Shortly after 3pm on September 29, 31-year-old Olivier Rousteing strode through the shimmering, fleshy backstage area at Balmain's Spring 2017 Paris Fashion Week show. Along the marble hallway of a hôtel particulier in the 8th arrondissement, long-limbed clusters of supermodels were gamely tolerating final applications of leg-moisturiser, make-up touch-ups and minutely precise hair interventions from squads of specialists as fast and accurate as any Formula 1 pit-stop team. The crowd parted as Rousteing swept through.

Wearing a belted, black silk tuxedo and a focused expression that accentuated his razor-sharp cheekbones, Rousteing resembled a sensuous hit man. Target identified, he led us to the board upon which photographs of every outfit were tacked.

We asked him to tell us about the collection (for that's what fashion editors always ask). "There is no theme," said Rou­steing in his fast, French-accented lilt. "No inspiration from travel or time. The inspiration is what I feel, and what I feel now is peace, light and serenity. I feel like in my six years here before this, I have tried to fight so many battles. Because there is no point anymore in fighting about boundaries and limits in fashion. Balmain has its place in fashion."

And the clothes? "There is a lot of fluidity. A lot of knitwear, lightness, ponchos. No body-con dresses. But whatever I do, even if I cover up my girls, it is like people can say I am ******. So this is what it is. I think there is nothing ******. I think it is really chic. I think it is really French. It is how I see Paris. And I have had too many haters during the last three years to defend myself again. So, this is Balmain." And then the show began.

Star endorsements

Under Rousteing, Balmain has become the most controversial fashion house in Paris. Rousteing has attracted (but not bought, as other, far bigger houses do) patronage from contemporary culture's most significant influencers. Rihanna, all the Kardashians, Kanye West, Taylor Swift, Miley Cyrus, Beyoncé, Justin Bieber – a royal flush of modern celebrity aristocracy – all champion him.

Immediately after this show, in that backstage hubbub, Kim Kardashian told me: "I thought it was very powerful…I loved the sequins, and I loved all the big chain mail belts – that was probably my favourite."

Yet for every famous fan there is a member of the fashion establishment who will sniff over coffee in Le Castiglione that Rousteing's crowd is declassé and his aesthetic best described by that V-word. The New York Times' fashion critic Vanessa Friedman reckoned this collection appropriate for "dressing for the captain's dinners on a cruise ship to Fantasy Island". At least she did not use the V-word. When I once deployed it – as a compliment – in a 2015 Vogue menswear review that declared "Rousteing is confidently negotiating a fine line between extravagance and vulgarity", I was told that Rous­teing was aggrieved.

The fashion world's ambivalence towards Rousteing is a measure of its conflicted feelings towards much in contemporary culture. Last year Robin Givhan of the Washington Post wrote of Balmain: "The French fashion house is always ostentatious and sometimes ******. It feeds a voracious appetite for attention. It is anti-intellectual. Antagonistic. Emotional. It is shocking. It is perfect for this era of social media, which means it is powerfully, undeniably relevant."

Since joining Instagram four years ago Rousteing has posted 4000 images and won 4 million followers. The combined reach of his audience members and models at this Balmain show was greater than the population of Britain and France combined. Balmain was the first French fashion house to gain more than 1 million followers, and currently has 5.5 million of them.

Loving his haters

As digital technology disrupts fashion, Balmain's seemingly effortless mastery of the medium galls some. Last year, the designer posted an image of a comment from a ****** follower to his feed. It read: "Olivier Rousteing spends more times taking selfies for Instagram than designing clothes for Balmain." Underneath, in block capitals, he commented "i love my haters".

Rousteing can be funny and flip – doing a video interview after the show, I opened by asking, tritely, how he felt. He replied: "Now I feel like some Chicken McNuggets with barbecue sauce, and then some M&M;'s ice cream."

When at work, however, that flipness flips to entirely unflip. The previous evening, at a final fitting for the collection, Rousteing had paced his studio, his face a scowl of concentration, applying final edits to the outfits to be worn by models Doutzen Kroes and Alessandra Ambrosio. The 30-strong team of couturiers working in the adjoining atelier delivered a steady stream of altered dresses.

"We are ready," he said from behind a glass desk in a rare moment of downtime. "This a big show – 80 looks – and I want a collection that is full of both the commercial and couture. But it's smooth too. All of the girls are excited about the after-party and interested in the music. And eating pizza." In the corridor outside Gigi Hadid – this season's apex supermodel – was indeed eating pizza, with gusto.

The fitting went on until far beyond midnight; Rousteing, fiercely focused, demonstrated the work ethic for which he is famous. When he was studio manager for Christophe Decarnin, his predecessor at Balmain, the young then-unknown was always the first in and last out of the studio. Emmanuel Diemoz, who joined Balmain as finance controller in 2001 and became chief executive in 2011, says that his hard graft was one of the reasons he was chosen to succeed Decarnin.

"For sure it was quite a gamble," says Diemoz. "But we could see the talent of Olivier. Plus he understood the work of Christophe – who had helped the brand recover – so he represented continuity. He was a hard worker, clearly a leader, with a lot of creativity. Plus the size of the turnover at that time was not so huge. So we were able to take the risk."

Clear leader

Which is why, aged 24, Rousteing became the creative director of one of Paris's best known – but indubitably faded – fashion houses. In 2004 it had been close to bankruptcy. In 2012, Rousteing's first full year in charge, Balmain's sales were €30.4 million and its profit €3.1 million. In 2015, sales were €121.5 million and its profit €33 million. Vulgarity is subjective; numbers are not.

Rousteing, who is of mixed race, was adopted at five months by white parents and enjoyed an affluent and loving upbringing in Bordeaux. "My mum is an optician and my dad was running the port. They are both really scientific – not artistic. So I had that kind of life. Bordeaux is really bourgeois and really conservative, I have to say."

After an ill-starred three-month stint at law school – "I was doing international law. And I was like, 'oh my God, that is so boring'" – he did a fashion course that he managed to tolerate for five months.

"I found that really boring as well. I just don't like actually people who are trying to **** your dream. And I felt that is what my teachers were trying to do."

Obsessed with Gucci

Following a three-month internship in Rome – "also boring" – Rousteing became fascinated with Tom Ford's work at Gucci. "I was obsessed, obsessed, obsessed. Sometimes the press did not get it but I thought 'this is like genius, the new **** chic'. Obsessed, full stop."

He wanted to work there – "that was my dream" – but applied to every fashion house he could, and found an opportunity to intern at Roberto Cavalli. "They took me in from the beginning. I met Peter Dundas [then womenswear designer at the brand] and he said you are going to be my right hand – and start in four days."

Rousteing counts his five years in Italy as formative both creatively and commercially, but when the opportunity came to return to France in 2009 he leapt at it. "Christophe said he liked my work and that he needed someone to manage the studio. So two weeks later I was here. I loved Balmain at the time, when Christophe was in charge. It was all about rock 'n' roll chic, ****, Parisian. And he was appealing to a younger generation. You can see when brands become old but Balmain was touching this new audience. I always say Christophe's Balmain was Kate Moss but mine is Rihanna."

When Decarnin left and Rousteing replaced him, the response was a resounding "who?". His youth prompted some to anticipate failure.

"It was not easy at all. Every season I had the same questions." Furthermore, Rousteing (who has said he thinks of himself as neither black nor white) was the only non-white chief designer at a Parisian couture house. In a nation in which very few people of colour hold senior positions, his race may have contributed both to the establishment's suspicion of him and to his powerful sense of being an outsider.

'Beautiful spirit'

As he began to build a personal vernacular of close-fitted, heavily jewelled, gleefully grandiose menswear – fantastical uniform for a Rousteing-imagined gilded age – for both women and men, that V-word loomed.

"They asked, 'But is it luxury? Is it chic? Is it modern?' All those kinds of words. But you know there is no one definition [of fashion] even if people in Paris think there is. And, I'm sorry, but I think the crowd in fashion are those who understand the least what is avant-garde today."

In 2013 Rihanna visited the studio, met Rousteing, and reported all with multiple Instagram posts. "You are the most beautiful spirit, so down to earth and kind! @olivier_rousteing I think I'm in love!!! #Balmain." :')"

Rousteing met Kim Kardashian at a party in New York – they were drawn together, he recalls, because they were both shy – and was promptly invited to lunch with her family in Los Angeles.

An outsider in the firmament of old-guard Paris fashion, Rousteing was earning insider status within a new, and much more influential, supranational elite. He points out that Valentino, Saint Laurent and Pierre Balmain himself "were close to the jet set of their time. What I have on my front row is the people who inspire my generation".

From them, he learned a new way of doing business. "I think it was Rihanna and the music industry that first understood how Instagram can be part of the business world as well as the personal. But in fashion? When we started it was 'why do you post selfies? Why do we need to know your life, see you waking up, see you working? Why don't you keep it private'. And I was like 'you will see'."

Rousteing cheerfully declares his love for Facetune – "I don't have Botox but I do have digital Botox!" – an app that helps him airbrush his selfies and tweak those ski-***** cheekbones.

Reaching new population

From his office around the corner from Rousteing's, Diemoz adds: "When Olivier first proposed Balmain use social media, our investment in traditional media was costing a lot. Here was an alternative costing less but bringing huge visibility. It has been successful, quite rapidly…we decided to be less Parisian in a way but to speak to a new population. A brand has to be built around its heritage but we are proposing a new form of communication dedicated to a wider group of customers."

The impact of that strategy became apparent in 2015, when Rousteing and Balmain were invited to design a collection for the Swedish fast-fashion retailer H&M.; Within minutes of going on sale – and this is not hyperbole – the collection, available at vastly cheaper prices than Balmain-proper, had completely sold out. In London, customers fought on the pavement outside H&M;'s Regent Street branch. "Balmainia!" blared the headlines.

You have to move fast to get backstage after a Balmain show. I was out of my seat and trotting with purpose even before the string-heavy orchestra at the end of the catwalk had quite stopped playing Adele.

Rousteing had taken his bow merely seconds before. Still, too slow: I ended up in a clot of Rousteing well-wishers stuck in a corridor blocked by security guards. A Middle Eastern woman against whom I was indelicately jammed looked at me, laughed, shook her head, then said: "We pay millions for a fashion house – and then this happens!"

In June, Balmain was bought for a reported €485 million by Mayhoola, a Qatar-based wealth fund said to be controlled by the nation's ruling family. As so often with Rousteing-related revelations, some declared themselves nonplussed. "Why Would Mayhoola Pay Such a High Price for Balmain?", one headline asked. Yet Mayhoola, which acquired Valentino four years previously for $US858 million, might have scored a bargain.

Clothes key to revenue

Despite its huge, Instagram-enhanc­ed footprint, Balmain is a small, lean and relatively undeveloped business. Most luxury fashion houses today – Chanel, Burberry, Dior, et al – will emphasise their catwalk collections for marketing purposes but make most of their money from the sale of accessories, fragrances and small leather goods like handbags and shoes. One of the big fashion companies makes a mere 5 per cent from its catwalk clothes.

At Balmain, by contrast, clothes bring in almost all the revenues. If Balmain had the same clothes-to-accessories ratio as its competitors, its overall annual income could be more than €1 billion ($1.4 billion).

The company is moving in that direction. New accessory lines are in the pipeline. "Now we have to transform that desire into business activity," said Diemoz. "Sunglasses, belts, fragrances, the kind of products that can be more affordable."

The first bags should be available in January, as will a wider range of shoes, and then more, more, more.

Six days after his show, on the last day of Paris Fashion Week, I returned to the Balmain atelier. Apart from two assistants, Rousteing was the only person there – everybody else had gone on holiday to recover from the frenzy of preparing the show, or was busy selling the collection at the showroom around the corner.

Rousteing sat behind his desk in the empty room, wearing slingback leopard-print slippers, sweatpants and shades. "I am not even tired! I am excited. Because there are so many things happening – and I can't wait."Read more at:www.marieaustralia.com/red-carpet-celebrity-dresses | http://www.marieaustralia.com/formal-dresses-adelaide

There is something discombobulating about feeling a shudder and a tilt, the models in front of you apparently moving slowly sideways, as the stand with your show seat starts to move in circles.

At the same time, the models at the Céline show seemed to be going off in all directions. Popping in and out of the black holes of space were models - young or older - wearing a smart green masculine trouser suit, a striped shirt, a white belted raincoat, something furry and - unexpectedly - a tunic and trousers printed with black wheels and checks skittering before your eyes.

All this and the bodies and arms of shadowy people behind the plastic backdrop. I rushed backstage to try to make sense of the show chaos (sorry: artistic intrigue), but designer Phoebe Philo did not want to talk when I asked her the point of her dramatic presentation of her Autumn/Winter 2017 collection.

"Just ideas coming together with lots of ideas," said the designer. "Just lots and lots of ideas and how they impact each other."

Around me, Phoebe's team were hugging and sobbing and clutching each other, as if this show were their last. Overview notes provided by the public relations people seemed even more confusing, apart from telling me that the installation (that required more electric cables and wires than I have ever seen above a fashion runway) was by French artist Philippe Parreno.

''The Céline AW17 collection explored Phoebe Philo's storytelling design process of how a collection is created and the notion of how changes result in impact," read the statement. "Further, the collection relates closely to the interconnected nature of women's lives and possibilities for women."

Before I read this, I had thought of Phoebe as the English designer who has her children running around backstage and who made practical but classy clothes for today's woman. She threw into the mix a few charming pieces like the fluffy flat sandals that have been picked up by other designers across the world.

With all that on offer, why did the new Céline collection have to complicate things so much?

Take away the moving seats and impossible-to-follow criss-cross of the models and there was the Céline look that any woman would crave: the bold, floor-length tailored coat; a tuxedo with its hemline sweeping right down to the ankle. The tailoring looked bigger, oversized even, which is in tune with the Eighties-style square shoulders that we have seen elsewhere this season.

Phoebe seemed to be offering a hardened version of the serenity she once found in streamlined clothes. An example of the new severity would be a plain, long sleeved dress with a hemline at mid-calf. Its softer side was a blue shirt elongated to the ankle and worn with trousers.

Ultimately, Phoebe offers 21st century elegance with the smooth lines disrupted by a tangle of fringe at the hem or what appeared to be a big blanket over one arm.

I received an overall impression of longer - to the ankle - length, a sense of sobriety and a few fanciful things for evening. What I missed in the hurdy-gurdy of the presentation, is, as yet, unknown.

With exquisite workmanship and Victoriana melded with pop, Pierpaolo Piccioli had a new vision of romance for the digital era.

Prudishness and pop - can the two really meld together? Yes! If the Victorian-style cape is in a vivid, sugary, postmodern pink and the dress underneath a colourful geometric pattern, recalling the Memphis era.

At Valentino, the 1880s met the 1980s with sensational results as designer Pierpaolo Piccioli dismissed the feminist vibe that has reverberated through the Autumn/Winter 2017 season yet created a collection that was respectful to and joyful for, women.

Just looking at the designer's four moodboards was a history lesson, as Pierpaolo whizzed me through dark Victorian carved birds, bright Memphis furniture, coral with a religious connection to Medusa - so much from the past crammed into one collection.

Yet on the runway, the result was far from overloaded, as the history of coral was subsumed into the necklaces all the models wore and the deflated Victorian silhouette - long and high waisted, but slim where a crinoline once was, seemed perfectly acceptable as a romantic vision of the 21st century.

"I wanted to add deepness and romanticism to the modernity of the shapes, so these are absolutely items that you can wear separately - a white shirt or the skirt with your own sweater," said Pierpaolo. "I think fashion is made for dreams, but sometimes you want a dream that is daywear."

The Valentino studios are at the heart of the matter, apparently finding it as easy to toss off a tailored coat with a mid-calf hemline nudging Victoriana bootees, as it is to make a soft, light dress to flow underneath. The detail and delicacy of the dresses seemed like an extension of the haute couture, but the designer was eager to point out that the clothes came from the Italian factory dedicated to Valentino.

Whether it is so easy visually to mix a sorbet pink top with tiny ruffles down the arms that flowed into a cherry ripe panelled skirt, the result was surprisingly calm. Even the dresses patterned with Memphis pop blended in with the plainer, pleated versions. And just when you thought that the show's high romance was over blown, the designer would slip in a black top over a pair of sloppy velvet trousers or calm a Memphis patterned dress with a tailored coat. A severe black jacket could be worn with anything already in the closet from an LBD to blue jeans. Like the tailored coats, it kept ripe femininity in check.

"For me it is important to keep the lightness, otherwise it doesn’t feel confident and if you don’t feel that you don’t feel beautiful," said Pierpaolo. "I think if you feel confident you can even be able to show your sensibility and really feel stronger."

However you rated the clothes - too fancy, too froufrou, too historical - there is no denying that Pierpaolo has created a vision that is respectful to women and which makes them feel beautiful. In a churning political universe, Valentino offers a small, still voice of calm.

Demna Gvasalia revisited Cristóbal’s silhouettes with surges of modern colour, print and volume.

Balenciaga haute couture has been revived for the first time since Cristóbal himself closed the house nearly half a century ago. The last nine outfits shown by creative director Demna Gvasalia, on the huge carpet patterned with the word 'Balenciaga,' had their roots in the legacy of grandeur left by the noble Spanish-born couturier, who died in 1972.

Demna, who started in fashion by building street-smart, unadorned clothes, deliberately named just Vetements (the French word for clothing), has turned towards the grandeur of the original designs that are part of the Balenciaga legacy.

“I thought 100 years was a good reason to make couture available again,” said Demna backstage. “We're not going to do a couture line or show during couture, but these pieces will be made to order – basically for people who want to buy a couture dress from Balenciaga.”

The grand offerings – the polka dot dress with bustle back, the layers of dark pink taffeta, and a slim black gown, all with large back bows, were not the only historic links. The show opened with tailored coats which were worn with a drape over the left shoulder, reminiscent of the way that the models of an earlier era would walk with their heads up, shoulders rounded and stomachs sunk in.

“I studied how the pieces are worn and I found these images from old mood boards of Cristóbal where women are standing with their coats like this,” the designer explained. “The idea was to bring this kind of elegance, the gesture of wearing those pieces, but take it into a kind of cool and make it more modern. You can also wear it in a normal way, but it is constructed so that one part is larger and then you can also pin it up. And this is what you see basically in all these books.”

Demna's way of rethinking with his brain what he had seen with his eyes is exceptional – and the reason why he seems able to update the house as if he were growing new shoots from existing roots.

The arrival of vivid colour signalled a change of pace, as every figure stood out in the farthest reach of the enormous sports stadium. The hosiery especially perhaps, in grass green, and cut-away waistcoats like harnesses in pastel colours, took the image of Balenciaga back to the early days of Nicolas Ghesquière and his futuristic period at the house.

Demna is also drawn by the flowers that were a part of the Cristóbal Balenciaga look; by showing a patterned skirt with big, bold, brightly coloured sweaters, he gave print a modern feel.

The show was not perfect. Mini dresses in the floral patterns and bright hose looked out of place. But the overall effect was precise but theatrical, with the couture creating a dramatic ending.

Choosing Demna may have been a gamble by François-Henri Pinault, CEO of Kering, the luxury group that owns Balenciaga. But the designer has turned out to be able to answer fashion's most difficult challenge: finding the balance between old and new, tipped towards the future.Read more at:http://www.marieaustralia.com/cocktail-dresses | www.marieaustralia.com/****-formal-dresses

Sawa na ako sa ideya ng Pag-ibig
Sawa ka na rin ba?
Sa pagbulong, paghikbi at pag-asa?
Dahil minsan mayroon akong nakilala
Isang bulaklak ng sampaguita
Bagamat di pa tuluyang bumubuka
Dinudumog na ng labis na pagsinta
At minsang umibig rin siya
At hinayaang pitasin ng isang binata
Ipinagkaloob ang taglay na kamurahan at bango
Isiniwalat lahat ng pinakatatago

Araw ni Valentino nang muli siyang nakita
Nangungulubot na ang kanyang mumunting petalya
Muli kong napansin na ang pagsinta
Katulad rin pala niya
May panahon ng pag usbong
May panahon ng pagkamatay

Hinubog na ideya sa ating isipan
Na ang pagmamahal ay walang katapusan
Iyan ang dahilan kung bakit sawa na ako
Sa ideya ng pag-ibig

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

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

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

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

Feel empty in your post apocalyptic City of Angels,
Where not even your pets are real!
An electric android, a sheep or a frog,
The whir-flutter of micro-electrical wings of a butterfly.

Good, and so you ought.

Now grab the handles of your empathy box,
And in a shared virtual hallucination –
Feel: empathy, depression, pain, delusion and despair,
The outré myriad gifts of consciousness.

Billions of discombobulated and disconnected wrecks:
Adam's sons; Eve's daughters,
And among them simulations too,
Fakes! androids!
A phony circuit of implanted semi-conscious memories,
A hive of neural malaise!
Welcome to our world;
know how dead inside I am.

You, yes, you:

Need a pet to make you more complete?
Maybe you can afford
A Fake Fakir Flake like me who looks like Jude Law,
Sounds like Richard Burton,
And silently romances you like Rudolph Valentino.
Come and stick what’s left of your mind,
In here,
In hair,
Hear her:
har, har, har…

A box of lies...

A voice, Mercer's,
With texture from an age you neither lived in nor dared in:
Al Jerry's, a TV actor,
Droning on in pre-selected tones.

The real thing, the men, the women, the children - their animals -
Made in the wild, wild desert,
In the green pulsing savannah,
On the open crusted sea;
Now too, washed, choked, and drained,
Too many spliced and diced mutations,
Iterating your image:
The thing that was my heart,
My Child, now its imitation.

The streets of Paris were clogged by rallies and demonstrations on the Sunday of fashion week. At the Trocadero, a pro-rally for embattled French conservative presidential candidate Francois Fillon, blocking the route between the Valentino and Akris shows; at Bastille, an anti-Fillon demonstration.

The French elections — and ever-increasing security — were providing a tense backdrop to the autumn-winter collections, much like Donald Trump, Brexit and Matteo Renzi did on the fashion circuit of New York, London and Milan this season. Politics and the changing of the guard, women’s rights and diversity may make fashion seem irrelevant until you add up the value of the industry to the world economy. In Britain it is £28 billion ($45bn) — and that is small fry next to France and Italy.

Perhaps politics and social change have influenced the French designers for there was much less street style this season and a lot more tailored, working clothes on the catwalk. They used mostly masculine fabrics but worked in such a graceful way. You need only look at Haider ­Ackermann, Chanel, Alexander McQueen, Christian Dior, Lanvin, Akris and Ellery to see this — lots of great wearable clothes.

Karl Lagerfeld wanted to fly us to other worlds (to abandon the mess here perhaps) in his Chanel space rocket. There were checks, cream, silvery white and grey tweeds, for suits and shorts and dark side of the moon print dresses that cleverly avoided the 60s’ ­futuristic cliches. Silver moon boots, space blanket stoles and rocket-shaped handbags were as space-age-y as it got. There was quiet, seductive tailoring at Haider Ackermann — tapered silhouettes in black wool and leather softened with a knit or the fluff of Mongolian lamb for a blouson or skirt. At McQueen the asymmetric lines of a black coat or pantsuit were ­inspired by the fluid lines of ­Barbara Hepworth’s sculptures, whereas David Koma reclaimed the soaring shoulderline of Mugler’s 80s silhouette for pantsuits and mini-dresses for the brand.

Christian Dior’s uniform-inspired daywear was produced in tones of navy blue with 50s-style navy belted skirts suits, long pleated skirts and some denim workwear. “I wanted my collection to express a woman’s personality, but with all the protection of a ­uniform,” explained Maria Grazia Chiuri before the show.

There was more suiting at ­Martin Grant with voluminous trousers, cummerbunds and men’s shirting. The cut was more mannish at Ellery and Celine with ­Ellery balancing her masculine oversized jacket looks with feminine bustier tops with giant puff sleeves. The mannish look at ­Celine was styled with sharp ­lapels, slim-cut trousers under crushed textured raincoats, whereas ­double-breasted jackets (a trend) and peacoats over loose-cut trousers appeared at John Galliano.

Checks jazzed up the tailoring at Akris where there were more sophisticated double-breasted jackets and swing coats, and at ­Giambattista Valli from among the flirty embroidered dresses a dogtooth coat emerged with a waspie belt and a suit with a peplum skirt.

Stella McCartney displayed her Savile Row skills in heritage checks for her equestrian-themed show. Of course, she is crazy about riding and her prints featured a famous painting by George Stubbs, Horse Frightened by a Lion. It turns out Stubbs was another Liverpudlian, like her dad Sir Paul.

Of course Hermes’s vocabulary started with the horse and there were leather-trimmed capes and coats that fitted an equestrian, or at least country theme worn with woollen beanies and big sweaters, offering a different way of tailoring, in an easier silhouette with a soft colour palette.

The highlight of the week for Natalie Kingham, buying director at MatchesFashion.com was ­Balenciaga. “Great accessories, great coats and great execution of ideas,” she says of Demna Gvasalia’s off-kilter buttoned coats, stocking boot and finale of nine spectacular Balenciaga couture gowns reinterpreted in a contemporary way. “It was wearable, modern and the must-see show of the week.” It was also, she pointed out “the must-have label off the runway with every other person on the front row decked out in the spring collection”.

Although tailoring worked its subtle charms on the catwalk, there were flashes of brightness, graceful beauty and singularity. Particularly bright were Miu Miu’s psychedelic prints, feathered and jewelled lingerie dresses and colourful fun fur coats with furry baker boy hats. Then there was the singular look evoked by Austrian-born Andreas Kronthaler in his homage to his roots, with alpine flowers, Klimt-style artist smocks and bourgeois chintz florals worked in asymmetric and padded silhouettes for Vivienne Westwood — some of it modelled by the Dame herself.

Pagan beauty, the wilds of Cornwall, ancient traditions such as the mystical “Cloutie” wishing tree led to Sarah Burton’s enchanting Alexander McQueen show, which was another of Kingham’s favourites with its unfinished embroideries inspired by old church kneelers and spiritual motifs. “I loved the artisanal threadwork and the spiritual message that was woven throughout,” she says. The artisanal and spiritual she considers an emerging trend around the shows. “It had a slight winter boho vibe but much more elevated.”

Chitose Abe shared that mood for undone beauty with her Sacai collection of hybrid combinations of tweed and nylon for an anorak, and deconstructed lace for a parka, and puffers with denim re-worked with floral lace for evening.

There was more seductiveness at Valentino and Issey Miyake. The latter’s collection shown in the magnificent interiors of Paris’s Hotel de Ville, shimmered with the colours of the aurora borealis and used extraordinary fabric technology to create rippling movement as the models walked.

Valentino was a high point. On a rainswept Sunday Pierpaolo Piccioli cheered us with high-neck Victoriana silhouettes and long swingy dresses in potentially (but not actually) clashing combinations of pink and red in jazzy patterns of mystical motifs and numerology inspired by the Memphis Group of Pop Art. The sheer loveliness of the collection was enough to drown out the world of politics only a few blocks away.Read more at:http://www.marieaustralia.com/short-formal-dresses | www.marieaustralia.com/blue-formal-dresses

There’s an assembly in the making
and the suits are all shuffling in for the big event
making way to their front row seats
****** in nose  
hanky in hand  
and all colorfully draped  
in those cuffed pin stripes
and Jerry Garcia ties

now what would the Grateful Dead
or any of their fine entourage
have to say about this foul routine?

Apropos of that
they’re talking in the 3rd person
with tight syllables
and wavy hands
and all taking a run
at the state of the union
there’s Valentino
and Freddie
and good old Sal
"look....their fiddling with their nuts!"
cries a layman from the balcony seats
the Yin and the Yang
have got even the most liberal minded
scratching their heads
as questions fly in from the field:

don’t you know the way it used to be?
have you no morals?
which way to the exit!?

These front row fanatics
have surely been scrimmaging
in the corn fields
all down in that classic 3 point
watching their weight
with sample selections from the
Spicy House and Yaas Bazaar
as members of the congregation look on with envy

pass the aperitif...the big ***** lady is on deck!

Union heads are running rogue
loading up on grievances
and lines
passing files at a make shift pew
jumping the bunkers
and stepping on clams
while the orderlies move in  
for governance

It’s a bewildered state  
and only for the mind of the rigorous
Jimmy D would say:
“it’s nothing you *****...to the victor goes the spoils!
everyone has a bit of good you know...
you just have to find it!"

Unrest is growing in the ranks
and the masses are unstable
Time to hammer down
with a formidable brace
and two tick play

I:
vorrei essere un grosso caimano & vivere come vive un grosso caimano & morire come un grosso caimano.

II:
pensavi che io fossi un insetto opalescente da infilzare con un grosso spillone & invece sono stata io ad esporti nell'ala del museo dedicata alle cose che non voglio vedere mai più.

III:
permetti agli altri di macchiare le tue lenzuola ma mai ciò che c'è intorno. un consiglio.

IV:
dopo essersi sposati nel bosco, non si rividero mai più. lei rimase col piede incastrato in una trappola per orsi & lui era troppo distante per sentirla urlare.

V**:
vorrei conoscere il numero esatto delle tue ciglia, sono lunghe, nere, belle & mi trafiggono come aghi incandescenti. ogni battito è un ipnosi.

Hey, another week whispers love to win "W" That womanly wonder I need to take a step back to "V"  just need to vent out.
I'm here not over there? Medieval times "Roman Festival" of love
I have to catch up to get to V- Valentine things are the sublime wake up take a bite the "Viennese Whirls" biscuit "The Cats Meow"
The Siamese to suit me just fine. The Valentine recruit her day of pursuit. Her lower V back to her higher love loot plays up to her **** and boots.

A victory versus the villain Mama Mia striking gold but I am a face to red like grapes. The Italian Villa making love in her red hot chinchilla. But somewhere over her sheer rainbow, he got sidetracked all the way she looks divine in her "Rosy" slingback chair. Read my lips go smack CD track "V-Valiant" multiplying like ants. She flaunts herself such a venom demonstration. The biblical (V)-sword wins her love sentimental. What aims the bow and arrow a heart is her V village daring. Quite shocking and alarming the poems red silk ties her love force the light shines romantically warm red. V Virtual reality Strawbery Sponge cake.

Her V-Valentine the first day she met him. Where she came from will we ever know? What's in the card do we win or lose to know what in store for you?

You will get to know me 
The sweets got her set
The bittersweets only yet
Plays the different drum
The Valiant V venture
Hum all *** about him
The ricochet "Russian *****"

This is not the end of the alphabet
zoomed in like the Zebra
You got me V for Visa
But Y where did the
( L)_ go we are losing some??
Alphabets 
More victories firelight sunset

Lionhearted heroic I bet
Did you throw me into Lion's den?
Refresh my L- love ******
"O" only roses pink/red sonic
Zippety do day happier
V Day the wine glasses
L-O-V- E Ecstacy

I suppose another tempting
Dose V vitamins
"Valiant Rose" Face
Such velocity
I feel pretty dancing
high castles
   "Valentine"

 Herbivore love me messy
Victorian sleeping beauty
Rose Kiss Hibiscus
Vampire rosebuds
Cherubs ****** red
Red Mercedes
Hubs of love
husbands

For the "Valiant Smart ladies"
High society noses
Pluto-Venus Starwars
V Valentino and their singles
Cappuccino in Italy Portofino
Chic centerfold V candles
Damask Rose pretentious pose

She's the V Voluptuous
Red devil ventriloquist
Pink/Wink Strawberry mousse
The Bulgarian with her cute
Pomeranian and spouse
Elephant Tusk smells
of musk E-love

"Marilyn Monroe" baguettes
Yves The Saint Laurent
So Valiant bond deep
Cut thorns of Reds
Bergdorf Blondes and
Brunettes
Valentine duet V-shape
Headset  vivacious escapes
So mindset
Never forget the one day

February 14 your
Valentine ring
heartedly set
Salute to the cadet

The Holy Ones


I want to shove socks in my pants, so it looks like I have one of those Italian-line painting *****. I want to do it when I go to the grocery store so fourteen-year olds and thirty-year olds alike stare at my junk as it fills the stitches of my pelvic arena, I want to make eye contact with mothers and grandmothers, brothers and dads as they shift uncomfortably in those handicap battery powered carts that are reserved for the handicapped but are often only used by the near-morbidly obese, near because they’re not quite dead yet, morbid because they can’t help but imagining my **** sliding past their tongue and what it feels like as the tip pushes past their uvula and they gasp for air through their nose because they’ve never had a **** like this in their mouth before. This would be my **** ****. This would have me making lists of adult film star names for film star jobs I’d never take because I’d be busy making lists of phone numbers, the college girls I’d have my pick of *******, and the mothers and grandmothers who I’d be happily turning away from while I select my own organic radishes from the produce department at the specialty market on Vine. This **** is better than a rolled up wrapped stack of hundreds or the leather jacket I had in high school, it’d be better than when I walked down Michigan Ave in Umbro Valentino donning a Parisian accent, I can see me having to buy new briefs just to make room for this ****. And my own **** getting jealous of the girth I’d be faking it’d swell up, and in the middle of ordering my four-pump Vanilla Almond milk Latte from Starbucks my gray wool socks would fall to the floor, and up from the band of my Acne Jeans would bulge the tip, just the tip, like she said when I was in college, or just the tip like I said when I just needed to feel something other than how emotionally wrecked you made me feel when you told me not to touch you anymore. You ****** me up righteously. And still, 380 women later, I’m ****** up and I don’t have a single pair of socks to wear

Valentino has its red, Versace its Medusa logo, Chanel the tweed that lines dresses and jackets and handbags each season. In the fashion world, these nuances of texture and color, in conjunction with shape, are what help define a brand's identity, what ultimately makes them feel familiar to consumers; they are fashion's version of DNA. Designers carving out their place within the industry will often land on their own set of signatures that are built upon with each new collection—but Patric DiCaprio, the 26-year-old designer of Vaquera, isn't interested in "buy-ability" or recognizable traits. "We are obsessed with keeping people guessing" he says. "We want that to be our thing."

In the three seasons since launching the New York-based brand, DiCaprio has infused Fashion Week with the sort of Dionysian energy once felt at early John Galliano shows. For his Summer/Spring 2016 show, staged at the Church of the Ascension in Greenwich Village, models walked the aisle to the Smashing Pumpkins in baptismal baby-doll dresses and ruffled bloomers, with DiCaprio's boyfriend closing the show in a wedding gown. In February, with new partners David Moses and Bryn Taubensee on board, a debaucherous cast of models dressed in Victorian-meets-club looks danced, lifted their skirts and put their cigarettes out in audience member's drinks at the China Chalet venue in the Financial District.

"Vaquera is about constant reinvention," DiCaprio says of his no-guts-no-glory ethos. "It's about the future; the future of style and clothes, but not in the cliche of futuristic spandex and metallics."

Much like his collections, the designer's path in fashion has been far from linear. Born and raised in Alabama, DiCaprio attended a private Christian school before studying photography at a public university in the South. An internship with DIS Magazine offered him a crash course in art direction and styling, and the opportunity to draw creative fuel from New York—a city that has very much proven to be his creative elixir.

"I felt like I had been underwhelmed for my whole life," says DiCaprio, who moved to the city five years ago and taught himself to sew through YouTube tutorials. "When I first came to New York it felt like I had finally gotten my head above the water and had oxygen for the first time. This place was overwhelming in the best way." DiCaprio spoke with PAPER about his creative approach, his unconventional path to fashion and his idolization of David Bowie.

What sparked your interest in fashion?

I think it's always been about clothes for me. When I was in middle school and high school I was always in bands. I was obsessed with Screamo and David Bowie—the groups that had such strong visual aspects to their work. But I think part of me always felt like I was doing that so I could assume the look. Screamo bands would let me wear the size zero, ultra-stretch white jean. With David Bowie, I wanted to wear the gold eyeshadow; it was always about the look.

How did studying photography lead you to fashion design?

My school was very focused on the craft—the dark room and perfect exposure—but I think I was on the opposite end, I was interested in what was happening in the photo. I left college to do an internship with DIS Magazine and because they're involved in so many creative avenues like photography and styling and art and video, I was able to get a realistic vision of things. The experience [with DIS] made me realize I was less interested in photography and more interested in creating these characters.

When school ended, I moved to New York and and worked with DIS again and then with VFiles in [the archives department]. I'd go through old issues of ID and Paper and Dazed and it taught me a lot about fashion history. I had been removed from all of that when I was growing up, there was no Chanel store in Alabama, there was no Dazed And Confused at the Barnes and Noble in Alabama. Coming to New York I was able to get my hands on the clothes and study these old magazines.

How did you get that initial internship though?

I'm obsessed with Tumblr. I got on it more than eight years ago, and it was a huge part of helping me reach out to people. People that I'm still friends with now—Hari Nef and Juliana Huxtable—I met through Tumblr; they moved to New York before me and motivated me to do the same. So I emailed the team at DIS, and asked if I could show them my photography portfolio—which sounds so funny to say now—and they offered to show me the ropes. They hooked me up with Avena Gallagher, who is an inspiration and has taught me everything I know about styling.

About two years ago I started working for her and became obsessed with styling. I styled Charli XCX for a year—and it was exciting, definitely closer to what I wanted to do but it wasn't exactly it. I wanted to pull specific things—1980's Issey Miyake, but there was no way a no-name stylist like me would be able to get my hands on it. So I bought a sewing machine and started sewing the things I wanted for photo shoots. Vaquera started as an art project that wasn't about wearing the clothes or making something for Opening Ceremony—it was about making clothes that I could then shoot. The final product was the look book.

What made you decide on the name Vaquera?

A few different reasons. I was reading a book by Tom Robbins called Even Cowgirls Get The Blues and it was really informative for me at the time. I was also working in a kitchen as an expediter with a bunch of Mexican line cooks and they had a lot of pet names for me, like "el pato" which is gay slang for f—got, and "little baby doll." They knew I was from the South so they'd call me "La Vaquera" because that's Spanish for cowgirl—even though cowgirls aren't Alabama, it's more of a Texas thing. So I just called the project Vaquera. It seems so arbitrary now, I'm stuck with it for better or worse.

What's been one of the challenges of keeping things future-focused?

I've had criticism from people that it's such a bad business model to reinvent yourself each season, that no one's going to know what to expect from you. Buyers are going to be confused, you're never going to make any money. And I've just been like, "Well, I think we don't have any interest in that." We are obsessed with keeping people guessing—we want that to be our thing. I try my best to keep it a secret until the day of the show and then just let loose.

So we're going to assume you won't be giving any clues about next season's show.

Oh my god, i don't want to give it away! I think people want to see billowy-sleeves but that's out the door. We're doing something completely different. Romantic but a whole different definition of romance.

How has working with David and Bryne changed things for you and the brand?

Last season it was like a whole new brand. We came together through Avena and it feels like we're progressing, which is exciting. I got sick of doing everything alone. For the Spring show I sewed everything, produced it myself, got the location, cast it myself.

And did you collapse after the show ended?

It was a serious problem, it became impossible. I realized I was either going to have to plateau so I could get my life together or I was going to have to find a way to expand the vision. I trust Bryne and David with my life and they understand my vision but have their own ideas. It was a necessary change.

So many designers have expressed concern about the relentless pace of the industry recently.

All these different seasons—pre-fall, couture, designers showing things that are going to be available for purchase the day after the show. That's so scary for people like us who are on our hands and knees in the living room cutting the clothes and can barely get them made in time for the show.

Do you want to stay independent? What are the benefits and detriments, in your opinion?

I think we want to stay independent. I want to make money but I don't want to feel pressure to do certain things. I'm already so sick of that show we just did—already on to the next one. It's like with Demna Gvasalia getting the Balenciaga job: I was so disappointed to see him doing the same thing he did at Vetements at Balenciaga, but then I realized, with all the money that's involved and when you're working with these huge offers, there's contracts. Money complicates things in a way that I think can hurt people's creativity. Maybe you'll make a lot of money for a few years, but you might forget how to make exciting things because you're stuck with the designs that worked well one time. I want to make money, but we want to find different ways of doing it.Read more at:http://www.marieaustralia.com/formal-dresses-melbourne | www.marieaustralia.com/formal-dresses-adelaide

Mumok Museum [24]

What am I doing in Vienna,
staring at cold sterile pop art as the whole entire world we're on burns,
in a city I never wanted to go to,
doing things that never really seemed that inspiring,

& it's not that I have an antipathetic attitude towards these pathetic fools,
in fact it's actually just the opposite of that because I'm an actual optimist,
which is why I don't feel inspired by bored cyborgs their wires or their tools,
& precisely why I'd rather gather flowers than be an actor for their power,

see I find more inspiration in a single leaf on a single tree by a river bank,
than from all the colors & lines contained within the walls of this museum,
which is why when I'm asked all the time what kind of poetry I read,
I reply I don't even read poetry see I don't find it in books I find it in seasons,

It's the same reason I don't need to go to church to pray,
because I don't need my messages from God to be translated by a human,

anyways where am I at & what am I doing?

Oh yeah Im at a museum in Vienna wondering where the inspirations gone,
& why everything seems so excruciatingly tiring,
see it seems we’re on the verge of a collective mental breakdown,
at the same time like we're on the precipice of a collective enlightening,

either way the system’s short circuiting & could do with some rewiring.

Why does every rags to riches story I know of those that've made it,
end in an overpriced designer outfit at home bored all alone & jaded?

Why is Consumerism followed like a religion,
I mean we're all made of the same DNA strands regardless of name brands,
I mean everything is just carbon hydrogen & oxygen anyways,
which may explain why materialism is immanent in every independent man,

while an apocalypse seems undeniably immanent &,
we dwell in the highest heights ever built still we don't totally understand,

we don’t worship Jesus we worship Visa,
putting good credit ahead of good morals,
don’t praise Muhammed in a daze we say our grace in front of TV Dramas,
no Buddha dreams just computers screens no real friends just PayPals,

& maybe that’s why it's easier to be blind than to see,
maybe that’s why we hide in museums behind Valentino sunglasses,
because we'd rather have expense tastes than be free,
but when you’re behind any type of four walls you’re trapped in,
whether on a Penthouse terrace with Paris in Paris,
or doing hard-time for white collar crimes with Madoff in a Federal pen,
either way we’re victims of our own additions trying to buy more time,
but running out of credit as banks are collapsing & the recession is relapsing,

so why even buy things when we know not so secretly,
that only Love will set us free from these retro restrictions & their trappings,

see,

the best things in life still are still free,
& yeah liberation is expensive & self renovations are extensive,
but freedom is priceless so live a life that's righteous,
seems that the Love Pyramid is the only pyramid that’s not a Ponzi scheme,

because we are all equal even if we’re not all treated equally,
that’s why some have no clothes while others wear designer denim jeans,
but these Diesels're 2 tight on my thighs this macabre carnival has no prize,
& I can do anything I want with my life but all I really want to do is breathe,

breathe,

breathe because this lifestyle is expensive,
but freedom is priceless,
even though they'll try to capitalize off of anything,
so they market it & try to price it,

I just,
want to find a place to relax & release,
& be free of all of this,
find true love & say “Fck off to the politicians & all their politics!”,

fck their programs fck their projects,
fck their ugly agendas dressed in artificially splendid splendor,
fck their quotas & their motives for treating human beings as objects,
fck their pre-programed consumerist culture of conmen capitalists,

fck there putting machines over human beings,
just to increase the place where their profit sits,
& I say all of this regardless of who it offends because I'm not an Apologist,
I'm more of a Lyrical Pharmacist,
who serves indiscriminate prescriptions in the form of transcriptions,
in order to assist in the additions that come from positive developments,
which will occur for sure once we switch the position we currently sit in,
& restore Divine Order once more in the name of Humankind's betterment,

in the game of life I play,
they know I'm so official that I don't even need a Letterman,

I just,
don’t know what else to say,
I don’t know why I’m at this museum in Vienna,
hiding away on the top floor writing this to you on a Sunday,

on the 5th floor got it all but I just want to give more,
I just want to gift these words then make my escape,
don't you get it I don't want to get more ****t,
if anything I just want to find a way to give more of what I have away,

just want to be alone,
but also want these words to be known so the truth can be shown,
but where do you go when you’re tired totally over it all,
& all you want to do is rest & write these poems,
but even with all you have you still don't know where to go,
because even with all these things you still don't have a home...

Hello,
could you please pick up the phone,
I’m calling because I still love you,
& I want to come back to you even though I know I’m already gone,

currently on the top floor of the Mumok museum in Vienna,
the floor is the 5th to be exact,
& yeah it’s true that I don’t know where I’m going,
but what I do know is I don’t think I’m ever coming back,

online & off track,
writing more words with more rhymes,
than any other living writer in contemporary times,
& no I'm not lying 'cause I'd never lie to you & yes those are both actual facts,

& yeah that’s a fact & yeah you can Google that,
but I’m going to follow that fact with a question,
before I forget to mention,
let me just ask you what I'm doing here in Vienna?



What am I doing in Vienna,
staring at cold sterile pop art as the whole entire world we're on burns,
in a city I never wanted to go to,
doing things that never really seemed that inspiring,

& it's not that I have an antipathetic attitude towards these pathetic fools,
in fact it's actually just the opposite of that because I'm an actual optimist,
which is why I don't feel inspired by bored cyborgs their wires or their tools,
& precisely why I'd rather gather flowers than be an actor for their power,

see I find more inspiration in a single leaf on a single tree by a river bank,
than from all the colors & lines contained within the walls of this museum,
which is why when I'm asked all the time what kind of poetry I read,
I reply I don't even read poetry see I don't find it in books I find it in seasons,

It's the same reason I don't need to go to church to pray,
because I don't need my messages from God to be translated by a human,

anyways where am I at & what am I doing?

∆ Aaron LaLux ∆

from The Holy Trilogy Vol. 2: Mandalas
available worldwide 08/08/18

Margaret Elizabeth porta un senso assassino di vestiti da sposa stile a qualsiasi cosa che fa .Che si tratti di progettare per la sua linea di gioielli o styling il suo pad città .non c'è dubbio che questa ragazza è uno da guardare .Ultime sulla sua lista di successi ?Sposarsi con il suo bel fidanzato .sulle rive del Rhode Island.E ' tutto ciò che vi aspettereste da un designer di talento come un matto.e Leila Brewster non perde un colpo .Date un'occhiata nella galleria completa



di chicche (tra cui peonie rosa a'plenty da Sayles Livingston Fiori !) .E non perdetevi il film giorno delle nozze da 3 Belles Productions abiti da sposa 2014 .
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Da Sposa ( progettista e proprietario di Margaret Elizabeth) .** sempre immaginato sposarmi presso il Dune Club .circondato da una grande varietà di familiari e amici .Il posto era davvero importante per noi .come abbiamo entrambi amiamo l'acqua e voleva sposarsi in riva al mare .Il Dune Club è un luogo particolarmente speciale per me causa di tutto il tempo che ** trascorso con la mia grande famiglia allargata .Mia nonna era una wedding planner incredibilmente di talento e abbiamo trascorso ore e ore seduto su quella spiaggia.molto sognare di questo giorno .Dal momento che lei non è più con noi .volevo essere sicuro che ** incorporato il maggior numero di elementi possibile da quelle conversazioni lato della spiaggia .

nostre tovaglie erano una di quelle cose .Abbiamo lavorato con biancheria La Tavola a venire con un corallo .crema e oro picchiettato schema dei colori e Sayles Livingston per tutti i fiori .Squadra Sayles ' creato le strutture ramo che pendevano sopra i tavoli .** amato questi perché hanno creato una sensazione che ricorda di Sonoma .in California .una delle nostre città costa occidentale preferita e il luogo del nostro impegno .Mentre l' arredamento e del nostro matrimonio era così divertente per la progettazione .la maggior parte del nostro weekend stava trascorrendo del tempo con tutti i nostri amici e parenti che si sono recati a Rhode Island per festeggiare con noi .

Il mio momento preferito del vestiti da sposa matrimonio era proprio dopo la cerimonia - Lane e mi aveva appena finito di camminare lungo la navata e abbiamo avuto questo momento breve dove c'eravamo solo noi in piedi sul prato .guardando verso l'oceano .È stato un momento tranquillo e bello che sarò sempre tesoro

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Fashion designers love foraging through the antique markets of Clignancourt in Paris and Portobello Road and Alfie’s Antiques markets in London snuffling out vintage pieces for inspiration. The flurry of romantic Victoriana on the catwalks for autumn can clearly be blamed on this obsession.

There has been an undercurrent of reserved, covered-up fashion ever since Pierpaolo Piccioli and his former co-designer Maria Grazia Chiuri introduced a more demure aesthetic to Valentino five years ago. Longer skirts, prim higher necklines and covered arms have become the slow trend of recent seasons creating a hyper-feminine look.

Riccardo Tisci at Givenchy and Sarah Burton at Alexander McQueen have long been beguiled by the Gothic romanticism of Victorian fashion with their use of corsetry and dark dramatic lace and velvet for eveningwear.

In fact, London-based vintage fashion dealer Virginia Bates admits she doesn’t remember there ever being a time when Gothic Victoriana didn’t feature in at least one designer’s collection. “The fascination with the romantics, poets, artists and even horror [classics and films] give designers a great source of inspiration,” she says. “It’s an irresistible era.”

Certainly a lot of it has appeared on the catwalks this season at McQueen, Marc Jacobs, Burberry (shown only a month ago in the see-now, buy-now collection), Simone Rocha, Preen, Bora Aksu and Temperley London, as well as at smaller brands such as Alessandra Rich, Three Floor created by Yvonne Hoang and A.W.A.K.E.

There were dark distressed Linton tweeds, unravelling knits and black tulle in Simone Rocha’s autumn collection. Rocha was pregnant when she started designing it and was inspired by Victorian dress and motherhood, in particular the nightgowns and matrons.

“All the wrapping and swaddling of babies,” she says, before elaborating on how “the Victorian ideals of properness were made perverse with the conservative and covered-up pieces contrasted by the sheer and embroidered fabrics.”These gauzy vaporous fabrics succeeded in making her eerily romantic silhouette look rather contemporary and daring.

Subversion is key to making such a prim and proper period in fashion history modern and relevant for women today. Marc Jacobs, for instance mixed long Victorian coats, ballooning crinolines and crochet doily collars with sweatshirt tops and laser-cut leather for skirts and jackets together with some scary Goth horror make-up. Nothing is, or should be literal.

As Justin Thornton of Preen says “we love the Victorians, the laces and the white shirts, but it is the vintage pieces rather than the era that inspire us”. His partner Thea Bregazzi has collected aristocratic laces and ruffly vintage shirts from Portobello Road market for as long as he has known her and these frequently find their way into their collections, “but linings would be ripped, garments will have holes in them – it is a deconstructed look”.Virginia Bates once owned a famous vintage fashion emporium in Holland Park with a client list including the biggest names in fashion from John Galliano to Donna Karan and Naomi Campbell. Now she only works with private clients and designers and they, especially, she says were looking for genuine Victorian pieces when planning their autumn collections.

“A black fitted jacket with inserts of handmade lace [that is] embellished with crystal and jet beads, ***** and silk lined ... How exciting and inspiring is that? Silk and fine lawn shirts, soft and flowing with ruffles. Don’t we all want to wear one and live the dream?”

Thankfully a few designers do right now, and there were lots of heavenly creatures in fragile asymmetric lace dresses toughened up with leather corsetry at Alexander McQueen, and richly coloured swishy dresses at Bora Aksu. While Christopher Bailey cherry-picked the centuries in his Burberry collection, lighting upon frilled white cotton shirts, nipped in jackets and military capes from the Victorian era. Given that Victoria reigned for more than 60 years there is a lot of history for designers to plunder, so this will not be the last we will see it.Read more at:http://www.marieaustralia.com/short-formal-dresses | www.marieaustralia.com/red-carpet-celebrity-dresses

Two opposing ideologies vie for attention. Dedicated supporters believe fervently in one, single vision. Ultimately, half a century of the old order is upturned. A new era dawns.

We’re talking about the Trump-Clinton stand-off and the UK’s “Brexit” - right?

Wrong! This is about fashion: how the people’s choice up-ended taste, timing and fame - and all of this before politics even began to mirror the same populist trends.

I see fashion’s polarisation as happening around two years ago. On one side was Balmain, where an in-your-face, brash-and-flash couture was heartily disapproved of by the fashion establishment. But the bold and **** style of Creative Director Olivier Rousteingwas adored by his A-list audience, led by Kim Kardashian, who embraced the glitter and glamour.

Let’s see this fashion movement as a precursor to Donald Trump’s up-turning of America’s presidential race, with his lewd comments, **** wife and rabble-rousing. To some, a Kardashian backside might seem as distasteful as a Trump rant. But millions love Kim’s look as much as they gave the thumbs-down to the Hillary Clinton trouser suit.

But something else - even more populist and unsettling - was going on in fashion.

Demna Gvasalia and his brother Guram, whose migration from Georgia in the former Soviet Union eventually led them to Paris, caused a different kind of shake-up: a “non-style” revolution they called “Vetements”, meaning “clothes”. Instead of fashion as we understand it, the defining pieces were resolutely plain: hoodies, puffer coats, and jeans, albeit meticulously worked.

In retrospect, this new brand, which also challenged the timing of shows and the distribution of the collections, can be seen as a fashion mirror-image of a world-wide people’s revolt, from Britain’s Brexit to Italy’s Beppe Grillo, whose day job is on stage as a clown.

The Vetements collective was launched in 2014, before global politics started heaving with change. But now that Demna has been made Creative Director of Balenciaga, whose founder Cristóbal was the epitome of grandeur, the graffiti is on the wall. An haute couture house has been taken over by an agent of street populism.

With people demanding to “see now, buy now” and brands as mighty as Burberry and Tommy Hilfiger responding to their cries, it seems like populism is winning. Not to mention the effect of Instagram, where Rousteing has 4.1 million followers to Trump’s 4.5.

But why be surprised by fashion as the harbinger of history? It has always been so.

In the early 1960s, Mary Quant ramped up her hemlines to start the rise of the “mini-skirt” - right before the contraceptive pill became available to all women. Twenty years on, in the 1980s designers celebrated in advance the shattering of the boardroom’s glass ceiling by swapping Flower Child dresses for mighty padded shoulders on female trouser suits.

Reeling back through history, Marie Antoinette threw off rigid, royal clothes, replaced in 1783 by portraits of her dressed with Rococo sweetness - six years before the French monarchy was overthrown.

Other theories, pooh-poohed by financial experts, have the rise and fall of hemlines linked to the ups and downs of Wall Street.

So is there a traceable link between fashion and politics? In this new millennium, the designers themselves are now bitterly divided. Playing fashion feminist - like Clinton to Trump or “Remain” to “Leave” - are key houses such as Valentino, presenting powerful, cover-up clothes with long sleeves and hemlines.

Significantly, when Maria Grazia Chiuri, one half of the long-term Valentino duo, left for Dior, she brought to that august house a T-shirt printed with the words: “We Should All Be Feminists”.

On the other side are an increasing number of hyper-flashy, sexist brands, such as Victoria’s Secret and its rowdy, revealing lingerie spectaculars or the loud looks of German designer Phillipp Plein and his display of rhinestone-cowboy decorated denim.

Two ideologies and two audiences competing for the triumph of one belief. Sounds familiar? Fashion and politics: it’s all one.Read more at:http://www.marieaustralia.com/formal-dresses-sydney | www.marieaustralia.com/formal-dresses-brisbane

I couldn’t love you more I loved you before the ocean was blue an ocean of emotion what about the
Time at Disney’s rivers of America we were setting in the River Bell and you invited the kids from
Melbourne to watch the show with us there was three girls’ three boys about eighteen they told us how
At the motel there wasn’t a shower curtain and they took a shower and the flood it caused it ended with
Cheerful down under good bys but the unknown haunts us there parting words were in a few days
We’re going to New Orleans they timed it just perfectly with Katrina we have no way of knowing about
Their Safety and the time the doctor said she thought you had cancer you were standing before the
Majestic gate how black the bars were on this side the shadow that it made but through the darkness
You could see how bright the bars were on the other side all was a blaze nothing ever was witnessed like
this before such clarity interesting as if logic was fine tuned things burned into your knowing with the
Warmest glow all was showing and bestowing it secret wonders you came back from the brink all added
To love’s undying flame then the time we ate at the happening place the Crazy Horse the same year
As Urban Cow Boy although it was southern California and it is west it was like we walked into Texas
Every Yuppie for miles was there dressed to the hilt in western wear it had something for a little kid
The next day we went to Knott’s Berry Farm we brought food from the Crazy Horse so we just set at the
Barbeque picnic tables I was eating steak but the fun was eating the purple onions the little kid was just
Young enough to be fooled what a face he made as I ate worms what fun you had then in southern
Florida we went to Wolf Man Jack’s club a great Ferris wheel out at the side of the building we listened
To Dell Shannon I guess we should have prayed and not just listened shortly thereafter he took
His own life but the knight was old time Rock and Roll and someone threw in the song Bogey and Ma Call
Because Key Largo was so close lower the black curtain of night it’s time to have those throw away
Knights that were without price but in my eyes your stature grew or the night we walked on the sands
Of Waikiki and the sea turned from turquoise blue to blackest black with the fringed waves in whitest
Magical white and then we strolled among the Hilton Garden with the burning torches you swayed as
Well as any Island girl and caught the rhythm of the sawing palms over head but as you know day
Follows knight and what a sight you made in those red shorts just above the knees and that white shirt
The only the way it could have been more perfect if it was a man’s white shirt and you had tied it in the
Front don’t worry I said a little prayer that night for imagination your heart beat took control the
Softest island breeze we were there but we were where all lovers congregate either Rome or the French
Country side among wine vineyards or the burnished sands that Valentino gave love its signature look in
This place of empty space silence hits a cord most adored you hear that single sound of wind hitting the
Walls of the greatest tabernacle the tabernacle of love in your love ones company maybe you can’t
Identify it but you spirit knows the rolls upon rolls of interchangeable wonder that we know you were a
Asleep the other day I set and watched your gentle breathing it made my heart beat stronger because I
Know the gentleness of your soul and all the kind acts you do for others and the reason I’ m writing this
It is your birthday so for them and me Happy Birthday my love

I first cried
where freshness itself struggled
to breathe. Outside
the Ganges,
asthmatic,
began to cower
back in fear, in
disgust, in
disease, browning
like the discarded banana peels
on the roadside below.

I first cried
in a dirt town
where kings and queens
drank to grass avenues
and swaying music in the realms
of history books.

I first cried
where those books
aged quietly
in forgotten rooms.

I first cried
where the streets bled
out crumpling homes and
cardboard stores with misspelt names,
spilling children in dust dresses
and hair matted
into rust pieces.

I first cried
where those children hung
babies on their arms
like my mother swung
her handbag, a flag
of Valentino, while stumbling on
crushed cans and dog ****
and foetid mud-water
on the way to the dentist.
And the children cried
out snot, their arms
perpetually reaching
for a rupee
from the traffic.

I first cried
where white-lit department stores
sprouted in defiant sanitation
between eczema-covered apartment blocks
in which washing lines drooped
and parking was always a problem.

I first cried
where many gods and goddesses
resided on the footpaths
decked in glitter
and cloths of rouge
as old men with
skin weathered into mottled
leather shook
beneath sheets of jute
on the roadside below
and offered tiny flames
to their gods
as morning bellowed and their coughs
grew worse.

I first cried
where stareless men burnt
their fingers
on the Chinese noodles with too much
chilli powder
they cooked and fried and cooked
for those who never saw them
but to haggle over a ten
rupee note,
on the roadside,
on every corner.

I first cried
as thread-blanketed teenage girls
with wrinkled faces
squatted amongst cows
in the middles of roads,
chanting prices, in voices
full of tar,
of the mound of peas
they were selling for that week.

I come every year.

And I'm ashamed to say
I'll never live here
but in my verses
because I can't stand the smell
of the place where I was born.

I first cried

here.
I first cried here.

Para el asombro de las greyes planas
suelo zurcir abstrusas cantilenas.
Para la injuria del coplero ganso
torno mis brumas cada vez más densas.
Para el mohín de los leyente docto
marco mis versos de bizarro rictus,
(leyente docto: abléptico pedante)
tizno mis versos de macabros untos.
Para mí... no hago nada, nada, nada,
A qué contar a la olvidosa gente
si el amor en mi pecho llora o canta?
(a la olvidosa gente, es a saber:
al aire, al viento, al sol, al río, al mar...)
o a qué decir si el alma poesía,
-gruña así o grazne la trivial raleaa
qué decir si el alma poesía
huésped es de mi torre o de mi rúa?
Y que (como Villon el su tabardo,
su buitre prometeiico Atlas el Sordo,
como Nerón la púrpura, y la toga
César el Calvo, y ponzoñosa daga
el Valentino de mirar buido,
y, de la Tour de Nesle precipitado,
el saco Buridán, oh Margarita!)
yo porto, a más del tirso y la careta,
yo porto, en mí, la sombra del fastidio,
signo fatal, exilio sin remedio?
(como Nerón la púrpura, o la toga
César el Calvo, o la siniestra daga
el Valentino César, cuando arruga
su ceño ante las turbas enemigas!)
Un ignorado ritmo, dócil, terso,
donde el absurdo corazón esparzo,
¡eso será la impertinente estrofa
en que de todo mi desdén se befa,
y más de mí!: desdén, sobrio estilete
y el más seguro amigo en el combate
contra la tribu inulta! ¡Oh Muchedumbre!:
qué vales tú, si topas con el Hombre?
(y el Hombre, dí, si topa con el Hambre?
y Muchedumbre y Hombre con la Hembra?).
Para mí no hago nada, nada, nada,
¡sino soñar, sólo vivir la vida!
Para mí no hago nada... ¿acaso humo
cuando en la pipa blondo aroma quemo,
-si en el magín devano las ideas
humo también, color de fantasía...-?
Para mí no hago nada, nada, sólo
soñar, vivir la vida a contrapelo.
Sin un sueño de Amor más que divino
-por tener de ideal y ser humano que
da objeto y razón a mi durar...
sin ése Amor, mejor fuérame ser
una Sombra en la Sombra: quieto Buda
dormitando en la Muerte o en la Vida.
Para el asombro de las greyes planas
suelo zurcir abstrusas cantilenas.
Para ofender la mesocracia ambiente
mi risa hago sonar de monte a monte;
tizno mis versos de bizarro rictus
para el mohín de lo leyente docto;
para divertimento de mí mismo
trovas pergeño: absurdos y sarcasmos!
Y busco algo de ensueño y de aventura
dentro la noche...! y doy la vida entera
por el Amor, oh tú, sola Mujer!
mientras viene el morir!

Fashion rarely looks to the Brit awards for style inspiration but somehow fashion finds its way, in dribs and drabs, to its red carpet. These awards are the unwanted stepchild of the red carpet and generally, this means it’s a bric-a-brac of high-end and high street looks. For every Rihanna in couture you have a Little Mix in Asos.

Such is life, though, and there were legitimate trends, aside from the James Bay/Kylie double hatter. First, in the spirit of Angelina Jolie’s 2012 viral, there was a Right Leg – as flashed by model Lily Donaldson and singer Lana Del Rey. Nightwear came in a rather lavish Miss Havisham-esque form via Florence Welch (cream slip, eiderdown wrap, bed-hair) and Rihanna (a lilac slipdress covered with seashell patterns), and which unexpectedly preceded Alexander McQueen’s autumn/winter 2016 collection. Finally, there was a definite nod to The Wizard of Oz’s Emerald City via Jess Glynn’s sparkling green jacquard suit, Kylie’s backless heels and Jack Garratt’s toned down double-breasted suit.

There were the half-successes, too: Adele’s cascading liver-red dress and matching lipstick was grownup, but compared to her memorable 2013 Valentino hit at the Grammy’s, it felt par-cooked. Singer Charli XCX has been a frow regular at this year’s London fashion week, so she went predictably designer in pale green Vivienne Westwood. But she was let down with her slicked-back hair, a styling addendum that somehow overegged the overall effect. She also looked stiff and uneasy, probably because, at 23, she was too young to pull it off.

The menswear was far more experimental. To wit: Labrinth in a blue and pink orchid-print suit which, unaccessorised, had just enough humour to work (it looked like a box of Cadburys Roses). Mark Ronson did his usual trick of pepping a cleanly cut suit with the odd flourish. This time it was a monochrome dogstooth suit covered with a static print. Even JLS’s Marvin Humes, in a Yves Saint Laurent bomber jacket, epitomised the modern man. And what Carl Barât lacked in pizzazz he made up for by wearing a Hedi Slimane suit (although less said about the James Bay hat, the better).

The misses, of course, were plentiful. The mullet dress is the trend that refuses to die (see Cheryl Fernandez-Versini and half of Little Mix in various synthetic horrors). Alexa Chung rarely puts a brogue wrong, but here in a velvet bustier dress, was fairly forgettable (lesson: don’t step out of your style lane). Then, of course, there was Keith Lemon, who pillaged the misses of awards seasons gone (the Pharrell hat, the pseudo-Gucci blazer … everything really). What did you expect from Keith Lemon? The Brits then: a series of blind taste tests on the red carpet, none of which gets full marks.Read more at:http://www.marieaustralia.com | www.marieaustralia.com/evening-dresses

I couldn’t love you more I loved you before the ocean was blue an ocean of emotion what about the
Time at Disney’s rivers of America we were setting in the River Bell and you invited the kids from
Melbourne to watch the show with us there was three girls’ three boys about eighteen they told us how
At the motel there wasn’t a shower curtain and they took a shower and the flood it caused it ended with
Cheerful down under good bys but the unknown haunts us there parting words were in a few days
We’re going to New Orleans they timed it just perfectly with Katrina we have no way of knowing about
Their Safety and the time the doctor said she thought you had cancer you were standing before the
Majestic gate how black the bars were on this side the shadow that it made but through the darkness
You could see how bright the bars were on the other side all was a blaze nothing ever was witnessed like
this before such clarity interesting as if logic was fine tuned things burned into your knowing with the
Warmest glow all was showing and bestowing it secret wonders you came back from the brink all added
To love’s undying flame then the time we ate at the happening place the Crazy Horse the same year
As Urban Cow Boy although it was southern California and it is west it was like we walked into Texas
Every Yuppie for miles was there dressed to the hilt in western wear it had something for a little kid
The next day we went to Knott’s Berry Farm we brought food from the Crazy Horse so we just set at the
Barbeque picnic tables I was eating steak but the fun was eating the purple onions the little kid was just
Young enough to be fooled what a face he made as I ate worms what fun you had then in southern
Florida we went to Wolf Man Jack’s club a great Ferris wheel out at the side of the building we listened
To Dell Shannon I guess we should have prayed and not just listened shortly thereafter he took
His own life but the knight was old time Rock and Roll and someone threw in the song Bogey and Ma Call
Because Key Largo was so close lower the black curtain of night it’s time to have those throw away
nights that were without price but in my eyes your stature grew on the night we walked on the sands
Of Waikiki and the sea turned from turquoise blue to blackest black with the fringed waves in whitest
Magical white and then we strolled among the Hilton Garden with the burning torches you swayed as
Well as any Island girl and caught the rhythm of the sawing palms over head but as you know day
Follows night and what a sight you made in those red shorts just above the knees and that white shirt
The only way it could have been more perfect if it was a man’s white shirt and you had tied it in the
Front don’t worry I said a little prayer that night for imagination your heart beat took control the
Softest island breeze we were there but we were where all lovers congregate either Rome or the French
Country side among wine vineyards or the burnished sands that Valentino gave love its signature look in
This place of empty space silence hits a cord most adored you hear that single sound of wind hitting the
Walls of the greatest tabernacle the tabernacle of love in your love ones company maybe you can’t
Identify it but your spirit knows the rolls upon rolls of interchangeable wonder that we know you were
Asleep the other day I set and watched your gentle breathing it made my heart beat stronger because I
Know the gentleness of your soul and all the kind acts you do for others and the reason I’ m writing this
It is your birthday so for them and me Happy Birthday my love

My sister Annick fixed me, locked me in, with cold, blue eyes as she sat down slowly next to me at the table. “I’m a surgeon,” she said, not quite casually, “a board certified surgeon.”

I give her a questioning look.

“I could take your steak knife,” she says, eyeing it, “plunge it into your neck - and oh, sure, there’d be a question or two but in the end - I’d walk away clean.”

“I don’t think,” I start saying…

Tears well to near overflowing in her turquoise eyes. “I came in - officer” she says, sounding stunned and surreal. “She was having a convulsion, she exhibited severe cyanosis, I couldn’t clear her airway, it was a classic tonic-clonic seizure.” she goes on, her voice rising to near panic with the diagnosis.

“You’d never…” I start to interrupt but she gently covers my mouth with her left hand while gathering the handle of the serrated silver steak knife, expertly, into her right hand.

“I attempted to perform a tracheostomy,” she continues in a traumatized but professional voice. “but as I began a transverse incision above the sternal notch,” a tear rolls down her cheek, “Anais suffered a severe generalized-onset seizure and convulsed, forcefully into the knife”

“IT WAS AN ACCIDENT!” I confess suddenly, as if under oath, in court.

There’s a moment of still silence.

“And WHEN,” she asked, wiping away the tear and turning the knife for a downward ******. “Were you going to MENTION IT?!”

“NOW! - before dinner!” I look around the empty room - for help - for a sympathetic jury. “It was an ACCIDENT! - I’m SORRRRYYYY!” I plead.

My sister slowly sets down the knife and says deliberately, purposefully - like a death sentence: “My Valentino sheer floral-lace top is STAINED.”

”I can FIX it!” I insist in a rush.

“Keep OUT of my room - and my stuff.” she grumbles, “And REMEMBER what I said,” she adds as she pats the knife before getting up and leaving the room.

“I WILL’” I promise to her back.

A second later, my mom sweeps in from the opposite direction.
“What’s up” she asks.

“Nothing” I almost whisper, head down.

It started with the wide-leg Giorgio Armani pants
And it all went downhill from there.
They were so chic, and might improve her stance,
She could wear them to the market, hell, almost anywhere!

When she put them in her shopping cart
And continued to enter her credit card number,
A shot went right through her fashion-hungry heart
A jolt she still remembers!

It was the feeling of a new era
A new time in the lifespan of her wardrobe.
She would become a Prada-shopper, a vintage Chanel-wearer
No longer would she need to shuffle around her apartment in that awful bathrobe.
She'd strut down the street, sporting her Carolina Herrera.

A month later, a tingle slipped through her spine
As she donned a lapis Michael Kors
It was that sudden thought, "This dress is all mine!"
"It's mine now, so it isn't yours!"

From then on, it was her bank account that took the hardest hits
Money trickled through her Valentino-studded hands,
Down her Vera **** hips,
Came running down in thin, green strands.

Of course it all came falling apart when she saw the flawless Birkin bag,
Sitting there in the Hermes shop window
She knew it was the one thing she'd yet to snag!
However, there was just one thing she didn't know.

As she had the cashier ring it up,
Dropping another ten-grand
The cashier had her card snatched right up!
For this, Madame Fashion couldn't stand.

"Give it back!", she said, snapping her gold-dusted finger
"But dear you're overdrawn," said the snappy lady.
How she wanted to scream like soprano opera singer!
It was then that things got real shady.

In a lurch of madness, Madame jumped the counter!
The other shoppers were struck into awe and fear.
The cashier woman tried to stop her,
But Madame had just barely escaped, finally in the clear!

As she ran down fifth avenue, clutching her precious steal
A horrible revelation took over this felon,
She'd forgotten that she had wanted the purse in gorgeous teal!
Instead she had gotten melon.

I GAVE YOU ALL I HAD TO GIVE, STILL YOU WANTED MORE
  YOU STOLE THE VERY HEART RIGHT OUT OF ME.
  I LIVED AND BREATHED AND DRESSED FOR YOU, AND EVEN UNDRESSED                
  FOR YOU. NOW, THERE'S JUST ONE THING YOU MUST DO

  IT'S SO HARD TO ADMIT TO THIS MISTAKE
  TRUE CONFESSIONS OF A ROYAL RAKE
  AT TIMES YOU WERE SO VERY ODD
  A VALENTINO, A MARQUIS DE SADE
  I GOT CUT UP IN YOUR ONE-WAY GAME
  I'VE GOT NO ONE ELSE BUT MYSELF TO BLAME
  I'LL GET BACK AT YOU, SOMEDAY YOU'LL PAY
  BUT FOR NOW I CAN ONLY PRAY THAT YOU'LL

  PUT IT BACK WHERE YOU FOUND IT, THE LOVE YOU TOOK FROM ME
  PUT IT BACK WHERE YOU FOUND IT, MY HEART'S IN MISERY
  PUT IT BACK WHERE YOU FOUND IT, THE LIFE YOU TOOK FROM ME
  IT'S SO HARD FOR ME TO LIVE WITHOUT, WHAT YOU TOOK SO EASILY

  YOURS IS THE KIND TO TAKE CONTROL
  A THIEF OF LOVE WITHOUT A SOUL
  RETURN MY HEART AND TAKE THESE BLUES
  THERE'S NO USE KEEPING WHAT YOU CAN'T USE
  I'VE KNOWN LOTS OF GUYS BUT YOU'RE UNIQUE
  THE WAY YOU HYPNOTIZE AND YOUR MYSTIQUE
  I FELL FOR YOUR SCENT, AN APHRODISIAC
  BUT YOUR JUST A CLEVER KLEPTOMANIAC SO...

  PUT IT BACK WHERE YOU FOUND IT, THE LOVE YOU TOOK FROM ME
  PUT IT BACK WHERE YOU FOUND IT, MY HEART'S IN MISERY

  PUT IT BACK WHERE YOU FOUND IT, THE LIFE YOU TOOK FROM ME
  IT'S SO HARD FOR ME TO LIVE WITHOUT, WHAT YOU TOOK SO EASILY

  THE BEST THING IN MY LIFE THAT I COULD EVER DO WOULD BE TO
  SIMPLY STAY AWAY FROM YOU, BUT I CAN'T AS LONG    
  AS YOU HAVE THAT DIVINE PART OF WHAT WAS ONCE MINE
  SO I'M ASKING YOU PLEASE, JUST PUT IT BACK!

David John Clare  ©In Perpetuity   ALL RIGHTS RESERVED
Clairvoyant Music / BMI

http://www.mynoisyplanet.com/davidjohnclare

I couldn’t love you more I loved you before the ocean was blue an ocean of emotion what about the
Time at Disney’s rivers of America we were setting in the River Bell and you invited the kids from
Melbourne to watch the show with us there was three girls’ three boys about eighteen they told us how
At the motel there wasn’t a shower curtain and they took a shower and the flood it caused it ended with
Cheerful down under good bys but the unknown haunts us there parting words were in a few days
We’re going to New Orleans they timed it just perfectly with Katrina we have no way of knowing about
Their Safety and the time the doctor said she thought you had cancer you were standing before the
Majestic gate how black the bars were on this side the shadow that it made but through the darkness
You could see how bright the bars were on the other side all was a blaze nothing ever was witnessed like
this before such clarity interesting as if logic was fine tuned things burned into your knowing with the
Warmest glow all was showing and bestowing it secret wonders you came back from the brink all added
To love’s undying flame then the time we ate at the happening place the Crazy Horse the same year
As Urban Cow Boy although it was southern California and it is west it was like we walked into Texas
Every Yuppie for miles was there dressed to the hilt in western wear it had something for a little kid
The next day we went to Knott’s Berry Farm we brought food from the Crazy Horse so we just set at the
Barbeque picnic tables I was eating steak but the fun was eating the purple onions the little kid was just
Young enough to be fooled what a face he made as I ate worms what fun you had then in southern
Florida we went to Wolf Man Jack’s club a great Ferris wheel out at the side of the building we listened
To Dell Shannon I guess we should have prayed and not just listened shortly thereafter he took
His own life but the knight was old time Rock and Roll and someone threw in the song Bogey and Ma Call
Because Key Largo was so close lower the black curtain of night it’s time to have those throw away
Knights that were without price but in my eyes your stature grew or the night we walked on the sands
Of Waikiki and the sea turned from turquoise blue to blackest black with the fringed waves in whitest
Magical white and then we strolled among the Hilton Garden with the burning torches you swayed as
Well as any Island girl and caught the rhythm of the sawing palms over head but as you know day
Follows knight and what a sight you made in those red shorts just above the knees and that white shirt
The only the way it could have been more perfect if it was a man’s white shirt and you had tied it in the
Front don’t worry I said a little prayer that night for imagination your heart beat took control the
Softest island breeze we were there but we were where all lovers congregate either Rome or the French
Country side among wine vineyards or the burnished sands that Valentino gave love its signature look in
This place of empty space silence hits a cord most adored you hear that single sound of wind hitting the
Walls of the greatest tabernacle the tabernacle of love in your love ones company maybe you can’t
Identify it but you spirit knows the rolls upon rolls of interchangeable wonder that we know you were a
Asleep the other day I set and watched your gentle breathing it made my heart beat stronger because I
Know the gentleness of your soul and all the kind acts you do for others and the reason I’ m writing this
It is your birthday so for them and me Happy Birthday my love

Questa storia d'amore che è iniziato con un incontro casuale .è cresciuto nel corso lettera per lettera scritta abiti da sposa 2014 a mano e culminata in un matrimonio costruito per dueèè uscito da un film .Un buon pazzo.romantico come vengono flick .E la fuga risultante con immagini di Fotografia Brita .altrettanto romantico.Vedere l'intera giornata svolgersi nella galleria e ancora di più su vestiti da sposa questo amore da favola .hanno un ascolto qui .

Condividi questa splendida galleria ColorsSeasonsWinterSettingsOutdoorStylesElopement

Kate ha incontrato Brad durante una tappa .Avevano chimica immediata .ma lei gli disse che se voleva continuare a crescere quello che avevano .avrebbe dovuto farloè? Ia lettera scritta a mano .Così ha fatto .Ha ottenuto la prima lettera di San Valentino 'Day .e nel corso di un movimento vestiti da sposa ( lui per la sua città ) e una quarantina di lettere .che cosa è stato messo a punto una proposta .nascosto nel codice scrittoè' Dal giorno del nostro primo incontro sono stato affascinato dala tua bellezza



.la personalità e la vostra fede .Sono stato benedetto per arrivare a sapere che in tal modo divertente e unico .** veramente sentito come l'uomo più fortunato a causa del vostro sforzo e il desiderio di conoscere me.Sono onorato che si vorrebbe perseguire vicenda mentre ancora tiene fedele a te stesso e la tua promessa.C'è stato qualcosa che ** pensato per molto tempo .Katherine Anne . "Allora .ha proposto !
Mi dà i brividi ogni volta che l'** letto !Le parole non possono nemmeno cominciare a descrivere quanto sia speciale Kate \u0026Giorno delle nozze Brad ' stato per noi .E ' stata un'esperienza incredibile .Nick e io eravamo gli unici ospiti e ci siamo chiesti in tutto centro di Savannah e Tybee Island.E 'stata una giornata perfetta

Fotografia : Brita Fotografia | Abito da sposa : ! Wedding Angels | Cerimonia : Troup Square.Savannah | Hair \u0026 Makeup : Heather Ferguson | Bridal Shoes : Kelly e Katie | Radio Show : The Bert MostraFotografia Brita è un membro del nostro Little Black Book .Scopri come i membri sono scelti visitando la nostra pagina delle FAQ .Fotografia Brita VIEW

Beguiling

Would you like to know the picture God carries of you first fired in his imagination then bathed in light
And the final element water I know the power fire has to loosen the quiet tongue the flame dances and

Leaps your mind and imagination falls in step recall marches in with abundant expansive dialogue the
More you talk the more thoughts rush in as where the final viewing is in the clearest pure water at first

You don’t expect your change of mood when you approach any size of water it can be just a pool or a
Tremendous lake and more favorable is the small setting with water present a peace will descend like

Misty silk it bellows out and gently descends engulfing you through this silky sheen you are the supreme
Vision of loveliness the male is never more handsome the woman is never more beautiful can it be any

Different to look upon a face through green sea colors that occur when the sun shines through the
Rolling wave’s silkiness is nothing but the master’s delightful touch God sees his

Daughters as true princesses of the mysterious desert and there was a reason that Valentino played
Sheiks of the mysterious desert land it made him incomparable and the women stood on equal footing

In character and looks spellbinding that is what you look like to God we love with all of our heart but his
Capacity is so far greater than ours every church around the globe would be busting at the seams and

More being constructed if people really knew God and his love that is the greatest cry of the human
Heart is to be loved it took a master deceiver and the greatest hater of mankind to wreck the havoc that

He has accomplished well why doesn’t God do more the artist sized it up when a broken bloodied savior
Was shown on Calvary with his arms outreached with the underlining words he loved you this much

You’re the whole of his existence there is master piece after master piece that hang in museums but
They pale and are considered inferior botched art next to his longing pleading eyes that say come unto

Me my treasure and know everlasting pleasure come and be seated around my throne your rightful
Place that was always my plan for you only death and sorrow awaits those that turn a deaf ear to
Perfect love

"I wouldn't know what to do; I think I would just rot in a corner," replied Zandra Rhodes when asked if she plans to retire anytime soon. The 76-year old British designer who was down in KL (it's her fourth time here now) for the recent KL Alta Moda held at Starhill Gallery where she showed a collection of beautiful songket pieces alongside her signature chiffon print dresses, shows no signs of slowing down even after an extensive six decade-long career that has seen her dressing both rockstars and royalty.

Dressed in one of her designs – a stunning midnight blue, tiered kaftan dress covered all over in gold squiggles, huge pearls and her trademark fuchsia bob, red lips and blue eyeshadow-rimmed eyes, Rhodes maintained a spirited, bubbly cheer at Ritz Carlton where we finally sat down with her after stealing her away mid-tea with the crème de la crème of Malaysia's society.

What's the story behind the collection that we've just seen?

We did a collection initiated by Dodi Mohammad – one that really focused on songket. We chose lovely iridescent greens and pinks, and various groups of clothes. Then I designed and worked on the weaves to make suits and short dresses. It was really to give it another look. Three quarters of the collection are made up of Malaysian songket weaves.

What about the archive looks that you included? How do they relate to the new collection?

I had students who couldn't believe how people were copying the things that I've did in the past – like the pink dress for Princess Diana or the gold dress that Pat Cleveland wore dancing at Studio 54. They suggested that I produce the collection again in a new look, so we did that for Matches Fashion in UK.

Your AW16 collection is said to be inspired by Studio 54 back in its heyday. Would you be able to share with us an interesting story of your own at Studio 54?

I remember with shame going to Studio 54 when they reopened. I sat down in the corner and I was so tired, I fell asleep. I'm sure I was the only person who would fall asleep in Studio 54. I also remember lots of times it was like the parting of the Red Sea when you went in there with Bianca Jagger or Pat Cleveland.

Could you tell us about the Hieronymus Bosch-inspired prints you created for Pierpaolo Piccioli's first solo collection at Valentino?

That was one of the most amazing experiences in my life. He flew over with two of his assistants, opened the Hieronymus Bosch book and said he wanted the collection based on that. And I'm thinking, "Do we want naked people all over it?" It was a fantasy look that I was completely overwhelmed with. I came up with five or six initial ideas and he would look at the things I did and say, "I like your wiggle" or "I like this." Finally, he looked at one of my designs – a lipstick design I had done in 1963 – and said that he wanted daggers and hearts, so we turned that into daggers and hearts and it was wonderful.

Is there anyone else on your collaboration wishlist?

Oh gosh, that's difficult. I think I really just pick and choose. For example, we're currently working on the idea of me doing a print for Anna Sui who is going to have an exhibition in my museum in London. We're going to do the print here in Malaysia using Malaysian fabrics.

Your dresses have been worn by iconic stars from Princess Diana to Pat Cleveland. If you could design an outfit for a current It girl, who would it be for?

I would love to do something for Princess Kate. It would be fabulous to do something for her. She always looks good.

If you could describe Malaysia as a print, what would it look like?

Mad Malaysian houses! I love looking at these tall blocks with curved roofs. I've done a Manhattan print but I think I should do a KL print. You'd need to put the Twin Towers in. I think there's room for a lot of things.

What projects have you got lined-up for the future?

At the moment, I'm designing for the Turandot opera, which is about a mad Chinese princess and a pair of lovers that get beheaded. It's wonderfully mad. It's due to be out in San Diego in 2018.

You've been working since the 60s, any plans of settling into retirement soon?

I wouldn't know what to do; I think I would just rot in a corner.

What inspires you?

Wonderful people. I think it's one's friends. It's very important to do something and exchange ideas. I also love traveling when I get the chance. It's really a case of seeing how far my adventures can take me.

What do you think has been the key to your longevity in this industry?

I'd say longevity is the result of hard work and enjoying what you do. If you do something and it doesn't succeed, you pick yourself up and have another go. You never give up.

Describe yourself in 3 words.

Pink, short, makeup.

What would your hair be if not pink?

I think it will be several different colors. I see all these people with all these different colours, I think I might try that next.

What's your hobby?

Cooking and gardening.

If you weren't a fashion designer, what would you be doing?

I don't know, I don't have time to think about that.

What's the best advice anyone has ever given you?

Oh, good one! Be careful who you step on going up, cause you might have to lean on them going down.Read more at:www.marieaustralia.com/one-shoulder-formal-dresses | http://www.marieaustralia.com/red-formal-dresses

Freshmen year
I was involved in a play
About women in the 1920's
Who were paid to paint watch dial numbers
And hands
With green-glowing,
Radioactive paint.
The point of doing this
Being so soldiers could see their watches at night
Without giving away their position.
However,
After years of exposure to the radium,
The women themselves began glowing
And forming cancers in the deepest recesses
Of their young and tender bodies.

Before the horrors began,
The women had taken a trip to the beach
Where they ate sandwiches
And talked about the things that shined
In their lives.
And between the Rudolph Valentino's
And pearl necklaces
In the windows of department stores,
I believe they could also list you
Among the beautiful things they had
In spite of all the danger.

2/18/2015

it's the place reeking of Valentino
samples,
I got the date twice wrong today and
lou reed shouts while they pluck
their eyebrows by summer aquired mirrors in February,
two dollars at the yard sale
dig it?

"But she never lost her head
even when she was givin' head"
and she says,
Hey babe take a walk on the wild
side
the girl with the samples and her
Friends are all like:

"can I borrow a shirt?"
She plucks her eyebrow In a very
manner,
The manner being she calls strangers
Mister mister like an orphan
mister mister care to spare change? or maybe a party invite?

My Moonlight archipelago,
my escape
I approach the buttress of boredom better known as your doorstep

I pull you in...
your hair stretches from clenched fingers and what follows down to the feel of my fingertips is religious in nature
under a broken blue street lights, i cradle inward, immersed now in infinite youth of lust... a flash of light... street lamps lit now a Coca Cola Red ... the color plays, a chromatic cinema fills through
your follicles

I spin you away momentarily and envy my shadow now pressing upon you

we are Cathars,
heuristic heretics,
learning love through touch in a hate filled land (the pesky conformity of late-stage Western Civilization)

still

Your ether look absolves me of this world’s sins
beam raw:
render quiet:
Baptize me in the esoteric and verbose stares, the *** is drawn on your lips, so mouthy, but saying nothing inside the long Chaplin silence,
you vacillate
and I’m vacant
my voice removed
spent, empty in the Valentino deadpan stares 


Post Script: The gaze gave conversations: conversions still silent in her looks, a living Bible's worth of words in those sacred scripture holy eyes.

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

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

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

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

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

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

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

Ever since I was a kid in school
I messed around with all the rules
Apologized, then realized
I'm not different after all

Me and the boys thought we had is sussed
Valentino's all of us
My dad said we looked ridiculous
But, boy, we broke some hearts

In and out of jobs, running free
Waging war with society
Dumb, blank faces stared back at me
But nothing ever changed

Promises made in the heat of night
Creepin' home before it got too light
I wasted all that precious time
And blamed it on the wine

I was only joking, my dear
Looking for a way to hide my fear
What kind of fool was I?
I could never win

Never found a compromise
Collected lovers like butterflies
Illusions of that grand first prize
Are slowly wearin' thin
Susie, baby, you were good to me
Giving love unselfishly
But you took it all too seriously
I guess it had to end

I was only joking, my dear
Looking for a way to hide my fear
What kind of fool was I?
I could never win

Now you ask me if I'm sincere
That's the question that I always fear
Verse seven is never clear
But I'll tell you what you want to hear
I try to give you all you want
But giving love is not my strongest point
If that's the case, it's pointless going on
I'd rather be alone

'Cause what I'm doing must be wrong
Pouring my heart out in a song
Owning up for prosperity
For the whole **** world to see

Quietly now while I turn a page
Act one is over without costume change
The principal would like to leave the stage
The crowd don't understand..........