A stretch of the Eastside BeltLine trail was transformed from a walking trail into a runway as night fell on Wednesday, Oct. 19. This wasn’t a typical fashion show, but one with second hand and sustainably-sourced outfits.

This week, the Atlanta Sustainable Fashion Week (ATLSFW) is back with a series of events aimed at bridging the gap between consumers and sustainable fashion brands. Through the four days of fashion events, the organizers hope to educate consumers about textile waste, raise awareness around sustainable clothes and create more opportunities to purchase eco-friendly products.

In 2018, according to the EPA, clothes and shoes accounted for 4.4 percent of all discarded materials. To help address this waste in fashion, Tanjuria Willis, owner of eKlozet Designer Consignment, founded ATLSFW in 2021 because she wanted to encourage folks to go the eco-friendly route when adding to their wardrobe.

“I wanted to be able to do something because we all feel like we can’t do anything,” Willis said. “We talk sustainability from a 30,000-foot level, and I wanted to bring it down to the direct view as it directly affects each and every one of us.”

The programming kicked off on Wednesday, Oct. 19, and will run until Saturday, Oct. 22. The lineup includes runway shows featuring sustainable materials, expert panels, networking events and shopping opportunities.

The event series started off strong on Wednesday with a runway show hosted by Amazon at Ponce City Market. The fashion show featured female models donning looks crafted by a local student and eKlozet, as well as a tribute to Andre Leon Talley, former Vogue Magazine editor-at-large who passed away this year.

Local sustainability leaders were also in attendance, including the EPA’s Kim Charick and Atlanta’s Chief Sustainability Officer Chandra Farley. They both emphasized the importance of being mindful consumers and reducing waste.

Charick shared that the EPA is turning its focus to textiles next year, as the material is a major contributor to our landfills.

“In a linear fashion economy, normal [includes] production, consumption and disposal,” Charick said. “In recent years, I’ve seen growing interest from the fashion industry to move towards a circular economy that is regenerative by design. In a circular fashion economy, waste is designed out of the process from the beginning, using nature as a teacher.”

She continued: “[Willis] is a pioneer. She understands that we need to change our purchasing practices, broaden our understanding of where the materials come from and how they impact our health and our earth.”

The remaining two days of ATLSFW include panel discussions about sustainability culture and its future, workshops for reusing garments and, of course, fashion shows.

Willis encourages folks to buy second hand, borrow clothes from friends and purchase with intention, rather than getting caught up in the modern-day culture of excessive consumerism.

“I want you to incorporate one thing at a time into your wardrobe, into your life to make systematic changes. You don’t have to change your entire lifestyle. It’s just one thing, and if you continuously do one thing, before you know it, you’ll be doing all of them.”Read more at:black formal dress | royal blue formal dresses

Surprise, surprise — the mushroom moment and conversation continues at Stella McCartney.

The designer, although not in attendance, convened a group of mushroom innovators alongside biotech firm Bolt Threads in her SoHo store this week to discuss the brazen fun of fungi.

The in-store event held Tuesday celebrated the commercial release of the Frayme Mylo collection — with glowing mushroom decor and prototypes on display like the Falabella bag, bustier and trousers and Frayme Mylo bag (retailing for $3,500 and sold out online after the June drop). The collection taps Bolt Threads’ Mylo material made from mycelium, or fungi’s root-like system, as a bio-based alternative to leather.

McCartney has had a partnership with Bolt Threads since 2017 and has produced 100 commercial bags in the Mylo material to date, not including the garments that debuted last year.

A panel conversation on mushroom innovation moderated by Julia Gall featured experts across disciplines, including Bolt Threads’ vice president of product development Jamie Bainbridge, mushroom farm Smallhold’s cofounder Andrew Carter, medicinal mushroom firm Rainbo’s founder Tonya Papanikolov and plant-based chef Tara Thomas.

“We don’t know how to grow the majority of the fungi that is out there…It feels like the next frontier of discovery is not only food but materials,” Carter said. “It feels like it can fit into any industry that’s out there. The other thing that I always get excited about is how excited people are about it [that] people wear mushroom T-shirts and go to mushroom fashion events like this.”

Indeed, a fashionable crowd gathered to learn more about the innovators behind the world’s first mycelium luxury bag to hit the market.

“In food, what I find is the most interesting part is you can make it savory, sweet, you can change textures. Especially with plant-based cuisine, [mushroom is] kind of the star of the show because it has a body to it,” said Thomas.

Mushroom manipulators in fashion, alongside McCartney, include Adidas, Lululemon and Kering. Together, the groups formed the open-sourced Mylo consortium established in 2020. As for how the fashion street stylers are taking to it, Bolt Threads showed off how influencers Griffin Maxwell Brooks, Maria Alia Al-sadek and Kailee McKenzie were seen sporting the Frayme Mylo bag on the streets during New York Fashion Week.Read more at:online formal dresses australia | long formal dresses

For most of March, we were glued to our Instagram feeds, lusting over the latest collections at the various Fashion Weeks from New York, London, Milan to most recently Paris. This season we’ve learnt a whole lot from the stressful organising, the constant hailing of taxis and dealing with the freezing cold weather. We took a trip to London Fashion Week this season. Here’s how we survived it, along with a few tips for your Fashion Week trip.

1. Always wear comfortable shoes

When you’ve walked 40 minutes from one show to another, the pretty high heels will unfortunately have to stay firmly at home. As fashionable as they may be, your feet will thank you later. Always opt for trainers, flat sandals or an ankle boot.

2. Google maps will become your best friend

With no taxis in sight and a herd of tourists stampeding towards you, power walking your way to the next show is sometimes your only option. Thanks to the brilliance of Google Maps, you’re only one click away from knowing where you’re meant to be going. (PS: Always take a phone charger with you- no one wants to miss an Instagram moment at the show of the season).

3. Black is still the new black

Always has been, always will be.

4. BEWARE: There’s always a photographer somewhere

When the English wind is forced in your direction, the last thing you want is a swarm of street style photographers capturing it. But they do, so beware.

5. Your bag will become your umbrella

No one wants to lug around a travel-sized bag, as fashionable as they may be, it’s a hassle. This is where your clutch comes in handy and becomes your umbrella for the week.

6. JJS Lee was the best show of the season

Visiting Jackie herself backstage, pre-show was absolutely manic to say the least. The show itself was a Scandinavian dream. A palette of whites, greys and blacks; Jackie has created the most beautiful of cuts, tones and textures, making her show the best of the season.

7. Take power naps whenever and wherever you can

Fashion Week has got to be the most draining of all the 52 weeks in the year. So when a pillow is in sight, take advantage of the 10 minutes you have free and take a power nap. (In our case it was at Rick Owens).

8. Accept that your fingers will freeze

Fashion Week is notorious for not starting on time. Adding to the frustration of a half-hour wait in minus temperatures and horrendous winds, your fingers become ice. In fact, they become so cold they start turning purple. But you know what they say? ‘Pain is beauty’.Read more at:formal dresses australia online | formal evening dresses

“Pretty Little Liars: Original Sin” costume designer Megan Stark Evans is reimagining the fashion from the popular franchise for the reboot. To do so, she pulled together an extensive and well-researched wardrobe for main characters Imogen (Bailee Madison), Tabby (Chandler Kinney), Faran (Zaria), Mouse (Malia Pyles), Noa (Maia Reficco), and Karen and Kelly Beasley (Mallory Bechtel).

With over 400 costume changes in season one, there is plenty to unpack and connect back to the original series that debuted on Freeform in 2010. The setting has changed – Rosewood was brought to life from a stage in LA, while Millwood is imagined as a blue collar factory town filmed in Upstate New York – and so too has the wardrobe.

Evans, who previously worked on Oscar-winning “Sound of Metal” and FX’s “A Teacher,” noted the distinction to POPSUGAR via email. “Our ‘PLL’ is more grounded, a mix of gritty realism with fun, teen fashion,” she said. “The original ‘PLL’ used a lot of heels, short fancy dresses, and light jackets since they were often shooting indoors. We were shooting exteriors in 0-degree weather with snow on the ground. This makes style more natural by default.”

High heels are no longer a staple in their stylish repertoire. “Today, it’s all about cool chunky sneakers, block heeled Mary Janes, menswear-inspired footwear like loafers, tough flats, or platform combat boots. Our Liars are exploring mysteries and running from A in the gritty terrain of Millwood, and they can’t do that in spike heel platforms.”

However, Evans was still influenced by some of the early characters developed by I. Marlene King. While she didn’t speak to the original costume team, she was sure to draw subtle connections. “You could say that Tabby has shades of Spencer’s (Troian Bellisario) preppy style shown through her edgy menswear, Noa translates some of Emily’s (Shay Mitchell) sporty style, and Karen is inspired by Alison’s (Sasha Pieterse) consistent use of the colour pink and perfectly composed outfits,” she said. “Rosewood varsity jackets even show up in the carnival episode, and the group of Rosewood High girls shown at the carnival are directly inspired by the original PLLs.”

Evans confirmed that over half of each character’s costumes are vintage or thrifted, and she also tapped small designers for a unique, high-low look that emulates everyday street style.

Ahead, she shares her mood board for the entire cast, along with a few personal behind-the-scenes shots.

Imogen Adams

“Imogen (Bailee Madison) is a strong girl, but going through a very fragile time in her life, and I wanted her costumes to reflect that,” Evans explained. “I imagine she harnesses the strength of her ancestors by wearing vintage items, like 1960s dresses and shoes from her grandmother’s attic, and soft sweaters from her mom’s closet. She shares some key necklaces with her mom, and these become a security blanket for her; they never leave her neck for the duration of the season.”

For Imogen Adams’ wardrobe, Evans drew inspiration from Mia Farrow in “Rosemary’s Baby,” searching for watercolor pastels and handmade details like embroidery and lace. Chunky cardigans layered over delicate dresses was a popular combination, with knee socks and Mary Janes completing the look.

For clothing brands, Evans shopped mostly at Dôen, The Great, Tach Clothing, Hatch Maternity, and Mango. For accessories, she turned to Sydney Evan for her jewellery, Collégien for knee socks and tights, and Carel and Drogheria Crivellini for shoes.

As Imogen, Madison wore various stages of a faux pregnancy belly throughout the series, leading her to eventually begin feeling like she was actually pregnant, experiencing back aches and sore feet. Due to her discomfort, Evans and Madison made the joint decision to start transitioning her character from short vintage dresses to more knit leggings and overalls for function.

“The maternity industry is full of basics, and generally caters to women in their late 20s to 40s, so finding things that fit into my costume design for Imogen was tricky and required thinking outside the box,” Evans said. “We built things for her, heavily altered vintage pieces, or dyed and customised things to fit her style.”

Tabby Hayworth

“Tabby (Chandler Kinney) is the strong female lead in her own movie, aka her life. She’s obsessed with film, constantly quoting her favorite movies, and is a tough girl who has already been through a lot. Her menswear-inspired style and heavy jewelry reflect the exterior toughness she wants to portray,” Evans said. She added that she was inspired by ’80s and early ’90s characters like Annie Hall, Angela Chase in “My So Called Life,” Sloan from “Ferris Bueller’s Day Off,” and Ducky from “The Breakfast Club.”

When shopping for Tabby, Evans scanned the likes of Alex Mill, Rachel Comey, Gelgud for vintage film tees, and Re/Done for earth tones and embellished or printed separates.

Jewellery was largely sourced from Laura Lombardi, Twelve New York, Justin Clenquet, and Hannah Jewett, while Evans pulled boots from Viron and Dr. Martens.

Faran Bryant

Faran Bryant embraces dance wear as her everyday aesthetic, a style choice Evans ties to her passion for the art form. “Faran (Zaria) is poised as a classic ballerina with a modern twist, and wears her identity as a dancer like armor,” she says, noting there will be a shift in Bryant’s style during the last three episodes of the series, tied to her character’s development.

Evans looked for soft knits that move with the body, along with velvet and sheer fabrics to add texture. Lace-up details and ties in unusual places added dimension to her clothing, sourced from Live the Process, Free People, RubiaWear, J.Kim, Aerie, Isalis, Find Me Now, and Aritzia’s Babaton.

Faran’s palette consisted of mostly ballet pink and lavender, with leg warmers, pearls, and delicate floating bead necklaces from Voons and Chan Luu jewellery as accessories.

Faran’s Black Swan costume was designed and constructed entirely by the wardrobe team. “I’ve never designed ballet, so it was a unique challenge,” Evans said. “The costume is creepy, yet beautiful, incorporating high-shine paillettes, hand-shredded fabrics in different tones and textures, and real feathers.”

Mouse Honrada

Evans hopes viewers will be inspired to embrace whimsical style once they see Mouse’s (Malia Pyles) wardrobe. She wears ’90s windbreakers, granny square sweaters, hand-knit scarves, tech necklaces, and beaded jewellery with abandon. “Her moms are overprotective and want to keep her a little kid due to something tragic that happened to her as a child, so we leaned into that with her costumes,” Evans said.

Brands worn by Pyles in the show include Max Wowch, Lisa Says Gah, The Falls, Dauphinette, House of Sunny, Collina Strada, Urban Outfitters, and Farm Rio.

Pyles’ jewellery was pulled from Susan Alexandra and rings from Mon Cher Moi.

Noa Olivar

“Noa (Maia Reficco) is a track star who has fallen on difficult times, so I mixed a lot of vintage jerseys with tennis and schoolgirl skirts to show off her great legs,” Evans said. “1970s denim with lots of holes and patchwork and super beat-up sneakers reflect her economic position as well as her feisty spirit.”

Standout elements of Noa’s closet include racing stripes, a distressed brown leather aviator jacket, tracksuits, striped tube socks, and her signature silver hoops. She embraces a color palette comprised of “jersey” colors such as red, yellow, green, and denim blue.

Evans shopped Adidas, Stoned Immaculate, Urban Outfitters, Ciao Lucia, Cloak & Dagger, Tory Sport, Out From Under, Nike, Bombas, and Staud x New Balance for Reficco’s wardrobe.

Karen and Kelly Beasley

“Karen (Mallory Bechtel) is the classic, impeccably put-together high school mean girl who is always in short skirts, heels, and pink or yellow,” Evans explained. “Kelly [also played by Bechtel] is her twin, a less-cool version of Karen who doesn’t wear heels and is typically more plain Jane than Karen, wearing longer hemlines and slightly different shades such as light blue and cream.”

Even still, she sourced the same distinctive pieces for them both, looking for argyle, ruffles, chain belts, friendship necklaces, cropped twinsets, and cheerleader skirts. “As the viewer becomes more confused as to who is Karen and who is Kelly, their style meshes together to help push that storyline,” she said.

Evans based the Beasleys on the aesthetic we see in “Romy & Michelle’s High School Reunion,” “Clueless,” and “Mean Girls.” She shopped Maje, Alice & Olivia, Majorelle, Aqua, Brandy Melville, Sandro, and Jonathan Simkhai for Bechtel.Read more at:plus size formal dresses | robe soirée courte

One famous YouTuber’s savior complex may spell the end of an organic subculture movement, as the hotly-discussed “Citayam Fashion Week” seems set for relocation following a controversial trademark claim.

Citayam Fashion Week, which we featured in our latest Jakarta weekend guide, is a catch-all phrase (and not necessarily referring to any particular week) for the very fashionable gathering of young people in Dukuh Atas on Jalan Sudirman, the capital’s main commercial thoroughfare. The movement is dominated by youths taking the train from the outskirts of Jakarta, most notably from the humble district of Citayam in Bogor Regency, who fashion catwalks out of crosswalks and flaunt their finest #OOTD week in, week out over the past month.

The movement has admittedly been sliding on the coolness scale when professional models and celebrities, as well as politicians like our very own Governor Anies Baswedan, began literally walking the catwalk in recent weeks.

But none of those offenses arguably compare to how YouTube personality Baim Wong and his wife Paula Verhoeven filed a trademark for Citayam Fashion Week as a fashion and entertainment brand with the Law and Human Rights Ministry last week, the report for which broke over the weekend. The move prompted jeers from the public, who have been popularizing the term “created by the poor, stolen by the rich” online, branding the trademark a cynical cash-grab.

Baim has hit back against the overwhelming negative response, saying that he intends to continue to foster youth creativity, albeit on clear legal grounds.

Yet today, he said he intends to move Citayam Fashion Week to nearby Sarinah shopping mall, in response to some disorderly conducts that have been reported from recent weeks’ events. These include minors smoking, sleeping on the streets, and, in the words of Vice Governor Ahmad Riza Patria, “teenage boys proudly dressing up in women’s clothing.”

As anyone who has recently visited Sarinah might know, the mall has been incredibly crowded day in, day out since it reopened in March, and we fail to see how the facility can accommodate thousands of young people in addition.

Even West Java Governor Ridwan Kamil, who himself looked dashing at Citayam Fashion Week recently, called on Baim to pull the trademark, scrap any relocation plans, and return the movement to the youths, lest it lose its soul.

Do you agree that Citayam Fashion Week should be moved? If so, is there a better option than Sarinah? Let us know in the comments section below or on our social media pages.Read more at:formal dresses australia | long formal dresses australia

When Vogue India posted a picture of Kim Kardashian and her daughter North sporting twin nose rings on Instagram - the comments section ensued with its usual conversation, contrarian views and insightful inspection. However, what it sparked at the Vogue India office was a debate on the age old push and pull of cultural appropriation versus appreciation. How do you know if you are co-opting cultural connotations or innocuously borrowing an aesthetic?

We’ve all seen instances of appropriation over the years. This usually happens when a dominant race adopts the culture of a minority with little or no sensitivity and respect towards its origin. There have been some inexcusable moments in pop culture — remember Zac Efron wearing dreadlocks and calling it ‘fun’? There was also Kylie Jenner wearing cornrows in a music video, Kim Kardashian supposedly rocking blackface in one of her brand’s beauty campaigns or Pharell Williams’ magazine cover with a native American headdress. Let’s not forget Selena Gomez or Vanessa Hudgens for their ‘bindi’ obsession at Coachella.

Two weeks ago, Kim Kardashian and North West’s nose rings at Paris Fashion Week sparked a debate about cultural appropriation. The nose ring, or the nath style that she chose to wear, originated in the 9th and 10th centuries in India and symbolised the marital status of a woman. Over the years, though, the nose ring has found its place as a fashion accessory and isn’t necessarily bound by gender either – almost as common as any other piercing. Needless to say, people were displeased and called it out, while the defenders dismissed it as Kardashian’s attempt to make her customary attention grabbing statement, not deliberately intending to offend or appropriate the nose ring.

We found ourselves in a similar dilemma when we saw And Just Like That’s Diwali episode — Did the show creators deserve a pat on the back for appreciating Indian culture enough to dedicate an entire episode to it, or should they have focused on the actual details — like not calling a lehenga a sari, perhaps? Is there a grey area at all when it comes to appropriation? In today’s times, when borrowing, co-creating and inspiring seems extremely common and happens far too often, what are the rules? Vogue got a fashion designer, a founder of a retail boutique and a global influencer to weigh in.

Dhruv Kapoor, the first Indian designer to stage a menswear show at Milan Fashion Week veers towards the ‘appreciation’ angle. “ I personally felt like Kim and North looked great. I find that people tend to bite because they are bored and need something to chew on. There are barely any rules on how to wear a nose ring — none that I’m aware of anyway.” Kapoor has always found it fascinating to see a cultural mix on the runway and doubts that brands would showcase a borrowed culture to purposely demean it in any way. He continues, “I believe in our interconnectedness as humans devoid of ownership over something as large as “culture”. A great example of this is Virgil Abloh’s ability to put together a fantastic mix of cultures in every collection. We’re all entitled to our opinion and what we see fit for ourselves. But when we’re referring to a specific culture, all we need to ensure is that we’re doing it respectfully — which is mostly done.”

Respect and credit for the borrowed culture, seems to be that fine line. Kelvin Gonclaves, Founder and President at Elkel, an independent NYC based avant-garde boutique retailing designers such as Vivienne Westwood, Walter Van Beirendonck, GmbH and Rick Owens, believes that any form of art — fashion included — borrows inspiration from other cultures and it has created new and incredible things. “Fortunately, appropriation isn't always a side effect of this crossing. A lot of it has to do with respecting the traditions of the original idea and acknowledging the inspiration. If your action disrespects the original idea because of cultural, religious or other customs, then you've gone too far. If you claim it as yours without giving credit, you've definitely gone too far. There are a few things that should never be done like blackface or dreadlocks on a white person. With taste and acknowledgement, though, most things can be done.”

Gonclaves continues, “Rick Owens is a great example of this. Through his career he has referenced Egyptian culture. He did it not by fetishising it nor creating some sort of Disney-fied version of it, instead he was inspired by shapes and most importantly cultural traditions and ideas of life and death and injected that into his DNA, creating something that feels modern and relevant but still full of history. I think that's part of the reason it's so successful, the way Rick presents things makes the audience curious about the origin. Instead of creating a design based on something else and saying this is ‘my’ creation, he created something that directed the viewer towards the original idea.”As a content creator and a global influencer that has found success in representing India at International fashion weeks, the Cannes Film Festival and working with brands like Dior, Louis Vuitton and Valentino, Masoom Minawala is often in the company of celebrities and creators from different continents on the red carpet, who are likely to take interest in other indigenous cultures. Minawala says, “Sharing each other’s cultures is a healthy way for a society to thrive, co-exist and learn about each other, but it must be done carefully and with respect to the culture and what it represents. When borrowing any aspect of a certain culture, it's important to understand the historical context. Chances are if we understand a cultural product and its sacredness, we’re unlikely to use it in an offensive or objectionable way. We need to put the research and time into it. The only way to determine if we’re appreciating or appropriating is to question ourselves and understand if we’re borrowing and respecting a culture or exploiting it and ripping it off for self-interest.”Read more at:formal dress shops sydney | australian formal dress boutiques

Haute chocolate hit the runway at this year’s Paris Fashion Week as ice cream brand Magnum debuted the first couture gown to be made from sustainable cocoa bean husks with designer Iris Van Herpen.

Inspired by Magnum’s vegan ice cream bar, the cocoa bean husks were used to create an organic biopolymer material. The cocoa creation was then used in a 3D printing process to create geometric designs that paired with a flowing, vegan in a wearable homage to the consistency of a frozen then melting Magnum bar.

“The main challenge has been to create the intricacy of couture into the 3D printing,” says Van Herpen in a behind-the-scenes documentary on the dress’s creation, “to be very precise, crystalline work and to be as fine as traditional embroidery.”

Van Herpen later adds that the project “has really been about showing a future perspective on couture and how this can become more organic and sustainable.”

The Magnum Vegan Dress hit the runway in early July, modeled by Cindy Bruna at Paris’s Elysée Montmartre in Van Herpen’s 15th-anniversary fashion show. The campaign is a collaboration between Van Herpen’s in-house production team as well as agency Lola MullenLowe and encompasses photography, behind-the-scenes content and influencer partnerships.

“For Magnum this isn’t just about a one hit wonder PR stunt—the ambition is to develop a truly circular textile which uses the cocoa bean husks to create mass produced fabrics,” said Katie-Jo Flynn, executive director for the campaign’s PR partner Golin. “The Magnum x Iris vegan Dress is just the first step in that direction and our partnership with Leeds University will continue our commitment in this area.”

In an extension of the sustainability-focused campaign, Magnum will partner with the University of Leeds’ Institute of Textiles and Colour within its School of Design to fund research on the creation of more vegan and naturally sourced materials to be used for fashion design. Materials from the brand describe this campaign as an emblem of Magnum’s commitment to “partnering with and championing inspiring creative disruptors that break down barriers across fashion, art and culture in the pursuit of being true to themselves and encouraging others to do the same.”Read more at:online formal dresses australia | unique formal dresses

The Wimbledon Tennis Tournament may be the place for spotting celebrity-approved fashion must-haves, however we would have never expected this season’s hottest beauty trend to emerge from the exclusive grand stands.

Jodie Comer, who you’ll recognise as the fashion-forward antagonist Villanelle from Killing Eve, took to the Royal Box in a innocuous emerald green jumpsuit, but we weren’t fixated on her humble ensemble or her rendezvous with Tom Cruise, rather her new honey coloured mane.

Sporting the cut du jour, a modest lob with face framing highlights, we can’t help but notice that Comer’s fresh haircut is serving a modern day take on the iconic 90’s look: ‘The Rachel’.

The layered locks bare a strong resemblance to the hairstyle made famous by Jennifer Aniston’s beloved Friends character Rachel Green.

Aniston's original cut—which became a hallmark style for women in the 90s, and again last year, thanks to the Friends reunion special—featured a shoulder-skimming length, high volume, face framing layers and sun-kissed highlights.

Cormer’s, on the other hand, sits just below her collar bone with platinum coloured highlights and a soft, wispy fringe.

Of course, this wouldn’t be the first time that a member of the celebrity style set has pioneered the resurgence of a nostalgic hairstyle.

Last year alone we saw supermodel and actress Kaia Gerber make a case for the 70s style subtle long shag cut, and Brie Larson reviving the high-maintenance 'Fawcett Flip' which is named eponymously after Farrah Fawcett.

While the likes of Chrissy Teigen and Hailey Bieber also joined in on ‘The Rachel’ hair trend—we’re guessing Bieber’s crop was a nod to her husband’s appearance on Friends: The Reunion—a little closer to home, Phoebe Burgess also tried her hand at the style.

However, unlike these other A-listers, Comer is proving that a low-maintenance approach to achieving ‘The Rachel’ is the way to go.

Thankfully we’ve come a long way since COVID-19 interrupted our regular salon appointments, if you’re anything like us then you’ll still be indulging in the pleasures of a lazy girl look.

Read: one that takes minimal effort, barely any upkeep but still looks effortless, elegant and fabulous.

Comer’s glossy colour even includes the appearance of her natural-coloured roots. So, before our next trip to the hairdresser, we’ll be armed with this image of Comer and taking advice from Stevie Wright by letting our hair hang out.Read more at:formal dresses for women | formal gowns

It’s kind of like artisanal. Or organic. When you start talking about sustainable fashion, the question of what exactly that buzz word means is the first one you have to address. And because of that nebulousness, it’s easy for folks to make a cynical play at looking respectable without doing a whole lot to actually change the way they do business. You know them, because you’ve seen them many times before: the greenwashed mini-collections by megabrands that’d be a great thing if only they represented more than a vanishingly small percentage of the total product put out into the world each year. It can all get a little exhausting, not least of all because a lot of people are spending a lot of time trying to sell you on just how good they are.

Which is what makes a conversation like the one I had at this summer’s Pitti Uomo trade show with Maxime Fruit, creative director of the London label Maxime, so refreshing. There was no list of statistics on water usage or carbon offsets. There wasn’t some big marketing song and dance. There was just Maxime, telling me why, while he strives to ensure his collection is responsibly made and environmentally friendly, one of the biggest aspects of sustainability in fashion is simply creating clothing that can stick around for the long haul. “I want things that can last 50, 60 years,” he explained while walking me through his collection of boxy shirts and matched sets made from deadstock silk.

It’s not a one-size-fits-all solution—and with the consumptive urge that sits at the very core of the fashion industry, it’s not perfect. But there’s something deeply optimistic about a small brand carving out a space that lets creator and consumer both sleep a little more soundly, knowing they’re at least trying to do right by people and the planet while, yes, still doing this whole fashion thing. And while Pitti Uomo is a giant show with hundreds of vendors, and the S|Style space where I saw Maxime was host to just a handful of curated brands, there’s something equally uplifting to considering how such a big platform is holding up a group of smaller players for the fashion world to discover—and, hopefully, embrace.

S|Style “was born in 2020 in the midst of a pandemic to fill a cultural, social, and market need to talk, to discover, and tell a new approach to conceive collections and seasonality: respecting the environment and looking to the future,” says Raffaello Napoleone, CEO of Pitti Imagine, which oversees Pitti Uomo. “On the one hand, with this project, Pitti Uomo aims to completely subvert the concept [that] responsible fashion rhymes with fashion [but] without style. And on the other hand, it offers buyers and fashion professionals the possibility of scouting clothing and accessories with low-impact production requirements, with certified, recovered, recycled, and experimental hybrid fabrics.”

The project has been curated by Giorgia Cantarini, a fashion editor and “one of the most important experts in Italy of green fashion,” according to Napoleone. And while the selection takes into account social and environmental responsibility, “the focus remains on creativity and design.”

That’s how you get more specific ventures like the Waste Yarn Project showing alongside designers like Connor McKnight, with his focus on everyday luxury and the Black experience in America. Or Philip Huang, where the collection is informed in large part by the use of natural dyes and working with artisans in the northeast of Thailand. It’s also how you can see the toned-down, architectural offerings at Margn sitting next to the graphic- and appliqué-heavy designs at Dhruv Kapoor and feel a sense of connectivity you otherwise might not. Ditto that for the bright sportswear at MWorks playing against subtle casual gear of Curious Grid or the off-kilter tailoring of Bennu. These brands are all doing their own thing, but at the heart of it is the same thing: the desire to be sustainable without the scare quotes.

In keeping that idea and its execution more open—in simply, if tacitly, admitting that no one has a magical answer to a very real problem that needs to be systematically addressed by an industry that’s deeply hesitant to do so—the whole project seems a little more real and realizable. Do I expect the group of designers who showed at S|Style this year to fix things? No. At least not yet. But they represent a vanguard of folks in the fashion industry who are willing to intertwine grappling with the issue with the rest of their work. And if the industry at large keeps celebrating and elevating these sorts of creatives and businesspeople, ideally on ever-larger stages, then we at the very least have a better shot at finding some of the solutions we’re searching for.Read more at:white formal dresses | navy blue formal dresses

Maison Rabih Kayrouz

As much as his style is about purity of lines, ingenious cut and volumes as airy as they’re exact, there’s always an element of sensuous fluidity to Rabih Kayrouz’s design. The garments are built with a feel for movement that doesn’t leave space for any stiffness, no matter how rigorous their construction may be.

“I think about the woman, I like to dress her for her real life,” Kayrouz explained at a showroom appointment where he presented both his ready-to-wear and couture collections. He doesn’t work based on specific inspirations (“everything inspires me,” he said), he doesn’t have themes, and moodboards are absent from the equation. “For me design isn’t a mood, but a thought, a consideration,” he said. Kayrouz also has a strong aversion to everything ornamental and decorative. “I don’t like the grand turn of phrase, I don’t like artifice, I like things very essential in everything I do,” he added. “And I don’t want to imagine a woman different from what she is; I don’t want to déguise her, or constrain her. I don’t live dans un fantasme, running after an abstract idea of what a woman should be.”

The two collections Kayrouz presented spoke a shared language, and it was interesting to see how he worked on the same shapes and volumes, giving ready-to-wear pieces an inventive haute couture twist, while keeping couture anchored to a more IRL vision. Everyday pieces looked elevated, while couture gestures didn’t feel grand, but rather polished yet cool. One of the best examples was a voluminous trapeze-shaped sweeping evening gown proposed in dramatic black taffeta for the couture line, while its ready-to-wear version was made in breezy recycled polyester in a delicate shade of duck egg.

Sculptural shapes alternated with more fluid ones in both lines. A couture black jacket/cape had an egg-shaped back and straight-slit sleeves, and was paired with slightly flared trousers for a chic suiting proposition. In the ready-to-wear line, a standout was a sinuous draped number in emerald jersey, with a plunging neckline and ballooning sleeves in crispy, papery recycled polyester.

For both propositions, a slightly sporty feel was reworked through Kayrouz’s elegant restraint, adding dynamism. But do not expect radical introductions of trends into Kayrouz’s lexicon: “I’ve always been faithful to my style,” he mused. “For me, style is evolution, not disruption.”Read more at:evening gowns | short formal dress

У ребенка более слабая сопротивляемость и часто наблюдается жар. В случае сильной температуры у ребенка могут быть гипертермальные конвульсии и шок. Таким образом, ребенок нуждается в лечении от лихорадки как можно скорее, когда у него есть симптомы лихорадки.

1, измер термометр дет температур, когд подмышечн тепл ≥ год ℃, неудобн ил лихорадк появ эрекц, посоветова пероральн похолодан лечен облегчен симптом с лихорадк дискомфорт. В настоящее время в справочниках для детей, рекомендуемых в соответствии с рекомендациями, содержатся ацетаминофен и ибупрофен (например, меррин и тайнолин), два компонента, которые являются достаточными медицинскими доказательствами в отношении ацетаминофен и ибупрофен (например, меррин и тайленол), имеют опыт клинического применения более 60 лет, имеют меньше побочных эффектов и имеют постоянный домашний очаг. В феврале и выше рекомендуется использование ацетаминола, а в июне и выше рекомендуется ацетаминофен или ибупрофен. Эффект отжига и безопасность схожие: более мягкий ацетаминофен, менее стимулирующий желудочно-кишечный тракт, предпочтительно отжиг ацетаминолом у детей, инфицированных желудочно-кишечной инфекцией и некомфортно расположенных желудочно-кишечных кишечников.

2, когд бол гипотерм, дет психическ состоян хорош, может снача на с соответств уход для улучшен комфорт, как тепл вод WaiFu детск лбу, тепл ван, сокращен в одежд, использован похолодан повес, похолодан дорожк, вентилятор и пониз температур помещен ждат, средн за эт метод набира доступн проводим, конвекц и испаря рол забра тел запас тепл, лихорадк дет почувствова себ комфортн.

В-третьих, давать ребенку больше воды, чтобы избежать обезвоживания.

Четвертое: одевай ребенка правильно, и никогда не нагревай. Некоторые родители считают, что ребенок чувствует себя холодным, когда у него температура, и что он больше одевается, и что это неправильно, что это влияет на тепло и вредит выздоровлению.

У детей часто бывает жар, и родители не могут паниковать, и в случае с ребенком, который меньше чем через три месяца должен быть вовремя госпитализирован. В течение более чем трех месяцев ребенок может находиться в тепле, прежде чем он успеет вовремя сбить жар ибупрофеном или ацетаминофеном, таким образом, это может помочь ребенку не только вовремя понизить температуру тела, но и улучшить его общую комфортность и избежать дальнейшего риска, вызванной высокой температурой. Понижение температуры при помощи лекарств на дому также требует как можно скорее разъяснения причины и своевременного посещения больницы.

Если температура ребенка снова поднимется через час или два после того, как он выпил лекарство, то это может быть причиной того, что жар еще не был удален, и он может продолжать принимать антикоагулянты по времени и измерению. Если ребенок испытывает затрудненное дыхание, сильный кашель, необъяснимую сыпь или хроническую рвоту или диарею, продолжительную или многократно высокую температуру, его необходимо немедленно лечить.Read more at:green formal dress | grey formal dresses

Во время беременности развитие плода находится в нестабильном состоянии и в самом опасном периоде этого периода, поэтому лучше всего быть осторожным во всех аспектах, так как многие женщины только что забеременели, не осмеливаются есть, не осмеливаются есть, и многие вещи боятся повредить ребенку. Значит, при раннем зачавании ноги могут покрываться волдырями?

Некоторые женщины могут испытывать преждевременную реакцию на беременность в раннем возрасте, включая усталость или недосыпание. Если на ночь макать ноги, то это способствует циркуляции крови в ступнях, что дает определенные преимущества для сна и снижает усталость, так что в раннем периоде беременности ноги могут вспениваться. Но есть несколько моментов, которые могут вызвать дискомфорт у пациента в раннем периоде беременности, включая то, что вода должна быть удобной, когда она заваривается, и не должна быть слишком горячей или холодной для ног.

И обратите внимание на то, что китайские лекарства не рекомендуются в начале беременности, поскольку они могут вызвать дискомфорт у пациента в раннем периоде беременности, и в связи с этим в связи с их небольшими исследованиями, поэтому, если их пропитывать, то лучше не добавлять в них такие вещества, как китайские лекарства. Если вы хотите использовать теплые волдыри на ногах, обратите внимание на то, что температура воды составляет около 40 градусов, а не слишком долго, обычно от 15 минут до получаса.

Беременные женщины более слабы в начале беременности, и большинство людей реагируют на преждевременные роды, а также замерзают и боятся холода. Надлежащее использование горячих волдырей для ног может отпугнуть холод и эффективно помочь беременным избежать холода.Read more at:royal blue formal dresses | white formal dress australia

On Saturday, June 18th, members of the Los Angeles and New York fashion industry descended on Boise for the first annual Idaho Fashion Week. Hosted at the Jackson Jet Center, IDFW featured designers from around the country, including Project Runway winner Kentaro Kameyama, Mister Triple X, Jose Gonzalez, and Boise local Rooney Mae Couture. The show was sponsored by many local businesses, as well as national powerhouses such as Macy's and Avelo Airlines. More than 200 people attended the shows, with front row seats filled by Boise influencers, business owners, and industry insiders.

When asked "Why bring an event like this to Boise", Idaho Fashion Week Executive Producer Amanda Rouse said, "My goal was to connect people. When I started modeling in Idaho nine years ago, I didn't have many opportunities to collaborate with industry leaders outside of Boise, let alone the state.

She continued, "My goal in creating IDFWU was to provide a space for local Idaho artists to have a real platform to showcase their work, and ultimately for artists and creatives of all kinds to make connections and learn from industry experts from around the world". In addition to a runway show, Idaho Fashion Week also included a day of master classes and expert panels at the Grove Hotel.

Attendees could receive hands-on training from renowned makeup artist Carlos Gonzalez, ask questions of published models such as Will Moncada (also known for his appearance on the series Love Island), and hear details of the design process from Kentaro Kameyama.Another crucial aspect of Rouse's vision for connecting Boise to the greater fashion community was philanthropy.

A portion of the weekend's ticket sales and revenue went to the local Boise chapter of Dress For Success, a nonprofit organization which provides clothing, training and career counseling for underserved women throughout the world. It was imperative to the IDFW production team that the event leave behind a positive footprint on the community, both in terms of an opportunity to experience beautiful fashion, but also as a means to give back to those in need.

Can we expect Idaho Fashion Week to be an annual Boise tradition? To this, Rouse said, "We are already moving forward with plans for next season, and I can't wait to highlight more of what Idaho has to offer to the fashion industry!"Read more at:purple formal dresses australia | pink formal dress