Model Alliance Calls on Fashion Industry
As more women come forward about disgraced movie mogul Harvey Weinstein's sexual harassment and assault, individuals from other work spheres, including the fashion world, have begun to share their own horrifying experiences. Model Cameron Russell was among those to highlight the sexual abuse that models experience in the creative workplace, sharing at least 45 anonymous stories of exploitation in the industry on her Instagram.

Following the stories that Russell shared, non-for-profit labor organization Model Alliance issued a statement on Tuesday.

"The Model Alliance stands with the brave individuals who have come forward to share their stories and with all survivors of sexual harassment and abuse. Sexual harassment, abuse, and assault have no place the creative process, and should not be excused this way. No person should tolerate any sort of unwanted or inappropriate conduct, nor should our industry," reads the statement from model and activist Sara Ziff, who founded the labor advocacy group in 2012.

The organization condemns Weinstein's alleged acts as "horrific and unacceptable," adding that "this exploitative, bullying behavior is more prevalent in the fashion industry than many people would like to acknowledge."

"Numerous models have accused power-brokers in the fashion industry of sexual abuse. In many cases, the allegations go beyond harassment," the statement continues to read. "With the majority of fashion models beginning their careers between the ages of 13 and 16, children who model are particularly vulnerable to such abuse. And yet, it wasn't until November 2013, through the Model Alliance's efforts, that underage models in New York State gained protections under the Department of Labor."

In conclusion, the Model Alliance states that its goal is to "ensure a safe working environment through educational workshops, research studies, legislative advocacy, and our confidential grievance reporting service, Model Alliance Support."

At the Elle Women in Hollywood event on Monday night, Kristen Stewart highlighted the fact that sexual abuse is experienced at every level in the creative industry, and noted the importance of being aware and supporting each other.Read more at:http://www.marieaustralia.com/short-formal-dresses-australia | http://www.marieaustralia.com/formal-dresses-shops-sydney
[ 投稿者:modefashion at 18:04 | modefashion | コメント(0) | トラックバック(0) ]

Carla Zampatti's grandchildren don't known her without her sunnies
She's never fully dressed without her sunglasses, so it made only perfect sense that Carla Zampatti would bring out her own range.

The business-savvy Italian-born, Sydney-based fashion designer fitted her models in her winter 2018 collection and '60s inspired glasses range in collaboration with Specsavers for her runway spectacular on Wednesday morning at Carriageworks.

"It's such a perfect thing for Carla because she wears sunglasses all of the time – I mean all of the time – at night, at the theatre, at the dinner table. My children only know their grandmother, they call her their 'nonna', behind sunglasses," Zampatti's daughter and fellow designer, Bianca Spender, told Fairfax Media following the show.

For Zampatti, her shades are practical (she suffers from sensitive eyes) and a fashion statement.

"Firstly I need them and secondly I feel more dressed when I wear sunglasses, I think after a while it becomes a habit," she laughed.

"The sunglasses collection are quite simple, bold and strong – that is my aesthetic. [The clothes] were inspired by tailoring – we are finding that that is what women are seeking."

A possible nod to Hillary Clinton's impeccable choice of presidential campaign pantsuits.

Marta Dusseldorp, star of A Place to Call Home, Jack Irish and Janet King, and self-described "massive Carla Zampatti fan" fronted the campaign. Dusseldorp and Zampatti have been friends for years after meeting through the Sydney Theatre Company – Zampatti was on the foundation for 16 years.

"Marta was our star," Zampatti explained.

"Some actors are so convincing you feel as if you are living through what they are living through and that's what I feel when I watch Marta."

Those seated front row included Seven's Edwina Bartholomew and Mel Doyle, model Erin Holland, stylist Dale McKie, business investors and, most importantly, Zampatti's shoppers, aka "The Carla Army".

Later that afternoon, staying inner west, Sydney's well-heeled were out for lunch at La Porte Space, Roseberry, celebrating celebrity make-up artist Noni Smith's appointment as L'Oréal Paris make-up director for Australia.

During her 30 years in the make-up business, Smith's portfolio of canvasses – including the likes of Rose Byrne, Toni Collette, Eva Longoria, Miranda Kerr, and Naomi Watts – would make your eyes water.

And that evening, in the east, Double Bay institution The Sheaf launched The Golden Bar and Rooms – split into six unique indoor and outdoor spaces – with the likes of Wolf Creek's Tess Haubrich and Ryan Kelley of Teen Wolf in attendance.Read more at:http://www.marieaustralia.com/bridesmaid-dresses | http://www.marieaustralia.com/long-formal-dresses-online
[ 投稿者:modefashion at 14:50 | modefashion | コメント(0) | トラックバック(0) ]

Talent is power at Bayo’s 25th anniversary celebration
I’m always glad to report that the Filipino fashion revolution is in full swing — not just on the indie/slow fashion and ready-to-wear/custom designer side of the spectrum, and not just in getting our name out there.

“We really want to improve,” Bayo CEO Leo Lagon candidly shares over cocktails at the Bayo 25th anniversary event, aptly called “Made in The Philippines.” He and wife, Bayo VP and chief creative officer Anna, were manufacturers before they took over Bayo; they’d be the first to admit they needed help on the creative side. “We can’t fight with the international fast-fashion giants coming in. We just have to find a way to coexist.” And, as more Filipino brands focus on going global, Lagon says, “We had to differentiate ourselves.”

Being 100-percent Filipino-made was always Bayo’s strength, fronted by world-renowned Lea Salonga (spotted in the front row wearing an FL x Bayo shift) in the early 2000s.

“Made in the Philippines” also means more Filipinos have jobs they can be proud of. It means they always have food on the table — and more Filipinos are able to do more of what they love.

It’s been a yearlong process. Part of it is collaborating with Francis Libiran for limited-edition summer and holiday collections, FL x Bayo, and elevating 100-percent-local manufacturing practices.

They’ve recently invested in printing machinery that, for now, they’ve only learned to use on white fabric, which would explain Libiran’s proclivity for customized prints, as seen on Miss International 2016 Kylie Versoza’s palazzo pants as she closed the Luzon-, Visayas- and Mindanao-inspired holiday show.

The anniversary event also saw the launch of the Bayo Manila Foundation. They awarded 25 social entrepreneurs and achievers whose advocacies Bayo will actively support.

“Their success is because they wanted to share their success,” Anna explains.

Joining Verzosa is fellow beauty queen, Miss Universe 1999 first runner-up and TV host Miriam Quiambao-Roberts; professional ballerina Candice Adea and Ballet Manila’s Lisa Macuja-Elizalde; Department of Agriculture Undersecretary Berna Romulo Puyat; NGO founders Alexandra Eduque of MovEd, Kara Magsanoc-Alikpala of ICanServe Foundation, HOPE founder Nanette Medved-Po, CARA welfare Philippines president Nancy Cu-Unjieng; social entrepreneurs Tali Handmade’s Liza Crespo and Marielle de Leon-Lazaro, Anthill Fabric Gallery’s Anya Lim, Rags2Riches’ Reese Fernandez-Ruiz; executives and founders advancing Filipino products, GMA Network’s Annette and Maritess Gozon, EMotors CEO Elizabeth Lee, Fish Forever’s Rocky Tirona, Malagos Farmhouse Cheese’s Olivia Puentespina, Tesoro’s Maria Isabel “Beng” Tesoro, DestileriaLimtuaco & Co.’s Olivia Limpe-Aw, Fino Leatherware’s Rose Anne Bautista; and global creatives/interior designers Ivy and Cynthia Almario and visual artist Olivia D’Aboville.

The foundation also sees Bayo opening up their facilities to upstarts like fashion students who need help on the manufacturing side as another contribution to promote Filipino workmanship and keeping the industry growing. Beyond everyday fashion with a heritage twist, “Made in the Philippines” means progress is more inclusive.Read more at:http://www.marieaustralia.com/bridesmaid-dresses | http://www.marieaustralia.com/short-formal-dresses-australia
[ 投稿者:modefashion at 16:34 | modefashion | コメント(0) | トラックバック(0) ]

Suzy Menkes at Milan Fashion Week ready-to-wear spring/summer '18
“I decided to call the collection ‘Treasure Hunt’,” said Francesco Risso, Marni’s Creative Director.

“It’s like a bizarre cocktail of objects has rained on her,” he explained, describing next season’s Marni woman, “but she’s almost like an archaeologist scavenging in a trunk. And the objects she finds bring stories, light, movement, movies…”

“You have to imagine this woman,” continued the unstoppable designer. “The treasure hunt is like a game for adults, but the treasure is seductive and the hunt is captivating. So she dissects them, she adapts them to herself. She inspects them and looks through a wide angle to magnify the pieces. And through that, she discovers the construction; she discovers beauty. And beauty is almost a spell between cacophony and charm.”

Phew! Big words from a designer who revealed his enthusiasm to capture the spirit of Marni in his second outing. Less chaotic, but equally compelling and colourful, the show had a mad glamour. And that is not even to mention the Alice in Wonderland garden of flowers spilling over the entrance to Marni’s industrial headquarters.

Consuelo Castiglioni, who founded Marni in 1994 and remained at the helm for 22 years, is a tough act to follow. So is the dissecting of garments and putting them back together in an unfinished way. That concept has been around in edgy fashion for a quarter of a century, originally set explored by Martin Margiela in the early 1990s.

But in his sophomore collection, Marni’s new designer at least proved his energy and knowledge of fashion history, using patterns from the past that were not easily definable. The show started with corsets printed in flowers and checks, the lower part flaring out to join a floral skirt with a raw hemline. It looked like a piece of vintage fabric made into something else – hardly an original fashion thought.

Yet the game of making the old new – and vice versa – had a sweet charm, especially as the designer is a fine colourist, mixing an icy pink and warm green satin or playing with Scottish checks. Plaids and roses became another theme. The show embraced both arts and crafts, creating quirky but just about wearable clothes.


The historic house of Vionnet has been on fashion life support since Goga Ashkenazi bought the company in 2012.

Backstage, Goga, the brand’s Creative and Business Director, waxed lyrical about the hand workers she had found to bring Vionnet’s signature Greco-Roman feel back to life, with Japan an important inspiration for next spring and summer.

“Kyudo and Yabusame [forms of Japanese archery] are the inspiration; ‘The Way of the Warrior’ and what it stands for – humility,” Goga said. “There is the circle, the square, the symbolism behind them – it’s all in the collection.”

The exceptional workmanship, including what Goga called “spaghetti” to define silk strings woven into a slender dress, were often striking for their apparent simplicity, although they had taken hours or days to create. Other dresses, made in simple cotton poplin, seemed fresh, summery and occasionally quirky when scribbles were used as pattern.

As Goga takes her stand against the big brands and follows her own belief in beauty touched by human hands, there remains a problem. No longer a couture house, yet far from speedy ready-to-wear, its appeal lies somewhere in between. A limpid elegance was at its best as long draped, pleated or floaty dresses. For that off-beat simplicity, using a Japanese aesthetic was a smart move. Yet after five years at the helm, Vionnet as ready-to-wear fashion remains alone, if not aloof – a symbol of elegance from another world and difficult to embrace for 2018.Read more at:http://www.marieaustralia.com/short-formal-dresses-australia | http://www.marieaustralia.com/long-formal-dresses-online
[ 投稿者:modefashion at 17:17 | modefashion | コメント(0) | トラックバック(0) ]

Gucci channels Elton John for its Milan fashion week show
Heidegger’s thoughts on authenticity, Camus’ writings on the nature of rebellion, 17th-century cartography and the stage wear of Elton John – the catwalk show that opened Milan fashion week did not follow a formula smacking of obvious commercial success. But this is Gucci, where the designer Alessandro Michele’s avant-garde approach to luxury has confounded the industry.

The fashion house’s financial results, released this summer, showed a phenomenal 43.4% sales growth. Even more striking is that Gucci, whose catwalk set mapped the Roman site of Horace’s Villa and whose show notes touched on post-structuralism, is adored by a younger generation most fellow heritage brands struggle to connect with: half of all Gucci customers were born after 1980.

Michele is the most successful fashion designer of this decade despite – or perhaps because of – not seeming particularly interested in clothes. In a 25-minute pre-show briefing for editors, held in the grandly modernist Milan palazzo Gucci built for its golden boy, Michele did not mention a single garment.

“Sometimes I think, it would be easier if I could just make some beautiful shoes for the shop. But no, I want to change the aesthetic of this whole company and that way I can change what fashion is. I want to make things that create possibility, that make an opportunity for the world to change and to grow,” he said.

Diversity and authenticity are recurrent themes. “I am trying to push the idea of fashion, and to destroy the old codes of fashion,” said Michele, who was wearing a heavily embroidered jacket that an hour later featured on the catwalk worn by a female model.

“Fashion is trying to keep alive codes which are from the age of the New Look, of Mr Dior. The old way of thinking that goes, ‘the new season is blue’ or ‘the new ballerina look’, I am not interested in that. And when the casting people say to me about a model, ‘she is beautiful, she is a new face, she has beautiful legs’ – I don’t care about that at all. I care about the way the girl is romantic, the way she sees the world, not that she looks a certain way. I want to tell stories so I think in a cinematic way.”

Michele’s Gucci, steeped in Medici symbolism and Renaissance silhouettes when it burst on to the catwalk at the beginning of 2015, last year shifted toward disco and from there toward hip-hop, with many an eye-catching red herring – such as a fur-lined loafer – along the way.

This season the aesthetic took a turn toward glam rock, with clothes inspired by Elton John’s stage outfits. Tour jackets, high-waisted jumpsuits and power-shouldered blazers were worn by male models dripping in jewellery and female models whose crispy fringes resembled Renate Blauel, whom Elton John married on Valentine’s Day 1984.

But for all its progressive talk, Gucci’s success is built on an identity that remains largely stable from season to season. Its fans will pay elevated prices because by rejecting the trend cycle, Michele sells pieces with a longer shelf life, remaining recognisably Gucci for more than one season.

All the key elements of the Gucci aesthetic – slick 1970s sportswear, drugstore barrettes, shrunken trousersuits, rainbow stripes, geek-chic glasses, obtuse slogans, backless shoes, a certain old lady-ish silhouette of a fur coat over a long dress, Disney references, pearls – were in full effect.

How Gucci turns this arthouse script into box office gold was hinted at with the invitation to the show. Each guest received an ornate pharmacy tin inscribed “GUCCY” containing candles, matches, scented paper and silk thread. “The show is a spell I cast on you,” explained the designer. “Like a wizard.”Read more at:http://www.marieaustralia.com/formal-dresses-2017-online | http://www.marieaustralia.com/formal-dresses-shops-sydney
[ 投稿者:modefashion at 18:38 | modefashion | コメント(0) | トラックバック(0) ]

Why is Kaia Gerber suddenly the centre of the fashion universe?
I rather enjoy, Roger, that you thought it easier to write to me with this question as opposed to typing into something I believe is called – reaches for old lady spectacles – “Google”. And jolly glad I am that you did, too, because Kaia Gerber relates to quite a few things that I’ve been wanting to talk about for a while, including and not limited to celebrities, parents, teenage girls, fashion, tabloids, exploitation and more. It may turn out to be that Kaia Gerber is now the centre of the universe, which would explain quite a lot about this universe. Because Kaia Gerber is a 16-year-old girl.

In fact, she has just turned 16 and pretty much as soon as Kaia blew out the candles on her cake she was shoved on to every other catwalk at New York fashion week. An exciting start to the autumn for a fresh-faced teenager you may, or may not, be thinking. But this was not young Kaia’s first encounter with fashion. She has already appeared in several fashion magazines and campaigns, starting with a Versace campaign when she was 10, a French Vogue cover with her mother a few years later and her first solo magazine cover when she was 14. Tabloids have been running pap photos of her for years, doing everything from going shopping with her mother when she was 14 (“with long limbs to rival her mother’s”) to putting petrol in a car when she was 15 (“Her slender model figure was covered in a mini white bandeau top and high-waisted jeans”).

The media coverage of her 16th was, shall we say somewhat thigh-rubbing, with the British tabloids in particular barely able to control their excitement that young Kaia is now legally of age – in the UK anyway, if not in her home state of California.

Perhaps you are thinking that this seems a little OTT for your run-of-the-mill pretty teenage girl, which it is. But – and you might have seen this coming – the key detail here is that Kaia is a celebrity offspring. She is the daughter of Cindy Crawford and the rather amusingly named Rande Gerber, who is also, it turns out, George Clooney’s best friend, neatly proving this column’s theory that all famous and vaguely famous people know each other.

There is a sharp divide among celebrities between those who put their kids in the limelight, and those who very much don’t, and I’m always intrigued as to which celebrity chooses which path. Because, contrary to what you might think, celebrity children don’t have to be famous: the parents just have to choose to keep them away from red-carpet events, to get their lawyers to threaten tabloids that publish unobscured photos of them and not to pose with them on the cover of French Vogue. And if you don’t believe me, think of Matt Damon: Damon has four kids and I have not a clue even what their names are and it is kind of my job to know stuff like that. Or Christy Turlington, for that matter. Does Christy have kids? Probably, but I wouldn’t recognise them if they sat next to me on the bus. By contrast, the Crawford-Gerber children, rather like the Beckham children, are by now almost as familiar to me as my own offspring, such is the amount of time they’ve spent in the spotlight. Kaia and her 18-year-old brother, Presley, have been in front of the cameras since they were little and, between the two of them, have 2.2 million followers on Instagram.

Cindy Crawford didn’t become a model until she was 19 so it’s striking that she decided to let her daughter model from the age of 10. It’s not like history is littered with successful tales of high-profile celebrity children, and the few who do end up happy and well and accomplished – Michael Douglas, Stella McCartney – were kept out of the limelight by their parents and then encouraged to make their own way, not just use their family connections. I get that all parents want to give their kids the best childhood, and a lot of people do equate “fame” with “the best”. It’s just weird when famous people do it because they, of all people, should know that being a celebrity ain’t, actually, all that great. So maybe Cindy and Rande have had nothing but positive experiences of fame. If so, they are next to unique.

As it happens, new father George Clooney has been talking about this quite a lot recently in regards to his twins, Ella and Alexander. “We didn’t want to give them one of those ridiculous Hollywood names that don’t mean anything,” he said recently, perhaps unaware that his best friend’s kids are called Kaia and Presley. Clooney added that his own children “are going to be born into a place of privilege and so they’re going to have to learn that it’s just by accident.” I’m guessing this probably means Clooney’s not going to put his kids in movies when they’re 10.

So is Clooney making a dig at his friends here? Isn’t 16 still a little young to be the star of New York fashion week, given Kaia is still in high school? These are questions we may never be able to answer in full. But good luck, Kaia. You are (nearly) an adult now, and not just your mother’s daughter, so don’t let other adults tell you what to do, OK?Read more at:http://www.marieaustralia.com/short-formal-dresses-australia | http://www.marieaustralia.com/formal-dresses-2017-online
[ 投稿者:modefashion at 12:06 | modefashion | コメント(0) | トラックバック(0) ]

7 Misconceptions About London Fashion Week
London Fashion Week returns this weekend and with it the usual mix of excitement and confusion. Ahead of another round of shows, we're tackling a few misconceptions about British fashion's most important five days. So why is it such a big deal? Who wears this stuff? Does it really matter? And why are all those women posing in front of traffic?

1. It's Not Important

It's easy to dismiss LFW as frivolous, an excuse for the fashion pack to drink Champagne and pat each other on the back. But a 2015 report by Oxford Economics stated that the fashion industry is worth 35 billion dollars to the British economy. LFW isn't just a schmoozy, show-off event, it's a trade show, a chance for the country's top designers to showcase their wares to the buyers who will put those items in their stores around the globe, the press who will spread the word, and the fans and supporters who will shop and sustain the business. That's why you don't just see celebs in the front row: you see the decision-makers who can make or break the career of a designer.

2. It's 1 Week a Year

London Fashion Week happens twice a year, in February and September, and the shows actually take place over only five days, usually Friday to Tuesday. Historically, the industry worked a season ahead, but this has slowly begun to change, with more designers opting for the "see now, buy now" model, which sees items being made instantly available to buy online after the show. That means this September we'll see a combination of Autumn/Winter 2017 collections and Spring/Summer 2018 previews.

3. Everything on the Catwalk Is Silly and Unwearable

Picture editors choose the photos that grab attention, and yes, London is known for pushing the envelope. After all, what's going to get you talking, a controversial design by a student or a nicely tailored suit? If you're not completely immersed in LFW, then you only see the snapshot moments. For every show that goes all out when it comes to art, there will be another full of wearable clothes designed to sell. Styling also plays a huge part; individual pieces look completely different off the runway when they're not layered up and accessorised quite so heavily. Even if you don't end up buying things that are shown at London Fashion Week, they will still influence your wardrobe in the future, as the key trends will trickle down to the high street and into our wardrobes.

4. It's Glamorous

There is definitely an element of glamour, but people have a job to do, too. Most people who attend Fashion Week work incredibly long hours and spend their day criss-crossing the city attending dozens of shows, queuing in the rain, squeezed onto uncomfortable benches, and straining their necks to get a decent view. If you love fashion, LFW is wonderful, but it's also exhausting. The work doesn't stop when the shows end. Buyers need to attend follow-up appointments, crunch the numbers, and put in orders. Journalists need to file copy, conduct interviews, and arrange resees. And that's only the attendees: those working behind the scenes have an even tougher schedule. A lot has to happen for a show to run smoothly, and you can only imagine the hair and makeup call times for a 9 a.m. show!

5. "My Invitation Must Have Got Lost in the Post!"

Perhaps the most common misconception about Fashion Week is that invitations just suddenly appear one day. Yes, this may happen if you are a key buyer, an established editor, or a VIP (celeb, influencer, etc.). But for most people, securing tickets requires making early requests to the designer's team or PR, chasing up, and crossing fingers. It also helps if you maintain those relationships for more than just two weeks of the year and prove your importance and relevance to the brand. As well as press, buyers, bloggers, influencers, celebs, and VIPs, there also needs to be space for the British Fashion Council, sponsors, family and friends, potential investors, and so on. Those little benches fill up quickly!

6. It's Not For "Normal" People

You may not be able to attend official events in person if you're not connected to the industry in some way, but you can still experience London Fashion Week. Brands like Burberry and Topshop have been trailblazers in this area, beginning with live streams (which give you a much better view than most people will get at the show itself) and now instantly shoppable catwalks. Nobody has to wait to see what's going on, as everyone is reporting live: the front row is awash with people recording the show for Instagram Stories, Snapchat, and so on. Fashion Week shows are no longer the secret events they were a decade or so ago, when the only people taking photos were the professional photographers at the end of the runway.

7. It's Just Bloggers Taking Photos of Their Outfits

It's true that street style has become a huge part of Fashion Week. Fashion Week is a chance to get creative in the company of your peers, and everyone wants to document their outfits, because when it comes down to it, this week is all about clothes! Street style is popular because we love to see how people put together amazing outfits off the runway (don't pretend you haven't pinned the odd look!), but despite all this, it's still a small part of the bigger picture. For every dolled-up front-row face you'll see strolling into a show in her Sophia Webster heels, there'll be someone in jeans and trainers who's been running from show to show just trying to get her work done. And the best thing is that both have their place in this glorious circus. The most ironic thing about LFW? There's no dress code!Read more at:http://www.marieaustralia.com/cocktail-dresses-australia | http://www.marieaustralia.com/formal-dresses-2017-online
[ 投稿者:modefashion at 11:58 | modefashion | コメント(0) | トラックバック(0) ]

Fashion designer 'conned people into buying bogus Oscar tickets to meet Julia Roberts'
A fashion designer conned “star struck” investors into buying non-existent trips to the Oscars where they were told they would meet Julia Roberts, a court heard.

Alvin Loy, 50, also made bogus claims to get them to invest hundreds of thousands of pounds in an “almost imaginary” haute couture fashion business but frittered away their money in casinos, Birmingham Crown Court was told.

Loy initially ran a moderately successful business and records showed he worked for Laura Ashley but he also lied about working for Christain Dior, said Andrew Wilkins, prosecuting.

“He made out he was successful and had connections with stars in the fashion world and world of film,” he said.

The court heard Loy re-mortgaged his home in 2006 and was given £250,000 by Northern Rock after falsely asserting he was still in full-time employment with Laura Ashley and using a bogus employee number.

When attempts were being made to repossess his house in 2011 he claimed to be working for another company and submitted forged bank statements and pay slips, said Mr Wilkins.

In November 2009 he met Dr Sohan Nagra at a charity auction, said Mr Wilkins. “He was beguiled by Loy and Dr Nagra paid £12,000 in the charity auction for items that Loy had donated, a trip for two to the Oscar ceremonies in Los Angeles.

“Dr Nagra no doubt thought that was something that money can not buy.

“Of course the reality is that tickets to the Oscar ceremony is something that money can not buy.”

He stated in fact the tickets were controlled tightly, were by personal invite only and were non-transferable, the Birmingham Mail reports.

Mr Wilkins said the doctor was also encouraged to invest in Loy’s fashion business and later made payments totalling £100,000, with a promise he would get a 50 per cent share of any profits.

He claimed the defendant never in fact paid him any money and spent some of Dr Nagra’s investment at a local casino.

Mr Wilkins said Loy went on to contact a former client, Elaine Armstrong, and told her that Dr Nagra had bought tickets for the Oscars but had not been able to take them up and sold them to her for £5,000.

He repeated to her the bogus claims that he knew Julia Roberts and worked for Christian Dior but later told her that the Oscar trip had been cancelled, the court heard.

Mrs Armstrong said she and her husband paid over £6,000 for flights, entrance to the Oscars and three nights in Beverly Hills. She said: “It all seems stupid now but at the time it seemed like it was real. He lead us to believe that Dior had a table every year.

“He said the money was going to the Princess Royal Trust. He said we could go to the Julia Roberts party and that he knew her personally.”

Mr Wilkins said Loy pulled a similar con on a couple who paid him for the tickets, telling them that “Julia Roberts would be sitting at their table.” He also allegedly persuaded them to invest around £100,000 in his business.

Loy has denied one charge of obtaining services by deception and four of fraud.Read more at:http://www.marieaustralia.com/princess-formal-gowns | http://www.marieaustralia.com/red-formal-wear
[ 投稿者:modefashion at 15:45 | modefashion | コメント(0) | トラックバック(0) ]

Australian Dion Lee showcases designs as Cindy Crawford’s daughter makes debut
Dion Lee has clearly settled into life in New York if the inspiration behind his new collection is any indication.

The Sydney designer, who has been based in the US for the past year, showed his Spring 2018 collection on day three of New York Fashion Week at the weekend, his ninth show on the calendar.

Other designers showing on day three included Tibi, Self Portrait, Alexander Wang and Christian Siriano, whose collection was modelled by a typically diverse range of models of different sizes, ages, races and for the first time, gender.

The New York show was also notable for the runway debut of emerging star Kaia Gerber, the daughter of former supermodel Cindy Crawford.

Last week Gerber turned 16 — making her eligible to appear on the New York runway — and is already being labelled one of the fashion industry’s “It” girls.

Lee spoke to The Australian from New York about his collection: “The starting point ... was ­really the contrast ­between living and working in ­really urban environments and leaving frequently on the weekends.

“Everyone works really hard in this city and looks forward to the weekend.

“You’re almost this dual person — who you are during your work life and where you’re escaping to.”

In terms of aesthetic, he continues, this translates as “a mixture between quite tailored silhouettes and this somewhat summery athleticism”.

He delivered formal styles in more casual fabrics and techniques and vice versa. This included something new to Lee’s work: denim.

“I’ve touched on it before, but not in a fully fledged way. It’s my take on the classics — the denim jacket, the pants, but more a trouser cut.”

Flipping this, he also took the language of denim, such as the classic denim jacket, and recreated it in other fabrics, including double-faced leather.

“I’m mixing those more casual elements in with what is usually a more formal language.”

Lee has long experimented with technical fabrications and complex pattern-cutting techniques; this season he used knotting, draping, twisting “and manipulating more traditional silhouettes to be a little more undone and have a sense of ease”.

Lee showed his first menswear collection alongside his women’s line on the runway in Sydney at Australian Fashion Week in May this year; this weekend he unveiled his second men’s range in New York.

“I think Sydney was a really good precursor for that, so we have some experience in putting it together. I think it’s a nice evolution of a collection. I’m continuing to take things that I’m most interested in and refining them and defining the character of the brand.”

Lee’s mother flew in from Sydney to sit front row at the show, taking pride of place with fashion industry insiders including Caroline Issa and Robin Givhan.Read more at:http://www.marieaustralia.com/formal-dress-shops-adelaide | http://www.marieaustralia.com/formal-dress-shops-canberra
[ 投稿者:modefashion at 12:36 | modefashion | コメント(0) | トラックバック(0) ]

Beauty benefits of coconut oil
Coconut oil is most popular for its hydrating properties. It is suitable for all skin types and good for dry skin, dry patches and wounds, say experts.

Swati Kapoor, Co-Founder, SoulTree, Ragini Mehra, Founder, Beauty Source, and Aakriti Kochar, Beauty and Make-up Expert, Oriflame India, tell different ways to use coconut oil for beauty regime.

Make up removes: Coconut oil can be used as make-up remover as it is mild and gently removes all kind of make-up including waterproof make-up as well.

Body massage: It can be used on body as well for massage and relaxation. As massage oil, its most important property is hydration and glow.

Skin: Most of the moisturisers available in the market are water or petroleum based, coconut oil, on the other hand, is completely natural and a much better moisturiser for the skin. Coconut oil fights redness and irritation so it reduces acne while leaving your skin conditioned from within.

Prevent wrinkles: Using coconut oil regularly underneath and around your eye area can prevent wrinkles and reduce puffiness and under-eye circles.

Face mask: Mix honey and coconut oil in equal parts and apply it as a face mask. The mask will help to clear acne and keep skin soft and glowing.

Moisturise: You can mix coarse sugar with coconut oil and use it to exfoliate skin, the grainy sugar will slough off dead skin and the oil will leave the skin moisturised. Instead of bubble baths and bath salts, try using coconut oil. The hot water melts the oil, and you can literally soak into its moisturising benefits.

Fights bacteria: Rub coconut oil on minor cuts, scrapes, and bruises. The oil calms the area and creates a barrier against dirt and bacteria.Read more at:http://www.marieaustralia.com/formal-dress-brisbane-online | http://www.marieaustralia.com/melbourne-formal-dress-shops
[ 投稿者:modefashion at 16:23 | modefashion | コメント(0) | トラックバック(0) ]