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Farfetch is throwing its weight behind Web3. In July, it said their Dream Assembly Base Camp accelerator programme would be fully focused on Web3 fashion startups, in partnership with Outlier Ventures. Now, it’s announced the eight companies that will participate in the first 12-week camp. Out of 200 applicants, Altr, Curie, Iindyverse, Metav.rs, Mintouge, Reblium, Sknups and WearNFT were selected.

Farfetch was looking for founders that show “next-wave thinking” in key areas of digital fashion and immersive experiences, says Carol Hilsum, senior director of product innovation at Farfetch. The goal was to onboard a diverse array of startups, all of which were past the ideation stage — Farfetch wanted companies ready to build further, not from scratch.

Some are focused on new customer use cases; Altr is focused on the potential of fractional ownership, says Hilsum, working to digitise and alter archival fashion, while contributing to physical archival preservation. Metav.rs and Iindyverse are building immersive experiences. The former is a management platform providing tools to create metaverse experiences, and the latter helps musicians, artists and designers to build Web3 experiences and campaigns.

Infrastructure-driven startups looking at how best to scale the tech were also a focal point. E-commerce plug-in Mintouge enables brands to onboard their product catalogues to Web3 and create digital twins. Sknups creates collectible skins for cross-platform gaming. WearNFT is an NFT platform geared towards luxury players, providing brands creation, curation and monetisation services. All three are all focused on how to scale Web3 technology, though they’re coming at challenges posed by this tech from different angles, proposing different solutions, says Hilsum.

Reblium and Curie are geared towards 3D and avatar assets that make Web3 technology work — and making these “beautiful” with “high aesthetics and scalability”, says Hilsum. Reblium builds hyper-realistic avatars, and Curie converts existing physical products to 3D assets to be worn in digital worlds. This taps into wider debates in the fashion world about Web3 aesthetics, what counts as cool, and where this technology fits into an industry that can be averse to change.

The accelerator is in keeping with Farfetch’s intent to establish itself as the tech infrastructure of the fashion world. With Farfetch Platform Solutions, the company is working to become the “global platform for luxury”, founder and CEO José Neves said after a 2021 earnings call. Its recent acquisition of Yoox Net-a-Porter, which had its own tech hub but will now use FPS services, bolsters the company’s tech presence.

This Web3 accelerator underscores how influential Web3 technologies will be on the future of fashion. “We’re really focusing on creating those connections between brands and new technology,” Hilsum says. In this case, Farfetch wants to bridge the gap between digital and Web2 and Web3 in order to develop a “building block” for Web3 luxury strategy, as Neves said following the YNAP acquisition announcement.

The companies that applied provided some key insights indicative of interest in the potential of Web3 tech. Hilsum notes the multitude of Web2 founders moving into the Web3 space. Not only was there a high level of startup experience, but fashion experience as well. “It’s interesting to see people either transition over or be advisors as well,” she says. This is promising, as it’s an indicator of both eagerness to build into the Web3 space and developments in industry understanding.

In a departure from past Farfetch Dream Assembly programmes, Base Camp is fully virtual — a fitting approach for an exclusively Web3-geared offering. Metaverse innovation lacks a centralised hub, illustrated by the global origins of the participating startups, including the US, UK, Hong Kong, France and the Netherlands.

Over 50 mentors will help to educate the companies on all things Web3 and fashion — a “dream group” of experts, Hilsum says. Some are Web3-native digital fashion founders, including The Dematerialised co-founder Karinna Grant, DressX co-founders Daria Shapovalova and Natalia Modenova, and The Fabricant co-founder Adriana Hoppenbrouwer-Pereira. Other mentors include industry leaders such as Megan Kaspar, MD of crypto and blockchain investment and incubation firm Magnetic, and education-focused contributors from Learning Lab Paris and the Edinburgh Futures Institute.

The 12-week accelerator programme will educate startups on the key factors at the intersection of fashion and Web3, such as use case design and token economics and structures, with the view of working closely with them in the future. The accelerator is also designed to get startups investor-ready, helping them to nail down their company stories and pitches.

Industry leaders are keen to help. “Dematerialised was an early mover in the space and we built our business on Marjorie [Hernandez] and I’s intuition and experimentation, as there were no similar companies before us,” Grant says. “The Web3 fashion community is tight and we have always been close to our direct competitors, often helping each other out and collaborating in a way that Web2 businesses just don’t.” Hilsum considers this enthusiasm an exciting signal for the future of innovation and pace within the fashion, tech and Web3 space.

Grant thinks of the programme as a formalised way to facilitate both experimentation and mutual support. Plus, it will benefit veteran Web3 innovators as well. “Because this sector is still relatively nascent, the learnings are two way, which makes it a win-win for both mentors and mentees — as well as for the programme owners,” she says.

Farfetch, says Hilsum, is looking at what comes next. “It’s not enough to just create an NFT,” she says. “We’re really looking for people that are building scalable, long-term projects, so that’s what we were focused on in this cohort.” Scepticism is healthy, she says, in that it’s the industry asking “what’s next?” It’s Farfetch’s hope that this cohort will help to answer that question.Read more at:formal dresses online | short evening dresses australia

When it comes to trend-setting designers who completely changed the fashion game, the legendary Mary Quant is one of the all-time greats. With a radical approach to fashion and a style all her own, Quant’s life is unveiled and documented in her very own words, along with the recollections of friends, collaborators, historians and fellow designers in Quant. And this is a story that is sure to create inspiration in its audience and have them reaching out for their own dreams.

Mary Quant led the charge away from convention and conservatism through the championing of ground-breaking designs including the miniskirt and hot pants, plus an ingeniously creative partnership with hair stylist, Vidal Sassoon. Cinematic and stylistic, this is the story of the iconic design and retail pioneer, from her very first store on London’s legendary King’s Road, through to the development of a global empire.

Documenting the extraordinary life of the ultimate trendsetter in Mary Quant, the legendary fashion designer who would set out to change fashion in the 1960s and change the world through her Kings Road style, Quant is a terrific retrospective mix that pulls you into Quant’s groove and it will have you rocking out. Presenting audiences with a character study of who Mary Quant was, we meet a woman whose creativity was bursting at the seams and who was inspired by function and fun to do something different with fashion.

Emerging from the depressing grey world following the end of the Second World War, Mary Quant would emerge as a woman whose styles became synonymous with the Swinging-60s, and the new rousing Woman’s Liberation movement. And it all worked perfectly. With a background honed at Art College, Mary was a woman who saw things differently and her stance as a modern woman gave her the desire to create something truly unique for her fellow sisters, and in doing so she defined an entire decade.

As a documentary experience, Quant is unique as it focuses on the details of Mary Quant’s life and investigates the myth, rumour and innovations that became associated with her name. From the appearance of the miniskirt to a colossal cosmetics empire and bold styles that defined an entire generation, Quant looks at the complete working life of Mary Quant. Then, in addition to her work as a fashion saint, Quant delves into Mary’s personal life and the relative ordinariness surrounding her. This was not a woman prone to vices or addictions and who led what many would consider a relatively settled family life. But even Mary had her secrets, and there are plenty of revelations that will certainly take the audience by surprise.

Ultimately Quant is an incredibly inspirational and beautiful documentary to watch, and audiences will come away from it with a spring in their step. To describe Mary Quant as extraordinary is only the start of it, and through this documentary, we see first-hand how she literally changed everything. With an iron sense of willpower and a desire to make products that truly spoke to a woman’s sense of style, adventure and flair, Mary Quant was the pioneering fashion force for the modern age and Quant captures all of it for audiences.

Quant is a groovy documentary film to watch and is best witnessed up on the big screen. It’s a film that any fashion lover will be charmed by, and is sure to spark plenty of inspiration in the minds of its viewers.Read more at:light grey formal dress | australian formal dresses

As the most popular all-girl group in the world, it’s only natural that the members of Blackpink also have some of the most fashion-forward getups.

Since their rise to fame, Lisa, Jennie, Rosé and Jisoo have worn some of the most distinctive creations by luxurious brands such as Valentino, Michael Kors and Prada, among others, to attend events, shows and parties over the years.

While Blackpink has roots in South Korea, the group’s global fame has accelerated over the last few years, and they’ve become an international pop sensation. Since its debut in 2016, the group has broken numerous records with traction on social media and YouTube, and the artists have inked high-profile brand deals.

Currently, all four members are mostly associated with French luxury fashion houses, with Lisa as an ambassador for Celine, Jennie for Chanel, Rosé for Saint Laurent and Jisoo for Dior.

Over the years, Rosé and Lisa’s style had been more edgy and punk, with darker colors and outfits paired with boots, while Jennie and Jisoo embrace a more preppy and feminine style, with mini skirts and dresses.

One of the group’s more memorable outfits came at their performance during the first weekend of Coachella in 2019, with each of them wearing black, white and silver ensembles, fashioned with embroidered, sequin or lace detailing, to complement each other. The following weekend, they also wore similar looks.

In recent years, Jennie, born Jennie Kim, has opted for simple yet chic looks while attending shows and events for Chanel, for which she has been ambassador since 2017. In 2019, she wore a cropped powder blue tie-front top paired with a purple tweed cardigan by Chanel and jeans accessorized with a mini flap shoulder bag from the brand.

In 2021, while attending Chanel’s show for its spring 2022 collection during Paris Fashion Week, she wore a red two-piece set by the French label, featuring a cropped tank top with three buttons in the front and a mini skirt topped with a pearl belt and matching red Chanel flap bag. She also wore layered statement necklaces by the brand.

Lisa, born Lalisa Manobal, known for her more punk-rock glam, had a number of standout fashion moments this year alone.

In June, she attended the Bvlgari Gala in Paris, along with Anne Hathaway and Priyanka Chopra Jonas, wearing a bright yellow two-piece skirt set by Pinkong. Later that month, she wore a black sequined halterneck top and black shorts to attend the Celine men’s spring 2023 show in Paris, which caused chaos as she walked with V of BTS and Park Bo-gum.

Rosé, born Chae-young “Roseanne” Park, has also experienced a particularly eventful last year, especially with Saint Laurent, which she has been an ambassador for since 2020.

In September 2021, she made waves as she, along with rapper CL, became two of the first K-pop stars to be invited to the Met Gala. Rosé walked the red carpet in a mini bowtie dress by Saint Laurent, with the brand’s creative director, Anthony Vaccarello, by her side.

In April, while at the Saint Laurent pre-Oscars party, Rosé wore a strapless see-through glitter mesh dress with a black bodysuit and a feather-trimmed hem, which she paired with black platform boots.

This year alone, Jisoo, born Ji-soo Kim, has stunned in some of her most fashion-forward ensembles yet.

At the Dior fall 2022 show in March during Paris Fashion Week, the singer wore a bright yellow plaid dress over a short-sleeved white button-down top and a black tie, which was reminiscent of Cher Horowitz’s iconic look from the 1995 movie “Clueless.”

Then, in April, during Dior’s first show in Seoul, Korea, she opted for a timeless look, which was a black midi dress with lace detailing at the top and a skirt that flowed out to her ankles. She paired the look with the brand’s signature Lady Dior bag.Read more at:purple formal dresses | formal dresses adelaide

Electric. New-age. Unapologetically stylish. You could delve deeper into the fashion lexicon to find more ways of describing Hussain Rehar’s initial work, back in 2017. It was such an anomaly compared to the pretty sartorial finery that dominated the fashion scene that it made people sit up and take notice.

Freshly graduated from the Pakistan Institute of Fashion Design (PIFD) and after a few months’ stint working with designer Khadijah Shah, Hussain launched on his own with an eponymous label. His aesthetic was so unique that it immediately caught the eye. Who is the designer, you wondered, as you saw some of the designs while scrolling down Instagram.

This query was quickly followed by a survey of his prices, where he stocked and whether his clothes could be purchased easily. “[He] could become one of fashion’s future trendsetters,” I wrote, in my very first review of his work.

Shortly afterwards — in March 2018 to be precise — Hussain made his catwalk debut at the PFDC Sunsilk Fashion Week (PSFW) in Lahore. Walking out at the end of the show with a coterie of models, Hussain was quite as fashionable as the clothes that he created. Dressed in a striped jumpsuit with a zipper down the front, he grinned bashfully as he took a bow.

Since then, Hussain has become a permanent fixture in the Lahore fashion circuit, making waves back when fashion weeks were still functional and even riding out the pandemic with flair, rolling out successive collections online for his growing customer base.

To date, his personal fashion statements tend to be at par with the fashion that is his claim to fame: oversized blazers in eye-popping colours, power suits, loose kurta pajamas all complemented by a delectable array of accessories. It’s a wardrobe to die for — and it’s testament to how much this young boy from Gujranwala loves clothes.

Long before he made fashion design his raison d’etre, a young Hussain Rehar would mix and match his clothes and dress up for family gatherings. The relatives would be enthralled. Possibly, Gujranwala — city of sun-baked fields and wrestlers grappling in dusty akhaaras — hadn’t experienced such a fashion savant before!

“I have always loved putting an outfit together,” he tells me. “The wardrobes in my homes are chock full with clothes that I constantly buy and then wear in different ways. I love to dress up and go places!”

This admission makes me curious: what did he do during the coronavirus lockdown when no one was going anywhere? “I would dress up and go have dinner with my mother,” Hussain laughs.

The personal penchant for standing out has translated to creating clothes that stand out. Over a six-odd-years-long career, Hussain has honed his craft, worked on pattern and finishings and mastered the balancing act between design that is commercially viable and yet distinctive.

He’s won two awards — Designer of the Year Demi-Couture at 2019’s Hum Style Awards and Achievement in Fashion Design (Luxury Pret) at the Lux Style Awards last year — and put out a solo show in 2020 at a time when Covid-19 had temporarily been at bay.

Even though the coronavirus has generally brought down sales for luxury fashion-wear, Hussain’s business has continued to mushroom. His clothes are seen everywhere — at parties, weddings and worn by celebrities — and he has streamlined his business module, syncing it to the omnipresent demand for fast fashion. He has his many fans — and also, some critics.

“I haven’t been able to plan out a [second] solo show because business has been doing so well,” Hussain says. “Customers want to see new collections every few weeks. There’s a constant pressure to keep creating new designs and there hasn’t been enough time to conceptualise and create a collection for the catwalk.”

His debut solo show, which took place at a time when most designers were still trying to recover from losses incurred during the pandemic, had taken people by surprise. On a brisk winter afternoon, Hussain had transformed a backyard at a private home in Lahore into his catwalk. A tree, right at the centre, had formed the main focal point; the models walked around it and gathered underneath it for photographs.

There was dhol dhamaka and a whirl of colours, with the collection delving into the many festivities that comprise a traditional Pakistani wedding. Unlike most solo shows, the set-up had not been elaborate or over the top. Instead, it was simple and effective, a fledgling brand choosing to flex its fashion muscles all on its own, without the aid of fashion councils.

Did flying solo, when earlier he had only shown in collective fashion weeks, help Hussain’s brand? “It definitely helped build more awareness of the brand,” he says. “It showed that we were willing to stand in the spotlight on our own, without the hype generated by a collective designer show at fashion week. Nothing at all was happening in the local fashion scene at the time. My show was one of the very first shows to take place since the pandemic had broken out. I think people found that refreshing. It gave them hope that things were going to get better.”

But the show took place almost two years ago. Since then, Hussain has been off the catwalk, although he is churning out multiple collections that run the gamut from heavy duty formals to funkier luxury-wear to unstitched fabric. His designs are distinctive and really quite lovely, but they certainly aren’t as avant-garde as his initial collections used to be. Has Hussain toned down his wacky side in a bid to haul in more business?

“I still enjoy edgy design but, ultimately, the clothes should sell,” he admits. “Even internationally, designers may make crazy statements on the catwalk, but they will make more subtle versions of the clothes for retail. With no fashion weeks taking place, my priority right now is to create clothes that are different but, at the same time, client-friendly.”

He continues, “I think my clients appreciate my brand ideology, the way I fuse traditional hand embroideries with modern silhouettes and colour. It may be market-friendly but it isn’t boring. I make sure that the fabric and embroideries are of great quality and I try to keep prices competitive.

“And then, there’s always so much variety. Every collection has a different vibe and aesthetic from the previous one. Even before I create a collection, I think about how I want to market it, the model and the styling for the shoot. Once the concept is in sync with the designs, the images become more impactful. The shoot doesn’t have to be elaborate. I prefer product-oriented photography which is still unique.”

I agree that the imagery he creates is very eye-catching, calculated to make you want to make a beeline for his online store. And yet, some of these shoots — not all — have occasionally been critiqued for being too similar to those of other designers. A recent collection, released last fall, for example, drew immediate comparisons with an international brand’s shoot also released that same year. The colours and the styling were uncannily similar.

It has also sometimes been pointed out that Hussain is far too ‘inspired’ by certain major brands from across the border. How inspired is he, really?

“I think that it’s very normal to get inspired,” he says. “We spend so much time flipping through fashion magazines, that sometimes we will subconsciously register certain images. Now that my brand has become more established, I have become very concerned that there should be no replications. Still, I don’t mind getting inspired by a brand and styling a shoot a particular way or placing jewellery in a certain style. Above all, the design should be my own.”

Connoisseurs of handcrafted embellishments have also sometimes critiqued that Hussain may have a way with bling and stone-work but his embroideries do not have delicacy and finesse. Does he agree?

Of course, he doesn’t. In fact, he starts to laugh. “I have my own aesthetic. If Elie Saab creates delicate embellishments and Alexander McQueen goes over-the-top with thick layers of sequins, does that mean that one is inferior to the other? My style may be different from others — actually, that’s how I’d like to be!

“When I create luxury-wear, I want it to be glamorous and sparkly. I’ll put together sequins and stones in certain patterns to create that look and aim for a particular price bracket. On the other hand, the traditional bridal-wear that I create has very delicate hand embroideries and is priced accordingly.”

He’s also dipped his toes into the crowded market for unstitched fabric, releasing seasonal collections of lawn and winter-wear. How’s that doing?

“Very well,” he says, “the market for unstitched fabric is huge. One of my brothers is handling just the unstitched fabric market. The other one looks over the finances overall.” His is a family-run business, evidently. “Yes, I am not good with numbers, so my brothers joined me.”

There was no pressure to return home to Gujranwala once he had graduated from the Pakistan Institute of Fashion Design (PIFD)?

“No, my family and I always knew that I would be starting my business in Lahore.”

He has only one brick and mortar store in Lahore to date. Has he considered expanding to more stores or is he focusing more on online growth?

“So far, we’re happy with the studio in Lahore,” says Hussain. “It caters not just to Lahore but to all the surrounding cities in Punjab. And the online world is amazing, it can’t be beat. You put up a clock on Instagram that counts down to the launch of a new collection and, suddenly, you tap into a worldwide marketplace.

“It’s such a high when orders filter in overnight, right after you’ve launched a new line. It means that you’re doing something right. We’re very vigilant about making sure that we deliver on time. We want the customer to come back to us again.”

How does he think that he has improved over time? “I definitely know my market better. When I started out, I wanted to constantly experiment and try out new techniques. Now, I understand that, most importantly, the clothes need to be wearable.

“I’ve also become more experienced when it comes to selecting embroideries and fabric. Right at the beginning, I would use the wrong thread and sometimes it wouldn’t be able to hold sequins in place and they would fall off. I know much better now!”

The threads certainly aren’t falling off anymore and the sequins are right in place, twinkling away. Modern. Mystical. Eclectic. High fashion simmered and tweaked for the desi palette. As I said earlier, one could go on.Read more at:emerald green formal dress | formal dresses in australia

Pour une femme d’âge moyen de 50 ou 60 ans, vous voulez créer un look qui vous convient avec des vêtements non vulgaires? Il ne peut pas être impossible d’ajouter et de tenir tous les types de chaussures.

Mais, en raison de l’âge, ainsi que les effets de mauvaises habitudes de vie peuvent provoquer l’apparition des pieds chez les femmes d’âge moyen: relâchement musculaire, déformation ostéo-articulaire... Et une série de changements physiologiques.

Avec une femme d’âge moyen aussi tourmentée, il est en effet un peu trop difficile de reprendre les talons comme dans sa jeunesse.

Cependant, dans cette poursuite de "confortable, à la mode" environnement général de la mode, le plus approprié pour nos articles de chaussures plates, met en évidence le charme de la mode qui n’est pas inférieur aux talons hauts, capturant beaucoup de sophistiqués à la mode.

Et les mères d’âge mûr qui vont vraiment s’habiller combineront des chaussures plates élégantes et confortables avec des jupes élégantes pour créer la tenue la plus chic de l’été.

Mots incrédules? Suivez le point de vue de xiaobian!

Cette maman d’âge moyen porte un tee-shirt en coton lumi violet qui blanchit sans teint. Ni trop fort, ni trop profond, il est parfait pour une chaude journée d’été.

Assorti avec une jupe de mi-corps rose aqua + une chaussure blanche clip-toe. La robe longue peut bien cacher la forme imparfaite de la jambe. Les clip-toe dévoilés peuvent à leur tour étendre la proportion du bas du corps, ce qui joue un bon rôle. Pour enrichir la hiérarchie visuelle, elle a accroché un collier avec une longue chaîne dorée à la nuque pour un bel embellissement.

Miki mère de cette même couleur pour porter la forme, vraiment trop haut de gamme. La fente sur le corps de la jupe et le style de débardeur sans col et sans manches sont habilement utilisés "blanc design".

Cascades de colliers de perles blanches, embelli par elle dans la position vide du cou, une première vue de la valeur, révèle le goût simple et occasionnel et délicat du tempérament!

Cette femme d’âge moyen avec un tempérement élégant, mais aussi le charme de la mode de tricot + petit costume + jupe plissée, a porté à l’extrême.

Elle est ici dans un jersey blanc à col rond, sélectionné pour la confection de tissu tencel léger et soigné, apportant la légèreté et la douceur instantanée de la brise sur le visage; Portez-la avec une jupe plissée mi apricot et un petit costume de la même couleur pour la rendre encore plus exceptionnelle et appréciée.

Simple et généreux, mais frais et confortable, ce pull sans manches blanc est assorti d’une jupe plissée mi-longue de couleur riz biloba. Il apporte une texture immortelle d’une beauté indescriptible.

Superposition de la conception fine plissée + le sentiment de chute et l’excellente respirabilité du tissu, fusionnent l’un avec l’autre, il est facile d’attraper le souffle léger et intelligent; Portez les pieds avec des sandales simples et confortables à pédale pour un ton léger et confortable.

Dans la garde-robe d’une femme d’âge moyen, préparez-vous un modèle de chemise avec des détails de streamers qui aura la touche finale plus que la chemise normale.

Abandonner la conception rigide des manches longues, de sorte que le porteur disperse involontairement l’attitude libre et volontaire. Couplé à une version légèrement lâche qui n’est pas tendue et juste pour mettre en valeur la beauté sophistiquée de la femme française entre douceur et douceur. Assorti avec une robe demi-body noire et des chaussures plates beige, l’interprétation romantique sera juste bonne.

Maman d’âge moyen avec une belle ligne de bras, vous pouvez choisir un jersey sans manches pour montrer vos bras magnifiques.

En général, la version de ce petit pull sans manches appartient à un style plus mince. Par conséquent, la mère du haut du corps béat, il est préférable de le porter aussi peu que possible. Le bas est assorti d’une jupe mi-longue à bandes. La «maman en forme de poire» sur le haut est mince et le bas est gras. Obtenez un look mince et mince grâce à ce look d’été.

La blogueuse a noué à la nuque un foulard doux et fluide en soie de mûrier, créant un contraste de couleurs éclatant avec un pull de soie vert foncé + pantalon à jambe large. Les pieds portent une paire de chaussures plates noires à lacets, et un sac noir pour embelli et tenir, soulignant sa haute classe et porter la posture.Read more at:cheap formal dresses brisbane | perth ball gowns

Jennifer Lawrence is famously private but, since relocating from Los Angeles to New York, she’s been in full summer-in-the-city mode. Date nights with her husband Cooke Maroney have called for The Row separates styled with Manolo sandals, and she has mastered daytime chic in breezy gingham Tory Burch dresses and HVN printed minis.

One J-Law outfit moment over the weekend caused us to double take. The actor styled her silk Maria shirt dress, made by her friend Harley Viera-Newton, with a pair of Melissa jelly shoes. The sea-safe sandals, crafted from bubblegum-scented vegan plastic, are inspired by the classic French fisherman’s sandal, and have been made popular in recent years by the likes of Alexa Chung, who enjoy the irony of making “dorky” footwear look cool.

Born in the late ’40s, the “méduse” (French for jellyfish) shoes were fashioned during a post-war leather shortage and then had a popularity boost during the plastic boom of the late ’50s. The colour-pop, heavily-synthetic fashion of the ’80s did them a favour, and the retro affordable shape is still championed by the likes of JuJu, Melissa and even Gucci today.

Other brands, including Bottega and Loewe, have entered the plastic fantastic shoe space this summer. The popularity of Crocs has meant colour-pop jellies are flying because of their alternative take on the ugly shoe trend. Lawrence’s transparent pair might be retro leaning, nodding to childhood summers on the beach, but she’s proved she’s got her finger on the fashion pulse. Indeed, also she wore a pink pair on maternity leave. This time around, a Prada shoulder bag, fashioned from the label’s sustainable Re-Nylon fabric, shows she’s keeping an eye on eco fashion too. All eyes are on Lawrence’s next fashion move.Read more at:sydney formal dresses | brisbane formal dresses

The Glowin’ and Growin’ fashion event gathered the community together for a night of sustainable fashion and creative collaboration. The event took place on July 8 at Modern Nomad in the RiNo Art District and was produced by Halle Madeleine and Jordan McClendon. With Modern Nomad’s storefront as the backdrop, the producers cleverly utilized the building’s garage door and furniture to create a theatrical setting for the outdoor fashion show.

The runway show was accompanied by the involvement of organizations, musicians and artists. All drink proceeds from the event were donated to the Lincoln Hills Cares Program to give back to the community and the earth. The event was also sponsored by the Happy Humans Project, an organization that advocates for intentional connection between communities.

As audience members prepared themselves for a night of fashion, Jae Wes set the mood with an artful performance on the cello composed by Masta Pharaoh. The show then began with a segment by Killionaire, designed by Moses Kisale, who debuted his new Made From Home collection. As the sun began to set downtown, Fuego Flames sang “I wanna be a Killionaire” while models interacted with the set behind him.

Kisale’s latest collection featured industrial looks, including patched denim skirts, distressed khaki and white cutout tops. His versatile designs functioned as pieces of art while maintaining his distinct streetwear style.

Following Killionaire was Time Baby Vintage, curated by Katie Travers, who conveyed an homage to groupie style from the 70s era. Travers reimagined the energy, music and art of the 70s through fashion. She managed to compile every relevant trend from the decade into five looks, including clogs, sweater vests, prairie dresses and bell bottoms. Music by Wave Decay, a local band, added to the atmosphere while models walked the runway.

Gulosch Garments concocted harmonious ensembles from seemingly random pieces. The segment was set apart by designer Scooter James’ determination to give scraps of fabric a new purpose in his innovative collection. Accompanied by the vocals of Wes, models strutted down the runway in reworked and patched items in monotone color schemes of greens, blues and neutrals.

After a brief intermission, On Beat Vintage displayed its Silver and Gold collection under the moonlight. The Silver and Gold collection was influenced by the luster of earth’s minerals, as well as On Beat Vintage’s partnership with jewelry brand Love Saro. The segment began with a soulful guided meditation by Sasha “Starseed” Kovalchick and then transitioned into a showcase of shimmering vintage garments curated by Lydia Peacock.

Closing out the fashion show was Lost Room Collective, a vintage brand curated by Bella Conte, Emily Kaler, and Lily Walters with a storefront in RiNo. The collective’s mission with their segment was to show how audience members can build a sustainable wardrobe using pre-used pieces. They stayed true to their mission by setting trends in vintage fashion throughout their runway segment. By mixing and matching pieces from different decades, the ladies of Lost Room managed to create looks that were both experimental and timeless.

Succeeding the fashion show, DJ Gruv maintained the energy of the event with a dance party to close out the night. From start to finish, Glowin’ and Growin’ was a thoughtful event that gave sustainable designers and vintage curators a platform while also backing a great cause. The event served as a midsummer reminder that Denver’s fashion scene can bring the community together to celebrate artistic expression.Read more at:formal dress shops sydney | formal dresses melbourne

Personally, I find it incredibly difficult to be proven wrong. Perhaps it stems from my childhood dream of being a lawyer, but I struggle to walk away from a disagreement without feeling satisfied that I’ve made a strong and unbeatable case for myself.

But by using arguments with my partner as an opportunity to flex my debating muscles, I can often let my desire to be right overshadow my desire to be empathetic, understanding and compassionate. Instead of using disagreements as a chance to hear someone else’s point of view, or to be emotionally vulnerable, I tend to have tunnel vision and see things in black and white terms.

Whether it’s small-scale problems like being in a bad mood and feeling stressed, to larger-scale disagreements about life decisions, conflict is pretty much unavoidable in relationships. Except we’re not exactly taught about communication strategies, and much of what we do know is based on how we’ve been raised.

To get some advice on how to feel more comfortable with the idea of being wrong and how to better navigate conflict in relationships, I turned to Katie O’Donoghue, a relationship coach at The Indigo Project.

Why it’s difficult to admit when you’re wrong

“Now, let’s be real here, everyone makes mistakes and people can be messy sometimes – it’s life, it’s challenging, and it’s not supposed to be flaw-free,” Katie explains. “The problem with not admitting to your mistakes, or taking ownership for your responsibilities, is that it can result in resentment between people and even bigger disagreements as time goes on.”

“What I believe it comes down to is a fragile ego, wanting to be seen in a certain light, or perhaps [it’s an attempt to] escape a certain fear such as vulnerability or rejection,” she tells me. “It’s not enjoyable to experience a feeling of being wrong but I’m of the belief that admitting to your wrongdoing[s] is a sign of psychological strength and maturity.”

Be curious

Though it’s easy to get sidetracked and be fuelled by the need to make a case for how you’re right and how the other person is always in the wrong, Katie advises it’s better to adopt a curious approach instead.

“It’s important to explore ‘why’ the other person may feel or think the way they do and refrain from trying to change their perspective as this will result in an argument,” she says. “In other words, aim to accept that your partner is feeling and thinking a certain way, listen to what they have to say without interruption, and then maybe take some time to think about how you might like to respond.”

Katie acknowledges this can be difficult to do when emotions are at a high. “It really does require a level of self-awareness so that you can choose how to respond instead of reacting in the heat of the moment.”

Accepting differing viewpoints

“Acknowledging and listening to the other person’s perspective does not mean that you need to agree with them – and it does not suggest that someone needs to be ‘wrong’ and someone needs to be ‘right’,” Katie says. “People can still have a different opinion, belief, or viewpoint and move forward from conflict. In fact, conflict can actually bring people closer together if it is handled in a successful way.”

Instead, accepting that others have a different viewpoint is important in understanding that they might just see the world in a different way.

“If you are still feeling strongly about being ‘right’, [take] some time to process your own emotions and then reflect on what is likely to happen if you are to proceed in this way versus what would happen if you were to let go of the need to be ‘right’ and reach a ‘win-win’ outcome,” Katie advises.

Admitting your mistakes is a strength

“Give yourself permission to not be a perfect human being,” Katie says. “Understand that even though you are in the wrong at that specific moment, you are also human and everyone makes mistakes. You will still be loved in spite of this.”

It’s also important to recognise that admitting your mistakes can benefit you. “It opens you up to a new level of self-awareness where you are now aware of behaviours or choices that you may not want to repeat in the future,” she says.

Learning to walk away

Although we can’t control how someone relates or responds to us, Katie explains that we can control how we respond to others.

“When we’ve tried addressing a conversation time and time again or found ourselves in conflict over the same thing without any success in moving forward, that’s when it’ll be important to ask yourself ‘What will bring me the most peace and happiness knowing that this cannot be resolved or overcome?’.

“The answer may be the hardest thing for you to do: walk away and never look back – and this takes true strength,” she explains. “Sometimes, people choose to stay and keep trying because walking away means walking into something unfamiliar or they perceive it as ‘giving up’.

“The weakness is actually in staying and allowing yourself to reach burnout, to be manipulated, to be disempowered, or to simply be in a situation that may never improve until you remove yourself from it altogether.”

Setting boundaries

“Know your limits [and] know your values,” Katie advises. It’s important to be clear about what you are willing to say ‘yes’ and ‘no’ to before you have a conversation or interaction with someone and to know what’s important to you.

“[You also need to be] clear and assertive in your communication – people are not mind readers, so unless you speak up about what is a ‘yes’ and a ‘no’ for you then others won’t be able to respect your boundaries,” Katie says.

Lastly, Katie explains it’s important to keep things balanced. “There needs to be an equal give and take in any relationship. If there isn’t, it’s time to assess the relationship and have an honest conversation to achieve balance.”Read more at:evening gowns | formal evening dresses

The collaborations that the fashion designer Elsa Schiaparelli (1890-1973) had with Surrealist artists, such as Salvador Dalí, Jean Cocteau and Man Ray, are spotlighted in a new exhibition in Paris.

Shocking! The Surreal World of Elsa Schiaparelli at the Musée des Arts Décoratifs explores Schiaparelli’s innovation and how her collections were influenced by the Parisian avant-garde of the 1920s and 30s. By adopting this angle, the museum revisits Schiaparelli’s legacy through a different theme from its 2004 retrospective.

An entire room will focus on Schiaparelli’s collaboration with Dalí, tracing their shared inclination towards scandal and provocation. Most famously, the duo worked together in 1937 on the Lobster Dress, a cream silk evening gown emblazoned with a red lobster strewn with sprigs of parsley. It was among the 18 pieces that Schiaparelli designed for Wallis Simpson on the occasion of her marriage to the Duke of Windsor following his abdication.

Cecil Beaton photographed Simpson donning the dress, with its erotic implication, for Vogue magazine. The inspiration for the design came from Dalí’s Lobster Telephone (1936), made for the British poet Edward James. Also on display will be Schiaparelli’s Shoe Hat (1937-38), a black and pink hat in the shape of high-heeled shoe, which was inspired by a photo taken by Gala, Dalí’s wife, of her husband comically wearing a woman’s shoe on his head, the other on his shoulder.

Born in Rome in 1890, Schiaparelli travelled extensively and made her name in Paris, where in 1935 she opened her couture salons on the venerable Place Vendôme. Besides Surrealism, she also drew inspiration from Ovid’s Metamorphoses, the Commedia dell’Arte (Italian theatrical comedy in the 16th to 18th centuries), and Louis XIV at the Château de Versailles. As well as silhouettes and accessories by Schiaparelli, creations designed in homage to her by fashion luminaries such as Yves Saint Laurent, Azzedine Alaïa, John Galliano and Christian Lacroix will also be on view.Read more at:formal dresses in melbourne | brisbane formal dresses

A longtime highlight of the London’s social calendar, the Serpentine’s annual summer party was a more intimate affair this year, but one with great British fashion at its heart. In light of global events, the gallery replaced the traditional celebration with a private “summer evening” to thank artists and supporters, and put a spotlight on the thriving fashion scene in the UK. British designers, both established and emerging, were invited to attend with “squads” made up of their muses, friends and collaborators.

And so, Molly Goddard arrived flanked by model Edie Campbell and actor Lolly Adefope swathed in tulle. Chet Lo was joined by musician Bree Runway, producer Coucou Chloe and front-row regular Susie Lau, all wearing his unmistakable spiky neon knitwear. And models Adwoa Aboah and Alva Claire joined 16Arlington co-founder Marco Capaldo, dressed in the sort of slinky gowns that have won over everyone from Hailey Bieber to Lizzo.

Others in attendance included Erdem Moralıoğlu with Gugu Mbatha-Raw; Simone Rocha, who brought along Greta Bellamacina, Jordan Hewson, Hugh Mulhern and Gina Campone; Rejina Pyo, accompanied by artist Antonia Showering, Glassette founder Laura Jackson and writer Otegha Uwagba; and Harris Reed with musician Sam Smith and architect Sumayya Vally. Paul Smith was joined by the multidisciplinary artist Yinka Ilori and musician Moses Boyd, while Christopher Kane arrived with his sister Tammy and Bridgerton’s new heroine, Charithra Chandran.

“I wanted to invite my mates,” Goddard says simply. “All my friends are my muses but especially these guys,” adds the designer, who invited her guests to choose a piece from her archive to wear on the night. The process of getting ready “felt like hanging out with friends”, Capaldo agreed. “Because that’s exactly what it is.”

The summer evening also marked the start of a new chapter for Serpentine, which orchestrated the event around Theaster Gates’s Pavilion and the immersive Dominique Gonzalez-Foerster Alienarium 5 exhibition at Serpentine South, as it seeks to celebrate creative and diverse communities. Both artists were at the event, which was also attended by Vogue’s European editorial director and British Vogue’s editor-in-chief, Edward Enninful, and Anna Wintour, editor-in-chief of American Vogue and Condé Nast’s chief content officer.

The evening was designed to “bring London’s creative communities to life around the common goal of building new connections between artists and society”, Bettina Korek, CEO of Serpentine, tells Vogue. “Our forward programme will continue to showcase emerging, established and overlooked talents from around the world.”Read more at:light blue formal dress | Formaldressau formal dresses