Friday, January 16, 2009
If your a plus sized gal, you should try clothes that compliment your figure. Throw away those plain, loose t-shirts and trade them in for a baby doll top. Which is not only cute, but will also hide your stomach and compliment your chest. When shopping try to find shirts that highlight your best qualities. And I don't necessarily mean indiscreetly, just a top that will show what you got. And maybe you want a shirt that will slim your waist, try belt or cinched style shirts. As for bottoms try, darker colored jeans with a boot cut style will give your legs a taller, skinnier look. (especially with some high-heeled boots.) And as they always say, black is quite slimming. Well any deep color will seem to have a better fit look to them. Which also, never forget the importance of wearing your size. Too small and too big of clothing will make you seem larger than you actually are. If needed you should never hesitate to get measured.
And if your a bigger man, just know most women aren't looking for the body builders. The only initial turn off for the average woman would be looking "sloppy", just remember to take pride in your appearance. Most women like clean, cut, confident men. Pin-striped, button up shirts with a plain undershirt is casual, yet respectable and eye-catching. And if you want to wear a regular t-shirt, adding some accessories like a nice jacket will give you a tall, thin look to your outfit. Just be sure to stay away from stretchy bands that tighten at the bottom, especially if you have a bit of a stomach they can make you appear larger.
These are just a few tricks to show off what you have, and not hide the important attractive features. But mainly shopping at stores with specified plus sizes, will be beneficial. For them to be successful, they make clothes specifically for bigger people. Not just in sizes, but in styles and cuts. And I can understand, it can be very difficult to find stores that actually sell quality plus clothing sizes. My solution...online shopping for larger clothes is becoming more and more popular with the vast variety of sizes, you can find just about anything to fit. And I would recommend taking a look for the wide range of styles. If you have ever been to a store and fell in love with an outfit, yet they only made it for the thin and curve-less, look online. Usually you can find exactly what your looking for in your size rather than being limited to the malls choices. Just remember when picking clothes out, anyone can look good by dressing to show off the body type they have, rather than hide it.
You'll enjoy it!
My item is:
- In excellent condition
- 14k Yellow Gold
- Center Stone: 7mm round; ~1.75CT Cubic Zirconia
- Side Stones: 3mm each, nine round Cut Cubic Zirconias
- Weight: 9.1 grams
- Setting for center stone: Prong
- Setting for side stones: Channel
- Size: 6
- With high polish
This listing features a beautiful "s" style solitaire ring set in 14k yellow solid gold. The center stone is a 7 mm cubic zirconia, ~1.75 ct set in a prong setting. The side nine stones are 3 mm round cut cubic zirconias set in a channel setting. The weight of the ring is 9.1 grams and is in size 6, but can be resized for an additional charge. The stones are clear, bright, high quality machine cut cubic zirconias. Shop with us and have a chance to customize your jewelry. You have your choice of either white or yellow gold. Check out our ebay store for more solitaire ring selections. We combine shipping on multiple items. We also offer priority shipping upon request and for an additional charge. 15613
***Please indicate choice of white or yellow gold on your paypal payment under the notes section. Please note: This is the only way we can guarantee you will receive the gold of your choice.***
- Payment must be received within 7 days of auction close or store purchase.
- We welcome paypal and money orders and accept personal checks, however, shipping will be delayed for 2 weeks for personal checks.
- We provide priority shipping upon request and additional payment.
This New Dyeable White Silk Satin Pump is a size 10M with a 2 1/2" heel. Free shipping within the USA. Canadian shipments are ONLY $18.00. Other International shipping is $28.00. Stocked in all sizes - B5-10,11 in White. Let us know what size you wish to order and we will put your special order on ebay. Visit us at: ShoesbyMulmar The dye charge on shoes ordered in different sizes is only $12.00
ALL BIDS OF $59.75 WILL RECEIVE THIS SHOE
This White Dyeable Satin Pump is being offered in a size 8.5M with a 2 5/8" heel. Free shipping within the USA. Shipments to Canada are only $18.00. Other International shipping is $28.00. Stocked in all sizes - B5-11,12. Let us know what size you wish to order and we will put your special order on ebay. Visit us at: Shoes by Mulmar Visit our web site for BRIDESMAIDS SHOES, with free shipping.
NEW STYLE COMING OUT FOR 2009
The information and description of this White Dyeable Silk Satin Shoe is in the picture. The size being offer is a size 8M with a 3 1/2" heel. The regular retail price is $95.50, our special price for this shoe is ONLY $85.50 with free shipping within the USA. International shipping is $28.00. Stocked in all sizes - B5-11. Though shown dyed ivory, this shoe will come in a stock white. Let us know what size you wish to order and we will put your special order on ebay. There is a dye charge of $12.00, add this to your payment. Visit us at: Shoes by Mulmar
Under $10 Pantene Pro-V Ice Shine Shampoo
Over $10 Aveda Rosemary Mint Shampoo
Under $10 Pantene Pro-V Ice Shine Conditioner
Over $10 Aveda Rosemary Mint Conditioner
Under $10 Pantene Pro-V Sheer Volume Body Builder Volumizing Mousse
Over $10 Joico Ice Amplifier Volumizing Mousse
A tie between Clairol Perfect 10 by Nice ’n Easy and L’Oréal Paris Féria Multi-Faceted Shimmering Colour
L’Oréal Paris Couleur Experte
James Barclay Aveda Spa ⁄Salon, Winnipeg
Under $20 Maybelline Great Lash
Over $20 Lancôme Définicils High Definition Mascara
Under $15 Cover Girl Eye Enhancers 1-Kit Shadows
Over $15 M.A.C Mineralize Eye Shadow (Duo)
Under $15 A tie between Rimmel Spark it Up and Revlon ColorStay Eyeliner
Over $15 Lancôme Stylo Waterproof Long Lasting EyeLiner
Under $20 Physicians Formula Shimmer Strips Custom Bronzer
Over $20 M.A.C Bronzing Powder
Under $12 Avon Ideal Shade Concealer Stick
Over $12 M.A.C Studio Finish SPF 35
Smashbox Cream Eye Liner in “Caviar”
“Glides on like hot butter. Doesn’t flake, run or disappear during the day.”—Kym Shwaluke, Winnipeg.
Under $20 Cover Girl TruBlend Liquid Make-up
Over $20 M.A.C Studio Fix Fluid SPF 15 Foundation
Under $20 Cover Girl Cheekers Blush
Over $20 Nars The Multiple
Under $20 Cover Girl TruBlend Pressed Powder
Over $20 M.A.C Select Sheer ⁄ Pressed Powder
Under $20 Avon Glazewear Extreme Gloss
Over $20 Lancôme Color Fever Gloss
Under $20 Cover Girl Outlast All-Day Lipcolor
Over $20 M.A.C Pro Longwear Lust re Lipcolour
Laura Mercier Secret Camouflage
“I would give up everything else in my makeup bag for it alone!”—Aimee Garcia, Burlington, Ont.
Under $25 Yves Rocher Bio Specific Pore Expert Pore Refining Moisturizer
Over $25 Clinique Dramatically Different Moisturizing Lotion
Under $30 Lush Celestial Moisturizer
Over $30 Clinique Turnaround Concentrate Visible Skin Renewer
Under $15 Olay Total Effect s 7-in-1 Revitalizing Foaming Cleanser
Over $15 Clinique Foaming Mousse Cleanser
Under $35 Olay Definity Illuminating Eye Treatment
Over $35 Clinique All About Eyes Rich
Spa facial Aveda Green Science Facial at Civello Oakville Salon and Spa, Oakville, Ont.
Under $10 Blistex Lip Medex
Over $10 Elizabeth Grant Moisturizing Stick
Under $45 Olay Regenerist Daily Regenerating Serum
Over $45 Estée Lauder Advanced Night Repair Concentrate Recovery Boosting Treatment
Under $20 St. Ives Exfoliating Apricot Scrub
Over $20 Clinique 7 Day Scrub Cream Rinse-Off Formula
Under $25 Yves Rocher Botanical Purifying Peel-Off Mask
Over $25 Elizabeth Grant Biocollasis Gold Advanced Cellular Radiance
Under $20 Coppertone Sunscreen Lotion SPF 30
Over $20 A tie between Clinique Super City Block Oil-Free Daily Face Protect or SPF 25 and Vichy Capital Soleil Mexoryl XL Ultra Fluid Sun Protect ion SPF 30
Shiseido Bio-Performance Advanced Super Revitalizer Cream
“It feels like my skin is drinking and eating this cream, like it’s a really good meal.”—Geneviève Bessette, Montreal
Under $12 Dove Go Fresh Cool Moisture Beauty Bar in Cucumber & Green Tea
Over $12 Aveda Rosemary Mint Bath Bar
Under $10 St. Ives Exfoliating Apricot Moisturizing Body Wash
Over $10 The Body Shop Coconut Body Scrub
Under $10 Dove Deep Moisture Beauty Body Wash
Over $10 The Body Shop Satsuma Bath & Shower Gel
Razor Gillette Venus Embrace
Under $5 A tie between Gillette Satin Care Sensitive Skin Shave Gel and Skintimate Skintherapy Moisturizing Shave Gel for Sensitive Skin
Over $5 Aveeno Positively Smooth Shave Gel
Spa massage Utopia Royal Massage at Spa Utopia & Salon, Vancouver
Spa product line Yon-Ka
Under $20 Coppertone- Sport Sunscreen Lotion SPF 30
Over $20 Vichy Capital Soleil Body Sunscreen Spray SPF 15
Under $18 Jergens Natural Glow Daily Moisturizer
Over $18 Clarins Self Tanning Instant Gel
Under $10 Vaseline Intensive Rescue Extra Strength Hypoallergenic Lotion
Over $10 The Body Shop Coconut Body Butter
Under $20 Nivea Body Good-bye Cellulite Gel
Over $20 Biotherm Celluli Laser
Teeth whitener Crest Whitest Strips Premium
Toothpaste A tie between Crest Pro-Health Clean Mint Past e and Colgate Max Fresh Breath Strips Whitening Toothpaste
Dental floss Oral-B Satin FlossReader fave
Keri Original Dry Skin Lotion
“I’m addicted to the luxurious feel. My skin is so smooth from using it for over 20 years.” —Floramy Hawkins, Port Moody, B.C
FRAGRANCE & NAILS
Women’s under $40 Avon Christian Lacroix Rouge
Women’s over $40 Chanel Coco Mademoiselle
Men’s under $40 Avon Derek Jeter Driven Black
Men’s over $40 Calvin Klein Obsession for Men
For hands, under $9 Sally Hansen Hard as Nails Xtreme Wear in “Purple Potion”
For hands, over $9 OPI Nail Lacquer in “Lincoln Park After Dark”
For feet, under $9 Sally Hansen No Chip 10 Day Nail Colour in “Certainly Cherry”
For feet, over $9 OPI Nail Lacquer in “I’m Not Really a Waitress”
Basecoat under $9 Sally Hansen Hard as Nails
Basecoat over $9 OPI Start-to-Finish Base Coat, Top Coat & Nail Strengthener
Topcoat under $9 Sally Hansen Diamond Strength Diamond Shine Base & Top Coat
Topcoat over $9 OPI Top Coat
Manicure Lux-Spa, Toronto
Pedicure Stillwater Spa, Calgary
Annick Goutal Vétiver
“My husband has been wearing this for the past 10 years, and every time I smell it, it gives me goosebumps”—Leslie Chauvet, Montreal
Keep reading to find out our beauty editors' picks for their favourite lip balm, scubs, skin creams and more.
Edited by Adriana Ermter & Lesa Hannah
Photography by Maja Hajduk; hair and makeup by Sabrina Rinaldi for Judy Inc.; product photography by Christopher Stevenson; product styling by Briana Mirabelli
Special thanks to John Carstens and Amanda Loisier
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The Dolce&Gabbana brand was created in 1985 and is now one of the leading international groups in the clothing and luxury goods sector.
The Group creates, produces and distributes clothing, knitwear, leather goods, footwear and accessories for the top end of the market. Its two state-of-the-art factories handle the main phases in the production process, from planning and design up to direct distribution to the Group's own stores or the leading multi-brand shops and department stores.
The style of the Group's products, whether produced in-house or under licence, stems directly from the creativity of the two founders, Domenico Dolce and Stefano Gabbana, who head and co-ordinate a group of approximately 40 creative designers. The Dolce&Gabbana Group brands are distributed in more than 80 countries worldwide.
The first Versace boutique was opened in Milan's Via della Spiga in 1978, (though the Versace family are from Reggio Calabria) and its popularity was immediate. Today, Versace is one of the world's leading international fashion houses. Versace designs, markets and distributes luxury clothing, accessories, fragrances, makeup and home furnishings under the various brands of the Versace Group.
Gianni Versace was killed by Andrew Cunanan on July 15, 1997. His sister Donatella Versace, formerly vice-president, then stepped in as creative director of Versace and his older brother Santo Versace became CEO.
Versace's Style Department employs a group of designers and stylists who work in teams. Each team is specifically dedicated to each fashion line or label. These teams operate under the close supervision and guidance of Donatella Versace.
There are several lines which make up Versace Group (pronounced Versache). They are: Gianni Versace Couture), Versace Jeans Couture, Versace Home Collection, Versus and Versace Collection. In addition to clothing and accessories, it also operates a hotel, the Palazzo Versace.
Gianni Versace Couture, which contains high-end, often handmade apparel, jewellery, watches, fragrances, cosmetics and home furnishings, is the House's main line. Traditionally, this is the only line presented on the runway which is shown during Milan's fashion week, but this has not been strictly the case in recent years. Couture dresses in this line may cost about $10,000 and suits cost approximately $5,000. Donatella Versace directly heads this line and designs a vast amount of the items. Many of the accessories and home furnishings are licenced through Rosenthal and other
Versace Jeans Couture, a casual clothing line, focuses on informal clothing: high-end denim and classic Gianni Versace print shirts. It is readily available and comparably affordable. This line is distributed through 56 boutiques and flagship stores, and 1800 multi-brand points of sale, including Internet-based shops. Versace Sport comprises activewear and accessories. The name often printed on t-shirts.
Versace has taken the fashion industry by storm the last few years with Donatella's independent, strong woman inspired collection, but at the same time making it look sexy, fierce, and chic. Versace has a very wide band of A list celebrities and models supporting Versace as well as
Most fashion designers today have attended some kind of art school. There are a number of well known fashion design schools worldwide. Possibly the most famous is Central Saint Martins College of Art and Design in London. Alumni of St Martins include John Galliano, Stella McCartney, Alexander McQueen, Arkadius and Hussein Chalayan. Other notable London Fashion Schools include the London College of Fashion,The Royal College of Arts in London and the University of Westminster, whose alumni include Vivienne Westwood, Christopher Bailey, and Stuart Vevers.
Notable American fashion design schools include Parsons The New School for Design and Fashion Institute of Technology (F.I.T.) in New York City, Lasell College in Newton, Massachusetts, Drexel University and Moore College in Philadelphia, Woodbury University, The Fashion Institute of Design and Merchandising (F.I.D.M) and A.I.U. in Los Angeles alumns include Uriel Saenz and Ashley Paige, and more specialized in French Haute Couture techniques, Academy of Couture Art in West Hollywood. According to the annual survey from US News, Parsons has recently lost its position as the top school in the U.S. for graduate art programs; now the School of the Art Institute of Chicago (S.A.I.C) has shifted up in the list and taken its place. This is being attributed to Parsons' loss of Tim Gunn as a faculty member of their fashion program, who resigned to become the Creative Director for Liz Claiborne. SAIC: Founded as the Chicago Academy of Design in 1866 by a collective of studio artists, the institution went through many changes before the turn of the century, some necessitated by the Great Chicago Fire of 1871. The collecting arm of the School was founded in 1872, and The Art Institute of Chicago was born in 1882 to accommodate a distinct museum and school. The Art Institute moved to its current iconic location on Michigan Avenue after the World's Columbian Exposition in 1893, and it remains the largest museum-school partnership in the country. Notable fashion alumi include Halston, Gemma Kahng, and Cynthia Rowley.
A another example would be the very prestigious Pakistan School of Fashion Design (PSFD). PSFD is a graduate school for fashion design located in Lahore, Punjab, Pakistan. The school was founded in 1995 and is known as the preeminent fashion school in Pakistan. PSFD was the first institution to offer graduate training in fashion design in Pakistan. It is affiliated with Les Ecoles de la Chambre Syndicale Parisienne in Paris, France.
In 2006, the PSFD and the French Federation for Ready to Wear Women Garments (FFPAPF) decided to formalize cooperation and collaboration for the exchange of knowledge and skills and promotion of business between France and Pakistan's garment industries. The agreement envisages a programme for development of the PSFD into a modern international fashion marketing institute, which could support and prepare Pakistan’s garment industry for the international market. It also creates links between the Pakistan and French garment industries for exchange of information, awareness raising, delegations and seminars.
The most famous institute on the Indian subcontinent is National Institute of Fashion Technology (N.I.F.T.). NIFT has 8 centers across India and their New Delhi Center is regarded as the best fashion school on the Indian subcontinent. NIFT is planning to come up with at least 2 more centres in the North Indian city of Patna and in Kerala in South India. The School of Fashion Technology (SOFT) in Pune has a three year degree course in fashion apparel design. It has diploma courses as well. The Pearl Academy of Fashion has 5 centres in India and one in the UAE.
Most fashion design courses last for three years. As well as teaching students about the artistic and technical side of the subject, some courses include a year working in the fashion industry, to give students a taste of commercial fashion design. Others offer the chance to visit fashion houses abroad. At the end of their final year most students produce a collection which is then shown to buyers and prospective employers at the college show. To keep cost down, each collection consists of around three to eight outfits (the number varies from college to college). To put across a consistent and memorable look within this limited range of garments, students specialize in one particular area. Many colleges enter students for design competitions, sponsored by clothing or fabric companies.
Most of the time, people who want to become top designers will work with other designers and gain hands-on experience.
custom made to your measurements, Classic style, pencil shaped dress - fabric covered mock buttons at back
Size: custom made
H. stretch, suit like, solid colors: we have burgundy, midnight blue (darkest blue, close to black), sky blue, BLACK, chocolate brown, gray
Who wore the best dress at the Golden Globes?
There has been serious fashion news this week (Primark's alleged sweatshop in Manchester, for instance) but frankly, the subject on everyone's lips has been the red carpet attire at this year's Golden Globes. It was a rather understated affair, and FS wondered whether the recession had come home to roost in Hollywood. We hankered for ostentatious displays of wealth and cleavage, but the only one to deliver was Jennifer 'check out my post-baby body' Lopez. Even she seemed to have embraced credit crunch chic by re-using her Versace dress from a few years ago and spraying it gold.
There were some outfits that caught our eye, though - and not all for good reasons. Let's go with the worst first. Cameron Diaz won the designer-but-dowdy award. Her bright pink Chanel dress clung to her chest, flopped off her waist, and clashed with her tan. Renée Zellwegger's Caroline Herrera gown looked like the designer had run out of black mesh and decided to make the best of it, by missing out the shoulders and hoping no one would notice. Many people raved about Anne Hathaway's Armani dress, but we thought she looked like a goose dressed in midnight blue sequins.
On to the hits! Eva Mendes, former FS Fashionista of the Week, won our vote. This is a woman who really knows how to do simple and elegant. She didn't fail us on Sunday, wearing a white Dior number with interesting detail at the waist (a sort of bow/ruff). Then there was Drew Barrymore. The critics were divided: some loved the dress, most hated the hair, but do you know what? We liked both. Her bouffant hairdo positively reeked of old-school glamour. Next up, our very own Kate Winslet, who went all dark and interesting in a simple strapless Yves Saint Laurent gown with a thin velvet belt and bow. Shame she blew her cool with that acceptance speech.
BANG ON TREND
Balmain's big shoulders were a big hit at Paris fashion week last September. The military jackets were one of the most talked about items, with many fashion journos predicting the rise of eighties power dressing. Rejoice! This has proved not to be. Instead, the high street has grudgingly moved towards interesting shoulders. We're not exactly talking Hunchback of Notre Dame here, as you'll see.
The most similar look to Balmain comes from Diesel. Their white leather jacket is a costly £770 but is wonderfully 'gender misleading' (at least in the photo) and has a fab outline. Topshop has a pretty fitted floral jacket with ruched shoulders that comes in at a much more reasonable £65. Epaulettes add shape to the outline of a fitted military jacket from Urban Outfitters, which costs just £20 in their sale.
If you fancy having a go yourself, we suggest buying the sporty version of these shoulder pads, as the others are a little too Dynasty for our taste. From £7.50 at woods-online.co.uk
FASHIONISTA OF THE WEEK
It's rare that we find ourselves agreeing with the Daily Mail but, dear readers, it does occasionally happen. This week they pointed out that Debbie Harry, the seventies punk/pop starlet, seems to have boarded a time machine and is looking utterly fantastic.
At a tribute to the late fashion designer (and her former stylist) Stephen Sprouse, she was wrinkle-free, sported luscious blonde locks and, unless our eyes are deceiving us, was bra-less. You go girl!
QUOTE OF THE WEEK
I've only done it with a couple of people. People make up stories, but mostly I just kiss. I think it's important to play hard to get. Nobody wants the fake Prada bag; they want the brand new bag that no one can get and is the most expensive. If you give it up to a guy he won't respect you; he'll want you much more if he can't have you.
Glamour interviews Paris Hilton, the only woman in the world who equates virginity to a Prada bag
We know we're bucking a trend here, but we can't stay silent any longer: as Sienna demonstrates so well, fringing is bloody awful. The only people who should be wearing it are Native Americans - no amount of dangly bits will ever transport the rest of us to run free with the buffalos on the plains. Sorry about that.
We've gone vintage crazy at Fashion Statement Towers this week. This is partly because we've heard that there are lots of vintage fashion events coming up, and partly because we're feeling a little post-Christmas poverty coming on. We'll be blitzing the last of our cash at the Affordable Vintage Fashion Fair which is coming to Leeds on 26 January and Sheffield on 31 January. If you're down south and fancy a rummage through dusty suitcases, then there's a Vintage Fashion Fair at Hammersmith Town Hall, London on 15 February, and on the same day the Frock Me Vintage Fashion Fair takes place at Chelsea Town Hall.
If you're the kind of person who prefers a more hands-on approach, we advise digging that top you haven't worn since 2001 out of the back of the wardrobe and customising it. There are some really great sites around at the moment selling gorgeous vintage buttons and trims that will tickle your fancy. Bedecked.co.uk has some fab buttons (the Delft patterned one is beautiful), and we love myvintagecharms.com for its Alice in Wonderland pendants.
Check out classic looks for spring in our 'Great British designers do florals' picture gallery.
Has the end finally come for men's ridiculous haircuts? We're praying so. Take a look at our collection of the worst offenders.
Win a designer wardrobe with our competition in conjunction with Cocosa.com
Plus all the latest news and features from the world of fashion
Any news to tell us? Email: email@example.com
- Item # D238LRD S
- Suggested Retail Price: $79.99
- Material: 95% Polyester, 5% Spandex
- Color: Leopard Pattern Print
- Size: Small
- Condition: New with Tag!
Welcome to the fashion world jungle when you wear this unique leopard pattern mini dress to your next party or event. This The fabric of this trendy dress is high in stretch, super soft and luxurious. Skinny spaghetti straps uphold the dramatic sweetheart open neckline bodice of this alluring chic dress. The bodice is fully padded, enhancing your feminine cleavage, and adding comfortable support. The fitted ruched waistline gives you a lovely shape. The dress tightly hugs your hips and thighs, and end above your knees, showing a significant amount of leg. The backless rear view with slender spaghetti straps adds an extra sensuality to this gorgeous leopard printed short dress.
Welcome to the fashion world jungle when you wear this unique leopard pattern mini dress to your next party or event. This
The fabric of this trendy dress is high in stretch, super soft and luxurious. Skinny spaghetti straps uphold the dramatic sweetheart open neckline bodice of this alluring chic dress. The bodice is fully padded, enhancing your feminine cleavage, and adding comfortable support. The fitted ruched waistline gives you a lovely shape. The dress tightly hugs your hips and thighs, and end above your knees, showing a significant amount of leg. The backless rear view with slender spaghetti straps adds an extra sensuality to this gorgeous leopard printed short dress.
By Jennifer Campbell
Back in the olden days, one of my favourite times of year was shopping for school supplies. Nothing could quite top that new-notebook smell. Somehow, ordering Post-its from the Grand & Toy catalogue (my current m.o.) doesn’t have the same nerdy thrill. However, I recently came across a couple of products that sate my need to fill a pencil case.
Nicole by OPI’s Nic’s Sticks ($10, at select drugstores) are polish pens filled with eco-friendly colours that I would have killed for back when I was in my best friend Jodie’s room painting my nails five different colours. I think I’ll relive the glory days in “Form One Lime” green and “Two-Minute Makeover” silver. You can try them all on virtually at nicolebyopi.com.
The neutral/berry shades of CoverGirl’s new lipstick markers—officially Outlast Lipstain (shown, $10, at drugstores)—may be grown up, but you can still have fun with them. P&G’s makeup guru, Pat McGrath (who we would totally invite to our next slumber party) suggests putting a bit of gloss on top to dress them up. But we just love that they’ll last through the Doritos and Jolt Cola.
Photography by Nicole Stafford
|FASHION Magazine has found 10 style bloggers from across Canada to report on the fashion scene in their cities. Come back every day for the latest shops, finds and events from across the country.|
|HALIFAX | CHARLOTTETOWN | MONTREAL | TORONTO | GUELPH | WINNIPEG | SASKATOON | EDMONTON | CALGARY | VANCOUVER|
Categories: FASHION Reporters
Posted on January 12, 2009
I Rock Fashion by Magali Ould
Winter has been coming down so hard in Montreal the past couple of weeks that it’s hard to keep it stylish without freezing out to death on the streets.
Since I’m a winter renegade—I don’t wear fur, I still refuse to wear the ugly-but-warm coat or to pay zillions of dollars (when I can get at least 10 fabulous dresses)—I’ve become the master of layering cardigans, T-shirts and sweaters to keep my fashion pride. (I know! It doesn’t look that hot when it takes half a day to take off your layers in front of your date, but why go on winter dates anyway? Stay home!)
I may have found a solution to at least one of my problems: A belly warmer called a haramaki that’s made in Montreal and promises to keep me warm or at least warmer. After a trip to Japan, designer Julia Aynsley brought back the concept of haramaki and started her own line, Haramaki Love (haramakilove.com). The thinking is that the wrap improves circulation in your midsection, keeping your body temperature high. The fabric tube also supports the lower back and stomach, and apparently every Japanese woman is wearing one under her blouse. By adding stylish fabric and colors, Aynsley brought the one-time samurai garment up to a whole new level, where it can be worn many ways, not only to warm you up but also as an accessory to spice up your outfits.
Hot! Now I can take off that old grandpa cardigan my ex used to hate.
I Rock Fashion appears every other Monday. Click to read Magali's bio.
The 61-storey Living Shangri-La has finally opened, and while the $17-million penthouse is (literally) out of this world, it’s the street-level, 3,179-square-foot Burberry boutique (1101 Alberni St., 604-974-1110, burberry.com) that has my heart racing. Canada’s first Burberry store features creative director Christopher Bailey’s new design concept—taupe stone floors and polished black chrome furniture showcase all the Nova check accessories you can imagine. And that’s not all: The boutique has a devoted shoe room and even carries the Burberry Prorsum collection (shown), themed “Garden Girls” for spring. I can’t wait to try on the drop-waist ombré dresses and skinny pantsuits (with a chunky, long necklace, of course), and what are spring showers without a trench embroidered with a few brocade flowers?
Photography by Peter Stigter
Parsons grad and former Gucci intern Sarah Shell recently launched her handbag line, 442 McAdam (442mcadam.com), in Los Angeles, but this Calgarian’s heart (and home) is still in the Prairies. Her new collection includes oversized handbags, colourful clutches and “man bags” made from one-of-a-kind leather pieces, bronze hardware and vintage items. My pick is the Babes Bowler bag (shown, $415) with the over-the-shoulder option—perfect for us closet bowlers. At Pink Sugar (1414 Kensington Rd. NW, Suite 105, Calgary, 403-283-1161, pinksugarboutique.com).
First published in FASHION Magazine February 2009
The neo-Gothic influence in fashion history dress fashions was at its peak during the Romantic Era between 1825 and 1835. The romantic spirit in fashionable dress lasted until the late 1840s.
After the Napoleonic wars became a memory, French fashion was dominated by a new wave of Anglomania.
The British writings of Sir Walter Scott and Lord Byron helped popularise a thirst for a more romantic image. There was a snobbish attraction on the continent for all things English, cultivated and refined.
Many of the attitudes toward the 'Art Of Dress' had been codified by Beau Brummell in his relationship with the Prince Regent. The rules and refinements of manners set at that time were built on and developed by the middle classes of Europe who sought to gentrify themselves.
Left - Picture of the overweight Prince Regent.
Until 1820 dress waists had been round, but in 1828 the bodice waistline took on a V-pointed form. Even so it was the late 1830s before every lady sported the fashion for long pointed bodices. Evidence in museums suggests that real women were still wearing and making dresses with a slightly raised waistlines well into the 1830s despite the low waist illustrations of fashion plates. Beret Sleeves
Beret sleeves were cut from a circle. There was an opening in the centre for the arm and this was gathered and bound into a band. The outer circle was gathered and set into the armhole. Sometimes a sheer oversleeve of silk embroidered shimmering gauze covered the beret puff. Generally the beret sleeve was worn for evening.
The arms and décolletage along with the highly desirable and visible sloped shoulders left some women feeling quite undressed and exposed. So gauze sleeves became very fashionable by the mid 1820s and were worn until the sleeves subsided to new styles.
The sleeves of the Romantic Era are the main feature and were built on an inverted triangle bodice. The bodice décolletage was so exposed by the pull of the wide sleeves that it really showed off the chest, throat and the sloping shoulders.
The full length gigot or leg of lamb sleeve or the gigot de mouton known as the leg of mutton sleeve, was first seen in 1824. The long sleeve pattern was cut on the true cross of the fabric. It was rounded at the top, increasing to greater size.
Left - Romantic gigot sleeves C1826
After 1825 the decade saw sleeves billow to huge proportions by 1833. They came to typify the look we now associate with the costume of the Romantic Era.
By the mid 1830s the enlarged top cap was sagging with its own enormity. There was so much material that the fullness initially held up with inner stiff buckram support or 'crin' horsehair fabric began to flop. The buckram was replaced with either whalebone hoops in a cotton cover or feather filled pads. When by 1835 the supports stopped being effective the sagged fabric volume collapsed down the arm and merged into a new sleeve fashion.
Over a few years after 1836 the Romantic sleeve fullness inevitably worked its way down the sleeve giving a much tighter top arm and more fullness at the elbow. Next the elbow fullness dropped to the wrist and excess material was gathered into a rouleau or band creating a new sleeve shape.
By 1840 early Victorian day sleeves could be quite slim fitting.
By 1845 the shoulder line of dresses showed that a new fashion era was in the making. Tight sleeves were set into a low small armscye restricting women's arm movements and increasing the demure mannerisms we associate with Victorian women.
Large romantic wide hats, ornately trimmed with feathers, loops of ribbons and bows complemented the wide shoulder lines of the 1830s. For evening many married ladies liked to wear gauzy silk, satin and velvet exotic turbans or berets especially on one side of the head. The turbans they twisted up from scarves, but as a fashion they were dead by the 1840s.
Bonnets were virtually interchangeable with hats, so little difference was seen between the types. Loose uncut ribbon ties were a feature of the bonnets and by 1828 both bonnets and hats were quite vast affairs. Coal scuttle bonnet styles with deep crowns accommodated the high Apollo knot coiffure and were a great feature of the Romantic Era.
Pelerine collars came in several variations. Their similarity was that each covered the very wide shoulders and could aid modesty. The first style was a fine white collar embroidered or lace trimmed and which looked like a cape. The pelerine grew wider as it spread over the increasing shoulder line of gigot sleeves. It accentuated the shoulder width and made the waist of the 1830s look very small and was a popular feature of dress in the Romantic period.
The width of the lace pelerine reached about 31 inches when at its widest fashion and the pelerines were sometimes attached to a chemisette which was a sleeveless side opened blouse fastened at the waist. Another name for this item was a tulle canezou.
In the second version if the lace pelerine had long front ends, it was called a fichu-pelerine. These ends could be crossed at the front waist and tied at the back waist.
Another later mid 19th century variation was a fashionable long fronted little shoulder short backed cape mostly made of velvet or wool, trimmed with fur and worn as an outdoor garment.
Skirts were a source of endless variation. Skirts were gored into panels between 1820 an 1828, so that width could be added to hemlines whilst keeping the waist clear of bulk. They were first stiffened with horsehair about 1815 and gradually padding adding was added. The padding backed the lower six inches of the skirt.
Decoration of stuffed rouleau tubes, Italian quilting and flounces and frills were added to push out the skirt hem width in an architectural way. It also shortened the dress to reveal the ankle at the same time. Women's fashions took on a pert cheeky air.
When all forms of decoration had been exhausted just the padded hems remained by about 1828.
Gores disappeared at the same time and from then on skirts were made from straight panels of dress material pleated and gathered to waistbands. The silhouette changed and lost its overall puffiness by 1835. The skirts began to get rounder and more bell like, setting the scene for the Victorian Era.
With the return of the waist women had to wear stays. Once again they returned to tight lacing to make the waist look narrow and pinched in to balance the wide skirts and wide shoulder line.
Stays were made from cloth layers that had whalebone inserted in channels. Corsets were intended to emphasise the natural curves rather than create a false silhouette. Little gussets at the hips allowed for roundness rather than trying to flatten the line. Small shoulder straps were made detachable and the wearer could wear the stays with more revealing necklines.
Over the stays women wore a chemise and a waist petticoat. As the skirt expanded the robust linen or cotton petticoats increased in number. They supported crisp firm silk or woollen materials and in summer or indoors cotton chintzes and muslins.
As a dress the pelisse robe was supplanted by the pelisse mantle in the 1830s. Sleeves on the pelisse robe were too big to wear under coats so shawls and cloaks were more practical. The pelisse mantle was the ideal answer during the Romantic Era. It was an interlined warm deep cloak and was the most used outer garment in chilly weather remaining fashionable until 1845.
Left- Romantic Era white redingote 1826
Women's hair between 1825 an 1845 was elaborate and ingenious. The most modish hair fashion was the 'Apollo Knot', a striking style tending to lean to one side. Another lesser style was the 'Madonna' coiffure with the centre parted and built up with ringlets at crown and sides. Some even thought this style too elaborate, even when it was mostly worn for evening.
Apollo Knot Hairstyle so typical of the Romantic period.
There are many fashion plates and paintings that show both these styles because they were so typical of the age.
Compared to eras where the dating of dresses can be confusing the Romantic Era has quite definite periods of style variations that make it fairly easy to date garments to within a few years.
Occasionally students confuse the period 1892-1896 fashions because of the similar fashion for leg of mutton sleeves. They are similar, but if you look really closely you will see they are not at all alike. As I have suggested elsewhere on the Fashion-Era.com site always look at the hairstyles and headwear of the wearer of the garment. Hairstyles and hair ornamentation give a very definite feel of an era.
The frizzed and curled hairstyles of the Naughty Nineties are quite different from the demure centre hair partings, coiled Apollo top knots and ringlet loops of the Romantic Era.
From Wikipedia, the free encyclopedia
Fashion refers to the styles and customs prevalent at a given time. In its most common usage, "fashion" exemplifies the appearances of clothing, but the term encompasses more. Many fashions are popular in many cultures at any given time. Important is the idea that the course of design and fashion will change more rapidly than the culture as a whole.
The terms "fashionable" and "unfashionable" are employed to describe whether someone or something fits in with the current or even not so current, popular mode of expression. The term "fashion" is frequently used in a positive sense, as a synonym for glamour, beauty and style. In this sense, fashions are a sort of communal art, through which a culture examines its notions of beauty and goodness. The term "fashion" is also sometimes used in a negative sense, as a synonym for fads and trends, and materialism. A number of cities are recognized as global fashion centers and are recognized for their fashion weeks, where designers exhibit their new clothing collections to audiences. These cities are Paris, Milan, New York, and London. Other cities, mainly Los Angeles, Berlin, Tokyo, Rome, Miami, Hong Kong, São Paulo, Sydney, Barcelona, Amsterdam, Madrid, Montreal, Mumbai, Vienna, Auckland, Moscow, New Delhi, San Juan, Stockholm and Dubai also hold fashion weeks and are better recognized every year.
 Areas of fashion
Fashions are social phenomena common to many fields of human activity and thinking. The rise and fall of fashions has been especially documented and examined in the following fields:
- Architecture, interior design, and landscape design
- Arts and crafts
- Body type, clothing or costume, cosmetics, personal grooming, hairstyle, and personal adornment
- Dance and music
- Forms of address, slang, and other forms of speech
- Economics and spending choices, as studied in behavioral finance
- Entertainment, games, hobbies, sports, and other pastimes
- Fast fashion
- Management, management styles and ways of organizing
- Politics and media, especially the topics of conversation encouraged by the media
- Philosophy and religion: although the doctrines of religions and philosophies change very slowly if at all, there can be rapid changes in what areas of a religion or a philosophy are seen as most important and most worth following or studying.
- Social networks and the diffusion of representations and practices
- Sociology and the meaning of clothing for identity-building
- Technology, such as the choice of computer programming techniques
- Hospitality industry such as designer uniforms custom made for a hotel, restaurant, casino, resort or club, in order to reflect a property and brand.
Of these fields, costume especially has become so linked in the public eye with the term "fashion" that the more general term "costume" has mostly been relegated to only mean fancy dress or masquerade wear, while the term "fashion" means clothing generally, and the study of it. This linguistic switch is due to the so-called fashion plates which were produced during the Industrial Revolution, showing novel ways to use new textiles. For a broad cross-cultural look at clothing and its place in society, refer to the entries for clothing, costume and fabrics. The remainder of this article deals with clothing fashions in the Western world.
- Main article: History of Western fashion
The habit of people continually changing the style of clothing worn, which is now worldwide, at least among urban populations, is generally held by historians to be a distinctively Western one.[dubious – discuss] At other periods in Ancient Rome and other cultures changes in costume occurred, often at times of economic or social change, but then a long period without large changes followed. In 8th century Cordoba, Spain, Ziryab, a famous musician - a star in modern terms - is said to have introduced sophisticated clothing styles based on seasonal and daily timings from his native Baghdad and his own inspiration.
The beginnings of the habit in Europe of continual and increasingly rapid change in styles can be fairly clearly dated to the middle of the 14th century, to which historians including James Laver and Fernand Braudel date the start of Western fashion in clothing. The most dramatic manifestation was a sudden drastic shortening and tightening of the male over-garment, from calf-length to barely covering the buttocks, sometimes accompanied with stuffing on the chest to look bigger. This created the distinctive Western male outline of a tailored top worn over leggings or trousers which is still with us today.
The pace of change accelerated considerably in the following century, and women and men's fashion, especially in the dressing and adorning of the hair, became equally complex and changing. Art historians are therefore able to use fashion in dating images with increasing confidence and precision, often within five years in the case of 15th century images. Initially changes in fashion led to a fragmentation of what had previously been very similar styles of dressing across the upper classes of Europe, and the development of distinctive national styles, which remained very different until a counter-movement in the 17th to 18th centuries imposed similar styles once again, finally those from Ancien Régime in France. Though fashion was always led by the rich, the increasing affluence of early modern Europe led to the bourgeoisie and even peasants following trends at a distance sometimes uncomfortably close for the elites - a factor Braudel regards as one of the main motors of changing fashion.
The fashions of the West are generally unparalleled either in antiquity or in the other great civilizations of the world. Early Western travellers, whether to Persia, Turkey, Japan or China frequently remark on the absence of changes in fashion there, and observers from these other cultures comment on the unseemly pace of Western fashion, which many felt suggested an instability and lack of order in Western culture. The Japanese Shogun's secretary boasted (not completely accurately) to a Spanish visitor in 1609 that Japanese clothing had not changed in over a thousand years. However in Ming China, for example, there is considerable evidence for rapidly changing fashions in Chinese clothing,
Ten 16th century portraits of German or Italian gentlemen may show ten entirely different hats, and at this period national differences were at their most pronounced, as Albrecht Dürer recorded in his actual or composite contrast of Nuremberg and Venetian fashions at the close of the 15th century (illustration, right). The "Spanish style" of the end of the century began the move back to synchronicity among upper-class Europeans, and after a struggle in the mid 17th century, French styles decisively took over leadership, a process completed in the 18th century.
Though colors and patterns of textiles changed from year to year, the cut of a gentleman's coat and the length of his waistcoat, or the pattern to which a lady's dress was cut changed more slowly. Men's fashions largely derived from military models, and changes in a European male silhouette are galvanized in theatres of European war, where gentleman officers had opportunities to make notes of foreign styles: an example is the "Steinkirk" cravat or necktie.
The pace of change picked up in the 1780s with the increased publication of French engravings that showed the latest Paris styles; though there had been distribution of dressed dolls from France as patterns since the 16th century, and Abraham Bosse had produced engravings of fashion from the 1620s. By 1800, all Western Europeans were dressing alike (or thought they were): local variation became first a sign of provincial culture, and then a badge of the conservative peasant.
Although tailors and dressmakers were no doubt responsible for many innovations before, and the textile industry certainly led many trends, the history of fashion design is normally taken to date from 1858, when the English-born Charles Frederick Worth opened the first true haute couture house in Paris. Since then the professional designer has become a progressively more dominant figure, despite the origins of many fashions in street fashion.
Modern Westerners have a wide choice available in the selection of their clothes. What a person chooses to wear can reflect that person's personality or likes. When people who have cultural status start to wear new or different clothes a fashion trend may start. People who like or respect them may start to wear clothes of a similar style.
Fashions may vary considerably within a society according to age, social class, generation, occupation sexual orientation, and geography as well as over time. If, for example, an older person dresses according to the fashion of young people, he or she may look ridiculous in the eyes of both young and older people. The terms fashionista or fashion victim refer to someone who slavishly follows the current fashions. A new term originated in the USA during the economic difficulties of 2008: recessionista combining the words recession and fashionista. Recessionista may be defined as: a person who strives to remain fashionable on a minimal budget. 
Fashion, by description, changes constantly. The changes may proceed more rapidly than in most other fields of human activity (language, thought, etc). For some, modern fast-paced changes in fashion embody many of the negative aspects of capitalism: it results in waste and encourages people qua consumers to buy things unnecessarily. Other people enjoy the diversity that changing fashion can apparently provide, seeing the constant change as a way to satisfy their desire to experience "new" and "interesting" things. Note too that fashion can change to enforce uniformity, as in the case where so-called Mao suits became the national uniform of mainland China.
At the same time there remains an equal or larger range designated 'out of fashion'.(These or similar fashions may cyclically come back 'into fashion' in due course, and remain 'in fashion' again for a while.)
Practically every aspect of appearance that can be changed has been changed at some time, for example skirt lengths ranging from ankle to mini to so short that it barely covers anything, etc. In the past, new discoveries and lesser-known parts of the world could provide an impetus to change fashions based on the exotic: Europe in the eighteenth or nineteenth centuries, for example, might favor things Turkish at one time, things Chinese at another, and things Japanese at a third. A modern version of exotic clothing includes club wear. Globalization has reduced the options of exotic novelty in more recent times, and has seen the introduction of non-Western wear into the Western world.
In an article appearing in the Econ Journal Watch economists Philip R. P. Coelho, Daniel B. Klein and James E. McClure took issue with economic research explaining fashion cycles as the product of short term monopolies and self identified social stratification. In their research Coelho, Klein and McClure demonstrated
"that no quasi-monopoly in fashion design exists. What principally allows garment producers to price their products at a premium to "ordinary" garments is their reputation for producing superior garments, superior in a number of production characteristics. Some are qualities associated with: (1) the fabric, such as type (wool, cotton, linen, silk, blend, synthetics, etc.), weave, thread count, weight, color, backing, and so forth; (2) construction (double or single thread) and piping; and (3) ancillary objects (buttons, zippers, ornamentation). Whole sub-industries are devoted to, for examples, buttons and zippers, and an incorrect decision on one of these margins can force the garment maker into closure.13 A major reason why fashion goods sell for premium prices is that they are relatively expensive to produce because the materials and specialized production capabilities that produce fashion goods can only be supplied at positive and usually increasing marginal costs."
At the beginning of the 20th century, fashion magazines began to include photographs and became even more influential than in the past. In cities throughout the world these magazines were greatly sought-after and had a profound effect on public taste. Talented illustrators drew exquisite fashion plates for the publications which covered the most recent developments in fashion and beauty. Perhaps the most famous of these magazines was La Gazette du Bon Ton which was founded in 1912 by Lucien Vogel and regularly published until 1925 (with the exception of the war years).
Vogue, founded in the US in 1902, has been the longest-lasting and most successful of the hundreds of fashion magazines that have come and gone. Increasing affluence after World War II and, most importantly, the advent of cheap colour printing in the 1960s led to a huge boost in its sales, and heavy coverage of fashion in mainstream women's magazines - followed by men's magazines from the 1990s. Haute couture designers followed the trend by starting the ready-to-wear and perfume lines, heavily advertised in the magazines, that now dwarf their original couture businesses. Television coverage began in the 1950s with small fashion features. In the 1960s and 1970s, fashion segments on various entertainment shows became more frequent, and by the 1980s, dedicated fashion shows like FashionTelevision started to appear. Despite television and increasing internet coverage, including fashion blogs, press coverage remains the most important form of publicity in the eyes of the industry.
Fashion Editor, Brooke Kelley said, "There's a misconception in the industry that TV, magazines and blogs dictate to the consumer, what to wear. But most trends aren't released to the public before consulting the target demographic. So what you see in the media is a result of research of popular ideas among the people. Essentially, fashion is a group of people bouncing ideas off of one another, like any other form of art." 
 Intellectual property
Within the fashion industry, intellectual property is not enforced as it is within the film industry and music industry. To "take inspiration" from others' designs contributes to the fashion industry's ability to establish clothing trends. Enticing consumers to buy clothing by establishing new trends is, some have argued, a key component of the industry's success. Intellectual property rules that interfere with the process of trend-making would, on this view, be counter-productive.In 2005, the World Intellectual Property Organization (WIPO) held a conference calling for stricter intellectual property enforcement within the fashion industry to better protect small and medium businesses and promote competitiveness within the textile and clothing industries.