weddings(54)

As the centerpiece of many conventional weddings, a wedding cake is essential. It is an integral component of various wedding traditions such as the ceremonial cutting process and the delighted couple sharing the first bite.

Considering the amount of attention that it receives, you want to ensure that the wedding cake is properly decorated. This involves being prepared with a clear decorating plan prior to embellishing and frosting the cake. With time, dedication and effort, you can have an unforgettable cake that looks as good as it tastes.

Planning

An important aspect of planning cake is a meeting between the couple and baker to discuss ideas, requirements and expectations. Couples often have specific features that should be included in their cakes such as the wedding theme; floral arrangements color preferences and the venue. These details are useful for visualizing a suitable cake for the wedding and decorating it perfectly.

The flowers that the bride and groom plan to use can be included as decorations to match the floral arrangements of the day. It is also important to be aware of the number of guests that are expected to attend the wedding. This may influence some of the cake decorating choices, including the size and number of layers.

Budget

Estimating a budget is crucial to cover the costs of ingredients and decorations that will be used. For a bride and groom that already has a budget, making an effort to stay within the limits will determine how much can be accomplished. Regardless of what the budget may be, there are affordable designs and wedding cake decorating solutions to accommodate every financial situation.

Venue Location

The location of the venue gives you an idea of the type of wedding that is being as well as pertinent information like temperature and weather conditions. For example, butter cream or other forms of cream frosting may not be ideal for an outdoor wedding during the warmer seasons because of exposure to the sun. Frosting that is likely to spoil under such conditions can be preserved by placing layers of fondant. This also helps to keep the frosting looking even and smooth.

Seasonal Elements

Seasonal elements can be used to accentuate a wedding cake. Consider the season and time of year when the wedding is being celebrated. With insight regarding the type of features that will be displayed at the wedding, they can be coordinated to match the season and general motif. A winter themed wedding, for example, may inspire the inclusion of liberally spread white icing, snowflakes, glitter on the cake.

Leveling the Cake

A cake that is not even or smooth is not a visually appealing sight when it is displayed and is the main focal point. Wedding cake experts prioritize the levelness of cakes and usually check on how flat the cake is after it has firmed up and cooled.

Quick Tips

Depending on the couple’s preference, a stand or supports may be used for the cake. Multi-tier cakes require adequate support to maintain stability.

While frosting the cake, the external layer should always be smooth and even.

Stack the cake and consider using fondant to complete the cake or create decorative shapes.

Different borders and designs created as well as additional decorations that range from edible glitter to flowers.Read more at:http://www.sheindressau.com/beach-wedding-dresses-australia | http://www.sheindressau.com/cheap-wedding-dresses-au

“We’re bringing up two girls in this world and it’s turned into such a mess that we feel a strong responsibility to show them it must not be like this for them,” said Thea Bregazzi. Blythe and Fauve are 8 and 4 years old, respectively. Their dad, Justin Thornton, seconded that. “We continually want to give our daughters the message that they can have the future they want. . . They can do what they want, wear whatever they want, and nothing can alter the power of who they are.” Even without knowing this, you could detect the potent symbolism from look one: a woman wearing a white bonnet, a swathed white linen shirt over a blouse with 18th-century cuffs, and white pants. On one side of her shirt, a red letter A was embroidered in a lopsided typeface. An obvious nod to Hester Prynne and her letter A in The Scarlet Letter, Thornton and Bregazzi’s looked more like a graffitied anarchy symbol. The stark contrasts between white dresses and red socks which followed were inescapable echoes of The Handmaid’s Tale and the terror of the combined forces of totalitarianism and religion, which are again threatening female freedoms in our time.

There followed a section of skimpier dresses, collaged from silken camisoles, slips, and lace—the underlying sexuality for which women are desired, accused, and abused in every society. Maybe. Or maybe they were just pretty dresses? Thornton and Bregazzi are great at pretty dresses—the fluttery, asymmetrical, ruffled, and printed ones in dusty pastels and flashes of silver beading reiterated that. Were we off the subject of empowerment by now? Not at all, Bregazzi asserted. “I love the idea of a woman being able to stand up and deliver a lecture in front of a room full of men while wearing a beautiful floaty dress if she wants to. Why not?”

Thornton and Bregazzi read. Instead of a routine press release describing their collections or the standard mood boards most designers populate with magazine tear sheets and pictures of art, this couple communicates seasonally by issuing guests with a photograph of a stack of books. Among the recommended texts this time: Anarchism and Other Essays, Growing Strong Daughters, Pink Sari Revolution, Divided by Faith, Girls Think of Everything, The Scarlet Letter (of course), and The Metaphysical Book of Gems and Crystals. Thornton and Bregazzi have an interest in magic—they called up earthy, ancient goddesses and witches in their Spring 2017 collection. In times that seem apocalyptic, people do cling to cults and religions when all else fails. They’ve been looking into that, as well as politics and history, to construct ways to resist the evils of regressive forces that might limit the futures of their children.

“Ultimately, you know, I think it’s about having faith,” said Bregazzi.

Faith that things will improve?

“Yes.”Read more at:http://www.sheindressau.com/vintage-bridesmaid-dresses | http://www.sheindressau.com/plus-size-bridesmaid-dresses-australia

Blake Shelton and Gwen Stefani could be gearing up for a televised family wedding – but not their own.

Fans are speculating that Blake and Gwen, who have battled wedding rumors ever since they confirmed they were dating almost two years ago, could be about to give fans a peak at Shelton/Stefani wedding that’s actually between their two dogs.

Rumors are swirling that Shelton’s new music video could possibly feature a doggie wedding between their canines Betty and Ginger after the country star confirmed on social media on August 5 that his new single is titled “I’ll Name the Dogs.”

Betty is Blake’s dog (who he showed off on Twitter on September 5) while Ginger belongs to Gwen.

The Voice coach’s big new single announcement has fans preparing for a wedding after the dogs were allegedly dressed up as a bride and groom during what appeared to be the song’s music video shoot in Los Angeles in August 11.

A number of fans tweeted spoilers from Shelton’s shoot last month, posting photos of Stefani and her sons Kingston and Zuma on the set while Blake’s band members were also spotted looking pretty dressed up.

Gwen’s boys were dressed in tuxedos as they hung around on set with their mom and her boyfriend in photos published online by Mail Online last month.

The kids’ sharp attire suggested Zuma and Kingston were on the set to film and likely be in a possible wedding scene, though Stefani appeared to be a little more dressed down in the on-set images as she paid a visit to her boyfriend.

A fan also recapped the teases last month and confirmed that the California shoot was something Shelton was working on.

“Ok so let’s recap what we know so far: Blake is shooting a music video today, Gwen and kids on set, everyone is dressed up (band & [Kingston] & [Zuma]),” im_ad0rkable wrote on the social media site last month. They then added that there were unconfirmed reports claiming “there might be dogs dressed like a bride and groom,” hinting at a dog wedding.

GAC revealed this week that they would be premiering the music video for the song on September 8, which now has fans putting two and two together.

“This is the LA shoot with the wedding and the dogs and Gwen’s kids kdjfkwmx!!!!!” one excited fan tweetedwhile quoting a message from GAC that claimed the network would be broadcasting the TV premiere later this week.

“Yesssss!!!!! CAN’T WAIT! OMG,” another then tweeted in reply to the possible wedding. “With Gwen and Blake and Kingston and Zuma and Apollo and Betty and Ginger and… a whole fandom crying.”

The “Used To Love You” singer also teased that she may have a little involvement with the song in some capacity on Instagram as she supported her boyfriend of almost two years.

She posted a photo of Blake’s single artwork to the social media site on September 5 and added the caption, “Can’t wait for everyone to hear this!! Sooooooo good!

The couple previously teased that they were making music together earlier this year after Shelton’s name popped up as a songwriter on a track thought to be featured on Stefani’s upcoming Christmas album.

Blake Shelton hasn’t confirmed the rumors about his new music video for “I’ll Name the Dogs,” though fans should get to see what the country star has been working on and whether or not his and Gwen Stefani’s dogs will be getting hitched in a doggie wedding from September 8.Read more at:http://www.sheindressau.com/wedding-dresses-perth | http://www.sheindressau.com/wedding-dresses-adelaide

From Mayo to MoMA: the iconic Aran jumper heads to New York

When an early Aran handknit from 1941 goes on exhibition in MOMA (Museum of Modern Art) in New York next month it will take its place on a world stage alongside more than a hundred items considered powerful and enduring examples of 20th century clothing and accessory designs.

They include the little black dress, the Breton sweater, the biker jacket, denim jeans and the sari. “Fashion is unquestionably a form of design with its pitch struck in negotiations between form and function,” states the museum.

The first thing to be said about this emblematic piece of Irish clothing from the Aran Islands that will arrive in New York from Mayo’s Museum of Country Life, is to nail the old canard that drowned fishermen could be identified by their sweaters. Tim Robinson wryly noted in Stones of Aran referring to a male model at a Jean Paul Gaultier show in Paris in 1985 decked out in a handknit Aran sweater, tight knit trousers, scarf and cap in snow white wool, “that the outfit certainly would have identified him if he had been washed ashore drowned”.

This pervasive myth no doubt has helped the industry, but has no bearing whatever in fact. The Aran sweater as we know it is a 20th century phenomenon which emerged on the islands somewhere between 1900 and the late 1920s. Unlike Harris tweed whose name is protected and whose tweed can only claim provenance from the isle of Harris, the word Aran is now a generic term used to describe any patterned sweater with relief decorations – a garment that can be made anywhere.

When I was researching the history of the Aran sweater for my book on the subject, the first port of call was UCD’s Department of Folklore. The section on boatbuilding was extensive and thorough, but under cniotail (knitting) there was barely an entry. Women’s work was not considered that important. Yet, studying the early examples of the richly cabled, intricate and decorative handknits of the early 20th century from the Aran Islands is to be awed not only their calibre and beauty, but their mathematical and technical achievement.

To understand the complexity of some of the early handknits is to realise that they were often composed of horizontal lines of some 400 stitches in rough homespun wool in which 12 stitches or 20 rows made up roughly one inch. Each stitch on every row had to be correctly worked to ensure the correct motif. Each pattern such as a cable or diamond had a specific number of stitches which gives some idea of the arithmetic involved let alone the decorative and topographical skills required to arrange and realise a series of designs successfully. And this creativity was within the knitters’ heads and hands, all from memory and not written down or codified until the late 1940s when the first Aran pattern was published by Patons.

The influence of the Aran and its survival as a prime example of good design has been pervasive and widespread – popularised by the Clancy brothers, by images of stars like Steve McQueen, Marilyn Monroe or Grace Kelly in their snow white sweaters. Sean O Casey had his sent to Cornwall from Ireland. In various guises it has been seen on a long line of celebrities – Kate Bosworth, Oliva Palermo, Nicola Roberts and Gwneth Paltrow,Claudia Schiffer to name but a few.

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Kylie Jenner Is Now the Richest Member of the Kardashian Empire

When entertainment outlets started reporting that Kylie Jenner‘s beauty line, Kylie Cosmetics, has made nearly $1 billion in 18 months, seasoned industry observers collectively rolled their eyes. It sounds like the laughably unfeasible boast of a PR person who’s bitten off a bit more than her matte-lipped mouth can chew.

One skeptic of this storyline is Dan Barker, a London-based e-commerce and retail expert. “The numbers feel unrealistically large,” he says. “My gut instinct is not to trust them.” So Barker went in search of the real story.

The claim from Jenner’s mom, Kris, is that Kylie Cosmetics has sold $420 million worth of product since its launch 18 months ago. Barker puts this suggestion into context by comparing it to Burt’s Bees’ last publicly available figures. Those showed $250 million in annual revenue, just before the company was acquired for $925 million.

Is it possible Kylie Cosmetics is already doing twice as much business as one of the beauty industry’s stalwart brands? According to Barker’s research, there are strong indicators that Kylie Cosmetics’ success is such that the notoriously shy baby sister is now worth more on paper than anyone else in her family.

Assuming Kylie’s sales have trended evenly—no spikes or dips—for the last 18 months, her revenue for 2017 would total $280 million. But numbers cited elsewhere indicate that business has not plateaued at all. Indeed, forecasts showing Kylie Cosmetics on-target to sell $390 million worth of products this year reveal that the company has continued to drive massive growth. “A big chunk of sales seem to come through the Kylie Cosmetics website,” says Barker—sales on which the company would likely make a higher margin versus sales from intermediary retailers.

If the same margins and acquisitional market that applied to Burt’s Bees were applied to Kylie Cosmetics, the company’s valuation would be well over $1 billion. As unbelievable as it may sound, her booming brand further indicates that Kylie Jenner is on course to become her family’s first billionaire. At that point, she will have a higher net worth than her sister Kim Kardashian-West and Kim’s husband Kanye West combined.

Not bad for the quiet, socially awkward little sister in a family full of brazen hustlers. And not bad for a beauty brand that, apart from Jenner’s own occasional pop-up shops, isn’t even sold in retail stores. So how did she do it?

The first smart move Jenner made was partnering with brand incubator Seed Beauty. Helmed by Laura Nelson, Seed puts traditional celebrity licensing deals to shame. Rather than slapping a celeb’s name and face on a white-label product, the company works with them to build the brand and its products from square one. Another Seed-built brand is ColourPop, which brings on-trend, affordable products to consumers within days of identifying a new fad. The fact that Seed took ColourPop from concept to launch in three months is an indication of how quickly their model progresses growth.

Luckily for Jenner, Seed is able to produce products at breakneck speed. According to Barker’s research, Kylie Cosmetics has sold at least 10 million products since launch. “The average price of an item from Kylie Cosmetics is roughly $36,” he says. “The most expensive product is $325. To make $420 million, the brand would had to have sold 11.7 million average-priced products—or 1.29 million of her most expensive product.” Assuming a mix across the range, Barker’s estimate seems conservative.

That means that Jenner’s brand has sold approximately 560,000 units per month—or 18,250 products every day. “Over the whole 18 months, Kylie Cosmetics has sold an average of one product per five seconds or less,” Barker reports. That’s more than a dozen products sold every minute.

But is this kind of meteoric growth something Jenner and the Seed Beauty team can maintain? Barker’s research indicates that interest in the brand has recently declined somewhat (though perhaps the billion-dollar company story will fix that). He examined how consumer interest in Kylie Cosmetics is tracking against other major beauty companies, low-budget and luxury brands alike. Despite the slight downward trend, Barker concludes, Kylie Cosmetics is still roughly on par with competitors like NARS in terms of monthly searches. Unsurprisingly, the same data shows interest in Kylie Cosmetics has spiked to more than 100 percent more than that of more traditional brands like Burt’s Bees.

The proof of the brand’s stability will come over the next quarter, Barker predicts. “Holidays and big launches are usually the most crucial periods for brands like this. It looks like Kylie Cosmetics launches in 2017 have been a little less in-demand compared to last year, at least within Google Trends’ data. So the holiday season will be a key period to see whether the brand will pick up or see its growth taper off.”

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