The Pakistan Fashion Design Council in collaboration with Sunsilk presented the fourth and final day of the eighth PFDC Sunsilk Fashion Week. Indeed the 8th PFDC Sunsilk Fashion Week marked the twelfth fashion week platform initiated by the Pakistan Fashion Design Council [with eight weeks of prêt-à-porter and four of bridal fashion] and was a direct manifestation of the Council’s commitment to sustainability and discipline within the business of fashion and the facilitation of Pakistan’s retail industry. Indeed #PSFW15 endeavoured to define and present trends for 2015, focusing specifically on fashion for the regions’ long hot summer months. Day-4 featured High-Street Fashion shows by the House of Arsalan Iqbal, Erum Khan, Chinyere and Hassan Riaz and designer prêt-à-porter shows by Sana Safinaz, Republic by Omar Farooq, Syeda Amera, Huma & Amir Adnan, Sania Maskatiya and HSY.

Speaking about the PFDC Sunsilk Fashion Week platform, Chairperson of the PFDC, Sehyr Saigol said: “With the 12th iteration of our critically acclaimed fashion weeks, the PFDC is always working to streamline our prêt-à-porter platform to make the PSFW experience more beneficial for all stakeholders in terms of show experience, exposure and ultimately, retail value. To that end, each year we look inward to find the best possible formats and categories to benefit the very trade and business of fashion. In this vein, we introduced 3 separate categories for Luxury/Prêt, High Street and Textile at PFDC Sunsilk Fashion Week, giving each entirely separate show space, times, audience exposure and viewing power. Our High Street fashion brands had been given a standalone show time on two separate days as early evening shows and Textile brands a separate dedicated day for Voile shows on Day 3 of PSFW 2015, a measured step to further highlight Pakistan’s textile prowess and high street fashion strength which are of significant importance to national and international fashion markets. As per past tradition, we continue to work closely with all our emerging designers and mainstream brands to help hone their collections for the runway through mentorship by senior PFDC Council members and with retail support through the PFDC’s own stores and network. We are grateful for the committed support of our sponsors and partners which provides us the stimulus to further enhance our fashion week platforms and put forth the best face of Pakistani fashion on a consistent basis.”

“The Sunsilk girl is an achiever, with an air of enthusiasm and positivity. Great hair can give her the extra dose of confidence so with Sunsilk by her side, she is empowered to take on life. Fashion is very close to this aspirational Pakistani girl making the PFDC Sunsilk Fashion Week a highly valued platform for us. We recognize PFDC’s efforts to promote the fashion industry and experienced and upcoming talent alike. Sunsilk has been a part of this fantastic journey for 6 consecutive years and continues to shape aspirations, taking contemporary fashion directly to the homes of consumers and encouraging them to script their own stories of success” said Asanga Ranasinghe, VP Home and Personal Care for Unilever Pakistan.

On the concluding day of #PSFW15, the Chairperson of the PFDC Mrs. Sehyr Saigol also made a special announcement on behalf of the Council and its Board Members, where she shared the Council’s plans to establish Pakistan’s first ever craft based Design District, a multi-purpose specialized facility that would assist in developing and enhancing the arts and crafts industries, which are an integral part of Pakistan’s rich cultural legacy. In addition to being a centre for skill improvement and capacity building, the Design District would also house a first of its kind Textile Museum.

The official spokesperson of the PFDC, Sara Shahid of Sublime by Sara also announced the official dates for the Council’s next fashion week, PFDC L’Oréal Paris Bridal Week 2015 which is scheduled to be held from 15th September to 17th September 2015.

Indeed the success of PFDC Sunsilk Fashion Week continued to prompt private sector associates to grow in their engagement of the platform to launch new marketing campaigns and promotional activities. To this end, the PFDC’s evolving partnership with Sunsilk grew exponentially this year whereby in addition to their title patronage; Sunsilk also took over the coveted PFDC Sunsilk Fashion Week red carpet and the Green Room/Backstage, as sponsors. This extension of their support is indeed a manifestation of the brand’s belief in and commitment to the platform. Also in continuation of their support for the platform, Fed Ex – GSP Pakistan Gerry’s International returned to PSFW as the official logistics partner, offering the PFDC a special arrangement for international designer consignments.

PFDC Sunsilk Fashion Week 2015 was styled by the creative teams at Nabila’s and NGENTS. Light design, set design, sound engineering, video packaging, choreography and show production from concept to construction was by HSY Events, front stage management by Maheen Kardar Ali, backstage management by Product 021, Sara Shahid of Sublime by Sara as the official spokesperson for the PFDC, logistics and operations by Eleventh Experience and photography by Faisal Farooqui and the team at Dragonfly, Hum TV/Hum Sitaray as the Official Media Partners, CityFM89 as the Official Radio Partners with all media management by Lotus Client Management & Public Relations.

High-Street Fashion Shows

The House of Arsalan Iqbal

The afternoon High-Street Fashion Shows on the final day of PFDC Sunsilk Fashion Week 2015 were opened by leading fashion brand The House of Arsalan Iqbal, who showcased a collection titled ‘Devolution Chic’. Inspired by street art across the world by various artists, European high-street trends and technique of quilting, Arsalan Iqbal garnered personal portfolios of graffitists from myriad urban cityscapes such as London, New York, Tokyo, Barcelona and Cape Town, juxtaposed with some unique in-house created patterns including those of Pac-man, calligraphic flourishes and aqua and tangerine bands and circlets. Based in chiffon, the ensembles were molded into voluminous structured silhouettes including draped tunics, edgy jumpsuits and wide palazzos dovetailed with off-white and ecru charmeuse silk jackets created with a revolutionary quilting process. Along with menswear pieces, the collection also included in-house footwear and jewellery made in collaboration with pioneering Karachi-based street artist SANKI.

Erum Khan

Designer Erum Khan followed next and made her PFDC Sunsilk Fashion Week debut with ‘The Untainted Shine’. The collection took its inspiration from the sparkle of twinkling stars, a walk on pearl dew in the morning and the enchanted glow which is produced when “a magic wand” is waved around the body, making it glow in a pearlescent white and exhibiting a jewel themed lustre on the body. With neat and straight structured cuts, Erum had used fabrics such as organza combined with silk, 3D flowers, patch work and antique katdanna in a collection which was based in a white colour palette. Trends highlighted in the collection were high waist skirts to button up pants and sheer long dresses. Acclaimed Pakistani musician Goher Mumtaz and his wife Anam Ahmed walked the ramp as the designer’s celebrity showstoppers.

Chinyere

Following Erum Khan, fashion brand Chinyere showcased its Spring/Summer 2015 High-Street collection ‘Mizaj-e-Shahana’ at PFDC Sunsilk Fashion Week 2015. An ode to the era of the Mughal royalty and their imperial aesthetic, the collection comprised of modern silhouettes and traditional embellishments with organza skirts paired with cropped tops, angarkha-peplum tops with embellished cigarette pants, sheer knee-length jackets paired with structured digital printed bustier-jumpsuits, diaphanous wrap-around boot-cuts and embellished boxy sleeves with soft A-line silhouettes. Chinyere also showcased ten menswear pieces comprising of waistcoats, jodhpurs, knee-length sherwanis paired with gossamer sheer kurtas. The colours used had been divided into a collection of distinctive Mughalesque pastels and jewel tones. The pastels included the classic marble ivory-on-ivory, the bold black, saffron, gold and ivory. The colour segments also included metallic gold and grey sections, with accents of bronze and black. The jewel tones included jade, emerald, ruby and sapphire.

Hassan Riaz

The concluding High-Street fashion show of PFDC Sunsilk Fashion Week 2015 was presented by Hassan Riaz who showcased his ‘Contained Shadows’ collection. Inspired by the diverse facets of the human soul that explore both the dark and light sides of human nature, taking into account yearnings, desires, and anxieties that make us distinctly human, Hassan had based the collection in summer twill, organza and summer denim in shades of blue and white with a gold accent to reflect upon his inspirations. ‘Contained Shadows’ made use of structured and drifting silhouettes, cage crinolines with corsets and bustiers with distinct trends featuring cropped tops, nautical accents, experiments with transparency and patchworks of metal mixed & matched with flowers.

Designer Showcases

Sana Safinaz

PFDC Sunsilk Fashion Week 2015’s evening [rêt shows on the fourth and final day was opened by premier designer label Sana Safinaz. Sana Safinaz’s PFDC Sunsilk Fashion Week collection was inspired by monochromatic structured looks with pops of color. The collection was based in luxe fabrics such as kattan, silks, fine silk organza and dutches satin in a colour palette majorly based in black and white with strong vibrant pop infusions.
Key trends being highlighted were the oversized T, constructions-clean lines, simplicity of cuts and effective embellishments.

Republic by Omar Farooq

Following Sana Safinaz, acclaimed menswear brand Republic By Omar Farooqshowcased a collection titled ‘Que Sera, Sera!’ (whatever will be, will be!). Omar Farooq had used a variety of luxe fabrics such as suede, linen, chiffon, cotton, cotton silk and wool silk. A collection for all seasons, the ensembles built upon the label’s signature aesthetics while providing a new take on contemporary menswear. Acclaimed media personality Fawad Khan walked the ramp as the brand’s celebrity showstopper.

Syeda Amera

The third Prêt show of the final day of PFDC Sunsilk Fashion Week 2015 was presented by designer Syeda Amera who made her ramp debut with ‘The World of Sea’. Inspired by love for the enchanting underwater, the collection was based in premium quality organza, jersey, nets and silks with delicate cuts and embellishments consisting of beads, sequins and feathers to reflect the collection’s aquatic theme. ‘The World of Sea’ featured a palette of aqua marine, scupa blue, powder pink, grey blue, tequila sunrise yellow, orange and lagoon green with trends that employed skirt layering, frills and ruffles and flared pants.

Huma & Amir Adnan

Following Syeda Amera, Huma & Amir Adnan showcased a joint collection for the first time at a fashion exhibition. Both Huma and Amir feel that as a couple they share their lives and draw synergies and their collection ‘Symphony’ was an epitome of how two people can revolve around the same concept in harmony, while maintaining their individual distinction. Showcasing both menswear and women’s wear at PSFW 2015, Huma and Amir had used a mix of fabrics, textures and embellishments with a complex collection of weaves, prints and embroideries in silk, linen, cotton and microfiber. The color palette included midnight blue, emerald green, wet earth, aubergine, ivory, old paper, turmeric, leaf and magenta. Key trends highlighted in the collection were long shirts, double layered shirts, printed vests and jackets, textured pants, colored shoes for men and layers of multi-textured fabrics, tighter silhouette, vests and jackets for women.

Sania Maskatiya

Designer Sania Maskatiya showcased the penultimate Luxury/Prêt collection of the evening at PFDC Sunsilk Fashion Week 2015. This S/S ’15, Sania Maskatiya took audiences on a fashion journey to ‘Paristan’ – a place of fairytale whimsy at PFDC Sunsilk Fashion Week. With a colour palette ranging from the softest shades of daybreak to the deepest hues of nightfall, ‘Paristan’ was a collection of playful, dreamlike prêt ensembles. Featuring luxury fabrics like silk, organza, charmeuse and crepe, the pieces followed the brand’s signature silhouettes, both structured and fluid. Beads and sequins embellished varied hemlines and multiple layering, all set against captivating scenes of mirth and magic. Motifs ranged from the sublime to nonsensical; friendly mice and naughty elves, clocks and teapots, flowering fields and star-filled skies, princesses and ponies.

HSY

Day-4’s finale was presented by acclaimed couturier HSY who showcased a collection titled ‘INK’; a collection inspired by Asia and specifically HSY’s journeys to The Land of the Rising Sun. INK represented the essence of Langkawi, Indonesia, Nagasaki, and Yunnan with natural and indigenous yarns, hand-woven to perfection. The collection featured the traditional dyeing techniques of Shibori from Nagasaki, Batik from Indonesia, and Gara from Sierra Leone infused with mackintosh, saffron, aubergine, eggshell, rosette, indigo and ochre. Created with the scorching sub continental summer in mind, INK channelled versatile hemlines to suit a diversity of younger, older, working men, women and homemakers alike.Read more here:www.marieaustralia.com/long-formal-dresses | www.marieaustralia.com/formal-dresses-brisbane

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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(man enters a tavern)
I'd like a room and a bath please

(tavern keeper)
a room I can do, but, a bath, totally out of the question

(man)
your sign says "rooms with baths", and I would like a room with a bath, as advertised

(tk)
you aren't from around here are you?

(man)
no, why?



(tk)
I thought not, so, I will say this slow...A room I can do, but a bath is totally out of the question

(man)
there is no need to take that tone with me. I made a perfectly legitimate request, as per your signage, and you take umbrage with me.

(tk)
I did not, and besides, I can't take it, if I don't know what it is. Hold on one minute....(walks outside, grabs a shovel on the way out...knocks sign down).

(tk)
(upon re-entry)....now, about that sign you said you saw. I believe you were mistaken.

(man)
this is the "three rivers tavern" as per the sign, which I assume is no longer hanging out front.

(tk)
It is, and your assumption is correct...it isn't

(man)
so, being the "three rivers tavern" would there not be three rivers in the proximity of this establishment from which you would be able to draw water for me, a bypasser, to get a bath

(tk)
yes...and no

(man)
what kind of an answer is that?

(tk)
Yes, it is the "three rivers tavern" and no, there are not three rivers in close proximity of this establishment from which I, a humble tavern keeper, and former owner of a sign, advertising, falesly, I might add...the presence of a bath in this establishment.

(man)
you are called "three rivers tavern" yet, there are no rivers nearby.? what kind of advertising is that?

(tk)
firstly, the sign was already made up, so, it was cheap. Secondly, who are you to question the name of my establishment, which I might add, is quite famous  in the region for many things, other than it's name, which, we may now be changing due to the sudden loss of our sign.

(man)
I sir, am Robin Hood of Sherwood.

(tk)
your'e not

(man)
I am. I am Robin Hood, Sir Robin of Loxley, if you please.

(tk)
I repeat...you're not. Not in those tights.

(man)
And what is wrong with my tights?

(tk)
Seriously? Do I really have to tell you that?

(man)
Yes, what is wrong with these tights?

(tk)
First off, Robin Hood, The REAL Robin Hood wouldn't be caught dead in those. Baggy, Saggy, there's leaves on them, holes...Robin Hood would have nice tight tights that were in good kip and accentuated his....

(man)
*******!

(tk)
exactly

(man)
No, I mean, how would you know what Robin Hood would wear? I mean, what I would wear? The condition of these tights helps me keep incognito in local archery competitions. If I went around showing ...

(tk)
*******!!! INCOGNITO? You are no more than a wayward traveller trying to get a free room on the reputation of someone else, namely...Robin Hood

(man)
My good sir, these are old, tights, ripped from swinging through the trees over time.

(tk)
If you are Robin Hood, tights or not...prove it to me. I'll give you the room, and go for the water myself.

(man)
How should I prove it, with no arrows, bow, and apparently no weaponry in sight. How do I go about showing I am Robin Hood?

(tk)
Use mine. Yep...use my bow, and I dare you to...to...shoot an apple off of his head over there. Oy....wake up. Catch (tosses an apple to man in the corner)
Put that on your head...he's gonna shoot it off.

(man in corner)
He's gonna what? off my...no he's not.

(man)
No, I will not. You obviously have me confused with William Tell. He's Swiss, they do things differently over there.

(tk)
You will, or you won't get your room

(man)
And if I should miss, what then?

(tk)
Not a problem. I've got lots of arrows and apples. We can just keep trying.

(man)
I mean HIM, what if I hit HIM.?

(tk)
You won't if you are who you say you are, and besides, I said I've got lots.

(man in corner)
But I'm your brother in law

(tk)
I've lots of those too. Now, here (hands arrow and bow to Robin)
Step back 10 paces, I'll open the door, and you....put that apple up.
One shot...hit the apple,....room and a bath....miss, and it's off with you

(man)
I really don't think...

(tk)
shoot or leave. Or...I can call the sherrif. If you are Robin Hood, he'll certainly want to see you.

(man)
Fine, give me those. (walks back 10 paces as the tavern owner opens the door).
(He fires, splitting the arrow in two, as the man in the corner slides to the floor)

(tk)
ROBIN!!!! Why didn't you say so? I knew it was you all the time. What can I do for you?

(Robin)
First, pick him up. Next that room. Then I have some requirements, that I need not be tested on. A bow, arrows, clothing, footwear. I need to look the part at the tournament coming up, when I do the big reveal, and I need the proper equipment. You, will help me with that, and seeing as how I have little to no money, as I said, I will need to put this on account which I will pay after the tournament.

(tk)
credit? You want credit?

(Robin)
Yes, as you can see, I am good for it.

(tk)
I saw you shoot an apple off a mans head from ten paces, not...win an archery competition with archers from all over Europe. CREDIT?

(Robin)
Here, hold this apple.

(tk)
Right, First things first...bow and arrows!!

(Robin)
I shall need to see the fletcher.

(tk)
that would be baker

(Robin)
No, I need a bow and arrows. I need a fletcher

(tk)
Exactly, Baker

(Robin)
I am at a loss. I need to see a fletcher and yet you keep saying Baker

(tk)
Right, The Fletcher is Baker. That's the man's name. You need to see Baker, the fletcher.

(Robin)
I see....I think. So I see the baker.

(tk)
You see the fletcher

(Robin)
Baker

(tk)
exactly

(Robin)
that's what I said.

(tk)
No,you said the baker

(Robin)
That's what you told me.

(tk)
No, I did not. I said The Fletcher was Baker. That's the mans name

(Robin)
Baker

(tk)
Now,you have it

(Robin)
Assuming I get what I need from the fletcher. I need a tailor.

(tk)
pastor

(Robin)
No, I do not need to see a pastor, I need a tailor

(tk)
That's the man's name. Pastor is the tailor

(Robin)
So, the pastor is the tailor

(tk)
No, Cooper is the pastor, pastor is the tailor.

(Robin)
I don't need a cooper, I need the tailor

(tk)
exactly. pastor

(Robin)
So, let me see...I go to see the pastor and the fletcher

(tk)
No, you see the tailor, pastor and then the fletcher

(Robin)
The Baker.

(tk)
Listen closely, or you'll never get your room. You see Baker the Fletcher and Pastor, the tailor. Not, the baker and the pastor. You keep getting mixed up

(Robin)
I'll need to write this down
Ok, for footwear, Cobbler

(tk)
Butcher

(Robin)
The butcher makes shoes too.?

(tk)
No. Butcher is the cobbler

(Robin)
That's what I said

(tk)
Look, it's dead easy, you go to see Baker, Pastor and Butcher and you'll be set

(Robin)
I'll end up with bread , a bible and meat. How does this help me in an archery competition?

(tk)
No...you see baker the fletcher, pastor the tailor and butcher the cobbler. It couldn't get any simpler

(Robin)
Maybe I don't need that room after all.

(tk)
follow...fletcher baker pastor tailor butcher cobbler. then back here.

(Robin)
No...I think maybe....is there another village close by.

(tk)
Yes, on the other side of the three bridges

(Robin)
Which, as we know, do not exist

(tk)
And...they speak Welsh!!! your choice

fade out

My technology nightmare
Leaves me euphoric this morning.
Addicted, like drug trials,
I knew the risks going in,
Got hooked in The Cloud &
Now it always seems easier,
With diminished psychic chafing
Whenever I go with the flow, as the
Hipsters are saying again.
Yes, the hipsters:
Finally, some kids I can relate to.
At least on some level, their music e.g.
The first thing I did this morning,
Waiting for my laptop to boot,
Was put a CD on the stereo:
Matrix Reloaded: The Album.
I set the shuffle function,
Looping back between
Linkin Park’s Session &
Team Sleep’s Passportal.
You can tell a lot about
What kind of day it will be
By the soundtrack you choose,
Your infinite play list,
Don’t ever say these kids have no culture,
Or nothing to share with us old farts.
Old Farts: an apt, Baby Boomer term in 2015.
Kids’ music, some of it quite good,
Quite 60s-worthy if you catch my drift,
As we used to say while grazing in the grass with
Hugh Masekela & his Naai Mongoe-Swazi red,
Surfrikan homeboys & band mates, & that
ANC Kwa-Guqa Township posse,
Shadowing him since Sharpeville.
That’s right, Babaloo,
Go with the flow.
Don’t fight it. You’ve been spared the unintended
Consequences of government shenanigans &
Free market meltdowns.
Consider this a CEASE & DESIST NOTICE:
Cease swimming upstream Mr. Phelps.
Desist fighting tide & current, Michael.
A mariner’s distinction, yet serviceable &
Purposed for this narrative.
“And away we go,” croons a Gleason levitation;
Aloft we go into the wild blue yonder.
The Cloud: an exalted playground.
You are atop the slide,
Kindergarten lord of all you survey,
Sultan, Chinese Emperor & Venetian Doge,
A 90-caliber Duke of Earl,
You are euphoric, Mike.

The descent into the humanoid condition
(See Paddy Chayefsky’s Howard Beale),
Is slick and precipitous.
It begins when you first finger ****
A pocket calculator or touchtone phone,
Or use a Xerox machine.
From there it’s a quick slide down
The technology ****-shoot: video games,
Spreadsheets & word processors,
Emails, texts & tweets,
Laser projection keyboards,
Wi-Fi amplifiers,
GPS navigators, &
Apps for No-Strings *** . . .
By “****-shoot” I editorialize, of course,
In a state of future shock,
Resenting planned obsolescence,
Contemptuous of shrewd **** kids,
Wharton School sharpies,
Scoping out price curves & flowcharts,
Colluding at industry trade shows,
Powwows & confabs,
Releasing newer, more versatile
Models & spinoffs, according to a
Scheme planned three years in advance.

I salt the inevitable wounds of technology,
Taking my fight to the streets, realizing too late
My sole means of alerting the flash mob
Is by so-called smart phone,
*******!
Even the revolution has gone digital.
Poor Gil Scott Heron, dead last year at 62,
Poor Scott Heron, channeled into the
Harlem Renaissance by that loyal Chicago Defender,
Subscriber & reader, to wit: his Grandma,
A “Rainbow Conspiracy” co-conspirator,
Cooking ham hocks & collard greens for that
Mythical coalition of Young Lords,
Black Panthers & SDS.
Heron’s prognostication was wrong:
“The Revolution Will (In Fact) Be Televised!”
We’ve witnessed quite a bit of it,
Lately, prime time lately,
Live by satellite from once exotic places,
Places like Tunisia, Egypt, Libya, Syria & Ferguson, MO.
I say “once exotic” because it’s hard to be
Visually intoxicated by images of screaming brown men
Sporting New York Yankee ball caps,
“Vote for Pedro” T-shirts and
$200.00 Air Jordan footwear.
Admittedly, the production values of
Revolutionary journalism have improved,
Action reported Hollywood-style,
Narrative arcs, scripted episodes,
Drive-by Potemkin villages & battle scenes,
30 or 60 or 90 day shooting schedules.
Spontaneous proletarian uprisings as Reality TV,
Riveting dramas,
High Nielsen ratings & $500K
Per minute corporate sponsors.
Let’s view the new fall line-up:
(1) “Mustafa Behaving Badly!”
(2) “Tunisian Tear Gas Talent!”
(3) “Gaddafi Gets Sodomized!”

To be a good writer or a poet
You have to be good at wearing shoes other than your size
Size 1, 2, 3, up to size 10
Even if it falls off your feet or too tight, you just have to try

Not only shoes, also all other kinds of footwear
From socks, sandals, flip flops, and slippers
High-heeled, boots, flippers and sneakers
Even barefooted, if there's nothing else to wear

Then, walk with it, run with it
Feel the calluses and feelings it brings
Up until its soles are wearing thin
Then, write the experience

Cinderella had her slipper, which was made of glass.
Something so small, yet, so delicate.

And I, much like Cinderella, have something made of glass.
Something so small, yet, oh so delicate.

It’s my heart.

And I think the clock just struck Midnight.
But only one of us can get our happily-ever-after.

And here’s a spoiler:

*It’s the broad with the wacky footwear.

The myriad of possibilities
enliven my ******* semantics
somewhere to go when
my slippers tell me not to

The words that i exhale
are the engine that fuels imagination
something to sustain when
my noggin is void

The vibrancies that rattle me
attribute to the found experience
somehow they strum
when my heartstrings are mute

The mountains that topple me
serve demise to my slippery friends
someways i have adapted
now i listen to blue boots

As the sun rose up and the stars came down,
Morning dawned upon the town,
but the darkness didn't fade, as something came along,
To finally right the drought's wrong

Temperature dropping, birds chirping,
Thunder roared, as the aves beat wing after wing,
The scent of fresh mud clouded our nostrils,
and the crashing of water droplets had our ears filled

We ran as our footwear pounded the drenched land,
Only to notice the street dogs huddle under shelter,
Shaking themselves to get rid of body sand,
and expose their glossy fur

Soon enough, mother nature ended the delightful downpour,
Leaving us craving for more,
but the best part is the fact that monsoon has just begun,
So leave a smile on that face, for things are still great without the sun!!

bespeckled, blotched & blokey
feminine in aspects
only little ****** hair patches
two chins,
or rather a sloped one
the front evenly declining to the middle of the throat
a gradual ***** from the tip, for juices to run if his manner and situation allowed him to be as casual and sloppy as his laziness chose,

torso without form, so there was no curvature on the buttocks or the fly region.
a mass
a blob of bulges on spindly legs

he leans on the wall
stubby in hand he balks
(he means jovial but unintentionally he vocalises mockery)
at the suggestion that the Pies will do better
& that Eddie is a clever man due for thanks, who has done his club well (apparently a straight Aussie arrow tried and true!)

the man ***** his head back & cackles
(the trebly popping bubbles of a gala crackle outwards as the man cackles)
& decides his arms need a rest,
(a long day of up and down they have had indeed, they deserve respect, or rest (or a benching))
  so he places his beer down
on a sloped surface,
& therefore it slips down….

he sees it plummeting, he stretches toward it's tragic trajectory,
…..but he is too slow
it smashes
on his foot (the shards) the beer bottle it transfigures,
and the shards they impart their misery on his toes.  
The shards they intrude on his relaxed state of wellbeing, they intrude on the security sanctioned within the casual footwear of a man at a barbecue; taking it easy.
he swears and hops, reaching in indignation for his bleeding toes
he holds the wound cursing; resisting the impulse to begin convulsive throws
(an oscar worthy performance from a usually suburbaly urbane individual)

the moisture feels degrading
(as it would within a man's pants)
the pain from the cuts it is worsened
by the smirking gazes of others about

he hobbles, disregarding his thong in the wreckage of the scene

off to retrieve a band aid
to mend his ego
and his foot
simultaneously

I’m not quite sure, yet everything I do
appears to me as being viciously half-assed
yet sincere.
I write this mid-winter [I guess?] on the RTA
with twenty dollars on me and I don’t want to know
in the bank, with cold feet, both literally and metaphorically.
The future looks decent from a distance in bar light.
As I feign some resemblance of being classy and
collect more sodium on my footwear,
I ponder the passing of an officer who flashed a light
to look at me in the dark on my way from home.
It makes me glad I speak English, where there
are such hard, sharp and unsympathetic undertones
to phrases like, “*******”.
It’s dark on the way through Cleveland.
Try to stay warm.

Looking for another acting award
An actor asked one poor, what his shoe looks like
The unfortunate caught off guard
But he smiled, then answered with no fright

Well, today it doesn’t look so well
You see I don’t wear it now
Looping sun and rain hurt it like hell
But it is tough and survive somehow

It stands tall against the mighty storm
I really appreciate its endurance
But as time goes by, its look deformed
I don’t know if it can take another resistance

So here I am now walking on the street barefooted
But may I ask you sir, why are you asking for my shoe
You see I can’t buy one, my pocket is so wounded
Hence believe me about my footwear, it’s all true

Looking for another acting award
An actor asked one poor, what his shoe looks like
Now he got the best trophy reward
A teary eye, a lesson that deeply strikes


9/17/2015
Mysterious Aries

I'm not Little Miss Muffet
From a spider I won't run away
I'll just squish you in a tissue
Or grab a can of bug spray

If that won't be sufficient
If that would not do
I'd just take off my footwear
And smash you with my shoe!

Spider, Spider there I see you
crawling upon my bedroom wall
You give me nothing but the creeps
with every single inch you crawl

You may weave interesting webs
But don't think I'm making nice
If I were not human (but a fly)
I'd be an entangled, delicious bite!

I hate your figure-eight, rounded body
I hate your dangly legs, eight
Is there anything about you I like?
No, I think everything about you I hate!

Polka Dot, Polka Dot, a one pony show
Strange name for a child, but she loves it so
Cheerful wee girl with sweet smile aglow
Adores all round shapes, expects you to know

Her twenty one garments sport assorted dots
Basic eight pairs of footwear, orange and green spots
Gaudy bows for her hair, with colored rings, lots
Dot sees spheres imbedded in her eyes and thoughts

Blankets and curtains, guess what, dots and lace
The spotted mouse toy for the cat to chase
Walls with orbs and specks on all space
In the right light they reflect on your face

Dot's off to school with a polka dot hat
Coat, umbrella with circles, imagine that
Polka dotted notebooks, pencils and backpack
Rides pink spotted two wheeler, parks in bike rack

Poor Polka Dot started feeling sickly ill
Sent to school nurse where she refused a pill
Saw the Doc, calamine lotion and advice to chill
Spots! Chickenpox! Polka Dots notable thrill

Getting married on a beach, mountaintop, remote villa or rustic rural setting is a romantic ideal for many brides.

But what does that mean for the wedding dress?

Should you go formal or footloose? Will your gown fit in your suitcase?

A bride having a "destination wedding" should think about versatility when choosing a gown. She must be "concerned about being comfortable, more so than your typical bride. She has to contend with weather and terrain, making her gown choice critical to how at-ease she feels on her special day," says Lori Conley, senior buyer for David's Bridal.

Christine Pagulayan of Toronto and her fiancé, Ian McIntyre, jetted to Costa Rica in 2013 for a resort wedding.

"I had a (dress) style in mind: strapless, low back, white with ruching. Initially, I thought about going short, since we were going to get married on a beach, but I then realized that even if it may be heavy or sweaty, I wanted a real wedding dress. So we found one that had a gorgeous train, but it also had a bustle so I could dance," Pagulayan says.

Some dress trends for destination brides:

• LIGHT FABRICS AND SHORT HEMS: Many traveling brides favor lightweight, airy fabrics.

"Chiffon and organza are always favorites. Full trains can be cumbersome if you're navigating sand or grass," says Conley, of David's.

"A lot of brides opt for the ease of a sweep train," which just grazes the floor.

David's destination-friendly dresses include styles in full or tea-length tulle, soft lace or chiffon, Conley says. Fabrics that travel well for brides wanting a more structured gown include silk gazar, georgette and crepe, which are "lighter-weight versions of silk faille and Mikado," says Carrie Goldberg, associate fashion editor for Martha Stewart Weddings.

J. Crew's Karina short dress, for instance, has a flapper-esque fringe, and is covered in corded lace. • SEPARATES: "Tops and bottoms are not only easier to pack, they allow for mixing and matching fabric and fit to get a silhouette that feels unique to your personal style," says Goldberg.

Separates work for any destination, she says: "A full organza skirt may appeal to a bride getting married on the beach; pairing it with a delicate silk camisole suits the location. The same skirt would suit a mountaintop affair when paired with a fur bolero or a fine knit."

J.Crew's Sloane poly-cotton long skirt has a simple, draped profile; a silk cami top embellished with beads, crystals, sequins and paillettes in a floral motif creates a dressy look.

At David's Bridal, there's the crisp Mikado cropped top balanced by a flowing, organza ball-gown skirt, creating a modern silhouette.

• COLOR: Let the venue inform your choice of hue, Goldberg says.

"A sunset wedding in Napa pairs beautifully with a blush gown, while the colors of an Amalfi Coast wedding may inspire the bride to opt for something blue."

• VERSATILITY: For bridesmaids — or perhaps even the bride — White House Black Market has a clever option: a short or long pull-on gown with a customizable top. You can adjust the straps on the "Genius" dress to make a halter, one-shoulder or cap-sleeved version. Easy to pack, affordable and available in a range of colors, these might be a good option for a group of bridesmaids.

• FOOTWEAR: Flats or wedges are ideal for beach or garden: "The more surface area the sole of your shoes have, the easier it will be to walk," says Conley.

Keep in mind that satin or grosgrain might get stained by grass or sand.

Another option for beach brides is "foot jewelry," an accessory that does away with the need for an actual shoe.

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

www.marieaustralia.com/plus-size-formal-dresses

Catwalk creations and cutting-edge designers will be turning the North East into a glamorous showcase this week to delight the most dedicated followers of fashion.

NE1’s Fashion Futures will make its debut at Baltic in Gateshead on the day that also sees student collections unveiled there in Northumbria University Graduate Fashion Show.

Wednesday marks the start of NE1’s two-day fashion-steeped extravaganza of shows, talks and panel discussions and the event, a first for the region, is attracting big names in the fashion world such as British Vogue editor Alexandra Shulman, top designer Henry Holland and home-grown designer-to-the-stars Scott Henshall.

It is born from local business champion NE1’s Newcastle Fashion Week which ran for four years.

The idea is to bring the best aspects of that together to shape a whole new-look affair which will culminate in a Fashion Front Row event on the Thursday evening.

As well as highlighting the mark the region has made on the fashion industry, with North East-trained designers on the guest list, the event promises a perfect opportunity for anyone keen to learn how to follow in their successful footsteps.

High profile brands Mercedes Benz of Newcastle and international footwear designer Terry de Havilland are sponsors of NE1’s Fashion Futures which is organised by marketing and events manager Sandra Tang.

She said: “The event and its contributors highlight the strength of the region’s fashion industry, will help us celebrate the city’s fashion academic heritage and hopefully encourage a new generation to enter the fashion industry.”

This year’s Northumbria University Graduate Fashion Show, called FASHION, will be held at Baltic during the first day and the catwalk show is set to attract buyers and industry figures from around the world.

Then Thursday will see the main programme of free Fashion Talks run from 1pm to 3pm, aimed at young people interested in a career in the fashion industry.

There will be plenty tips to be had from the likes of Henry Holland who is known for his eye-catching designs and fun style.

He will be in conversation with fashion journalist Laura Weir and giving an insight into his life as one of the UK’s leading fashion designers. He has dressed famous celebrities, won international acclaim for his collections and sold designs in glamorous outlets such as Liberty.

Alexandra Shulman will also take to the stage to talk about her own life and work and give advice to any aspiring designers as well as style journalists.

And there will be a panel discussion with fashion experts including former Northumbria University students Michelle Taylor, founder of luxury lingerie brand Tallulah Love; Charis Younger, a menswear designer at All Saints; and Kate Ablett, a senior designer at Berghaus.

Joining them will be Terry De Havilland’s managing director Darren Spurling.

That evening’s Fashion Front Row event - a popular feature of NE1’s former Newcastle Fashion Week - will then showcase the best of the North East designer talent.Read more here:www.marieaustralia.com/formal-dresses-melbourne | www.marieaustralia.com/formal-dresses-perth

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

In this age of global uncertainty, clothes have become a kind of panacea for a growing number of consumers. Designers are responding to the political upheavals of the past year by injecting some much-needed humour into women’s wardrobes. Browns CEO Holli Rogers is already predicting that spring’s sartorial hit will be Rosie Assoulin’s smiley-face T-shirt. This cheery number, which reads "Thank you! Have a Nice Day!’" neatly sums up the jubilant mood of the coming season.

The logic goes that turning up the dial on the fun, the colourful and the crazy is the sartorial equivalent of Michelle Obama’s "when they go low, we go high" mantra. We may not be able to control the chaos of world events, but we still rule our own style.

It’s no coincidence that a cartoonish aesthetic, of the sort you’d find if you rifled through an eccentric child’s dressing-up box, was in plentiful supply on the spring/summer 2017 runways. Alessandro Michele’s army of Gucci geeks displayed growing swagger in garish get-ups that ran from fuzzy crayon-coloured furs featuring zebras to tiered, tinsel-y coats that rivalled Grandma’s Christmas tree.

It was a similar story at Dolce & Gabbana, where sumptuous eveningwear was loaded with pasta and pizza motifs, and drums became bags, while Marc Jacobs tore a page from a psychedelic colouring book, covering clothes with the childlike scrawl of the London illustrator Julie Verhoeven. Even ardent minimalists would have to admit that these playful looks have potent pick-me-up power.

For Anya Hindmarch – whose empire is built on feel-good fashion – all this frivolity is nothing new. "An ironic, lighter and more irreverent approach has always been my thing. People love beautiful objects and increasingly, they want to show their character – that’s the point of fashion," she says. "Customers today are more confident with their style. There aren’t so many rules. It’s about putting a sticker on a beautiful handbag and not being too precious about it."

What’s surprising is who is consuming this cartoonish style. Though there’s no real rhyme or reason, says Hindmarch, often it’s older clients who are investing in the maddest pieces – like her cuddly, googly-eyed Ghost backpack that has also been spotted on Gigi Hadid and Kendall Jenner.

The same is true of the customer for the Lebanese designer Mira Mikati’s emoji-embellished styles. Though her fans run from twenty to fiftysomethings, at a recent London pop-up one of Mikati’s most ardent buyers was an 87-year-old. "She tells me that whenever she wears my clothes people stop her on the street. They smile. They start conversations. She literally makes friends through what she wears."

Mikati began her career as a buyer, co-founding the upscale Beirut boutique Plum, before launching her own line some four seasons ago – largely out of frustration at the sameness of the mainstream collections. "I wanted to create something fun and colourful but easy to wear – that you can add to jeans and a white T-shirt, but that’s also a conversation point."

Her clothes, worn by Beyoncé and Rihanna, are certainly that: pink parrot-appliquéd trench coats, scribble-print hooded tops and dresses clad with a family of monsters who spell out her Peter Pan ethos in scrawled speech bubbles that read "Never Grow Up’" The antithesis of normcore, these designs take their cue from her children’s toy trunk and the Japanese pop art of Takashi Murakami – who returned the compliment by donning one of her patched bombers.

Mikati is clearly onto something. According to Roberta Benteler, who founded online fashion emporium Avenue 32 in 2011, it’s the cartoon aesthetic that’s really piquing women’s desire right now.

"Anything that looks like a child’s drawing or a toy sells incredibly well," she says. "Brands like Mira Mikati, Vivetta and Les Petits Joueurs inspire the impulse to buy because they’re so eye-catching. You have to have it now because there’s a sense you won’t find it anywhere else."

The exponential rise of street-style stars and the social-media machine that now propels the fashion industry also plays a part in the popularity of these playful looks.

"Designers are creating for the online world and customer," continues Benteler, who cites the Middle Eastern consumer as a big investor in these niche eccentric designs. "People find escapism in fashion and more than ever they need something to cheer them up. These are clothes that stand out on Instagram, and for designers that translates into sales."

In practical terms, in an effort to beat the warp speed of high-street copying, designers are differentiating themselves with increasingly intricate and artisanal styles that are harder to mimic. Just because these pieces have a childlike sensibility doesn’t mean they’re not beautifully crafted.

"My aim is create a handbag that you can keep as a design piece," explains the accessories designer Paula Cademartori. One of her most successful designs – the Petite Faye bag, which comes in a whole rainbow of configurations – takes more than 32 hours to create at her Italian studio. "Even if the styles are colourful and speak loudly, they’re still sophisticated," says Cademartori, whose brand was recently snapped up by the luxury goods group OTB. It can pay to be playful.

One man with a unique insight into the feel-good phenomenon is Marco de Vincenzo, who combines his longstanding role as leather goods head designer at Fendi with creating his own collection. "When we first created the Fendi monster accessories for bags we were simply playing around," he says of the charms that still loom large some three years on. "The most successful designs are created without pressure, through play."

His own-line debut bag features an animalistic paw. ‘It’s about creating something new and different for women to discover,’ he explains. "You buy something because you love it, not because you need it. Fashion is like a game – it has to excite."

When it comes to distilling this childlike abandon into your wardrobe, take cues from super style blogger Leandra Medine, who balances madcap pieces, such as her first collection of colourful footwear under her MR By Man Repeller label, with plainer, simpler ones. "It’s all about wearing your clothes with joy, and having fun, but not looking ridiculous," says Cademartori. "You don’t want to look like an actual cartoon."

It’s advice that chimes with that of Anya Hindmarch. "I love the idea of wearing a super-simple Comme des Garçons jacket and a white shirt with a really fun bag to mess it all up a bit." It’s a failsafe formula for dressing your way to happiness.Read more at:http://www.marieaustralia.com/formal-dresses | www.marieaustralia.com/red-carpet-celebrity-dresses

Alot of websites have web auctions for just about anything you can dream of, while others specialize. There are some just for tools, and others just carry clothing, shoes, and accessories. If you cant find something on eBay, you may find it on one of those other sites.

Americans possessing airsmax counterfeits often take a humorous, tongue-in-cheek approach to their display. Take Britney Spears for example: in a 2005 video for her song o Somethin, Britney and her friends are depicted driving a souped-up Hummer, trimmed in fake, Louis Vuitton upholstery, to a night club. (Britney and MTV were subsequently sued by LVMH, who won the copyright infringement lawsuit in 2007.

There are other reasons for buying womens shoes online. Those who need narrow or wide sizes can actually find them. There are eco-friendly shoes and diabetic-approved shoes.  Since you have an online business, you will be able to offer a wide variety of shoes and styles to customers around Womens Nike Air Max 87 the globe. However, you need to be able to differentiate yourself from the rest of the competition. Here are some tips to make it easier to sell your shoes.. (babyandyUSA-March-11)

In addition to these daily routines, your home needs to be thoroughly cleaned at least twice a month (once every other week). If you do not have a professional housekeeper to do it, then divide up the cleaning among all of the capable members of your household and schedule specific days and times for the chores to get done. Hold yourself and everyone else in your household accountable.

Not only that, you can collect them from traveling where you can get it from the gift shop in the destination you are in. One way to get them without having to go on vacation or globe trotting all year round is to have your friends and family members pick up one on their vacations and send one to you. They're small enough and cheap enough to pick up while they're away, and it'll add to the interest of your collection..

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Yes, the Glass Slipper fits.

But I will not go with you.

You stand shocked in your magnificent Uniform,
Black shoes and Spurs sparkling
Sword shining in its scabbard,
Proud blue eyes wide,
Handsome face stunned

Prince Henry Alexander
Your father gave a ball to find a queen,
but you found me instead.
We will marry
BUT you will be the one transformed, not me

You rode to my house on your beautiful Horse,
descending from your castle,
to bring your future queen back to your life
of Privilege and Royalty.

No. I will bring you into my world of
menial work and sacrifice and exhaustion.

My fairy Godfather is here to help transform you.
You came with a glass shoe for my foot.
But now YOUR polished shoes and silk socks,
footwear of a Prince,
are coming OFF your privileged feet.

You are stunned and horrified
You resist and argue
You refuse and try to leave
Your pride and anger rise
But there is no escaping your destiny.

You are now the barefoot Prince among the cinders
Barefoot in your Dazzling Court Uniform
Would you ever dance barefoot in your elegant Palace
Naked soles instead of smartly clicking shoes?

Now we take your Royal Sword
You will not be fighting battles anymore
Your Medals and White Gloves are pulled off
You shudder as you surrender pieces of your
Royal self to our hands.

Here are the rough clothes of a peasant farmer
made of rough burlap.

What are these? You gasp

Strip off your magnificent Imperial Uniform.
Scarlet Tunic and pressed striped blue Trousers
Royal Sash and Epaulettes
that belong to your former Princely life
Step into your new uniform of labor and poverty.

You struggle with outrage and frustration
but a surge of courage gives way
and crumbles
as my Fairy Godfather strips you of your inherited
Nobility and Privilege

Send a message to the King and Queen
You are renouncing your Royal Throne
Your birthright
Your former life and former future
All that you once were
and all that you were born to be.

You are no longer Prince Henry Alexander
Soon to be King Henry Alexander IV...
What name is that for a peasant?
You are now Hank
That is all. Just Hank.

Renounce your Princely Education
your formal training
your upper class speech and manner.
We will help you strip yourself
of your High Position.
Do not worry.

Your Aristocratic identity is already dead.

We will sell your splendid Sword.
We will trade your former sparkling black shoes
for a pig
Exchange your former Brilliant Uniform
for a goat
Your former ring with the Royal Insignia
for grain and seeds
Trade in your former Spurs and black silk socks with
the monogram of your former name for a plow.

Your head of wonderful Golden hair,
the hair of a Prince on a Throne,
the hair of Warrior in Battle,
hair for a Palace, hair for a Ball.

I remember the palace lights
shining on your beautiful Golden hair....

All that glorious hair
must be shaved off.

Your handsome face already in shock.
Your mouth drops open.

Your Golden hair will be sold
to make a wig for a wealthy bald man.
Let him wear the Princely hair with pride.
YOUR pride and dignity are shriveling and
vanishing like raindrops on a hot day

You will work long hours in the fields
You will sow and reap, tend the animals,
Chop trees, you will be a beast of burden,
We have no Ox.
We will attach the plow to your Princely shoulders.
You will have no need of thick, full golden hair.

Your Princely hands and feet are smooth, clean, white
protected by shoes, boots, spurs, gloves.
But soon the earth and rain and wind
will enter and crack them.

Your beautiful, beloved Horse,
Groomed in the Royal Stables,
waiting outside the house
is no longer yours.
Yes, we will sell him as well.

Together we will live a life of drudgery.
We will have children who will never know
their Royal lineage.
You have descended to my level
and here you will remain...

I will name our new pig Prince
to remind you, as a gentle joke for summer nights...

For sustenance we trudge on
Just to sustain
This callus equilibrium of fragile crystals
swaying in the wind, falling constantly
Employing the cleverest techniques of fleeting upward momentum
Short-lived displays of affection bleeding the small offering received at birth
endlessly replayed to our children's eyes
Despondent indentured servants scribbling through skin and tendons
Just to feed their families the rice they can no longer grow
And sending these fairy tales to the rosy-cheeked offspring of their oppressor's store bought dreams
To keep the oppression alive .
To operate at peak efficiency.
To transfer honest muscle through wire mesh.
And fatten.
And enfeeble
Enforce the prerequisites to match the scale's testimony.
Testify! Oh, Lord. We thank you for this meal stolen from our inferiors.
Please Please Please.
We demand pleasure. IT IS REQUIRED.
For if we feel sadness, then we have failed.
And we'll lay down what we don't have space in our engorged bellies for.
It will be placed, with all due honors, to our greatest shrine.
Where we are honest with our real Mother.
Where the proud, twicely worn, footwear of our warrior-spiritless cows rests
Where erections limp as collapsed towers, respected by false jihads, sleep.
Where dream's plastic refusal composts never; nourishing nothing.
Where potential is pure impotence.
The bed we all share.

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Boiled down to a puddle of liquids
there's not much to say
except bring your wellingtons

For my mate Ernest W who cared....

Invisible in silky strands, a gossamer of lethal thought,
Drifting through the nether regions, touching on my mind.
Complication’s vagaries encroaching on the circumspect
Magnifying well beyond solutions I can find.

Nervous in the groundswell now, I feel it all inflating,
Inflating to a curtaining beyond my self control,
Waves of peristalsis in a shrill persistant keening,
Locking out the sanity in holding logic’s goal.

Waves of peristalsis in a bath of perspiration
Panic in a rupture at the coccyx of my spine,
Ravenously eating at the fabric of all reason
Ravenously gnawing at this rationale of mine.

***** in a puddle on the floor beside my footwear
Cloying is the stench of the ***** in my drawers,
Lost are the vestiges of any thought of decency
Gone is the differentiation in my flaws.

Clenching of hands in a bind of blue confusion
Catatonic slowness in arresting the decline,
Vaccilating eyeballs are rolling for the camera
And utter desolation is a flavour on my mind.

Why be concerned with the shaming of tomorrow?
Why come to terms with the maunderings of late?
Why face the music of the mirth and derision
When there’s a more practical direction to take?

Glide to the realm of the smooth overflowing
Slide in the slipstream oblivion makes,
Slip the bonds of your sad  mortal tenure’s
Awful array of destructive mistakes.

Glide to the realm of serene independence
Glide far away from the troubled and hard,
Gone to the gossamer web of the ether
Gone to the nether world’s silky facade.

...........: But what's the guts Courageous,
You happy with your deed?
Are your friends all overjoyed
To see your suicide succeed?
Is your family unaffected
By the loss and guilt remorse,
Your sudden grand departure
leaving kids without recourse?

Did you think about the aftermath?
The chaos and the pain
And the long term implications
Of your shattered families' shame?
The guilt within your partners heart,
The kids who are confused
And the ****** dissapointment
Of your mates.. who feel abused?

The mess you left behind you
And the tangled web you wove
And the bruising of good memories
For which, you once,...had strove.
Your painless, quick demise, you thought,
Released you from all this.....
But the sadness in the silent eyes
Condemns you as remiss.


Marshalg  
In an effort to understand why?
....And explain why not !
9 December 2010



Read more: http://hellopoetry.com/poem/suicide-12/#ixzz17kzvfsTk

I have only seen myself as a beautiful artwork once in my life,
It had been the advent lovely Spring of sweet sixteen,
There is a photo of someone else’s mind in which I am the subject, rife
With calculated gorgeousness, the white blouse and powder blue skirt
And I had been wearing black ballet flats; a day upon my feet had left me hurt
But the enchanted, oil forest before me had healed my eyes and entranced me
That pose, holding onto myself with ribbons in my hair, someone could see
A beauty that which I have never known since.

Into the heart of the Prince
Into the hearts of all the folk for she was a fairy tale heroine,
Cinderella, lovely lady of ashes, had glass slippers
And upon such toity-toity footwear, she had slipped
Yet, it had been such fragility that would unite her with her love

Will I be united with such grace, such love for myself, if I hold onto my ballet flats?
After all, I have not once seen this grace, such love for my own self since sweet sixteen
Since the foolhardy winds of chilly, oceanside Spring;
Where upon the Museum modern, I saw myself as timeless artwork
Admired and appreciated by all; much like the lovely lady of ashes whose slippers
Have walked her beloved soul into the hearts of all; into the best of time

Yet, these beloved shoes of mine
Have seen so much better of time
For I can see through the soles wherein holes
Have shown where I have worn my own souls
In bitter wanderings and light-hearted adventure; so many type of walk
For a single lass, I could not talk
Of all the places and thoughts these shoes have led me astray within
Of the beauty that had once sunken in

How am I to part?
How am I to part with such faithful companions through all my wanderings of
Yonder years soon to come asunder as I am no longer sweet sixteen,
As I am no longer before entrenched trees of oil, elevated in buildings upon
A chilly, Springtime by the sea I’ve only known in passing afternoon
In black ballet flats; not unlike the glass gussied slippers of lovely cinders

Am I not unlike Cinderella?
For whom would she be if she had not received the night of her life
As carried upon the fragile spurned glass of her magic slippers
For whom had reunited her with her love, the foot fetishist Prince;
Lovely lady of ashes would be just that: lady of ashes,
Worked to beyond the bone; dressed in rags, head in clouds,
Dreaming of opportunity squandered in her slippers of magic glass

She would be like me.
She would be like me, contemplating her toes in birdsong prose
She would be like me, wondering when she would feel as refined as a classic artwork
A beautiful timeless painting with grace and poise without rival supposed

If I part with these worn soles which have born my souls cross
My journeys long, will I ever be at loss
Over mine own image rendered beautiful: my own body rendered beautiful to my eyes?
How can such skin-deep bliss exist without my black ballet flats?
How will mine own eyes recognise my beauty
If it were not for dainty small feet slotted into impractical, magical glass slippers
In want of my dear and precious black ballet flats.

A late evening time at Starbucks is pleasure undefined
I was expecting a lady tired at 9
But she looked perfect and absolutely fine
Whipped up her sweater and wore it inside out
Pretty and gorgeous she looked anyway, without any doubt
A very pretty young lady you see
She offered her hand to me in greeting and I accepted it gladly
Her hand was soft and smooth like silk and gripped mine firmly
In my large paw her little hand was almost like that of a child
In silence we continued to shake hands and I just smiled
She then turned away and bade me follow her saunter
I followed her exotic heady fragrance to the coffee counter
Silently she glimpsed the menu mounted on the wall
A latte with cream and do make it small
Even wearing flat footwear I marveled at her daintiness
Only reaching the dizzy height of five foot three more or less
The straight smooth hair cascaded onto her shoulders softly
A fitted silk blouse complemented her waif-ish frame perfectly  
I know not of her covered  waists and the hips
Then the shapely feet perched up in a cushioned stool
The overall effect was stunning and I was smitten I will confess
Then light illuminated her form through silken dress
The sudden transparency left nothing at all to the imagination
Seemingly completely oblivious to the effect she had achieved
On the red-blooded man in her wake she’d never have believed




And then she paused with a vacant look and looked at me
And the illumination in her eyes lit  her entire body
The vent of her dress caught in the seat
The glimpse of her footwear confirmed the intent I had
A she elegantly slipped into a comfortable position
And gestured towards me to take my place
She is not coy neither is she proud she is upright and confident
Her hypnotic voice was crystal clear yet soft
I was mesmerised enveloped into her intoxicating looks
She opened her bag and gently took out her laptop
Like a precious work of art she had paid for at Sothebys
Every stroke on the keys was like a brush stroke of an artist
As her well kept hair cascade to her shoulders like a drizzle
The light above made her skin sparkle along with her strands
Golden droplets like a stream caressing her neck gently
I was transfixed and my thoughts ceased momentarily
Then it started like a wind blowing in the land of fantasy.


The light flickered unassumingly her strands of golden hair glistened
A small streak like a golden rain tumbled and caressed her nape gently
And rested on her soft shoulders diffidently
The hues of colours made me question the rainbows dedication
Her eyes were captivating and pieced through me like cupids arrow
And her nose the seemed to constantly sense goodness as it tingled
Her mouth extended stretching her lips signifying the enormity of her heart
Her words come forth from her moist lips and decorated my heart
On brief occasions she let he lips do a waltz in her mouth
I glimpsed at her smooth arms a few shades of same colour
Those delicate fingers those nails were like **** for a drug addict
Few rings clung on to her fingers and I envied them
Jewels adorn ordinary mortals she had none - the radiant jewel herself
Her keys dropped to the floor and she bent to pick it
Her blouse gaped revealing her breast a wee bit
A milky white flesh in crimson blaze and I avert the gaze
It was time to leave but my emotional storage tanks were full to the brim
I held her cheeks for a second and then she was gone
Her dazzling beauty turned on the stage lights and I was blinded
My language centres seemed to have gone on an vacation
There were no words to leave my mouth
I held tight to her fragrance that lifted me up in the air
Behold i could fly.

The spitfire met the Messerschmidt his back was to the sun.

He rolled away right into blue skies dotted with puffs of
Cannon fire smoke stitched a  polka dot trail behind.

Chalk white cliffs glisten in relief. Soon the moment of truth will step forward destiny waited patiently it's turn as the island burned by night

The speckled.sky by day. The chatter and moan the struggle of flesh

against fire and steel.
Against will a death-dealing skill
**** or be killed
A ballet of silver winged coffins filled with fear and courage.
Times that try men's souls.
In the end.

The outcome was in doubt for many who stood
and made stand  that spoke of commitment to survival.
That spirit is now past.
But school will commence again
soon. Soon.
Sorry to say.
Read gaping spaces between the lines. Though a different
wolf wrapped in fine garments and expensive Italian footwear
will prance into our nightmares
stoke our insecurities
smile and assure.
No Mustache or comb-over though.

Doomsayer say you.
Chill pill versus paranoia.

Two posts emerged on my Facebook,
And sorry I could not peruse both
And be one user, long I stood
And scrolled down one as far as I could
To where it went into a long blockquote;

Then read the other, as just as shared,
And having perhaps the better claim,
Because it was classy and about footwear;
Though as for that the likes there
Had rated them really about the same,

And both that morning equally lay
I believe with no comments written back.
Oh, I kept the first for another day!
Yet knowing how way leads on to way,
I doubted if I should ever tap back.

I shall be telling this with a sigh
Somewhere ages and ages hence:
Two posts emerged on my Facebook, and I—
I read the one less thumbed-up by,
And that has made all the difference.

I let you go,
like the waves rolling on the shore,
and a little boy who lost his footwear,
crying scared to go back to her mother
where he had lost the gifts.

I let you go,
like a couple of ashy Prinia birds
dancing among the bamboo branches
sing loudly in the breeding season, build nests and lay eggs,
but replaced by the eggs of cuckoos that grew and were cared for with love.

I let you go,
like cities that have long since died
the quiet and lonely
and people left
and no one ever came back to occupy.

I let you go,
like the paintings of pain
from wounds that bleed and lose
displayed at art exhibitions,
and everyone was amazed to see.

I let you go,
like a memory in a photo album
from loved ones first,
yellowed full of blotches of teardrops,
worn-out dusty and looks real.

I let you go,
like an angry poet
in front of half-finished poems
who have been lost for words for a long time
to be reassembled.

I let you go,
like falling rain,
and a boy running around looking for shelter
with wounds on his right hand
holding tightly to the thorny rose.

I let you go,
like a book
and sad stories
which has been left for a long time
after reading all night.

Once again,
I let you go,
as a most perfect poem,
that I have written,
from the remnants of memories in the head.

We never obliged ourselves with any sort of passion or alignment with natures splendor, we just flip-flop'd about like disenfranchized plastic pieces of footwear; Fleetingly and disparingly as we float adrift through a toxic sea of consumerism, entranced with the notion of celebrity, swirling and whirling around until we undoubtabley wash ashore onto the pristine beaches of someones elses uncorrupted, isolated and darkly pigmented subconscious. Ready and willing to establish order in the magnitude of exploitation and apathy. As we scream freedom from tryanny, TV to TV, a bunch of muted and silenced over commercialized under adulterated humans trickle fed lies through screens. Everyone knows but who is speaking up, As Miley Circus flies across the manufactured dream a handful of youth stand up and puke as they throw there hands up like the ones before them and say "this isn't my scene!"