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نوشته شده در تاريخ شنبه 30 بهمن 1395 توسط beauty and fashion

It’s no secret that many of the people who work in fashion are exceptionally good-looking. The cult of street style has turned editors, photographers, and stylists alike into makeshift models—but what happens when the behind-the-scenes talent takes to a major runway? The answer can be found in Nikita M’Bouroukounda, an accessories designer who was among the fresh faces on Coach’s Fall show. At Henri Bendel, M’Bouroukounda spends her days creating eye-catching bags, and at Coach she looked elegant while modeling them. Though she isn’t the first designer to work on both sides of the camera, M’Bouroukounda’s journey from being scouted on the way to JFK to walking for one of the world’s biggest brands just might be Fashion Week’s best discovery story. Here, she shares the details.

On her fashionable CV

“The past several years of my life have been spent in the world of fashion. In 2013, I graduated from the Savannah College of Art and Design where I studied accessory design. I then moved to New York, where I met my first boss, Diane von Furstenberg. I met her at a Bergdorf Goodman appearance; I showed up with a necklace I designed, and she asked me to come in with my portfolio to show her team. Soon after, I landed an accessory design job there.

I joined her team as concept research assistant and worked on the concepts for each season. During Fashion Week I actually dressed many of the models I walked with at the Coach show! Since my DVF days, I have been freelancing with the Henri Bendel handbag design team, and now modeling!”

On getting discovered

“At the beginning of January of this year, I was on the train home from the airport and Paulo Santos, now my agent at Ford Models, stopped me to give me his card and asked me to call him. A few days later I was signed by Ford and jumped straight into Fashion Week with nothing but a few digitals, and just walked my first big show for Coach!”

On the Coach show experience

“I loved working with the entire Coach team. Stuart Vevers, Karl Templer, the styling team, everyone was amazing! And most importantly, the woman who believed in me and gave me the opportunity with only a few digitals and no book—Ashley Brokaw!

The casting itself was exciting because it’s something I’ve never experienced before. It was nice going into it knowing already what happens behind the scenes during a show. I get excited to see what these designers—my peers—are currently working on.”

Her designer’s take on the trends

“Right now anything novelty is huge: embellishments, embroidery, and beading which is actually a specialty at Henri Bendel.”

On finding the balance

“I’ve been in the industry for quite a few years, so nothing has surprised me too much, though I have found it interesting being on the other side of fashion as a model. [Fashion Week has] been hectic—especially balancing my freelance design job and castings. It’s been interesting meeting various casting directors and getting a feel for their styles. Overall, it’s been an amazing experience and I appreciate the opportunity!”Read more at: |

نوشته شده در تاريخ پنجشنبه 28 بهمن 1395 توسط beauty and fashion

Sarah Burton grew up in the no-nonsense North of En­gland, one of five artistic children who was dressed, as she remembers, “in my brother’s hand-me-downs—hence the longing for beautiful clothes!”

That longing eventually took her to Saint Martins art school to study fashion print design. At the time, as Burton remembers, everyone was talking about the provocative talent of a recent graduate, Alexander McQueen, who was rapidly securing a reputation as a designer of iconoclastic brilliance. Burton’s tutor, Simon Ungless, was a friend of McQueen’s and, impressed by his student’s passion for research, suggested that she intern with him. “I was a bit scared,” the soft-spoken Burton admits, “because I wasn’t very ‘fashiony.’ But meeting him was completely mind-blowing: He was so lovely and very, very warm.”

She was also in awe of McQueen’s intuitive talent. On her first day in the designer’s disordered Hoxton Square studio, “he took some lace and pinned this beautiful dress on the stand in an hour, dancing around the mannequin,” Burton recalls. “It was like sculpture—I’ve never seen anything like it.” In those early years, McQueen made a lot of the pieces himself. “In such a short

space of time he did everything,” Burton remembers. “Tailoring, eveningwear, dresses, embroidery, leather, knits—everything!”

As a result, McQueen’s team learned never to say no to a technical challenge—because they would often come into the studio in the morning to find a finished garment on the stand that McQueen had spent the night resolving himself. In the beginning, Burton admits that she “couldn’t really sew or pattern-cut—I had to learn really quickly,” and with money tight, there was no room for error because, as she says, “you couldn’t afford to remake it!”

When the brand was acquired by François Pinault’s Gucci Group (now Kering) in 2000, and resources and production capabilities were exponentially amplified, Burton spent time in the new Italian factories teaching herself their specialist skills. She realized that if she showed “that you can get your hands dirty,” the craftspeople in turn could achieve results that often exceeded her expectations.

After the brilliant, troubled McQueen took his life in 2010, Burton, by then the designer’s invaluable right-hand collaborator for fourteen years, was his natural successor—most immediately, she was responsible for finishing the Angels and Demons collection that McQueen had begun but had been unable to complete. After that solemn, elegiac presentation, Burton finally emerged from behind the scenes, though the transition into the spotlight for this modest, self-effacing woman was clearly not an easy one. “I was always in the chorus—I was never a soloist,” she explains. But she did a reverent job explaining McQueen’s approach in that collection, which, after the technological innovations of his recent works, saw him return to the idea of craft, to “things that are being lost in the making of fashion. He was looking at the art of the Dark Ages but finding light and beauty in it,” Burton told Vogue at the time. “He was coming in every day, draping and cutting.”

Alexander “Lee” McQueen was admittedly a tough act to follow, and Burton’s work was subjected to merciless and unnerving scrutiny, but the truth is that she defined her own identity with the very first look she sent down the runway in her debut collection the following season. After the trauma of

McQueen’s untimely death, she looked for inspiration to the healing power of nature and the rural English traditions she grew up with. Look number one of spring 2011 was a frock coat cut on eighteenth-century lines of the sort that McQueen himself loved, but Burton built it from ten layers of pale, fraying chiffon: a metaphor for the new, feminine softness she was ushering in. From the beginning, Burton’s gender has in many ways defined her point of difference with McQueen himself. In her quiet way, she helped to bring about both catharsis to her grieving team and aesthetic continuity and coherence to the house whose legacy she cherished—and whose secrets and mysteries she alone held in her head and her heart.

“With Lee, each show was so completely autobiographical,” says Burton. “The dresses could tell their own stories because the fashion was really an avatar of his personal journey.”

But where McQueen drew on history and technology to explore his inner demons and reflect his often disquieting vision of a dystopian world, Burton uses those same themes and resources to celebrate her passion for traditions and craftsmanship, and the ways they can be harnessed to flatter a woman.

“For me it’s not just about a show or a review,” Burton says. “It’s about dressing women and how a piece makes them feel. As soon as you put a McQueen jacket on, you stand differently because it has a waist and it has a shoulder and it makes you feel empowered. It’s great if you can do that for women.”

The fruits of Burton’s training alongside McQueen are abundantly evident: Watching her during a fitting is an object lesson in perfectionism. Though Burton has a dedicated office in McQueen’s steel-and-glass HQ in London’s once-gritty East End, she admits that she rarely uses it. “Last year I wrapped my Christmas presents there,” she confides, “and that was it.” Instead, she wants to feel the collection she is working on in a light-flooded top-floor studio upstairs, surrounded by what she calls “a good chaos,” along with her gifted team of design collaborators. The soaring space resembles the treasure-stocked attic of a stately home, with carefully labeled containers filled with textile and embroidery samples stacked against its walls and an ever-changing array of panels covered in inspirational images propped next to them. (The company is on the verge of moving to bigger new premises in the same neighborhood. “It wouldn’t be McQueen if it wasn’t chaotic!” says Burton.)

Burton habitually wears a plump satin cushion bristling with neatly arranged pins on her wrist; she uses these to deftly smooth the line of a bodice so that it clings to the Amazonian body of Russian-born Polina Kasina, the fit model who has been with the house for twelve years and who, like Burton herself, carries a vital memory of hundreds of designs by both McQueen and Burton.

Perfectionism, after all, is in the house’s DNA. “When Lee was here,” Burton remembers, “we would actually color-code the pins—we’d paint the ends the same color as the fabrics,” so as not to impede the visual impact of the piece in progress.

“A lot of clothes today look like they haven’t been touched by a human hand, so they don’t fit properly,” she adds. “I think it’s really important that clothes are made for a woman’s body.”

Burton’s creative process is a collaborative one. “Each season, either we find a dress or a story or a place,” she explains of her work with her design team, “then it just sort of grows from there. It’s an amazing atmosphere here—a constant conversation. It’s a very organic way of working, and it all comes together in a collage.”

The sample atelier on the floor below Burton’s studio is the domain of the formidable Judy Halil, head of atelier, who trained with the queen’s dressmaker Sir Hardy Amies and has been a member of the McQueen family for 20 years. Halil presides over a technical team as dedicated and passionate as the designers upstairs. A battalion of mannequins stands sentinel in a corner, each padded to mirror the figure of one of McQueen’s celebrated couture clients, who now include Nicole Kidman, Cate Blanchett, Michelle Obama, and the Duchess of Cambridge, whose gown for her 2011 wedding to Prince William—which suavely combined romance, history, high style, and ceremony in a dress for the ages—propelled Burton to global fashion stardom. Added recently to this list are Elizabeth and Cecilia, the four-year-old twins of Burton and her husband, the droll photographer David Burton (the couple also have a year-old daughter, Romilly). For the twins’ school nativity play, Halil fashioned a plump robin and a swallow costume with perfectly crossed tail feathers, both crafted from individual feathers of silk taffeta laid over organza—an haute couture marvel that would churn the stomach of any hapless fellow parent struggling with a glue gun and some sticky-back felt, but one that has also been developed into a flock of dresses for Burton’s fall 2017 runway show.

With McQueen, research was largely carried out in the library at his and Burton’s alma mater Saint Martins, along with British Vogue’s basement archive, although inspiration might be triggered, as she remembers, “by something he’d read or seen on the telly.” Or at the bottom of his garden: An ancient elm by his country cottage inspired his fall 2008 collection. There were occasional field trips, too, including one haunting visit to Salem, Massachusetts, where McQueen’s ancestor Elizabeth Howe was hanged as a witch in the seventeenth century.

When Burton was thinking about her stirringly poetic and acclaimed spring 2017 collection, she took her design team on their first field trip—to Scotland’s Shetland Islands. “When you design collections from books or imagery, you don’t have that feeling of what the place is actually about,” she explains. “And if you just use Google, you get the same pictures as everybody else.”

Burton and company returned from the islands with a haul of inspirations that included Fair Isle sweaters, balls of wool, gloves, shawls knitted as finely as lace, hand-loomed tweeds, and vivid memories of a Nordic, wind-lashed landscape and islanders whose crafts revealed their pride in what they do.

“Brexit had just happened, too,” adds Burton, and after the unsettling divisiveness that she felt this represented, the islands reaffirmed “a sense of community and a family sense of belonging, of being together, of real values again, things that mean something—things that you want to pass down to your children.” (Perhaps with legacy also in mind, she and her husband are about to renovate a rambling early Victorian house in North London, which Burton was drawn to for its harmonious proportions and untouched period detailing. “We are bursting at the seams,” she says of their current house, a charmingly unpretentious and child-friendly place nearby.)

Burton, who admits that she has hoarder tendencies, still cherishes now historic McQueen pieces in her own wardrobe, and on trunk shows around the world she’s been touched to discover that many of the brand’s clients hold on to their favorite old pieces too. These customers, as she notes, “are really passionate about the clothes, whether it’s something that’s very functional or something to dream about. That whole ‘fast fashion . . .’ ’’ she says with a sigh. “I just couldn’t. It’s not possible for me. These are things that are meant to be forever—things that you buy and treasure.” As a concession, she will show her pre-fall 2017 collection to clients only when it is available in stores.

Burton is almost invariably drawn to Britain’s history and nature for her McQueen inspirations, and for this collection she started thinking about Cornwall, the mystic county at England’s westernmost tip where she spent many childhood holidays. It is a land of Arthurian legend, smugglers’ coves, and a famed diamond light that has attracted artists for more than a century.

Because the 250-piece-strong pre-fall collection is in stores longer than any other collection, Burton explains, “it has to represent everything the house is about.” She has decided, therefore, that the subsequent fall collection shown in Paris this month—what she dubs “the icing on the cake”—should build on this initial inspiration and further integrate the retail and runway experiences (the men’s McQueen collections will also fold in some of these ideas).

With this in mind, Burton has planned an intense two-day Cornish adventure for core members of her creative team. We arrive on a crisp late November morning at Tintagel, the site of a thirteenth-century castle long associated with the legend of King Arthur, a place of heart-stopping beauty set on a hilltop bluff high above the roiling Atlantic. Burton is struck by its “very eerie calm.” Soon it’s on to the wide, stirring wilderness of Bodmin Moor, with its mystic Bronze Age standing stones and towering rock formations.

At the picturesque tidal island of St. Michael’s Mount near Marazion the following day, the team is collectively mesmerized by the eddying swirls of seaweed in the rock pools that flank its stone path, which are exposed by the sea only at low tide. (McQueen himself, Burton tells me, was obsessed with National Geographic and once based a collection of dresses on images of jellyfish that he had torn from the pages of its magazine.) In the village of Zennor we stop at the twelfth-century fishermen’s church of St. Senara, its ceiling crafted like a ship’s hull. The church pews have been provided with prayer cushions covered in needlepoint by the industrious embroiderers of the parish, which send the team into paroxysms of delight. At the nearby harbor of St. Ives, an audience with a “local wisewoman” does not materialize, so we wend our way through the winding lanes and picturesque little villages outside of town in search of a field that contains a wishing tree. The dirt path that leads to it is latticed with branches crusted with fan-shaped lichen. “Embroidery, fabric manipulations, sequins—sorted,” says Burton with a gentle smile.

Then, at the path’s turn, we are all stopped in our tracks by the sight of the tree itself growing at the edge of a spring-fed pond. Its low-spreading branches are tied with hundreds of multicolored strips of cloth representing the wishes and prayers of those who fixed them there. Among them, the team spots an elaborate cat’s cradle of thread, like a modern-art cobweb between the branches. Burton herself notices a baby’s bib, and then children’s socks.

“It’s quite upsetting,” she says, her voice breaking. “I don’t know why. It feels almost . . . intrusive.” She is soon sobbing softly to herself. Burton is feeling fragile: Discombobulated by Brexit and the recent American elections, she is formulating her creative responses.

These are revealed back at the London studio in early January. Burton has spent the Christmas holidays with her large family in the English countryside. “I live in two very different worlds!” she says. She confesses that she hasn’t taken a real holiday since the twins were born. Luckily, her beloved Irish nanny is getting married in County Cork this year, and Burton is thrilled about the the trip—and its promise of further design inspirations.

She admits she has been dreaming about the fall collection over the holiday break. “It’s quite nice when you stop for a minute,” she says, “and it’s very nice when you come back.”

Burton has returned to a studio with thematic boards covered in images from the Cornish trip. “Devil’s traps, dream catchers, enchanted sacred trees in the forest . . . the witchy board: I love how pagan this all feels,” says Burton. The Shetlands collection, she adds, “was very of-the-sea, but this is of the earth and the trees.” On the floor, Kim Avella, head of fabrics, has arranged exquisite color-shaded assemblages of images with fabrics old and new, the fragment of a flapper dress that Burton found years ago in a flea market, eighteenth-century ribbons still wrapped in ancient paper bearing copperplate writing exercises, and a pheasant’s plumage among them. “It’s not about a Pantone reference here!” Burton says wryly. The rivulets of waving grasses flowing down Tintagel’s steep slopes have been translated by knit maven Lucy Shaw into fairy-tale metallic knits “like maiden’s hair,” while loose-weave tweeds, randomly threaded with colored ribbons, evoke that mystic talisman tree. There are beautifully rendered watercolors of those Marazion seaweeds, and lichen iPhone snaps have been elaborately pieced and computer-engineered to create print prototypes—chez McQueen, these print and embroidery placements are so complicated that small-scale paper versions are constructed first; they sit around the studio like the denizens of a beautifully dressed doll’s house.

“We are so lucky,” says Burton, surveying her fecund domain. “Although there is time pressure, we have the freedom of being creative and doing what we love. What is so amazing about McQueen,” she continues, gently turning the spotlight back on her team, “is that everything that comes out of there has

completely been loved.”Read more |

نوشته شده در تاريخ سه شنبه 26 بهمن 1395 توسط beauty and fashion

India-born US-based designer Premal Badiani will showcase Indian fashion at New York Fashion Week. She says it could open an avenue for Indian textile makers.

Badiani’s latest collection ‘Root Cause’ is based on soft and fluid silhouettes in warm shades of maroon. The earthy undertones of the fabric are further complemented with the green and gold embroidery that endorses ‘green awareness’.

“The inspiration behind this collection is to bring awareness of the human impact on environment and to promote social responsibility by adopting sustainable fashion as a lifestyle choice,” Badiani said in a statement.

“The primary fabric used is made from natural cellulosic fibres and produced from wood pulp, a natural renewable resource,” she said.

This highlights the brand’s philosophy of environmental awareness that believes caring about the planet is not a seasonal choice but needs to be done all year round, she added.

“Through this collection, the brand wants to promote sustainable fashion in the luxury market,” Badiani said.

The designer feels showcasing this line at the New York Fashion Week will bring more opportunities to Indian textile makers.

“This opportunity will open an avenue not only for me and other designers, but also for the entire community of Indian textile makers and handloom weavers to get their craft noticed and acknowledged in the international fashion industry,” said Badiani.

Her label Premal Badiani has creations which are marked by layering, embellishments, intricate draping and attention to details.

Her show at the New York Fashion Week is on Tuesday. Another Indian name to showcase at the gala is Vaishali Shadangule.Read more at:

نوشته شده در تاريخ جمعه 22 بهمن 1395 توسط beauty and fashion

Indian weddings are what dreams are made of and there are so many women out there who plan their wedding to coincide with the day of love -Valentine's Day! Though we are pretty sure that all you ladies who are set to tie the knot on February 14th must've already bought their wedding trousseau, but then if some of you still have room to fit that one special outfit in your wedding closet, it has to be the Taj Mahal lehenga!

Yes, you read that right! Designed by couturier Karan Arora, the ensemble boasts of Taj Mahal carvings on malda silk, with interesting linings, motifs and intricate zardozi work. Interestingly, it took karigars 4500 man hours to make produce the marvel, tagged 'Wah Taj'.

The vines and flowers, leaves and birds, woven carefully and diligently transpire the flamboyance within a woman.

We got in touch with Karan to know what inspired him to design the outfit and here's what he had to say!

Designing is something that has its roots lying deep within the creative part of one's mind. Despite magnificent architecture and design inlays the monotonous neutrality of artwork on the ceilings, domes, walls and floors of Taj Mahal has really inspired me to create 'Wah Taj'. It is infused with intricacies and I used zardozi to bring back the old world charm. Also, the works are based on the neutrality of pastel shades that shimmers the detailing in the design with every move," explains Karan.

According to Karan, the ensemble is for them, who adore the traditional artworks intertwined with hhistory for the longest time. "I purposefully ignored the usage of the machine produced silk because of its stiffness and inflexibility. Unbelievable as it may sound, but this beautiful collection is the result of the magical weaving ability of the weavers, the authentic craftsmen of India," adds Karan.

When probed about how has been the response of the brides-to-be and if they are lining up to get a Taj Mahal lehenga customised, Karan says, "The response has been overwhelming. The thought of communicating the grandeur of an art on couture is much received. Brides have been loving the idea of adorning the symbol of love with such well defining intricacies in zardozi. They have been specifically asking for the written literature of its regal orientation along with story of emotions that have gone into the making of this lehenga."

With Taj Mahal being the ultimate epitome of love, we are pretty sure a lot of you would make a beeline to don this piece of art. What say, ladies?Read more at:cheap blue prom dresses |

نوشته شده در تاريخ چهارشنبه 20 بهمن 1395 توسط beauty and fashion

Now that those new year resolutions are firmly on track and fitness plans in full swing, it’s time to start thinking about supplementing those exercise regimens with some healthy eating. But before you reach out for that packaged salad dressing, are you entirely sure that it is in fact ‘healthy’? Think of all the salt and preservatives. Oh, and also read the fine print. Or if those steamed dumplings are ideal? After all, they do contain refined flour.

I, for one, am constantly googling recipes for something different yet relatively healthy. But I’m still never sure if that baked chicken is the best thing to have for dinner. Or for that matter keep a track of all the calories I’m consuming. Not that I’m very mindful of them anyway.

But here are a few apps for those who are sticklers or for those who’d like to be.


If you’re like me and end up buying a bunch of sauces and dressings simply because they claim to be low-sodium or low-fat (who can be bothered to make fresh dressings every day, right?), then this app is for you. Fooducate helps you pick the right products and eat healthy. It lets you scan the barcodes on products and pulls up the nutrition information of that particular product and also helps you navigate the sea of food labels at the grocery store. You could also manually enter a meal’s nutrition information for the app to double as a calorie tracker. And in case there’s an ingredient in your food that isn’t the best option for you, the app will suggest healthier alternatives.


If it’s not just weight loss you’re looking for but also gaining muscle mass and generally leading a healthy lifestyle, then Lifesum is the app for you. The app lets users choose a fitness plan that best suits their requirement and then lets them maintain a record of their exercise, water intake, food consumption and scan the barcodes on packaged food. The app takes into consideration one’s fitness goals before providing suggestions and feedback to help you reach those goals. If you want more specialised diet plans, you could always subscribe to their premium service.

My Diet Coach

If you’re the kind that quits a fitness plan just as quickly as you take up one, then My Diet Coach is for you. The app uses a combination of goals and challenges to make staying fit fun; much like a game. Users can set their fitness goals on the app and it then sets up a series of reminders and motivational messages to help you get started on your fitness journey; and stick to it as well.

My Diet Coach also throws up regular challenges to encourage healthy eating, drink enough water and get your daily dose of exercise. The app also has a calorie calculator.


If you need a better incentive to motivate you to stay fit and stick to your new resolutions, then try Pact. The app motivates users to eat healthy and exercise regularly. The best part? The app pays you to stick to your goals.

Now, who wouldn’t mind a little incentive to eat right. The app needs you to log your daily food and water intake, including how many veggies you’ve been consuming, apart from a workout log. And if you’ve been good, then just like Santa, the app rewards you.

Lose It!

This one is a combination of a food and activity tracker and is rather nifty when it comes to determining portion sizes, calorie intake and keeping an eye on the types of food being consumed. Like other nutrition apps, this one packs in a barcode scanner as well, and lets you know the serving sizes of packaged food you can eat. The app also syncs with a number of activity trackers to make it a seamless experience. The Lose It! community too is a rather active one, and the app throws up challenges to help you reach your fitness goals.Read more at: |

نوشته شده در تاريخ دوشنبه 18 بهمن 1395 توسط beauty and fashion

Nishka Lulla, daughter of National Award winning designer Neeta Lulla, has helped her mother in designing clothes for movie stars, and has also showcased her own work on the ramp.

Asked which is easier, designing for films or for the ramp, Lulla said, “I think none are easy. Both are challenging. when you design for the runway, every year you have to come out with a collection which is better than the previous one.”

Lulla, who has celebrity clients such as Sonam Kapoor, Katrina Kaif, Sonakshi Sinha, Genelia D’souza and Kiran Rao, says a designer constantly competes with herself while designing for the runway.

“You are constantly competing with yourself and what you have done before, to come up with something new, different and something that would create a fashion statement,” she said.

“When you design for movies, it is a challenge because you are designing for a particular character, which you have to relate to and there are many other things you have to look at — such as location, weather, budget and character. So, both are challenging in their own way,” she added.

Lulla showcased her latest line at the Lakme Fashion Week summer-resort 2017 on Saturday.

“This [collection] gives a glamorous touch to the boho-vibe. Earlier, I have done very easy-to-wear, casual styles. But this line has a more glamorous style to it,” she said.

The designer says her collection of 22 looks is inspired by nature and is meant for women who love their independence.

“It’s mostly inspired by nature, like butterfly wings and Indian mogra flowers... It’s mostly for women who are very free and who love their freedom,” she said.

“The cuts are very relaxed and easy for movement. They are fun, casual separates, which turn dressy with embellishments. Fabric used is mostly cotton, because I think it is great for summer.

“The colours are white, old greys, fern green... So it’s more of vintage colour pallette,” she added.

Lulla says the reach of current social media is helping people learn more about fashion and style, especially helping women to look beyond Bollywood for trends.

“With the rise of social media, I think a lot of the younger girls look at what actors wear off duty for fashion and style statements... Such as what an actress wears for a premiere, or airport looks. I think that is what inspires the girls more than movies,” she said.Read more

نوشته شده در تاريخ دوشنبه 4 بهمن 1395 توسط beauty and fashion
Facial oils for natural skin glow

Our face needs a proper care, this we know. But only doing the basic or necessary things won’t do any good. You need to pamper your skin in order to give special care to it.

According to Shikhee Agrawal, head training, at The Body Shop, facial oil is the newest beauty trend that helps to combat the damages on facial skin. It helps in several ways, from acting as anti-ageing agent to giving skin medication.

Well there are many good reasons to use facial oils:

- Natural oils are needed to keep skin hydrated and protected. Facial oil of a good quality tricks the skin into thinking that it’s produced enough and there is no need to produce more and this is the main reason for skin breakouts. Well worry not, facial oils regularly used help rejuvenating skin and due to the application procedure, helps relaxing the facial muscles.

- Facial oils revive antioxidants and vitamins quickly into skin and also add a natural glow to skin. It helps maintain skin against skin-ageing.

- Facial oils are good in getting absorbed easily and soften the appearance of thin lines. With regular massage, the facial muscles are lifted up and also get firmed.

- Facial oils reduce redness, irritation and even breakouts. Vitamin E is powerful anti-oxidant which helps in repairing cell damage and facial oils usually have ever nourishing Vitamin E, marula oil, Argan oil, rosehip, camellia, black cumin amongst some others

- Both, moisturizers, lotions or cremes and facial oils can be used simultaneously as facial oils are great for layering. Oils are best applied on cleansed skin in morning and at night right before applying moisturizer. Otherwise only the oil would do well.

- Facial oils can be used on any skin type be it dry, oily or normal as they rebalance skin and restore a naturally healthy complexion.Read more at:

نوشته شده در تاريخ جمعه 1 بهمن 1395 توسط beauty and fashion

A minor boy divorced his toddler wife after his sister was divorced by the brother of the toddler on the orders of a jirga, local rights activist and officials confirmed.

Noor Zaida Bibi, 20, was a member of the Basikhel tribe and the daughter of Zafarullah of Harnail Village. She had married Tajwar, the son of Khaperon of Peetao Asharay Village three years ago. The marriage was solemnised by a tribal jirga without any registration and involved a watta-satta exchange.

In return, M* – only two years old at the time – the younger sister of Tajwar, was ‘married’ to I*, the seven-year-old son of Zafarullah and younger brother of Noor Zaida Bibi.

Since both were minors, the jirga decided that a formal wedding ceremony would be held when they were older. Noor Zaida’s wedding ceremony, however, was held the same day and she went to Karachi with her husband.

In early 2016, she was allowed to return to her father’s home after she complained about Tajwar’s behaviour. On January 16, 2017, she approached Zahid Khan, a rights activist from Torghar who is affiliated with the Human Rights Commission of Pakistan (HRCP), and sought his help in getting a divorce.

Zahid informed the Torghar Dispute Resolution Council (DRC) about the case and then approached the DPO Sardar. Through the jirga, it was decided that Tajwar would divorce Noor Zaida Bibi as she was unhappy living with him. Subsequently, it was decided that her brother I*, now 10, would divorce M*, now five.

The Jirga was held in Judba at the home of Yaqub Khan and attended by tribal elders of the Basikhel tribe, Tajwar divorced Noor Zaida while I* divorced M*, Zahid told The Express Tribune on Thursday.

The jirga members endorsed the divorce, and submitted a written record of the divorce to the office of DSP Yousuf and DPO Sardar. Some members of the DRC were also present in the jirga.

Torghar District Police Officer (DPO) Sardar Khan and Deputy Superintendent of Police (DSP) Judba Muhammad Yousuf also confirmed the report.

When approached for comment, DPO Sardar confirmed that the marriage I* and M* was a case of watta satta.

DRC Vice Chairman Abdul Majeed too confirmed the divorce of the minor, adding that it was nikah-e-badal (watta-satta) and that an agreement was submitted in writing to the DRC as well.

He said the culture of nikah-e-badal was common and that marriages were not registered since no nikah registrar had been appointed in the district till date. “I have written to the Torghar Deputy Commissioner and asked him to appoint a nikah registrar as we want legal records of marriages to be available,” he added.

No action has been taken against anyone for forcing two children to get married.Read more at: |

نوشته شده در تاريخ چهارشنبه 29 دی 1395 توسط beauty and fashion

A transgender model will take part in one of India's top fashion events for the first time, a sign of greater acceptance of a community still ostracised despite recent laws ensuring their protection and more opportunities.

Anjali Lama, from Nepal, was rejected when she auditioned for the Lakmé Fashion Week in 2016, but this year she will model for several leading designers at the show that runs from Feb 1-5 in Mumbai.

Lama, 32, told the Thomson Reuters Foundation she had experienced discrimination in the early days but that she was now getting "an overwhelming response from the fashion industry after being selected, and other transgender people tell me they are proud of me."

Born Nabin Waiba Tamang, Lama joined a modelling academy in Kathmandu, but did not come out to her family. When they found out Lama was living as a transgender woman they cut ties with her and told her she had let them down, despite a 2007 Supreme Court ruling in Nepal that gave citizens the right to select their gender identity.

In 2015 Nepal granted protections to LGBT people in its new Constitution and became one of only a handful of countries to issue passports with a third gender category. But discrimination and abuse persist, and jobs are hard to come by.

In India, transgender people are eligible for quotas in jobs and educational institutions.

Jaspreet Chandok, an organiser of the Lakmé Fashion Week, says the event is committed to inclusivity and breaking stereotypes in gender, size and beauty.

"This season, our model pool will feature a transgender, a gender neutral and a plus size model ... (to) shine a light on some these issues and bring them to the national consciousness," he said.Read more at:prom dress uk | high low prom dresses uk

نوشته شده در تاريخ دوشنبه 27 دی 1395 توسط beauty and fashion

Chrissy Teigen and John Legend are the perfect KFC couple. Not only are the husband and wife fond of eating meals from the fast food restaurant, they also decided to go all out in expressing their love for brand by sporting KFC-designed onesies.

On Saturday, Teigen posted a snap of her and her husband standing beside each other while donning tight-fitting one-piece garments. While Teigen’s onesie is adorned with KFC founder Colonel Sander’s face, Legend’s orange onesie has a KFC fried chicken design.

Legend also took to his personal Instagram account to show to his fans the onesies they wore that night. In the picture, the “All of Me” crooner is beaming, while his wife rocks a cold expression. Legend appropriately captioned the photo: “Deep fried Pajama Jammy Jam.”

The couple did not just dress up in KFC-inspired onesies to show off their patronage to the fast food chain. They were apparently headed to Cash Warren’s pajama party-inspired birthday celebration that was organized by his wife, Jessica Alba. Aside from the Sports Illustrated model and the Grammy-winning singer, Kourtney Kardashian, Nicole Richie, Johnny Knoxville, Joel Madden, Shay Mitchell and Rachel Zoe were also guests at the birthday bash, as per People.

Kardashian, who wore an elegant black onesie, posed for the camera with Legend and his wife. The “Keeping Up With the Kardashians” star uploaded the snap on her Instagram. Meanwhile, Mitchell, who was sporting a pizza-adorned onesie that night, documented the games and activities Alba prepared for the party.

Aside from enjoying the pizza and sweets that were served at the party, the guests engaged in a couple of games, such as Family Feud, charades and a bean bag toss on the poolside area.Read more |

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