محل درج آگهی و تبلیغات
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
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
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
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:http://www.queenieprom.co.uk/prom-dresses-london-online
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
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
“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
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 at:www.queenieprom.co.uk | http://www.queenieprom.co.uk/prom-dresses-2017
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
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
“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:http://www.queenieprom.co.uk/blue-prom-dresses-online
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
prom dresses | queenieprom.co.uk
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
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
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.
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:http://www.queenieprom.co.uk/girls-prom-dresses-online
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
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
“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,”
“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
“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 at:www.queenieprom.co.uk
نوشته شده در تاريخ دوشنبه 4 بهمن 1395
توسط beauty and fashion
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
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
- 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:http://www.queenieprom.co.uk/pink-prom-dresses-uk
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
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
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:http://www.queenieprom.co.uk/girls-prom-dresses-online
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
In India, transgender people are eligible for quotas in jobs and educational
Jaspreet Chandok, an organiser of the Lakmé Fashion Week, says the event is
committed to inclusivity and breaking stereotypes in gender, size and
"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
نوشته شده در تاريخ دوشنبه 27 دی 1395
توسط beauty and fashion
Weblog Themes By
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
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
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
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 at:queenieprom.co.uk | http://www.queenieprom.co.uk/mermaid-prom-dresses-uk