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October in Paris marks a shift in focus from fashion to art. This is when the city’s major institutions unveil their heavyweight exhibitions, while independent galleries often present their rising stars. Usually, October is also when dealers, collectors and adjacent art people arrive for Fiac, among the world’s leading contemporary art fairs, which has been replaced this year by Paris+ par Art Basel—a coup that, specifics aside, seems not unlike a shakeup of fashion designers and houses.

For all the fair-hopping, installations, and parties that will ensure the next few days are as over-scheduled as any fashion week, there are several new museum exhibitions exploring style, society, and visual culture. There’s a dynamic throwback to ’80s fashion, design, and graphic art at Musée des Arts Décoratifs. There’s escapism and luster at the Musée Yves Saint Laurent, which is presenting the designer’s obsession with gold. There’s timeless beauty mixed with existentialism at the Louvre, which has mounted a vast survey of the still life genre and how objects communicate. There are Alice Neel’s portraits of everyday people—and the social commentary they embody—at the Centre Pompidou. And at the Musée de l’Orangerie, there’s Mickalene Thomas’s scintillating impressions from Giverny that complement the juxtaposition of Claude Monet and Joan Mitchell over at the Fondation Louis Vuitton.

At least two of these shows were originally slated for 2020, but extended Covid closures and the uncertainty of re-openings complicated the coordinating of calendar slots and loans. Now, just as this season’s Paris Fashion Week felt like a true return to the energy of the Before Times, the scale of the exhibitions—and crowds attending them—is palpable.

“Paris is having such a great moment. It feels very refreshing to just be in the context of others through art again,” observed Thomas during a spontaneous chat in the street after I recognized her at the pharmacy and introduced myself. We spoke about her latest series (more below) and how there are endless things to take in this week.

In many ways, museum shows are the anti-art fair experience: they run for longer; nothing can be purchased; and when done well, they put forth a perspective that gives the works included greater depth. With this non-exhaustive selection, familiar ideas and themes emerge anew, either owing to greater distance and reflection, or because the evolution of how we live prompts a revised, more relevant reading. They are worthy detours from the art fair circuit—and for anyone else visiting Paris through the coming months.

“Années 80, Mode, design et graphisme en France”

Within the museum’s soaring nave and surrounding galleries, layers of clashing color, radical shapes, and cultural exuberance are grounded by the national and historic events that made the ’80s such a defining creative decade in France: the presidency of François Mitterrand, the AIDS epidemic, the fall of the Berlin Wall, and the bicentenary of the French Revolution. Spanning fashion, design, and graphic arts, the exhibition reveals how inspiration was flowing in all directions, which the curators convey as carambolages or a pile-up of objects. Independence contributed to the diversity of stylistic expression, whether from the flamboyant couturiers Jean Paul Gaultier and Christian Lacroix, the avant-garde masterminds Azzedine Alaïa and Rei Kawakubo, or everyday designers such as Agnès B. “This independence allowed them to create with complete freedom,” said fashion curator Mathilde Le Corre. At the same time, mainstream brands such as Kookai and Naf Naf became the antecedents to fast fashion, while Fiorucci set the stage for collaboration. In the realm of design, the arrival of Philippe Starck and the birth of Memphis were two sides of the same eccentric coin. Campaigns by Jean-Paul Goude and graphic posters for Act Up-Paris, an organization that raised awareness and support for AIDS, were gutsy, impactful, and brought a stigmatized subject to the forefront. There is a poignant layer, too: While many of us have salient memories from the pre-Internet ’80s, some of the iconic talents on display—Thierry Mugler, William Klein, and Issey Miyake, among them—are no longer alive. All the more reason to celebrate this collective legacy.

“GOLD Les Ors d’Yves Saint Laurent”

Curated by Elsa Jannsen, this exhibition starts small with Yves Saint Laurent’s proclivity for gold buttons. Nearby, a ‘cabinet of curiosities’ by Valérie Weill boasts an array of his gold objets d’art, such as a partial bust by Claude Lalanne, who created wearable pieces for Saint Laurent’s fall-winter 1969 collection. And then come the tableaux vivantes, staged with his dazzling creations across three decades. The embroideries glint, the lamé shimmers. In other contexts, the effect would be OTT; but Saint Laurent gave equal weight to attitude as surface treatment. On the upper level in a darkened space, a grouping of nightlife attire—including a single sober Le Smoking for contrast—appears across from a wall collaged with photos of the YSL muses who shone in these golden looks. Just as illuminating: the display of fabric swatches from his artisan suppliers who seemed to embrace the challenge of contemporary opulence. While some might linger over two floor-to-ceiling displays of jewelry—one chronological, one chromatic—arranged by Anna Klossowski, the indisputable pièce de résistance is a gleaming gown from the fall-winter 1966 collection covered in sequins with a neckline of colored stones that gives the impression of liquid gold. Before visitors exit, they pass Saint Laurent’s words: “One day, my name will be inscribed in gold letters of the Champs-Élysées.”

“Alice Neel: An Engaged Eye”

After Saint Laurent’s rarefied life in Paris, Alice Neel’s portraits offer multi-dimensional realness. In truth, the statement that opens the show—“In politics and in life, I have always liked the losers, the underdogs. It was the smell of success I didn’t like”—puts an extreme spin on her general attraction to ordinary people. Curated by Angela Lampe, this enthralling retrospective features families, same-sex couples, activists, and marginalized figures whom she renders sensitively with no trace of exploitation. By the same token, it is loosely divided into two themes: the struggle against class and the struggle against genre. If all had gone according to plan, this exhibition would have debuted in June, 2020, ahead of the retrospective at The Metropolitan Museum of Art. But you could look at Neel’s work repeatedly and always observe something different: how she outlines her figures; how she creates different skin tones with tints of blue or purple; how she captures light reflecting off black patent leather shoes. Her faces are pure character: vulnerability, weariness, occasionally a certain pride. Her sitters’ body language speaks volumes. Their clothes crease in such a way to suggest they are relaxed. This is not an exhibition about style—Neel would likely shudder at the thought—yet every person has made a choice to wear something that betrays an intrinsic aspect of their individuality.

“Les Choses. A History of Still Life”

From an ancient Egyptian funerary stele that suggests a composition of foodstuffs and objects to Nan Goldin’s vases of springtime flowers photographed during the first months of Covid quarantine, this is an epic exhibition worthy of the Louvre’s imprimatur. Curator Laurence Bertrand Dorléac, working with Thibault Boulvain et Dimitri Salmon, have essentially assembled a definitive journey into the genre. There are 15 themes including the objects we leave behind, the tradition of floral and fruit compositions, the fascination with meat carcasses, the vanitas (a symbol of death that has progressed from 1st century mosaics to tattoos), and human replicas. It is rare that the world’s most-visited museum mounts a show featuring such a large proportion of modern and contemporary works. But here a masterpiece by Jan Davidsz de Heem is paired with Henri Matisse’s appropriation, or a haunting painting of a skull by Gerhardt Richter is followed by a far more gruesome version by Jake and Dinos Chapman. Also noteworthy is the higher representation of women artists than what is found in the Louvre’s collections. Historically, women gravitated towards the still life—such safe and domestic-leaning subject matter. Yet from Louise Moillon’s realistic array of summer fruit from 1633 to Sam Taylor-Wood’s video of a decomposing fruit plate, or Meret Oppenheim’s readymade squirrel tail, we see how women have developed a non-conformist approach to the genre.

“Mickalene Thomas With Monet”

Anyone who has visited Claude Monet’s Grandes Décorations, the monumental water lily paintings that curve along the museum’s walls as though anticipating virtual reality, knows there is an anteroom to buffer the bustle of visitors in the main space. This is where we find the first of five works from Mickalene Thomas, who spent 2011 in residence at Giverny. Here, she applies her signature flourish—photos and matte paper collaged into fragmented compositions embellished with paint and traced with Swarovski crystals—to interior scenes of his home, exterior scenes of his garden, and, most strikingly, a reimagining of Manet’s Dejeuner sur l’herbe in which three Black women are dressed and gaze directly at the viewer (Thomas made a first version of this historic painting in 2010). Their beauty is luscious and cool, reclaimed from the male gaze yet no less seductive. On the lower level, is a large-format view of the house from the outside and a video installation where artificial flowers surround stacked screens that show Thomas as an Odalisque-type model set to an interview of Eartha Kitt with chirping birds recorded from the garden. Given our unplanned conversation, I asked her about the decision that these women would be clothed whereas she appears nude.

“One of the reasons I wanted to have them clothed in the Manet is because it is more about them occupying the space and not about them being nude. It’s also about them being very present. It’s very seldom that you see Black women in the context of relaxation or lounging. Where you see me as muse, in the nude in the form of an Odalisque, even this is equated to a form of leisure. To recline is to relax, to recline is to lounge, which is not necessarily associated to the Black body, since Black bodies are usually looked at through trauma, through abuse or discrimination. Me, I’m coming from a place of celebration and joy. So I wanted to bring that to the forefront. We, too, can occupy these [spaces] and emote these feelings.Read more at:formal dresses melbourne | formal dresses online

Traditional white wedding dresses are out, as the coolest brides say “I do” to pink looks that make them feel “empowered, sexy and feminine”. Don’t mistake this foray into fuchsia as the influence of #Barbiecore, this trend is being driven by individuals who could never contemplate ivory lace.

Talent agent Olive Uniacke chose her hot-pink fabric 18 months prior to her London wedding, because she wanted to go against the grain. “I never had an idea of what my dream bride dress would be,” she shares. But, “I knew it had to be a colour – that was the only way it was going to work – something bold, something modern, something different, something wow, something feminine, something sexy, something me!”

Working with a London couturier to create a dress inspired by a Raf Simons for Dior gown once worn by Marion Cotillard, the shocking pink hue matched the modernity of the silhouette. “I’ve never worn pink before, so I knew it would be a ‘moment’,” says the bride, who married her now-husband Dane Ensley at her 19th-century family home on London’s Warwick Square.

That’s not to say wearing the confident colour was plain sailing. A hiccup occurred in the design process when the fabric, in the perfect punchy shade of pink that Olive had pored over, arrived faulty. There was no replacement. Valentino’s Pierpaolo Piccioli had used the entirety of material, now officially classed as “Pink PP” by Pantone, in his autumn/winter 2022 collection. Olive had to go one shade lighter, despite the fact she had colour-matched her Prada wedding shoes to the original.

No matter. On the day, it felt right. The bride’s arresting palette negated the need for any jewellery or fussy hair and make-up, and she got ready in 15 minutes, meeting friends for lunch an hour before she was due in church.

It was always going to be pink for art director Anna Rhodes. When she saw Cecilie Bahnsen’s playful cloud of a dress float down the spring/summer 2022 runway, it was everything she had dreamed up as a child. “It’s turbo feminine without being saccharine, and I was all in,” says Rhodes, a longtime fan of the Danish designer’s pretty-tough confections. “I felt it represented exactly how I wanted to feel, and how I see myself. I wanted to keep it relaxed, but still incredibly special and unusual.”

The story of how the bride came to own her candy floss-coloured wedding look is as joyful as the dress itself. There was only one of the matelassé organza silk dress styles left in the UK, and Rhodes had to track it down. An alert came from Dover Street Market, to say the store had sourced a new sample she would be interested in. “I trudged in, despondent in my failure up until this point to find the dress, and there it was in its full glory.” It was Valentine’s Day 2020.

Anna’s wedding to Fred Scott at Hauser & Wirth in Bruton was postponed twice, but her confidence in the dress never wavered. On the day itself, Anna felt otherworldly in her cotton-candy Cecilie Bahnsen, and accessorised with ice-white accessories to amp up the bridal factor. A pair of Jacquemus Manosque sandals with a ceramic bon bon-like sculpted heel, an A M Faulkner polka dot veil and a Shrimps Antonia bag added to the romance, as did her flower girls’ angelic white dresses worn with pink flower crowns – the reverse of her own colour scheme. “To be honest, I never wanted to take my dress off,” she says upon reflection.

For rebellious bride Harriet Hall, who navigated wedding planning in the height of lockdown, the dress came before the engagement ring. “I want to get married in this,” she texted her friend after laying eyes on the feast of brilliant pink tulle swishing down Molly Goddard’s autumn/winter 2019 runway. Marriage was somewhere on the horizon, but Hall had struggled to see herself as a bride… until that flash of bright tulle melted her heart.

“I’ve always felt I lacked the elegant insouciance that most women seem to have naturally stirring within them, and which is unleashed on their wedding day as they transform into ivory swans,” explains Harriet. “This was a dress so in-your-face that it rejected any suggestion of the virginal purity, wifely subservience or impassivity that white dresses can come to symbolise. It was so loud, it was subversive.” Accessorised with a regal pearl headband and a clutch bag from Simone Rocha, the final look, says Hall, is how she imagined Queen Elizabeth I might have dressed if she’d been a millennial.

Fellow pandemic bride Charlier Porter similarly chose her fuchsia polka dot Carolina Herrera dress, which she snapped up in the Matchesfashion.com sale, because it felt delightful against a dismal news cycle. In the run-up to her small London wedding, in line with Covid-19 restrictions, Porter felt out of sorts and couldn’t put her finger on why. As soon as she put on her happy-making wedding dress, she “felt at home”.

Four different weddings, one shared narrative. These women chose their rosy wedding attire because they didn’t relate to the conventional parameters of bridalwear. “Whenever I tried on anything more formally bridal, I felt as though I was playing dress up,” shares Rhodes. “I just wanted to feel authentically me instead of some version of the archetypal ‘bride’ that I didn’t identify with.”

This is not a new thing. Fellow alternative bride Jamaica Walden eloped to California wine country last summer and wore Christopher John Rogers’s 004 Strawberry dress as a tribute to her mother, who wore vibrant pink on her own wedding day many years before. Jamaica’s now-husband Barry Mottier’s jaw dropped when he saw his partner pulling off a high-fashion moment that spelled out “bride” on her terms – exactly as it should be on a day that is about two people committing to one another, exactly as they are.Read more at:evening wear | semi formal dresses

Denim’s biggest rivals this summer are miniskirts and trousers.

Despite retailers investing in more shorts than skirts, retail analytics firm Edited said the latter equaled a greater proportion of sellouts, propelled by hype for the thigh-skimming skirt silhouette.

“While inherently relaxed styles like Bermudas and biking styles grew, denim plummeted. The material made up 18 percent of new shorts in 2019 versus 16 percent this year, while in skirts, it dropped from 11 percent to 5 percent as satin, ruched and wrap styles prevailed,” Edited said.

An offshoot of 2020’s tennis skirt craze, the miniskirt is enjoying a comeback thanks to demand for post-pandemic partywear, Y2K silhouettes and Pamcore hallmarks. Its prosperous fate was sealed when Miu Miu broke fashion’s high-waist, midi-length obsession with its Spring/Summer 2022 low-rise pleated miniskirts—skirts so short that exposed pocket bags are now an international symbol of cool girls everywhere.

The skirt is also part of the preppy trope driven by Gen Z fashionistas. July data from Trendalytics indicates a 193 percent year-over-year increase in searches for “preppy.”

“One key takeaway from [Haute] Couture [Fashion] Week’s street style and runway was the grungy schoolgirl aesthetic. Brands like Miu Miu and Marc Jacobs have been key players in translating this trend from the runway to red carpet,” Trendalytics stated in a recent report.

While dressier fabrications are trending, denim miniskirts are finding a home in Western and festival edits. Denim miniskirts are also a main part of Citizen of Humanity’s and Agolde’s Holiday 2022 collections, offered in evening-friendly black denim and recycled leather options.

Meanwhile, trousers are emerging as the top-selling subcategory within bottoms, driven by demand for items that are both casual and formal. Edited reported that sellouts for trousers rose four percentage points to 34 percent while jean sellouts dipped 8 percentage points compared to 2019 levels.

“As trousers captured a high percentage of customer spending, jean sell outs dipped below pre-pandemic levels,” it said.

All trousers are not created equal, however. Straight and wide-leg tailored trousers outsold casual cargo pants even though the utilitarian style has “seen a significant uptake” with sellouts growing 285 percent compared to 2019.

Retailers, Edited noted, are also making moves to avoid “loungewear fatigue” by bringing new arrivals of sweatpants back to pre-pandemic levels.Read more at:formal dresses online australia | short formal dress

If you spotted Kathryn Newton at Comic-Con over the weekend, where she was promoting her role in the upcoming Ant Man film, you may have noted her cropped top and itty bitty mini skirt and thought to yourself, “Ah, another Miu Miu mini set.” Well, you would be wrong. In reality, the actress’ ab-baring look featured the triangle emblem of Miu Miu’s sister brand, Prada, proving no one is safe from the low-rise movement.

On Saturday, Newton celebrated her induction into the Marvel Cinematic Universe wearing a crystal-embellished set from the Italian fashion house. Her sheer, pleated skirt hung low on her hips, a leather buckle on the side keeping it in place. A matching bralette-style top featuring a deep-v neckline was layered a top a cropped, poplin button-down with two panels of lace down the front. Newton wore her hair in a ponytail, adding to the ensemble’s school girl nature that’s so popular among celebrities at the moment.

But while the outfit is purely Prada, one can’t help but compare it to the looks Miuccia Prada sent down the runway during her spring 2022 presentation last fall. Considering both Miu Miu and Prada share a creative director in Miuccia, it seems inevitable that there will be some crossover between the two. Miu Miu is often thought of as the little sister of Prada, a little more carefree. When asked to describe the difference between the two brands back in 2015, Miuccia attributed much of the divergence to her design process.

“Designing for me is a very complex process,” she told System Magazine.“There are many ideas that I want to express in one object, very often contradictory. The creative process in Miu Miu is completely different from that of Prada. Rather than being young, Miu Miu is immediate. Prada is very sophisticated and considered; Miu Miu is much more naïve. The solution, when I am working on Miu Miu, has to come immediately, instinctively, spontaneously with whatever is available at the moment. If I think three times, I stop.”

Of course, the lines get blurred, and you throw the Prada co-creative director Raf Simmons into the mix, and that just obscures them even more. It’s possible this look in particular is a Miuccia design, and she’s championing the low-rise mini across brands. But no matter who puts their name on it, there’s no denying it’s a good look.Read more at:white evening dresses | black evening gowns

Nés sans proportions exceptionnelles, sans jambes minces, ils peuvent être améliorés et améliorés par le programme de dressage acquis. Cet été, ne manquez pas la combinaison courte et longue, avec un top court et un bas long qui se combinent pour un look haut et proportionné.

01

Exposer une petite partie de la courbe abdominale

Les tops courts sont divisés en plusieurs types. Certains articles révéleront une grande peau abdominale. Pour ceux qui ont une taille moyenne, un grand défi. Les femmes minces peuvent choisir un seul article qui révèle une petite partie de la courbe abdominale, tout en conservant l’effet de rehausser la taille, mais peut former un petit style sexy.

Comme cette pièce blanche sans manches, il semble être une présence particulièrement pure, particulièrement propre, et le style est léger et ne traîne pas, la conception simple et particulièrement versatile, révèle des lignes abdominales frappantes, peut construire une taille plus claire, avec des jeans bleus, mettre en évidence la supériorité du corps inférieur, pour créer une beauté douce.

Il y a des shorts qui ne sont pas des êtres qui recouvrent complètement les lignes abdominales, mais qui sont capables de déplacer le centre de gravité visuel au-dessus des courbes exposées par un schéma de blanc modéré qui permet de relever la taille et de modifier les proportions.

Comme ce boléro, est la conception d’un t-shirt, est également adapté pour ces petites filles à essayer. La pièce de t-shirt slim peut s’adapter autant que possible aux contours de la silhouette, attachée au-dessus des courbes du haut du corps, la ligne dépeinte sera plus complète, plus pleine et plus féminine. Portez-le avec un pantalon ou une jupe longue pour affiner vos jambes.

02

T-shirt court + pantalon

Cependant, certaines femmes s’habillent de manière plus conservatrice. Elles ne veulent pas que la peau de l’abdomen soit nue et optent pour des t-shirts plus courts qui enveloppent cette position. Ces types de pièces ne semblent pas être une présence trop proclamée, même un peu trop austère, mais en fait monté, mais peut percevoir les points étincelants et les avantages en eux. Vous pouvez prendre le t-shirt court et le pantalon avec la coordination, lisse et simple, à porter à l’école, au travail ne sera pas un problème.

Le plus plat est un t-shirt blanc, qui peut être combiné avec un pantalon kaki. Bien sûr, le choix de la largeur du pantalon est lié à la forme de la femme. La plupart des gens peuvent essayer un pantalon droit kaki, simple et très agréable à utiliser.

Cet été, vous pouvez prendre un t-shirt blanc court et une variété de pantalons de couleur avec, les jeans bleus sont relativement un grand produit qui peut être utilisé indépendamment de l’âge, choisissez un large pantalon mop, la position est plus avec le sexe langoureux.

Pour donner un effet plus court, l’ourlet du t-shirt peut être enfoncé dans le Jean pour raccourcir la longueur du haut. Le pantalon est suffisamment large pour permettre aux femmes de s’adapter à une forme de jambe moins parfaite. Ce type de correspondance des couleurs est également très simple et généreux.

L’utilisation de t-shirts et tous les types de pantalons avec la coopération, peut être pratique pour les femmes de différents âges sont façonnées pour porter haut, parmi lesquels les jeans bleus, la construction de la forme quotidienne sera très économe en temps.

Les jeans ont différentes longueurs et différentes largeurs à choisir. Un pantalon bleu simple à jambe large avec un t-shirt blanc généreux. Une telle combinaison de couleurs sera plus populaire quand la température est élevée. Il balayera la chaleur étouffante et le sentiment collant, ce qui met en évidence l’atmosphère particulièrement fraîche.

03

Chemise + pantalon

La plupart des gens dans le façonnement des vêtements, leur appel est de vouloir aider les vêtements assortis pour se protéger. Dans le choix des vêtements, il ne doit pas nécessairement être plein de vêtements de personnalité principalement, mais peut essayer de toucher les vêtements qui semblent ordinaires. En plus des t-shirts blancs, essayez différents types de chemises et combinaisons de bas longues.

Comme cette chemise blanche, c’est le type de sens de la conception, sur toute la mise en page principale, il y aura des plis pour rejoindre, plus facile de rétrécir la circonférence abdominale et la taille, pour créer un effet qui met en évidence la beauté osseuse. Le style de la chemise est court, ne traîne pas, avec des pantalons larges, peut également construire la beauté visuelle supérieure et inférieure large, utilisé pour renforcer la beauté mince du haut du corps.

Tous les types de chemises, peuvent être commodes pour les femmes de créer un usage universel pour toutes les occasions. Relativement parlant, les chemises noires sembleront lourdes, les chemises blanches sont les plus propres, les chemises kaki sont tout aussi populaires.

Comme cette chemise de couleur kaki lisse, il a un design sans manches et peut donc amplifier l’atmosphère de confort pour une tenue qui ne sera pas trop restrictive. La partie inférieure du corps correspond à un pantalon ample de la même couleur. En englobant la forme de l’ourlet de la chemise, la forme de la chemise est courte et contribue à l’étirement et à l’extension longitudinaux de la forme de jambe entière.

04

Gilet + pantalon

Les femmes de petite taille et de jambe très courte sont idéales pour utiliser un haut plus court avec un pantalon ou une jupe plus longue. Elles évitent de toujours utiliser des vêtements amples et traînants et semblent plutôt plus petites.

Enfin, il faut introduire la combinaison du gilet et du pantalon. Ce type de produit peut élargir la portée de la peau, plus libre à porter et plus frais. La partie inférieure du corps peut être avec le pantalon de jambe large jaune clair, à travers le schéma indiqué par la ligne de taille, allonger la courbe des membres inférieurs, confortable et généreux et très aura.Read more at:cheap formal dresses melbourne | formal dresses

The students pursuing fashion designing courses at Poornima University got the opportunity to showcase their talent in the presence of eminent personalities of the fashion world. In the annual fashion show ‘Poornima Trends’, models flaunting beautiful theme-based collections created by these students walked the ramp.

The show was organized at Hotel Clarks Amer by the Faculty of Design and Arts of Poornima University (PU). During the show, designer wears created by the graduate batch as well as second- and third-year students of the university were showcased.

IAS Sushma Arora, Administrator & MD of RCDF was the chief guest of the show, while fashion designers Felix Bendish and Rohit Kamra were the guests of honour. On this occasion, Shashikant Singhi, Chairperson, Poornima University was also present. The show showcased students’ collections in 14 sequences like- Marine Madness, Baroque Painting, Form Realization, Flowernza, Precious Lotus and Bold Malicious inspired by various elements.

The show started with the Marine Madness sequence. Based on Aquatic Marine Life, the outfits in this collection preferred aqua blue colour, which featured fishes, undersea and other aquatic elements.

This was followed by a display of the Modern Marinates Collection inspired by Rajasthani puppet art. In this, the modern combination of Rajasthani clothes done with traditional puppet art was liked by the audience.

The kids wear sequence of RSHDC saw junior models flaunting Rajasthani block print and screen print garments.

In another sequence of RSHDC, the ethnic wear of women and men was showcased. These handloom garments, provided by RSHDC under the tie-up of RSHDC and Poornima University, were specially designed by the students of the University.

After this, colourful costumes inspired by flowers and nature were displayed under the theme of Flowernza. Similarly, through the peaceful mayhem sequence, a positive message was given towards mental issues like stress, depression and anxiety. The costumes of the Precious Lotus sequence were inspired by Mahatma Buddha and the lotus flower, with yellow and pink colours being given priority.

Apart from these, in Felicitous Feathers sequence inspired by Neelkanth Bird, Kalpavriksha inspired by Gond Art of Maharashtra, Bold Malicious Sequence inspired by Boldness of Japanese Hanaya, Whimsical Glory inspired from Old Age Europe & French Classical Era, Rogan on Street sequence inspired by Rogan Art & Street Wears, many attractive outfits were displayed. The show was directed by Abhimanyu Singh Tomar.

A dance presentation also enthralled the audience during the show. It was presented by the children of Poornima Pathshala NGO. The Academic Awards for Most Creative Collection, Best Social Awareness Concept, Best Apparel Design and Most Impactful Collection were presented to the students by Chief Guest Sushma Arora.Read more at:green formal dresses | cheap formal dresses brisbane

When she’s not filming for “Bling Empire,” Jaime Xie is jetting off from one fashion show to another.

During Paris Couture Week, the socialite-heiress, who is the eldest scion of tech billionaire Ken Xie, attended some of the most exclusive runway shows, such as Balenciaga, Schiaparelli, Giambattista Valli, Jean Paul Gaultier and Alexandre Vauthier.

If she had to pick her favorites, they would be Balenciaga and Schiaparelli, two brands she tends to wear frequently. She holds both creative directors, Demna and Daniel Roseberry, respectively, in high regard, due to their creativity and craftsmanship.

“Schiaparelli is always very special because the way Daniel does couture — it’s unlike any other brand,” Xie told WWD. “They’re real pieces of art. You can tell there is a lot of thought behind it, and it’s wearable art. That is what couture is about. For me, it’s always such an honor to be at his shows, because they’re just magical. When I see his collections, it makes me realize that this is why I love fashion so much.”

On the other hand, Balenciaga, which Xie confessed takes her top ranking of last week’s wide display of haute couture, holds a special place for her due to her close relationship with the brand and Demna’s out-of-the-box ideas.

“You never know what Demna is going to do. For me, Balenciaga is always a whole experience,” Xie said. “I loved how he had the collaboration with Bang & Olufsen — a handbag that plays music? That’s not a thing that you would think of, but of course Demna did, and he made it come to life.”

“I also love how it was very intimate. It was, I think, only 120 people. So I felt honored to be part of that group that he chose, because it’s just cool to be part of something that is one of Demna’s couture collections. I actually had never been to a Balenciaga couture show before,” she continued.

Though she had attended regular Balenciaga runway shows in the past, this marked Xie’s first time at the Spanish luxury fashion house’s couture show — and it was a memorable one.

With a star-studded lineup both on the runway, including Kim Kardashian and Nicole Kidman, and in the front row, along with one-of-a-kind looks, including a grand, avant-garde wedding gown that went viral on social media, Xie’s reasons seem warranted.

It would also not be a proper couture week for the socialite without an array of over-the-top, memorable outfits to complement.

For the Balenciaga show, Xie wore a red tracksuit from the Balenciaga and Adidas collaboration that was unveiled at the New York Stock Exchange in May. “It was one of my favorites and most comfortable, of course,” she said.

However, her favorite outfit of the week was perhaps her most uncomfortable — a black leather one-shoulder dress by Rick Owens paired with thigh-high leather boots with gold detailing, accessorized with spiky, gold sunglasses and long gold nail attachments. But, all is well in the name of fashion, Xie said.

“It actually left scars on my nose, the sunglasses that I wore,” she confessed. “They actually cut into my nose. My mom came with me to Schiaparelli’s show and she was like, ‘Jaime, don’t you want to take those off?’ I’m like, ‘Of course I want to, but this is not about comfort.’ Comfort — you have to throw that word out the window when it comes to couture.”

As for her professional endeavors, Xie says that the third season of Netflix’s “Bling Empire,” of which she is a main cast member, has already wrapped filming and is slated to premiere in the fall. The second season was released in May.

“There’s definitely some drama and stuff going on in there,” she teased of the upcoming season. “If you thought that season two ended a little abruptly, it’s because it’ll continue on in season three. We kind of shot it all together.”

When she returns to Los Angeles, where she is based, Xie also hopes to work on a line of vegan, gluten-free and refined sugar-free sweets, something her audience can enjoy regardless of their dietary restrictions. Though she is a vegan, Xie has a “huge sweet tooth.”

“In my downtime, I love to bake and cook. I guess I’ve never really shown much of that,” Xie said. “For me, I thought my platform is more fashion, but my two favorite things are food and fashion.”Read more at:mint green formal dresses | purple formal dresses australia

While Haute Couture Week and the marathon of fashion shows has come to an end, decisions are being made about the future of two major Parisian fashion houses behind closed doors: Nina Ricci, which parted ways with its artistic directors Lisi Herrebrugh and Rushemy Botter earlier this year, and Louis Vuitton, which is looking for a successor to Virgil Abloh for its menswear collections following his untimely death on November 28, 2021. According to our sources, after numerous exploratory leads, both have drawn up a shortlist of candidates and are close to making a final decision.

In early May, luxury streetwear brand Off-White, founded in 2013 by Virgil Abloh and owned by LVMH, announced the appointment of Ibrahim, known as 'Ib', Kamara as art and image director. The Sierra Leonean-born Kamara, who has lived in London since the age of 16, is also the editor-in-chief of the British fashion magazine Dazed and was one of Abloh's longtime collaborators. It was therefore a choice focused on continuity that was favored. However, Virgil Abloh's successor as head of Louis Vuitton's menswear department seems to follow a different logic.

Given the importance of the luxury house, which along with Dior is one of the crown jewels of Bernard Arnault's empire, but also and above all due to the greatness of the iconic designer and the legacy he left behind, the new artistic direction chosen will inevitably have a symbolic impact.With Virgil Abloh, the only black designer at the helm of a major luxury label - along with Olivier Rousteing at Balmain - LVMH has set new standards. Since 2018, its flagship brand has expanded its appeal and audience to new generations and target groups, reshaping its universe around fashion, multiculturalism and social movements.

Seven months have passed since the death of its creative director, during which Louis Vuitton has presented two menswear collections riding on the legacy left by Virgil Abloh. Some believe that the house may take some time before making a decision. After all, LVMH did let a year go by before appointing Maria Grazia Chiuri as head of Christian Dior after the departure of Raf Simons.

"They are not in a big hurry, especially since sales are going very well and the team in place is performing well," revealed a group executive.

On the other hand, expectations are high and, according to our sources, the group has looked at a dozen candidates. As CEO Michael Burke himself admitted to the press in early June, after Louis Vuitton's last Spring/Summer 2023 show, the house should "take the next step."

According to various sources, a handful of potential names have remained in the running, with Martine Rose leading the pack. The English designer of Jamaican descent has been at the top of the list ever since the Paris label's CEO was spotted in the front row at her fashion show in London in June, Vogue Business revealed.

The 41-year-old has considerable experience. She has been running her own menswear brand since 2007. With her penchant for oversized volumes long before they became fashionable, and her sporty, street and workwear style that draws from subcultures and the nineties, her style does not differ greatly from Abloh's. Like the American designer, she is popular with rappers and celebrities and has collaborated with Nike on several occasions. Her resume also includes a three-year stint between 2015 and 2017 at Balenciaga, where she worked as a menswear consultant alongside creative director Demna Gvasalia.

"Martine Rose is an unparalleled menswear professional, one of the best creatives in the segment today. She has reached a true stylistic level of maturity. Not to mention the fact that she has worked with a major luxury house while running her own business," stressed a key player in the market who knows her well. If appointed, it would allow Louis Vuitton to ensure a smooth transition while innovating thanks to the designer's disruptive touch. It would also be the first time in the company's history that a woman has taken charge of the men's collections.

In addition to Martine Rose, the names of Samuel Ross and Grace Wales Bonner, two other highly regarded talents on the London scene, are also circulating. The 31-year-old Ross began his career in fashion with Virgil Abloh, with whom he was close friends and for whom he worked as a creative assistant at Off-White and Kanye West's Yeezy in the early 2010s. He subsequently launched his own brand, A-Cold-Wall*, in 2015, offering avant-garde couture streetwear. He has been a finalist in prestigious competitions such as Andam and the LVMH Prize, and is known for his sophisticated and conceptual approach to celebrating London street culture inspired by the British middle and working classes, their environment and their clothing habits. The multi-faceted designer has also worked with Nike and Louis Vuitton, collaborating with other artists to redesign the brand's famous trunk to mark the bicentennial of its founder.

Jamaican on her father's side and English on her mother's, the 31-year-old Grace Wales Bonner founded her brand in 2014 and from the beginning emphasized in her designs her black identity and African inspirations. She quickly made a name for herself when she won the 2016 LVMH Prize for emerging designers. Known for her cultural sensitivity and multidisciplinary approach, she recently designed a collection for Adidas and collaborated with Maria Grazia Chiuri on Dior's Cruise Collection 2020.

Californian Mike Amiri, who can be seen on the runway in Paris with his glamorous and rocking luxury sportswear brand Amiri, is also said to be one of the contenders.

The group also has another candidate in mind. Jonathan Anderson has been traded as an obvious candidate for months. The 37-year-old Irish designer is more popular than ever, whether with his brand J.W. Anderson, founded in 2008, or with Loewe, the Spanish luxury house owned by LVMH, whose style he has been leading since 2013. His innovative approach, his freshness, his ability to manage several projects at once (he has collaborated with Moncler, among others) as well as his passion for craftsmanship and accessories are all assets for the position to be filled. Not to mention his familiarity with the Parisian group, which could benefit from a very innovative and solid profile.

Major changes are afoot at Nina Ricci. The Parisian fashion house, owned by the Spanish Puig Group, has been undergoing an organizational restructuring process for several months. After the resignation of its CEO Charlotte Tasset, it also had to cope with the departure of its artistic directors Rushemy Botter and Lisi Herrebrugh earlier this year. The Dutch duo, hired in 2018, were virtually unknown at the time and had just won the Grand Prix at the Festival de Hyères. Within four years, the pair had breathed new life into the brand, bringing freshness and modernity, but they seemed to have failed to boost sales sufficiently. According to our sources, the selection process for a new artistic direction is also well underway.

Initially, the label considered changing its format and focusing on collaborations with different creative talents. In May, Edwin Bodson was named general manager and Nina Ricci returned to the idea of a more traditional artistic direction.

"Discussions are currently taking place with various candidates. The decision should be made shortly," revealed an executive within the Puig Group.

The house is extremely discreet about this information. However, as FashionNetwork.com has learned, the choice is said to have initially fallen on Bianca Saunders. The British woman of Jamaican descent has managed to establish herself as one of the most interesting designers of the moment, reinterpreting menswear codes into a wardrobe adapted for both men and women. The 2021 Andam Prize winner was mentored for a year by Balenciaga CEO Cédric Charbit and has been parading on the Paris catwalks since January.

However, Nina Ricci is said not to have made up its mind and decided to resume the search. Various sources mention as candidates in the running, among others, EgonLab, the label of Frenchmen Florentin Glémarec and Kévin Nompeix. The two designers, who also specialize in ready-to-wear, reinterpreting tailoring with sportswear and a dash of punk, were honored last year in the Andam competition, winning the Pierre Bergé prize. They have already entered into collaborations with brands such as Sergio Tacchini or, more recently, Crocs, but are especially proactive in the metaverse and in NFTs. This could be a tipping point, as it is said that digitalization will be at the forefront of future development projects carried out by the Spanish Puig Group.Read more at:formal dresses for women | formal dresses sydney

The scene of luxury brand Celine presenting its Spring/Summer 2023 menswear collection in Paris on June 26 was more like a concert as the crowd cheered for attending K-pop stars V of BTS and Lisa of Blackpink, and actor Park Bo-gum.

According to those who were present at the time, chairman Bernard Arnault and CEO Sidney Toledano of fashion group LVMH were pleasantly surprised by the fervent reaction and took out their phones to film the scene.

Lisa is the global ambassador for Celine and also walked the runway last year for the brand’s Spring/Summer 2022 fashion show in Nice, France. Kim Tae-hyung, or V, who brought his best friend Park, reportedly received a personal invitation to the Celine show from the brand’s creative director, Hedi Slimane.

In fact, it is now harder to find luxury brands that do not have Korean celebrities or K-pop stars as their global ambassadors. K-pop sensation BTS and “Squid Game” (2021) star Jung Ho-yeon are ambassadors for Louis Vuitton; Jennie of Blackpink and G-Dragon of Big Bang for Chanel; Jisoo of Blankpink for Dior and Cartier; Rosé of Blackpink for Saint Laurnet and Tiffany & Co.; Lisa for Celine and Bvlgari; Jaehyun of NCT for Prada; and actors Lee Jung-jae, Shin Min-a, singer IU and Kai of Exo for Gucci.

The position is no longer limited to Korean actors or musicians. British luxury brand Burberry announced football star Son Heung-min as its global ambassador on June 13.

Considering that K-celebrities’ every move becomes the talk of the town, it is not hard to see why.

Hashtags “Lisa X Celine” and “Taehyung X Celine” rose as the most-searched keywords on Twitter and TikTok thanks to the Celine show. V’s Instagram post about the event uploaded the same day garnered over 12 million likes.

Lisa has approximately 80 million followers on Instagram, and her TikTok video about Celine passed 60 million views. V has over 45 million Instagram followers. One post uploaded by these stars exposes the brand to tens of millions of people around the world.

Especially with global fashion events coming back as pandemic-era social distancing seems to be coming to a close, more stars have joined the mix and are seen at in-person events. “Broker” (2022) actor Kang Dong-won was recently selected as an ambassador for Louis Vuitton and attended its Summer/Spring 2023 menswear show last month. Singer HyunA also attended Loewe’s show for the brand’s Spring/Summer 2023 collection with her boyfriend and fellow K-pop singer, Dawn. HyunA has been Loewe’s ambassador since last year.

A key asset that Korean stars offer the brands is their formidable influence, especially on the younger millennials and Gen Z generations active on social media.

“Compared to conventional global stars, K-pop stars’ online presence is pretty much unbeatable,” said Kim Min-jung, head of the fashion promotion company KN Company.

“Not many celebrities have such large online fandoms to begin with, but even fewer communicate with their fans the way K-pop stars do. That's what makes the K-pop stars so competitive in this field.”Read more at:formal dresses sydney | royal blue formal dresses

Ce n'est qu'à l'âge mûr que les gens se rendent compte que la vie est un voyage irréversible : quelle que soit la beauté de la scène, elle ne durera pas longtemps ; la meilleure personne pour vous ne restera pas en place et attendra éternellement...

Quelques années plus tard, nous finirons par devenir un brin de poussière dans l'histoire, dissipé dans le long fleuve du temps, et retrouverons la paix.

Puisque la vie est si courte, pourquoi devons-nous encore vivre avec nous-mêmes tout le temps et nous laisser vivre dans les ennuis et les douleurs donnés par les autres chaque jour ?

Dans la vraie vie, ces femmes qui vivent librement et avec désinvolture sont souvent capables de penser librement lorsqu'elles rencontrent des choses. Dans leur cognition, à l'exception de la vie et de la mort, tout le reste est un nuage.

Dans la vie, même si elles n'ont pas une montagne de richesses et qu'elles n'ont pas d'apparence ni de silhouette enviables, elles peuvent utiliser des styles simples et ordinaires pour se déguiser en "belles déesses" aux yeux des autres.

La blogueuse plus âgée partagée aujourd'hui est une femme si élégante. Ses tenues ne suivaient pas aveuglément la tendance, mais reflétaient davantage le charme élégant des femmes d'âge moyen. Si vous avez plus de 50 ans, vous pourrez peut-être trouver votre propre inspiration vestimentaire dans cet article.

Les femmes d'âge moyen au tempérament élégant aiment utiliser des t-shirts en coton avec une excellente respirabilité pour mettre en valeur leurs goûts mode en été chaud. Comme ce style classique qui révèle le bon goût dans la simplicité, bien qu'il n'y ait pas trop de décorations pour le décorer, elle le porte avec une attitude décontractée et confiante grâce aux tissus lisses et soyeux et aux couleurs élégantes.

Le cardigan en maille avec sa propre atmosphère paresseuse et à la mode est plus pratique que le style T-shirt. Matière Tencel confortable, douce, lisse et fraîche, associée à une coupe légèrement ample, qu'elle soit directement empilée ou portée comme un châle sur les épaules, elle peut donner aux gens une impression visuelle de "je sais comment la porter".

Si vous êtes une petite personne, il est recommandé d'utiliser la technique d'habillage "coin vêtements", de sorte que même si vous ne portez pas de talons hauts, vous pouvez instantanément augmenter votre taille de 10 cm.

Cet été, les styles de chemises classiques et simples ont fait leur retour, saisissant fermement le cœur des femmes d'âge moyen. Pendant l'été torride, on peut choisir une chemise blanche en Tencel qui n'absorbe pas la chaleur et l'associer à une variété de pantalons soignés, ce n'est pas trop à la mode.

La combinaison de jupes et de hauts variés peut être considérée comme l'incarnation parfaite de la féminité et de la romance. Et dans cet été léger et confortable, les femmes de bon goût ont montré leur propre arme magique - la jupe plissée. Les tons classiques sont assortis à une jupe étroite en haut et large en bas.Même si vous êtes le "boss" du monde gras, vous pouvez le porter avec une beauté élancée.

En plus des jupes, nous ne pouvons pas oublier l'existence de pantalons à jambes larges pour des styles qui peuvent atteindre un haut niveau de performance de mode et d'effet couvrant la viande. Les petites mères peuvent utiliser la longueur de neuf points pour allonger la proportion du bas du corps, puis utiliser des chaussures et de petites chemises pour créer un excellent sens de la hiérarchie. A condition de garder à l'esprit : tout doit être en harmonie avec l'ensemble du corps, afin d'être plus élégant et hors du commun.

Si vous souhaitez porter à la fois la mode et le goût, vous devez vous agrémenter de divers petits foulards en soie. Par exemple, il semble facile et ordinaire de porter une chemise + un pantalon large.Le blogueur de droite vient de nouer nonchalamment un petit foulard en soie imprimée autour de son cou, ce qui a instantanément rendu son image globale plus souple et colorée.Read more at:cheap formal dresses australia | long formal dresses