この広告は30日以上更新がないブログに表示されております。 新しい記事を書くことで広告を消すことができます。

How Natacha Ramsay-Levi Became Fashion's Coolest Force Of Nature
As a thunderstorm finally breaks and sunlight reappears, the gold-toned costume jewelry laid out in rows in a photo studio in Paris begins to glow. Most of the pieces are by Chloé, and culled from the personal stash of the brand’s creative director, Natacha Ramsay-Levi. There are four-finger rings heavy with chains; basket-weave cuffs; collars and brooches dangling with coral mano figa, the Etruscan fist-shaped charm that wards off the evil eye; and longhorn-adorned bangles that nod to Georgia O’Keeffe. “With Natacha’s design, there is always the organic feminine,” says the stylist Camille Bidault-Waddington, her close friend of some 15 years, who helped Ramsay-Levi edit the clothes and accessories for today’s shoot, an eclectic mélange of Chloé’s latest and Ramsay-Levi’s personal archives. “There’s always something a little boyish with Natacha. A little eccentric, tough but not butch, a slightly hippie-roots thing, but refined.”

Alongside the oversize cocktail rings is a solitaire fashioned out of crumpled tinfoil. “Ah, that’s the work of my son,” Ramsay-Levi says, clad in block-heeled boots for the first shot of the day. She had grabbed the jewelry on her way out the door, she explains, and hadn’t noticed the addition snuck in by Balthus, who is five and a half. (Sadly, his contribution would not make it into the pictures.) His father is Ramsay-Levi’s ex and Purple magazine’s editor in chief, Olivier Zahm, but Balthus gets his magpie tendencies from his mother. “Everything in my closets that’s printed or made from a special material, he reacts to,” Ramsay-Levi says. “He loves to play with the jewelry, which is all over my apartment. Sometimes he puts it on. He’s like, ‘Maman, you have so much gold!’ ”

Most designers dress simply, saving their more directional work for the runway. (See: Miuccia Prada’s obsession with A-line skirts; ­Carolina Herrera’s white-blouse understatement; Phoebe Philo’s uniform of simple black pants, Adidas sneakers, and turtlenecks.) Ramsay-Levi is cut from more rambunctious cloth. She loves an exaggerated silhouette, a clash of prints, and pairing colors that probably shouldn’t go together—sometimes all within one outfit. Head-to-toe anything, whether designer or seasonal, is a rarity for her. She keeps her long brown bob slept-in, her eyebrows shaggy, her makeup minimal, and she never seems overwhelmed by what she’s wearing, even when it’s a look that would give most women a panic attack. “When I was pregnant,” she recalls, “my favorite thing to wear was crop tops; then I’d pull a supershort pleated skirt over the top of my belly.” With pants? “No.” Needless to say, she has good legs.

Most of the pieces on display today are things that Ramsay-Levi wears in real life and had a hand in designing, either for Chloé, where she was appointed creative director last year, or at Balenciaga and Louis Vuitton, houses where she worked with Nicolas Ghesquière for 11 years and three and a half years, respectively. “We didn’t disguise her for this shoot,” says Bidault-Waddington. Nevertheless, Ramsay-Levi says she’s toning things down now that she’s the boss. “I have to make too many decisions every day,” she says. “Getting dressed in the morning is one I don’t need.”

This newfound simplicity is relative. When I visited her at Chloé’s offices in late spring, she was wearing tailored pedal pushers, knee-high white cannage boots over black knee socks, and a sleeveless blazer. Her ensemble for a casual coffee in her neighborhood a few days before this shoot consisted of deconstructed Louis Vuitton track pants with a laid-over tube skirt and yellow python-print calfskin cowboy ankle boots from her first season at Chloé. Clearly, minimalism is not her ethos. “My problem is I like everything,” says the 38-year-old designer, who stores her finds “in ugly Ikea cabinets in practically every room of my apartment. I also have my basement, and my parents have a house in the South of France and I use their attic.” Like any serious collector, she photographs and catalogs each item before storing it. When she’s packing for a trip, she lays out outfits on the floor and snaps a picture.

Ramsay-Levi was raised near Montparnasse, in Paris, and studied history at school. Her father was a book and magazine editor, her mother an interior decorator. Ramsay-Levi liked fashion, but she wasn’t one to dreamily sketch dresses in the margins of her notebooks. Her strong relationship to clothes came through dressing up, seeing fashion simply as a tool for personal satisfaction and self-expression. The granddaughter of a seamstress, she bought a sewing machine when she was 16 and used it often. “I would cut my father’s pants to fit me, put on my little brother’s T-shirt, and add an accessory that twisted it all up,” she says. (There are also rumors of a turban phase.) “I come from a bourgeois family, but I wanted to be with other people, listen to other music. Through fashion, personalities can multiply. Through clothes, it’s like I had a mosaic of possibilities.”

Ramsay-Levi was on the verge of signing up for a sewing class to indulge her hobby when a friend convinced her to set her sights higher and apply to Paris’s prestigious Studio Berçot. “I didn’t know how to draw when I arrived,” she recalls, “and I had a real complex about it.” Upon completing her degree in 2002, she landed an internship at Balenciaga, where Nicolas Ghesquière was leading a small team to fashion greatness. She followed him to Louis Vuitton in 2013, and was hired as Chloé’s creative director in March 2017. Acting as a part-time muse for Ghesquière for all those years was crucial to building their relationship—and Ramsay-Levi’s fearlessness as well. “Being inspiring for him was part of the fun,” she says, recalling the time when he fell in love with a tablecloth with crocheted swans that she had turned into a necklace. The two have remained close.

Chloé was founded in 1952 by Gaby Aghion to bring chicness and ease to a broad market. (At the time, most fashion was haute couture—made by special order for the customer’s body, not sold on racks.) Aghion designed the collections herself early on, but in time developed a knack for hiring talents like Maxime de la Falaise and, in 1964, a young Karl Lagerfeld, who defined Chloé as countercultural and free-spirited. Its modern iteration began in 1997, when Stella McCartney was appointed creative director. (She knew the label intimately, since her mother, Linda, and many of her set had been devotees of Lagerfeld’s hand-painted silk Chloé dresses.) Since then, the brand has found its most successful ambassadors not in celebrities but in its own designers, most of whom have been attractive, cool young women. After McCartney came Phoebe Philo, who went on to design for Céline; then Hannah MacGibbon; then Clare Waight Keller, now at Givenchy, where she has earned worldwide renown as the designer of Meghan, Duchess of Sussex’swedding dress. (Paulo Melim Andersson, who led the house from 2006 to 2008, has been the lone male exception.)

In the space of four collections, Ramsay-Levi has put her own quirky, bold imprimatur on the house. “ ‘Bohemian,’ for me, is one of the adjectives that always has to be present at Chloé,” she says. “Clare was so good at it, with her English embroidery and Victorian spirit, that many people thought that was all there was. But masculine-feminine also has a very strong heritage at Chloé. In the ’70s, it had a very bourgeois-perverted side, and Phoebe really gave a great sense of that. With Stella, it was very pop. And Hannah’s beige obsession was really strong. I’m not doing the same things as those women, but I like to take all of their contributions and shake them up.”

She has kept identifiable signatures like lace, Western motifs, and high-necked blouses, while sharpening shoulders, adding metal piercings, and toughening up leather outerwear. Boots are now heavier and pointier, and there is always a sense of contrast: Louche disco flares are paired with ladylike pussy-bow blouses; lingerie dresses are worn under shearling bombers. In making collections out of eclectic, standalone pieces, Ramsay-Levi is inviting women to take an active, curatorial approach to their wardrobes. “It’s funny to see how ready everyone is for new things,” she says. “Last season, I got scared because we didn’t have any big, fluid dresses. So we found two pieces from the previous season and crashed them into the collection. Nobody bought them. We realized that customers want the DNA of Chloé, but they want newness. The biggest successes so far”—like the aforementioned boots—“have been the departures.”

Perhaps because of the satisfaction she derives from dressing herself, Ramsay-Levi seems to have a sixth sense about what others want. “I love having conversations with women about their bodies and what they feel good in,” she says. It’s telling that, on red carpets, she has zeroed in on friends like Isabelle Huppert and Cat Power, who are not exactly wallflowers. Rachel Weisz, another pal who works with the house, recently needed something special for the Tribeca Film Festival premiere of her film Disobedience. Weisz was heavily pregnant, so Ramsay-Levi adapted a daring runway look for her, covering up its plunging V-neck and moving the waistline up high. The result, a floor-length brown crepe gown, was almost prim, and Weisz looked confident, happy, and relaxed. It was a far cry from Ramsay-Levi’s maternity crop tops and hitched-up miniskirts—and that’s exactly how she wanted it.Read more at:http://www.marieaustralia.com/formal-dress-brisbane-online | http://www.marieaustralia.com/formal-dress-shops-adelaide
[ 投稿者:modefashion at 12:39 | modefashion | コメント(0) | トラックバック(0) ]

Phoenix-based fashion brand picked to create artwork for Epcot exhibition
A Phoenix-based fashion brand was commissioned by Walt Disney World to contribute a piece of artwork for a new exhibition at the Epcot World Showcase in Orlando, Florida.

ACONAV, a Native American-owned and operated couture fashion brand that was inspired by the Acoma Pueblo people, was picked by the Disney Imagineers to create one of the seven different pieces in the “Creating Tradition: Innovation and Change in American Indian Art” exhibition.

The exhibition will be housed at the American Heritage Gallery at American Adventure at Epcot this summer. The seven pieces will honor the seven regions in the country.

Loren Aragon, the CEO and designer of ACONAV, said he was sought out by the Imagineers his specific fashion design that honors Native American culture. The company was impressed with Aragon’s works in fashion design and the use of his cultural heritage to create his unique artwork and fashion.

“People who knew me — and what Disney was trying to accomplish — told them about me and what I was doing with pottery art. It basically all fell into line with what they were going after,” he said.

“We got the ball rolling then. They told me what the exhibition would be about and how I would be representing the Southwest by being one of the seven different centerpieces for regions.”

The piece that Aragon will contribute will be a gown that will use black, white and rust colors and monochrome designs to honor the old Native American pot design.

“For this dress I really wanted it to be a gown. I wanted it to be representative of the Disney princess character dresses,” he said. “I wanted to step it up with this one.”

Aragon is expected to deliver the gown to Epcot on June 4. The exhibition will be installed in late June and will open in early July.

“This has been a great opportunity to represent Native American art and fashion on a bigger stage and platform,” Aragon said.

“I’m really proud to represent where I am from, Acoma Pueblo, as well as being a representative to all of Native fashion.”Read more at:http://www.marieaustralia.com/bridesmaid-dresses | http://www.marieaustralia.com/melbourne-formal-dress-shops
[ 投稿者:modefashion at 17:24 | modefashion | コメント(0) | トラックバック(0) ]

Start-up Coveti brings niche fashion to the UAE
Heba Al Fazari had already been a civil engineer, a diplomat and an image consultant when she decided on her current business path 18 months ago.

The uber-stylish 37-year-old Emirati points to the jumper-style black dress she is wearing, bought from a Japanese designer called Limi feu, which she found in the corner of a Tokyo department store. The item not only still gets a lot of compliments – but represents a turning point.

“Every time I’m asked ‘where did you get this’, I say ‘it’s from Japan but I don’t even know how to buy it anymore’,” she says.

The brand wasn’t online, and the department store’s website was entirely in Japanese with no translation.

“I wanted to go back to the website and buy something but I couldn’t find them,” she says. “Maybe it was there, but I will never know.”

That was the beginning of her fashion start-up Coveti, which launched in March. But this is no Net-a-porter wannabe. Instead the 12 brands currently on offer – 10 more are in the immediate pipeline – have a specific set of criteria: they must be directional, emerging designers, new-to-the-UAE, and have been carefully curated from Ms Al Fazari’s own extensive travels.

So far there are men’s and women’s shoes, jewellery and accessories, with plans to add clothing soon. As for the business model, when customers buy a bag from Spain and one from Paris through Coveti.com, they will be charged one flat fee and have them shipped straight from the stores.

Ms Al Fazari’s penchant for clothes that are original, with flair, that might be purchased in small boutiques on trendy streets in London or Toronto – but never on the high street – spurred her own frustration at the lack of that preferred apparel niche locally.

“Things are not available in the UAE,” she explains. “I cannot get whatever I want at a good price. Either I buy Dior and Chanel, which is not in my disposable income for everyday wear, or I just buy Mango and Zara and it’s really, really boring.”

Ms Al Fazari first ventured into online fashion after a trip to Bangalore in 2013 while earning her MBA at Georgetown University in Washington. After leaving her suitcase behind, she realised she needed garments and was appalled at the poor quality and terrible design on offer. The website she subsequently launched in India has since been closed, due to a change in business laws, but it served as a precursor for Coveti.com.

The idea was, Ms Al Fazari says: “If I need it, I’m sure other people will need it too.”

The entrepreneur has big plans for Coveti.com to be much more than an online boutique for her international fashion finds. Soon she will showcase emerging local designers, from the UAE and Mena region.

Within two months she aims to launch another section of the website where customers can fully customise their orders, starting with men’s shoes and expanding to other items. Her plans are to offer this service to help smaller designers produce their work for sale to the public, as well.

Currently Ms Al Fazari charges designers 20 to 45 per cent on international orders, a sliding scale depending on whether they take advantage of her marketing and social media services.

Then there is the “Get Inspired” social commerce section of the site, which uses technology that grabs all social media related to the brands Coveti.com sells. That means instead of a traditional gallery, the website can, with permission, feature an assortment of images including Solange Knowles in action wearing its Carla Lopez circular Jirafa pouch – with a link right back to the section where customers can buy it.

“It’s basically user-generated content,” says Ms Al Fazari. “We go and collect all this data around the globe and we showcase it in the right touchpoint at the right moment so you will buy.”

It’s not easy launching a fashion start-up in the UAE, Ms Al Fazari says. The bureacracy can be daunting and inflexible – some licenses require vast amounts of storage, for example, which a website like Coveti.com does not need. And costs can be prohibitive, particularly for technology, which she outsources to India.

There two developers and a designer who help mould and shape Coveti.com into what Ms Al Fazari hopes will be the best, fastest customer experience possible. The staff costs are about US$1,700 (Dh6,243) per month, compared with the Dh30,000 she would be likely to have to pay in the UAE.

Ms Al Fazari feels the key to her company’s success will be in having a business model that moves like “water in a pipe – one way”.

“With other traditional, wholesale retailers, they have the working-capital risk, they have the rental risk, they have the warehousing risk and on top of that the inventory risk,” she says.

“We don’t have any of that stuff. We have a digital platform to connect A to B.”Read more at:http://www.marieaustralia.com/formal-dress-brisbane-online | http://www.marieaustralia.com/formal-dress-shops-adelaide
[ 投稿者:modefashion at 15:38 | modefashion | コメント(0) | トラックバック(0) ]

What kind of shoes do you wear?
Women need to wear evening dress for some formal occasions. Evening dress is a kind of formal dress, need collocation is good to be able to highlight the characteristic of evening dress and beautiful. So what kind of shoes is better for the evening dress?

One, evening dress and shoe collocation strategy.

Styles to choose

On the choice of a bridesmaid shoes, if you have the fine dwarf with or flat with the shoe, so be sure to choose the shoes pointed or with some modification, such ability can make up for the inadequacy of no heel.

The dress matches the shoes.

If you're trying out all the styles and colors of shoes, and you don't think it's going to match the dress, consider the metallic shoes that might surprise you.

Color choices

Warm colors such as pink, coral, orange, and cream are best suited for gold, bronze, or copper, light green. Shades of purple, blue, grey, and white will brighten up the color palette.

2. Matters needing attention for evening dress and shoes.

Evening dress with shoes to pay attention to comfort.

We are all comfortable with shoes, only our feet know, so we must pay attention to the comfort of shoes when choosing shoes. After all, on the wedding day, the bridesmaids are very busy, and it is important to help the bride with a lot of things, so a pair of comfortable shoes is very important.

Wear evening dress with shoes to pay attention to the heel height.

If it's high heels, we have to think about it. Some bridesmaids might look better with high heels because they might be paired with high heels. If you say that if you are normally used to high heels, such collocation is not a problem, will not bring too heavy burden to your foot; But if you don't have a habit of wearing high heels, don't opt for it, so you'll be very tired at the wedding, and even the awkward moments of your feet. So be careful with the high heels, even if you look better with a dress, opt for a low heel or plain pair of shoes, which will be a lot easier on the wedding.

Evening dress with shoes to pay attention to color.

The most important thing about the evening dress is to match the dress with the dress to choose the right color of shoes. For example, if the evening dress is pink, choose white or beige shoes. Dress and shoes collocation technique is: what color of dress in principle, collocation fastens with color shoes, these three colors, white, silver, gold, is a joker color, generally the dress color of the light color fastens can choose any one of these three is tie-in.

Dress with shoes to pay attention to old and new.

Bridesmaids when choosing shoes don't have to choose new shoes, if you have the right BanJiu shoes, also can choose, but the shoes can't old too much oh, because of the old shoes than new shoes are comfortable to wear, not grinding the feet. If no suitable old shoes match, then suggest in advance to buy new shoes, dressed in practice at home more, also want to prepare more band-aid, for a rainy day, torn foot is labeled in a timely manner.

The tie-in method of this paper introduces the evening dress and shoes, if you are in the evening to attend more formal occasions, if you want you can be gorgeous, beautiful, so you must produce evening dress, not only that, but also need the right shoes on collocation to oh.
[ 投稿者:modefashion at 11:34 | modefashion | コメント(0) | トラックバック(0) ]

An occasion for evening wear.
The concert

Wear a silk dress instead of a cotton dress. In addition to the artistic atmosphere, there is another reason: the silk fiber is the most reasonable reflection of music, which can make music more effective.

Friends wedding party

For unmarried people, attending a good friend's wedding is a great opportunity to make friends with your peers. Working in this situation is too rigid to reflect the unique aspects of your personality. Wearing an evening dress can make you the most visible companion of the day.


No matter the size of the wine, if you don't have to wear casual clothes, you must wear a tuxedo to show your concern. Of course, it's not like a Hollywood star if you know in advance that the theme of the cocktail party is not grand, just a "party". A dress with a knee-length dress may be more revealing of your frankness and youth.

Western restaurant

On such occasions, wine and atmosphere are more memorable than the number of dishes. In a friendly atmosphere, an elegant evening gown will be the mediator of the atmosphere.

A formal dinner

To wear a formal dress to dinner is a respect and thanks to the host. Once you put on a fancy dress, you'll see a sharp reduction in the amount of alcohol and alcohol that you can chew and drink. Wearing an evening dress is one of the limits of a person's behavior.Read more at:www.marieaustralia.com/one-shoulder-formal-dresses | http://www.marieaustralia.com/mermaid-trumpet-evening-dresses
[ 投稿者:modefashion at 18:23 | modefashion | コメント(0) | トラックバック(0) ]

Former Pasadena resident Amanda Moss promotes sustainable, ethical fashion through her clothing
About six years ago, Amanda Moss was enjoying success as a fashion designer in Montreal, but the woman who grew up in Pasadena was becoming disenchanted with the fast-paced rat race that didn’t feel creative to her anymore.

So, she took a little time off and considered giving it up.

“But in the end, I just woke up one morning and felt incredibly inspired. I could see it. I could see my brand and I could imagine how it was going to work.”

She launched that self-titled independent brand of ethical fashion in 2013.

Fashion is a tough industry and a wasteful one, Moss said recently while chatting by phone from her home in Montreal.

Amanda Moss is an eco-friendly brand born out of the waste she’s seen in the industry and her own journey with fashion, and how she would like it to change.

It took her until Christmas of that first year to put out her first products, a small line of five styles with a couple of each size.

And the company has been enjoying steady growth ever since.

“It grows at its own pace, and I like it that way,” she said.

Her customers are in the age demographic of between 30 and 45.

That’s a time when Moss thinks women start to realize it’s not every piece in their closet that they are going to want to wear for a long time.

Then there’s the pieces that they only bought because they were on sale and a year later sit in the closet, never worn.

“I just learned as a consumer and as a person that I didn’t want that. I didn’t want to own that much clothing and have nowhere to put it,” she said.

“I don’t try to give people the latest thing. I try to give them things that I think that they’re going to be able to wear for 10 years. And not only will it last 10 years, it won’t go out of style.”

For her it’s about making use of what you have and smart consumerism.

“Buying less, but buying better,” she said.

And that’s the movement she’s trying to be part of.

“At the end of the day I have to feel good about what I’m doing.”

So, she not only designs the clothes, she wears them.

“It’s through wearing it that I can truly make it better,” she said.

“I’m making these better products and people are coming back to me.”

Year after year, she said, they can see how many times they’ve worn an item and how well it works with what she puts out the next year.

“That’s another part of sustainable ethical fashion, is just the continual wardrobe building,” she said.

By injecting one new piece, everything becomes new.

From Pasadena to Montreal

Amanda Moss never started out to be a fashion designer.

It wasn’t for lack of skill or creativity, though.

“I just didn’t completely understand that as an industry,” she said.

Born in Buchans, Moss grew up in Pasadena. After graduating from high school in 1998, she headed to Montreal, where she has lived for nearly 20 years.

“French was a reason to come here,” she said with a laugh.

Like her friends, she had registered for university.

“But also, kind of hoping that I would make it work and just move to Montreal.”

She had studied French at the University of Montreal in a summer program for high school students between Level 2 and 3, and again after Level 3. During that final summer she realized she could continue with the program during the regular school year.

Her interest in French came after she had spent the Grade 5 school year in Chicoutimi in 1990 while her mother, Wanda Gushue, taught there.

Still, Moss thought she was on the path to becoming a teacher, following in her mother’s and her grandparents’ footsteps.

But she also had it in her mind to take a year off.

“I didn’t feel compelled to rush into university.”

After a year, she started to want more and to see ads for programs and jobs under the needle trade in the Montreal newspapers — things like sewers, pattern makers, assistant designers and head designers.

Feeling it was a possibility that she could pursue, Moss enrolled in the International Academy of Design and Technology.

Her first job was as an assistant designer for Dex Clothing, followed by four years as head designer for Garage Clothing.

He last job, working for someone else, was with Covet.

It was the first brand in Montreal to take an interest in eco-fashion, pieces made out of bamboo and cotton with a minimalist style.

That job became a launch pad into what she does now with her own brand, Amanda Moss.Read more at:http://www.marieaustralia.com/formal-dresses-shops-sydney | http://www.marieaustralia.com/formal-dress-brisbane-online
[ 投稿者:modefashion at 18:39 | modefashion | コメント(0) | トラックバック(0) ]

West Philly fashion designer adds flair to ‘Black Panther’
An article of clothing by a Philadelphia fashion designer has a cameo appearance in the biggest blockbuster movie in the world right now.

“Black Panther” includes pieces by Wale Oyejide, whose design company shares with the film an underlying message of African pride.

As a superhero action film with all the impossibly high-flying stunts you would expect from the Marvel comic book movie, “Black Panther” also features a mythical African world emerging from self-imposed isolation, with something to teach the world about power, leadership, and style.

“Watching ‘Black Panther’ for me, as a Nigerian, was seeing my culture on the screen that is not only authentic but an homage — that excellence can be from Africa,” said Oyejide, an attorney turned fashion designer based in West Philadelphia.

He started his design company, Ikiré Jones, five years ago after wearing business suits every day to work in a law office. He wanted to make suits that look good, are cut well, but offer a stronger cultural message than the beige or navy blue fabrics common in the workplace.

His suits are made with boldly patterned textiles often associated with dapper African batik style. Oyejide likes to use fabrics printed with classical European art juxtaposed with African imagery, cut as a jacket or a scarf.

He was asked to submit a handful of outfits to be considered by the costume designers of “Black Panther” costume designers. In the end, they used a scarf of his in a pivotal scene. (To describe the scene would spoil the plot.)

“It’s a little surreal to sit in a theater and see your work the size of a wall, and have nobody in the room realize you made that,” said Oyejide.

The “Black Panther” phenomenon goes beyond action thrills, presenting the African continent in a highly commercial and fantastically popular global movie. Although much more humble, the company Ikiré Jones does the same thing: shows off African style as very modern and chic.

“I was raised in a world where it was not great or cool to say you were from Africa,” said Oyejide. “Now we’re arriving at a place where sophistication and elegance can come from Lagos, Nairobi, Kenya.”

The film “Black Panther” presents African culture as a gift to the rest of the world. Oyejide’s clothes, likewise, are born in a very specific cultural tradition, but they’re made to look good on anyone.Read more at:http://www.marieaustralia.com/formal-dress-shops-perth | http://www.marieaustralia.com/red-carpet-celebrity-dresses
[ 投稿者:modefashion at 18:44 | modefashion | コメント(0) | トラックバック(0) ]

Helena Christensen's advice for the metoo generation
Supermodel Helena Christensen has said it is the shared responsibility of designers, agents and parents to ensure the wellbeing of young models.'

"The responsibility lies with the designers, the big fashion houses, the agents, not so much with the girls and boys, they are so young, they are still developing personalities and becoming who they will be as grown ups," she said.

"Parents and agents need to make sure these kids are guided in the right way, especially at the start of their career."

As one of the original "supermodels" of the 1990s, Christensen has worked with many top photographers and designers, including some who have, in recent times, been accused of sexual harassment.

Danish-born Christensen's parents often accompanied her on shoots when she was a young model, and she said she "only did what I really felt was right in my stomach".

Speaking to Fairfax Media in Melbourne, where she visiting this week to promote her "third career" as an accessories designer and attend the Melbourne Fashion Festival, Christensen said she was happy to give advice to young people entering or thinking of entering the modelling industry.

"They really just have to believe in themselves and make sure that no-one tries to change anything about them they don't feel comfortable about," she said.

"It's good to be able to share my experience with them and give a different perspective about how I made it and [how] I did not in any way put aside what I believed in to please anyone."

No doubt Christensen, 49, has passed some of this wisdom on to her son, Mingus, who is following in her footsteps as a model.

Mingus, 16, is Christensen's only child, from her five-year marriage to Walking Dead star Norman Reedus. The couple split in 2003.

Christensen met her new business partner, fellow Dane and designer Camilla Staerk, about 18 years ago. Their sunglasses range, a collaboration with Australian brand Pared Eyewear, launched online on Monday and will be carried in David Jones.

Christensen, who once dated the late Michael Hutchence, said her latest career as a designer is the culmination of her first two careers as a model and photographer.

She has also been behind the camera for humanitarian causes, including the UNHCR to highlight the plight of refugees.

"Because I have had a public persona all these years, charities and organisations have approached me to work with them as a photographer... and not just be a face, or an ambassador, but actually be part of it and use my work to promote and raise awareness," she said.

Christensen said the collaboration between her, Staerk and Pared came about after the brand spotted her wearing a pair of its sunglasses.

She said the three styles of sunglasses incorporated the shape of the swallow bird, which is one of the national birds of Denmark.

"The way they move, in flight, how they signify freedom, free spiritedness, we wanted to incorporate that into the glasses and it's what we [have in common]," Christensen said.

Christensen has been coming to Australia for nearly three decades and said it was a "magical country".

"Australia to me means memories and signifies summer, warm people, ocean, surf," she said.

The supermodel has previously walked in the Melbourne Fashion Festival, but this week she is staying off the catwalk.

"I've always been a huge fan of [Australian] designers so it's great to be here and see them firsthand at the show."Read more at:http://www.marieaustralia.com/melbourne-formal-dress-shops | http://www.marieaustralia.com/formal-dress-shops-adelaide
[ 投稿者:modefashion at 10:53 | modefashion | コメント(0) | トラックバック(0) ]

Wearability the prime focus for young designers at LFW
Last year, they were the Gen Next designers but with Lakme Fashion Week Summer-Resort 2018, Saaksha-Kinni, Anaam and Bloni will present their first shows as up-and-coming labels.

Besides showcasing their work as full-fledged designers at the upcoming fashion gala, these creative minds have one common thread that binds their line-up together, 'wearability'.

Saaksha and Kinni have channelled the raw, ethnic beauty of colourful Gujarat and added their modern twist to the clothing line, while staying true to the roots.

The designer duo said the season is all about colour and comfort and their collection keeps the vibe alive.

"We have tried to make the collection much more wearable this time. Spring-Summer is all about comfortable, flowy attire and this is the essence of the collection," the duo told PTI.

Anaam's latest range will present an amalgamation of sombre hues of black, oxford blue combined with tints of grey and purple. The collection depicts the celebration of self- acceptance.

The founder of the label, Sumiran Kabir Sharma, said the range is gender neutral and the USP of the garments is wearability.

"Every garment is wearable and can be worn by any gender, also each separate can be worn with any piece. The tops and bottoms depict how even misfits can fit in together in harmony," he added.

Designer Akshat Bansal's Bloni will be addressing the plight of oceans this time by incorporating the shades of grey, onion pink, coral, red and black.

"These clothes are 100 per cent wearable depending on the consumer and their comfort zone," Akshat said.

Bloni and Anaam will be showcasing their collections on the third day of the fashion week, while Saaksha and Kinni will take the runway on February 3.

LFW Summer-Resort 2018 runs from January 31 to February 4 at at JioGarden, Bandra-Kurla Complex, Mumbai.Read more at:http://www.marieaustralia.com/evening-dresses-online | http://www.marieaustralia.com/bridesmaid-dresses
[ 投稿者:modefashion at 16:30 | modefashion | コメント(0) | トラックバック(0) ]