Fashion in Europe




Saint Laurent changed the face of the fashion industry when he became chief designer of the House of Dior at 21.

He designed clothes that reflected women's changing role in society: more confident personally, sexually and in the work-place.

He retired from haute couture in 2002 and had been ill for some time.

Saint Laurent died on Sunday evening in the French capital, the Pierre-Berge-Saint Laurent Foundation announced.

Pierre Berge, the designer's former business and personal partner, said he had died at his home after a long illness. He did not give details.

French President Nicolas Sarkozy paid tribute to Saint Laurent's "creative genius".

'I draw on woman'

"I found my style through women," Saint Laurent once said.

"That's where its strength and vitality comes from because I draw on the body of a woman."

He changed forever what women wear, introducing trouser suits, safari jackets and sweaters, BBC arts correspondent Razia Iqbal says.

Saint Laurent was a great innovator, helping to revitalise haute couture while making ready-to-wear design popular.

The editor of British Vogue, Alexandra Shulman, said he had helped democratise fashion:

"Before that people had small salons for rich people.

"Saint Laurent brought it to the people.

"He was young and groovy. Pop stars were hanging out with him and younger generations related to him."

'Devastating' news

President Sarkozy said the designer had been "the first to elevate haute couture to the rank of art and that gave him global influence".

"Yves Saint Laurent infused his label with his creative genius, elegant and refined personality... because he was convinced that beauty was a necessary luxury for all men and all women," he added.

Speaking on French radio, Pierre Berge said his former partner had empowered women.

"In this sense he was a libertarian, an anarchist and he threw bombs at the legs of society," he said.

"That's how he transformed society and that's how he transformed women."

Famous French embroiderer Francois Lesage, who worked 40 years with the designer, said he was "devastated" by news of his death.

"I have never known a designer who would give so much thought to something when it was proposed to him," he told French TV.

"It is a great grief for me."

Life of ill-health

Born in the Algerian city of Oran at a time when the North African country was a French colony, he had a precocious talent.

His first collection caused a sensation with its gently flared dresses and jackets that set the mould for 1950s fashion.

Within three years, Dior had died and Yves St Laurent had taken his place. He took the world by storm with his trouser suits, highly coloured ethnic prints and designs inspired by the art world.

Taunted as a schoolboy because of his homosexuality, Yves St Laurent suffered mental and physical ill health for much of his life and he appeared in public only rarely




Source : http://news.bbc.co.uk/2/hi/europe/7430487.stm



Batik Indonesian




Batik is one of Java's famous and highly developed art traditions, together with wayang (shadow puppets), gamelan (Javanese orchestra) and keris (the dagger - heirloom).

Anywhere, batik designed materials are clearly seen as women traditional dresses, shirts, uniforms, sarongs, bags, hats, table-cloths, napkins, painting and decorative items, etc, with traditional color of brown, indigo and blue or more colorful ones.

Nowadays, batik is an important industry in many production centers in Java. It is a proof that the people of Java do love the products, long time ago created by their ancestors.

The Symbolic Meaning of Batik's Motifs

The motifs of Batik, especially with old pattern, as in other field of Javanese tradition are symbolizing something. Might be, this is one of the reasons, why people still adore batik up to present date. Some of the motifs are :

  1. Sido Mulyo :
    Sido (you should be ), mulyo (happy). Symbolizing 'you should be happy and rich man'.
  2. Sido Dadi :
    Symbolizing 'you should be a man/woman as you wish (prosperous, high ranking position, wealthy, etc)'.
  3. Satrio Wibowo :
    Symbolizing 'Man with dignity'.
  4. Tikel Asmorodono :
    Tikel (more), Asmoro (love), Dono (gift).
    It is meant the one who wears this batik, should be loved more and more by others.
The Process of Batik Making

Batik, in Javanese means 'To Dot'. Basically there are two kinds of batik; Batik Tulis (hand drawn) and Batik Cap (stamped). The price of batik tulis is much more expensive than batik cap.

A canting (a pen like instrument with a small reservoir of liquid wax) is applied to the cloth of batik tulis making. The tracing of the desired design on to the prepared cloth is the first stage of making followed by the technique of applying wax and dye substances. At the final stage of the process, all the wax scraped off and the cloth boiled to remove all traces of the wax. This process of repeatedly waxing and dyeing is the batik process, used until nowadays in Java and other parts of Indonesia.

So, this kind art of batik is an indigenous to the country. The wax used in batik process is a combined product of paraffin, bees-wax, plant resins called gondorukem and mata kucing.

Batik cap, which is also using the waxing process, its process of course faster and easier. But people appreciation of batik tulis is higher, it is really a work of an artist not only a craftsman. It combines the expertise, patience, deep feeling to produce the finest product, and it may take days, weeks and even months to make only a batik tulis

The Cities of Batik

Yogyakarta and Solo are the centers of traditional of batiks, as the north coastal town of Pekalongan is the center of more modern batiks, using more floral and birds motifs. There are some well-known artists of batik design in Yogya and Solo, as well as some big batik manufacturers with famous trademarks.

The growing production of batik makes way to the establishment of mori (woven cotton fabrics) factories in Yogya and Central Java. The Batik research Institute was founded in Yogya.

When Batik is Worn

Batik dresses are worn for several purposes, such as ;

  1. Informal Dresses
    It is a free choice, usually for daily casual wear.
  2. Formal Occasions
    In some parties, as a state banquets, receptions, etc, the invitees are requested to wear batik. Long sleeves shirts for the men and 'kain batik' (long batik to cover the lower body) for the women.
  3. Traditional Occasions
    It is worn to present the traditional wedding ceremonies, special ceremonies for the Royal families, etc.
In a wedding ceremony the bride and the bridegroom wear the same motif of batik Sidomukti, symbolizing a happiness and prosperous life. Using the same motif symbolizing the togetherness. The parents of the bride and the bridegroom wear batik with motif of Truntum, symbolizing the advice of the parents to the newly weds to enter the new life with full of love and confidence.

Traditional Dress

Women's traditional dress, especially in Yogya and Solo court families, consisting of :

  1. Jarit or Tapih or Sinjang
    A 'kain panjang' (long cloth of batik) measuring around 2 m x 1 m to cover the lower body, tightened with stagen (large waist band)
  2. Kebaya
    It is a traditional long sleeved shirt (the material used is not from batik, usually from silk and other fine materials).
  3. Selendang
    It is used as attractive piece of clothing to compliment the traditional dress. The 2 m x 0,5 m selendang cloth hung over one shoulder.
  4. Kemben or Semekan
    It is special for ceremonies in Karaton (palace) or Royal family ceremonies. Instead of wearing Kebaya, to cover the upper body, a kemben is worn.
Men's Traditional Dresses
  1. Jarit or Bebed
    Men kain panjang, tightened with stagen.
  2. Surjan
    Men traditional long sleeved shirt (only for Yogya style) and the material is not batik.
  3. Beskap
    Instead of wearing surjan, the men wear a coat (beskap of Solo style or Atila of Yogya style), the materials is not batik.
  4. Blangkon
    It is a headgear made from batik.
  5. Keris
    The dagger is worn at backside of the waist, as a compliment to the dress.
Dodot

Is a very long jarit to cover the lower body. It is worn only on a very special occasion such as the king coronation by the king himself. The wearing of dodot or kampuhan is very complicated. It may take two hours to wear a dodot with the help of specialist-dressers.


Source : http://www.joglosemar.co.id/batik.html

Traditional dresses uniform for Chinese athletes in 2008?




With less than 500 days away to the Beijing Olympic Games, the discussion over what the Chinese delegation should wear on the Games ceremonies has already been in full swing. The focus is Han costume - to wear or not wear.
The Shenyi is a full-length, one-piece robe which links the Yi and Chang together to wrap up the body. It is cut separately, but sewn together. Shenyi was named because when worn "the body is deeply wrapped up". [Photo: xinhua]
The Shenyi is a full-length, one-piece robe which links the Yi and Chang together to wrap up the body. It is cut separately, but sewn together. Shenyi was named because when worn "the body is deeply wrapped up". [Photo: xinhua]

A joint proposal was posted on Thursday by some websites relating to Chinese tradition and culture on their forums to favor Chinese traditional dresses "Shen Yi" and "Han Fu" as the unified uniform for the Chinese sports squad and ritual staffs on ceremonies.

According to the proposal, "Shenyi", a main dress passed down from Shang Dynasty (17th - 11th century BC) to Ming Dynasty (1368 - 1644) is the symbol of the traditional dress of the Chinese nation. Chinese sports delegation on the opening and closing ceremonies and ritual staffs on duty should wear "Shenyi" to speak volume for the Chinese culture.

"Hanfu" is recommended for the Han ethnic athletes on ceremonies to represent the culture of the most populous ethnic group of the Chinese nation.

"We promise the Beijing Olympic Games will leave a distinctive Olympic heritage to Beijing, China and the whole world," the joint proposal cited the statement of Beijing's bidding for the 2008 Olympic. "What the heritage will be is the question we must think over now," it called.

The proposal was initiated by Fu Lujiang, the master of an old-style private school called Ming De School based in Hebei Province. Fu said he won wide support after publishing an article calling for Chinese symbols at the Games last year when the Beijing Olympic ritual dress design collection was opened to public. Fu and his supporters have presented their design to the BOCOG.

The joint proposal, however, is not the only supporter for Chinese style dresses. Netizens also recommended other kinds including Qipao, Zhongshan suit and modern gown.

But some experts worried a single kind of dress may not be broadly representative of the whole Chinese nation and suggested a mixture of various kinds. Qipao originates from the Manchu ethnic group and it is not typical of the whole Chinese nation on a world stage like the Olympic Games.

Also some other experts pointed out "Hanfu" is ill-defined as it does not particularly refer to the dress of the Han ethnic group.

A professor of Beijing Institute of Clothing Technology said some changes must be made on traditional dresses before athletes wear them in order to exhibit a fine athletic spirit.

Li Xin, a fashion designer who joined the uniform design for Chinese delegation at 1988 Seoul Olympic Games said traditional uniform does not suit each of the athletes, for example, women athletes of heavyweight events may not look good in Qipao. She suggested an athlete's body type and event must be taken into account.

The discussions in forums seem to be far away from being one-sided as netizens presented various ideas. Some said China can't afford to miss such a golden opportunity as the Olympics to exhibit its rich culture while the opposing group cited reasons including the hot weather and integration with the world.

The result will not be announced by BOCOG until the Olympics 100-day countdown ceremony.



Source : http://www.chinadaily.com.cn/sports/2007-04/06/content_845318.htm

TRADITIONAL CLOTHES IN MONGOLIA



Mongols do like to wear nice, richly decorated clothes which compensate the simple, ascetic nomadic lifestyle. A harsh climate and uneasy life demand attention to ýõó smallest details of clothes.

The nomads' wardrobe is compact but has many variations able to serve for different purposes. "It is amazing how this nation invented clothes that can fit all seasons and needs, well thought off and used in many different ways," wrote Medieval travelers from Europe.

In general, Mongolian clothes follow the principle "What I have, do bear along."

Sudden changes of weather with temperatures fluctuating up to 20 degrees, sudden snow or sand storms make nomads to be always ready in any situation.

When a nomadic herder takes his sheep flock to pastures, he carry along everything needed to survive.

However, this does not necessarily mean big bags as riding a horse and tending animals requires freedom of movements, and clothes are designed in a such way as to allow freedom.

A universal deel

Deel or a long textile gown forms the basis of almost all Mongolian clothes. Beside being a main cloth, it can serve as a blanket, tent and cover against unwanted glances. Depending on weather or work needs, other pieces such as jacket or coat can supplement the deel.

Deel protects perfectly against cold and winds. If necessary, its long sleeves are rolled down to serve as gloves. Wide sash, made of several meters long textile, serves as a corset protecting against severe shaking during a fast horse ride. It also serves as a hanger to which a knife, firestone, cup and other accessories can be attached.

A pocket formed by deel above the sash, makes an ideal place for keeping small items. In the nomadic culture, special attention was given to the quality of clothes and its tidiness since a missing button, undone seam or loose knot could have cost one's life during a sudden snow storm or fast horse ride.
Hats

There were over 100 types of hats, different in shape and purpose - for young and old, men and woman, fashionable and everyday hats. For summer and winter, holiday and ceremonies.

Regular hats like "louz" can serve for all occasions. In winter the hat edges can be lowered and protect against wind or cold. On warmer days sides are rolled up and tied on back side.

Hats are very functional, but also make the main piece of the clothes. Each hat was richly embroidered with silk, velvet, ornaments, furs and even precious stones. Often long tassels and red strips streaming in wind would make the owner look very stylish.

That is why an expression "red tasseled Mongols" was often used. The hats embroidery and ornaments would also indicate the social status and even age of its owner.

It is advisable to keep one's hat on when entering gher, a traditional nomadic dwelling. The rules of etiquette forbade to greet or meet anybody bareheaded. In the olden days neither a man, nor woman was allowed to go into the street or enter someone's house without wearing a hat.

In old times it was considered to be a humiliating punishment if the "zangia" - a round shaped knot decoration crownøèà the hat, was torn off. To tread or step over it is considered to be insult to the owner.

Greeting another person or wishing goodwill is always done with one's hat on as a sign of respect. Such a traditional importance attached to headdresses in the past is still carries on.


Shoes

Mongolian boots, known as "gutul" fit ideally horse riding. They are spacious enough and the slightly uplifted boots forward end prevents from being caught in stirrups, in case rider falls off.

Stiff and high bootlegs protect when walking in summer high grass and winter snow. The upped nose leaves enough air space to prevent from getting cold in winter.

Traditional boots are usually worn with a felt sock made according to boots shape. The upper part of the socks coming out of the boots are usually embroidered with silk, leather, various ornaments and applications.

There are other types of boots used for different seasons and purposes. Normal high heeled soft boots, called boitog, are used mostly for hunting or long walking trips. In winter a fur cover called degtii is put over boots. The boots heels can be soft and hard, low or high depending on the nature of their use.

Boots are made of the skin of cattle or in special cases, skin of such wild animals as deer, wild goat or sheep. Though shoe making is a long and tedious process, traditionally it was female duty to make them.

Women costume

With the strong European cultural influence over the last seven decades, the traditional Mongolian clothes have become more simple and modern Mongolian women do not need the artistry of their grandmothers.

A full women costume can be seen now only in museums, art exhibition of grandmother's trunk.

Traditional woman costume is very bright and lavishly decorated. Especially exotic was the married woman's hair dress resembling wild sheep horns or wings.

Though there is a legend saying that this headdress reminds about a woman who looks like bird with two wings protecting the hearth, it had rather an aesthetic meaning and eventually was replaced with a wig.

Mongolian women traditionally have had long hairs. To maintain and decorate elaborate hair- do, women used many types of golden and silver hair-pins and slides, often precious stones.

Festive clothes look specially decorative using combinations of such contrast colors as red and green. With the time a silk sash was changed into a leather one.

A long silken or just an ornamented jacket was put over deel, a traditional clothe. On cold days, there was a jersey available. Women form noble families wore light capote or coat.

Women cloth can not go without a head dress, lavishly embroidered with gold and silver threads, corals and pearls. Other jewelry accessories made of silver and precious stones were also worn. Long earrings with many details completed the head dress decorated with strips.

A full costume won't be complete without a small bag with aromas, cuspidor (spittoon) and small items for treating hands and skin. Many women also used small, lavishly decorated boxes for sniff tobacco.

Girls and young women wore more modest clothes than married ones. Their deel was of less contrasting colors, more soft and fine.

Head dress consisted of round, cup shaped hat decorated with a red ball from which a long lace hang.

Red laces combined with softly shining pearls and silver jewelry were used to attract attention of passing man, while long deel tightly tied on waist, stressed the slender waist.

So exotic and colorful are Mongolian clothes that French artists working on the latest episode of the Star Wars could not resist but to adopt a full dress of a Mongolian woman for Queen Amadala.



Source : http://www.mongoliatoday.com/issue/7/clothes.html

Traditional Dresses in Punjab




A generation ago, the turban was the “crowning glory” of all Punjabis whether Muslim, Hindu or Sikh. Muslims and Hindus have given up their turbans, but it remains, literally, an article of faith for Sikh men whose religion forbids them to cut their hair. The kurta, a long straight-cut, loose shirt teamed with pyjamas, the loose baggy salwar or a kind of sarong called a loongi or tehmat makes up the traditional dress for men. Winter sees the rustic Punjabi in colourful sweaters that wives and mothers are so skilled in making. A blanket finishes his ensemble. When the urban, educated Punjabi steps out to work he will be in shirt and pant or a suit—sartorially indistinguishable from his counterparts in Tokyo or Toronto. Back home in the evening, he is likely to be found in more traditional dress. The traditional Punjabi shoes, called juttis retain their popularity with both rural and urban men; they are both elegant and comfortable. Patiala and Muktsar are famous for juttis.

It is impossible to tell by dress whether a Punjabi woman is a Hindu, Muslim, Sikh or Christian – they all dress in salwar topped by a kameez (a garment that can be fitted like a dress loose like the kurta) and accented by a rectangular scarf about 2.5 metres long called the chunni or duppatta.She’s fond of her sweaters, but she is passionately proud of her collection of woollen shawls. These can be breathtaking. The women of Punjab are responsible for the state’s most famous item of handicraft – the phulkari.

This is a shawl completely covered in dense silk embroidery, folk motifs in jewel-tones on an ochre background. Gold is her weakness – brides are loaded with it. The jewellers of Punjab stock an enormous range of designs in bangles, necklaces, rings and earrings, nose-pins, ornaments to pin in the hair, anklets and toe-rings. A particular kind of bangle is the tip-off in recognising Sikh men and women. It’s called a kada and is made of steel.



Source : http://www.sadapunjab.com/punjabi/traditional-dresses-of-punjab.html

The Indian Fashion






Indian fashion varies from one village to another village, from one city to another city. India's fashion heritage is rich in tradition, vibrant in colors and prepossessing. Bold colors created by the inventive drapes of these textiles catches the imagination like no other contemporary clothing.

Indian Fashion - ancient fashion in India

Ancient Indian fashion garments generally used no stitching although Indians knew about sewing. Most clothes were ready to wear as soon as they left the loom. The traditional Indian Dhoti, the Scarf or Uttariya, and the popular Turban are still visible India and continue to be part of Indian fashion. Likewise, for women, the Dhoti or the Sari as the lower garments, combined with a Stanapatta forms the basic ensemble, and once again consists of garments that do not have to be stitched, the stanapatta being simply fastened in a knot at the back. And the Dhoti or the Sari worn covering both legs at the same time or, in the alternative, with one end of it passed between the legs and tucked at the back in the fashion that is still prevalent in large area of India. Indian men and women for these garments in the usually hot Indian climate. - dhoti when he speaks of 'turbans used for trousers', and a kaupina when he is speaking of 'a rag of two fingers' breadth bound over the loins.

Indian sari remains the traditional clothing of Indian women. Worn in varied styles, it is a long piece of flat cotton, silk or other fabric woven in different textures with different patterns. The sari has a lasting charm since it is not cut or tailored for a particular size.

This graceful feminine attire can also be worn in several ways and its manner of wearing as well as its color and texture are indicative of the status, age, occupation, region and religion of a woman.

The tightly fitted, short blouse worn under a sari is called a choli. The choli evolved as a form of Indian clothing around the tenth century AD and the first cholis were only front covering; the back was always bare.

Another popular attire of women in Indian clothing is the Indian salwar-kameez. This popular Indian dress evolved as a comfortable and respectable garment for women in Kashmir and Punjab region, but is now immensely popular in all regions of India. Salwars are pyjama-like trousers drawn tightly in at the waist and the ankles. Over the salwars, women wear a long and loose tunic known as a kameez. One might occasionally come across women wearing a churidar instead of a salwar. A churidar is similar to the salwar but is tighter fitting at the hips, thighs and ankles. Over this, one might wear a collarless or mandarin-collar tunic called a kurta.

Though the majority of Indian women wear traditional Indian dresses, the men in India can be found in more conventional western clothing like shirts and trousers.

However, men in Indian villages are still more comfortable in traditional attire like kurtas, lungis, dhotis and pyjamas. Indian dresses & styles are marked by many variations, both religious and regional and one is likely to witness a plethora of colors, textures and styles in garments worn by the Indians.

Use of Gold in Indian Fashion: For this reason, some gold ornament is usually worn against the skin at all times. Indian Gold ornaments are popular because the metal is believed to have the power purify anything it touches.

Ornaments of gold and other metals, often combined with precious and semi-precious gems and beads, are popular with both men and women in India.

Traditionally, Indian ornaments had economic significance for women too. The ornaments given to her at her wedding constituted a daughter's inheritance from her father ( Dowry).

Customarily land and other property was divided among the sons, though this no longer holds true. In addition, a bride's ornaments were financial security throughout her life.

Ornaments of Indian Fashion :

Nose pin: More common than a nose ring, both are symbols of purity & marriage, though today many unmarried Indian girls wear this adornment.

Necklace: These are very popular fashion accessories across India amongst girls and women of all ages. Necklaces are made of a variety of materials, ranging from glass beads to gold and diamonds. One special necklace is the mangalasutra, worn only by married Indian women. It is the Indian equivalent of the western wedding ring. Traditionally a woman wore it during her wedding ceremony and took it off only if her husband died.

Bangles: Worn on the wrist, bangles are believed to be protective bands and women always wore them as symbolic guards over their husbands. As with other ornaments, bangles today are worn by women of all ages all over India and are made of silver, gold, wood, glass, and plastic, among other materials.

Ear rings: Rings, studs and other ornaments worn in the ears are popular all over the country. In fact, a girl's ears are usually pierced before her first birthday.

Other important ornaments are finger rings, toe rings and anklets. Rings for the fingers are again, of various materials and designs and worn by unmarried and married women. Since the ring has become a common adornment, it is no longer considered a symbol in Indian marriages.

However, toe rings and anklets are still worn mostly by married women. Ornaments for the feet are usually made of silver because gold, being a 'pure' metal, was not supposed to be worn on the feet. This privilege was given only to women of royal Indian families.

In addition to these ornaments is the 'mangatika' or 'tikli'. This ornament, worn at the top of the forehead in the parting of the hair, is usually a small pendant on the end of a chain that is clasped to the hair. Although traditionally this ornament was also worn as a symbol of marriage, today it is not so commonly worn even by married women.

Kajal or Eyeliner : From the time a child is six days old, its mother applies kajal to its eyes and also a small black dot on the forehead to mar the child's beauty. This 'imperfection' is said to protect from evil.

Sindoor : dot on forehead of woman indicating married status of Indian Women, power, protection for her husband. It is applied by the husband as part of wedding ceremony.



Source : http://www.indianchild.com/indian_fashion.htm

Heads Up on Transparent Fashion Show




I’ve just been reading that, thanks to the Spring 2009 Fashion Week in New York, we are going to see a lot of transparent fashion in the coming seasons. Yes, I expect that summer of 2009 just might hold on to this look as well. But with this transparency, is going to come the need for camisoles. This particular White Silk Camisole is coming in at twenty dollars, but be prepared to stock up now before the rush is on. I have a feeling that the prices are going to skyrocket. That’s why I’m telling you now to start looking right now.

Or you could go a little bit wee bit more expensive and create that waistline you always wanted.

Or you could go with the Spanx line ( Spanx Hide and Sleek Cami) that have been popping up in all the malls.



Source : http://www.shopaholicsdaily.com/2008/09/30/heads-up-on-transparent-fashion/

The Transparent Fashion




This season designers were heavily inspired by the BEDROOM and left little to the imagination on the runway, but on the street, women will be wearing designs featuring layer upon layer of translucent textiles, revealing the body with equal doses of subtlety and exquisite taste.

BCBG MAX Azaria collection for Spring/Summer 2008 also emphasized a palette of breezy pales and cool, washed neutrals, highlighting themes of luminosity and layers of transparency. Belts cinched flowing fabrics, highlighting a distinctly grown-up – yet still playful – hour-glass silhouette, with both knee-length and ultra-mini hemlines.

Picture this: Standing there at a backyard BBQ or garden party. You can't count how many times you've been complemented by your dress because of the way it just flows in the early June breeze!!!!Airy organza, sheer tulle, and liquid jersey, are the most amazing sheer fabrics, any dress in any style in these fabrics is a must have. They are forgiving to most if not all figures. In print, or solid colors, neutral or bold you can never go wrong with this heavenly garb!

Now ladies, it's important to remember that you the transparent look is not for every occasion and every venue. Please use discretion when you rock the transparent look. It most definitely can be worn to the office. For everyday wear, sheer fabrics are best worn in a manner that doesn't reveal undergarments; transparent shirts should be worn over camisoles or under jackets or vests. And see-through skirts or dresses should be worn over opaque layers: slips, pants, skirts or shorts.

For an easy transition into a sexy evening look, choose evening wear with sheer fabric panels covering open-back and low-v tops or dresses. Full or fluid skirts made of layers of transparent fabric are perfect for formal attire, and sheer wraps are an easy, low-commitment way to follow the trend.

Ladies, another beautiful thing about this trend is that there is plenty of room for you to play up your feminine curves with hour glass accentuating accessories like thick and thin belts or obi style sashes. Let's not forget about how absolutely fabulous the wrap dress is for of all shapes and sizes, making body-skimming wrap dresses sheathed in gauzy fabric a MUST HAVE for this season!!!!

To have this runway look for LESS, shop on line at BCBG Max Azria for a breath-taking new number for your spring collection.



Source : http://thecoupmagazine.blogspot.com/2008/03/transparent-fashion.html

The Halloween Fashion




Welcome to Part 2 of the 4 part series. It is my sincere hope that today’s installment is either half or twice as good as yesterday’s. Either way, here are some more girls who obviously have daddy issues.

Take this girl for instance. She’s dressed as a cherry pie. Excuse me - a hot cherry pie. As you can see, she won a blue ribbon. As anyone that drinks Pabst knows, that’s the first sign of a winner.

Of course, I’m legally obligated to link to Warrant in this instance. They just don’t write songs like that anymore. Perhaps if Warrant were here today, reading this blog, they would find inspiration and write the sequel to Cherry Pie that we’ve all been waiting for.
Here of course, is the Racy Robin Hood costume. I think I know what she gives to the poor.

Public Service Announcement:

Yesterday, it came up in the comments that I might be encouraging less attractive girls to dress like these ladies. I want to emphasize that we here at MLJ are major proponents of big girls staying covered up. We would back any legislation concerning size limits on these costumes 110%.

Our level of support would basically be the equivalent of Cole Hamels’ VORP.

So remember ladies - don’t wear clothes you shouldn’t. I feel like we shouldn’t have to remind you of this. Equal rights don’t apply to slutty costumes.

Anyway…

Here is a semi-related costume to the Racy Robin Hood above. This, is “Robyn Da Hood.”

No, I didn’t stutter.

See, by changing the hat, it becomes a more ghetto costume. They also changed the spelling of “Robin” to “Robyn,” thus perpetuating the stereotype that people from, “da hood” can’t spell for shit. Stop changing vowels!

Also, you have to appreciate the money sack with the dollar sign on it. I hope she gets away before that piano falls.

Finally, note the barbed wire on top of the brick wall in the background. There’s even graffiti on it. Now notice the castle on the left. It’s kind of like Hill Valley in the alternate version of 1985.



Source : http://majorleaguejerk.com/2008/10/29/crms-halloween-fashion-preview-part-2/

The Political Party Models




The workshop, held from 23 - 25 January 2007, was organized by the International IDEA Sudan Project and was attended by representatives of the six main political parties namely: Umma Party, SPLM, DUP, NCP, Communist Party and PCP. Each party had 5 representatives making a total of 30 participants at the workshop.

The workshop covered the following topics:

* Party structures, functions, and systems;
* Political parties systems with special focus on Africa and their connection with new and emergent electoral systems for better representation;
* Africa’s party-to-party networks and coalitions, regional and sub-regional inter-parliamentary associations and African political parties’ integration into political party internationals.

The workshop adopted a format of presentations and discussion groups in the form of breakout sessions. In the second session a presentation was made by Abdalla Hamdok on “Global and Regional Issues in Democratic Governance: An Overview on Recent Trends”. It was followed by a breakout session that discussed and presented findings to the plenary groups.

The second day started with a presentation by Professor Peter Woodward on “Political Parties and political Culture”, followed by a presentation by Professor M. Salih on “Political Party Systems: Comparative Perspective”.

The final day of the workshop also included two presentations and a breakout session and this time all party representatives were asked to discuss and report back to the plenary “their own party approaches to all the issues discussed”. The two presentations covered “Managing Political Parties” and “Transition and Party Politics in Sudan”. The closing session was addressed by Dr. Abdel Nabi, Secretary General of the Umma Party, on behalf of the political parties, and also by Abdalla Hamdok, International IDEA.


Source : http://www.idea.int/africa/east/pp_models.cfm

Crashing the celebrity catwalk party fashion




NEW YORK - Previously at Fashion Week: blogger Julie Fredrickson shoved a home video camera and microhpone into Anna Wintour’s face and, for one golden minute, plumbed the Vogue queen’s icy depths, completely uninterrupted. I can’t imagine what that moment must have been like for Julie. Maybe it’s similar to the feeling you get when your airplane reaches cruising altitude and suddenly, you realize that your carry-on is crammed full of forbidden liquids and creams. It throws into question the whole security scheme. Are bag checkers not as thorough as we expect? Is Anna Wintour not, in fact, surrounded by a magic force field that deflects hoi polloi and fatties?

Having seen such renegade blogger tactics lead to an interview (though, I’m assuming, a speedy escort to the door and a guarantee that, in the future, Julie will be joining me for a round of gratis frozen beverages at the Delta Sky Bar/Media outcast holding cell in the main tent) it occurred to me: can I do that too? Just how many invisible measures are in place to prevent me and my H&M jeans from reaching out and touching the front row?

After a few days of being moved around like cattle I know the score. The RSVPs sweep in, slashing their calligraphied invitations for all the world to see. Then the standing-room-only crowd mingles behind the barriers and pretends to be RSVPs who are just stretching their legs. When everyone else has been corralled, the celebrities enter. It’s usually not through the main door. Most are somehow smuggled in through secret celebrity entrances, or emerge from backstage just minutes before the lights come up. I wonder: in a post Anna-Wintour-security-breach Fashion Week, will bold new measures be implemented to protect the beautiful people?
After the Monique Lhuillier show I decide test it out. I call my operation, “Operation: see how damn close they let me get to people who matter.” Lights up. Models are out. I head straight down to the catwalk. After pushing through a few fashionistas hugging on the stairs, and a few timid onlookers who keep a “respectful distance”, it’s jackpot. The eagle has landed. I’m face to face with LeAnn Rimes, though, it must be added, I have nothing of interest to say. This reminds me of the time a friend and I used to run around Cental Park, attempting to kick pigeons. The fun was in running at the pigeons, then watching them flutter their wings and narrowly escape. On one occasion my friend’s foot actually made contact with the pigeon and it was awful — awful for him, awful for the pigeon, awful for everyone who saw it.

That’s what it was like when I actually invaded LeAnn’s personal space. In the time I spent wondering if it would be sycophantic to tell LeAnn she looks good, (and she does look good) someone more pushy than me horns in, dictophone in LeAnn’s face, and asks her how she stays so slim. I sneer at the softball question, but I also stick around to hear the answer because, like I said, LeAnn does look good and I’m sort of curious too. (For the record, Ms. Rimes enjoys yoga, Pilates and finds eating disorders to be ‘so sad.’)

It's all about being pushy
Those brief moments I shared with LeAnn taught me another truth about access at Fashion Week: once you’re in the door, it’s really all about who is pushy enough.

At the Bill Blass show later that Tuesday, the celebrities seemed to have finally awakened from their weekends (Doubtlessly spent spooning out soup to orphans, or organizing charity walkathons) and decided to show.

Janet Jackson arrives in a black hat and hoop earrings and a gaggle of photographers trail behind her. There’s so much fuss over Janet that I barely notice Liza Minnelli, Joan Rivers and Sigourney Weaver in the front row opposite to her. In what I imagine must have been some fashion intern’s most brilliant moment in improvisational ass kissing, the overhead music suddenly changes to Janet’s “All for You.”
After the Blass models leave the stage again, as with LeAnn, I go right for the money. I plow through the timid types like 62 inches of entitlement. And suddenly, I’m there. The pigeon is within the range of my toe. No, not close to Jackson. She’s surrounded by too many real reporters. I’m up close with Liza. I suppose I could ask Liza what she thinks of Fashion Week, but I think that MSNBC probably has people who are paid to do that. What’s more, I don’t really care. I haven’t seen Liza wearing anything but some variation on a black suede pant suit and a colorful cape in any recent appearance. Really, I just want to breathe Liza’s recycled air, and know that — were I to be cheeky enough — I could whip out a question a la Bruno from “Da Ali G. Show.” I feel like Dorothy in “The Wizard of Oz.” Everything is in color and I realize that I have, in fact, been standing next to Liza the whole time.

So that’s my shallow lesson from Fashion Week: if you run up and rush the pigeons, every now and then you’re going to kick one. And then you’ll simply feel awful. The same goes for celebrities. Act like you’re entitled, particularly at events rampant with low self esteem (Fashion Week, karaoke nights, Air America restructuring parties.) and you may just find yourself up close with a famous person from the ’80s, ’90s, or possibly even today.

Just for goodness sake, have something to say.




Source : http://www.msnbc.msn.com/id/14832528/

The Tie Dying Party Fashion Show




After reading the first two articles in this series, Tie Dying Party and Tie Dying Party Set Up, you’ve been able to create a fun, thematic invitation to a retro or psychedelic tie dying party, you’ve learned how to set up the party, and you’ve read about the basics of dying garments. Your guests should have already selected their garments and decided upon the type of pattern and color of dye they plan to use. At this point, you will teach them how to fold, tie and dip their clothing, to create their designs.

or peruse your local library for some handy tips on tying the fabric. For beginners, this activity is not an exact science, so make sure to emphasize the fun, unknown aspect of the craft.

Once the garments are tied and dyed, you have the option of quick drying them in the sun or following the recommended instructions of letting the cotton fibers fully absorb the dye through a curing process. Obviously, your party schedule will dictate which method of drying you select. If you are planning a sleepover party, you could dye on the first day and then reveal the garments on the second day. If the entire party will take place on the same day, then you’ll need to explore some other alternatives, such as using hot water activated dyes (like RIT) and a clothesline for drying in the sun or using an old microwave oven for some high-tech, super speedy drying.

In any case, during the drying or curing time, get the guests active with other creative exercises. Have a scrapbooking table or a macramé station, where the guests can create their own friendship bracelets. Both activities are fun, encourage conversation and address a whole variety of age groups.

Once the clothing has been dried and untied, encourage the guests to let their hair down, have some fun vamping and vogue-ing in their new designs, and start the party’s finale --- a blow out fashion show! Create a fashion show order that intersperses more shy guests with the gregarious ones. Begin the show with one of the most extroverted guests. By doing this, you’re encouraging the remaining guests to push the envelope and really have fun. Conclude the show with the singular most gregarious or comedic guest. Don’t forget to have an assigned videographer to record the event, and you should employ an outgoing teen or adult to act as emcee for the fashion show.

The bottom line of this party is to make it a fun, one-of-a-kind event!


The copyright of the article Tie Dying Party Fashion Show in Children's Parties is owned by Janice Benoit. Permission to republish Tie Dying Party Fashion Show in print or online must be granted by the author in writing.



Source : http://childrens-parties.suite101.com/article.cfm/tie_dying_party_fashion_show

Bali Fashion Weeks





Denpasar – Ironic also like that knew the small size of the role of the government in the site as big as Balinese Fashion Week (BFW) VI last week. Not only this time, evidently after 5 BFW times were held, did not yet have the role of the government that should. If compared with the site fashion overseas, Hong Kongese Fashion Week, Singapore Fashion Week, or Australian Fashion Week, certainly the role of our government did not yet have anything him. In fact, if wanting to be counted on, not few profits that could be obtained from this site. Not only from the aspect of economics (the export of the thing), but also from the aspect of tourism. Minimally, the foreigner learned that Indonesia was still safe to be visited. Proven, the site that involved several international designers (from Malaysia, Russia, Romania, and Australia) as well as the buyer from this international market ran smoothly.
love, not all the elements of the supportive government of this annual site. Mardiana Eka, the chairman of the Foundation of Moda Bali that thought of this site, revealed this matter to the reporter a day after the BFW VI closing, on Thursday (9/6), in Kuta, Bali. The designer who more was known overseas compared with in his country personally this told several cases that made BFW VI with the theme of “Celebration of Life” this did not go was as smooth as hoped for.
One of the designers from India, Abhishek Dutta, finally had failed visited this site only because of the twisted bureaucracy. As a result, only several of his plans that arrived and were exhibited in this site. The Abhishek presence indeed did not determine was or not this site was held. But if he came, certainly many that could be studied by the young designers from him. Must be learnt also, Mardiana Eka made this site one of the processes pembelajaran for the young Indonesian designers. For example, the students ESMOD Jakarta, one of the schools mode in Indonesia, made this site to do study the tour. Of course their hope not a little of these sites. Apparently this became the blow also for the committee to work harder, although with the number of limited personnel.took place Lancar generally, the site that took place 6—8 this June took place smooth. A day before the agenda took place, was held by the solution to the record membatik on cloth along 300 m. that was thought of by the batik craftsman from Yogyakarta, Afif Syakur. In the afternoon him was spread out by Street Carnival, was begun from the I Gusti Ngurah Rai Airport and ended in the Kuta Coast, with melombakan the plan from several designers. Afif Syakur was chosen as the first winner in this site. The design is, garuda gold, that was dominated by the colour of gold it was considered filled the criterion that revealed the teaching of “Trihita Karana” (the harmonisation of three elements: nature, the Lord, and the fellow humankind). Moreover, 40% material that was used came from Indonesia, like batik. Afif brought about the motive gordo to normal batik was used by the kings. He used material simple to make the plan that was seen grand.For the body part, Afif used paper that was formed until resembling skin with the colour of gold from piloks. Paper was made the choice on the basis of being more economical and light to be used. Afif clarified the motive in the body part with used payet. Now the head part that was seen so luxurious evidently only was made from the puppet hat with accessories. The second winner, Muji Ananta, drafted the pretty gown with the head of birds from the coloured batik material old chocolate. While the third winner, Angelique Wu, made a grand gown coloured red. The winner's three plans were exhibited in Ballroom Discovery Kartika Plaza during Balinese Fashion Week took place. Every time at night was held fashion show from dozens of designers. Planned, every time at night only was exhibited by works from 10 designers. However, the participants in the exhibition, like Zaenal Songket and Jember Fashion Carnival, also finally had taken part in presenting their work opposite the guest who filled the area was open Discovery Mall.



Source : http://www.sinarharapan.co.id/feature/Tren/2005/0614/tren01.html

Mohawk Hairstyles and Haircuts





Nothing is new; everything is re-hashed in this world's cultures. We've all seen the re-appearance of the bellbottom pants in the 90s. Then those goofy over-sized sunglasses becoming trendy again. Even Dreadlocks have become popular with teens and young adults...

Fashion is one of the most re-hashed aspects of our culture. Derived from the Native American Mohegan’s tribe, Mohawks started in the 60s, were popular in the 70s and 80s, then went through slight relapse in the 90s. Recent pop-punk/rock/emo bands, like ‘The All American Rejects’, ‘Fall Out Boy’, ‘New Found Glory’ and ‘Good Charlotte’, have been known to use the punk Mohawk hairdo. Teens today maintain respect for the legacy bands of the 60s, 70, and 80s, bringing even more fashion

trends out of the past’s attic. Take a look into former impacting music groups like Aerosmith, Led Zeppelin, Queen, The Ramones or The Sex Pistols and you’ll see not only their effects on rock music, but on modern day fashion. Mohawk spiked and bladed rebel hair is bathing yet another teen generation.

While Mohawk haircuts are still far from formally accepted in society, you can see the social accepted influence in the business world. Bold ‘Mohegan’ teens however are readily labeled as Punks, and tend to be discriminated amongst in most professional worlds. Punks are seen as menaces to the public, extremists, hardcore rebels, the kind of people that you’re afraid to encounter at night, next to the real menaces like gangsters. Re-hashed, but to some extent this generation’s take on it is drastically different. Technology’s advancements in hair gels and dyes give modern Mohawk hairstyles more potential and creative control. There are many different types of radical Mohawks now that didn’t exist before. Such as the Braidhawk, Crohawk and the Dreadhawk, that put a fanning flair on their 80s predecessors.

Once a trend hits culture, it leaves its mark, however small it maybe. The influence of the Mohawk hairstyle is seen in countless fashion trends throughout the world and web. Fan sites are found scattered here and there, including the Mohawk HairStyle Community at MohawkorNot.com which allows you to upload your latest implementation and attempts, so that other fans can rate it. Question is, how long will it stay around this time?


Source : http://www.amazines.com/Party_Ideas/article_detail.cfm/360509?articleid=360509