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Raffles College of Design and Commerce fashion students show off their creations

Le 5 décembre 2017, 11:31 dans Humeurs 0

The Lakemba 23-year-old is known for wearing bold colours and, as a fashion design student, she pushes the boundaries even further.

Now in her final year of a bachelor in fashion, she’s used her culture with a modern twist to forge her place.

You’ll spot her colourful pieces as they come down the runway.

“I’m inspired by my own mood. I’m always energetic and love using happy colours in my designs.”

She dreams of becoming a fashion designer known for colour and shape.

Miss Muhammad was born in Pakistan. She was four when she came to Australia with her mum and brother. Her dad was already here.

Creativity is something that runs in the family. Her dad is a good cook and a real handyman. Plus her uncle owns an embroidery factory in Pakistan.

“My designs aren’t just for one culture — anyone can wear them,” she said.

Miss Muhammad’s pieces were on display at the Raffles College of Design and Commerce exhibition and runway show this week (December 6) at Waterloo. She studies at the Parramatta campus alongside Shannon Clayworth, a 21-year-old fashion marketing student.

On a full scholarship from Ballina, the stylist has “worked his butt off” through high school to get where he is today.

The 21-year-old who now lives in Kensington, has interned at Vogue, Mercedes-Benz Fashion Week, and is now fashion editor at Lita Magazine.

His graduate piece is a collection of black and white images of 10 people from diverse and interesting backgrounds.

He stepped away from runway models and went for everyday humans. On set he arrived with no concept, just a pile from the person’s wardrobe for him to style and capture the essence of who they are.

“Some were more playful than others which were emotional. It was so refreshing to be given the freedom and bounce off the energy,” he said.

“As a fashion editor, I’m on shoots controlling the environment for the client, giving them exactly what they want in a photo but in these pieces, it was less controlling.”

Lily James, 22, who travels from Figtree for studies drew her inspiration from her childhood. She has used her displacement growing up into her collection.

“I’m from a different country and have had to adapt to the western world,” she said.

The colours she’s used remind her of a moment in time from ‘back home’. Miss James arrived in Australia in 2006. She was born in South Sudan and her family went to Uganda and on to Kenya. She ended up moving back to Uganda when her parents were relocated to Australia in 2003 with six of her siblings.

The four youngest siblings in the family went back to Uganda with grandma. When she died, the children were brought to Australia.

“Back home light was rougher and I’ve come to this very classy western society,” she said.

“It’s hard. I feel like I’m in a game of pass the parcel.

“But I always feel like home when I have family and the African community around me. Especially when Mum cooks all the traditional foods.”

Since starting the fashion course three years ago, her vision for her designs have changed but the essence remains.

“My vision was to use African fabrics but that changed. I’m now using western fabrics that have the same colours and feel as African fabric and are still able to tell my story,” she said.

The fashion graduate dreams of having her own boutique and said the next few months were an “exciting and scary time”.Read more at:prom dress shops | formal dresses uk

A beano for the dandy – fashion archive, 1988

Le 22 novembre 2017, 04:44 dans Humeurs 0

Sheena Easton, 1988. (Photo:prom dress shops)

Woman is the opposite of the dandy, said Baudelaire, ‘because she is natural and vulgar’. As the curtain rises on the sartorial pantomime season, however, the liveried style of the dandy is designed to clothe an exclusively all-woman cast. Since the New Romanticism of the early Eighties, when young male club-goers with teenage spots and pints of lager looked spectacularly ludicrous in frilly shirts and velvet breeches, to elaborate furnishing fabrics made popular by Scott Crolla and Georgina Godley, through to the influence of Prince, the modern embodiment of pimp-dandy style, the gratuitous opulence of the English dandy look is one of the most irresistible, relentlessly re-worked themes in contemporary fashion history.

Like the Parisians who, when they adopted dandyism and Anglomania in 1800, were confused about precisely what they were copying, the fashion designers’ interpretation of the English dandy look is subject to a conveniently loose brief. ‘Was the dandy an understated gentleman who sprang from nowhere and established himself as the social equal of princes – like Beau Brummel? Or was he the aristocratic, horsey sportsman, as Balzac indicated in his Treatise on the Elegant Life. Was he the ‘fatal man’ of English Romanticism?’ asked Valerie Steele in her book, Paris Fashion.

For this season, Europe’s designers couldn’t make up their minds either, but some interesting historical cross-references emerged out of the confusion. Those that subscribed to the decorative extravagance afforded by brocade and lace zealously and inaccurately credited Oscar Wilde with providing most of the inspiration, while restrained dark velvet offset by ostentatious cravats at Katharine Hamnet and Karl Lagerfeld smacked of the horsey sportswoman.

The most spectacular interpretation of the dandy style for women was shown, ironically, not in England, where the style originated, but in Milan. Gianfranco Ferré’s elevated white collars and exaggerated white lapels and cuffs conveyed the essence of the dandy style but in a modern, updated way.

The neck was the focal point around which the entire look pivoted in 1800. Men wore fiercely stiffened collars and elaborately tied cravats or neckcloths. According to the satirical Brummell-inspired pamphlet, Neckclothitania (1818), the starched collars and neckcloths were the only way, in a world where male dress was a great leveller, to distinguish the upper class from lesser beings. Starch, in particular, gave the wearer ‘a look of hauteur and greatness ..the air of being puffed up with pride, vanity and conceit.. indispensable qualities for a man of fashion.’ Beau Brummell’s dressing room became a place of pilgrimage, to see the shirt collar as high as his head and the dazzling white cravats which were a foot wide.

Although dandy looks in recent fashion history have counteracted the conventionality of traditional English dress (while, ironically, often appearing stunningly literal in interpretation) – John Galliano’s Les Incroyables collection, which echoed the loose short frock coat and wide pantaloons of the cross-Channel dandy, and the influential use of rich brocade and tapestry fabrics pioneered by Crolla and Ellis Flyte – the original dandies merely took up the conventional English country house style as normal daywear.

Dandyism ushered in a new, modern city ‘uniform’ for men, and led in the direction of dress as rebellion. The popular misconception of the dandy is that he was an outrageously effete, overdressed peacock of dubious sexuality in fact it was the Macaronis who, in the 18th century gave the look a bad name. Their dress was an exaggeration of frills, brocade, powder and paint and was a reaction against all that was typically ‘English’ and traditional.

The dandies professed to be unequivocally masculine, although many people found this difficult to believe, not least Jane Austen in Emma: ‘Emma’s very good opinion of Frank Churchill was a little shaken the following day, by hearing that he was gone off to London, merely to have his hair cut.’ This was a round trip of 32 miles, which took all day by horse and carriage.

Although the idea of the dandified man continued well into the 19th century, he never lost sight of his masculinity. ‘From this time onwards,’ said Quentin Bell, ‘the merest hint of feminity in a man’s wardrobe was regarded with deep visceral aversion.’ The dandies did, however, go to great lengths to imitate a woman’s shape, wearing tight-lacing and padded trousers to give them a feminine appearance. They also used cosmetics, and were lampooned for it as the Macaronis had been 50 years before. The satirical magazine, The Ton (1819), describes a dandy’s morning toilette one of his first tasks is to make up for the day with ‘a little of the light brown and a touch of rouge’, then to be laced into his stays and to ‘try on cravats, 14 in number, until the perfect one is produced’. He perfumes himself with musk, puts ‘Huile Antique’ on his hair, and tells his tailor ‘how to pad my coat on the breast and on the shoulders, to put very thick lining and padding in the sleeves in order to give me an athletic look.’

Now, latter day male ‘dandies’ like Stephen Calloway of the V & A get labelled iredeemably eccentric and are laughed off the street. The Eighties man is still wrangling with the concept of vanity, while modern dandyism is only acceptable for women as long as it implies nothing more than fashionable decoration, although sexual ambiguity and cross-dressing is still the underlying essence of the dandy style - less comical this year than the thigh-slapping Principal Boy boots and jacket of last year, but as appropriately seasonal.Read more at:formal dresses uk

France’s Minister of Culture Announces Fashion Fund

Le 14 novembre 2017, 04:32 dans Humeurs 0

His wife, Brigitte Macron, has already given the industry a boost, and now Emmanuel Macron‘s government is keen to show its support of fashion as one the country’s most valuable industries.

Delivering a speech via video at the second edition of the Forum de la Mode, or Fashion Forum, in Paris on Friday, Françoise Nyssen, Minister of Culture, revealed the launch of a new fund to support young designers in their creation phase, with 300,000 euros to be invested in around 10 projects yearly. The call to candidatures will open by end of year, she said.

“This is a pivotal time for the industry as it undergoes a period of major transformation, with growing international competition and the digital revolution shaking up the system. France has lost none of its dynamism, but we need to be ever more present in accompanying it,” said Nyssen.

Adding his weight, France’s Finance Minister Bruno Le Maire, who opened the forum in person, said that in view of his objectives regarding “the economic transformation of our country, the recovery of the nation’s finances, the return to healthy employment figures and, in the long-term, the recovery of our international trade deficit,” the fashion industry — “as the creator of 800,000 jobs and 150 billion euros in turnover, including 33 billion euros in turnover from exports” — plays a vital role.

Le Maire also lauded the international visibility France’s fashion industry attracts, with 376,000 visitors attending the latest fashion week, and spoke of the importance of the partnering of two of Paris’ fashion schools — l’Institut français de la mode and l’Ecole de la Chambre syndicale de la couture parisienne — to create “a school that will rival the major international schools like Central Saint Martins and La Cambre.”

“We need to get to the stage where all of the designers and fashion houses are fighting over the students who come out of this school,” he said.

Themes addressed in a series of roundtables hosted by journalist Karine Vergniol included Fashion Tech and Innovation and Fashion Values. Participants included Alexandre Mattiussi and journalist Loïc Prigent who talked about their creative synergy, and Lisa Gachet, founder of Make My Lemonade, who spoke about the experience of “transforming [her] community into a client base” with her business model, described as “the Netflix of couture.” Gachet each month releases a fashion look based on the popularity of votes made on her Instagrampage, then releases the look’s pattern, available through subscription.

Contributing to a discussion around sustainability, Aalto founder Tuomas Merikoski spoke about his new line of puffer jackets made from post-consumer recycled duvets, while elsewhere Orianne Chenain, director of strategy at Fashion Tech Lab, revealed the company in March will launch a line of wardrobe basics geared at “problem saving.” “That means fully sustainable but also problem-solving,” she said citing socks geared at diabetics that via an app can read the level of sugar in their blood.

Julie Pellet, head of development in Southern Europe for Instagram, who participated in the talk on the digitalization of business models, said the company so far is not looking to become a selling platform but “is entering the tunnel” with a test called shopping geared at giving consumers access to more of a brand’s products and more information around a product “while staying in the Instagram universe.”

“The first step we have introduced is for a brand to be able to tag up to five products per image which link to a new page with information on the product,” she said.Read more at:cheap prom dresses | graduation gowns

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