pale pink taffeta dress with sewn-in bloomers and a belted stretch sateen coat

For someone who has only been part of the New York design scene for two years, Frank Tell has certainly made some headway. And now with a little help from a few connected friends, the 20-year-old is ready to launch his signature collection.

The Barcelona native relocated to Manhattan in 2005 and was first hired by As Four. A year later, he joined Sue Stemp. After exiting the latter four months ago, Tell has been engulfed in sketching and draping in his Lower East Side apartment. The flowing shapes and vibrant colors seen in Georgia O'Keefe's floral paintings provided a major source of inspiration for his "Apple Blossom" style, a reference to the vast body of work she completed in the Twenties. While cutting the 10 yards of chiffon for a magenta dress, the material splayed out on his apartment floor like a flower in full bloom. Tell said of O'Keefe, "She is known to have once said, 'A flower was cheaper than a model, and better since it never moved or talked.'"

Another artist, Ross Bleckner, whose painting class at New York University the designer once took, has a more literal tie to Tell's work. Bleckner has agreed to let his former student use one of his paintings as a dress pattern. Bleckner is among the guests expected at Tell's Sept. 6 presentation at Pure Project. Daryl K, Victoria Bartlett, Stemp and Bruce Weber are also on the list.

Tell said he is most eager to hear what his peers think about his debut. The 16-piece line features a silver stretch charmeuse sailor dress, a white chiffon long-sleeve dress, a pale pink taffeta dress with sewn-in bloomers and a belted stretch sateen coat. First-year projected wholesale volume is $175,000 to $250,000. Wholesale prices range from $175 for the Saint-Tropez top to $405 for the magenta Flowy dress. His aim is to update ideas and shapes from the Twenties, Thirties and Forties "to make them modern and chic - never looking retro or vintage," he said.

Even his name, which is actually his middle name, is a throwback. His mother, a huge opera fan, named him after composer Gioachino Rossini's "William Tell" opera. Like his mother, Tell is detail-minded. In keeping with the ultragirly theme of his first collection, the designer and Meza will serve pink truffles and Champagne at the Pure Project event. The Colorado-made Wen chocolates have crystallized violets, a nod to O'Keefe's fondness for flowers.

Even though he never went to design school, Tell said he started designing at the age of eight. "I knew it was what I always wanted to do," he said.

Given that, he is counting the days until his New York debut. "This has been the most outrageous month of my life. The thing is, it's really happening - I can feel it," he said. "It's what I've always wanted."yanzic0611.

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a waist cinched with a sporty belt and an appealing rumpled skirt

Simons' spring is all about precision: clinical cuts and bold strokes of color - various pinks and blues, sometimes with white or black - for a body-lengthening line, often measuring the obvious geometry against veilings either spare and angular or in wildly spun clouds of tulle. He opened strong, with a sheer poncho over a two-toned tailored tube in blue and gray and skinny, bright orange pants. Simons also showed numerous jackets cut high over hourglass knit tops and pants, setting up a three-part geometry that approached body-conscious tailoring from a whole new direction. He worked different fabrics - wool suiting and organza - in the same piece. He countered the linear shapes with volume in full pants, casual, billowing dresses and more demonstrative little sylph frocks crafted from what looked like multiple squares of tulle or organza taken in a bunch and fastened strategically.
Throughout, the transparency ebbed and flowed, at times revealing nothing more than a shock of bright orange or blue beneath, while at others, displaying the curve of the model's back or her body naked but for bright white briefs. Either way, Simons maintained decorum along with sexiness, ultimately offering definitive proof that elegance is not a retro concept.

Bottega Veneta: When a designer himself describes his collection as being "of pronounced subtlety and quiet," can one avoid the thought, "Uh-oh"? Luckily, however, Tomas Maier's self-assessment was on target in the loveliest sense and not as code for dull. The Bottega Veneta lineup he showed on Tuesday drifted by with an engaging retro feel of the archetypal back-when Italian movie-star sort. At its core was the dress - sheath, sack, bustier, bubble and especially the shirtdress. Maier projected a smoldering earthiness in natural-toned gabardines and linens, a waist cinched with a sporty belt and an appealing rumpled skirt. yanzic0608.
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a few black dresses were practically perfect

Stark minimalism, nonchalant layers and a soupon of shine - designers served it all up on the New York runways.
Yeohlee: Yeohlee Teng stuck with her signature architectural vein, citing Antoni Gaud as a major influence. However, the famed architect's fantastical designs had little resonance in Teng's tailored, minimalist collection rendered in a stark palette of gray, black and white. Her slim-cut, high-waisted wool trousers looked great with simple white cotton shirts, and a few black dresses - one in particular with a low-cut back - were practically perfect. But Teng got carried away with an avant-garde bustle theme that ran throughout. While it gave an interesting volume to her stretch wool coats, it just didn't work in the taffeta and satin numbers.
Yigal Azroul: Continuing his winning streak for fall, Yigal Azroul honed his skills with layering and proportion in a collection that had a cool, intentionally disheveled sophistication. His muted palette came alive when he mixed textures and lengths: Short leather jackets topped long, chunky sweaters, which in turn were worn over thin henleys and loose pants. Of course, he showed his signature draped jersey dresses too, but what really worked were the piled looks that all had a throw-it-on-and-go ease.
BCBG Max Azria: Max Azria hinted in his show notes that fall would emphasize details and textures. Boy, he wasn't kidding. While the requisite pretty, salable dresses came out, so too did a parade of frocks, skirts and jackets that suffered from too many ideas, sometimes all in one garment. Some were good notions, like the black appliqu yoke on a brown, swingy jersey shift. But overall, the feathers, ribbons, ruching and chain mail were a recipe for clutter.
Miss Sixty: The "Dreamgirls" hoopla isn't reserved for the red carpet. It also made its way onto Miss Sixty's runway, where creative director Wichy Hassan went slightly overboard on the lams and metallics, as in that bronze jumpsuit. However, when used in moderation, the shine worked nicely in the cropped gold leggings and the teal kimono-style sweater dress. As usual, denim was the strength - especially the high-waisted wide-leg trousers. And a short-sleeved puffer coat bedecked with kitschy prints of faces was a perfect example of the Italian brand's fun personality. yanzic0608.
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complex and relational spatialities involved in global brands

In Milan there is a variety of districts that function

principally as consumption districts tailored to different

types of consumers.celebrity red carpet dresses .

customers, and revenue, but they also help create a

vast set of shop windows that display Milan’s fashion

complexity and content. The sheer scale and scope of

shops and retailers from Italy and the rest of the world

means the city often feels like one gigantic dressed

window on the world of fashion: a window to be

looked at, but also one designed to project a multiplicity

of images outwards.

CONCLUSION

Understanding sectoral brandings of cities and howcities

can function as brand platforms for cultural industries is

important. In particular, investigating such processes can

tell one more about how the place of origin is itself often

part of commercial constructions cultural industries

weave to support their competitiveness. In the case of

Milan’s status as a fashion and design capital, four key

brand channels were identified: channels through

which the city’s brand is negotiated and communicated.

Each of these channels has its own particular form and

involves particular actors and negotiations. Thus, each

works according to a mess of countervailing organizational,

individual, and collective motivations. This

begs the question of how these four contested channels

hang together. Firstly, they hang together because

Fig. 3. Quadrilatero d’Oro

Global City Brand Channels in the Fashion and Design Industries 901

individual actors may be involved in many or all of them

simultaneously. For example, at the same time as being a

spokesman for the city,flower petal dress ,

 Armani’s firm organizes promotional

events and builds flagship stores. Secondly,

the channels are interconnected because what happens

in one channel may affect another. For example, the

effects of high-profile fashion shows may fail to convince

consumers faced by a brand that appears in shabby retail

environments. Thirdly, they hang together on a collective

level because what one actor does in a brand

channel can positively or negatively affect another. On

the positive side, there are definite advantages to channels

populated with many investors. For example, a

fashion week with fifty well-orchestrated shows is

better for everyone involved than a fashion week with

only five; or new entrants can benefit from the longterm

investments established firms have made in the

status of a particular retail milieu. On the negative

side, there is the danger that what some do in the

brand channels might not suit everyone.

These channels also share a local anchoring and a

degree of embeddedness through their grounding in

the use and appropriation of particular elements of

urban space, for example, billboards, shops on particular

streets, trade shows. Actors invest in these types of local

spatial stratagems even though their audience might be

co-present for only a short time (for example, shoppers,

trade visitors, tourists) or never even visit Milan (magazine

readers, bloggers, television viewers). Whilst many

of the brand channels are deeply rooted in the spaces of

the city, their reception, interpretation, and negotiation

may therefore happen far from the local. It is important

then to understand the complex and relational spatialities

involved in global brands such as ‘Milan Fashion and

Design’.

it turned out to be very influential and powerful and gave an enormous impact to the French

In 1978, Yamamoto sent one of his staff members, Atsuro Tayama, also

a graduate of Bunka, to prepare for his show in Paris. He first set up a

company, Yohji Yamamoto Europe S. A., and a store in Les Halles, a

shopping mall in the center of Paris. sheath bridal gown , All merchandise was imported from

Japan. Through a mutual friend, Tayama found a Japanese businessman

in Paris, Osamu Saito, who was hired as an executive to prepare for the

Paris collection. Yamamoto explains that it was his strategy to organize

his first show with Kawakubo in 1981 during the official Prêt-à-Porter

season so that the impact would be greater (in Tajima 1996: 587):

I convinced Ms. Kawakubo to do the show with me in Paris. She

was reluctant, but I finally managed to convince her.  Japanese school uniforms . As a result,

the fact that we did it together in April 1981 made a big difference,

and it turned out to be very influential and powerful and gave an

enormous impact to the French.

In Kawakubo’s biography, Sudjic (1990: 53) explains that going to

Paris was a long-term investment, and Kawakubo knew it would cost her

a lot of money in the short term, but she was aware that if she was to be

regarded as a truly international designer she would have to go to Paris

as Western buyers and press were reluctant to make the trek to Tokyo to

see Japanese designers’ collections. Kawakubo brought five people with

her from Japan and hired five models for the first show in Paris in April

1981, at the Intercontinental Hotel. Neither Kawakubo nor Yamamoto

expected their shows to be that successful and to receive such wide

attention. Yamamoto’s former executive says:

His first show wasn’t all that successful, I don’t think. About a

hundred people showed up for the show. It was not an overnight

success as some people thought. After the first show, we were

approached by a famous French publicist. He was impressed with

Yohji’s collection and offered to handle Yohji’s public relations in

Paris. After that, his success was phenomenal.

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other eco-friendly fashion practices are also picking up steam for the upcoming spring-summer season

Children's wear makers focus on clothing that protects kids and the world around them.
STYLES AND SILHOUETTES FOR GIRLS' APPAREL DURING spring-summer 2008 reference such wide-ranging themes as a night at the ballet, crocodile wrestling and black-and-white Max Fleischer cartoons.
But while kids' fashion designers are following their muse, they are also heavily into the latest high-tech textiles with metallic prints, sun protection and nontoxic dyes.
The combination is translating into more fashionable ways to dress kids, observed Jamie Ross of the trend-forecasting Doneger Group. "It might be this whole mini-me thing that's driving it," said Ross, referring to morns wanting their daughters to dress like them.
One trend for the first half of next year that's receding in importance is camouflage, unless it's got a twist, like being transformed into exaggerated abstract prints or animal shapes. "Camouflage is now more of a classic staple item, especially for boys," Ross said.
ECO-CHIC
Aside from the growing use of organic cotton in kids' clothing, other eco-friendly fashion practices are also picking up steam for the upcoming spring-summer season.
Bindi Irwin, the nine-year-old daughter of the late Australian naturalist Steve Irwin, is working hard to tie fashion to environmental stewardship. As charismatic as her father, Bindi will launch her own apparel line internationally at WWDMAGIC.
Each outfit evokes a wild animal, and a portion of sales is given to conservation programs so children "can feel they are making a difference in the world," according to Australia Zoo, the Irwin family's conservation and merchandising arm. Wholesale prices for girls' and boys' pieces are $12.50 to $30.
The spring-summer 2008 Bindi line has four themes: Green is the New Black, inspired by koala bears; Jungle Safari, in crocodile camouflage; Baby Warrior, featuring various animal prints; Punk Warrior, with a conservation theme, and Industrial Cowgirl and Cowboy, which highlights how technology can help nature.
Eco-consciousness at Heir Apparel in Los Angeles means, "We're recycling scraps into our bib collection," said owner Zna Houston. Leftover fabric comes from local contractors producing Heir's line of baby-to-tween fashions and also finds its way into yoga pants and sleeveless tees.
Featured for spring-summer 2008 at Heir are dresses in whimsical prints, like chocolate cupcakes iced in pink and blue, for $35 to $38 wholesale. "For our skirts we went retro, sort of a Fifties A-line with slanted pockets on the front and just above the knee," Houston said. The skirts cost $19 to $23 wholesale.  yanzic0605.
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accessories and shoes with styles that of a sixties' French pop star

Evoking the style of Sixties' French pop stars, these showstopping accessories are perfect for latter-day divas
A.V. MAX's silver-plated metal cuff at Susan & Co., CYNTHIA H's patent leather belt at Yvette Fry, BEVERLY FELDMAN's metallic leather with chain mesh bag at Pure Accessories and STUART WEITZMAN's patent leather shoes. Julie Haus shirt and Siwy jeans.
BETSEY JOHNSON's leather and sequin bag, DEEPA GURNANI's sequined silk charmeuse scarf (worn on head) at Susan & Co., RACHEL MORENO's 24-karat gold-plated metal and enamel earrings at Apropo Showroom, M. HASKELL's metal with epoxy bangles at Haskell Jewels and CAPELLI NEW YORK's leather gloves. Rachel Pally dress.
MAXX NEW YORK's patent leather bag, KOOL KONNECTION's Lucite and metal necklaces at Orion Fashions and CHARLES DAVID's suede and leather shoes. Samantha Treacy top and Betsey Johnson leggings.
Acrylic and wool scarf from WOODEN SHIPS BY PAOLA BUENDIA, TAI's silver-plated metal and crystal necklace at Yvette Fry, KIPLING's nylon bag and NINA DOLL's patent leather shoe. Binetti sweater and Emilio Cavallini tights.
MZ WALLACE's leather and polyester handbag, JOE'S JEANS' patent leather bag at The Betesh Group, BOLZANO's leather and brass handbag and NINA's patent leather boots. Yoana Baracshi dress and Look From London tights.
COLETTE MALOUF's silk headband, SANTI's metallic leather bangles at Yvette Fry and NINA DOLL's patent leather shoes. Yoana Baraschi dress and Betsey Johnson leggings.
RAY-BAN's acetate sunglasses at Luxottica Group, RAFE's patent leather handbag, A.V. MAX's 22-karat gold-plated metal and Lucite bracelet at Susan & Co. and STUART WEITZMAN's patent leather shoes. L.A.M.B. top and Nobody jeans.
TARINA TARANTINO's Lucite and Swarovski crystal necklaces and bracelets. BELOW THE BELT's mirrored leather belt at Pure Accessories, VIA REPUBBLICA's patent calf bag at Zanotti Pelle and SERGIO ROSSI's patent leather pumps. Binetti jacket, White + Warren top, Rock & Republic skirt and Look From London tights. yanzic0605.
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Wholesale prices and retail accounts remain fashionably undecided

Stats: Tops and blouses are about $200 wholesale, while jackets and dresses are approximately $400. Noir is sold at Takashimaya in New York, Ikram in Chicago and Harvey Nichols in London.
Spring forecast: Roughly 30 looks, most with transparent elements. Although, Ingwersen notes, "It's not a complete transparent collection - that would be too much."
RUBIN SINGER: Saturday, Sept. 8, 5 p.m., Eyebeam, 540 West 21st Street
Pedigree: "I've kind of been around this industry the whole of my cognizant life," quips Singer. His father outfitted prima ballerinas at the Bolshoi Ballet, Method actors at the Stanislavsky theater and even horses and elephants for the Moscow Theater. However, the younger Singer is out to clothe city girls. Stints at Oscar de la Renta, Bill Blass and Kai Milla, where he served as head designer until this January, have informed his spring collection.
Stats: His first fall collection sold to Linda Dresner, Forty Five Ten in Dallas, Janet Brown in Port Washington, N.Y., Des Kohan in Los Angeles and Vakko in Istanbul. For spring, wholesale prices for most items range from $250 to $1,200.
Spring forecast: Expect 35 looks inspired by Singer's visits to construction sites - everything from tire treads re-created on embossed leather to shiny surfaces evoking oil slicks. The lineup includes rainwear, jersey tops and dresses, hand-knit sweaters, eveningwear and swimwear.
CASCANTE: Saturday, Sept. 8, 5 p.m., The Gallery at the Prince George Ballroom, 15 East 27th Street
Pedigree: Luis Cascante has worked for Matthew Ames, American Apparel, Myself by Kai Khne (where he served as head designer for two years) and VPL's Victoria Bartlett, but he says his most challenging project to date was making giant, realistic-looking puppets of Threeasfour's Adi, Ange and Gabi for the Deitch Projects Art Parade. They were later featured in the window of Threeasfour's Broadway store in New York. Cascante is also known for the dustup with Khne that ended their professional relationship. However, things are still copacetic with the Threeasfour crew - Cascante's show will open for theirs.
Stats: Wholesale prices and retail accounts remain fashionably undecided.
Spring forecast: "I'm trying to make a point with each piece," says Cascante, explaining his decision to include only 10 looks. The items, primarily jackets and dresses, are inspired by Santa Fe and crafted from earth-toned canvas. yanzic0604.
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Thornton started out studying fashion and textiles at the U.K.'s Winchester School of Art

PREEN: Thursday, Sept. 6, 2 p.m., the Soho Grand Hotel, 310 West Broadway
Pedigree: Though they've been stalwarts of London Fashion Week, Thea Bregazzi and Justin Thornton are new to the Big Apple this season. Thornton started out studying fashion and textiles at the U.K.'s Winchester School of Art, while Bregazzi majored in fashion and business at the University of Central Lancashire. They met while working at Helen Storey, where Thornton was designing a line of recycled clothing called Second Life.
Stats: The line, which the duo launched in 1996, is sold at Seven New York and H. Lorenzo in Los Angeles, Selfridges and Liberty of London. Wholesale prices range from $170 to $370 for silk knits to $500 to $960 for jackets. (Their more accessible diffusion collection is returning to Topshop for fall.)
Spring forecast: According to Thornton, the collection is about taking a more relaxed approach to "the graphic, figure-hugging silhouettes we've been exploring throughout the seasons." The pair will show 35 looks, including wraparound silk shirtdresses and soft tailored pants.
LERARIO BEATRIZ: Thursday, Sept. 6, 6 to 8 p.m., 320 Studios, 320 West 37th Street
Pedigree: After fashion school in So Paulo, designer Ana Lerario (whose company moniker comes from her middle name) interned at Jean Yu. She then spent four years working at Marc Jacobs before leaving to become the head designer of Tsesay. Eventually, she became interested in "doing a showroom with a designer point of view" and opened Fiftytwo showroom in 2004. Today, the business showcases Ryes, Mischen, Maria Bonita Extra, Coven, Araks and Rosa Ch by Amir Slama, as well as Lerario's own line, which she launched for spring 2006.
Stats: Sold at Nordstrom, Jake in Chicago and Mick Margo in New York's West Village, Lerario Beatriz's wholesale prices range from $100 to $500.
Spring forecast: Lerario was inspired by the Duke and Duchess of Windsor this season. "What interested me most was their lifestyle," she says, "royal sophistication with ethnic elements." To wit, she will showcase 15 to 20 looks, including dresses with chiffon patchwork and classic sportswear looks done in eyelet.
NOIR: Saturday, Sept. 8, 5 p.m., The Art Directors Club, 106 West 29th Street
Pedigree: In the midst of studying at the Danish School of Design, Peter Ingwersen was recruited by Levi's to become a design assistant, a post that led to a brand director title at Levi's Red and Levi's Vintage. He later became managing director of Day Birger et Mikkelsen. With his own line, he says his mission is to produce ethical fashion in a way that remains "extremely sophisticated and also sexy," using environmentally friendly fabrics and African cotton.  yanzic0604.
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One of the most crucial factors affecting the world of luxury is the changing landscape of the fashion market and consumers

Europe is currently the biggest market for

luxury goods, capturing 40 per cent of the

market, but Japan alone accounts for 25 per

cent and China for 5 per cent. In the last five

years or so, many of the large fashion houses

have been fretting over their future. This is due

to a combination of a changing market

structure, a series of world-events and Japan’s

economic slow-down upon which the luxury

market is truly dependent. One of the most

crucial factors affecting the world of luxury is

the changing landscape of the fashion market

and consumers. The meaning of luxury is

changing as personal disposable income rises.

To illustrate the point better let us rewind to

the fashion landscape of the 1980s. The culture

of the decade was one associated with materialistic

pursuit. In the fashion industries this

meant emphasis on status symbols (eg wearing

designer labels). Although there was a variety of

styles and anti-styles, the dominant look took

its cue from Dynasty and Dallas; big logos, big

hair, gold, glamour and glitz. ‘Luxury now’ is

not a repeat of the mega-logo-mania of the

1980s when brands were bought solely for the

status that was attached to them.

Figure 1 shows that when consumers are

asked about which elements constituted their

best description of everyday luxury, only a

minority of Europeans (17 per cent) in nine

countries surveyed, said that everyday luxury to

them to is ‘wearing designer clothes’.

This is a reflection of mature Western

countries that have higher purchasing power,

whereas consumers in Eastern Europe aspire to

wealth, so ‘wearing designer clothing’ is more

important. In many senses, rising affluence,

social mobility, the diversification of retail

brands and consumer empowerment have all

helped to democratise luxury, making it a key

attribute of many brand propositions. Luxury,

both in concept and in brand, used to be the

preserve of so-called ‘high net worth individuals. yanzic0527.

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Expenditure on clothing and footwear has risen across all markets in Europe

Expenditure on clothing and footwear has risen

across all markets in Europe, but average

spending per head varies greatly geographically.

In 2005, the EU15 average spend per person

per year was just over 800 Euros, falling to 300

Euros in the new, much poorer, member states

such as Poland and Hungary. The cost of

clothing and footwear also varies significantly

in European countries, with price level differences

of up to a third between the most and the

least expensive countries. Prices in Eastern and

Southern Europe tend to be lower than in the

rest of the EU25 — this is a reflection on

the affluence in those countries and relative

purchasing power.

TODAY’S CONSUMER

Consumers today have more cash, more

choice, more education and are becoming

more savvy and demanding. People are less

tolerant and expect more. With the arrival of

mass-affluence, big-ticket consumption loses

some of its sophistication and novelty. The

desire to own a product is no longer the sole

aim of consumption but a complicated process

that calls for the need to understand not only

what the consumer needs, but also how they

want it delivered. Gone are the days when

reliability and quality created brand loyalty.

Consumers today want and expect so much

more. In a climate as intense and competitive as

the fashion industry, understanding how consumption

patterns evolve is paramount. Today’s

consumers are much harder to segment and

nowhere is this more exacerbated than in the

constantly changing fashion industry. yanzic0527.

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While most designer brands will do a greater or lesser degree of advertising and promotional work

While most designer brands will do a greater or lesser degree of advertising and promotional work, partnering with a large retail outfit allows them the opportunity to hook up to marketing machinery that's far mightier than what any boutique brand could hope to afford on its own. The three largest mass-market retailers currently carrying lower-tier designer collections--Kohl's, H&M and Target--boasted overall 2006 ad spends of $378 million, $17 million and $565 million, respectively, per Nielsen Monitor-Plus.
Accompanying the debut of Simply Vera in Kohl's on Sept. 9 was an all-out blitz of magazine and television ads (created by McCann Erickson, New York) based on a Wizard of Oz theme. Women clad in Wang's bridge collection appear in a series of phantasmagorical settings, including a path strewn with yellow leaves, suggestive of the Yellow Brick Road. In that spot, a girl with a little Toto-like dog exclaims, "There's no place like Kohl's!"
Meanwhile, H&M's recent partnership with designer Cavalli is widely expected to give the Italian label a similar shot of mass-marketing adrenaline. H&M will push Cavalli's goods is a series of print ads, produced in-house, that will stretch across a plethora of daily and monthly publications, in addition to a television ad that will also hit movie theaters in select countries worldwide. In addition, the collection will get marketing play through the retailer's Web site and instore displays.
Cavalli said he "welcomed" the partnership because he expected it to bring his name to a "new audience" and further allow him to "experiment in different directions."  yanzic0522.
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what upper body should wear to match with Black ruffled dress

Black lotus leaf edge... Very exaggerated... Layers of... Skirt length exactly...

Originally I have a black and yellow sports FEEL coat , it directly.. Now gone...

And I tried to wear strapless. But my arms and legs are too thick...

As for adopting a TEE that... But always can't find the clothes..

Personal advice; Can you wear a short sleeve or seven points and five points waist shirt. Hubble-bubble sleeve or vintage giant cuffs. The effect is absolutely very attractive.

Neckline with simple bow or simple but not complicated details of jacket.

Choose light fabrics as well. Fine cotton cloth, such as chiffon. Also try to compare to alternative lace dress, but it would be appear flirtatious dusty cixin collocation is not good.

Color choose water ash, white, red - will do. See the color of your skin.

Also can match the jacket that fine condole to take simple, the type that wipe a bosom. If feel arm is coarse, can with a short coat or cape.  yanzic0516.

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Chanel handbag with Italian beautiful long skirt like a fairy

Eni of Italy painter pinault DE works depicted in a series of female images is very elegant beautiful long skirt, in addition to soft romantic tone is more let a person remember those soft elegant, swaying skirt is placed in the calf. Floral, pleated, and ankle long, shallow soft hues, catch the key words, you can also wear like painting cents and free from vulgarity temperament. 

01 " how I can't see, that perfect face", in the pure lace as lotus bright the set off of you. Hide droop of long hair, gentle smile, smile was stroke a chord. Hollow out pattern visible under the hazy pale skin, blow play can be broken.

02 "green flag road, the separation space, has constantly miss for you" for me, dancing with wind fluttering, the dream is unreal. Different color piece free joining together of different sizes, free on the quadrature in the compasses, yet kept not messy unified feeling.

03 to rivalry with time only white skirt of beauty, a quiet pure appearance forever, twenty years old, 40, 60 years old or so. avenue to Jane's minimalist, the most able to bear or endure look really not fake, the changes of fashion and elegance of a white skirt, how do you also not far away from the fashion circle. yanzic0516.

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There she'll become the focus of fashion curator Beatrice Dupire's newest project

CHANNELING MARISA: Where in the world is Marisa Berenson? At the moment, she's working as an actress in Paris. Next spring, Berenson will be appearing in Tokyo. There she'll become the focus of fashion curator Beatrice Dupire's newest project, an exhibition on Berenson's contributions to pop culture. Dupire expects to mount the show in collaboration with the Tokyo National Museum and the city's Bunkamore Gallery. The idea, Dupire said, will be to give people a chance to walk around and share Berenson's past experiences as an actress, a social figure and a leading model in the Sixties, through the lenses of photographers, among other artists -- much as Yves Saint Laurent was portrayed in the 40-year retrospective Dupire helped stage in New York in 1999.
"We will feature past portrayals as well as some via up-and-coming artists," Dupire said of the exhibit she's planning on the 59-year-old granddaughter of Elsa Schiaparelli. "She is a muse and an inspiration; she is working to rediscover herself."
BURBERRY ON HOLIDAY: When the hustle and flow at Burberry allows, creative director Christopher Bailey still likes to escape to his cottage in Yorkshire, England. But his creations are bound for warmer climes, namely The Breakers in Palm Beach. In November, Burberry will open a 1,000-square-foot outpost at The Shops at The Breakers in the 140-acre seaside resort. Burberry Prorsum, as well as its signature line, will be sold in the new store, said John Zoller, The Breakers' vice president of retail operations. Like the 150-year-old Burberry, The Breakers is in its second century and has had a few incarnations. Built by Standard Oil co-founder Henry Flagler, the property was once a popular escape with such American heavyweight families as the Rockefellers, Vanderbilts, Carnegies and Morgans. Too soon to tell if Bailey will visit the towering Florida landmark.
TV LAND: While Kate Spade chief executive officer Andy Spade plans to stay with the accessories firm, no matter who eventually buys it, he now has a backup plan: television. "It's TV for people who don't like or watch TV," said Spade Monday night at the screening of "Jack Spade Presents: The Neistat Brothers Television Show," at the Core Club in New York. The event attracted Tom Sachs, Will Cotton, Ann Dexter-Jones and Cynthia Rowley, who sat through three 15-minute episodes conceived by Spade and up-and-coming filmmakers Casey and Van Neistat, who also created some short films for Kate Spade in February.yanzic0514.
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the customer doesn't wait for you, he/she doesn't identify with just one brand, buys where a new product arrives first

Tod's SpA was said to be considering a deal to produce a ready-to-wear collection under the Elsa Schiaparelli name, but sources say the plans have been put on hold due to the large investment of time and money it would take -- not to mention the Italian soccer scandal that has engulfed Tod's head, Diego Della Valle. A list of potential designers -- including Behnaz Sarafpour, Matthew Williamson and the newly free agent Olivier Theyskens -- has been circulating. But Tod's now is said to be looking to unload the rights to the Schiaparelli works because Della Valle and his brother, Andrea, are focusing on their fight against charges of match fixing, which resulted in their being stripped of their managerial powers at soccer team ACF Fiorentina.
BERTELLI VENTS: No one can deny that the demand for earlier deliveries grows each season. Prada chief Patrizio Bertelli proposes a new solution to the problem: moving up spring/summer women's fashion week to July to give fashion companies more time to produce and deliver in December and reduce the number of times buyers have to travel to Europe. Bertelli told Italian daily II Sole 24 Ore that such a dramatic shift of the show calendar would transform the global production cycle and boost competitiveness. "Today, the customer doesn't wait for you, he/she doesn't identify with just one brand, [but] buys where a new product arrives first," he said in a rare interview, in which he also criticized the Italian fashion industry for taking monthlong vacations in August and for sticking to outdated models that don't serve emerging markets like China, Russia and India. Bertelli was not available for further comment Thursday. "The world has changed since the late Nineties, and our business has to evolve as well," he told the newspaper.
BIRKIN BEAUTY: Jane Birkin, who inspired the music of her late husband Serge Gainsbourg and lent her name to an iconic Hermès bag, has most recently become an olfactive muse. U.K. perfumer Lyn Harris has just concocted a fragrant ode to the actress-cum-chanteuse-cum-director. It's called L'Air de Rien ("an air of nothing," in English), which is to be part of her Miller Harris fragrance line. The oriental fragrance, comprising notes of amber, vanilla, neroli, oak moss and musks, is meant to recall Birkin's life and passions. William Blake-style nymphs, sketched by Birkin, appear on the scent's flacon and packaging, alongside Miller Harris' traditional floral decorations. The 100-ml. eau de parfum will hit shelves starting in September, priced at 75 pounds, or $139 at current exchange.yanzic0514.
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