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Sunday, 31 July 2011

The live-streaming thing was cool. Even more so, the instant gratification of "clicking to buy" the same day as the show. But none of that would have mattered if Christopher Bailey hadn't delivered on the fashion front—and that he did, from the cropped leather aviators and shaggy white shearlings to the killer thigh-high python boots.
see the collection ›

Alexander McQueen

Alexander McQueen's last works were given final honors by his trusted team in a hushed and dignified showing that went to his core as a designer who scaled the heights of couture accomplishment. Sarah Burton, his right hand, described how, in beginning this collection, McQueen had turned away from the world of the Internet, which he had so powerfully harnessed in his last show. "He wanted to get back to the handcraft he loved, and the things that are being lost in the making of fashion," she said. "He was looking at the art of the Dark Ages, but finding light and beauty in it. He was coming in every day, draping and cutting pieces on the stand." The 16 outfits shown had been 80 percent finished at the time of his death.

What McQueen was preparing had a poetic, medieval beauty that dealt with religious iconography while recapturing memories of his own past collections. He had ordered fabric that translated digital photographs of paintings of high-church angels and Bosch demons into hand-loomed jacquards, then taken the materials and cut stately caped gowns and short draped dresses. In its ornate surface narrative, that might read as a kick against the plain and restrained direction fashion is taking, but in their own way, the fluted, attenuated lines of his long dresses suggested a calm and simplicity. Instead of aggression, they transmitted the grace of the medieval Madonnas and Byzantine empresses McQueen had been studying.

For anyone who had watched his development through the years, the references to milestone collections were apparent. The bandage-bound heads, some with feathered coxcombs, simultaneously called up the designer's rebel-British background and his landmark Asylum collection while also catching a likeness to the modest head coverings seen in Northern European medieval portraiture. When a high-collared, formfitting cutaway jacket made entirely from golden feathers appeared, it read as a direct retrieval of McQueen's first step into haute couture in his Icarus collection, after he took the helm of Givenchy in 1996 at the age of 27. This time, though, it was realized with even more skill, with a multilayered white tulle skirt sprinkled at the hem with delicate gilded embroidery.

Somehow, that one outfit encapsulated everything about McQueen: both the tailoring and the romanticism. Perhaps he wouldn't have chosen to show it in such a simple and intimate way—in a small, ornate room to privately invited groups of editors—because that left out the full realization of concept and showmanship that equally drove his creativity. But the circumstances, sad as they are, allowed his friends and colleagues to share a long and poignant moment to look at what the man achieved, and to grieve for him.

Victoria Beckham's new fashions

Building on the critical acclaim that has
quieted those who disparaged her as nothing 
more than another celebrity designer,

Victoria Beckham showcased her sixth
collection of dresses at New York Fashion
Week yesterday. The pregnant Mrs
B experimented with bold yellows,
oranges and reds and sculptural use
of fabric.

Red Garden Dress

Woven print sleeveless dress. Surplice neckline in front, v-neck in back. 3 1/2" defined waistband. Zipper in back. Lined.
Material: 100% cotton.
Length: 42 inches.
Cleaning: Machine wash.
Origin: Made in India.

Gender-blending: Sexual ambiguity in fashion

Designers' fixation with sexual ambiguity is reaching new extremes, with an explosion of frank and unsettling images of androgyny. Is there beauty in blurring the boundaries, or has it gone too far?
By Alex Fury
Lea T is a model in demand. After fronting Givenchy's last two campaigns and gracing the brand's latest pre-fall lookbook, she jetted off to Sao Paulo to open the brand's fashion week before moving on to the New York shows.
She's also the cover star of the latest issue of Love, super-stylist Katie Grand's bible of cool – paired with Kate Moss, no less. It's the standard "hot model of the moment" story. But with one unexpected addition: Lea T was born Leandro Cerezo, son of Brazilian soccer hero Toninho Cerezo, and is still undergoing gender reassignment.
Lea T isn't the only signifier of fashion's current fixation with transgender chic. Andrej Pejic is the male mannequin name to know – whippet-thin, pouting under a cascade of blond hair and with a disarming similarity to the female model Erin Wasson. Jean Paul Gaultier was certainly impressed: he cast Pejic as the keynote model of his autumn/winter 2011 menswear show, "James Blond" (Pejic's locks are a Harlow-glow shade of peroxide). Not only that, but a week later, Pejic teetered down the same catwalk in flounces of tulle as the "bride" at Gaultier's haute couture show. Flat-chested, narrow-hipped and inhumanly tall – yes, he's a boy, but that's the figure of the fashionable female these days, too. It was the shape Katie Grand stated she and Marc Jacobs were looking for when casting for the Louis Vuitton womenswear show last October, one of the hottest of hot tickets on the Paris Fashion Week schedule, and the first time she picked up on the androgyny vibe that has stamped itself so indelibly across the latest issue of Love and its three covers.
It may seem odd for the barometer to have spun so resolutely away from the Mad Men-influenced gender archetypes espoused for the past half-dozen seasons, but fashion is nothing if not fickle. That said, there's something of the ambiguous even in those hyper-sexualised silhouettes. Antony Price, the legendary fashion designer responsible for outfitting Bryan Ferry and trussing up Amanda Lear, Jerry Hall et al in leather, satin and fish scales for Roxy Music's seminal album covers, is an expert. "Small arses, small waists, wide shoulders and big tits, that's the female ideal. But that silhouette of small arse and big shoulders is a man's silhouette." It's also the Vogue Paris-sponsored shape that has held grip for the past half-decade.
After a few years of curvier girls and butcher blokes gracing magazines and catwalks, fashion has decided it's time to gender-bend again. Or maybe that should be gender-blend – taken to its extreme, this is less about one gender approximating the other than actually appropriating its best parts. The photographer Nick Knight caught on to the mood last year, creating a cover editorial for the winter/spring issue of Arena Homme + that showcased boys in lipstick and suspenders, girls with beards, and a pre-operative transsexual in little beyond a smattering of magenta body-glitter. "It has nothing to do with the subtle, slightly dull androgyny of the 1990s," Knight says. "This is a big, flamboyant explosion of sexuality and gender image. It's that, on steroids. It's a lot more exciting, in my opinion."
Cross-dressing is, of course, nothing new. Fashion has flirted with androgyny for almost a century – those Twenties garçonnes earned their moniker because their shingle-cropped hairstyles and flat-chested bodies looked like those of teenage boys. Our current obsession is a little more abstract. To quote from Grand, "There's something about that early-Eighties thing of boys dressing as girls dressing as boys that feels right for now." With this in mind, even Lea T has a forerunner, in the form of Teri Toye, the openly transgendered model-cum-muse of the late New York designer Stephen Sprouse. What it's certainly not about is the dour 1990s brand of androgyny – the floppy-fringe coyness of Suede's Brett Anderson, Pulp's Jarvis Cocker and a young Stella Tennant – where sexuality wasn't so much ambivalent as plain absent. The new trangenderism is frank and direct.
Of course, the Blitz Kid cult of the early Eighties had its roots in the peacock glamour of Seventies rock, and performers such as Roxy Music and, of course, David Bowie. Knight cites those as his own personal reference points but states: "Now, it's much more upfront. It's now 2011 – it's not 1970. And, with the advances in cosmetic surgery, there's the ability, medically, to go further." That was the inspiration behind Knight's latest images – redolent of the decadence of Weimar Germany and the louche, libertine mood of Studio 54, they certainly go further than most. This cross-gender boundary-crossing is made all the more exciting in situ, the images sandwiched between the brawny, muscle-bound editorials of a magazine that, high fashion or not, is otherwise resolutely male.
That's the striking thing about fashion's latest round of gender games – it's the men who are leading the way. We've got used to seeing women cross-dressing in three-piece suits and trench coats, but there's still a frisson of shock over a man appearing in anything overtly feminine. The latest round of menswear shows tackled the feeling head-on – not only via the more artistically inclined Parisian labels, but on the testosterone-pumped, big-business catwalks of Milan. There was nary a comedy kilt or sarong wrap in sight – this was cross-dressing done with po-faced seriousness. Christopher Bailey sent out his Burberry boys in sweet, Sixties-style bell-skirted coats with fur tippets fit for Nora Batty, while Miuccia Prada wrapped her boys in glistening Lurex fretted with art deco patterns, and what the press office euphemistically described as "a back-buttoning silk-georgette shirt in pale blue". Otherwise known as a big girl's blouse.
Heading up the men's march into the women's department is Luis Venegas, editor of Candy – billed as "the first transversal style magazine". Venegas himself puts it a little more simply: "The idea was to make 'Tranny Vogue'." Certainly Candy is glossy and high-fashion enough – its second cover featured Hollywood star James Franco photographed by Terry Richardson in full drag. An arresting sight, certainly – even Venegas states: "Not even in my dreams could I imagine this Hollywood movie star cross-dressing on the cover of a magazine. I haven't seen anything like that anywhere."
Candy is at the cutting edge of the new transgender explosion – but don't call it underground. The appeal of Candy's first issue, featuring Kelly Osbourne's then-boyfriend, Luke Worrall, in a powder-pink negligee, was such that cult Swedish clothing label Acne approached Venegas to create a selection of transsexual-friendly pieces. That's transsexual rather than unisex. "I wanted to make the opposite of unisex. Unisex clothes are usually very neutral – in this case, I wanted people not to say, 'Oh, these are clothes for men and women', but to ask, 'Oh, are these clothes for men or women?' The same feeling you get in front of a transgender person, that's what I wanted to create with the clothing." Acne has previously collaborated with Fantastic Man and Lanvin. "The last thing you can call that is underground," Venegas says.
With its first issue published in autumn 2009, Candy has been credited with kick-starting fashion's current cross-gender obsessions. "I read some blog that dubbed it 'The Candy Effect'," Venegas says. "I wouldn't say it's because of Candy, but I think maybe Candy showed that there's something interesting there at a time when magazines are repeating the same stories again and again. How many times can we see military stories, or streetwear?"
Change is, of course, the ultimate aphrodisiac – but rather than a mere seasonal flight of fancy, this is only the latest chapter in fashion's continuing love affair with gender-bending. Nick Knight summarises it neatly: "From Andy Warhol and Candy Darling there's always been a fascination for men who are women and women who are men. I think what Riccardo Tisci is doing with Lea T is part of that."
So where will this interest take us next? The womenswear shows are currently in full flow, hot on the heels of a menswear season that questioned the status quo between the sexes at every turn. Whether fashion will bravely continue to transgress the boundaries, or will wilt into the shadows of gender stereotypes, remains to be seen. Leading the vanguard as he prepares for Candy's third issue, Luis Venegas is philosophical about his aims. "If showing these images and stories somehow helps to change the conventions and what people see as elegant or right or wrong, I'm happy about it. That wasn't the plan, but at least people can look at this in a different way."

EPSRC Creative Industries KTN Studentship – LCF

EPSRC Creative Industries Knowledge Transfer Network Studentship – London College of FashionOne EPSRC doctoral award is now recruiting and will be available from May 2011.
To be eligible for a full award (stipend and fees), applicants must have:
Settled status in the UK, meaning they have no restrictions on how long they can stay
Been ‘ordinarily resident’ in the UK for 3 years prior to the start of the grant. This means they must have been normally residing in the UK (apart from temporary or occasional absences)
Not been residing in the UK wholly or mainly for the purpose of full-time education. (This does not apply to UK or EU nationals)
To be eligible for a fees only award: All EU nationals are eligible to receive fees only if they do not have settled status in the UK
Please also consult the EPSRC website containing information on the Industrial Case studentships for further information.
If you are unsure of your residential eligibility, please consult the University of the Arts London’s Fee Status Guidance Document which is used to assess student status as Home, EU or Overseas.
Health monitoring through clothing
A 3.5 year full-time studentship funded under the Industrial CASE award scheme, funded by EPSRC through the Creative Industries Knowledge Transfer Network.
The studentship will pay your fees and provide a stipend of £13,570 (in Year 1, increasing in years 2-4).
The studentship will be based at London College of Fashion, under the supervision of Professor Sandy Black. This design-led inter-disciplinary practical project will investigate novel applications for sensor-enabled knitted garments for the healthcare sector, and will be conducted in collaboration with industrial partner Smartlife. The successful candidate will have experience in one (or more) of the following areas: design for industrial knitting, product design, clothing/sportswear design and production, or technical textile technology. Applicants applying for the award should complete the standard application form on our University of the Arts London Research Degree MPhil/PhD application page and indicate that they wish to be considered for an AHRC Doctoral Awards.
The deadline for the applications to reach RMA Students Section is 2nd March 2011.
The application should be typewritten/word processed and submitted electronically to: If you need any further information on the application procedure please email Research Managements and Administration Students section – or telephone 0207 514 9389 or 0207514 8437

Fashion Business Resource Studio

The Fashion Business Resource Studio has been established as a single point of contact sharing the creative, business and technical expertise of London College of Fashion with the fashion and lifestyle industries.
Our Mission is to generate a mutually supportive culture dedicated to improving the integration of emerging talent, technical expertise, new knowledge and entrepreneurial advice into industry.
Please click the links below for more information - alternatively email us.
  • The team at FBRS
    A team of professional Placement Brokers and Graduate Recruiters to connect you to students from LCF
  • What we do for businesses
    Whatever the size of the business we can make a valuable contribution to your business
  • What we do for students
    Supporting students in their first steps into the creative industries
  • Graduate Fair 2008
    Dates for 2009 tbc. In 2008 Final Year Students met professionals from top fashion com

Fall Accessories, Set To Drums Or Strings

Pamela Love’s presentation last night was a feast for the ears, as well as the eyes. As she had last season, Love recruited pal Hisham Bharoocha to pound out a psychedelic drumbeat, live; this time, Bharoocha’s drumming made for a particularly fitting accompaniment to the new jewelry Love showed. Forgoing last season’s exploration of dimension and scale, Love turned her eye to color, working rainbow-hued raw crystals into her pieces. The stalagmite-esque settings were shown with long, featherweight white dresses Love created with Frank Tell—dresses that once again raised the question, when is Pamela Love going to start designing clothes?

Down the hall at MAC & Milk, there was more music, of a very different kind. Eyewear brand Illesteva staged its first-ever presentation this season, and in lieu of models, branch honchos Daniel Silberman and Jus Ske decided to put their new sunglasses on the players in a 17-piece string orchestra. “We like to show our glasses on regular people,” Silberman noted. “Just artists, doing their thing.” Their “thing,” in this case, involved playing a number of classical tunes, as well as one setting—for strings—of a Tupac track. No doubt the party Illesteva is throwing tonight at Milk, to celebrate the launch of its collaboration with André Saraiva and Annabelle Dexter-Jones, will get a slightly more danceable soundtrack.

Centre for Sustainable Fashion

'The Centre of Sustainable Fashion is a trailblazer, helping all of us to a better understanding of why the pursuit sustainability must be on par with the pursuit of business building and design innovation.'
Caryn Franklin, Ambassador for the Centre for Sustainable Fashion
The Centre for Sustainable Fashion at London College of Fashion connects research, education and business to support, inspire and create innovative approaches to fashion. The building of an industry that can flourish, communicating positive change throughout supply chains and beyond, impacts radically on the societal and economic triggers that fashion is able to influence.
The Centre for Sustainable Fashion provokes, challenges and questions the fashion status quo. Through collaboration we design transforming solutions that balance ecology, society and culture.

Digital Fashion

As a world leader in fashion design and technology education, London College of Fashion is able to provide state of the art technological equipment and software.

Through Digital Fashion and the bureau service, companies are able to access the technology necessary to achieve the competitive advantage essential for profitable business success. We have invested in top of the range facilities so you don't have to, putting at your disposal the opportunity to turn creative ideas into commercial reality.
The bureau service at Digital Fashion has expert technical advice on hand, and is able to offer full design solutions through consultancy packages and tailor-made training.

Modern Craft

Homespun crafts get a glamorous rethink

Homespun crafts get a glamorous rethink this season

Rihanna’s Style Evolution

Believe it or not, Rihanna was only seventeen when this snap was taken. Signed up to Def Jam recordings by Jay-Z in 2004, it was only a year later she released chart-busting album Music of the Sun – and burst onto the international fame stage.

Fashion Trends

The Look: Marc Jacobs kept the Seventies spirit alive for his diffusion line with a series of earth-toned looks in the all-popular midi-length. This mustard jumper is given the luxe treatment with a felt fedora and eye-catching gold skirt.

Emma Watson

Emma Watson caused a stir on the red carpet in her ethereal one-shouldered ivoryValentino gown. Still sporting her adorable pixie cut, the English rose kept the rest of her look simple with minimal jewellery and classic black Jimmy Choo shoes. She reunited with Harry Potter co-stars Rupert Grint and Bonnie Wright on the red carpet as the films were awarded the gong for Best contribution to British Cinema.


Shown in the round on a bright white circular catwalk beneath a loping tented structure designed by his architect boyfriend, Erdem's collection was a lyrical, romantic breath of fresh fashion air.
"He takes all his strongest components - dresses, lace and florals - and works them together so beautifully," says Phelan.
It began with a white story that will have any brides-to-be rejoicing - white appliqué on white chiffon with white lace.
His dresses featured the same double hemline silhouette - one at the waist and another just above the knee - and some had shawls flowing out behind each shoulder.
His beautiful floral prints were embroidered all over dresses that had slashed or scooped necklines, nipped waists and flattering, slightly A-line or tiered lace hemlines - and then repeated on silk blouses and mismatched fitted trousers or tailored short shorts, and then again on gorgeous shoes that tied in ribbons wound all the way to the knee.
Before the flowers took over, a smattering of red bled into the white, showing off this designer's impeccable taste and eye for drama perfectly. He's the toast of the London fashion scene - winner of every award going including, most recently,Vogue's Fashion Fund award - and he's been honoured at a dinner thrown for him by Matches this evening.
As famously charming and modest as his dresses are beautiful, Erdem captivated his audience again from the first dress to the last, Forties-style chiffon gown that featuring a bleached lily print.
He can't put a foot wrong - but the next incarnation of his signature look will be an even bigger story.
"He's really carved out a niche for himself of making dresses that a lot of women want to wear - he's reinforced his modern glamour today," said Alexandra Shulman afterwards. "I'd be interested in seeing what he'd do if he moved it on a fraction - I did feel it was a bit repetitive."

Emilio Pucci

WE heard before the show that Peter Dundas had promised to calm down his Puccigirl this season – which didn’t sound right. We also heard that Kylie Minogue was coming over to see it – and it turned out the latter rumour was true and the first one didn’t have a modicum of truth.
Super-cool supermodel Freja Beha Erichsen opened the show in a waft of blue printed chiffon with thigh-high, lace-up sexy boots. She returned later in glittering black lace that showed off her pierced nipple to perfection – this wasn’t calm by any means.
“It was very rock ‘n’ roll, especially with Kylie sitting in the front row in her barely there gold dress,” said Alexandra Shulman. “Peter does what he does really well. It’s the same riff but he has taken it to a slightly different place this time – it’s hard to think of Pucci as anything other than for rich, beautiful Ibizan hippies. That’s really what it is.”
He used a beautiful spectrum of blues to recall – a rare moment of recollection for Dundas, in fact – prints from the Pucci of old, but they were trussed up with fringed leather jackets and ruffled fronted blouses that were cut low at the front with lacing across the chest in a half-hearted attempt to cover up.
The Wild West references added a frivolity to the serious poser that the Pucci girl can become – with fringed suede chaps and leather waistcoats a good contrast to incredibly sexy cream crochet dresses and second-skin printed dresses that, with a body like that, you can’t help but pose in.
Swimwear was minimal – really teeny tiny – laced and knotted to show off as much flesh as possible, while white python skin coats which featured knotting and whip-stitching alluded to that trend, and billowing gowns with finely pleated chiffon referred to another.
But trends aren’t on the Pucci girl’s mind – hers will be a wardrobe full of body-skimming backless dresses next summer, only her latest acquisitions will be appliquéd with mirrors and ribbons in a – slightly - more bohemian taken on her high voltage life.
“A casual and carefree summer is what Pucci girls enjoy,” Dundas told us. So why give them anything else

Spring/Summer 2011Ready-To-WearLondon

PR people wearing headsets and spritzing Jo Malone high in the air, a smattering of celebs to get the paparazzi party started - Cat Deeley, Olivia Palermo, Alan Carr - unusually - and a pregnant, leopard print-clad Rachel Stevens who hopped in just before the show began - opera streaming from the speakers, pink Martinis and the classical surrounds of Banqueting House on Whitehall: the new, grown-up Julien Macdonald is all about atmosphere.

Cut to the first look and his woman is just as body-perfect as ever, but he treats her more gently these days - wrapping her in feather-light chiffon frills hemmed with antique lace and cut with panels of his signature webbing.

Two big New York trends made a strong appearance here - cream as the summer's strongest tone, and multiple layers of light fabric, though to be fair any woman in Macdonald may well need a few layers to ensure coverage of all particulars next season.

Striped mattress ticking fabric made for sterner stuff - trench-style jackets and little tailored shorts with zipped pockets had nice heavy metal work fastening the straps that adorned them - and summer jackets of wide appliqué are for Macdonald fans for whom a wisp of chiffon or two does not an outfit make.

True romance took over when billowing dresses featured faded floral prints of orange and yellow, pink and blue, indigo and grey in a newly pretty move that had editorial potential all over it.

Roberto Cavalli Spring/Summer

s show this morning was set in a clear-roofed marquee filled with giant plastic tropical plants – and, instead of models, a tribe of snakeskin-wearing, fringed and tasselled primitives strode out of them.
With Natalia Vodianova and Laetitia Casta on the line-up, Cavalli was in the mood to impress – when isn’t he? And today’s show was a fantastic example of one idea being thoroughly worked through to dramatic effect.
Dresses of shredded and slashed snakeskin appeared to peel off the models as if they were shedding them, their long blonde hair extensions adding to the dramatic fringing that smothered their dresses, skinny hipsters, handbags and heels so that everything swung and swished as they walked.
Clearly these women had had to fight to cloth themselves – and they had teeth pendants and crocodile hide handbags to prove they’d won.
It was over-the-top and fabulous – Cavalli printed chiffon with more snakeskin and added leopard print and feathers into the mix on dresses that were busy with glittering crystals or gold leaf amid the fringing that, when falling from neckpieces, had a tribal drama. When they fell from snakeskin bra tops, however, we were reminded that these are Cavalli women after all – they want all of your attention all of the time.
The bleached tones of grey and tan, lavender, cream and spearmint softened the overall look and the shredded chiffon, heavy with detail and then morphing into sexy crochet and fishnet dresses, displayed masterful handiwork. The finale of all the girls walking out together before arranging themselves around the plants, was a formidable sight. Even if you’re not brave enough to wear it, you certainly want to watch

Daniele Alessandrini

Voglia di ripresa, cominciando proprio dalle origini dell’eleganza sartoriale in stile anni ’50: vestirsi impeccabilmente per tutto il giorno. Ma anche di rinnovo formale, esplorando nuove linee e proporzioni. La giacca monopetto si accorcia ammorbidendo le sovrapposizioni fra lane pregiate, caban, pantaloni cortissimi.

everbloom silk organza overshift

This beautiful silk organza overshift has been hand dyed with care by Jennifer Barclay herself! It's a smashing accent piece to throw over anything in your existing Blue Fish wardrobe - or add it to the Light Hearted dress for an elegant outfit. This delicate fabric has been hand printed, but looks amazing without, as well.

  • PLEASE NOTE: Silk organza is incredibly delicate and should be laundered with care. Because these pieces were hand dyed, there could be some dye transfer - please gently hand wash alone.
  • Ruth (blonde): 5'7" - Linda (brunette): 5'6"
  • Preshrunk organic silk organza
  • Made in USA

Top Fashion Designers

Zac Posen Zac Posen, at only 25 years old, has already earned a place in fashion history. His leather dress, designed for the 'Curvaceous' exhibition at the Victoria & Albert Museum, was awarded the V&A Prize and acquired for the museum's permanent collection. This event marked the beginning of great things for the young New York native.

Born in 1980, the son of a painter, Posen enrolled in the pre-college program at the Parsons School of Design, later joining Saint Ann's School for the Arts in Brooklyn. His fashion studies led him to Central Saint Martins in 1999 where he embarked on à BÀ in womenswear. However he soon packed in his studies in order to start his own label, which was an immediate success.
His glamorous signatures include bias-cut gowns, fishtail hemlines and a passion for screen-siren style. His talent was swiftly recognised by the fashion industry: he was a finalist for the ENKA International Fashion Design Award in 2002 and a nominee for the CFDA award for new talent in both 2002 and 2003 before winning the Perry Ellis Award in 2004.
That year proved to be a groundbreaking period for Posen. In April, Sean John, the fashion company backed by Sean 'Puff Daddy' Combs, announced it was making a long-term investment in Posen's label. However, it is Posen that continues to steer the label creatively, driving it forward with his vision of a strong, feminine silhouette. With Sean John's financial backing, the days when he was forced to fund his first catwalk show with the ?14,000 prize from a fashion competition are a distant memory. Freed from monetary restraints, he is now able to concentrate on expanding his ready-to-wear collection and developing his accessories line.


Acne may have its big-boy bona fides in order—international distribution, its own literary journal, the occasional show in Kensington Palace, even a much-touted collaboration with Lanvin before its fellow Swedes at H&M reached the atelier d'Elbaz—but it's always pitched itself as the label of guys just wanna have fun. And then its Fall collection emphasizes the suit?

"It's just a feeling, you know," creative director Jonny Johansson shrugged after the show. "All the tailoring—I thought that was in the moment, something fresh. I'm tired of all this heritage, the older models or whatever. It's time for something young."

That translated into a series of overcoats paired with suit pants, as well as the two-piecers themselves. The idea of a man's first suit is one that's been gripping other designers during this very sartorial season—Kris Van Assche, for example, was mulling it, too. It's also good business, especially at Acne's relatively modest price point: The suit revolution of the past few years has trickled down to the younger generation, and it's labels like Acne to which they'll turn.

The Acne cut is youthful, with slightly cropped pants and low-buttoning jackets in different styles (single- and double-breasteds, standard lapels and shawl collars), all in Italian bonded wool. The hitch is that, on the runway at least, they can look a little flat, even when pepped up by accents of raspberry, royal blue, or teal. "It's the way they dress," Johansson said of his clientele. "It's that moment when you're not grown up and at the same time, not a kid. The kind of sexual energy that brings." Keep looking down, to the boys' shiny patent Chelsea boots, and you could get a better sense of the signature Acne charge.

The Best Bridal Lingerie

A peignoir set—a matching, floor-length white nightgown and robe—is a classic wedding-night option. You have a lifetime of wearing whatever you like to bed ahead of you—why not embrace this opportunity to wear something supremely bridal, feminine, and romantic?
Amore gown, $124, and robe, $140, both Jonquil

Wedding Dresses and Style

Three-dimensional floral details originally debuted a few seasons ago. They started small—a few petals here, an organza flower there—but my, how they've grown! This season, enormous flowers sprouted from skirts on backgrounds of organza, or literally became the skirts. Lush, plush, and so very, very romantic.

Laura and Jonathan in Chicago, IL

Despite being set up by mutual friends, Laura and Jon were initially hesitant to date because they lived so far apart—he in Seattle and she in Chicago. "But we started to get to know each other through emails and phone calls, then Jon flew out to meet me for the first time," says Laura. "We dated for five months before getting engaged, and nine months later we were married—when it's the right person, you just know." Laura wore a Paloma Blanca gown from Francia Bridal Boutique and customized it by adding a strap.

Bridesmaid Dress and Wedding Gown Pairings


A ballgown in an airy fabric like tulle requires a bridesmaid dress in a lightweight fabric, like chiffon (satin, for example, would be too heavy and rich). And the to-the-floor length and dark hue of this bridesmaid dress hold up to the wedding gown's air of black-tie formality.

Tree-Trimming Party in the Castro

Strapless chiffon bridesmaid dress, David's Bridal; Kaleidoscope necklace, Roberta Chiarella; gold ruffle wristlet, Minicci,; Iridescence glitter peep-toe pumps, Betsey Johnson,; feather ornament, Anthropologie; invitation, Iomoi

Nutcracker Girls' Night Out

Strapless bridesmaid dress, J.Crew; crystal earrings, Ben-Amun by Isaac Manevitz; Claudette peep-toe pumps, RSVP,; satin bolero, 57Grand; purple cloche hat, Monsoon; invitation, Cocodot
See next holiday look: New Year's Eve Pub Crawl

Jean Fares To Show Designs of Passion and Elegance at Couture Fashion Week

Dynamic fashion designer Jean Fares of Lebanon will present his latest collection of inspired evening couture creations on Friday February 8, 2008 in the ballroom of the elegant Westin Times Square in New York City. Part of Couture Fashion Week, Mr. Fares's new collection is entitled "Living...Energy" inspired by the ideal wearer of his designs: a dynamic, charming, thrilling and energetic woman. A special encore presentation of the fashion show will be held on Friday, February 15, 2008 at The Colony Hotel in Palm Beach, Florida

Since establishing his own fashion house in 1992, Jean Fares has become known for his elegant color combinations and innate sense classic style. His couture bridal and evening creations are favored by an exclusive clientele in the Middle East. His previous collection, "Living-Eco", featured an impressive array of beautifully crafted designs.
Mr. Fares has done successful fashion shows in Paris, including the Hydra Pret-a-Porter event, and in Lebanon as well as other Middle Eastern countries such as Egypt, Qatar, Saudi Arabia and the UAE. In 2007, he did a series of fashion shows in the USA in Miami, Houston and Washington D.C. before enthusiastic audiences of dignitaries and VIPs. Mr. Fares has designed evening gowns for a number of top beauty contestants including Miss Lebanon 2004 and Miss World Supermodel 2002, as well as for singer Shada Hassoun, winner of the 2007 Star Academy final (the American Idol of the Arab world) who has become a symbol of unity and goodwill in war-torn Iraq.
"Jean Fares's creations are of the highest caliber, like so many other gifted couturiers from his part of the world," notes producer Andres Aquino. "We are fortunate to have him participating in Couture Fashion Week this season and look forward to an extremely enthusiastic reception from our audience."
Couture Fashion Week is a multi-day event showcasing luxury couture and fine fashion including eveningwear, elegant fashion, couture bridal as well as accessories. Attendees include upscale consumers, invited VIPs, the press and selected high-end store buyers. The events also include exhibits of luxury brands as well as entertainment and networking cocktail and after-parties, and are held in top venues in New York City, Palm Beach and other selected cities.
In addition to its ongoing offering of unique branding opportunities for luxury products and services, Couture Fashion Week works in conjunction with lifestyle industry leaders around the world in offering attendance at the fashion shows as part of lavish travel and shopping experiences for those with exquisite tastes.

Kloppend hart van de bodyfashion branche

Op de maandagen in het inkoopseizoen is het 'open huis' in het Bodyfashion Center en zijn alle showrooms van de leveranciers en agenten op de eerste etage geopend van 09.30 uur tot 17.00 uur. In de overige maanden zijn de showrooms de eerste maandag van de maand geopend, behoudens feestdagen. U kunt de agenda raadplegen voor de exacte openingsdata. Wilt u op andere werkdagen komen dan graag van te voren een afspraak maken met de betreffende showroomhouder. Ook op de tweede etage treft u nog eens 21 showrooms aan. Voor u als detaillist biedt dit de mogelijkheid om uw afspraken met verschillende leveranciers te combineren.
Het Bodyfashion Center is het centrale inkoop-, oriëntatie- en handelscentrum voor lingerie, foundation, ondermode, nachtmode, homewear, bad- en strandmode evenals beenmode. Het Bodyfashion Center is toegankelijk voor de branche en de pers; het is niet toegankelijk voor particulieren.
Ook worden er regelmatig Bodyfashion cursussen en opleidingen gegeven. Kijk hiervoor onder de link: cursus aanbod.
Daarnaast vindt twee maal per jaar, in februari en in augustus, de Bodyfashion Tradefair plaats. Tijdens deze inkoopbeurs zijn ruim 400 merken in het Center vertegenwoordigd. Ook branchegerelateerde deelnemers met betrekking tot trends, winkelinrichting en cadeauverpakkingen geven hier acte de presence. Daarmee is het Bodyfashion Center het belangrijkste ontmoetingspunt voor de bodyfashion branche in Nederland.

Bij uw bezoek kunt u gratis parkeren in de parkeergarage aan de voorzijde van het Bodyfashion Center.

Klik voor de merken in het Bodyfashion Center op Merken. Meer informatie over beursdata en themadagen kunt u lezen op de Bodyfashion Center Agenda.

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