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Carrying logo bags makes women feel sexy. But men don't seem to think there's anything sexy about the expensive handbags. (Photo: Colourbox) A pretty woman walking down the street, catching the eyes of the men she passes by. Her dress reveals a glimpse of her lingerie and her heels make her hips sway.
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Related Story: The Curious History of "Tribal" Prints Fashion’s Love for “African Fabrics” At the after-party for her L.A.M.B. spring 2011 fashion show, Gwen Stefani donned one of her label’s own creations: an ornate party dress in a bold pattern that the fashion press called “African.” She’s in good company (and I’m not referring to Kanye); over the past few years, many designers have shown clothes featuring similarly bright and intricate patterns—all part of a trend that fashion magazines and blogs tend to refer to as “tribal.” The fashion industry’s new interest in these “African prints” made me wonder: Where are these fabrics actually from, and why do they look the way they do? The answer reveals a fascinating and tangled history.
Ganguro (ガングロ), literally "black-face", is a Japanese fashion trend among many Japanese girls which peaked in popularity from the late 1990s to the early 2000s, an outgrowth of chapatsu hair dyeing. The Shibuya and Ikebukuro districts of Tokyo are the centre of ganguro fashion. The basic look consists of bleached hair, a deep tan, both black and white eyeliners, false eyelashes, platform shoes (usually sandals or boots), and brightly colored outfits.
The online retailer is shooting 3,000 fashion images a day in a photo studio using patent-pending technology. And it is happily losing hundreds of millions of dollars a year on free shipping — and, on apparel, even free returns — to keep its shoppers coming back. Having wounded the publishing industry, slashed pricing in electronics and made the toy industry quiver, Amazon is taking on the high-end clothing business in its typical way: go big and spare no expense. “It’s Day 1 in the category,” , Amazon’s chief executive, said in a recent interview. Though characteristically tight-lipped on bottom-line details, Mr.
Yes, that's supposed to be a piece of underwear. No, me neither. Image Gallery (5 images) Does this fit under our 'emerging technology' tagline? It's hard to say. It's certainly emerging from somewhere.
Clockwise From Top Left, Stephen Crowley/The New York Times; Bill Gray, via Hbo; Jae C. Hong, via Associated Press; Henrietta Wildsmith, via The Shreveport Times, via Associated Press; Jim Wilson/The New York Times The costume designer Ernesto Martinez said Julia Louis-Dreyfus vetoed the wardrobe looks of Michele Bachmann and Sarah Palin. “Most politicians, their stab at looking good is really not so great,” Mr. Martinez said in a recent phone interview from Los Angeles.
Leading the parade, held by a nurse and dressed in a pale blue cape, was 8-month-old Charlie Jr.
From left: John Phillips//Time Life Pictures, via Getty Images, Michael Birt/Getty Images A new show called, “Elsa Schiaparelli and Miuccia Prada : Impossible Conversations,” looks at the two designers who certainly wouldn't argue. “I always felt she was in love with the key clients she had,” Mr. Bowles mused.
Penélope Cruz The greatest red carpet sin is to be boring. Too often, starlets in pursuit of “old Hollywood glamour” play it safe—and dull—in bias-cut silk or yards of tulle. Tonight, we’ll review Oscar fashion the way they judge diving at the Olympics, with extra points awarded for degree of difficulty. Cruz didn’t try anything fancy here, and the look is blah as a result—justly dismissed by some on my couch as a “stupid princess gown.” The color is nice, though.
In this design, John Galliano for Dior combined the elements of a robe à la française with the vast crinolined silhouettes of the mid-nineteenth century. The stomacher, open overskirt, and petticoat are expressly eighteenth century, but the huge wired cages that support the skirts over nine feet wide are constructed more like the hoops of the Second Empire than the discrete by comparison panniers of the ancien régime. While the eighteenth-century woman could at least sidle through a doorway, Galliano's beauties, because of the depths of their skirts, would have to torque and deform their hoops to squeeze their way through. <p style="text-align:right;color:#A8A8A8"></p>
Chris Moore/Karl Prouse In Milan, Frida Giannini sends out Art Nouveau-inspired styles, with a bit of the 1970s, for autumn 2012. did a volte face at Gucci on Wednesday, from sexy to sensual, making a bold and beautiful start to the Milan winter 2012 season. Reaching back to the Art Nouveau period, with its “greenery yallery” colors, its wild orchid patterns and its wistful decadence — but bouncing that against a previous Art Nouveau revival in the 1970s — this Gucci show had as much depth and variety in the decorative clothes as in the music, which ranged from light romance to grand opera. “Romantic — the 19th century, looking at tapestries, playing with transparency — and a lot of the 1970s,” said an emotional Ms.
Though she produced most of her work in the 1950s and ’60s, Maier’s eye for bold prints, and fashions that range from the decadent to the artfully decaying, would place her images at the center of today’s street-style photography. If only she’d had a blog. Unquestionably, street-style blogs have revolutionized fashion, both in terms of how we view it and how we define it.