2017年9月28日（木）
From Suzanne Mallouk
From Suzanne Mallouk to Ibiza: this week’s fashion trends
Going up
Reebok Classics The ultimate white trainer has collaborated with Asos, with a broderie anglaise version the result. Cue a renewed love affair.
rEArranged AKA the Emporio Armani magazine relaunched this week after 20 years. No shelfie is complete without it.
Supermarket uniforms The M&S staff fleece is v Cottweiler AW17; see also Morrisons.
Suzanne Mallouk The long-term girlfriend of Jean-Michel Basquiat, she’s the Venus in his paintings. Also, an excellent wearer of the cropped haircut.
Martine Ali Kendrick Lamar’s jewellery designer. Wearer of croptops. Generally great.
Going down
Ankle chains Move away from the summer trinket and towards the ankle boot.
Amal’s makeup bill Seems like it adds up to £503. Mindboggling, really.
Multivitamins In a bid for a body optimisation, the Silicon Valley crowd’s biohacking scene is all about the blood transfusion. Mr Robot couldn’t make it up.
Ibiza Totally over. Book now for Mykonos, the newest destination for upscale holiday hedonism.
Grey T-shirts Banned at London hotspot Savage. A sure sign the death knell for grey marl is incoming.
Polo necks Instead, look to Elizabeth I for your neck-style inspo. The ruff is back.
Read more at; http://www.queeniebridesmaid.co.uk
Going up
Reebok Classics The ultimate white trainer has collaborated with Asos, with a broderie anglaise version the result. Cue a renewed love affair.
rEArranged AKA the Emporio Armani magazine relaunched this week after 20 years. No shelfie is complete without it.
Supermarket uniforms The M&S staff fleece is v Cottweiler AW17; see also Morrisons.
Suzanne Mallouk The long-term girlfriend of Jean-Michel Basquiat, she’s the Venus in his paintings. Also, an excellent wearer of the cropped haircut.
Martine Ali Kendrick Lamar’s jewellery designer. Wearer of croptops. Generally great.
Going down
Ankle chains Move away from the summer trinket and towards the ankle boot.
Amal’s makeup bill Seems like it adds up to £503. Mindboggling, really.
Multivitamins In a bid for a body optimisation, the Silicon Valley crowd’s biohacking scene is all about the blood transfusion. Mr Robot couldn’t make it up.
Ibiza Totally over. Book now for Mykonos, the newest destination for upscale holiday hedonism.
Grey T-shirts Banned at London hotspot Savage. A sure sign the death knell for grey marl is incoming.
Polo necks Instead, look to Elizabeth I for your neck-style inspo. The ruff is back.
Read more at; http://www.queeniebridesmaid.co.uk
2017年9月26日（火）
Beauty: the best new highlighters
Beauty: the best new highlighters
It would be bold to declare the Charlotte Tilbury Hollywood Beauty Light Wand (£29) the best highlighter I have ever used, but, well, I think it may be the best highlighter I’ve ever used – and I daresay I’ve tried several hundred others.
This new launch is my favourite, because it fixes every problem I’ve ever had with the rest. It has a cream-gel texture that’s thin enough to spread sparingly and evenly over cheekbones, forehead, browbones and chin without clogging, dragging and caking, but isn’t so fluid as to run riot over the entire face. Consequently, it glides over foundation, rather than merging with it to become cloudy and grey. It has exactly the right amount of gleam for my taste – glowy like a pearl, not spangly like a rhinestone.
Most importantly, though, it’s a cinch to apply: just twist the cap to release a tiny amount of champagne-coloured product – the pigment is clear, so it works on dark skins and light, and the flow is reassuringly slow, so there’s no waste (my gripe with many liquid highlighters, which mostly end up on a tissue in the bin) – then dab or stroke wherever you’d like a little light-reflecting gleam. It blends perfectly with fingertips before setting (the staying power is good, though unexceptional), meaning one needn’t carry brushes or sponges, only reach for the tube if an evening invitation presents itself.
Perfection comes at a price – £29 – but I have a solid runner-up: Sleek Makeup’s Cleopatra’s Kiss Highlighting Palette is terrific value (£9.99), containing four shades (from champagne to bronze) in two textures: baked powder and solid cream. The sparkle-ometer is turned up higher here, but the pigment is dense and luxurious, keeping the overall effect more candle glow than disco ball. The packaging is pleasingly posh, too (though, inevitably, the free brush is as useful as a wax fireguard. You’ll need to invest in a small, domed brush for the powders).
Finally, I adore Sensai’s new Supreme Illuminator (£40), a Bentley among highlighters, and possibly only for those who take their beauty more seriously than their budget. The silken texture of this gilt beige cream is glorious, and solid enough to give a novice full control over where it goes. Just dab with your middle finger wherever the light would naturally hit, over all other makeup. Then tap outwards to diffuse.
Read more at:vintage-bridesmaid-dresses
It would be bold to declare the Charlotte Tilbury Hollywood Beauty Light Wand (£29) the best highlighter I have ever used, but, well, I think it may be the best highlighter I’ve ever used – and I daresay I’ve tried several hundred others.
This new launch is my favourite, because it fixes every problem I’ve ever had with the rest. It has a cream-gel texture that’s thin enough to spread sparingly and evenly over cheekbones, forehead, browbones and chin without clogging, dragging and caking, but isn’t so fluid as to run riot over the entire face. Consequently, it glides over foundation, rather than merging with it to become cloudy and grey. It has exactly the right amount of gleam for my taste – glowy like a pearl, not spangly like a rhinestone.
Most importantly, though, it’s a cinch to apply: just twist the cap to release a tiny amount of champagne-coloured product – the pigment is clear, so it works on dark skins and light, and the flow is reassuringly slow, so there’s no waste (my gripe with many liquid highlighters, which mostly end up on a tissue in the bin) – then dab or stroke wherever you’d like a little light-reflecting gleam. It blends perfectly with fingertips before setting (the staying power is good, though unexceptional), meaning one needn’t carry brushes or sponges, only reach for the tube if an evening invitation presents itself.
Perfection comes at a price – £29 – but I have a solid runner-up: Sleek Makeup’s Cleopatra’s Kiss Highlighting Palette is terrific value (£9.99), containing four shades (from champagne to bronze) in two textures: baked powder and solid cream. The sparkle-ometer is turned up higher here, but the pigment is dense and luxurious, keeping the overall effect more candle glow than disco ball. The packaging is pleasingly posh, too (though, inevitably, the free brush is as useful as a wax fireguard. You’ll need to invest in a small, domed brush for the powders).
Finally, I adore Sensai’s new Supreme Illuminator (£40), a Bentley among highlighters, and possibly only for those who take their beauty more seriously than their budget. The silken texture of this gilt beige cream is glorious, and solid enough to give a novice full control over where it goes. Just dab with your middle finger wherever the light would naturally hit, over all other makeup. Then tap outwards to diffuse.
Read more at:vintage-bridesmaid-dresses
2017年9月22日（金）
CROCS GO COUTURE
CROCS GO COUTURE
Christopher Kane unveils rhinestone CROCS at London Fashion Week… so would you wear them?But Crocs have been given a high-fashion makeover thanks to Christopher Kane.
At his London Fashion Week SS18 Womenswear show yesterday, the Brit designer unveiled a collection of bespoke, limited-edition Swiftwater Sandals adorned with enormous rhinestones.
Models strutted down the runway at Tate Modern in one of five colourways – yellow, white, black, pink and mint green.
On the unlikely collaboration, Christopher said: “I am very happy to continue working with Crocs, as I have admired the brand for a long time.
“It has certainly been the most controversial collaboration I have worked on, which makes it all the more fun.
“I enjoy taking risks and going to places other designers wouldn’t touch.
“Nowadays there are so many designer collaborations, it’s very important to me that my partnerships stand out and mean something.”
The luxury fashion house has worked with the footwear brand on several collections.
Previously, Christopher Kane introduced marbled and gem-encrusted designs as part of his SS17 Womenswear collection.
Most recently, Crocs debuted a range of Christopher Kane-designed tiger graphic clogs featuring exclusive adornments.
They are priced from £32 up to £475 depending on the embellishment.
Read more at:cheap-bridesmaid-dresses-online
Christopher Kane unveils rhinestone CROCS at London Fashion Week… so would you wear them?But Crocs have been given a high-fashion makeover thanks to Christopher Kane.
At his London Fashion Week SS18 Womenswear show yesterday, the Brit designer unveiled a collection of bespoke, limited-edition Swiftwater Sandals adorned with enormous rhinestones.
Models strutted down the runway at Tate Modern in one of five colourways – yellow, white, black, pink and mint green.
On the unlikely collaboration, Christopher said: “I am very happy to continue working with Crocs, as I have admired the brand for a long time.
“It has certainly been the most controversial collaboration I have worked on, which makes it all the more fun.
“I enjoy taking risks and going to places other designers wouldn’t touch.
“Nowadays there are so many designer collaborations, it’s very important to me that my partnerships stand out and mean something.”
The luxury fashion house has worked with the footwear brand on several collections.
Previously, Christopher Kane introduced marbled and gem-encrusted designs as part of his SS17 Womenswear collection.
Most recently, Crocs debuted a range of Christopher Kane-designed tiger graphic clogs featuring exclusive adornments.
They are priced from £32 up to £475 depending on the embellishment.
Read more at:cheap-bridesmaid-dresses-online
2017年9月20日（水）
Is there a protest
Is there a protest message in your new jacket's pocket? You've been shop-dropped
This London fashion week, shoppers might find themselves pondering something a little more sobering than which bar does the most Insta-worthy Louboutin-inspired pop-up cocktail menu, or how to get front-row tickets to the House of Holland show. Craftivist Collective is a group of “gentle activists” that protests against injustices in a quiet, non-confrontational manner involving pretty, handcrafted gestures of defiance. In an attempt to shine a spotlight on the ethics of the British fashion industry, its members will be spending the four-day clothing festival in high-street stores near LFW’s Somerset House base engaged in “shop-dropping”. This involves creating messages of protest, taking them into retailers and planting them inside the pockets of clothing for consumers to find. The name stems from the fact that it involves adding extra items into stores, thus making it the antithesis of shoplifting – although retailers are unlikely to appreciate the additions.
“The shops have no idea we’re doing it at all, but I can’t imagine they’d be happy if they knew,” says Sarah Corbett, the founder of Craftivist Collective, which previously convinced M&S board members to pay the living wage by stitching messages on to hankies. “We’re targeting fast fashion shops that put profit over people and the planet, so I don’t think they’d be keen on us encouraging their customers to ask questions about how their clothes were made.”
The messages take the form of “fashion statements” that are neatly handwritten on miniature scrolls. These are tied shut with a ribbon bow and contain phrases such as: “Beauty is not just in the eye of the beholder ... It is woven into the very fabric of the cloth. Our clothes can never be truly beautiful if they hide the ugliness of worker exploitation.” On the outside, they say: “Please open me.”
Corbett started shop-dropping at Stockholm fashion week in 2014, in collaboration with Fashion Revolution, a campaign group opposing worker exploitation that launched in the wake of the 2013 Rana Plaza factory collapse, which killed 1,135 garment workers in Dhaka, Bangadesh. For the past three years, she has been running workshops that teach craftivists how to make the fashion statements. She brings a rail of clothing that lets them practice looking natural while sneaking scrolls into pockets; as a rule, it’s not a form of protest that works in large numbers.
“We want people to discover the scrolls later on so that it’s intriguing. We hope that it might create genuine curiosity about how their clothes have been made,” says Corbett.
“I genuinely love fashion, and during fashion week there’s a spotlight on the industry. I’d like to use that so we can think about how fashion could be beautiful on the inside as well as the outside.”
Read more at: vintage-bridesmaid-dresses
plus-size-bridesmaid-dresses
This London fashion week, shoppers might find themselves pondering something a little more sobering than which bar does the most Insta-worthy Louboutin-inspired pop-up cocktail menu, or how to get front-row tickets to the House of Holland show. Craftivist Collective is a group of “gentle activists” that protests against injustices in a quiet, non-confrontational manner involving pretty, handcrafted gestures of defiance. In an attempt to shine a spotlight on the ethics of the British fashion industry, its members will be spending the four-day clothing festival in high-street stores near LFW’s Somerset House base engaged in “shop-dropping”. This involves creating messages of protest, taking them into retailers and planting them inside the pockets of clothing for consumers to find. The name stems from the fact that it involves adding extra items into stores, thus making it the antithesis of shoplifting – although retailers are unlikely to appreciate the additions.
“The shops have no idea we’re doing it at all, but I can’t imagine they’d be happy if they knew,” says Sarah Corbett, the founder of Craftivist Collective, which previously convinced M&S board members to pay the living wage by stitching messages on to hankies. “We’re targeting fast fashion shops that put profit over people and the planet, so I don’t think they’d be keen on us encouraging their customers to ask questions about how their clothes were made.”
The messages take the form of “fashion statements” that are neatly handwritten on miniature scrolls. These are tied shut with a ribbon bow and contain phrases such as: “Beauty is not just in the eye of the beholder ... It is woven into the very fabric of the cloth. Our clothes can never be truly beautiful if they hide the ugliness of worker exploitation.” On the outside, they say: “Please open me.”
Corbett started shop-dropping at Stockholm fashion week in 2014, in collaboration with Fashion Revolution, a campaign group opposing worker exploitation that launched in the wake of the 2013 Rana Plaza factory collapse, which killed 1,135 garment workers in Dhaka, Bangadesh. For the past three years, she has been running workshops that teach craftivists how to make the fashion statements. She brings a rail of clothing that lets them practice looking natural while sneaking scrolls into pockets; as a rule, it’s not a form of protest that works in large numbers.
“We want people to discover the scrolls later on so that it’s intriguing. We hope that it might create genuine curiosity about how their clothes have been made,” says Corbett.
“I genuinely love fashion, and during fashion week there’s a spotlight on the industry. I’d like to use that so we can think about how fashion could be beautiful on the inside as well as the outside.”
Read more at: vintage-bridesmaid-dresses
plus-size-bridesmaid-dresses
2017年9月18日（月）
Angie, a 39-year-old with epilepsy and
Angie, a 39-year-old with epilepsy and arthritis from Warwickshire, says that sales assistants are rude and unaccommodating towards her when she struggles to move around the shop floor on crutches. “It’s often an anxious experience, as you don’t know how you will be treated by shop staff, and, when people tend to be negative rather than helpful, it’s easier not to go out and shop online [instead]”.
Lily, a 22-year-old from south-east England, doesn’t use any aids such as a wheelchair, so it’s not always clear she has a disability. “When I’m at the till and struggling to get money out because my left hand doesn’t work as well as my right, I feel embarrassed. I usually apologise even if I know I shouldn’t.” She now looks at every shop she visits to check it has adequate provision for disabled customers. If not, she will email the company or speak to them on social media.
My impossible shopping trip underlined the radical disconnect between the real-life experiences of disabled shoppers and the fashion industry’s very visible fascination with inclusion. Diversity is the hashtag du jour in fashion circles, with many designers talking fluently about their respect for a breadth of cultures and life experiences, and using models who do not conform to the tall, slim, white, cisgender, able-bodied archetype.
Edward Enninful, British Vogue’s new editor, has expressed frustration with the industry’s reluctance to create sustainable changes in reflecting the diverse identities of its consumers. His principles on ethnic diversity – “you put one model in a show or in an ad campaign, that doesn’t solve the problem”– also apply to disability representation. Although some designers have embraced disability models – most notably Alexander McQueen in the late 90s – the fact remains that, when disabled customers are prohibited from shopping, due to stairs, lack of seating or insufficient sales support, it is hard not to draw the conclusion that the catwalk trend for disabled models is nothing more than that. It is the metaphorical millennial pink, soon to be consigned to the back of our closets.
Read more at: red-bridesmaid-dresses-uk
pink-bridesmaid-dresses-uk
Lily, a 22-year-old from south-east England, doesn’t use any aids such as a wheelchair, so it’s not always clear she has a disability. “When I’m at the till and struggling to get money out because my left hand doesn’t work as well as my right, I feel embarrassed. I usually apologise even if I know I shouldn’t.” She now looks at every shop she visits to check it has adequate provision for disabled customers. If not, she will email the company or speak to them on social media.
My impossible shopping trip underlined the radical disconnect between the real-life experiences of disabled shoppers and the fashion industry’s very visible fascination with inclusion. Diversity is the hashtag du jour in fashion circles, with many designers talking fluently about their respect for a breadth of cultures and life experiences, and using models who do not conform to the tall, slim, white, cisgender, able-bodied archetype.
Edward Enninful, British Vogue’s new editor, has expressed frustration with the industry’s reluctance to create sustainable changes in reflecting the diverse identities of its consumers. His principles on ethnic diversity – “you put one model in a show or in an ad campaign, that doesn’t solve the problem”– also apply to disability representation. Although some designers have embraced disability models – most notably Alexander McQueen in the late 90s – the fact remains that, when disabled customers are prohibited from shopping, due to stairs, lack of seating or insufficient sales support, it is hard not to draw the conclusion that the catwalk trend for disabled models is nothing more than that. It is the metaphorical millennial pink, soon to be consigned to the back of our closets.
Read more at: red-bridesmaid-dresses-uk
pink-bridesmaid-dresses-uk
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