Category: Fashion Trends
The British Fashion Council has announced 4 designers set to show their collections to the public during London Fashion Weekend.
Fashion week may once have been an industry insiders only event but thanks largely to the influence of the internet, social media and a band of very popular bloggers or social influencers – everyone wants to get involved.
Sadly almost all fashion week shows have an invite-only policy that restricts the guestlist to fashion press, buyers and other industry figures. So unless you have the required skills to slip past a burly bouncer unnoticed, you’ll be left out in the cold (or tuning in online for the live stream).
Recent seasons have seen some moves towards the democratisation of fashion shows, most notably last year which saw Givenchy’s New York spring/summer 2016 show open its doors with some tickets made available to the public. And now it seems London Fashion Week will be following in its footsteps.
The BFC yesterday announced that London Fashion Weekend (the consumer-event that follows London Fashion Week) will this season see designers present their collections to the public.
Mary Katrantzou, Emilia Wickstead, Holly Fulton and Temperley London are the names announced so far who will be hosting catwalk shows at the 4 day long event which will be held this year at the Saatchi Gallery.
Whilst catwalk shows are not new to the event – the usual format is trend presentations featuring a variety of brands – this season’s offering however, will allow visitors to get an authentic fashion-insider experience with an in-depth look at the participating designer’s collections.
In addition the BFC have also announced a series of talks which will be held over the weekend hosted by an array of industry figures from designers Nicholas Kirkwood and Charlotte Dellal to Premier Models founder Carole White.
There will of course also be the usual shopping opportunities that London Fashion Weekend has become famous for.
“I need to go shopping!” said every woman, ever. We’ve all said or heard it, and we all know that when it comes to clothes, the word ‘need’ is grossly overused.
So how to tell the difference between wanting to treat yourself to something cute and an actual need for new clothing? Let’s visit a few scenarios where ‘need’ might actually be used in the literal sense.
1. It’s Easier to Dress for Halloween
Go-go boots? No problem. Sequins and feathers? You’ve got plenty. While your Halloween game may be as strong as Arnold Schwarzenegger in the 90’s, you’ve still got 364 other days to worry about. It’s totally fine to keep some stellar statement pieces tucked away in your closet, but try relegating them to under 1/10th of your sartorial collection. Once you’ve cleared away the baubles, it’s time to work in some new goodies for those days that don’t require a costume.
2. Your Friends Won’t Borrow Your Clothes
Let’s try a little test, shall we? Invite your most stylish friend over and offer her full access to your closet. If she politely declines or tries to change the subject, it’s time to upgrade. The more uncomfortable she is, the faster you should run, don’t walk, to the nearest mall. If you’re not quite sure where to start, bribe your friend with churros to come with you. Works every time.
3. You’re Twinning With Your Pre-Teen Niece
Sure, twinning is in, but dressing identically to someone who has yet to pass her driving test? Not so much. While keeping a youthful attitude is something to be applauded, your wardrobe should reflect a general age range – yours! If you can spot every piece you own at a One Direction concert, you might be ready to work in a few new items.
4. Your Shirt Has Its Own Twitter Account
If you wear the same article of clothing too often, there’s a chance people might end up knowing you more by your shirt than anything else. And when your shirt is more famous than you are, that means it’s time to expand your regular outfit rotation. Here’s a great rule of thumb: if your shirt is in more than three of your social media profile photos, it’s time to swap in a few new options.
5. Climbing Kilimanjaro Is Easier Than Getting Dressed
If getting dressed in the morning feels like climbing a mountain, it’s time to rethink the process. Aside from lack of coffee, the culprit to sartorial stuckness can often be not having the right items for your everyday routines. Work at an office? A new blazer can suddenly make a camisole work-appropriate. Meeting friends for brunch? Pair that cami with a new maxi skirt, and you’ve got a totally different outfit. Bring on Kilimanjaro, you’ve now got the outfit for it!
6. You Wore Your Nicest Dress to Prom
While that pink one-shoulder tulle gown may have scored you a slow dance with the cutest boy in school, it might not work the same magic at a wedding or cocktail party. Say sayonara to ‘Prom Queen’ and hello to ‘Best Dressed’ by kissing that prom dress goodbye and scoping out a sizzling LBD. Not only are you set for any last minute events, but the jaws will hit the floor at your next high school reunion.
7. You Have Nothing to Wear
Your bedroom looks like an atomic bomb went off, with garments strewn across the floor in a fit of desperation. You’re sitting in the middle of a large pile of clothes, lamenting that you have nothing to wear. Sound familiar? You’re not alone! While you obviously have the ability to clothe yourself from the piles of despair that surround you, they’re just not the right clothes. So what do you do? Ditch those suckers for some snazzy basics you’ll want to wear over and over again.
8. People Think You Own One Pair of Pants
Keeping a uniform a la Steve Jobs is definitely efficient. Having to explain to everyone that no, you don’t just own one pair of pants but several pairs in the same style and color, is not quite as efficient. Adding a few new pairs to your wardrobe should help keep those rumors at bay. Which means you can get back to being the visionary you truly are.
Js on my feet, Js on my feet, Js on my feet… so get like me.”
Miley Cyrus’ “23” is the perfect anthem for Shay Mitchell’s latest actress off-duty outfit. Is it possible for her to look any cooler while being crazy-cozy? Don’t think so. That’s what makes this look so appealing.
It’s most likely been a while since you rocked a hoodie in public (because of their I-just-don’t-care-anymore nature), but it’s time to lengthen that hemline and reconsider. Whether it’s an oversized sweatshirt you found in the men’s section or one that was purposely made into a dress, throw a denim jacket over top (those are SO hot right now), a pair of Air Jordans on your feet and call it a day.
It’s the ideal combination of style and (insane) comfort…you can’t really get more effortless than that. So, enjoy our interpretation of the ballin’ ensemble!
Chanel’s collaboration with the Parisian artistic avant garde had been much more successful. As early as 1922 she worked with Jean Codeau, Picasso and the composer Arthur Honegger on a production of the classical Greek play Antigone; and from 1923 to 1927 she worked with Sergei Diaghilev and Codeau on ballet designs.
For the first of their joint works, Le Train Bleu, a fantasy about the Riviera, the dancers were costumed in bathing suits, pullovers and tennis or golf shoes, and the leading female role was a tennis player. So fashion, sport and the artistic avant-garde united to celebrate the modernity of modem life, and Chanel’s little black dress (American Vogue called it the “Ford of fashion”) became the epitome of modernist style.
The modernist movement in art transcended both national boundaries and those of artistic form, influencing all the arts from architecture to the novel. Visually, it was the embodiment of the ideal of speed, science and the machine. It was a love affair with a rationalist, utopian future, and in architecture and design this led to an ascetic functionalism that considered houses and flats as machines for living, fumiture and household artefacts as items for use, not ornament, and even human beings as machines.
More than almost any other aspect of mass culture, high fashion acted as a conduit for this esthetic, translating it into a popular language of pared-down design and understated chic. In architecture, the Bauhaus movement created buildings that used glass to reveal the inner workings of the design. They stripped away the superfluous ornament that had cluttered 19th-century architecture with what was now regarded as the sentimental idealization of a past recreated in pastiche.
In dress, too, the watchword was now functionalism; clothing was simply an envelope for the body, which it impeded as little as possible. If there was to be adornment of any kind, it was to be of the art deco variety. Art deco was so called after the Exhibition des Arts Decoratifs, held in Paris in 1925. This exhibition had in a sense inaugurated the idea of a lifestyle, though the expression was not then used. It included a Pavilion of Elegance, in which the fashion designs of Chanel and Poiret, among others, were displayed. They complemented the furniture, ceramics and architecture – throughout, the few ornamental motifs and bright colors permitted were definite, clean-cut and jazzy.
In literature and painting, part of the modernism of modem art had been that the work of art interrogated its own intentions and questioned its own form. Perhaps what Cecil Beaton was to describe as the “nihilism” of the Chanel look was modernist too: it not only mocked the vulgarity of conspicuous consumption but, in inventing a look that was universal, international and reduced to the minimum, it almost sought to abolish fashion itself, creating instead a classic look that defied the one essential of fashion – change. At the same time the geometric, angular design of women’s clothing imitated the clean, spare lines of modern abstract art and design. Woman was no longer treated as a voluptuous animal; she had become a futurist machine.
Fashion thus disseminated the new esthetic of the modernist avant garde across two continents, and radically altered the way in which erotic beauty was conceived. Fashion became, superfiicially at least, classIess, and the great thing for a woman was no longer to look grand, but simply to look modem.
For the first time the New World and the Old engaged in a mutual cultural exchange of style and imagery. Although Paris stillled the way, the vamps and innocents of Hollywood – Theda Bara, Gloria Swanson, Mary Pickford, Louise Brooks constructed new tastes in beauty, while the “lost generation” of American expatriates settled in Paris and the south of France. Some of these hoped to create a new art and a literature that would reflect the often excessive and even tragic pleasure-seeking of the postwar generation.
Emest Hemingway, Scott Fitzgerald and many others tried to be as well as to describe a modern breed of sexually free beings, women and men whose minds, hearts and bodies were as untrammeled by traditional nations of morality as their bodies were by constricting clothes. Fitzgerald’s characters “discovered” the Riviera in summer until then it had been only a winter resort – and the suntan became another sign of working-class toil to migrate up the social scale. It became the status symbol of the globetrotter, who need never work and whose wealth permitted this inversion of established tastes. Society ladies took care to become brown as navvies, and Fitzgerald’ s heroine wore only pearls and a low-backed white bathing suit to set off her iodine-colored skin as she lay on the Mediterranean sands.
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During New York Fashion Week in February, the Metropolitan Museum of Art unveiled the thinking behind its next costume exhibition, “Manus x Machina: Fashion in an Age of Technology”. Eighteen months previously, a bunch of fashion editors were absent from the spring / summer 2015 season of New York because they were on a 36-hour flying visit to San Francisco to witness the unveiling of the Apple Watch. Why? Because fashion and tech are closer than ever before.
It isn’t so much about houses such as Chanel eschewing stitching in favour of selective laser sintering (read: 3D printing) to craft garments, although that makes great pictures (and, by all accounts, a wonderful Met exhibit). It’s more about pumping up technology we already have with fashion kudos – such as a cheap iPhone case glitzed with silly bits, as spun out by most designers to great commercial gain.
A more interesting luxury subset, however, has emerged in the form of headphones – not only are luxury merchants chasing the bandwagon, but entire brands are emerging to satisfy this perceived niche in the marketplace, appealing to audiophiles and the fashionable in equal measure. Dolce & Gabbana are at the forefront: they have created headphones that recall the crowns that adorn Madonnas in regional Italian Catholic shrines, attached to retro over-ear cups. As financial offerings to the gods, these are hefty: this spring’s passementerie-fringed style will set you back £3,850.
Those are an extreme example – but headphone prices have soared across the board, seen as a status symbol as opposed to a techy tool for music insiders. In 2012, the market research firm NPD Group reported that Beats by Dre, an audio-focussed subsidiary of Apple originally founded by the rapper Dr Dre, boasted a 64 per cent market share of headphones priced higher than $100.
In August 2014, Apple’s acquisition of the company was the largest in the global tech behemoth’s history, costing around £2bn. Those prices have been hiked even higher, for last spring, Beats unveiled a collaboration with the Italian fashion house Fendi, in the label’s hand-stitched Selleria leather. After an unfashionable delay, these have finally gone on sale this spring for £950 a pop – a bunch of colourways are already sold out.
In the same year as Apple’s acquisition of Beats, a new company named Master & Dynamic launched. Forbes magazine has des cribed it as the “anti-Beats” – focusing not on Beats’s athlete and musician-heavy marketing campaigns, but on sound quality, a niche market and timeless design that appeals to aesthetic aficionados. “We think of the products as luxury technology accessories,” says CEO and president Jonathan Levine, thoughtfully. “We have an incredibly discerning customer base: form is certainly as important as function to this market. It’s a group of people who are quite fanatical about design.”
One of Dolce & Gabbana’s ostentatious four-figure styles
Master & Dynamic marketing imagery – featuring well-dressed sorts, often cropped at the neck – show them being clutched like accessories, alongside a Givenchy Antigona bag. The implication being, of course, that a Master & Dynamic headset is a similar sort of status symbol – but in its own right, without needing the cachet of a brand name.
“Top fashion retailers were quick to adopt our brand,” says Levine. “In the cases of some of the fashion stores we work with, we’re the only technology brand they carry, which is interesting. Customers who care deeply about the brands they buy into from a fashion perspective care naturally think in the same way about all areas of their life.” I’m guessing the same ideal customer would have a Prada coat, Diptique candles and furniture by Gio Ponti and Eames. It’s lifestyle.
Master & Dynamic headphones – like so many of these new tech brands – are being marketed direct to fashion consumers as wearable status symbols. It’s difficult to lug about an Eames lounge chair, but subtly but distinctly sporting the right lumps of technology is like reading a clever book on the bus. “We’ve definitely noticed the rise of a customer who wants their tech purchases to be as considered as the fashion they buy, and we’ve greatly increased our lifestyle offering in response to this, more than doubling our brand offer within that category,” says Damien Paul, head of menswear at MatchesFashion.com, which stocks Master & Dynamic.
The primary market for these products is seen as male – playing into lads’ gadgetry stereotypes. But the look is definitely as important as the tech specs, even if we’re not talking D&G crowns. “A great pair of headphones are indisputably a fashion statement,” says Levine. “We have a growing following among those in the fashion world, which plays nicely into headphones’ rise as a must-have luxury accessory similar to a great watch, bag or pair of sunglasses.” Or maybe all of the above, rolled into one. Bargain.
Between the wars, and even more in the 1950s, the love affair of black-and-white photography with high fashion gave birth to the frozen perfection of the fashion image. The sharp lines, dark shadow and white light dramatized the angular, exaggerated creations of the New Look period particularly well.
American photographer Richard Avedon captured the self-dramatization, the confidence, sophistication and self-mockery of haute couture in his work for Harper’s Bazaar in the early fifties. Avedon and others loved to place their glacial or cavorting models in bizzare or incongruous situations.
By 1960 a new generation of photographers was seeking inspiration from the grainy images of the new cinematic realism of British films such as Saturday Night and Sunday Morning or Room at the Top. Their work displaced line drawings as the main medium for fashion illustration, but was at times even more mannered, while the search for novelty could lead to downright eccentricity in choice of angles or location. At times the fashion photograph seemed less to attempt to convey information about the latest styles than to capture the mood of an ensemble, or even to suggest a whole lifestyle.
The fashion photographs of the 1960s made of a high fashion a performance, a street event, a triumph of the will. They also transformed photographic models into celebrities and stars, while the photographers themselves -David Bailey, Lord Snowdon, John French- became household names, heroes of the swinging sixties. Michalengelo Antonioni’s film Blow Up -often taken to epitomize “Swinging London”- involved just such a fashion photographer as its main character.
In the 1970s, the imagery became even more mannered and eccentric, or else banal. Black models appeared more frequently, but models tended to become ever more precious, while some photographers, notably the German Helmut Newton, flirted with an imagery drawn from soft pornography.
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We live in a world where change is a major player! And that change is rapid. It’s happening in and around us and makes life equally interesting and challenging. I have, over the past couple of months, noticed many interesting things that have arisen from this continuous change and some of it is definitely worth sharing.
1. Mobile-ites — A disease that has inflicted a large majority of the human population across all ages. The symptoms are fairly evident… constantly looking at phone, the itch to dial and to text… it’s endless.
2. Twitter-ia / Social, status OCD — This is a double whammy. A virus that is spreading very fast… originally internationally… but something that we, here in India, are definitely not immune to! This virus-cum-OCD takes over the brain completely and does not allow you to do anything unless you tweet about it or you obsessively and compulsively update your status across all social networking platforms on a minute to minute basis. Woke up… had coffee… driving… it’s raining… fought with boyfriend and then the cab driver… crying… dying and whining. Pls RT!
3. Seasonally sporty — As with the 4 seasons that bring their own brand of illnesses, the various sports today create seasonal illnesses that not only afflict the male but also some percentage of the female population. We just finished with the IPL viral and now it’s FIFA fever.
4. Beverage-a-holic — I can’t start my day without my “Caramel Macchiato with a double shot of espresso, decaf, with soy milk, extra foam and no sugar”! I also can’t make it through the day without two litres of special packaged Vitamin water! Let’s not forget the Monkey Leaf tea (tea leaves picked only by monkey’s in the highest regions of the Himalayas), energy plus plus drinks, diet versions of all beverages and the long list of healthy alternatives to everything mentioned above. We love our beverages and how!
Related Link: Get the more interviews and pictures for Priyanka Chopra
Fashion is how we express our identitites. Fashion not only highlights the social history and the needs of women, but also the overall cultural aesthetic of the various periods. The evolution of fashion dates back to several hundred years and as our attitude and culture change, fashion comes along with it.
In the 1950s reconstruction in Europe and the boom brought about by the Korean war boosted the fashion industries of the capitalist world. There exists a great evolution through the fashion of the 40s to the 50s, and it involves different ideologies, dress trends, shoes and hairstyles.
Cheap, mass-produced clothes that closely followed prevailing fashions were more widely available than ever before. For the first time in this early postwar period all classes had access to clothes in up-to-date styles. Until the 1930s the poor and the old had tended to wear clothes in styles long out of fashion, either from choice or by necessity, but now even they were incorporated into the language of style.
The 50s were the shirtwaist era, when the rock and roll causes a change in the fashion. This era was represented perfectly at Grease movie, when we can see the different fashions between the social groups. The women used crinolines and shirtwaists. Men used jackets and blue jeans, with grease in their hair. And women used the hair over the shoulders.
The huge success of the New Look, and the stringent attempts of Dior and his contemporaries to lirnit the pirating of their fashion designs and take advantage of worldwide licensed copying and the adaptation of their creations for the mass market, led to an awareness of the news value of fashion. The evolution of styles was now dramatized so that each season was to have its own “look” or “line”. it had been possible to present the New Look as a revolution because of the hiatus of the war; henceforward dress designers sought to repeat this miracle in the molding of popular taste.
In the 1950s every season’s new line was frontpage news and most newsworthy of all was the length of the hemline. The height of the hemline was alýnost bound to be an easily changed variant of fashion when neither full-Iength skirts nor trousers were a serious option. Couturiers emphasized variations in eut and length and sought to encourage the association of fashion with exelusivity.
Parisian fashion in particular was promoted on the basis that it sold to the French aristocracy, to international royalty (women such as Queen Soraya of Iran) and pseudo-royalty Jackie Kennedy was a great fan of Pierre Cardin and Chanel). These clients were even more prestigious than internationally famous actresses and film stars, though they too used to publicize their favored couturiers- Audrey Hepburn, for example, whose sIender figure and waif-like face fixed the gamine look for the decade, was often dressed by Givenchy. Her appearance in his clothes in popular movies such as Funny Face (1957) gave them even more powerful publicity than they received from Vogue and other magazines.
The 60s were the time of a revolution. The hippie clothes, psychedelic ones, and groovy elements were fashionable. The hippies used a natural or ethnic style, love-ins, flowers, and free-flowing hairstyles.
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The pop-punk princess takes her colorful hair highlights way over the fashion edge.
Avril Lavigne delivered a perilous fashion faux pas while about in London night. The 26-year-old pop-punk princess — who has sported neon-tinted locks for years — made the mistake of pairing her highlighted mane with a matching handbag, tank top, and nail polish.
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