuminator underneath your foundation; tryLaura Mercier Foundation Primer - Radiance (£29) or Lancôme La Base Pro Hydra Glow (£28.50). "Leaving your skin with a reflective, 'real' finish allows you to incorporate bold make-up accents without it becoming overdone," says Babsky.

Shining Star

The sticky gloss of the 1970s has been superseded by a new generation of high-shine lip lacquers. "They almost roll on for a super-glistening finish. You don't need to blot, and they are a lot more comfortable on the lips," explains Babsky, who here used Lancôme Rouge In Love lipstick in 185N (£22).

Lighten up

"These are all quite 'made up' party looks, with a shine reminiscent of the glossy 1970s, but with a new lightness," says Babsky. Where 1970s make-up textures were often thick and gloopy, the 2015 version is all about taking advantage of today's finer, more languid textures. "A real must is a cream or liquid bronzer to give winter skin a much-needed moisturising glow," he says.

Here, Babsky used Giorgio Armani Maestro Liquid Summer Bronzer(£39.50) with a fine layer of Lancôme Belle de Teint (£35) over the top.

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Emma Stone must have known she was a dead cert to take home the award for best actress — her gold Givenchy gown was calling out for accessorising with the gold statuette. Stone led the charge for shimmering metallic gowns at a ceremony that was underwhelming from a fashion perspective, bar a handful of stand-out stars.

Those included Nicole Kidman, Jessica Biel, Halle Berry, Charlize Theron and fashion’s latest It girl Janelle Monae, who translated fashion chops from her musical background into acting with spectacular results, courtesy of designer Elie Saab.

Fashion pushes a more casual agenda and elements of this are filtering onto the red carpet. Hair was more undone: loose waves for Kirsten Dunst, a half-up style from Felicity Jones and Alicia Vikander’s messy topknot. Berry’s wild curls deserved their own statuette.

A mini-trend emerged with actresses wearing jewelled headpieces, including Ruth Negga, Salma Hayek and Monae.

While things did get political in speeches at the event, embracing diversity in the arts, stars didn’t give in to the current feminist mood. There was a distinct lack of pantsuits, which had been increasingly common at recent awards. Meryl Streep almost went there, in a “drouser” ensemble of dress over trousers, but that was as close as it got.

The lone political nod was an abundance of blue ribbons, supporting the American Civil Liberties Union’s action against the Trump administration’s immigration policies. Best supporting actress nominee Ruth Negga pinned one to her red Valentino gown, Karlie Kloss to her white Stella McCartney, while Moonlightdirector Barry Jenkins and best original song nominee Lin-Manuel Miranda added them to their tux jackets.

“I think art is inherently political,” said Miranda.Read more at:http://www.marieaustralia.com/long-formal-dresses | www.marieaustralia.com/red-carpet-celebrity-dresses

In keeping on track to make art more accessible, Isabella Huffington has a two-item collaboration with Designow and two upcoming exhibitions.

While her paintings can be “kind of intense, colorful, bright and a bit overwhelming,” she decided to translate a “very light one” called “Chrysanthemum” for the dress and scarf that will be sold on Designow’s site starting March 30. The artwork’s floral motif is actually a collage made of found objects like books and magazines. With clothing, you’re thinking about the consumer and you’re thinking about yourself, so it’s much more like an architect. You want to be authentic but it also has to look good on the person.” Huffington said of the $250 long-sleeve knee-length dress with a tapered waist. “You could wear it to a party but you could also wear it to work at 20 or at 40. I’m really interested in making art that has mass appeal.”

There is also a scarf with an artistic box that is geared for gift-giving or for a younger shopper who might not want to wear a dress. Huffington said of her fashion debut, “This is the first dip in the water but I’m definitely interested in pursuing this further. A lot of people don’t think they have interest in art or access to art so I love the idea of bringing art into the everyday.”

On April 28, Huffington will open an exhibition at Rebecca Minkoff’s gallery adjacent to the designer’s Melrose Avenue store. The artist has another show opening May 3 at Anastasia Photo on the Lower East Side of Manhattan about women and politics.

An admirer of Japanese artists Yayoi Kusama and Haruki Murakami, Huffington said a lot of Japanese artists, and American ones too, are collaborating outside of fine art so she’s looking to what they’re doing for cues. Even buying flowers in Japan calls for almost “artlike wrapping,” she said. “We’re almost missing that in the States because art is very much seen as something that is reserved for the elite. Even with Trump trying to cut [the National] Endowment for the Arts, it’s just not seen as a priority. But people who need art most almost don’t have access to it. I love being in a country where art is so much a part of the culture.”

Huffington said she has been really lucky to have her mother Arianna’s encouragement for years. “Since I’ve been a kid, she’s basically let me completely destroy my entire bedroom. I put paint on the walls and colored. At one point, I glued sponges so she really let me experiment. That really was my introduction to art,” Huffington said. “The best lesson my mom ever taught me, it’s especially [good] for my generation, was if something doesn’t work out it’s very easy for us to get discouraged. My mom basically said, ‘You have to knock on a lot of doors before things work out.’ So you just keep going. It’s like a task. A bunch of tiny things will lead to a big thing. It’s not one thing that changes everything. So you have to do a million different things before the right thing comes along.”

In other Designow news, the first Collective x Designow fashion show will be held April 2 with 28 students from FIT, the New School’s Parsons School of Design and Pratt Institute. The event at 526 West 26th Street is part of a competition.Read more at:http://www.marieaustralia.com/formal-dresses-sydney | www.marieaustralia.com/black-formal-dresses

Occasionally, fashion shows start late because the designer is still working on the collection. There are some persnickety types out there who would happily keep tinkering until it’s markdown time.

Maria Grazia Chiuri and Pierpaolo Piccioli decided they would throw in the towel whenever they felt each item in their spring collection was finished just enough to reveal the beauty of the craftsmanship at the heart of a couture house like Valentino. They explained that they had borrowed the concept from the “Unfinished: Thoughts Left Visible” exhibition at the Met Breuer in New York, which showcased some 500 years of paintings still in progress.

The highfalutin’ explanation had one searching for examples beyond the brogues with exposed staples and undyed edges they plucked off a table backstage. But apart from a bit of sagging lining here and a few dangling threads there, here was a collection with that familiar Valentino polish.

The camouflage coats and military-influenced ensembles had a sense of deja vu, too, albeit with more irregular splotches and ruff-hewn embroideries. What felt newer were the monochromatic ensembles, layers of featherweight coats and zippered shirt jackets tucked into tapered trousers. They came in Army green, a deep blue or black — the latter peppered with silver grommets — and were chic from start to finish.Read more at: www.marieaustralia.com/formal-dresses-perth | http://www.marieaustralia.com/formal-dresses-canberra

Perrie Edwards hasn’t made a secret of the fact that she’s not yet ready to get married, despite being engaged to Zayn Malik for the last two years and now it seems her constant hesitation is getting to the star.

The Little Mix beauty has found her life consumed once again with promo work and touring, as she publicises her new single and third studio album and as a result it sounds like her personal life has taken a bit of a back seat.


Insiders say Zayn is getting tired of waiting for Edwards to commit to a date for their wedding and he’d rather be tying the knot sooner rather than later…..but is being put off all the time.

“Zayn wants them to set the date for their wedding so they have something to work towards,” a source told Reveal magazine. “He’s not saying it has to be soon, but he believes if they set a date then they have to get things done. Having it all drag on means neither of them is motivated to organize because there’s no deadlines.”

The source claimed that Malik is tired of hearing Perrie be so blasé about their commitment to one another and is sick of listening to her brushing off questions about their future every single day.

He’s ready to start making life long plans, especially now that they’ve found the house they want to raise a family in and the insider continued:

“Zayn is not being interviewed constantly like when he was in the band but Perrie is, especially with their new single out, and every time he hears her say there’s no date it gets to him,” they said. “He doesn’t get why they haven’t set one yet.”

While we are sure Zayn wants to marry his Little Mix fiance, we’re not convinced that he’s quite as keen and desperate as is being claimed here though. He whisked Perrie away for a romantic birthday weekend on Friday and seems to be enjoying the extra time they’re getting to spend with one another, as a result of his suddenly clear work schedule.

Leave your comments below…..

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With winter and awards shows upon us, the celebrity-obsessed wonder, "What are they wearing?" When it's fur, you wonder, "Why are they wearing it?"

Fur makes the shapeliest star look like a pudgy cave-dweller. Kim and Kanye become dumpy mall rats when they pile on the pelts. The matter of animals by the dozen being electrocuted for a single coat is of no interest to the self-absorbed duo.

Fortunately, the most admired and articulate personalities are speaking out. After winning a Golden Globe last month, Taraji P. Henson said, "I love clothes and to dress up, but no fur. Stella McCartney laced me with all these incredible faux furs." Taraji's ex-con character Cookie on Empire may have a fur fetish, but Taraji ditched the fur from her closets after seeing raccoon dogs skinned alive for fashion in a PETA documentary on HBO. She then ditched all of her clothes to star in a "Rather Go Naked Than Wear Fur" ad, which she unveiled at PETA's Fashion Week party with fellow animal advocate Tim Gunn.

Another dynamo who removed the unsightly hair from her back — I'm talking about fur — is the fabulous Wendy Williams. In addition to her daily talk show, Williams now hosts Wendy's Style Squad to cover red carpet fashions. "Fur is not the mark of success anymore," she said at the photo shoot for her PETA campaign, which she unveiled live on her show.

Sia led the charge this winter, with this imaginative computer-generated spot in which animal models strut down the catwalk in human skin.

And then there's Pink. "I would like to say I've always been fur-free so I could be proud of myself," says the pop icon. "Unfortunately, I went through a selfish phase and wore fur on a couple of occasions. But I wised up and now boycott fur completely. I wish everyone was forced to learn the horrors that these animals go through for fashion trends. I hope fur wearers get bitten in the *** by the same kind of animal they wear on their back." She took this message to the masses on a PETA billboard in New York's Times Square and stars with Ricky Gervais in avideo about fur and exotic skins.

Who else is fur-free? Lena Dunham, Rooney Mara, Jessica Chastain, Angelina Jolie, Kristen Stewart, Charlize Theron, and Natalie Portman, to name only a few.

Sharon Osbourne, who won a People's Choice Award last month for The Talk, says, "The reasons I stopped wearing fur were because I was educating myself through documentaries on what goes into actually making these fur coats and fur scarves that I was wearing, and when I realized how it was done I was sickened." Sharon hosts PETA's newest video showing how hundreds of chinchillas have their necks snapped for just one fur coat.

Many of you may be thinking, OK — gross — but I don't wear fur. Terrific! I'll end by suggesting you take another evolutionary step by visiting PETA.org to watch Joaquin Phoenix, Eva Mendes, and Pamela Anderson reveal how less-furry animals live and die before ending up in someone's closet.Read more at:www.marieaustralia.com/bridesmaid-dresses | www.marieaustralia.com/formal-dresses-2015

Veteran fashion show casting director James Scully has taken to Instagram to call out the fashion industry, specifically the Parisian contingent, for its treatment of models.

Taking on the role of whistle-blower, Scully named and shamed slew of brands contributing to the mistreatment of models during the casting process.

“So true to my promise at #bofvoices that I would be a voice for any models, agents or all who see things wrong with this business I'm disappointed to come to Paris and hear that the usual suspects are up to the same tricks,” Scully wrote on the social media app, before going into a story of the poor treatment of models waiting to be cast in the upcoming Balenciaga show in Paris.

“I was very disturbed to hear from a number of girls this morning that yesterday at the Balenciaga casting Madia & Ramy (serial abusers) held a casting in which they made over 150 girls wait in a stairwell told them they would have to stay over three hours to be seen and not to leave. In their usual fashion they shut the door went to lunch and turned off the lights, to the stairs leaving every girl with only the lights of their phones to see,” Scully revealed.

The casting director, who has worked with the likes of Stella McCartney, Derek Lam, Nina Ricci, Jason Wu, Carolina Herrera and for Gucci during the Tom Ford era, is a well-established and respected member of the fashion community and a long-time advocate for diversity in the modelling community.

“Not only was this sadistic and cruel it was dangerous and left more than a few of the girls I spoke with traumatised. Most of the girls have asked to have their options for Balenciaga cancelled as well as Hermes and Elie Saab who they also cast for because they refuse to be treated like animals,” Scully continued, adding that, “Balenciaga [is] part of Kering it is a public company and these houses need to know what the people they hire are doing on their behalf before a well-deserved lawsuit comes their way.”

Scully then went to touch upon the diversity and age issues the industry is also facing, noting that houses were turning away women of colour and attempting to use underage models.

“On top of that I have heard from several agents, some of whom are black, that they have received mandate from Lanvin that they do not want to be presented with women of colour. And another big house is trying to sneak 15 year-olds into Paris! It's inconceivable to me that people have no regard for human decency or the lives and feelings of these girls, especially when too, too many of these models are under the age of 18 and clearly not equipped to be here but god forbid well sacrifice anything or anyone for an exclusive right?”

Scully’s post has racked up over seven thousand likes and comments from models who found themselves entangled in the Balenciaga stairwell.

“I was one of this 150 girls waiting in this stairwell, Hopefully, I'm 27 now, and it's not my real job, but if I would have been younger and more into this, I would have been so destroyed by this kind of people or treatment. Personally, I decided to leave the casting, just before it was my turn. Just after I saw the casting director screaming at us to go out — outside, in the dark — and told us that we are like groupies in a concert, and how incredible and unbearable it was,” commented Instagram user Judith Schiltz, who purported to be in the stairwell.

Models Joan Smalls, Doutzen Kroes and Candice Swanepoel have also commented on the post.Read more at:http://www.marieaustralia.com/short-formal-dresses | www.marieaustralia.com/formal-dresses

Christophe Lemaire is a no frills, no fuss designer. After working as the artistic director of Lacoste and Hermès, Lemaire decided to give his full attention to his independent fashion brand, Lemaire, with partner Sarah-Linh Tran. The brand, which focuses on elevated pieces for everyday life, completed two very successfulcapsule collections with Uniqlo (both of which were called Uniqlo x Lemaire). When the time came for a third collection, however, Lemaire wanted to take his role at Uniqlo one step further, even if it meant personally devoting less time to his growing independent brand. "[It was] a little bit agitating, because I had just decided to focus on my own brand," Lemaire explains. "I didn't want to go back to more discussion, but I felt it was really something interesting to do, and I always dreamt of working for Uniqlo."

This summer, Lemaire was appointed as artistic director of the new Uniqlo Paris R&D; Centre, where he leads research and development for the LifeWear brand, and has designed a new Uniqlo line, Uniqlo U. The line takes clothing basics to a new level, focusing on quality and luxury to redefine Uniqlo's familiar essentials such as t-shirts and down jackets. The result is what Lemaire has strived to do with his own brand—everyday clothing for everyday life—for a wider audience. "It's a little bit of a humble approach, putting the same level of heart and passion that you can have in high fashion, but into an industrial product," says Lemaire.

NATALIA BARR: You said that you left your role at Hermès to focus on your own brand. Is your own brand still such a big priority for you?

CHRISTOPHE LEMAIRE: That's why I hesitated. I really thought about it a lot. I just wanted to make sure I would be able to set the right team, because I very much believe in the collective work and the team dynamic. With the right team, you can really save so much time and energy. Whereas if you don't have the right environment and the right support from the company, or the right team, it can be extremely tiring and frustrating. Today, I can say I have this great team at Uniqlo and of course at Lemaire. Also, at Lemaire, there is Sarah-Lin [Tran], my partner. We decided to not work together on this new Uniqlo project, so she would focus more on Lemaire, and I spend my time between Uniqlo and Lemaire. With great teams on both sides, it works—it's exciting and inspiring.

BARR: How did your past roles at other brands prepare you for this role you have now?

LEMAIRE: Being a head designer or art director or just even a designer, you need a certain level of experience and maturity. It's true that I've made mistakes, but I know I shouldn't do them again. [There are] so many things I've learned, and I'm still learning, actually. At Lacoste, I learned how to drive in a very conservative environment. I had to learn how to do politics, how to talk, how to explain, and how to communicate a vision, and the necessary link between marketing and creative teams. Also, very important, the shop experience, which was actually very frustrating at Lacoste. At Hermès it's different. I learned, maybe more than anywhere else, how to work around a legacy, and how to integrate a strong brand culture into my work. Also, to work with a completely different projection system and craftsmanship. Every company, of course, teaches you so much humanly and professionally [about] yourself and your creative process.

BARR: What is it about Uniqlo that made you dream of working there?

LEMAIRE: If I really think about what drove me from the beginning to become a designer, it is really the idea of trying to make everyday life a little bit better—to make it more functional, more desirable, to improve quality of life somehow. Through designing clothes, I try to bring solutions to people, and I'm interested in the everyday relationship we have to clothes. I'm not a designer who is very interested in baroque or in fantasy or in the fantastic side of fashion. This exists and this is important, but I'm interested in the very real dimensions. I'm interested in the poetry of reality. I try to bring as much taste, smartness, quality, functionality, and aesthetic qualities to everyday clothes. I'm interested in the intimate relationships we can have with those good clothes that we may have in our closets. I think we all have those particular pieces of clothes that we really like, because it ages well, because it fits you well, because you feel comfortable, and you feel confident in those clothes. All those aspects of good design are what I'm interested in. I'm trying just to do good clothes, clothes that you need as much as you want. For me, Uniqlo is an amazing environment. They have an amazing production system, and they have this capacity of bringing the best quality at the best price. There is something very democratic about it, which I really appreciate.

BARR: What was the inspiration for the Uniqlo U collection?

LEMAIRE: When we met with my team to start the very first collection, I told them, "Let's forget about themes and mood boards. Let's start from a different point of view. You have to leave for two months all of a sudden. What would you put in your suitcase? What are the twenty essential pieces that you will need and how would you design it to be cool, and you'll want to wear it?" That's just a different approach. It's about trying to propose, every season, the perfect wardrobe of elevated basics.

BARR: How is this collection different from your past collaborations with Uniqlo?

LEMAIRE: The past collaboration was very much a collaboration between Lemaire and Uniqlo. It was very much Sarah-Lin and I bringing a Lemaire twist to a Uniqlo environment. This one was different, because we really are extremely faithful to the DNA. I had to convince Uniqlo about that because at first, they wanted us to do a new collaboration. Then we said, "No, we have to focus on our brand." Then they said, "Why don't we put your name on the label, and it's Christophe Lemaire for Uniqlo?" And I said, "No. Fashion people will care, but I don't think Uniqlo consumers will. Let's try to bring more style into basics, and let's touch real people all around the world, people who don't really care who Christophe Lemaire is." It's not a short designer collaboration. The idea is to bring another layer of constant product that is Uniqlo, and complementary to the main line.

BARR: How do you approach designing a collection that is meant to carry basics in a fresh and artistic way?

LEMAIRE: This is what I've always been interested in, trying to make timeless, functional, real clothes. Everywhere I've been working, I always had in mind the final destination of the clothes, which is the consumer. For me, the fashion show, the image, the shooting, is just a step. It's just a moment, but it's not the final destination. There are so many things to do within that concept of basic with a twist. It's very subtle. It's a thin line between becoming too fashionable or becoming boring. You have to find this balance to create something that is obvious, but at the same time exciting. I don't know if we achieved that, but this is what we had in mind. How we get to that, it's difficult to explain. It depends, but it might be the color, the details, or the choice in the material. I'm proud of what we came up with in terms of product. I don't think a fast fashion brand can really say the same about the quality of the product. We come up with products that are of good qualities in terms of lasting and the way it ages. If not, it's a failure for us.

BARR: Do you have a favorite piece or part of the collection?

LEMAIRE: That's a tricky one. The sweaters are amazing. The knitwear is very good quality. My personal favorite is a simple crewneck sweatshirt for men that I wear every day, just because of the quality of it. It's a French terry. It's quite heavy and round. We were actually surprised to be able to do that for Uniqlo, because even in the good sportswear, streetwear brands, you can't find that quality. Simple things like that, that make my life easier.Read more at:http://www.marieaustralia.com/mermaid-trumpet-formal-dresses | www.marieaustralia.com/blue-formal-dresses

Think summer dressing in Australia and Zimmermann has always been front-of-mind. No surprise then, that it was the first Australian label to be picked up by Net-A-Porter 10 years ago - a milestone that is being celebrated by Zimmermann’s fourth (yes, fourth) collaborative capsule collection with the company.

“We’re saying 10 years of good time,” says Nicky Zimmermann on the phone from the Zimmermann’s headquarters in Rosebery. “The actual concept can be in a matter of days, particularly if you have a really good feeling about it like this one.” For her sister Simone, she remembers speaking to Net-A-Porter about it in February - “they were extremely supportive, they’ve always understood the whole designer space,” she says. “You do these sort of things and it’s one day at a time.”

For her favourite piece, she zeroes in on a printed dress with a lace trim. “I just know that I would wear it to a beautiful dinner or a wedding somewhere overseas. It’s got a lovely, relaxed vibe and lots of detail.” Each and every element is exclusive to the collection, from the lace to the print. “Nothing is anything we’ve used before,” Nicky explains.

Evolving from a Paddington market stall 25 years ago to six US stores and more to come (next on the list: London) is no easy feat. “Zimmermann have always had an international perspective,” says Maria Williams, a Net-A-Porter buyer who has worked with the label since starting at the e-tailer in 2010. “They were one of the first Australian brands to go global. They set their sights on the US by setting up stores in New York and L.A. and they’re continuing to grow. They have managed to tap into what every woman wants to wear globally… What’s been integral to the brand since its inception has remained but their move to show at New York Fashion Week and developments in terms of their fabrications have certainly elevated its position on the global fashion stage.” The label will also be moving to a larger US office in New York. “There’s more infrastructure in terms of general staff joining that team,” divulges Simone - not that she’s forgetting Australia too, since she also mentions the Paddington store that will relaunch in July.

“The essence of what we do is always there,” says Nicky. “On the design end, myself and the design team are better for each collection. It’s not where I want to be if I want to be only as good as my first two collections, 25 years ago!”Read more at:http://www.marieaustralia.com | www.marieaustralia.com/vintage-formal-dresses

There's no question about it - married life suits Beth Ditto .

The singer, who fronts the Gossip, stepped out to attend the Jean Paul Gaultier show during Paris Fashion Week on Wednesday.

It marked the opportunity for her to soak up all things style-related, not to mention flaunt her slimmed-down figure.


The songstress appeared to have shed a noticeable amount of weight as she rocked up wearing a black corset and knee-length skirt.

She appeared in very high spirits for the event and was clocked smiling from ear to ear before taking her place on the front row.

Beth is no stranger to the fashion brand, having made her runway debut for Jean Paul Gaultier back in 2010.

Afterwards she would stay clear of the catwalk for several years before making a triumphant return during New York Fashion Week in September .

Beth has continued to lose weight since that high-profile gig, even though in the past she's insisted she'd never want to be slim.

She famously told In Touch: "I have been contemplating as to whether I should go on a diet.

"I cannot ignore the whole world, but I want to accept the way that I am and I don’t want to change. Life is too short for that!"

Whether she's consciously trying to slim down or not, Beth is definitely looking happier and healthier as she enters her second year of marriage.

Beth officially wed wife Kristin Ogata in a ceremony held on New Year's Eve 2014 .

The pair had previously held a lavish ceremony 17-months earlier but their union wasn't legally binding.

read more:www.marieaustralia.com/red-carpet-celebrity-dresses

www.marieaustralia.com/long-formal-dresses

Though it was not the day or the ceremony she may have expected, Heather Airth’s wedding day was a special one in an unexpected way.

The 19-year-old Kent resident and U.S. Coast Guardsman was scheduled to marry her high school sweetheart Zachary Hoydic on Sunday. But on Saturday, Airth was not feeling right and went to Valley Medical Center, where she was admitted.

With Hoydic, a U.S. Marine headed back to the East Coast where he is stationed on Monday night, it looked like the couple’s wedding may have to be put on hold, which would have been a problem because Airth is pregnant and the couple would like the military to station them together in the future.

“I was hoping I was just being little paranoid,” Airth said about going to Valley on Saturday. “But it didn’t turn out that way.”

It turned out Airth had a kidney infection, which because of the pregnancy meant she was going to have to stay at Valley at least overnight. Which meant that plans to get married may have had to be scrubbed.

But when Airth told the folks at Valley about the plans they had to cancel and asked if the chaplain could marry them, the hospital jumped into action.

On Monday, when Airth was released and before Hoydic had to fly back to his base, she was wheeled directly to the hospital’s healing garden where the hospital chaplain was ready to perform the ceremony.

“It was really pretty.” Airth said. “There were flowers and cake. It was not what I was expecting.”

The flowers had been donated by the hospital’s gift shop and the cake was purchased by the hospital employees. Communications director Lis Gillin said the hospital staff just wanted to make sure the couple could get married before Hoydic had to ship out.

“They didn’t have to do that,” Airdic said, thanking the hospital and staff. “It was really amazing they’d do something like that when they didn’t have to.”

So while it may not have been quite what they were expecting, Airth said her day was absolutely a special one.

“When I looked at him, everything seemed right,” She said of her husband. “I couldn’t stop smiling.”

read more:www.marieaustralia.com/vintage-formal-dresses

www.marieaustralia.com/formal-dresses-2015

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

Britain's dame of fashion Vivienne Westwood wrapped up London Fashion Week Men's on Monday with an eclectic collection showcasing edgy designs that included dresses for men.

Westwood, 75, who is known for her eccentric creations and environmental activism, presented both menswear and womenswear for her autumn/winter 2017/18 "Ecotricity" line, putting men in dresses and skirts and ties on women.

Models wore colorful knits made up of jumpers and trousers as well as long dresses and arm cuffs, at times slit on the sides. Men's suits were deconstructed or had wide, ankle length trousers and sometimes were worn with long cloaks.

Women's jackets had asymmetric cuts or exaggerated shoulders. Shirts had large collars and colorful prints and patterns, including skulls and faces, adorned most designs.

"She and he are having fun with unisex and swapping clothes," shownotes for the collection read. "'Buy less, choose well, make it last' limits the exploitation of the planet's natural resources."

Outfits were often layered and looks were accessorized with face paint, paper crowns, colorful socks, tights and boots.

Westwood, who previously showed menswear in Milan, was the biggest name at the four-day London event following the departure of brands like luxury label Burberry.

"London is my home. I regret leaving Milan because they've been so kind to me," the designer said backstage.

"It's just easier and more efficient for us to be here."

Burberry will present its menswear collection alongside its womenswear line at London's higher profile women's fashion week next month.Read more at:www.marieaustralia.com/red-carpet-celebrity-dresses | http://www.marieaustralia.com/red-formal-dresses

The story is told in Eleganza: Italian Fashion from 1945 to Today, an installation at Montreal’s McCord Museum, which was created by London’s Victoria and Albert Museum two years ago. In addition to the display of some truly fabulous duds, the exhibition shows how Italian fashion benefitted from one man’s realization that it could become a national brand with global reach.

That man was Giovanni Battista Giorgini, a Florentine buyer’s agent who, in the early 1950s, organized fashion shows at lavish locations such as thePalazzo Pitti. Giorgini flew in influential U.S. buyers, correctly predicting that the splendour of the clothes and locale were just what the newly flush American public wanted after its release from wartime austerity.

The cause was helped by films such as Roman Holiday, in which Audrey Hepburn – wardrobed by Edith Head – personified the American fantasy of carefree-yet-elegant Italian style. It also didn’t hurt that Simonetta and several other young designers were genuine Italian aristocrats.

Eleganza features several knockout creations from this period, including a lavish feather-adorned gown by Simonetta that might well have influenced Jean Paul Gaultier; and a wildly elegant silk evening dress commissioned by a wealthy American from the sartoria of Maria Grimaldi. There’s also a red dress by Germana Marucelli that shows an almost sculptural approach to garment structure.

The exhibition includes some playful designs from the 1960s, including the shimmering Mila Schon evening dress and coat worn by Lee Radziwill to Truman Capote’s Black and White Ball in 1966. There’s also a pair of the silk “palazzo pyjamas” that became a jet-set sensation for Irene Galitzine.

Even after the development of designer ready-to-wear, the Italians emphasized high quality in manufacturing and materials, sourcing mainly from long-established Italian mills. This became even more essential as the bulk of low-end production shifted to China, which in turn has become a huge market for Italian fashion ($22-billion in sales in 2015).

The last and best room in the show is filled with a stunning array of more recent designs laid out along a T-shaped catwalk, including pieces by RobertoCapucci, Valentino, Gucci and Prada, as well as an ornate and playful sequined dress from Prada’s Miu Miu line. Almost all of these pieces were donated by the houses themselves, and at least one came in since the show’s London opening. Successful as they are, these designers know what cachet can come from being included in a museum exhibition.

The related book of illustrated essays, The Glamour of Italian Fashion Since 1945, is low on photos of the outfits on display, but rich in information collected by curator Sonnet Stanfill and nearly two dozen other contributors. They take a panoramic view of their subject, analyzing the materials, makers and presentation of Italian fashion through marketing and media. The book makes an outstanding companion to a beautiful show.Read more at: www.marieaustralia.com/formal-dresses | http://www.marieaustralia.com

The Arabian Fashion Zone, which drew large crowds at Bride Abu Dhabi, was a space dedicated to designers from the UAE, Saudi Arabia, Kuwait and Bahrain, who showcased their latest collections of traditional and evening wear. Among them was Sharjah-born Fawzia Al Zarooni, who made good her childhood dreams of becoming a designer when she established the label Ms Unique Designs. It had one of the most vibrant stands at the show, filled with occasion gowns, jalabiyas and abayas in jungle green, tangerine and magenta. Al Zarooni shares the inspiration behind her creations.

What’s unique about your label?

The modern cuts, the finishing, the handwork and the fabrics I use – I’m always fusing different textures together and giving my clients plenty of options about the embellishments, beads and semi-precious stones they can finish their garments with.

What do Emirati guests wear to weddings?

We wear totally different styles to the formal abaya, which is normally plain in design and opaque. For weddings we want to look glamorous, perhaps by wearing a dress. Or if we do choose an abaya for the occasion, it will be black but very sheer to show the dress beneath, which will be very colourful.

What might an Emirati bride wear?

The lady getting married will wear a traditional western wedding dress – but not that often with an abaya on top. For some, that is too much.

What style of western gowns are trending?

Nothing too big. The bride must be able to walk and move easily in her dress. Tastes have changed a lot and just a few years ago, an Emirati bride wanted big, fluffy gowns with lots of stones and dentelle – today, simplicity is what she wants.Read more at:www.marieaustralia.com/red-carpet-celebrity-dresses | www.marieaustralia.com/cheap-formal-dresses

ONCE UPON A TIME, men’s style in Los Angeles was laughable. Think loud, logo-driven and larded-up with more skulls than a pirate cruise. Remember the jeans with back-pocket stitching visible from a block away? What about the faux-vintage concert T-shirts? The flaming eyeball Von Dutch trucker caps? I’m sure Ashton Kutcher wishes he could forget.

But the cheesy L.A. of the mid-aughts—when paparazzi swarmed West Hollywood store Kitson and Mr. Kutcher hosted “Punk'd”—is a thing of the past. Kitson will close its doors forever this week, Mr. Kutcher is now a budding tech mogul and the city’s fashion scene is associated less with Ed Hardy and more with Saint Laurent creative director Hedi Slimane, who maintains his design studio in L.A. instead of at the brand’s Paris headquarters. In fact, Mr. Slimane recently announced he will show his fall 2016 men’s collection (and part of the women’s range) at the Hollywood Palladium on February 10instead of in the French capital.

Is that enough to position Los Angeles as a style capital—strong enough to contend with Paris or London? A confluence of factors has given that idea momentum. Factor one: L.A. is attracting creative talent in design and retail thanks to relatively affordable real estate and low operating costs. Factor two: As high-end menswear has moved away from formality, a “creative casual” wardrobe has become more vital than a suit and tie to the working lives of many men all over the country. Not seeming so far-fetched anymore, is it?

Certainly, a number of stylish and influential guys have embraced the notion. “For a long time, Manhattan was the epicenter of all creative thought, but now I feel like that’s changed,” said Josh Peskowitz, the former men’s fashion director of Bloomingdale’s, who settled on L.A. for his first independent retail venture, a 1,500-square-foot men’s specialty store called Magasin, opening Feb. 20.

Mr. Peskowitz said he’s seen the city evolve beyond a metropolis driven by one or two industries: “Entertainment and music are still important, but now there’s also tech, art, clothing design and all the creative services that go along with Silicon Beach.”

And he’s hoping to outfit a good portion of that population in a refined but casual wardrobe of unstructured seersucker Camoshita suits, garment-dyed polos fromMassimo Alba, cashmere T-shirts from Naadam and handmade slipper-like leather shoes by Feit. “It’s for people who need to look like they are put-together and mean business but don’t want to wear a coat and tie,” he said of his store’s offerings. “It’s clothing that expresses personality but is still business- adjacent. There’s a big market for that.”

Even men who still wear a suit to work every day can benefit in their off-duty hours from the well-executed fare, elevated via fit and fabric, that L.A.-based labels such as Greg Lauren, Apolis, Aether and John Elliott sell in the city, in stores worldwide and on e-commerce sites.

read more:www.marieaustralia.com/formal-dresses-perth

www.marieaustralia.com/short-formal-dresses

Charleston Fashion Week added $3.5 million to the local economy this year, an increase of 20 percent over 2014.

Organizers of the event, sponsored by Baker Motor Company in the spring, announced Thursday attendance grew to more than 7,500, a new record.

The five-day event also boosted the local economy, according to Wayne Smith of the College of Charleston.

According to the college’s findings, total expenditure per out-of-town attendee averaged $1,900; the event drew more than 275 million media impressions including TV, print, radio and online; its social media reach was more than 6.5 million; and 85 percent of those sampled said they would return next year.

Since the event in March, eight of the participating models have signed with national model agencies, including Directions USA, Elite Direct, Elite NYC and Wilhelmina Miami.

“We are thrilled with the continued success of Baker Motor Company Charleston Fashion Week and the recent survey results reinforce the growing economic impact of the event,” said Jed Drew, president of Gulfstream Communications, which owns and produces Charleston Fashion Week.

Dates for the 2016 event will be announced later this summer.Read more here:www.marieaustralia.com/pink-formal-dresses | www.marieaustralia.com/blue-formal-dresses

Lee and Drilona Perry got married at Newark register office late on Saturday afternoon.

They headed to the adjacent Newark Castle after to take photos but, in the meantime, register office staff went home and the gates were locked.

They were rescued along with their 50 guests after an hour and the council has now apologised.

'Wedding to remember'

Mr Perry, from Newark, Nottinghamshire, said he thought it was a joke at first.

"You plan a nice, beautiful wedding that you expect to be the most wonderful day of your life....only to find you get locked in," he said.

"As it started to get dark and the rain started to come down we thought let's wrap this up and get to the function, but the gates were locked."

He said they had been given no explanation as to how it had happened but "it will be a wedding to remember".

"We can laugh about it now. It could've been a lot worse," added Mr Perry.

Jeanette Hall, registration area manager at Nottinghamshire County Council, said they appreciated it "must have been frustrating for all involved".

She said: "Newark and Sherwood District Council lock these gates at around dusk and unfortunately we should have alerted the couple to the possibility that the gates may be locked when they went into the grounds."

She said they were trying to contact the couple to investigate what happened.

read more:www.marieaustralia.com/orange-formal-dresses

www.marieaustralia.com/pink-formal-dresses

UKFT has launched Made It, a collaboration between the trade body, Graduate Fashion Week and Marks & Spencer designed to bring together graduate designers and UK manufacturers.

As part of the initiative, which was launched at a reception at the Houses of Parliament last night, Marks & Spencer and the UKFT will sponsor a number of Graduate Fashion Week winners to have their collections made in the UK.

In addition, to promote a better understanding of UK manufacturers and to encourage designers to use them as their preferred source of manufacturing, the UKFT, Marks & Spencer and Graduate Fashion Week will host a series of Masterclasses at five select universities across the country.

Hosted by Damian Collins MP, UKFT and Graduate Fashion Week, the reception included a catwalk show and was attended by key policy makers, industry influencers, major retailers, leading brands and UK manufacturers, with special guests including Graduate Fashion Week ambassadors Alesha Dixon, Mandi Lennard and Caryn Franklin as well as designer Zandra Rhodes and fashion critic Suzy Menkes.

“The UK has some of the best designer graduates in the world and some of the most talented manufacturers – Made It brings them together. Not only will we see the creation of some stunning collections, the project will also help to ensure the success of the next generation in understanding the business of fashion, which is a fundamental part of UKFT’s purpose and key whether you are developing a new brand, working with manufacturers or growing business overseas,” said UKFT chairman Nigel Lugg.

Graduate Fashion Week managing director Martyn Roberts said the initiative was “a wonderful opportunity” for GFW students to get first hand knowledge and experience of working with British manufacturers. “These are vital skills for fashion design graduates and essential for keeping Britain at the forefront of design,” he said.Read more at:http://www.marieaustralia.com/bridesmaid-dresses | www.marieaustralia.com/red-carpet-celebrity-dresses

The 41-year-old actress, who launched her The Eva Longoria Holiday Collection for The Limited earlier this week - following the success of her debut collection in July his year - has admitted she "loves festive colours" and glitzy products for the festive season.

Speaking about her wardrobe choices in a video posted on her Instagram account, the brunette beauty said: "I really look forward to gathering with loved ones, whether its family gatherings, or work place gatherings, there are so many events that happen during the holiday season and you need the wardrobe to go with that.

"During the holidays I like to gravitate towards embellishment [and] colour. I like festive colours, I love red, I love green, I love winter white, something with an A-line, something body conscious, something that looks great with a heel."

And the former 'Desperate Housewives' star has admitted the shape of clothes and how they fall is "everything" to her.

Speaking about her design preferences, and the reason behind the materials she has used in her latest collection, she said: "Fit is everything to me, that's why I love to use textiles and materials."

Eva - who married José Bastón earlier this year - believes romance can be expressed through fashion.

She explained: "I think romance is expressed in so many different ways sometimes you can get dressed up in a nice dress, a little black dress, or something with colour and go to dinner, or you can stay at home in a cosy t-shirt with some leggings and cuddle up by the fire and watch a movie."

Meanwhile Eva has admitted she is "so excited" her new products exclusive to the fashion house are "finally here" and are available to buy now.

She took to social media to announce the news of her latest line, which saw her share an image of her sporting the red floral swing dress from her exclusive capsule.

Alongside the post she wrote: "So excited to announce that The Eva Longoria Holiday Collection is finally here!Read more at:http://www.marieaustralia.com/short-formal-dresses | www.marieaustralia.com/long-formal-dresses

The line between technology and fashion is blurring. Brands and designers are now using electronics to make cutting-edge wearables and experiences, while companies like Amazon are trying to break into a space that hasn't until now been very welcoming of outsiders. Intel is another tech company that's set its sights on the fashion world, with various smart garments and accessories, including dresses, glasses and bracelets. In an interview at SXSW, Intel Vice President of Wearables Sandra Lopez said her team's mission is to be an enabler first and foremost rather than trying to become a fashion brand unto itself.

Lopez pointed to last year's New York Fashion Week, when Intel teamed up with 13 designers to livestream a runway show in virtual reality -- a medium that's being embraced by many fashion houses. Another example, she said, is Tag Heuer's Connected Modular 45 smartwatch, which Intel helped build with Google and the Swiss watchmaker. "Our strategy is focused on collaboration and empowering leaders in the fashion industry to push the boundaries of fashion with technology," Lopez said. "We are constantly working to make our technology smaller, faster, more energy efficient and more capable than ever before to help our partners succeed."

One of the challenges for brands is figuring out how to make the most out of technology, she said, especially in terms of the data they're collecting through connected garments, other types of wearables and at their retail stores. "There is a real opportunity to help the fashion industry harness the power of data," Lopez said. "How can you analyze what consumers are doing in store, online and through every interaction you have in real time to maximize sales and open up new revenue streams?" That's something designers like Rebecca Minkoff are already trying to do with in-store features like smart mirrors, self-checkout and RFID tags that let the brand know more about customers' buying habits.

"Personalization and customization is only beginning to be tapped into," Lopez said about the potential of both industries working together on wearable products. "Technology has the ability to transform industries, and fashion is no different."Read more at:http://www.marieaustralia.com/short-formal-dresses | www.marieaustralia.com/red-carpet-celebrity-dresses

Paul Andrew, Scott Schuman, Anton Magnani, Frank Charriaut
Paul Andrew, creator of his eponymous line; Anton Magnani, chief executive officer of Sutor Mantellassi; The Sartorialist’s Scott Schuman, and Carvil artistic director Frank Charriaut packed into Colette on Saturday afternoon to debut their collections for fall.

“They’re very different,” said Sarah Andelman, creative director and purchasing manager of the Paris concept store. “The only thing they have in common is ‘made in Italy.’ You have the American brand, the Italian brand and the French. We don’t want shoes that are too classic. We’re trying to find our feet.”

Andrew was debuting his first shoe collection for guys during Paris Men’s Fashion Week. “Before I started my own brand four years ago, I designed shoes for 15 years for several other designers. I was doing men’s shoes for [Alexander] McQueen and later for Calvin Klein, so I have experience in men’s shoes and I loved it. I remember that time so fondly,” he said.

Colette stocks 12 men’s styles from his label. “This shoe, which may look like a classic shoe from the bottom, [actually has] four layers of leather to the sole, which makes it more aggressive, but still in a very refined way,” he explained, also pointing to sneakers bonded with neoprene and deer skin, “which is super luxurious leather – very light, but it’s also breathable.”

Following Colette, Andrew’s line will roll out to other stores, including Barneys.

Meanwhile, Magnani and Schuman presented their collab0ration — a chic sneaker style in four color ways.

“I really wanted to have something that would have interesting color combinations because, you know, I wear blue, gray, black, taupe a little bit [when it comes to clothes],” said Schuman. “I don’t wear like crazy colors. But for shoes you can do something a little more interesting.”

“Scott really came up with the good idea of making the stripes without seeing the stitch. You can see it’s all folded,” said Magnan, referring to the sneakers priced at 425 euros, or $471 at current exchange.

The duo just unveiled at Pitti Uomo spring 2017 styles, which are white but with “more summery color combinations,” explained Schuman.

Will the pair doing more collaborative projects? “We’re not just dating, we’re married for a little while. No Brexit between us,” Schuman said.

Charriaut presented his first collection for recently revived Carvil. “Carvil is a Parisian brand that was back in the day very chic and hip, for elegant men,” he explained.

Marc Jacobs, who was at Colette Saturday for the launch of Lorenzo Martone’s new eyewear range, purchased a pair of Carvil boots. Charriaut noted they were the style designed for Bob Dylan.

Meanwhile, downstairs at Colette, fans were lining up to get a signed copy of “Undercover Jun Takahashi,” published by Rizzoli. “There’s 25 years of history in it,” explained the designer.

The book, whose release comes following the retrospective dedicated to Takahashi at the Tokyo Opera City Art Gallery last October, is chockablock with his sketches, graphic work, pictures and essays. After a stint at the specialty store, the tome will roll out to bookshops in July. It’s priced at $65.Read more at: www.marieaustralia.com | http://www.marieaustralia.com/formal-dresses

Designer Mandira Wirk gave actress Nimrat Kaur a regal look when she showcased her New Royals collection at Amazon India Fashion Week on Saturday.

Wirk showed 20 ensembles, including Kaur’s ivory drape concept sari with just a zipper, panelled gown with mother of pearls and dori work paired with a sheer cape.

“Her collection is so pretty and feminine,” said Kaur. “I love her clothes. This collection is called the New Royals... it’s bringing pretty back, beautifully enhancing the female body form. It makes you feel so light and pretty.”

Panelled anarkalis, jackets and capes, crop tops, jumpsuits and tapered trousers appeared alongside designer’s signature drape saris and dhoti pants.

Wirk, in a beautiful off-shoulder powder pink dress, said: “I wanted to get pretty back to the runway. It is pretty feminine, wearable and an extremely versatile collection.

“I have done lots of pastels...lot of capes, sleeves. So basically a very feminine and romantic collection.”

The range saw a heavy use modern details like wide pockets and deep waistbands paired with layers of French knots.Read more at:http://www.marieaustralia.com/plus-size-formal-dresses | www.marieaustralia.com/red-carpet-celebrity-dresses

Women on the march was the story of the weekend. And so it was with perfect timing that 23 years after he diversified into designing for women, Sir Paul Smith included clothes for women on his Paris catwalk during menswear fashion week for the first time. The designer has scrapped his slot showing womenswear during London fashion week in favour of a blockbuster Paris show in which clothes for both genders are shown together.

There is an industry-wide trend toward unisex catwalks, but the move felt organic for Paul Smith, whose womenswear has its roots in men’s tailoring. First on the catwalk was a woman in a trousersuit in the black-and-green check of Black Watch tartan, alongside a man wearing a tailored coat in the same fabric over beige trousers.

Backstage, the designer said putting the show together has reminded him why he started designing for women in the first place. “Grace Coddington and Liz Tilberis, all these incredible women, were dressing supermodels like Linda Evangelista in my clothes for men,” he recalled.

But one of the secrets of Paul Smith’s cheery, straight-talking brand is that it is more sophisticated than it lets on. The womenswear on the catwalk was not simply borrowed-from-the-boys, but fine-tuned for the female body. The attitude and fabrics are taken from menswear, but the tailoring – a higher and more defined waist, a longer jacket, a strong shoulder – is calibrated to flatter the female form.

A dandy aesthetic running through the men’s velvet suits and fitted waistcoats was adapted for women with colourful Fair Isle-knit sweater dresses, and silk blouses with a painterly feather print.

The show was staged under the glass roof of the grand École Des Beaux-Arts, just a few streets from where Sir Paul Smith staged his very first fashion show in a friend’s apartment on the rue de Vaugirard, that time to an audience of 35 people, with friends as models and a soundtrack he had compiled on a cassette.

But it was very British, not just stylistically but in the emphasis on British-made fabrics – in many cases modern, lightweight versions of fabrics Smith first used in the 1970s. The brightly coloured feathers, which appeared on men’s suit linings as well as silk womenswear, were inspired by an illustrated 18th-century book of British birds.

In the face of the unstoppable rise of a sports aesthetic in menswear, Smith remains a staunch defender of the suit. “People think that suits are stuffy, or that you can’t move in them,” he said backstage. “But it’s not true.” Soft, narrow suits were styled for life outside the office, worn with trainers and with poloneck knits.

The Paul Smith show was followed by Kenzo, also showing men’s and women’s collections together for the first time. In London, Burberry and Vivienne Westwood have both recently merged their collections for men and women. The trend for unisex catwalks, which is driven both by the rise of a genderless, sports-influenced aesthetic and a social media appetite for catwalks that are newsworthy moments, appears unstoppable.Read more at:http://www.marieaustralia.com/bridesmaid-dresses | www.marieaustralia.com/red-carpet-celebrity-dresses

International designer Vivienne Tam is known for her culture-bridging, East-meets-West concepts in her collections. Her looks are global, often pioneering collaborations that marry fashion with technology. Her knack for blending her cultural roots with a modern design vocabulary in her looks is recognized. Often, her designs are sheer artistry.

Tam is also the author of the award winning book, “China Chic.” Pieces of her collection are a part of the permanent archives of the world’s most prestigious museums, including the Metropolitan Museum of Art in New York and the Victoria and Albert Museum in London. Tam also loves the space program and cowboy themes. Inspired by her recent trip to Houston, Texas, she utilizes the NASA logo in her collection. There are also soft suede jackets with fringe and chrome metallic flares, and a ruffled blouse in a blue and white motif. Pretty dresses in beautiful prints and patterns are enhanced with embroidery, sequins and appliques. Some of her looks reflect styles seen on folks at the rodeo. Tam’s signature 3-D butterflies were apparent on her garments. A black Western belt cinched the waist. Good show!

Rhode Island School of Design’s Apparel Design Department showed a rugged, yet fashionable collection of menswear on the New York Fashion Week runway. RISD prepares students to meet the demanding requirements of the fashion industry. The program is built on the philosophy that design and technical skills are mutually enhancing. From functional to experimental clothing, the course is structured to take students through all aspects of apparel design and construction.

RISD’s technical classes proceed from basic to advanced drafting, draping and construction and incorporate the use of computers as a tool for design and product visualization. RISD has offered programs in costume, clothing and fashion since 1918, and established the Apparel Design Department in 1952. Their graduates include such top designers as Nicole Miller, Sari Gueron, Sally Lapointe, Robert Geller and Nicole Romano. Many students have found success with designers such as Michael Kors and Ralph Lauren.Read more at:http://www.marieaustralia.com/short-formal-dresses | www.marieaustralia.com/red-carpet-celebrity-dresses

GABBY Waller lives around the corner from Owen Wilson, down the road from Julia Roberts, walked past Seth Rogan at the grocery store last week and sat opposite Liam Hemsworth and Miley Cyrus at dinner the other night.

The LA lifestyle is a big change for the former Rockhampton girl who currently calls California home after leaving life in Australia to get her foot in the fashion industry door in one of the world's fashion capitals.

The 22-year-old packed up her life two months ago, sold her Australian clothing label and followed the gut instinct she said she always had to move to Los Angeles.

"I've always been drawn to America, I've always felt this pull towards it, LA in particular which is why I visited LA last year to hold an event here for my business at the time," she said.

Gabby In fashion week in Sydney in 2014.

"The event was a huge success and I got hooked on the creativity that screams from this city. I suppose I got a taste for the fashion scene here and decided to make the move here in May. I sold the business in January as I felt I got STR8 UP to exactly where it needed to be and it was time for me personally to move on to my next venture.

"I'm working as a designer's assistant with a brand based in Downtown LA called BILLY, a brand Justin Bieber regularly wears, and work closely with the designer who reminds me exactly why I do what I do and love this industry. I also do fashion styling on the side and am putting together my own photoshoot for the Australian label Isabelle Quinn. This is my year to really push my knowledge and get involved in as much as I can, LA makes you so hungry to work and I've never been more motivated to dig my claws in."

Although the former Cathedral College student thrives off the hustle and bustle of catching that big city break, Gabby admits to missing the small town 'hey mate' attitudes she grew up knowing and said she doesn't think she'll ever get used to seeing celebrities in their jeans buying milk and bread.

"I feel LA has a huge 'I don't care about you, I just want to know what you can do for me' kind of attitude and you'll very regularly get asked what you do before being asked your name," she said.

"I miss that small town community hub that Rocky has and I really miss how friendly us Aussies are but for now this is home for the next 12 months and I'm loving every minute of it.

"It was a scary leap to take moving here but I really do believe anything is possible if you put your mind to it.

"The absolute dream would be to work in the fashion houses in the design department of the big designer brands that you see on the runway.

"But I've still got a lot of learning to do.

"It's exciting to see what the future holds."Read more at:http://www.marieaustralia.com/formal-dresses-2016 | www.marieaustralia.com/formal-dresses-sydney

This year’s WoolOn Creative Fashion event will feature some "exciting" new elements, but they are under wraps for now, organisers say.

The event, which used to be held annually in October in conjunction with the Alexandra Blossom Festival, last year was separated from the festival to become a separate entity.

No WoolOn was held last year and this year’s event had a new date, May 26-27, WoolOn chairwoman Clair Higginson said.

A final call for entries was being made this week, and the closing date for entry forms had been extended by a week, until March 24, Ms Higginson said. Designers then had another month to complete the garments, which had to be handed in by April 27.

Ms Higginson said this year’s WoolOn would be held in a new "industrial-style" venue in Alexandra, but organisers could not yet say where as consents were not in place.

Other "exciting" new elements were being added to the event, but they were also being kept under wraps.

"We’re trying to make better connections between the wool on the farm and the wool on the fashion catwalk. But just how we will do that is going to be a surprise."

Rural Women New Zealand was the new naming sponsor of the event and WoolOn organisers were excited about the partnership, believing it would bring extra focus to the raw product

the WoolOn garments were created from.All garments must be at least 75% wool and there are eight categories in the event, as well as an Under 23 Emerging Designer Award.

The event will still feature a Friday night "First Look" event with a "fashion show feel", and a Saturday gala evening, when winners will be announced.

This year’s judges are Deirdre Mackenzie, of Tauranga, who was one of the people to establish WoolOn in its present format; Simon Swale, a design lecturer at the Otago Polytechnic, in Dunedin; and designer Jaimee Smith, of Dunedin, who has her own fashion label, "Florence".Read more at:http://www.marieaustralia.com/bridesmaid-dresses | www.marieaustralia.com/red-carpet-celebrity-dresses

What would you say was the reason you got married?

I loved Patrick and I knew he was the man I wanted to spend the rest of my life with. But besides having found the right person, I accepted marrying my husband because I felt like it was the right time for us to take a step and start a family.

With today’s relationships, it’s becoming hard for couples to stay together for long; how did you make it?

I think compatibility plays a huge role in this. We are compatible with each other because for the years we have spent together, we’ve rarely had fights. We are also aware of each other’s weaknesses and strengths and this helps us to avoid pressing each other’s buttons. Keeping a stronger communication between us has also helped a lot.

You’ve been married for over a year now; do you find marriage what you had pictured it to be?

I always thought marriage was hard, but what I have seen is totally different from what I thought; marriage is sweet. However, I think this also depends on one’s partner, and I personally haven’t found it to be complicated in any way.

A journalist’s schedule is always tight; doesn’t it interfere with your wifely duties?

Well it’s tricky but I get to programme myself. As soon as I am done with my work, I head home to take care of my family. My work rarely does interfere with my wifely duties.

That day you walked down the aisle; how did it feel watching Patrick at the altar?

(Smiles)...I was in a haze and so nervous, mostly because of the excitement. After reaching the altar and taking our vows, I knew I had become Mrs Kigenza and it was exciting.

How did you spend your honeymoon?

We took off three weeks and had part of it here and outside Rwanda. It was relaxing and I was so happy because I was at the point of starting a new life and you know when you are with someone you love it feels awesome.

How do you plan on maintaining the sparkle in your marriage?

Surprising my husband. I always do this by taking him out once in a while and this keeps the sparkle because we get to have ample time just for the two of us.

What are some of the biggest adjustments you made from being single to married?

Taking up more responsibilities; when you’re still single it’s mostly you and nothing more, but when you’re married, responsibilities double. You worry about whether he has eaten, what he is to wear, the kids; all this you get to be responsible for. Managing a home is not that easy.

Wasn’t it hard for you marrying a famous figure?

It wasn’t hard for me actually because I had known Antoinette for a long time even way before she became famous. Deciding to start a family with her was because I trusted her, her nature and personality assured me that she was the right woman for me.

Some men have a belief that for one to get married they first own a certain mass of wealth. What’s your take on this?

Well, that’s not necessarily true because this depends on one’s definition of wealth. However, for one to start a family they have to own some kind of stability financially because it comes with more responsibilities. However, I don’t think one should wait to own things like fancy cars or houses to marry.

Men are known to conceal their feelings; how do you deal with this in terms of communication in your marriage?

I don’t think I fall in that group because if I am happy with something my wife gets to know it, the same with if I am not pleased with something I tell her. I am that kind of person who is open.

How do you keep the fire burning in your relationship?

I still take my wife on dates, and this helps us not to be caught up with the routine of life. This way, we get to spend time together and share wonderful moments as a couple.

Why do you think some marriages break up?

Poor communication, this is a key issue in marriage and when it fails trouble sets in. I always ensure an open communication such that if one f us has an issue there is a platform to discuss it because it’s small matters that later bring about a bigger mess.

Do you help your wife with house chores?

Yes I do. I sometimes cook; I love cooking (laughs). My wife and I share responsibilities at home; she can make the bed as I do the dishes.

What is the most romantic thing you’ve ever done for your wife?

It was the proposal, it happened a few days after her birthday on the August 30, 2014. We held a party for her at her home in Nyamirambo. I had a ring, but it was in a beautiful box that looked like a flower, no one could suspect I had a ring. I later asked for a speech and as I expressed my birthday wishes I went on my knees and asked her to marry me. Amidst her being emotional, my partner in crime, my cousin had champagne and after she said ‘yes’ we toasted to the proposal.Read more at:http://www.marieaustralia.com/formal-dresses-melbourne | www.marieaustralia.com/formal-dresses-adelaide

Maybe it was strength, speed and endurance. Maybe it was the cape.

But while flipping a wine barrel end to end down Main Street in Jordan as spectators cheered, Yvonne Irvine knew she was on a roll.

The assistant winemaker at Creekside Estate Winery clocked under 19 seconds in the annual barrel race, a crowd favourite at Twenty Valley Winter Winefest.

“The hardest part is getting around the corner,” said Irvine, who won the coveted Golden Boot on Saturday.

“When I made the corner and I was coming back, I felt I had some good speed.”

Competitors from wineries charged down the course flipping the barrels that weighed more than 45 kilograms.

It was one of several events, including a fashion show, celebrity chef dinner with David Rocco, after party and live music, that drew large numbers to this year’s three-day festival.

Irvine said icewine is unique and it’s great to have an event that celebrates it.

“It’s really fun. Most people hate winter. It’s so nice to get out, do some winter activities … Beat the winter blues.”

Kris Smith, executive director of Twenty Valley Tourism, said she expected the festival would hit its goal of 10,000 visitors this year, if not exceed it. It had about 9,400 visitors in 2016.

“We’re pretty jam-packed right now.”

While the festival draws local Niagara residents, it also saw visitors from as far away as Pennsylvania, Ohio, New York, Tennessee, Texas and Alberta this year.

Smith said people are hearing about it through social media and on the Internet.

“A lot of it is returning or families or word of mouth. We don’t advertise that deep into the U.S. but people are finding out about us. It’s exciting.”

She said the festival has added a lot of diverse programming over the past couple of years, such as an icewine puck challenge and chef’s one-*** challenge in an effort to have something for everyone. That’s proving to be successful, she said.

It also introduced a European market theme last year, ditching larger tents for smaller ones around the perimeter featuring wine and food. More heaters were dotted throughout the area and included large steel pinecone fire pits that visitors could cosy up to.

“We just opened it up and embraced the great outdoors,” Smith said. “We’re Canadians. We should be embracing winter so that’s part of it.”

Sue-Ann Staff, president of the tourism association, owner of Sue-Ann Staff Estate Winery and barrel-rolling competitor, said the festival had a larger footprint than ever before and more vendors.

“It’s fantastic,” she said. “I’m really proud of our organizers, our volunteers, the board, the directors. We just keep fine-tuning this event every year. It looks better. There’s more entertainment, more energy. It’s awesome.”Read more at:http://www.marieaustralia.com/cocktail-dresses | www.marieaustralia.com/red-carpet-celebrity-dresses

Jonathan Saunders, the newly appointed presumptive heir to DVF, paid homage to the brand's heritage while showcasing his own vision during an intimate presentation Sunday at New York Fashion Week.

The Scottish designer took the reins as DVF's chief creative officer in May, but made it clear he's not necessarily filling Diane von Furstenberg's iconic shoes.

"It's just different shoes, you know? It's not like I'm replacing her in any way. It's just a different chapter for the company," Saunders said while insisting von Furstenberg is still very much the cornerstone of the brand.

Von Furstenberg, a Fashion Week staple, was not on hand for Saunders' debut presentation at a sparse industrial space in the Manhattan's Meatpacking District.

The collection played with bold colors, patterns and mixed textures.

Romantic florals paired with playful polka dots, and metallic dresses were adorned with fur wraps.

"I wanted the collection to be kind of this melting ***," Saunders explained. "Eclectic mixtures of different prints from different places and times brought together in one collection. I thought that was kind of an exciting way to start."

The signature wrap dress appeared throughout with fresh silhouettes and asymmetrical hemlines, including a structured kimono, a silky romper and a color-blocked scarf dress.

Sometimes the wrap was simply implied through cuts and movement on plunging blouses and sequined, layered frocks.

"It's more about taking it not so literally and just trying to transfer into a product that feels considered and modern and developed. A lot of the bias-cut dresses still have that same sense of ease, but they are pushing things forward," said Saunders.

Von Furstenberg is known for splashy fashion shows featuring celebrity-driven social media buzz. Last season's event included It Girls Kendall Jenner, Gigi Hadid, Karlie Kloss and Irina Shayk.

But according to CEO Paolo Riva, priorities have shifted.

"I think that the fashion show is trying to cover too many things: speaking to press, inviting celebrities, opinion leaders, bloggers and friends, and now see-now, buy-now. It's too much for one moment and because this is the first collection from Jonathan, this is a moment where we really wanted to have the opportunity to leave the noise out," said Riva.

Saunders' back-to-basics approach included one-on-one meetings with journalists, a simple display of clothes on racks with six models perched in the background.

"I think at the end of the day the customer is interested in clothes and I'm hoping we're entering into a chapter where all of the nonsense doesn't matter as much as having something that you just feel fabulous in," he said.Read more at:http://www.marieaustralia.com/formal-dresses-brisbane | www.marieaustralia.com/vintage-formal-dresses

Timeless fashion is part of Debbie Hawkins seasonal home decor.

When the Etcetera collection arrives, her living and dining rooms become showrooms, a place where by appointment women can choose classic fashion, well made from high end fabrics, "things you turn to for years."

"We bridge the gap with versatile selections," said Hawkins, an Etcetera sales consultant. "Pieces that bring something special to a wardrobe."

The unique, sell-from-home business us part of the Carlisle Etcetera trademark, a New York based brand that offers women an opportunity to become entrepreneurs. Consultant/stylists are trained to guide fashion choices.

"I had raised my kids and wanted to do something interesting," Hawkins said, "Etcetera came out at the top of the list. I could work at my own pace and hours."

Four times a year Hawkins attends a fashion show, where she and 100 other consultants have a chance to meet designers, look at quality fabrics and learn about techniques used to make the Etcetera collections.

Ordering clothes online isn't the same.

"Pictures don't translate to what we have seen before the trunk show boxes arrive," said Hawkins. "We receive upward of 300 items. We talk with each customer and they get to see in person what is available."

Clients are either referred to Etcetera stylists by friends or through the www.etcetera.com website. They are directed to the consultant closest to them; some of Hawkins' customers drive to Wichita Falls from Oklahoma.

A few have a hard time committing to an Etcetera trunk show because "they feel a little intimidated."

"Once they see it's a very relaxed environment it's much easier," Hawkins explained.

Two appointments are made with each customer, one to check their existing wardrobe for what may work well with Etcetera selections and another to try on what they've picked. Hawkins adapted a bedroom as a dressing room.

"One of the biggest pluses is knowing our customers so well," said Melissa Prigmore, Hawkins' associate assistant. "They know they won't be wearing duplicates of what they've seen at Lord and Taylor."

According to Hawkins, Etcetera's high quality skirts, trousers, blouses, jackets, coats and accessories are priced in the "Neimans and Nordstrom range."

"These are the kind of clothes you don't bury in the back of the closet and never see after the first wear," Hawkins pointed out. "Comfortable style and fabric, they get brought out every season."

Clients can also turn to Hawkins and Prigmore for advice on style, color and fit.

"I'm not good at editing myself on fashion decisions," said Hawkins. "It's nice to have someone else tell you what they think."Read more at:http://www.marieaustralia.com/formal-dresses-2016 | www.marieaustralia.com/red-carpet-celebrity-dresses