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

F- For being faithful like a forbidden fruit truthful
R- Ruler of fruit so passionately about his love bite
U- Understatement how she layered her
salad love ingredients
Google it
Utmost website take a bite
I- Included in everything We know it the poets
Ring coming like diamond my fruit of the crop
T- Timing, Fruit for thought rhyming tremendous
but tedious fruit-salad love

I- Truly   

S- Strawberries lips of cherries falling from the tree.
Feeling free Robin bob bobbin along loves strawberry pie
A- For such ambiance, Miss Ambrosia
such allure "Pink lady" apple smiles so
animated graphic artist so cool and waves shore
L- For Living eating in good health breathing
the fresh air Earth Baby Bella green lettuce.
Lacy Length of her wedding bodice spiritual rice
he promised her hand in fruit bountiful marriage
A- For a party of love fruit masquerade party
Connoisseur of fruit smarty oranges
vibrant animation fruit forever apples,
I tune's of apples
D- Divine dressed up with layers
of fruit salad
Devilish eggs toppings designs of
dandelions daisies, fusion
with fruit crazies

D-  Digging exploring forbidden fruit
Cranking up the Cranberries
I am dreaming the Blueberries
No Sir, not your Monday blues
Dow Jones way up I Apple phones?
R- Rev it up Robin Recharge, rambling
lucky reds fruits
Italian the lovers of red wine and a salad
avocado smashing up her Money green
Eldorado entering her fruit palace

                      She rules

E- Energy vitamin E for exceptional inviting
fruit salad with everything piling
Elderberry Evergreens Huckleberry
S- Symmetry art salad Palm of hearts
Fruit season
love storm style sophisticated a poem with
the style you're sure to smile
S- Autumn leaves falling on the
sleeves crabapples
Silver smooth skin Kiwifruit sour cherry on the
          " SILKY"
Dogwood in the Sierra Juniper
E- Enlightening some enchanting evening
how his love fruit fell from the tree
His fruit for the soul so enthusiastic you loved
to entertain this is love fusion nothing simple
I am not one to complain

D- Dressed to the fruit nines perfect 10 salad
Mad Alice in Wonderland hair so much hair
obsessions love of fruit blueberries and
she's a bit sour cream
with daisies and dandelion teas all,
please and what else is another
fruit of a pain
To remain in silence but that burst of flavor
is like science fusion of soulful rain

F- food for thought furry but fireplace hot
love frenzy comfort foods A la carte frosting
"Buttercream" food pleasant dream
The freshly brewed coffee I never heard of
fruit your in luck
Blueberry coffee homemade Moms
I  girl scout you brownies and
Saltwater sea fruity buns of a breeze

U- Unique how you utilize passion-fruit
prize music
fruity Pop blend fires out up-tempo
your feeling unbaked
Not the right ingredients of love fruit cake

S- Serendipity New York City the
fruit never sleeps fruit stands love for
keeps or Dorothy surrender spices
of Sage Superfood salads

I- Yes we have bananas wearing paisley
bandanas fruit is ripe to improve a love
how it's written
Inkwell an index of fruit swell

O- Out worked outlived on time for only
fruit about the abundance of love
So soothing the fruit tunes of his music
Overjoyed Silk Organza

N- Gift of fruit not like any other day
Neighborly of kindness just dress
Organza Gown of fruit
So naturally spoken love so near Fruit salad he left a notorious love tear.

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

a tender fog
hides our view
of what might be
a face most beautiful

but we don’t know

as local laws are such
     that beauty only shows itself
to spouses predetermined
by the wisdom of the elders

who demonstrate to have
     no  understanding
of human wishes and desires

From fairytale princess gowns to feathery mini-dresses, bold skinny trouser looks and showgirl sequins, Bridal Fashion Week had something for brides of every size, shape and style inclination.

White reigned, as did classic silhouettes to please the most traditional bride. For everybody else, there were splashes of color, plenty of fluttery floral applique and sparkle, sparkle, sparkle.

Highlights from the Spring 2017 collections:

CHRISTIAN SIRIANO FOR KLEINFELD

After a smaller, capsule collection for the famed bridal shop, Siriano teamed with Kleinfeld again on a broader range.

His show stopper was a pricey pink ombre ball gown with a sweetheart neckline and skinny straps. As an evening wear designer, Siriano said bridal was a natural fit. He created in a range of sizes up to 24 or 26 — and a range of price points from about $3,500 to about $19,000.

Noting most dresses can be modified, he showed a lot of sleeves. There were long lacy ones on a column gown and a structured, off-the-shoulder pair in satin, embellished with tulle and strings of pearl.

One of his mermaid gowns included cascading ruffles. He used four tiers of ruffle at the bottom of a white, tailored suit jacket with matching boot-cut trousers.

Siriano also offered a range of hem lengths, from well above the knee in an appliqued mini to a fitted tea length with an ornate high neck and dramatic train.

In a backstage interview, Siriano said he's enjoying his first full push into bridal with the 27 pieces for Kleinfeld after focusing most of the time on evening.

"But the customer is so different," he said. "There's not as many rules. You can get away with trying new things, doing new things. It's a little fantasy dream world."

And what will Siriano wear when he weds his longtime boyfriend, Brad Walsh, at their Connecticut house this summer?

"I don't know. Literally we've got nothing," Siriano laughed.

INES DI SANTO

This was a **** runway dominated by sheers holding lots of floral creations in place. Romance meets sensuality is how the Toronto-based designer likes it.

While many of her looks were fit for royalty, complete with extra-long trains, she also ventured into over-the-top. An ultra-short hem with just one long lace sleeve had tulle skirting that skimmed the floor in back and leggings mismatched with floral embellishment, offering the appearance of one bare and one covered.

Spring itself was her inspiration this time around.

"The flowers, the garden, the beautiful trees, the sky, the sun," Di Santo said in an interview.

There were other vibes, in a sleeveless illusion Palazzo romper, for instance, with an encrusted bodice and dramatic detachable bell sleeves.

"I went very soft, romantic. You can see through the layers of the lace, the legs, the tulle," she said.

Like other designers, Di Santo included fit-and-flare looks along with sheaths, A-line silhouettes, halter necks and princess ball gowns.

Her backs and necklines were often illusion style, offering a barely there appearance. She included open bolero jackets for brides looking for a little cover, along with detachable skirt options for those who want to change up the outfit for the reception.

At the core of any bridal collection, Di Santo said, is how the dress speaks to budding love in marriage.

"It's so important," she said. "You can live without many things but you cannot live without love."



OSCAR DE LA RENTA

Designer Peter Copping is making his mark gradually at the storied Oscar de la Renta label, with a mind toward both preserving his predecessor's legacy and modernizing the label in his own way. In his bridal collection, Copping included some looser shapes — not everything was cinched tightly at the waist, princess-style — and even some short bridal gowns.

"I was thinking of the different women who are brides and the different ways women can get married," Copping said in a post-show interview, "because it's not always the same rules or traditions that people are looking for. So I think it's important within the collection to have a good cross-section of dresses, some short, some big columns, a real mix of fabrics."

Indeed, some of the gowns featured the sumptuous, extravagant embroidery for which the house is justly famous, and others featured much subtler embroidery for a more modern look.

"I think it was really just having a complete range of dresses," Copping said. The most striking were two short numbers, a nod to the popularity (and danceability) of shorter lengths, even if you can afford the big princess gown. "Yes I think it's popular," Copping said of the shorter length, "and I also think it's very relevant for rehearsal dinners, where a woman can still feel bridal the night before."

A highlight of the de la Renta bridal show is always the impeccably attired little children modeling flower-girl designs. "Having children here reflects what a real wedding is," said Copping.

And then there was Barbie.

Guests were sent home with the de la Renta Barbie doll, wearing a strapless white lacy column gown with a light blue tulle overskirt — something blue, of course. And in case you were wondering, under the skirt were some teetering white heels. No flats for this miniature bride.



REEM ACRA

For a bride looking to be just a bit daring, visible boning in corseting lent a uniqueness to some of Acra's fitted bodices.

There was an abundance of drama in ultra-long trains and encrusted sheer overlays. And Acra, too, offered a variety of sleeve options, including a web design on a snug pair that ended just above the elbow. The design, almost twig-like, was carried through to the rest of the full-skirted look.

Many of her dress tops were molded at the chest, bustier style, while she played with the lower halves. And some of her silhouettes fit tightly across the rear, sprouting trains where some brides may not feel entirely comfortable sporting one.

Acra put a twist on other trains, creating them to detach and also be used as veils. And she went for laced-up backs, both high and plunging, on some dresses.

In an interview, she called the collection "very airy, very light." Indeed, the stage lights during her show shone right through some of her dresses.

For the edgier bride, one who might appreciate the James Bond music Acra used for her show, she offered an unusual embroidered illusion gown adorned with pearls, white jewel stones and metal grommets.

Today's brides, she said, "have to have fun," adding: "She can't stress out about her wedding. Enjoy the ride and be the bride!"



MONIQUE LHUILLIER

There were lingerie-inspired elements here, too, with a touch of color in rose, pistachio, antique ivory and caramel. There were pops of fuchsia in bloom applique fitting for the outdoor garden where she staged her show.

Lhuillier decorated some organza gowns with hand-painted floral designs in asymmetrical layered tulle and silk organza. Deep necklines were prominent, with simple slip dresses offered along with bohemian gowns of lace and sheer skirts. Lhuillier also used corset bodices paired with cascading tulle skirts.

The collection felt like a chic romp, complete with high slits for a run through nature.

"My woman this season is in love and care free," Lhuillier said in an interview. "A little bohemian but just carefree."

The only clear trend in bridal these days, she said, is the need for designers to present more options.

"My core bride is somebody who loves femininity, she loves tradition but with a modern twist. And she wants something interesting with a lot of details," Lhuillier said.

There's definitely more fashion involved than when she began in bridal 20 years ago.

"One of the main reasons I got into the bridal business was when I was a bride in 1994, looking for a gown, I thought the options were so limited, and there was not a lot of fashion ideas," Lhuillier said.

Her bride doesn't want to be weighed down, however.

"She wants to look effortless," Lhuillier said. "But she wants to feel **** on her wedding day."

Are we all romantics on our wedding day?

"For me it's a really happy business," Lhuillier said. "We all are romantics deep down inside."



Associated Press writer Jocelyn Noveck contributed to this report.Read more at:www.marieaustralia.com/formal-dresses-melbourne | www.marieaustralia.com/formal-dresses-perth

morning dew drops on your collar
impressing me with the zealous way the seasons drastically measure the moment it takes me
to reach forwards and brush it off
liquid winter falling onto a ***** cement
the initials 'F T' written jaggedly into the cold stone of asphalt
i wait for it to disappear, for the flicker of everything gone to fade from my vision
but it passes too quickly
i look back up and there's no one around
the street is empty and the capricious wind has ceased
a sucker for patterns i walk into a fabric store and feel my hand linger on the erratic linens
fingers paused on the peach organza sprawled like a pink bubblegum sea
and i am swept into the manic fantasies of wearing the sheer tissue-like textile into
the abdomen of your sweaty palm and sinking like a sticky sweet stripe
until you put your hand in your pocket and i spend a year inside melting
into the every thread and curve of your jean until it is nothing but disgusting sugar
everything i could be when i am hidden from sight in the dark caverns of denim pants
who knew the tongue in cheek joke would be nothing but my tongue in your mouth
touching all the way up your gums  
find me sweltering beneath the uvula wondering if i could go back
to the time i found that girl with the mountain logo sweatshirt who whistled between her teeth and hummed all the reasons i should skin my knee and kiss the salty wound because there's no greater pleasure than knowing you don't have to wait for that morning dew drop to fall from their ******* collar

she is organza and rough, nubbly raw silk
that tears your fingers
and bleeds you purple, sweet.


civilizations rise and fall
in the curve of her mouth.

at some queer second
         not quite between twelve and twelve
                    blue planet dust particles dream
                                suspend midair
                                 while sunbeams dance
                        across minute hands
                   in your eyes

            **** carpet melts into lush
       dark grass
      and azure electric runs across petals
         of daisies dipped in glass

                 air swims carelessly about in a tropical heat
                          and shimmers curiously like
                                  glitter in rain or
                                        paint splattered koi
                                                beneath oil spills

                                                   you stand at the
                                                      precipice to purple
                                                   infinity
                                       and curiously ask the darkness
                            "what time it might be"

                   soft words of loved ones
echo faintly in distance

       overhead
                    copper willows generously sprout
                         industrial light-bulbs

She's my pretty city country girl
She's something I can't lose
Is she livin' in  the country
or the city, she must choose

You know I really love her
She's the one I really want
But if she moves off to the city
It's my heart she'll stay and haunt.

When I first saw her smiling face
It was a good old summers day
She had moved down from the city
And I hoped that she would stay

We played games out in the haystacks
We ran races through the corn
Turn left and hit the river
Turn right, you're lost till morn

She's my pretty city country girl
She's something I can't lose
Is she livin' in  the country
or the city, she must choose

You know I really love her
She's the one I really want
But if she moves off to the city
It's my heart she'll stay and haunt.

She occupied my dreams then
And still does to this day
Back then I hardly new her
I just hoped that she would stay

Short shorts and Gingham dresses
made her look the country part
But high heels and silk organza
Tugged the city in her heart

She's my pretty city country girl
She's something I can't lose
Is she livin' in  the country
or the city, she must choose

You know I really love her
She's the one I really want
But if she moves off to the city
It's my heart she'll stay and haunt.

We'd go to high school hoedowns
And dance like no one else was there
But when she heard Big Band Music
She was dreaming of Times Square

She loved to go out touring
In my pickup through the crops
But in my heart I knew she missed
The sounds of taxi cabs and cops

She's my pretty city country girl
She's something I can't lose
Is she livin' in  the country
or the city, she must choose

You know I really love her
She's the one I really want
But if she moves off to the city
It's my heart she'll stay and haunt.

She stayed here all through high school
But I knew deep down it had to end
I knew if I tried to say "I Love You"
she'd say "I love you like a friend"

She knew I'd never leave here
And I knew she had it made
If she went back to the city
And stopped her country masquerade

She's my pretty city country girl
She's something I can't lose
Is she livin' in  the country
or the city, she must choose

You know I really love her
She's the one I really want
But if she moves off to the city
It's my heart she'll stay and haunt.

It was two weeks past commencement
When I told her what I thought
Then I dropped down to me knee right there
And I showed her what I'd bought

I looked into her smiling eyes
And prayed that she'd say yes
Would she choose to stay in Daisy Dukes
Or go back to her chiffon dress

I'll let you guess the answer
By the way I end this poem
But I'm still here in the country
And she's waiting now at home.

She's my pretty city country girl
She's something I can't lose
Is she livin' in  the country
or the city, she must choose

You know I really love her
She's the one I really want
But if she moves off to the city
It's my heart she'll stay and haunt.

Pretty girls
Pretty blonde girls, pretty brown girls
Try on wedding dresses on late-night cable.
The dresses are pretty too.
Organza and flow and corset and satin.
Pretty dresses for pretty girls
Who will marry pretty boys in a pretty church.
One is less pretty
Fittingly, her dress is less pretty.
Where most have satin, she has cotton.
Eco-friendly, she says.
I like it.
She not very pretty
She's neither blonde nor brown
I wonder what her boy is
And where her wedding is
And if everything is "offbeat" in her wedding.
I hope she gets to use an adjective
Other than pretty.

A Beautiful and A Bitter Shroud

When I was little, I found a magic box,
tucked under the eaves where
we were told not to go.
Something compelling about the
forbidden, triangular space,
sealed off by lath and plaster,
made me resolved, beyond curious.
I kicked and pulled until plaster shattered
and wood cracked, delightfully.
The large box was filled
with silk, organza and tulle,
the proud-worn gowns
of my mother's college days.
At those ***** she danced
in them, hair coiled up
and earrings sparkling.
It was not about the men, I knew,
but her need to be admired.
I don't recall a punishment
for opening the box
but she relented and allowed
my sister and I to put on
her finery and pretend.
We wrapped them round us
and twirled to imaginary waltzes,
stepping on long hems so many times
that  the gowns all came undone.
The rags were put away
and the room sealed up.
In my youth I recall but a few
times Mother gave in
and let us be children
or fairy princesses for a while.
Now she is old and finally
trying to wrap me in her shroud,
to make resentment drag me down
and envy of me, crippled with self-hate.
But that no longer works
and I tell her, finally grown
that this is not allowed.
I summon up pity and vague sympathy,
even if love left long ago.
I tell myself that
everyone dies alone.

Veil of black viscose
Curtain for the widow's tears.
Shades the world in gray.

(a poem I wrote for Auntie Annie’s funeral).

Well you’ve all taken your time… while I’ve been waiting here.
I’m about to trip the light fantastic in all this sparkly gear.
And, because the aches and pains have gone, I’m about to strut my stuff.
I’m dressed in Rose Organza with feathers and pink fluff.

I’m surprised at how well I feel settling into this ‘other’ side.
I’m sure I’ll calm down after some frivolity, then take things in my stride.
For now though the spirit is upbeat testing my wings; making appearances near & far.
First though, a dance contest, tonight at Bridlington Spa!

Yes, I’ll be tripping the light fantastic… I’ve two partners in the wings.
Both husbands in smart tuxedos, brushing up their moves and things.
And I’m hoping we’ll cut a dash on that shimmering stairway to heaven…
Well, Wally was probably a six point five. And *** (my first love)… A SEVEN!

But seriously…my body had reached the bitter end and my memory was little better.
Who was who  - and what was what - was touch and go, and… let a
ninety two year old tell you with chair, zimmer frame or stick…
that the thought of stepping comfortably - toward that light… FANTASTIC!

… and even more seriously…

I’ll look out for all you kids… with a word or voice on the wind as it whistles through the trees.
Catch a glimpse in a crowd… “Was that?” NEVER?!. But It might be just my scent on the breeze.
But for us to be in touch again, however brief, we must be ready and enthusiastic.
I’ll prompt you to think of me as I trip toward that light… FANTASTIC!

Evening is the time when the shadows come alive and become crisp in a flickering light, that it is no longer yellow. White, neon, unnatural. No more it resembles candle flame. It looks like a ruthless moonshine which scatters from a ghost lantern. I wake up, not from a dream, but the reality of life and get up, not out of bed, but out of the chair of common life convict. I slip out of clothes and shoes worn by ordinary man. I released the tie, honorary sash won on vanity competition that made me tight, suffocating like a noose. It is not merciful to assassinate me in a flash, but squeezes the breath of life out of me every day, bit by bit. I put my true outfit, specially sewn soft seams on blue silk. My neck is naked, free at last, adorned by corrugated blue organza collar woven by hand, each thread is a smile and a tear streaked with golden sigh. I smeared my face with white paint to hide the traces of blush caused by shame over the living, high capillary pressure of too many emptied cups of bitterness and dark circles as a result of each conscious decision. Hiding clues of eyebrows and transforming into myself, the Harlequin. Painting white to cover the everyday life and return to the carelessness, to the easy present. With the practiced movement I put away my pomades of transformation and close spell cabinet. Last look at the silver reflection and I'm ready for a trip through the deserted streets of the matchbook labyrinth.

THE EARTH WAS STILL
AS IT SWIRLED AROUND ME
A HAZE OF ASH AND DREAMS
A BURN VICTIM OF AN UNREALIZED FANTASY
SCREAMING IN TWISTED EXCSTASY
AS MY FACES MELTED AND PETRIFIED
FROZEN FOR A LIFE ALIEN RECTIFIED
WITH A SHARP OBSIDIAN *****
TO DELIVER ME REMADE

HE SCRAWLED AND CLAWED HIS WAY TO ME
HIS WORLD ENTIRE, AS THOUGH I COULD SEE
MY LOVER ONCE DELAYED
BY GRIEF AND ASHES, A MISTAKEN AIDE
OF THE LOST GODSPOKE MEN

HE TOLD THEM TO LEAVE HIM DIRE
THAT HIS PASSION WOULD CARRY HIM THROUGH MUCK AND MIRE
FIERY INTO THE REALM ABANDONED CRIES
WRAPPED IN THE DUSTY ORGANZA LIES
HE SEEMED LIKE AN EYELESS CREATURE
BLUNDERING HIS WAY, A BLIND BEESHECHER  
SEARCHING FOR LOVE WHERE THERE WAS ONLY
A MAELSTROM OF LONGING

REBORN IN HIS GRAVE OF PROPHETS AND GRIEF
A SOLDIER SENT ONCE TO TEACH
THE FIRE SCORCHING AND TWISTING MY SHROUD
AS HIS WORLD WENT TUMBLING, BROKEN AND PROUD

TORN IN HIS WAKE OF GRACE
AND WHEN MY BODY HE FOUND ENCASED
IN GLASS, AS THOUGH A TRUE LOVE AWAITS
BUT WHAT HE COULD NOT ENKINDLE IN HIS HEART
WAS WHAT WOULD RIP THE GLASS APART
LOST IN OBSIDIAN IN ASH AND GLASS
A SHALLOW PRISON
OF LOSING AND LOVE AND
THE SPACE BETWEEN US

resilience is built in yellow
golden stars against organza.
my resilience was bred in me
blood tinged gold by stars.  


(you've left my heart too many times
for me to trust you)


and like the cold of january i fought you.
i faced your burdensome eyes
and walked along frozen streets against you
just to feel
the resilience you offered me.
through fight,
nails and knuckles and your cold days
i fought
until I knew this was
how I would leave

You're in hell,
a fractioned
ghost, eating
clay and dust.
You suppose
time moves
in this abyss
but there's no
way to be sure.

Then:
a scream
at the gates
like all the
winds that
scrape at
the heart.
& it doesn't
take long
before the screams
resolve to a name:
Ishtar is here.

She of ***, war,
& the moon, all
of them long
absent in
this place.
She wants in,
to rule this
forsaken empire,
to take it from
her older sister,
to conquer
one more thing.

She fails,
of course.
Her sister
tricks her,
leaves her
naked,
without her
powers,
after the
final gate.
Ishtar howls,
and leaves
to eat men
like easy grain.

But imagine
that brief
moment,
when you
think that
maybe, just
maybe, you'd
see the organza
ball of moon
again, that
you and the one
next to you
might embrace
in shaded lust,
engender
a new empire
in the dark,
& overthrow it all.

Hold on to
your hope:
Ishtar has
never been
patient.

Drifting through the world
With carefree steps
She tangled and teased
Loved and lost
And loved again.

Walking forward -
Never ever looking back
She gathered experience,
Wrapped it around her
And wore it as a coat.

It's fabric was rich and full
Soft velvet, warm fur,
Sparkling organza -
Encrusted with gems
And lined with silk.

Every thread, every strand
Was woven in perfectly.
Each encounter
Picked out in golden beads
And displayed proudly

Yet as she walked on
She left pieces of herself behind
Slowly she became the coat
And it became her
Until the coat was all that remained.

(This one is for El Paso and Dayton. It was written a while ago.)

In the dream,
  she is wearing a dress of starry organza,
stiffened by sweat,
  she, like me, is old,
and after several hours,
  tired of dancing.
I am conscious, suddenly,
  that only bones hold our clothing up
  and that mine ache like an old fence in the rain.

The room is a library, two stories, with a ladder on wheels,
lit in the middle by a heavy chandelier, which drops
two thousand lumens onto the floor just below it,
and is still too weak to reach the corners,
  the lee side of the wrinkles in my trousers,
  the inch between the bone at the back of my ear
  and the hair at the base of my neck,
such that when I come near to her,
we create wrinkles in one another,
and a black lapse in the center of the room.

Mass is rarely consistent in dreams;
you think you know how a shoulder ought to feel,
and you are correct, until you look for more than knowing,
  such that she feels, in turns, as real as I am,
  and just like me,
  and just like the shape my hand has taken,
  finally, like the void I’m careful not to touch.
The profuse shadows wash around my feet and eyes,
the stars in her fabric are dusked by absences,
dark pools collect around her knees,
  maim her ribs,
  drip from her cheeks,
and begin to grow and seep,
as she vanishes into them.

I repeat the touch to search for her again,
I search for her again and I am in a forest,
fourteen and a boy scout underdressed for the cold,
**** in my hands and flashlight in my teeth,
one hand on the trunk of a pine that I can hardly see,
listening to the trickle I make against the bark,
and a fearful groaning in the deeper woods
she moves and the dress moves with her,
it rustles; I am exposed to the light and blinded.

Smelling of pine needles and **** and searching
for a clasp in the dark that will prove her
  beyond the doubt that only I can see her
  and the doubt she lives at all,
  not merely me or as a shape my opposite,
I settle on a place in the fabric below where I remember a shoulder,  
I find something flexible and sharp.
  It gives with a squeeze.

The fabric drops,
the stars pile in pure layers,
her raiment is bright,
  white seeds floating
  over a blue chasm,
where the shadows have joined.

The body is monstrous; a calendar of injuries,
from swollen ankles and clawed feet chained together,
skin mottled to six colors by constant burns,
where ******* would be, flat, grown over
by a bark cadaverously pale,
the shoulders caved in,
as if by a yoke.

Her eyes are blue and solemn.
She looks at me as if I could heal her
if I would only touch her.
I press my hand to a knotted scar
and feel it pass through.

At sixty plus
       a series of scenes from a life past
       started flashing back...swaying,
       like soft organza curtains, giving
in to forces of the wind...blowing,

recalling...things that used to be,
       places, faces i no longer see,
       people i haven't met and long to meet,
       words i meant to say....but didn't,
       things i failed to do, but still meaning
       to, given fresh starts...it's tiring,
       counting "should haves," so i'm saying,
etcetera, etcetera.....the list is unending.

At past seventy,
       sunrises are lovely as ever...and bolder,
       sunset moments are quieter...and holier,
       old days seem nearer,
       with poetry-writing, the call is stronger
         while still dabbling in beads-making,
       designs pour over me, when stringing
moonstones, sodalite, and lapis lazuli.

I am in a different zone.
       when mixing poetry and natural stones
       to me, a word is a crystal, a gemstone
it's merely a word to some...a stone unknown.

I guess...at late seventies,
       i'll still be in white shirts and blue jeans,
       creating unique, interesting themes for poetry,
       say, a big bus with travelers, seated hesitatingly,
       or, finding a bright tunnel's end, serendipitously,
       or, unrepenting souls sinking deeper, regretfully,
more silly love poems?  i'd indulge willingly

my frame may turn fragile...i pray, not my poetry,
       not my judgment, nor my decision-making,
not my courage, especially, when i'm past eighty.


sally b

©Rosalia Rosario A. Bayan
June 18, 2021

woven red organza silk
dewdrops of mother's milk
riding bronco over bumps
cherry lips eating up her lumps

She's Diaphanous
crystal blue water
a playful, squirming swimming otter
diving up and down/ in and out
for a meal of rainbow trout

She's Diaphanous
splintered pieces of glass
refracting light in a pass
a prism of dancing color
to only shine, not make duller

She's Diaphanous
rose petal shower curtains
mellifluous as Richard Burton
a feathered peacock in the light
bubbly as a can of sprite

The man stood at the altar
In his military glory
His metal legs a memory
Of a bitter war torn story
His brother as his 'best man'
Standing proudly by his side
Remembering that moment
When his hero nearly died
The church packed full
Of love that day
The atmosphere unique
Today one in a million
Full of magic so to speak
The ***** started playing
And the congregation stood
The man glanced to the doorway
It was expected that he would
And there in white organza
Was his nervous blushing bride
A vision, very beautiful
Her father by her side
And as she walked towards him
He had tears he could not hold
He'd prayed this day would happen
Now it was starting to unfold
The story of a soldier boy
Who'd fell for someone blind
A woman so remarkable, so brave
And Oh! So kind
A person who had overcome
The darkness of her sight
Who'd walked a path of loneliness
Till she'd found Mr.Right
And there he was before her
Looking handsome and so smart
And though she couldn't see him
There was his picture in her heart
So as the bells rang out that day
The newlyweds rejoiced
As confetti showered over them
Congratulations voiced
For theirs was a love story
Everybody hopes to find
Something wonderful
Accepting the true fact
That love is blind.

THE END by David Whitney c 2020