Filipina designs wedding dress for ‘Fifty Shades’ sequel

Known for her romantic glamour and modern elegance, Filipino-American fashion designer Monique Lhuillier brilliantly captures in her design the alluring beauty and vulnerability of the main character, Anastasia Steele, in the upcoming romance-thriller “Fifty Shades Freed.”

Dakota Johnson as Anastasia Steele dons a custom-lace wedding gown and veil by Monique Lhuillier, renowned bridal, ready-to-wear and accessories designer, in “Fifty Shades Freed,” the all-new installment of the “Fifty Shades of Grey” series.

The long sleeve, off-the-shoulder, dégradé Chantilly-lace tulle-sheath gown—with open illusion back and trail of lace covered buttons—exudes femininity and sophistication. A Cathedral-length tulle veil with appliqués of Chantilly lace adds glamour for Anastasia’s grand entrance.

In keeping with the essence of her brand, Monique’s design evokes an enchanting and whimsical, yet sophisticated vision by weaving together sensuous and modern elements. The classic, ethereal and effortless silhouette of the dress—topped with the elegantly embellished veil—is distinctly Monique Lhuillier.

“I was so delighted to be asked to design an iconic wedding dress for the character of Anastasia Steele for this climactic chapter of the ‘Fifty Shades of Grey’ series,” said Monique. “Further building on the success of the show-stopping look I designed for the masquerade ball in ‘Fifty Shades Darker,’ it was a wonderful experience to be involved in this production. Once the wedding gown hits the big screen, I know this timeless design will live forever.”

The Monique Lhuillier wedding gown and veil designed for Anastasia and Christian’s wedding can now be seen in the trailer for “Fifty Shades Freed.” The feature film will be released in Philippine cinemas on February 7.

Lifestyle Feature ( Article MRec ), pagematch: 1, sectionmatch:It can be recalled that Lhuillier also designed Anastasia’s “Fifty Shades Darker” masquerade ball dress.

Lhuillier is internationally recognized as one of America’s foremost designers. Established in 1996 by Monique and her husband, Tom Bugbee, the company is considered one of the leading fashion houses in design, quality and creativity.

With a passion for creating collections that are both feminine and modern, Monique continues to design ready-to-wear, accessories and bridal collections that are luxurious, chic and true to her aesthetic.

Lhuillier’s fans include Hollywood stars Emma Stone, Blake Lively, Taylor Swift, Reese Witherspoon, Kristen Bell, Camila Cabello and the First Lady Melania Trump.Read more at:sexy formal dresses | backless formal dresses

Young designer aims to promote Egyptians’ African roots

A young fashion designer who believes Egypt’s African heritage is just as important as its Middle Eastern orientation aims to bring the international Afropunk Festival to Egypt.

Amna El-Shandaweely, an award-winning fashion designer who has trained with Elie Saab, launched last December a collection called “Cairo Punk” that is inspired by the Afropunk Festival, an annual international art festival that showcases African culture through music, art, film and fashion.

“I really would like to bring this festival to Egypt, but I will need sponsors and organizers who can help me bring it to life,” Shandaweely told Al-Monitor.

The Afropunk Festival, held for the first time in New York in 2005, was launched by people of African descent who felt that they were marginalized. Last month, the first festival took place on the African continent, in the South African city of Johannesburg, and was attended by thousands of visitors.

Shandaweely’s “Cairo Punk” collection, launched on Dec. 20, showed photos of amateur models with a variety of skin colors and builds. The photos were taken in the impoverished neighborhood of Imbaba in northern Giza.

“What I wanted to promote through the collection and the photos is that we must accept one another regardless of our looks and our background,” she said.

She noted that the collection aims to show Cairo in a different way. “The capital is perceived as a tense and crowded city filled with traffic. The collection shows a different side of the city where the people are diversified with different looks and features.”

The young designer will display her collection in South Africa next month.

Shandaweely, who loves to travel in Africa, has visited Tanzania, South Africa and Kenya, where in 2015 she exhibited her collection and took part in design courses.

Starting her brand two years ago, Shandaweely has focused on the history and heritage of her country. “I really want to create designs that reflect our real identity — designs that speak our history but in a modern way,” she said.

Her first collection, “Road to Fayoum,” launched early in 2015 and displayed designs that were inspired by Islamic architecture. She then launched her Africa-inspired collection, “Road to Nairobi,” which a group of African and Nubian models took to the catwalk in Egypt later in the year. Shandaweely also spent three months in the Siwa Oasis to learn about embroidery, an experience that inspired her third collection, “The City of the Amazigh.” The collection, launched in 2016, reflects the style of the Amazigh community, the ethnic group that is indigenous to North Africa whose name means “free people” or “noble men” in the indigenous Tamazight language. Very few Egyptians know about the presence of the Amazigh in the Siwa Oasis.

Before launching her collection “The City of the Amazigh,” Shandaweely participated in the popular TV show “Project Runway Middle East” that featured some of her collections integrating African and Egyptian roots in her designs. She was selected as one of the best 15 fashion designers on the show that aired on the private TV channel MBC. After the competition, she took part in a six-month internship with renowned fashion designer Elie Saab.

Unlike Shandaweely, who is proud of the African heritage of Egypt, most Egyptians do not fully understand that — geographically and culturally — they have African roots and that they are Africans. Some people may prefer to call themselves Arab or Middle Eastern, rather than African.

However, the Egyptian government has recently been trying to strengthen its ties with other African countries as well as introduce African art to the Egyptian public.

In February 2017, the government launched an African cinema club at the Cairo Opera House in a bid to boost relations with African countries, promote the African culture in Egypt as well as raise more awareness about Egypt’s African identity.

Shandaweely’s brand contributes to the Egyptian leadership’s strategy. “I hope that my brand becomes international and acquires the admiration of many people as it reflects our African identity,” she noted.

The young designer also said she wishes that Egypt becomes a hub for fashion brands that are based on different ethnic or geographical identities because the country has real diversity.Read more at:marieaustralia | one shoulder formal dresses

At a relaxing pace

Clear diction and clarity of swarasthanas were notable features in Prarthana Sai Narasimhan’s concert at Chennai Cultural Academy Trust. She began her afternoon concert with Dikshitar’s ‘Vathapi Ganapatim’ in Hamsadhwani.

The pace she chose to render this kriti was set to reflect the melodic beauty of the sangatis.

The kalpanaswaras at the pallavi lines had interesting patterns and Sunada Krishna on the mridangam picked up the clues and matched his phrases with that of the vocalist. ‘Sarasa samadana’ in Kapinarayani in a brisk gait followed. She sprinkled the brigas precisely and briefly in a few places.

Prarthana did not compromise on the length or quality in the Kamavardhini raga alapana and in her presentation of the kriti ‘Raghuvara’ of Tyagaraja, though the concert was of a shorter duration. The kalapramanam that got set in the first piece continued till the end and was relaxing.

Rajesh on the violin wonderfully supported in the niraval at ‘Manasuna neeki.’ Prarthana has a good sense of laya and fits the sangatis and swaras to interesting sollus that makes the mridangam reflect her manodharma well.

Sunada Krishna’s brief thani was pleasing and he ended his session with a neat theermanam. Swathi Tirunal’s Dhanashri thillana with sangatis in the lines of anupallavi in different nadais came as an interesting finale.Read more at:bridesmaid dresses online |

2017 fashion trends that shouldn’t see the new year

The words “new year” are synonymous with “new beginning.” The fashion world is a revolving door of styles that come and go, recycled and discarded. Every year, there are styles that we wish to see less of. Here are seven fashion trends that should not make the new year countdown.

Chanel brooches

It is difficult to label Chanel a trend, as it is arguably one of the most iconic brands in fashion history. In 2017, we saw Chanel brooches leave the classy mainstays of blazers and crisp button downs to be worn on track suits, baseball caps, and work out gear. Let’s hope this trend gets tossed out with the old.

Pajamas as daywear

“Pajamas as daywear made me feel like I was walking around in TLC’s ‘Creep‘ video,” says Sakeya Donaldson of FLyGirlApproved. The oversized satin tops and bottoms all-year round, while coordinated, seemed to leave a bad taste in many mouths. Many designers brought the look out’ however, that look should be reserved for the bedroom.

Crazy nail art

Just about everybody can appreciate nicely manicured and painted nails. But, over the top nail art somehow became a thing. In an effort to show individuality, ladies added ultra-decorative designs like studs and flowers. Did you see the nails with fidget spinners? Yeah, it was way too much.

Cold shoulders

Shoulders are one of the sexiest parts of a woman’s body. They can be especially flattering when shown in evening wear and after 5 attire. However, this year, off-the-shoulder hoodies and denim jackets left fashionistas confused. “If you are covering up, be covered up,” says Donaldson.

Retro sports wear

“The return of retro sports wear such as Champion, Fila, and Nautica was a bit over the top; especially when hit with a three-figure price tag,” adds Donaldson. Retro brands have had their hay-day. These brands were popular in the ’90s. Let’s just let them #rip.

Overly beat faces

Perfect make-up had a great run. Instagram and YouTube MUAs have amassed tremendous followings teaching the latest in make-up trends. Perfect contouring and layering several shades of eye shadow is no longer appealing. Women everywhere, relax: natural-looking brows, slightly messy hair, and casual make-up are the way to go in the upcoming year.

Unicorn everything

Leave unicorns in 2017. Sure, women love being compared to anything free, whimsical, and magical. Oh, and not to mention pretty. We’ve had it with unicorn donuts, unicorn bagels, unicorn hair and unicorn accessories. Let’s let the unicorn everything trend gracefully bow out.Read more at:formal dresses brisbane | formal dresses melbourne

The five best Princess Margaret put-downs

Princess Margaret, once known as the glamorous, if spoiled younger sister of the Queen, has, thanks to The Crown enjoyed the sort of empathy and popularity that largely eluded her before her death of a stroke, aged 71 in 2002.

The Netflix series has fleshed-out her haughtiness, giving viewers insight into what was once considered a cool exterior by displaying her sadness and ultimate heartbreak.

Actress Vanessa Kirby, who plays the chain-smoking, hard-drinking, fashion-forward royal, has reportedly drawn praise from none other than the Queen for her portrayal, and says “the second season for me is Margaret’s attempt to find herself.”

It would seem that swathes of viewers are taking great pleasure from finding Margaret, too. The copy of her daily routine, unearthed in October, in which she woke at 9am to have breakfast in bed, enjoyed a bath two hours later and appeared downstairs at noon for “a vodka pick-me-up” was widely reported and quickly went viral.

The Princess, it would seem, was the Mariah Carey of her time. We knew she had a penchant for luxury, or, what Carey herself might describe as “self-care” but may we present further evidence of the parallels between the two icons, with a list of the Princess’s greatest burns. A pleasure, your highness.

1. According to Vanity Fair Magazine, the Princess was seated next to model Twiggy at a dinner party and she ignored her for two hours before turning and asking her, “And who are you?”

Twiggy replied, “I’m Lesley Hornby, ma’am, but people call me Twiggy.”

Margaret responded, “How unfortunate,” and turned away again.

2.Rupert Everett was inexplicably invited to go to the theatre with the Princess, and relayed the anecdote to Graham Norton on his show.

“When we were getting in the car, she said, ‘Hey, you’ve got marvellous legs.’ And then she called me Leggy all night. ‘Leggy, do you mind if I grab you at the end of the second act?’”

During intermission, Everett tried to step out to the loo. But Margaret could not be bothered to wait. “She banged on the [bathroom] door and went, ‘Come on, Leggy!’”

“I spent the whole of the second act without having a pee.”

3.When Princess Margaret met Elizabeth Taylor on a tour of the United States in 1965, known as much for its cost as its controversy, she apparently told the actress that the gigantic diamond ring Richard Burton had given her was “vulgar.”

4. She met Grace Kelly on the same tour and told her, “You don’t look like a movie star.” Kelly was reportedly offended and replied “Well, I wasn’t born a movie star.”

5.Admittedly, we’re not entirely sure if this was intended as a protective measure or a diss, but we must also ask: does it matter?

“My children are not royal; they just happen to have the Queen for their aunt.”Read more at:white formal dresses | blue formal dresses

When fashion meets art

As you drive down the busy Peddar Road in Mumbai, the sight of a thousand embroidered hoops immediately overwhelms you, wafting through the mild winter breeze. The white walls of Jindal House make for a lovely canvas, playing hide-and-seek with these technicolor strings. Made with different fabrics from all over India, the hoops are strung together to form a simple message of love by designer Manish Arora.

Inspired by his personal life philosophy, ‘All We Need is Love’, the designs interpret the emotion in different forms. Created with yards of cloth, either hand embroidered or printed, close to 2,400 pieces were pieced together to create the finished look. The installation was the result of six months of ideating, 35 artisans and three months of execution.

“The inclusive fabric installation aims to evoke emotions of love, harmony and peace, and encourages passers-by to stop and think of all the natural and real beauty in the world,” says Manish, who has always thought of himself as an artist and a designer and never limited his creativity.

The project is a part of St+art and started over a year ago with the idea to collaborate on an inclusive piece of art. “We were waiting for the right platform to create art that would touch many lives and evoke positive emotions of love and harmony. When the Jindals decided to participate in the Urban Art Festival and allowed us to use their iconic heritage office-cum-residence, we knew we had the best canvas. We hope ‘All We Need Is Love’ is able to strike a chord with everyone who sees it,” says Manish.

Interestingly, back in 2015, designer Krsna Mehta had put up an installation titled Vertical Mayhem at the Kala Ghoda Arts Festival, representing the beauty and chaos of Mumbai. While the mingling of the art and fashion worlds is not a modern concept, the visibility of this crossover is unfortunately rare in the mainstream. “Works of fashion designers are usually categorised for the elite and the exclusive, so having that talent work in a public space gives everyone access to the world of fashion — it’s a breath of fresh air which could inspire, provoke or spark debate. Also, it is interesting to see how an artist approaches a project and there is so much you can learn from a single concept,” says fashion blogger Pallavi Singh while fashion designer Nimish Shah adds, “As designers, we are often busy with mass production of a single creative idea, but to work on a larger-than-life project that would be accessible to the masses is a thrilling idea and very fulfilling to the creative senses of a designer.”Read more at:celebrity dresses | sexy formal dresses

Key to upskilling informal workers is building on existing knowledge

Gayathri Vasudevan, Co-Founder & CEO, LabourNet 

(Photo:unique formal dresses)As the government grapples with unemployment, social enterprises are sprouting across the country to tackle the skilling and upskilling that pose a big challenge to corporate India, especially in the informal sector. The informal sector employs over 90 per cent of the workforce.

LabourNet, one such enterprise, which works among the youth in urban and rural India, has been in the field for the past 10 years, focussing on RPL (Recognition of Prior Learning), and bridging skill gaps in education and entrepreneurship, especially in medium, small and micro enterprises.

“In education, we have three streams — vocational education (a four-year course (for class IX-XII students). a graduate course (B-Voc) and short-term programmes in partnership with corporates,” Gayathri Vasudevan, Co-Founder and CEO, LabourNet on RPL, said in a telephonic interaction.


LabourNet, whose training module includes upskilling and certification, has signed up with 200 brands including Honda and L’Oreal, and provides industry linkages mainly in the form of indirect employment in supply chains.

“We also do onsite training on construction sites, in rubber manufacturing and leather factories, basically creating the ground for RPL apprenticeships,” said Vasudevan.

Skilling and bridge training of existing employees is another area that the enterprise looks into, including upskilling of Volvo bus drivers in Himachal Pradesh.

“Several developed and developing nations are encouraging RPL, and linking them to their core educational system for successful nation building,” said the company, which sees vast potential of an estimated 48 crore employed persons in India.

Currently, less than 5 per cent of these have formally recognised skills.

For vocational education, LabourNet has been working in government schools in Punjab, Haryana, Himachal Pradesh, Odisha, among others, and has reached over five lakh students since 2012,” said Vasudevan.

However, she admits that the challenges in rural areas are greater due to migration, especially less than class X pass students, who make up for almost 85 per cent of students there.

“Most of these children leave the villages for urban areas to work in construction sites, etc. Only women are left behind,” she said. However, women, too, are joining vocational courses in good numbers in areas, such as beauty, apparels and leather.Read mroe at:long evening dresses australia

How rave returned to the cultural mix

Before the May bank holiday in 1992, Castlemorton Common in the Malvern Hills was chiefly known only to walkers keen to hike through its 600 acres of unspoilt, unenclosed land. After that bank holiday, however, it became known as the site of Britain’s biggest-ever illegal rave.

Partygoers arrived in such numbers that Castlemorton featured on TV and in the newspapers – which brought more revellers. In the end, an estimated 20,000 people flocked to the site. By the Tuesday, it had induced moral panic in the Daily Mail: “A walk through the hippy encampment was like walking into a scene from the Mad Max movies. Zombie-like youngsters on drugs walked aimlessly through the mobile shanty town or danced to the pounding beat,” it reported. By 1994, the Criminal Justice and Public Order Act was passed, with the now infamous ruling against parties playing music “characterised by the emission of a succession of repetitive beats”.

Twenty-five years after Castlemorton, rave is back in the pop culture mix. The aesthetic, culture and sound has trickled down to everything from the growth of the festival to the concept of chill-out, to your DayGlo wallet, clubbing scenes in Girls, a weekend in Ibiza and the Kirakira app’s sparkles. Most people might not be regularly indulging in four-day parties but, in 2017, rave’s cultural legacy extends far and wide.

“Artists see it as a halcyon age,” says Seb Wheeler, head of digital at dance and clubbing magazine Mixmag. “I’m 29 and acid house started in the late 80s, so that’s my whole lifetime of dance music to explore … There are dance music legends that you will hear from your older brother or your parents and you’re like: ‘I’m going to check that out,’ and head down a wormhole on YouTube or a specialised playlist on Spotify.” Wheeler points to Bicep, the dance music duo, as the act most influenced by the rave sound, which itself developed from acid house roots in Chicago. Since 2008, the duo’s Feel My Bicep blog has brought their favourite tracks from the genre to other fans. These fans will soon also be able to watch the story unfold: Irvine Welsh, the author of Trainspotting, is working on a TV series, Ibiza87, about the roots of the movement. Matthew Collin’s upcoming Rave On, meanwhile, is a follow-up to his acid house book Altered State, telling the story of how rave went from underground to ubiquity.

Fashion brands including Charles Jeffrey, Molly Goddard, Christopher Shannonand Comme des Garçons – more known for conceptual experimentation than clothes for the dance floor – have all brought rave to the catwalk. The latter’s menswear show was a highlight of the SS18 season, with young men dancing, coloured lights and clothes made of neon glittery fabric last seen on Camden Lock market stalls in the 90s. Meanwhile, Russian designer Gosha Rubchinskiy, currently fashion’s golden boy, staged his spring collection in St Petersburg’s first-ever rave venue. He also published a zine with 90s images of teenagers on the rave scene in Russia, at clubs such as Tunnel.

For these designers, rave is inspiring as an authentic youth culture. Goddard says she was influenced to turn her SS17 show into a rave from watching videos of raves at Lewisham library and thinking about her own youth going out to “parties in Hackney Wick and posh clubs in Mayfair”. Shannon’s sportswear aesthetic is influenced by the Joe Bloggs and Naf Naf clothes he saw his older brothers wear going out dancing. “I can remember wearing an acid house T-shirt on a school trip and getting told off,” he says. “Even if I didn’t understand it, [rave] taught me about clothes’ ability to antagonise things.”

Artists are also exploring rave. Jeremy Deller uses rave’s smiley face repeatedly in his work, and his Bless This Acid House posters are almost as popular as the Strong and Stable My Arse versions in households prone to making arty liberal statements. As part of Frieze art fair in October, Jarvis Cocker staged his Dancefloor Meditations, a kind of lecture-meets-disco with lasers, 808s and total darkness.

Nav Haq, the curator of the Museum of Contemporary Art Antwerp, staged an exhibition on the impact of rave, Energy Flash, last year. He says the period is relevant now because it shows what we are lacking: rave is typically seen as the last genuine subculture. “It’s hard to see something emerging in the same way now. People talk about the digital realm but that’s difficult because it gets corporatised very quickly. Youth movements emerge through things that happen in the world – the riots in 1968, the recession in the late 80s and early 90s. We’re in a similar period of time, but we have not been able to create that movement somehow.”

As with any subculture, rave has become mythologised. It is remembered as a scene where community was key and money was insignificant, but that was not the case for long. The popularity of ecstasy had repercussions beyond breaking down barriers on the dancefloor – it brought with it organised crime. By the 90s, drug dealers with baseball bats were found at rave mecca The Haçienda and rising security bills contributed to the club’s closure. Rave going mainstream spawned opportunists ready to cash in, too. Wheeler points to Tony Colston-Hayter, the Sunrise rave promoter – and later fraudster. “This is a weekend youth culture,” he told an interviewer at the time. “A city banker can shed his suit, put on his dungarees, dance all Saturday night away.” Parties such as his – that do not fit the narrative of rave as cultural disrupter – have their own legacy in clubs as business: see the phenomenon of Elrow, a party organiser from Barcelona that will host 132 events globally this year, reaching an audience of 1.7 million people. In a recent article, Resident Advisor called it “the world’s most popular clubbing brand”.

The Facebook page Humans of the Sesh was started in 2015 by two friends calling themselves Brown Sauce and Grand Feen. It is dedicated to detailing the bantz around the house party, the after party and impromptu bender, all under the umbrella of the “sesh”. Brown Sauce, though, is convinced his fun will never live up to what he sees calcified in grainy images of ravers. “There is a massive feeling that everyone went to a great party but we were too late,” he says. “Our idea of a good party – the huge speakers, the warehouse space – is based on the idea of a rave, even if you don’t know what a rave is. There’s a nostalgia to that era even if you weren’t around then.”

There are some trying to make their own versions on the free party scene, working against how corporate the mainstream nightlife scene has become by going back to the ideology of rave. Scum Tek, the collective that organised the “Scumoween” party in 2015 that ended in confrontation with the police, has members from the original scene, and an anti-establishment feel. A Vice documentary last year, Locked Off, told the story of various collectives that aim to put on illegal parties around the country in disused warehouses and squats, a cat-and-mouse game between organisers and the police. Footage shows teenagers dancing to a backdrop of lasers, jumpers tied around their naked torsos, dummies in the mouths – convincing facsimiles of the ones in the original rave pictures but for the balloons of Nitrous Oxide. “It’s not simply a bunch of guys with a bunch of speakers in a field,” says a partygoer at one point. “It’s bringing people together in a way that nothing else really does.”

The political backdrop of rave will feel familiar to the young people of today. It’s one of a less-than-stable Conservative prime minister (John Major then, now Theresa May) who reached power through a resignation; a crash in recent memory (1987 then, 2008 now); high levels of youth unemployment (800,000 18-to-24-year-olds in the early 90s, around 850,000 16-to-24-year-olds in 2016), and general unrest expressed through riots and demonstrations (the 1990 poll tax riots; the Brexit and Grenfell Tower protests). “People will always create music to escape when they’re skint and there’s a Tory government inflicting spending cuts,” says Wheeler. “It’s a form of rebellion.”

Will Stronge is trying to fuse the anger of disenfranchised young people with the desire to dance. The theorist found himself in the spotlight in September when the concept of Acid Corbynism – coined by Jeremy Gilbert and fleshed out by Matt Phull and Stronge – went viral. While the Acid Corbynism event at the Labour Party conference looked closer to Peep Show’s Rainbow Rhythms than a Spiral Tribe rave, the theory is interesting. Taking acid house as one of its bases – a scene where the collective ruled and everyone was welcome on the dancefloor – Stronge and Phull argue that encouraging similar values now could upset the establishment in a joyful way. “The ecstatic moments on the dancefloor tie into what it is to be a person, a person [who is] part of a community,” Stronge says. “Dance music as a collective experience means it’s already political, but it’s whether or not you can maintain that political experience as part of a larger cultural project.”

Stronge, 27, who is off to a six hour Erol Alkan DJ gig after I speak to him, is far from nostalgic. In an article for Red Pepper magazine, he namechecks contemporary musicians including Jam City and the Circadian Rhythms record label as signs that something is happening. Circadian Rhythms even apparently pepper their radio show with shout-outs to Diane Abbott. Stronge believes a genuine subculture could emerge from this scene – one that could outsmart the corporate world’s tendency to jump on anything young people flock to. “This is a call to say, ‘Let’s find ways that youth culture can become counterculture.’ How do we not make the mistakes so our revolutions aren’t sold back to us?” he says. “At its core, dance culture is where we can have individual pleasure through collectivity.” Or, in the words of Jarvis Cocker at Dancefloor Meditations, “Having fun is the most profound form of protest there is.”Read more at:formal wear | bridesmaid dress

Sixties Psychedelia Returns With A New Fashion Exhibit at The Museum of the City of New York

Grandassa model Pat Bardonelle during the Garvey Day Parade, August 17, 1968. Photograph by Kwame Brathwaite © 1962, Courtesy of the photographer and the Museum of the City of New York. 

(Photo:cocktail dresses online)The psychedelic fashion that pervaded the Sixties is back again with an exhibit at the Museum of the City of New York, aptly titled “Mod New York: Fashion Takes a Trip.”

The exhibit chronicles the radically changing styles of the Sixties over a 14-year period from 1960 through 1973 and features designers such as Mary Quant, Pauline Trigère, Yves Saint Laurent, Geoffrey Beene and Oscar de la Renta, among others. The fashions reflect the tumultuous and “big cultural changes that took place — the rise of feminism, protests against the Vietnam War, the youth-oriented market…the invasion of the British, The Beatles and models like Twiggy,” says Donald Albrecht, curator of architecture and design and the sbow’s co-curator. “[The exhibit] tells two stories, one’s an aesthetic story and one’s a kind of a social story.”

The clothes are organized into four periods: First Lady Fashion, Youthquake, New Bohemia, and New Nonchalance. The first era launches with the demure and elegant style of First Lady Jacqueline Kennedy, which lasted from 1960 to 1963 and featured muted colors, sleeker designs, bouffant hairdos, pillbox hats and pearl necklaces. Clothing of this period was a “perfect balance — it’s not conservative because it has a youth and vitality to it but it is still very formulaic,” explains Phyllis Magidson, Elizabeth Farran Tozer curator of costumes and the exhibit’s co-curator.

As the decade enters its mid-point from 1964 to 1966, the Youthquake, a term first coined by Vogue editor in chief Diana Vreeland, erupts with brighter colors and materials such as vinyl, which “were never used by mainstream fashion designers,” notes Albrecht.

Following the rise in brighter colors and unique materials, the period hits a peak with New Bohemia, “where things become really psychedelic and wild,” Albrecht says. Clothing during this period is characterized by unusual color combinations, strange patterns and psychedelic patterns.

What goes up must come down, and the period ends with “the New Nonchalance.” “It kind of calms down and goes more muted and simpler,” says Albrecht, noting that styles reverted back to the sleek designs of First Lady Fashion, but this time reimagined for a new generation of women.

Exhibitions showcasing psychedelic fashion may not be revolutionary, “certainly we’ve seen a number of exhibitions that really focus on the wildest moment,” notes Magidson. “But it didn’t just get there quickly, it was an evolutionary process and we decided to track it for 14 years and just see how it launches and hits a peak — and you can see it very clearly — and then comes down again.”

Each period of clothing is accompanied by stunning accessories and media. Clippings from WWD and Vogue showcase the same pieces that are featured in the exhibit, and alongside these clippings are rare accessories such as earrings, purses and necklaces on loan from Tiffany and Cartier.

“We have pretty clothes, they’re great; but they mean so much more when you think of what they’re saying about the time,” Magidson concludes.Read more at:2017 formal dresses

Melissa’s new neutrals

Pink has never been so wearable. Melissa’s latest collection, which includes items that will be released from this month to February 2018, is all about travel, and what better way to explore the world than with shoes that go with everything?

Melissa’s latest collection, launched recently at an event called “Melissa Mapping,” takes inspiration from the increasing connectivity in the world. The travel-inspired event launched the holiday release of the brand, which featured a lot of pink — not bubble gum, not fuchsia, but the kind that’s somewhere in between grown-up and youthful, and ultra-wearable. It’s the new neutral, shown in different styles, from classic Melissa flats to collab collections with long-time partners Jason Wu and Vivienne Westwood.

Influencers from different industries were featured during the launch, with their interpretations of Melissa fashion. Basic Movement founder and designer Esme Palaganas created a look anchored on clean lines, echoing her “elevated basics” aesthetic. Esme’s creations were worn by model, blogger and host Janeena Chan, traveler and scuba diving instructor Vanessa Vergara, restaurateur Thea de Rivera, and fashion merchandiser Tina Ong.

Melissa prides itself on creating biodegradable footwear — but this doesn’t mean they disintegrate quickly. In fact, you can have your Melissa shoes for more than five years, wear them every day, and they will stay in good condition. Recently, Melissa has been creating more than just its signature ballerina flats, collaborating with renowned designers in coming up with cool and modern shapes.

This season, the focus is on neutrals: shoes you can wear with anything. While there are a variety of different colors, you might find more blush tones, camels, off-whites and metallics, which flatter most skin tones apart from providing comfort and style.Read more at:white formal dresses | plus size formal dresses australia