For the fifth year in a row, Kering and Parsons School of Fashion rolled out the ‘Empowering Imagination’ design initiative. The competition engaged twelve 2016 graduates of the Parsons BFA Fashion Design program, who "were selected for their excellence in vision, acute awareness in design identity, and mastery of technical competencies." The winners, Ya Jun Lin and Tiffany Huang, will be awarded a 2-week trip to Kering facilities in Italy in June 2016 and will have their thesis collections featured in Saks Fifth Avenue New York’s windows.

The Kering and Parsons competition, which is currently in its fifth year, is one of a growing number of design competitions, including but not limited to the LVMH Prize, the ANDAM Awards, the Council of Fashion Designers of America/Vogue Fashion Fund, and its British counterpart, the Woolmark Prize, the Ecco Domani fashion award, and the Hyères Festival. among others.

In the generations prior, designers were certainly nominated for awards, but it seems that there was not nearly as intense of a focus on design competitions as a means for designers to get their footing, for design houses to scout talent, or for these competitions to select the best of the best in a especially large pool of young talent. Fern Mallis, the former executive director of the Council of Fashion Designers of America and an industry consultant, told the New York Times: “Take the Calvin [Kleins] and the Donna [Karans] and the Ralph [Laurens] of the world. Some of these people had money from a friend or a partner who worked with them, but they weren’t out spending their time doing competitions and winning awards to get their business going.” She sheds light on an essential element: The relatively drastic difference between the state of fashion then and fashion now. Fashion then was slower, less global, and (a lot) less dominated by the internet, and so, it made for quite different circumstances for the building of a fashion brand.

Nowadays, young designers are more or less going full speed ahead right off the bat. They show comprehensive collections, many of which consist of garments and an array of accessories. They are expected to be active on social media. They are expected to establish a strong industry presence (think: Go to events and parties). They are expected to cope with the fashion business that has become large-scale and international. They are expected to collaborate to expand their reach, and while it does, at times, feel excessive, this is the reality because the industry is moving at such a quick pace, one that some argue is unsustainably rapid. The result is designers and design houses consistently building their brands and very rarely starting small. Case in point: Young brands showing pre-collections within a few years of setting up shop (for a total of four collections per year, not counting any collaboration or capsule collections), and established brands showing roughly four womenswear collections, four menswear collections, two couture collections, and quite often, a few diffusion collections each year.

The current climate of 'more is more' (more collections, more collaborations, more social media, more international know-how, etc.) in fashion is what sets currently emerging brands apart from older brands, many of which started small. This reality also sheds light on the increasing frequency with which designers rely on competitions as a means of gaining funds, as well as a means of establishing their names and not uncommonly, gaining outside funding.

The Ralphs, Tommys, Calvins and Perrys started off a bit differently. Ralph Lauren, for instance, started a niche business. The empire builder, now 74, got his start working at a department store then worked for a private label tie manufacturer (which made ties for Brooks Brothers and Paul Stuart). He eventually convinced them to let him make ties under the Polo label and work out of a drawer in their showroom. After gaining credibility thanks to the impeccable quality of his ties, he expanded into other things. Tommy Hilfiger similarly started with one key garment: Jeans. After making a name for himself by buying jeans, altering them into bellbottoms and reselling them at Brown’s in Manhattan, he opened a store catering to those that wanted a “rock star” aesthetic when he was 18-years old with $150. While the store went bankrupt by the time he was 25, it allowed him to get his foot in the door. He was offered design positions at Calvin Klein (who also got his start by focusing on a single garment: Coats. With $2,000 of his own money and $10,000 lent to him by a friend, he set up shop; in 1973, he got his big break when a major department store buyer accidentally walked into his showroom and placed an order for $50,000). Hilfiger was also offered a design position with Perry Ellis but turned them down to start his eponymous with help from the Murjani Group. Speaking of Perry Ellis, the NYU grad went to work at an upscale retail store in Virginia, where he was promoted to a buying/merchandising position in NYC, where he was eventually offered a chance to start his own label, a small operation. After several years of success, he spun it off as its own entity. Marc Jacobs, who falls into a bit of a younger generation, started out focusing on sweaters.

These few individuals, some of the biggest names in American fashion, obviously share a common technique. They intentionally started very small. They built slowly from there, and they had the luxury of being able to do so. Others, such as Hubert de Givenchy, Alexander McQueen and his successor Sarah Burton, Nicolas Ghesquière, Julien Macdonald, John Galliano and his successor Bill Gaytten, and others, spent time as apprentices, working up to design directors or creative directors, and maybe maintaining a small eponymous label on the side. As I mentioned, attempting to compare these great brand builders or notable creative directors to the young designers of today is a bit like comparing apples and oranges, as the nature of the market now is vastly different from what it looked like 20 years ago, let alone 30 or 40 years ago.

With this in mind, fashion competitions have begun to play an important role in helping designers to cope with the increasing need to establish a brand early on. It seems to me that winning (or nearly winning) a prestigious fashion competition results in several key rewards.

Primarily, it puts a designer's name and brand on the map. This is likely the least noteworthy of the rewards, as chances are, if you are selected to participate in a design competition, your name and brand are already out there to some extent as one of the most promising young designers of the moment.

Second are the actual prizes, which commonly include mentoring from industry insiders and monetary grants. We know that participation in competitions, such as the CFDA/Vogue Fashion Fund, the Woolmark Prize, the Swarovski, Ecco Domani, the LVMH Prize, etc., gives emerging designers face time with and mentoring from some of the most successful names in the industry. Chris Peters, half of the label Creatures of the Wind (pictured above), whose brand has been nominated for half of the aforementioned awards says of such participation: “It feels like we’ve talked to possibly everyone in fashion that we can possibly talk to." The grants, which range anywhere from $25,o00 to $400,000 and beyond, are obviously important, as many emerging designers take this money and stage a runway show or launch pre-collections, which often affect the business' bottom line in a major and positive way.

The third benefit is, in my opinion, the most significant. It seems that competitions also provide brands with some reputability in terms of finding funding. At the moment, the sea of young brands which is terribly vast. Like law school graduates, there are a lot of design school graduates. With this in mind, these competitions are, for the most part, serving as a selection mechanism. Sure, the inevitable industry politics and alternate agendas exist (without which the finalists lists may look a bit different), but great talent is being scouted, nonetheless. Not only is it important to showcase the most promising young talent and provide them with mentoring and grant money, as a way of maintaining an industry, but these competitions also do a monumental service to young brands in terms of securing additional funding. One of the most challenging aspects of the business for young/emerging brands is producing and growing absent outside investors' funds, and often, the only way for brands' to have access to such funds is by showing a proven sales track record, something that is difficult to establish when you've already put all of your money into your business and it is just not enough. This is a frustrating cycle for young designers.

However, this is where design competitions are a saving grace. If we look to recent Council of Fashion Designers of America/Vogue Fashion Fund winners and runners-up, for instance, it is not uncommon to see funding (distinct from the grants associated with winning) come on the heels of successful participation. Chrome Hearts, the cult L.A.-based accessories label, acquired a minority stake in The Elder Statesman, the brand established by Greg Chait, the 2012 winner, this past March. A minority stake in 2011 winner Joseph Altuzarra's eponymous label was purchased by luxury conglomerate Kering in September 2013. Creatures of the Wind, the NYC-based brand founded by Shane Gabier and Chris Peters, which took home a runner-up prize in the 2011 competition, welcomed an investment from The Dock Group, a Los Angeles-based fashion investment firm, last year, as well.

Across the pond, the British Fashion Council/Vogue Fashion Fund has awarded prizes to a handful of designers who have gone on to land noteworthy investments. In January 2013, Christopher Kane (pictured below), the 2011 winner, sold a majority stake in his brand to Kering. Footwear designer Nicholas Kirkwood was named the winner 2013 in May and by September, a majority stake in his company had been acquired by LVMH.

Thus, while the exposure that fashion design competition participants gain, and the mentoring and monetary grants that the winners enjoy, are certainly not to be discounted, the takeaway is much larger than that. These competitions are becoming the new way for investors and luxury conglomerates to source new talent, and for young brands to land the outside investments that they so desperately need to produce their collections, expand their studio space, build upon their existing collections, and even open brick and mortar stores.

While no one has scooped up inaugural LVMH winner Thomas Tait’s brand yet or fellow winner, Marques'Almeida, it is likely just be a matter of time.Read more at:www.marieaustralia.com/short-formal-dresses | http://www.marieaustralia.com/formal-dresses-sydney

When I was chief creative officer for Liz Claiborne Inc., I spent a good amount of time on the road hosting fashion shows highlighting our brands. Our team made a point of retaining models of various sizes, shapes and ages, because one of the missions of the shows was to educate audiences about how they could look their best. At a Q&A; after one event in Nashville in 2010, a woman stood up, took off her jacket and said, with touching candour: “Tim, look at me. I’m a box on top, a big, square box. How can I dress this shape and not look like a fullback?” It was a question I’d heard over and over during the tour: Women who were larger than a size 12 always wanted to know, How can I look good, and why do designers ignore me?

At New York Fashion Week, which began Thursday, the majority of American women are unlikely to receive much attention, either. Designers keep their collections tightly under wraps before sending them down the runway, but if past years are any indication of what’s to come, plus-size looks will be in short supply. Sure, at New York Fashion Week in 2015, Marc Jacobs and Sophie Theallet each featured a plus-size model and Ashley Graham debuted her plus-size lingerie line. But these moves were very much the exception, not the rule.

I love the American fashion industry, but it has a lot of problems and one of them is the baffling way it has turned its back on plus-size women. It’s a puzzling conundrum. The average American woman now wears between a size 16 and a size 18, according to new research from Washington State University. There are 100 million plus-size women in America, and, for the past three years, they have increased their spending on clothes faster than their straight-size counterparts. There is money to be made here ($20.4 billion (U.S.), up 17 per cent from 2013). But many designers — dripping with disdain, lacking imagination or simply too cowardly to take a risk — still refuse to make clothes for them.

In addition to the fact that most designers max out at size 12, the selection of plus-size items on offer at many retailers is paltry compared with what’s available for a size 2 woman. According to a Bloomberg analysis, only 8.5 per cent of dresses on Nordstrom.com in May were plus-size. At J.C. Penney’s website, it was 16 per cent; Nike.com had a mere five items — total.

I’ve spoken to many designers and merchandisers about this. The overwhelming response is, “I’m not interested in her.” Why? “I don’t want her wearing my clothes.” Why? “She won’t look the way that I want her to look.” They say the plus-size woman is complicated, different and difficult, that no two size 16s are alike. Some haven’t bothered to hide their contempt. “No one wants to see curvy women” on the runway, Karl Lagerfeld, head designer of Chanel, said in 2009. Plenty of mass retailers are no more enlightened: under the tenure of chief executive Mike Jeffries, Abercrombie & Fitch sold nothing larger than a size 10, with Jeffries explaining that “we go after the attractive, all-American kid.”

This a design failure and not a customer issue. There is no reason larger women can’t look just as fabulous as all other women. The key is the harmonious balance of silhouette, proportion and fit, regardless of size or shape. Designs need to be reconceived, not just sized up; it’s a matter of adjusting proportions. The textile changes, every seam changes. Done right, our clothing can create an optical illusion that helps us look taller and slimmer. Done wrong, and we look worse than if we were naked.

Have you shopped retail for size 14-plus clothing? Based on my experience shopping with plus-size women, it’s a horribly insulting and demoralizing experience. Half the items make the body look larger, with features like ruching, box pleats and shoulder pads. Pastels and large-scale prints and crazy pattern-mixing abound, all guaranteed to make you look infantile or like a float in a parade. Adding to this travesty is a major department-store chain that makes you walk under a marquee that reads “WOMAN.” What does that even imply? That a “woman” is anyone larger than a 12 and everyone else is a girl? It’s mind-boggling.

Project Runway, the design competition show on which I’m a mentor, has not been a leader on this issue. Every season we have the “real women” challenge (a title I hate), in which the designers create looks for non-models. The designers audibly groan, though I’m not sure why; in the real world, they won’t be dressing a seven-foot-tall glamazon.

This season, something different happened: Ashley Nell Tipton won the contest with the show’s first plus-size collection. But even this achievement managed to come off as condescending. I’ve never seen such hideous clothes in my life: bare midriffs; skirts over crinoline, which give the clothes, and the wearer, more volume; see-through skirts that reveal *******; pastels, which tend to make the wearer look juvenile; and large-scale floral embellishments that shout “prom.” Her victory reeked of tokenism. One judge told me that she was “voting for the symbol” and that these were clothes for a “certain population.” I said they should be clothes all women want to wear. I wouldn’t dream of letting any woman, whether she’s a size 6 or a 16, wear them. Simply making a nod toward inclusiveness is not enough.

This problem is difficult to change. The industry, from the runway to magazines to advertising, likes subscribing to the mythology it has created of glamour and thinness. Look at Vogue’s “Shape Issue,” which is ostensibly a celebration of different body types but does no more than nod to anyone above a size 12. For decades, designers have trotted models with bodies completely unattainable for most women down the runway. First it was women so thin that they surely had eating disorders. After an outcry, the industry responded by putting young teens on the runway, girls who had yet to exit puberty. More outrage.

But change is not impossible. There are aesthetically worthy retail successes in this market. When helping women who are size 14 and up, my go-to retailer is Lane Bryant. While the items aren’t fashion with a capital F, they are stylish (but please avoid the cropped pants — always a no-no for any woman). And designer Christian Siriano scored a design and public relations victory after producing a look for Leslie Jones to wear to the “Ghostbusters” red-carpet premiere. Jones, who is not a diminutive woman, had tweeted in despair that she couldn’t find anyone to dress her; Siriano stepped in with a lovely full-length red gown.

Several retailers that have stepped up their plus-size offerings have been rewarded. In one year, ModCloth doubled its plus-size lineup. To mark the anniversary, the company paid for a survey of 1,500 American women ages 18 to 44 and released its findings: Seventy-four per cent of plus-size women described shopping in stores as “frustrating”; 65 per cent said they were “excluded.” (Interestingly, 65 per cent of women of all sizes agreed that plus-size women were ignored by the fashion industry.) But the plus-size women surveyed also indicated that they wanted to shop more. More than 80 per cent said they’d spend more on clothing if they had more choices in their size and nearly 90 per cent said they would buy more if they had trendier options. According to the company, its plus-size shoppers place 20 per cent more orders than its straight-size customers.

Online start-up Eloquii, initially conceived and then killed by The Limited, was reborn in 2014. The trendy plus-size retailer, whose top seller is an over-the-knee boot with four-inch heels and extended calf sizes, grew its sales volume by more than 165 per cent in 2015.

Despite the huge financial potential of this market, many designers don’t want to address it. It’s not in their vocabulary. Today’s designers operate within paradigms that were established decades ago, including anachronistic sizing. (Consider the fashion show: It hasn’t changed in more than a century.) But this is now the shape of women in this nation, and designers need to wrap their minds around it. I profoundly believe that women of every size can look good. But they must be given choices. Separates — tops, bottoms — rather than single items like dresses or jumpsuits always work best for the purpose of fit. Larger women look great in clothes skimming the body, rather than hugging or cascading. There’s an art to doing this. Designers, make it work.Read more at:http://www.marieaustralia.com/cocktail-dresses | www.marieaustralia.com/black-formal-dresses

TO PUT the art and talent of Mindanaoan fashion design into the spotlight, Kagay’anon fashion designers put their hands together to organize the 5th Mindanao Fashion Summit at the Limketkai Center Rotunda from August 4 to 6, every 4 p.m.

“Being a core event of the Higalaay festival, the opening salvo, the Mindanao Fashion Summit can really highlight fashion designers here in Cagayan de Oro and also in different points of Mindanao to let everyone see what they can do in the world of fashion design especially now that there are only so few opportunities for these designers to show off their works to the public. This is why we have the Mindanao fashion Summit because Kagay-anon designers believe that even if they join national fashion shows like the Philippine Fashion week, most of them still aren't getting the right encouragement as a fashion designer.” said Robbie Pamisa, the overall organizer of the event.

The Fashion Summit is a three-day event composed of seven sub-categories such as the Mindanaoan collection, the Menswear collection, and the Ororama orange collection for the first day, the Guest Designers’ collection, the Fashion Institute of the Philippines collection and the Loop Lifestyle Fashion Show for the second day, and the Holiday Grand collection for the third day which will serve as the culmination of the fashion event.

Mindanaoan Fashion designers from Cagayan de Oro as well as Davao, Butuan, Iligan, and Bukidnon have come to showcase their talents. Some of the fashion geniuses of the event include Alma Mae Roa, Angela Soriano, Ann Semblante, Benjie Manuel, Boogie Musni Rivera, Gil Macaibay III, John Mark Magellan’s, Joshua Guibone, Juniel Doring, Kiko Domo, Mark Christopher Yaranon, and Mavy Cooper de Leon.

One of the highlights of the event is the Oro Fashion Designers’ Guild and the Designers Assembly featuring a collection of clothes using Mindanao material such as the Mindanao silk. Sponsors such as Ororama and The Loop Towers will also be showcasing their products in the fashion event.

“Even student fashion designers from the Fashion Institute of the Philippines have been encouraged to participate so that they will be able to experience how a fashion show works. This is also a way for us to fulfill our mission to be another avenue for fashion designers to show what they have,” Paisa said.Read more at:http://www.marieaustralia.com/short-formal-dresses | www.marieaustralia.com/long-formal-dresses

In 1983, the Fashion Design Council burst on to the Melbourne scene like a Liverpool kiss to the mainstream fashion industry. Inspired by punk's DIY aesthetic and armed with an audaciously grandiose title, an earnest manifesto and a grant from the Victorian government, FDC founders Robert Buckingham, Kate Durham and Robert Pearce were determined to showcase the burgeoning Melbourne design scene in all its outrageous glory.

"People resented hearing about Karl Lagerfeld," says Durham. "Our movement was against the mainstream and the way Australians and magazines like Vogue treated Australian designers."

Over its 10-year lifespan, the FDC launched such emerging designers as Jenny Bannister, Christopher Graf and Martin Grant. But what was perhaps most exciting was the FDC's ecumenical approach. Architects, filmmakers, artists and musicians all partied together at runway shows held in nightclubs.

"It was an inventive time when people came together and made people notice fashion," says Durham.

Among the creative congregation, Durham remembers artist Rosslynd Piggott, who constructed dresses of strange boats with children in them and filmmaker Philip Brophy, who used "naff" Butterick dress patterns. Elsewhere, an engineer made a pop-riveted ball dress out of sheet metal. The crossover between music, art, graphic design and film extended to architects such as Biltmoderne (an early incarnation of celebrated architects Wood Marsh) who designed the FDC's favourite runway and watering hole, Inflation nightclub.

"Clothing was confronting," says Durham. "It was brash and tribe-oriented. It was quite good if you weren't good-looking. People liked the idea that this or that clothing style was going to win you friends."

Today, however, even Karl Lagerfeld has a punk collection. To complicate matters, "fast fashion" appropriates the avant-garde at impossibly low prices. The digital era too has caused the fashion world to splinter and bifurcate. What's a young contemporary designer to do?

"The physical collective is no longer that important," says Robyn Healy, co-curator of the exhibition High Risk Dressing/Critical Fashion, which uses the FDC as a lens to view the current fashion landscape. "These are designers who are highly networked through social media who put their work up on websites."

Fashion designers still use music, film and architecture, but in different ways. Where FDC members might document its runway shows with video, studios such as Pageant use video as the runway show and post them online. Social media is perhaps the big disrupter. Where FDC designers might collaborate with architects, today it's webdesigners.

"Space has changed," says Healy. "Web designers might be the equivalent of the architect today. It's a different use of space."

As grandiose as the FDC, yet perhaps even more ambitious in scope, is contemporary designer Matthew Linde's online store *** gallery, Centre for Style. Like the FDC, it offers space for "artists who aren't at all designers per-se, but they're dealing with a borrowed language from fashion", Linde told i-D magazine.

"It's an extraordinary juggernaut across the world with a huge amount of Instagram followers," says co-curator Fleur Watson. "[Linde] has created a brand that uses social media in an interesting avant-garde way."

Yet unlike their often untrained FDC counterparts, these designers are perhaps the first generation of PhD designers, notes Watson. "Robert Pearce had a belief in culture changing the world. That's what these new designers are reflecting on in their research, their position in the fashion world and how do they change the way fashion works?"

While it's also true that new technologies offer exciting possibilities in embedded fabrics and experimentation with 3D printing, fast fashion has created certain expectations.

As Cassandra Wheat of the Chorus fashion label laments: "It's just hard for people to understand the complexity and the value that goes into production without being really exposed to it. They think they should have a T-shirt for cheaper than their sandwich."

During the course of the exhibition Chorus will produce its monthly collection from one of the newly designed spaces within the gallery. The exhibition's curators have commissioned three contemporary architects who, like its '80s counterparts, work across the arts, to interpret FDC-inspired spaces. Matthew Bird's Inflation-influenced bar acts as a meeting place for the exhibition's forums and discussions on the contemporary state of fashion. Sibling architects abstracts the retail space, while Wowowa's office design resembles a fishbowl. For Watson, the exposed shopfront/office has as much front as Myer's. Its architecture suggests the type of brazen confidence every generation of fashion design needs. Says Watson: "Fake it till you make it."Read more at:http://www.marieaustralia.com/cocktail-dresses | www.marieaustralia.com/formal-dresses-2017

Fashion show finales follow a familiar rhythm: after the models march along the catwalk for a last hurrah, the designer comes out to take a bow. Their demeanour is often telling, an indicator of their attitude to the collection they've shown – are they a bag of nerves, or grinning from ear to ear?

Also noteworthy is the look they choose to take their bow in. Are they even wearing their own work? One of the most celebrated designers of our time never wears his own designs. Karl Lagerfeld may create the occasional menswear look at Chanel and he designs a whole men's collection for his eponymous label but he has long been a customer elsewhere: Dior Homme.

Lagerfeld started wearing Dior Homme when he was in his late 60s, shedding 41 kilograms to fit into the skinny styles of the label's then designer, Hedi Slimane. Lagerfeld has stayed loyal to the brand ever since, even after Slimane, now creative director of Saint Laurent, quit in 2006. And although the label is known for its emphasis on youth, Lagerfeld, now in his 80s, remains one of Dior Homme's most visible clients.

Raf Simons, meanwhile, Dior's creative director of womenswear, is partial to Prada: his presence in the documentary film Dior & I (2014) is most clearly announced via his distinctive studded Prada sneakers and he often takes his catwalk bow in a head-to-toe Prada look. For his first Christian Dior ready-to-wear show he wore a vintage denim jacket with red stripes by Austrian designer Helmut Lang.

And yet many designers do wear their own work, especially if the brand carries their surname. Editors scan the wardrobe of Miuccia Prada for clues to her latest collection: is she feeling utilitarian, elegant or purposefully off-kilter? When Donatella Versace takes her bow, she often wears a look from the collection she's just shown – for autumn/winter 2015, it was a pinstriped, flared pantsuit. And even Simons has worn pieces from his own label collaboration with Sterling Ruby.

So if the name is on the label, does it mean the clothes will always be on the designer's back? Not necessarily. "I've never been into wearing clothing with my own brand name inside," says Jonathan Anderson, designer behind JW Anderson and now creative director of Loewe. "I find it odd and arrogant."

UNIFORM DRESSING

Anderson's own wardrobe is a familiar uniform: crewneck sweater, faded blue jeans, Nike sneakers. It's entirely opposite to the menswear looks he creates for his own label's catwalk presentations, which have included bandeau tops and frilled shorts. He seems to favour a clean-palette approach: keeping himself neutral so as to not deflect from his experimentation elsewhere.

This kind of wardrobe is common among fashion designers. Jack McCollough and Lazaro Hernandez of Proenza Schouler appear to have no desire to create menswear for themselves or others, dressing instead in a similar style to Anderson: crewnecks, polo shirts or button-downs, usually with jeans and sneakers.

Mary Katrantzou, meanwhile, recent winner of the 2015 BFC/Vogue Designer Fashion Fund, may have built her business on print and embellishment but she is usually found in a black knit dress by Azzedine Alaïa. Alaïa himself has perhaps the ultimate clean-palette wardrobe: for decades he has worn black cotton Chinese pyjamas, fastened by simple floral buttoning.

Each of these designers has a successful business with its own clear signature. So maybe it doesn't matter if they don't wear their own clothes. And yet when designers do, it can be so seductive. Men buy Tom Ford because they want to be like Tom Ford. Women buy Céline because they want to look like Phoebe Philo. Stefano Pilati, creative director of Ermenegildo Zegna Couture, is often said to be his own best model; Rick Owens, in his long draped vests and baggy shorts, is the perfect ambassador for his own alternate universe of otherness.

The style of Roksanda Ilincic is synonymous with her own brand. "I create pieces that embrace the female form," she says of her bold colour palette and silhouette. "Being a woman means I'm able to feel and test those things on a personal level … I tend to favour long hemlines and nipped-in waists, with interesting shades and textures, pared down with simple basics and outerwear." Does she ever wear anyone else? "Of course! Black polo necks from Wolford are an absolute staple and in winter I am rarely without my favourite black cashmere coat by Prada, which is on permanent loan from my husband."

It seems like an industry divided between designers who wear their own work and those who don't. But sometimes things change. Backstage at Loewe earlier this season, Anderson said: "With Loewe, I have a detachment. I wear a lot of it. Now I'm more, 'Does this work?' I've got a bit of a love back for fashion."

Two months on, his interest in wearing his own designs has grown still further. He is the cover star of the new issue of menswear biannual magazine Fantastic Man, posing in a slash-fronted sweater and leather tie trousers. The pieces are both his work from current season Loewe. Womenswear. In for a penny, in for a pound.Read more here:www.marieaustralia.com/formal-dresses-2015 | www.marieaustralia.com/long-formal-dresses

Ten minutes is all Sabyasachi Mukherjee has. “Can you keep the interview short,” I’m asked, as the announcement of his participation in the finale of Lakme Fashion Week’s upcoming Winter Festive show is made. Is ten minutes enough to recap the 14-year journey of this master of colour, cut and construction, I wonder. But I realised that Sabyasachi in rapid-fire mode can make ten minutes seem like twenty! Excerpts:

What is it about LFW that made you return?

It’s here that I first made a mark as a designer. I’m familiar with the format, and know the people. It is like a homecoming. The good thing about LFW is that everything is taken care of – from building the set to inviting people. So I have the freedom to focus on the clothes. It is like putting together a complete show, but doing only half the work!

Finales are a challenge – given the expectations of people in the fraternity, profiles of attendees and the intangible themes created by Lakme for interpretation into garments…

Well, it’s not at all difficult for me. This is my fifth finale at LFW. Once the make-up and hair are set, it is easy to imagine the look and what the girls must wear. I’m way too senior to worry about pre-show stress. My biggest pressure comes from whether I will like what I create. Beyond that, even the critics’ reaction doesn’t really concern me.

Will this line too be about Indian-ness?

Whether I do Western, Eastern or a combination, I always use Indian handcrafts, and all my clothes are handmade. Traditional textiles, block prints, weaves and embroidery are a constant in my collections. The theme being “Illuminate”, this line is about red-carpet clothes with a strong shimmer quotient.

Sunday was National Handloom Day. Considering our diverse range of homespun textiles, do you think everyday must be celebrated as handloom day in India?

Absolutely. It is mandatory at my stores. My staff wears only handloom saris or kurtas made of hand-woven fabric. My Instagram hashtag says ‘Wearing handloom everyday.’

Social media plays a significant role in promoting tradition. Smriti Irani’s ‘I wear handloom’ campaign on Twitter and the 100 Saree Pact are recent examples. Isn’t it time designers too found new ways to promote heritage?

Yes. As more and more Western brands enter the market, our designers must first establish an identity of their own. The Zaras of the world are bringing active prêt into the country, so it is important for us to revive the market for Indian clothes. Reinventing tradition and rethinking marketing strategies are critical at this point.

Has the hustle of today’s business taken fun away from fashion? How do you strike a balance between creative expression and commercial viability?

Oh, that’s very simple. I set my own rules. For instance, this year, I had too much on my calendar. I didn’t do ramp shows, I only had a showing on Instagram. Established designers must create new templates that suit their creativity instead of allowing the market to set the pace for them. Because, at the end of the day, only if you have the time and space for creative expression, can you create beautiful clothes that determine the durability of your brand.

If you were to spell out two major problems faced by the fashion world, what would they be?

Lack of originality. Lack of self-belief.

Fashion has evolved into a glamorous industry, and today, many youngsters want to be part of it. But most of what we see on the ramp and in the retail space are risk-free repetitions.

Well, for designers to evolve, the market has to evolve. But the mood is changing. There are designers who are willing to push boundaries and clients who are ready to experiment. Facebook, Pinterest and Instagram are changing the way people see and respond to fashion. The horizons are widening. This is a wonderful time for young designers to launch their labels and sustain their inventiveness.

Very few Indian designers have taken the effort to document fashion. What about you?

Yes, I will at some point in time get down to writing about my brand. But for that, I will first have to find the right publisher!

Many corporate players are keen on collaborating with designers.

I receive so many proposals for collaborations that I refuse one every day! I am collaborating with Asian Paints, Forever Mark and Christian Louboutin. Another huge one is coming up – but I will not be able to speak about it at the moment.

Do seasons really matter any more in the world of fashion?

Global warming is making designers understand the importance of season-defying clothing. And people too, I feel, don't shop for seasons any more. They just want beautiful clothes.

Can you update us on your forays into jewellery design and interiors?

I have collaborated with Hyderabad’s Kishandas & Company to create some iconic pieces that are hugely popular — and of course, plagiarised! I have a line coming up for Forever Mark. As for interiors, I wanted to design homes, but people did not seem to have enough confidence in me! (laughs) So I ended up doing up my own stores. I have also done up the Cinema Suite for the Taj in London. Celebrities who have stayed in the hotel have appreciated it. A significant collaboration in interiors is happening in October.

Your suggestions to keep traditions going…

People need to be educated about handmade textiles and crafts. A time will come when China will lose out to India because as people become aware, they will only want to support products that are ethically sourced and foster craft communities. Surprisingly, the new millennials are in favour of luxury that is completely handmade. I see that as a positive sign.Read more at:http://www.marieaustralia.com/short-formal-dresses | www.marieaustralia.com/backless-formal-dresses

Fashion designers love foraging through the antique markets of Clignancourt in Paris and Portobello Road and Alfie’s Antiques markets in London snuffling out vintage pieces for inspiration. The flurry of romantic Victoriana on the catwalks for autumn can clearly be blamed on this obsession.

There has been an undercurrent of reserved, covered-up fashion ever since Pierpaolo Piccioli and his former co-designer Maria Grazia Chiuri introduced a more demure aesthetic to Valentino five years ago. Longer skirts, prim higher necklines and covered arms have become the slow trend of recent seasons creating a hyper-feminine look.

Riccardo Tisci at Givenchy and Sarah Burton at Alexander McQueen have long been beguiled by the Gothic romanticism of Victorian fashion with their use of corsetry and dark dramatic lace and velvet for eveningwear.

In fact, London-based vintage fashion dealer Virginia Bates admits she doesn’t remember there ever being a time when Gothic Victoriana didn’t feature in at least one designer’s collection. “The fascination with the romantics, poets, artists and even horror [classics and films] give designers a great source of inspiration,” she says. “It’s an irresistible era.”

Certainly a lot of it has appeared on the catwalks this season at McQueen, Marc Jacobs, Burberry (shown only a month ago in the see-now, buy-now collection), Simone Rocha, Preen, Bora Aksu and Temperley London, as well as at smaller brands such as Alessandra Rich, Three Floor created by Yvonne Hoang and A.W.A.K.E.

There were dark distressed Linton tweeds, unravelling knits and black tulle in Simone Rocha’s autumn collection. Rocha was pregnant when she started designing it and was inspired by Victorian dress and motherhood, in particular the nightgowns and matrons.

“All the wrapping and swaddling of babies,” she says, before elaborating on how “the Victorian ideals of properness were made perverse with the conservative and covered-up pieces contrasted by the sheer and embroidered fabrics.”These gauzy vaporous fabrics succeeded in making her eerily romantic silhouette look rather contemporary and daring.

Subversion is key to making such a prim and proper period in fashion history modern and relevant for women today. Marc Jacobs, for instance mixed long Victorian coats, ballooning crinolines and crochet doily collars with sweatshirt tops and laser-cut leather for skirts and jackets together with some scary Goth horror make-up. Nothing is, or should be literal.

As Justin Thornton of Preen says “we love the Victorians, the laces and the white shirts, but it is the vintage pieces rather than the era that inspire us”. His partner Thea Bregazzi has collected aristocratic laces and ruffly vintage shirts from Portobello Road market for as long as he has known her and these frequently find their way into their collections, “but linings would be ripped, garments will have holes in them – it is a deconstructed look”.Virginia Bates once owned a famous vintage fashion emporium in Holland Park with a client list including the biggest names in fashion from John Galliano to Donna Karan and Naomi Campbell. Now she only works with private clients and designers and they, especially, she says were looking for genuine Victorian pieces when planning their autumn collections.

“A black fitted jacket with inserts of handmade lace [that is] embellished with crystal and jet beads, ***** and silk lined ... How exciting and inspiring is that? Silk and fine lawn shirts, soft and flowing with ruffles. Don’t we all want to wear one and live the dream?”

Thankfully a few designers do right now, and there were lots of heavenly creatures in fragile asymmetric lace dresses toughened up with leather corsetry at Alexander McQueen, and richly coloured swishy dresses at Bora Aksu. While Christopher Bailey cherry-picked the centuries in his Burberry collection, lighting upon frilled white cotton shirts, nipped in jackets and military capes from the Victorian era. Given that Victoria reigned for more than 60 years there is a lot of history for designers to plunder, so this will not be the last we will see it.Read more at:http://www.marieaustralia.com/short-formal-dresses | www.marieaustralia.com/red-carpet-celebrity-dresses

Fashion is a female-fueled business. Many glossies have mastheads filled with women; there are tons of female designers; public relations, a key cog in the fashion-industry machine, is two-thirds women. Yet gender inequality is still a legitimate issue in the field — very few European design houses arehelmed by female talent, and women have only recently begun to catch up in terms of top-level executive roles at places like LVMH.

We’re still a ways off from having gender parity in the most influential roles in fashion, not to mention equal pay, and better parental leave policies. But there are some advantages to being a female designer — an innate understanding of the female body and what women truly want to wear, for starters. In honor of International Women’s Day on March 8, shopping app Spring gathered 33 of its female-led brands — including some of our favorite forward-thinking names in the biz — for a campaign called #SpringStories. The original shoot, lensed by Diego Uchitel, explores dozens of designers’ experiences in (and contributions to) the fashion industry.

As part of #SpringStories, users on the e-tailer’s app will be able to “swipe” to donate to I Am That Girl, a charity that aims to “help girls establish physical, emotional, and mental well-being and transform self-doubt into self-love by providing a safe space to have honest conversations about things that matter,” according to the organization’s site. Spring will then match all contributions to the charity.

A handful of the app’s featured designers shared with Refinery29 the ongoing challenges they face as women in the fashion industry, as well as the highlights of getting to design for other women.

Getting the necessary capital to put out collection after collection is tougher for female talents, according to Laura Cramer, cofounder of Apiece Apart. "To build a grounded business poised for growth, you either need to raise money or have deep pockets. The uphill battle for women raising money is much steeper, particularly if you look at data around VC funding, where women-led companies get less than 5%," Cramer says. "Early in our pitching days, I was pregnant and would watch eyes fall to my enlarging belly as we described our road map to success. A man will never know the feeling of people calculating your age, your marital status, and your child-bearing readiness."

And once funding has been achieved, some designers feel a lack of support between women in the industry. “I think a lot of women don't support each other in the ways they should, and it always blows my mind that support and love isn't people's default setting all of the time," says Aurora James of Brother Vellies. "There are a lot of women in this industry, and there is enough success for all of [us]."

Camaraderie is important, certainly, but it's necessary to have women installed in powerful, well-financed creative director roles at the biggest fashion conglomerates to truly work toward having equal opportunities in the industry. "There are many female designers, but not in the top tiers of fashion," says Becca McCharen of Chromat. "The brands backed by companies like LVMH and Kering are predominantly run and owned by men."

Women are especially adept at "designing for changing bodies, with curves, and incredibly diverse days," Cramer explains. Yet there's a (albeit, generalized) contrast in what drives designers' ideas, according to Tanya Taylor: "Men design for desire and women design for purpose," she says. "The biggest challenge is how you make purpose desirable."

Though there certainly are ways to make clothing that elicits desire without being overtly ****. "Becca [McCharen] from Chromat — she has an incredible understanding of the female body in all of its many incarnations and she designs for that; she basically builds scaffolding for the body," James raves. "She supports women both ideologically and literally. It's lingerie, but it's not about *** — show me a man who has done anything like that."

#SpringStories' eclectic roster also includes labels like Negative Underwear, Misha Nonoo, Marcia Patmos, Rebecca Minkoff, Outdoor Voices, and Eileen Fisher.See more at:http://www.marieaustralia.com | www.marieaustralia.com/bridesmaid-dresses

It’s New York Fashion Week, and there is a frenzy backstage as models are worked into their dresses and mob the assembled engineers for instructions of how to operate the technology that magically transforms a subtle gesture into a glowing garment suggestive of the bioluminescence of jellyfish. I know there’s not enough time for them to do their work. Almost instinctively, I find the designer and bargain for 20 more minutes.

While I wonder to myself how I got here, backstage at a runway show, I also know I am witnessing what may be the harbinger of how a fourth industrial revolution is set to change fashion, resulting in a new materiality of computation that will transform a certain slice of fashion designers into the “developers” of a whole new category of clothing. By driving new partnerships in tools, materials and technologies, this revolution has the potential to dramatically reshape how we produce fashion at a scale not seen since the invention of the jacquard loom.

The jacquard loom, as it happens, inspired the earliest computers. Ever since, textile development and technology have been on an interwoven path — sometimes more loosely knit, but becoming increasingly tighter in the last five years. Around that time, my colleagues and I embarked on a project in our labs to look at “fashion tech,” which at the time was a fringe term. These were pioneers daring to — sometimes literally — weave together technology and clothing to drive new ways of thinking about the “shape” of computation. But as we looked around the fashion industry, it became clear that designers lacked the tools to harness the potential of new technologies.

For a start, all facets of technology needed to be more malleable. Batteries, processors and sensors, in particular, had to evolve from being bulky and rigid to being softer, flexible and stretchable. Thus, I began to champion “Puck [rigid], Patch [flexible], Apparel [integrated],” an internal mantra to describe what I felt would be the material transformations of sensing and computation.

As our technologies have steadily become smaller, faster and more energy efficient — a progression known in the tech industry as Moore’s Law — we’ve gone on to launch a computer the size of a postage stamp and worked with a fashion tech designer to demonstrate its capabilities. In this case we were able to show dresses that were generated not just from sketches and traditional materials, but forward-looking tools (body scans and Computer Assisted Design renderings) and materials (in this case, 3-D printed nylon). At the same time, we integrated a variety of sensors (proximity, brain-wave activity, heart-rate, etc.) that allowed the garments themselves to sense and communicate in ways that showed how fashion — inspired in part by biology — might become the interface between people and the world around them.

Eventually, a meeting between Intel and the CFDA lent support to the idea that if technology could fit more seamlessly into designs, then it would be more valuable to fashion designers. The realisation helped birth the Intel Curie module, which has since made its way down the catwalk, embedded into a slew of designs that could help wearers adapt, interpret and respond to the world around them, for example, by “sensing” adrenaline or allowing subtle gestures to illuminate a garment.

As the relationship between fashion and technology continues to evolve, we will need to reimagine research and development, supply chains, business models and more. But perhaps more than anything, as fashion and technology merge, we must embrace a new strand of collaborative transdisciplinary design expertise and integrate software, sensors, processors and synthetic and biological materials into a designer’s tool kit.

Technology will inform the warp and weft of the fabric of fashion’s future. This will trigger discussions not just about fashion as an increasingly literal interface between people, our biology and the world around us, but also about the implications that data will generate for access, health, privacy and self-expression as we look ahead. We are indeed on the precipice of a fourth industrial revolution.Read more at:www.marieaustralia.com/red-carpet-celebrity-dresses | www.marieaustralia.com/black-formal-dresses

Software program designers ordinarily apply certain types of layer technological know-how to shield their software to avoid illegitimate apply. In addition need software layer software is permitted to obtain articles, to be able to boost product sales profit.

Software package encryption technology is split in accordance with whether or not the by using a devoted hardware-based encrypted sheild hardware as well as software-based security. Hardware-based layer, layer have to bind having a focused hardware unit, the particular electronics shield of encryption layer head of hair, typically referred to as the dongle. Software-based layer, encryption does not need focused electronics, typical executed digital camera permission while using the your fatal unit hardware and software data, also referred to as this electronic digital endorsement styles.

Simply consider drive-based electronics encryption stability when compared with software-based shield of encryption will not be suitable, as the more linked to program security, like encrypted sheild products and solutions, stability, encrypted sheild plan style, software, systems, , equipment, details marketing and sales communications, and the like, is really a detailed technological spots, not alone by a to discover whether protection.

Far away, the market industry promote of the digital permission along with security tresses are evenly coordinated. Behavior and also fantastic factors, the actual layer hair likewise enjoy a certain share of the market. File encryption hair, however, will be the network produced merchandise in the instances, can be a pure consumer technology, insufficient operations and also record capabilities, the inclusion of appliance manufacturing, strategic planning, driver installation annoyance, but not only the high cost, and might stop obtained multilevel submission and sales of your computer software, is definitely gradually diminish.

Enhancing the electronic acceptance that is certainly while in the ascendant. Electrical certificate protection approaches are getting to be progressively more included in the Internet technology, cloud computing and also SaaS thought is not just easier to make use of along with cope with computer software electric situation and be able to accomplish, but according to present day natural low-carbon improvement strategy, has got supplanted the encryption curly hair Outstanding software program encryption market trends. The more well-known businesses on the planet, Microsoft, Sun microsystems, Autodesk, SIEMENS, Adobe and various computer software are electronic consent safeguards function.

In the nation, using file encryption software package coders fasten greater premiums, along with international routines and also historic causes of the actual continuation with the next 2 reasons:

One particular every day producers typically regarded security encrypted sheild a lock electronic digital authorization.

There's not just about any readily available electronic digital licence products and solutions too big, the asking price of foreign electronic digital permission.

In reality, while using the rising betterment of your multi-level surroundings, your system triggering for the majority of home end users 's no trouble. And even brought up previously, which the point of view from the safety of layer head of hair electric permission on the sides completely wrong. From your reasonable mindset, this file encryption hair as a result of computer hardware copying much easier to crack, but accomplished piracy business sequence has been made. In its place, electronic digital endorsement because appliance is not replicated, but in addition should system arousal plus approval, in reality, have good safety outcome. Additionally, your every day has showed up in some accredited goods give electric 2-3 enterprise will have to improve while using growth of China's software package sector and grow up.

As a result, your layer computer software market styles hardware, web 2 ., and details technologies. Below, we speak about, in the application encryption approach specific to be able to detailed application encrypted sheild establishment plus progress craze of the marketplace.

Very first, the software encryption approach

As mentioned previously, it encrypted sheild technologies are divided into security hardware-based as well as software-based security.

Your hardware-based shield of encryption

Hardware-based encryption shield of encryption locks, many important info, like shield of encryption secrets to vulnerable information, consent paperwork, tailor made sets of rules, etcetera. can be stored in this dongle.

The layer fastener screen variety is split in to 2 kinds of synchronised slot and also Flash interface. This simultaneous port could be the very early technique type, because the propagation troublesome plus clash while using the printer's, and after this has less apply. A lot of builders employ tend to be USB slot dongle.

File encryption hair from the two kinds of CPU form, the microcontroller to get Pc and another with a clever minute card processor for the reason that Pc a microcontroller computer hardware by itself conveniently trouble area or content, therefore an increasing number of high-end file encryption a lock employing a intelligent credit card chips Central processing unit, to stop hardware break. Although a growing number of clever card dongle crack, initially, because processor might be more and even more leading-edge analytic techniques and devices; sensible card program to be written to the chips manufacturing unit to make during this time method may possibly trickle; encrypted sheild tresses of the identical manufacturer your Processor process is the same, merely various designers facts as well as major, in case most of these records are passed out there, you can easily clone.

Dongle features a specific level of security power, but you can also find a number of drawbacks:

One) apply at the regular one-time never ending license, can't assist in the achievements of your trial model along with on-demand invest in

3) the presence of electronics generation, logistics, assembly as well as upkeep charges

Three) is not achieved the issue with Internet-based electronic digital improvements, tracking along with control

Several) Once broke, may be burned huge, it is sometimes complicated to remedy

A pair of software-based encryption

Software-based encrypted sheild, digital acceptance, and certain in addition separated into home equity loans number plate along with licenses document:

In order to register code can be referred to as successive number or consent computer code, acquired using a alteration in the the program end user computer systems along with program facts, possible software and hardware facts, including: Cpu serial number, BIOS sequential amount, greeting card amount, harddisk sequential number, computer system brand, etc. . Completely transform formula made use of your customized protocol or maybe conventional shield of encryption algorithm formula. Customer as well as primary utilisation of the computer software installment practice, you might want to type in the enrollment value to confirm. Following verification, it can be employed typically. The particular strategy has got the good thing about this subscription computer code defense is easy to use, the downside is always that security is not really higher, not able to attain complicated endorsement demands.

Permission submit as well as the signing up code in order to situation the same computers plus software information, simply a registration signal period confines utilization of both software and hardware information, a permission record can use numerous hardware and software info. Also, the actual permission report can contain more info, to help you obtain the difficult agreement demands, and may perhaps retail outlet several customer facts. The average permission report way is to implement the private key in the asymmetric algorithm to hint your certificate data file, while the general public secret is embedded in the application value. Asymmetric shield of encryption plus understanding course of action, the private computer essential consent hosting server exists, it is hard to compromise from the investigation regarding endorsement paperwork.

Some great benefits of this electric endorsement safeguard doesn't require further electronics, and for that reason doesn't have to mount the motive force as well as buyer elements, electronic digital hardware issue. The disadvantage from the automated certificate safety mode just isn't networked buyers really need to hand remove your computer information, and then personally significance registration constraints or even permission, is not very easy to use. Additionally, the particular domestic electronic digital acceptance a few of the programmers from the product or service, that also limits your popularization and promotion connected with electric permit safeguard technology.

Subsequent, it encrypted sheild field advancement status

A single. File encryption curly hair

The main unusual dongle professional SafeNet, Corporation. in the usa in addition to Germany Wibu.

Security head of hair service deeply Supposrr que Luoke and also Feitian. The 2 main organizations due to the affordable prices, the first person to introduce the actual good minute card shield of encryption curly hair nearby perfectly so that you can enjoy some market place in the nation.

A pair of. Electric permission

Unfamiliar company certified merchandise to supply electronic digital Flexera Software and also SafeNet which will, Flexera Software program is focused entirely on the joy of digital permission, the actual device's ease of use along with features are doing superior, though the valuation on the item is additionally quite high.

This home-based electrical authorization goods enterprise a Beijing Biteansuo (BitAnswer), Shenzhen-use this (Euse) Safengine Organization.

There are only a few companies will acquire their very own electronic digital consent structure, even so the builders to cultivate their own plans commonly occur this inquiries:

One particular) the introduction of non-professionals, there are numerous loopholes while in the security

A pair of) is actually difficult to realize accommodating accreditation control, management and also precise functions simple or maybe simply no

Three) are often unveiled to be able to address the particular fast problem connected with short-term method, create far more than predicted in the foreseeable future as a result of protection, balance and also scalability challenges continued to get

Several) can not meet up with sector variations as a result of the modern demands on program certification model

Software program security marketplace movements

The software security field developments is closely connected with the increase development with the computer software marketplace. With the rise in popularity of cloud-computing plus Software, service with application products will be change in the direction of the multilevel plus system. Used in nearly all software programmers, Software items can not only spend less a great deal of hardware and software buy plus servicing charges, you can also get demand from customers, when decreasing the use of possibility, driving program vendors in order to consistently strengthen items plus improve services to be able to sustain consumers.

To the development of system and program improvement can also be a software package encrypted sheild technologies movements. The view around the present-day growth trend, the encryption locking mechanism technologies have designed really develop fully information mill approaching vividness, slower advancement. The actual everyday living and make use of on the equipment practice creates security head of hair are not able to conserve the speed regarding advancement of the Internet period, are going to be substituted with the particular automated certificate.

Automated authorization permission through earlier subscription program code type on the feature-rich records available as modifications to technologies are considering verification process out of offline yourself confirm the introduction of computerized system authorization. Permitted administration contemplating particularly, your electrical licence technological innovation collected from one of software licence qualifications growth just as one authorized official certifications, agreement management and exact information and facts, and also other objective of each, significantly improved this permitted volume of details regarding computer software coders.

May forecast not able to electronic products certified solutions ought to have these most important properties:

Enlightening approved administration system: supplied by third-party safety measures specialized software designers, in line with the Net's one-stop software package safety plus endorsement management system, without having to deploy and observe after, low priced, easy-to-use.

Only two Bendable Certificate: offer the acceptance of the purchaser software as well as the cloud computing product common software package licenses; authorized touch time, the volume of sensible adventures; sanctioned in order to bind your computer software and hardware information and facts, encryption tresses, or by way of a username plus password validation way of agreement.

Simple and easy friendly buyer: in accordance with the WEB, at any place obtain; Users might food acquire, trigger boost the software, you can buy their unique software package to keep abreast of details; software package designers can certainly understand software initial information and facts plus individual data is often synergies through the people in the firm to finish the design of application license, enactment, supervision as well as maintenance operate.

5. Fog up accreditation unit: This is a cloud computing type of software program licensing. Standard application is genuine customer setup, endorsement can also be a buyer. Although cloud-computing could be the craze, although the move difficult for classic software package would be a wonderful way for the particular a higher level cloud computing modification. This definite awareness associated with tips, a common application approved move on the purchaser for the fog up on the endorsement remote computer, to ensure that small adjustments towards the application, but you can certainly instantly experience the great things about cloud computing: higher safety energy require to obtain clouds hard drive .

http://www.passwordmanagers.net/ Password Manager

ALMOST 500 aspiring fashion designers competed to represent Malaysia in the grand finale of this year’s AirAsia Runway Designer Search 2016.

The online submissions were narrowed down to 25 contestants, where a panel of judges chose their top 10 from that pool.

These top 10 contestants aged between 18 and 28 years old were judged based on their creativity, originality, theme and presentation.

From there, the top three lucky ones will represent Malaysia in the grand finale, which will also see contestants from five other Asian countries including Singapore, Indonesia and the Philippines.

“We have so many potential designers this year and it is very exciting to see their designs come to life on the runway,” said Kuala Lumpur Fashion Week Ready to Wear (KLFW RTW) founder Andrew Tan.

He said there was no one winner when it came to fashion as everyone had their own kind of creativity, which is why he is happy to send three finalists from Malaysia to compete in the grand finale.

“We are proud to have three designers representing our country.

“This year’s theme of Asean inspiration is where they can draw their inspiration from any Asean country, not just Malaysia,” he said.

He advised aspiring designers to not miss this opportunity to shine at one of the country’s biggest fashion events.

This can also be their platform to make their dreams come true as their designs will be showcased at the Kuala Lumpur Fashion Week and sold on Fashion Valet.

Joining Tan on the judging panel was AirAsia Berhad chief executive officer Aireen Omar who sees this as an event to capture Malaysia’s best talent in the fashion industry.

“We decided to make this contest a regional one to not only create more excitement but elevate the contest to a higher level,” she said.

Last year, the runway designer search was limited to Malaysian contestants.

She said making the contest regional was in line with AirAsia, which was all about networks and connectivity.

“It is also in sync with our Asean theme, where contestants draw inspiration from their travels to other countries,” she said.

In August, the top three contestants from each country will compete at the grand finale in Kuala Lumpur.

The winner will walk away with the title “Air Asia’s Most Promising Young Designer 2016” and prizes worth at least RM350,000 including a confirmed show segment to showcase the full collection on (KLFW RTW).

In addition, the winner will be mentored by the KLFW RTW team, RM25,000 to produce a capsule collection on Fashion Valet and RM150,000 AirAsia BIG Points to fly.Read more at:http://www.marieaustralia.com/formal-dresses-adelaide | www.marieaustralia.com/formal-dresses-perth

Paris has traditionally been the city where inter­national designers – from Australia and England to Beirut and Japan – opt to unveil their collections. However, Karen Ruimy, who is behind the Kalmar label, chose the runways of Milan Fashion Week for her debut showcase in September.

The Morocco-born, London- based designer hosted an intimate al fresco event in a private palazzo to launch her holiday line of fine cotton and silk jumpsuits, breezy kaftans, long skirts, playsuits and off-the-shoulder tops in tropical prints.

Ruimy had a career in finance before moving into the arts – she owns a museum of photography in Marrakech – and has become increasingly involved in fashion and beauty, thanks to her personal interest in holistic therapies.

These are clothes, she explains, that marry luxury and wellness, and are the things she would wear when she wants quality time by herself. The fact that they are made in Italy, convinced her that Milan was the right place for her debut – where she showed alongside the likes of Gucci, Prada, Verscae and Marni.

On fashion calendars, Milan has conventionally been the place where the runways confirm the trends and themes hinted at ­earlier, in New York and London. However, this season, the Italian designers did not speak with one voice, making Milan Fashion Week all the more refreshing for it.

Often, there might be an era or style of design that dominates the runways during a particular season, but for spring/summer 2017 in Milan, there was a standout showing of techno sportswear and techno fabrics employed in updated classics such as coats and box-pleat skirts, or with references to north African and Native American themes.

The Italian designers sent looks that would appeal to everyone, from the haute bohemian and athletic woman, to the cool sophisticate and the art crowd, as well as – as in the case of Moschino – to the iPhone generation.

Only three seasons ago, Gucci’s creative director Alessandro Michele was lauded for his complicated maximalist styling. Yet in Milan, Gucci channelled a dreamlike vibe with Victoriana, denim, athletic apparel and oversized accessories, thrown together in delightful chaos, making it difficult to predict the direction Michele is taking Gucci in.

Currently he seems to be in a holding pattern, hovering at once over 1940s Hollywood glamour, 1970s flared pantsuits, and ruffled party dresses from the 1980s, in a cacophony of ­colours and fabrics.

The feeling of joyous madness continued at Dolce & Gabbana, where street dancers emerged from the audience to start the party in the designers’ tropical-themed show. The clothes used some of their familiar tropes, such as military jackets, corseted black-lace dresses miniskirts. New, however, were the baggy tapering trousers redolent of jodhpurs, and the lavish and detailed embellishment the designers used to sell their story.

Wanderlust dominated the moodboards at Roberto Cavalli – rich patterns, embroidery and patchworks inspired by Native Americans – and Etro with its ­tribal themes on kaftans, duster coats and Berber-style capes.

Giorgio Armani, Agnona Tod’s, Bottega Veneta and Salvatore Ferragamo – with its stylish twisted leather dresses and crisp athletic sportswear designed by newcomer Fulvio Rigoni – all answered the call of women who want stylish but undemanding clothes.

Marni would appeal to the art world for its graceful, pioneering ideas. The label’s finely pleated dresses displayed a life of their own, and its micro-printed dresses were gathered, folded and distorted to walk the line between stylish and quirky.

In contrast, the sportswear at MaxMara and Donatella Versace targeted the dynamic generation of athletic women, with sleek leggings, belted jackets, power suits and anoraks. Versace has made it clear that she thinks this is the only way forward. She may be right, but there’s always room for the myriad styles displayed at Milan Fashion Week in all our wardrobes.

It was feathers with everything at Prada. Silk pyjamas, boldly coloured and mixed checks, cardigans and wrap skirts with Velcro fasteners show Miuccia Prada reinventing the classics. Most glamorous was the series of evening dresses and pyjamas with jewelled embroidery and feathers, worn with kitten heels that married sporty straps with heaps of crystals. Prada’s must-have bag of the season is a bold clutch with a long strap fastener, that comes in a multitude of geometric and daisy patterns.

Versace

Over the past three seasons, Donatella Versace has been carving out a new image for her brand – a shift from the luxe glam of red carpets and superyachts, although the inhabitants of that world will be sure to buy into the new Versace vibe. Donatella’s girls are both glamorous and empowered. The sporty look is tough, urban and energetic, judging by the billowing ultra-thin high-tech nylon parkas and blousons, stirrup trousers and dresses (the shapes of which are manipulated by drawstrings). Dresses, skirts and tops are spliced at angles and studded together. Swishy pleated dresses and silky slit skirts gave energy when in movement, and were as soft as the look got.

Bottega Veneta

Model Gigi Hadid and veteran actress Lauren Hutton walked arm in arm down the Bottega Veneta runway, illustrating the breadth of the Italian maison in Tomas Maier’s hands. This was a double celebration of the Bottega’s 50th ­anniversary and Maier’s 15th as its creative director. Menswear and womenswear were combined, and the focus was on easy, elegant clothes in luxurious materials, such as ostrich, crocodile and lamb skin for coats; easy knits and cotton dresses worn with antique-style silver jewellery; and wedge heels. Fifteen handbag styles debuted along with 15 from the archive.

Fendi

Silvia Venturini’s new Kan handbag was a star turn at Milan. The stud-lock bag dotted with candy-coloured studs, rosette embroidery and floral ribbons couldn’t help but charm every woman in the audience. It was the perfect joyful accessory for Karl Lagerfeld’s feminine vintage romp through the wardrobe of Marie Antoinette, with sugary colours, bows, big apron skirts and crisp white embroidery juxtaposed with sporty footballer-stripe tops – effectively updating a historical look.Read more at:http://www.marieaustralia.com/formal-dresses | www.marieaustralia.com/red-carpet-celebrity-dresses

Fashion Week is coming to Brew City Thursday through Saturday, with 24 designers showcasing fashions ranging from athleisure to bridal and evening wear.

“Fashion is more than L.A. or New York,” said Deborah Reimer, the event’s primary organizer. “We’re not just about beer and cheese. Milwaukee has a lot of talent and the fashion industry is growing, and it is time that it gets seen in the public eye.”

Nightly fashion shows will feature eight designers each. About half of the designers are new to Milwaukee Fashion Week, while the rest are returning from the 2015 show. The designers range in experience, with students from Mount Mary and the Art Institute of Wisconsin participating. The shows draw designers from the Milwaukee, Chicago and Madison areas.

In its second year, the event moved to the Hyatt Regency Milwaukee in the hotel’s circular rooftop ballroom, Vue. Last year, fashion shows took place at three locations downtown. During intermission and at the end of the show, designers and models will interact with the audience, who will get a chance to look at the garments up close.

On Thursday, see Emily Ristow's unique everyday wear and Erin Aubrey's custom dyed, high fashion designs. The show includes men’s designers too. Allison Jarrett creates tailored looks for men and women.

Friday, check out Moda Muñeca for something with an edge. The line is designed by Chelsea Stotts, who was the RAWMilwaukee Fashion Designer of the Year. Jordan Weber's classic and elegant evening wear will also go down the runway.Read more at:http://www.marieaustralia.com/formal-dresses-brisbane | www.marieaustralia.com/****-formal-dresses