Rhymes--the chief clothes rack for Bushi--joins a fashion lineup

Rhymes--the chief clothes rack for Bushi--joins a fashion lineup that includes such high-profile predecessors as FUBU, Karl Kani, Russell Simmons' Phat Farm, Sean "Puffy" Combs' Sean John line, and Master P's No Limit wear.
Unlike most artist-represented clothing lines, Bushi is actually designed by the artist; Rhymes designs Bushi with partner Rashib Boothe. It's touted as apparel that cuts across age, gender, and other demographic lines and includes urban, sport, and couture designs. "We don't just put our brand on something made by someone else, and we include couture because it's never designed to fit black people," Rhymes says.
"FUBU has set an example," he adds. "They've made it clear that the now cats can do it just as good and created a clear lane for more of us."
The Bushi men's line launches in November with 40-50 pieces, according to Rhymes. He also notes, "There will be minor piece amounts in the women's line to create anticipation for that launch, sometime in late 2000."
Anticipating a future flood of wannabes, Rhymes warns, "It's one thing to want to do it but another to actually make it happen." Though he maintains his fashion and music projects as "separate entities," Rhymes notes that "hip-hop is a culture like Buddhism or any other. There's a dress code that goes with the spirit and cultural significance. Hip-hop has brought much to fashion. It ain't just pants hanging off the ass no more."
Among the pioneering firms responsible for bringing hip-hop's fashion culture to the forefront is FUBU (For Us, By Us), founded in 1992 by Daymond John, J. Alexander Martin, Carl Brown, and Keith Perrin. "Other clothing companies don't believe in the [hip-hop] lifestyle; they don't understand it," maintain the four hip-hop fans from Hollis, Queens, New York. Unlike other street-gear labels, FUBU is completely owned by the quartet--all of whom are under 30.
The FUBU story began with a $20 tie-top knit hat that John bought in '92. "Carl said, 'Why did you buy that, D.? You could make that,'" recalls Brown. "So we started making them with the FUBU logo and did well. When J. came back from Desert Storm, he said, 'You're onto something, but let's take this to the next level.' People think it just happened, but it took a while."
The first FUBU line was only 1015 pieces. After refinancing the Hollis house they shared for $100,000, the foursome bought sewing machines and hired seamstresses. Today, the company grosses more than $350 million in annual sales worldwide.
Key to that success is FUBU's hiphop link. Rather than taking the usual print-ad route, FUBU's owners began advertising through the community-even walking onto hip-hop video sets and asking rap icons to wear their clothes. A major player in that strategy was Hollis neighbor LL Cool J.
"I saw them a lot over the years," he recalls during a break in a FUBU photo shoot--only his second print ad for the line. "One day, they asked me to pose in a shirt. I thought it was terrible. But they came back later with another shirt, and it was incredible. I wore it in my videos, on the street, and boom! Now I wear FUBU all the time ... FUBU represents hip-hop's struggle: to make yourself better, to make something out of nothing. FUBU is for everybody. You don't have to be a hiphop fan to love these clothes."
Last month, FUBU staged the four-day "FUBU Y2G" in St. Martin/St. Maarten. Billed as the "ultimate style, music, and fashion extravaganza," the event attracted such musical artists as Mary J. Blige, Deborah Cox, Destiny's Child, and the Gap Band. Meanwhile, the year 2000 will see 30-plus FUBU retail stores springing up all over the globe, including South Africa. yanzic0619.
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got busy learning the nuances of these young consumers' lifestyles and values and the dynamics of their social lives

"The thing that resonates with him is this results orientation," said Jamie Lockard, director of advertising. "You get a sense of urgency from Gordon. Which is good, because it makes every person want to see accomplishments and results."
Accomplishments and results were crucial when an internal segmentation study in 1997 uncovered the sad fact that VF's market share was declining among younger consumers: The plethora of new designer, niche and department store jeans brands were collectively spelling trouble for the two dominant players, Lee and competitor Levi Strauss. While Lee was a desired brand among women in their 30s and known for its fit quality, it was well-populated, fashion-seeking Generation Y who it really needed to reach.
"Our competitive set in jeans had changed," Harton said. "More brands were being sold. We needed to develop subbrands targeted to segments of consumers to better compete with these niche brands."
Harton's team, and Collins specifically, got busy learning the nuances of these young consumers' lifestyles and values and the dynamics of their social lives. One pleasant surprise: Generation Y hadn't formed strong loyalties yet. "They were open to new brands, or older brands offering something new," Collins said. "They thought of us as a brand for older people, but were open to hearing what Lee had to say."
Additionally, they wanted "authenticity, .... durability" and "genuine" traits in their jeans. These clues directed Lee back to the past--to the 110-year-old company's archives, that is--to examine whether its heritage had any equity among the demo. Many focus groups later, Lee chose to leverage three vintage elements that expressed the desired brand personality: the term "dungarees" for its kitschy-yet-cool rebel appeal; the '40s slogan "Can't Bust 'em," which was eventually chosen as durable Dungarees' tagline; and Buddy Lee, a doll used in Lee's promotional displays from the 1920s through the '50s.
But Buddy almost didn't make the first cut. "We thought it was too silly [to test]," Collins said. "We drew out 60 slogans and taglines and campaigns and Buddy Lee. We just laughed every time we saw him." Fortuitously, the doll remained in the test, and the kids went wild. "They liked that we weren't trying to be the sexiest thing out there," Collins said. "That we weren't trying to be a designer jean or something the brand was not."
"We almost didn't show a doll to 18-year-old men," said Lockard, laughing, "and we are really glad we did."
Back in 1997 during the planning stages, Harton headed the brand management team that along with Lockard and Collins included Kent Pech, now vp-consumer marketing, the sales team head who was crucial in convincing retailers why Dungarees was good for the Lee brand and their stores; and Toni Strutz, director of market trends, who's job was taking the research and broader trend material and interpreting it into fashion. On the ad agency side, the account and creative groups at Lee's longtime shop, Fallon McElligott, Minneapolis, worked alongside the company through each step of the process.
Once apparel styles, brand attributes and imagery were selected, the next step was getting the word out. In devising the creative, Lee's challenge was how to stand out among the pack competing for the demo's dollars.
"It wasn't challenging from a brand perspective--we'd done our homework and they were very open to the brand," Lockard said. "But a lot of people wanted them, and the noise level you have to break through is so much greater. Our mantra was, 'Snap their heads back. Get them in a surprising way.' And allow them to discover the brand and invite us into their world, not push something to them."
Eschewing the TV route--that would come later--phase one allowed Gen Y to discover the mysterious Buddy Lee via wild postings in urban environs. In spring 1998, Fallon's shots of the denim-dressed doll were plastered throughout metropolitan construction sites. To pique curiosity, there was no logo, tagline or brand association--just the impish Buddy.
Next, a teaser TV campaign shed more light on this "Man of Action," as he was now billed. Spoofing the action-movie trailer genre to a T--narration was by Don LaFontaine, the deep-voiced theater trailer man--ads previewed The Buddy Lee Story, a "movie" to run graveyard on Comedy Central and other cable channels. A humorous two-part, six-minute recap of Buddy's rise and fall and rise again, the film introduced viewers to the doll's personality traits while serving as right-on satire of formulaic star biographies a la VHl's Behind the Music or the E! True Hollywood Story. Fallon's back-to-school ads were the clincher. Drawing upon Buddy's "genuine" integrity and altruism to solidify the jeans' durability positioning, Lee showed the strong, silent do-gooder braving his way through ridiculously comedic disasters--a mighty twister, an exploding car and an airplane freefall--to help his fellow man. yanzic0619.
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fashions worn by `Law & Order' actress Angie Harmon

A clotheshorse follows the red-carpet trail and takes us along for the ride
For Angie Harmon, who plays assistant district attorney Abbie Carmichael on NBC's Law & Order, one of the joys of stardom is getting the chance to look fabulous at parties and premieres. "I'm playing dress-up," the Dallas-born former model says gleefully. "I just happen to be dressing up in Dolce & Gabbana, Gucci, Calvin Klein and Richard Tyler." When special events loom, Harmon, 27, often gets a hand from L.A. stylist Jessica Paster. "Angie has great taste," Paster says. "I just make it easier for her." Although Harmon returns many of her outfits to the designers, the 5'9" actress has amassed a personal wardrobe so huge that it spills over into the spare bedroom of her L.A. home. "Come to the house sometime--I'll show you how much she loves clothes," offers her boyfriend, textile executive Beau Nellor, 26. Not that he minds. "She's a head-spinner," he says.
  Diamonds aren't always this girl's best friend. "There's something so sexy about a woman with a chunky man's watch," says Harmon of her stainless steel Swiss Army timepiece. Even wearing a gown, "I'm not afraid to throw something casual in there. I don't want to be unapproachable."
  Harmon doesn't suffer for fashion. For April's VH1 Divas Live '99 show in New York City (above and left), she chose this $1,315 outfit--Vivienne Tam pants, Gucci top and shoes--for its comfort. "This was a concert," she says. "Do you want to be in a little tight skirt? No. How do you sit when Tina Turner's doing 'Proud Mary'? I was practically standing on my chair."
  One of the perks of celebrity is borrowing jewels. The $200,000 diamond cuff Harmon wore with her Randolph Duke gown to June's American Fashion Awards in Manhattan is courtesy of Fred Leighton.
PHOTOS (COLOR): Though she's convinced she "can never get enough" Kate Spade handbags, for now Harmon has just this one, which she carries constantly. That rules out any tax deduction. "If I wear something to only one event, it can be deducted," she notes. "If I wear it anywhere else, then it can't."
  Harmon loves having "an excuse to put on something like this,"
she says of the Dolce & Gabbana dress and Jimmy Choo boots that she wore to the VH1 Fashion Awards last fall.
  Gucci's fringed and beaded top made Harmon's heart race when she first saw it. But the $2,800 price tag almost stopped it. When the design house gave her a custom version to wear to its May party in L.A., "I stood there squealing, 'Thank you, thank you!'" says Harmon, who has already decided to wear the outfit again on New Year's Eve. She's celebrating in Australia with Nellor.
  Harmon doesn't worry about running into someone else wearing the same outfit. "I would never allow that to happen," says her stylist Jessica Paster, who gets assurances from designers that the clothes they lend Angie are one-of-a-kind. At the SAG Awards in L.A. last March in this Richard Tyler gown, "I felt like a princess," says Harmon. "You walk out in these fabulous outfits and people take your picture. That's not horrible."
 For a May awards show in L.A., Harmon mixed a black Versace Istante dress, casual sweater, jeweled Manolo Blahniks, her Kate Spade bag, Kenneth Cole sunglasses that "make me look like a movie star," and the silver rings that "I wear everywhere." Style is "more relaxed" in L.A. than in New York City, where Law & Order films, she says.
 Even stars like bargains. Though she paid "about $500" for the Parallel jacket that she wore to Law & Order's 200th-episode party in New York City last March, Harmon later got a full-length version for $100 at a closeout sale.
  Her Manolo Blahniks are "pieces of art," says Harmon. "You might as well set them on your coffee table." To keep track of her 75 pairs of shoes, she tapes Polaroids of the contents to each box.
  Harmon is philosophical about returning borrowed clothes like the flowered Marc Bouwer she wore to a Whitney Museum benefit in Manhattan in March. "If you wear something twice," she says, "everyone's on your case." She doesn't want the wrong kind of attention. When she forgot to remove the bandage on her arm after a doctor's visit, she worried what the press might make of it. "I can just see it now," she says jokingly. "Angie Harmon--heroin addict and not afraid to show it."yanzic0613.
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Hudson, wearing a chocolate brown embroidered chiffon column dress, had no sooner arrived at the Ara Pacis when she spied her next red-carpet look

Located on the eastern banks of the Tiber River, the bold linear structure is the first example of contemporary architecture in central Rome in almost a century.
In a symbolic gesture, Valentino placed his 1990 Peace dress - with the word peace embroidered on it in 14 languages - high in front of the altar.
The museum's striking lines and endless stream of natural light wasn't lost on the designer, who relished the chance to showcase his work in such a spectacular venue.
"I love to share," Valentino said, following the exhibit's opening on Friday night. "I wanted to give Rome the opportunity to see my couture collections."
Guests like Sarah Jessica Parker, Jennifer Hudson and Elizabeth Hurley swooned at the various groupings of dresses, which evocatively framed the altar. "I wish I had a U-haul to take them with me," Anne Hathaway said with a laugh, taking in a towering display of Valentino's signature red frocks (66 in all) and other styles demonstrating his mastery of ruching, beading and embroidery. "Seeing his body of work together like this makes it so apparent why Valentino is such a genius."
Hudson, wearing a chocolate brown embroidered chiffon column dress, had no sooner arrived at the Ara Pacis when she spied her next red-carpet look: an ivory vintage gown with rings of pearls looped around the shoulders.
The retrospective - from the simplest one-shouldered sheath to an intricately sequined pastel dgrade number - expressed the timelessness of Valentino's style.
The designer had few kind words for certain trends and eras during an earlier press briefing, describing grunge as "outrageous," criticizing the Eighties for unflattering proportions and describing minimalism as "an offense to women," and adding, "It made them look like little nuns running around."
The exhibition, which runs through Oct. 28, dazzled Karl Lagerfeld, who usually derides such backward-looking exercises as funereal. "I think it's beautifully done," he said. "It looks fresh. It doesn't look like a bunch of old dresses, and that's what impresses me." The exhibition was curated by Patrick Kinmonth and Antonio Monfreda, who placed the dresses on clusters of golden mannequins, some with arms raised out to the altar reverentially.
On the lower level, Valentino paid homage to today's goddesses. He showcased a sampling of some of his most iconic celebrity dresses, including the canary yellow taffeta gown Cate Blanchett wore to the 2005 Oscars. "I love beauty, and I love the feeling of serenity," Valentino said. "I've always looked to give my best, and I think I have succeeded." yanzic0614.
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Dress is a product involving multi-sensory imagery

Dress is a product involving multi-sensory imagery (Eicher, 1995). As such, dress is capable of stimulating more than one sense. Although sight is considered the primary sense in face-to-face interaction, dress can elicit reactions from all five senses. Fabric textures stimulate the sense of touch, lipstick stimulates the sense of taste, fragrances stimulate the sense of smell, and some jewellery and fabrics (e.g. rustle of taffeta) stimulate the sense of hearing (Eicher and Sumberg, 1995). Dress provides a multisensory experience consisting of sensory information available through sight, touch, kinesthetics, smell, hearing and taste (Fiore and Kimle, 1997). Sensory information such as colour, fabric, pattern, shape and texture influences how fashion styles are perceived. Interpretation of sensory information is dependent on aesthetic rules (e.g. International Journal of Consumer Studies ISSN 1470-6423 International Journal of Consumer Studies 31 (2007) 589–596 © The Authors. Journal compilation © 2007 Blackwell Publishing Ltd 589 principles of design such as balance, scale and unity) as well as social and cultural rules (Kaiser, 1997). Codes consist of a system of rules relating to one subject. An aesthetic code consists of design rules embodied in the elements and principles of design as well as social and cultural rules regarding dress. An aesthetic code enables dress to communicate meaning (Kaiser, 1997). Social and cultural customs provide the means to interpret some sensory information conveyed by dress. Cultural differences may be influenced by the subjective nature of some design principles (e.g. harmony) (Davis, 1996). Understanding the meanings associated with dress is a complex process because meanings stem from the blend of aesthetic codes with social and cultural customs. Individuals manipulate aesthetic codes and the attached symbolisms, within social and cultural contexts, as they engage in the process of appearance management (Kaiser et al., 1995). The fashion process involves change in cultural forms such as dress (Eicher and Sumberg, 1995). ‘Fashion change is intricately linked to changing ideas about aesthetic rules’ (Kaiser, 1997, p. 231). Aesthetic codes are culturally derived and change with fashion despite the design principles (i.e. balance, emphasis, proportion) basic to their nature. The fashion process evolves in stages prompted first by the introduction of new styles or variations of existing styles. Fashion designers manipulate aesthetic codes as they create new styles; a meticulous adherence to aesthetic rules is not adequate to create successful styles. yanzic0525. 
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Hu ronko motifs may have been originally viewed as a substitute for protective leather amulets, commonly found on hunters' and warriors' gowns

10 Stamps in active use by Dunto Kamara of Bafodea Town, including four made for the raffia palm core: spider, star, clock or watch, cross, and one thin bamboo-tube stamp of a circle at one end and a half circle at the other. 11 Sums Mannio of Bafodea Town wearing a hu ronko and cutting a rising sun or All Peoples Congress (APC) design. Less common Bafodea motifs, sometimes unnamed, included a large S, a reverse S, a large W in a variety of positions, and a fence design {Fig. 16). A few artists placed black triangles at or near the edges of their shirts (Fig. 9). A man from Kabate village near Bafodea Town apprenticed with the blacksmith Sunduku, an early Bafodea Town hu ronko artist, acquiring the idea of decorating from him but not the skill. Later he learned to decorate on his own, doing so for three years. He continued to stamp while in the military for seven more years. 1 counted nine motifs on three of his decorated hu ronko; only the cross was similar to other Bafodea chiefdom motifs; some others suggested military insignias (Figs. 17-18). Opala obtained twenty-five motifs that he collected in Limba country, some from Bafodea {1978:21); about half of them similar to those that I noted. I also saw hu ronko motifs on Yalunka shirts {Figs. 4-5), though I did not analyze them, including a broken circle and inverted "Vs" stacked on top of one another. Hu ronko motifs may have been originally viewed as a substitute for protective leather amulets, commonly found on hunters' and warriors' gowns, as Michael D. Jackson suggests above. Or they may have been attempts of a largely nonliterate people to capture the magical protective powers attributed to Arabic writing.'^ Against that idea, it is possible that the development of decorated hu ronko in Guinea and northern Sierra Leone was a reaction to increasing Islamic influence. yanzic0527.

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Other designers describe the new looks as being simple and structured

"People worry about their jobs in a difficult climate. So even if companies say it's a casual workplace, people are thinking they had better dress to impress. They're going to look the part."
As a result, consumers are going to be "over the sack dress, the Empire waist and the maternity dress.
"We'll see a lot more tailoring and body-skimming, a lot of the garden party look with ruffles and florals. And while we'll still see neutrals, grays, whites and skin tones, I've been surprised by the neon colors, like lime green. Spring will also be about hats, and lots of lace and mesh."
Buckingham said the trend has already been up and running in London, in what she described as the "piano lounge look."
"It's really about getting dressed up. It's going to carry over to the U.S. as well, because people want to dress up and have fun. We peg Generation Y as the 14- to 27-year-olds, and we call them an optimistic generation. They feel good about themselves and they want their fashion to reflect it."
Other designers describe the new looks as being simple and structured.
"Pieces are becoming more architecturally interesting," said Anna Barthelme, designer and co-owner of Los Angeles lines Lily McNeal and Dear Pruitt.
"There is more pleating, pintucks, stitching. Everything is in the details right now. There are wonderful, clean lines that are so elegant. For Lily McNeal, we're going streamlined with soft color palettes, magentas, caramels and spring greens. In Dear Pruitt, it's a little more urban and edgy, with silk screenings like a beetle on a flower. The pendulum is swinging the other way, and to do a collection that will sell you have to have the key trends combined with great basics." Lily McNeal retails from $97 to $300, and Dear Pruitt from $300 to $600.
For Kelly Nishimoto, another Los Angeles designer, it's going to be all about color. "Bright candy colors, lots of fuchsias and electric blues, bright greens and lemon yellows, anything that's catchy and fun," said Nishimoto. "It's a summer for people to breathe, relax and not take fashion so seriously. Everyone has done and overdone the bubble look. People will want to get back in shape and look cute in a short dress again. My motto is it's got to be feminine, flowy, comfortable and sexy. It's going to be a season for individuality, and it's going to be real pretty." Nishimoto's line wholesales from $17 to $159.
Denim designers agree - even those at the helm of premium denim lines, a category that has, supposedly, had its heyday.

"I keep reading that premium denim is in the toilet, but it hasn't happened yet," said Mel Matsui, owner of the Christopher Blue line in Seattle. "The wide leg is the new skinny and tops are all about soft and drapey. Eco is key - anything that's green and environmental." The line retails from $150 to $200.
Certainly, eco-friendly lines are a burgeoning micro trend in next spring's new offerings.
"There will be a focus on bamboo and hemp as more lines go green," said Kellie Kefalas, market analyst at trend forecasting company Directives West in Los Angeles. Other predictions include puff-sleeve bomber jackets; Crayola colors of red, yellow, blue and green, and skirts that are everything from mini to maxi in length.  "There's going to be a print and pattern explosion," said Kefalas. "And there's no question that the dress is the print star - plaid, checks, feminine florals, bold tropicals, graphic patterns, metallics, sequins, embellishments. Frilly feminine, bows, froufrou - from charm school to fantasy romance, anything goes." yanzic0605.
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the expectations of clothing and apparel retailers on the fashion week in New York

ennifer Wheeler, vice president of designer apparel at Nordstrom
Are there any young designers you feel hopeful about?
What trends are you expecting to see at fashion week?
What are you looking for from fashion week?
Are there any trends you'd like to see disappear?
How is your open-to-buy?
Michael Fink, vice president and women's fashion director at Saks Fifth Avenue
Are there any young designers you feel hopeful about?
What are you expecting to see?
What are you hoping to see?
What are you looking for from fashion week?
Are there any trends you'd like to see disappear?
Nevena Borissova, owner of Curve in Los Angeles and New York
Are there any young designers you feel hopeful about?
What collections are you excited about seeing?
What are you looking for from fashion week?
Are there any trends you'd like to see disappear?
How is your open-to-buy?
Nicole Fischelis, vice president and fashion director of women's at Macy's
What are you looking for from fashion week?
What collections are you excited about seeing?
Which young designers are you looking forward to seeing?
How is your open-to-buy?
Jeffrey Kalinsky, founder of Jeffrey New York and Atlanta
What are you hoping to see for spring?
What collections are you excited about seeing?
Are there any trends you'd like to see disappear?
How is your open-to-buy?
Stephanie Solomon, vice president and fashion director of women's ready-to-wear and accessories at Bloomingdale's
What are people buzzing about?
Are there any young designers you feel hopeful about?
What collections are you excited about seeing?
What are you expecting to see?
What are you looking for from fashion week?
Are there any trends you'd like to see disappear?
How is your open-to-buy?
Ken Downing, senior vice president and fashion director at Neiman Marcus
What are you expecting to see?
What are you hoping to see?
What are you looking to get from fashion week?
Stefani Greenfield, co-owner of Scoop
What are people buzzing about?
Are there any young designers you feel hopeful about?
What trends are you expecting to see at fashion week?
What are you looking for from fashion week?
Are there any trends you'd like to see disappear? yanzic0530.
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Rufus men's shifts by April Singer feature bold patterns and signature red buttonholes on cuffs

This spring, let your shirts spin a yarn about great design and innovation. Zachary Prell: Racing Stripes
Like any promising MBA student, Zachary Prell recognized a source of frustration as a business opportunity. Fed up with trying to find a nicely tailored shirt for his slim body, the former I-banker vowed to design and manufacture his dream shirt himself. Among his innovations: a wider cuff to accommodate large watches; a shorter tail, so the shirt still looks great untucked; luxurious Japanese cotton; French seams and no topstitching to prevent puckering; and a snazzy satin side stripe that's a subtle brand motif.
Prices: $165-185; zacharyprell.com
Rufus: Reddy and Willing
Want to instantly establish your style cred? Compliment your friend on his new Rufus shirt, an ID made by eyeballing the red buttonholes on the guy's cuffs. When designer April Singer was searching for a name for her new company in 2004, she happened on rufus, which in Latin means "red" and stands for charisma, boldness, charm, and self-assurance. It also didn't hurt that her husband is a redhead. Singer's 100% cotton shirts feature bold patterns coexisting in harmony. There's also a fledgling women's line.
Prices: $175-$195; rufus.com
Thomas Pink: In the Pink
Indulge your inner master of the universe by day with a striped shirt with impeccable white collar and cuffs. Then button on less plutocratic striped trappings after work for drinks with the guys, or lose the collar and cuffs for a true man-of-the-people vibe. Thomas Pink's Convertible slim-fit men's shirt, in Egyptian cotton, is designed to eliminate one of the hassles of travel: packing multiple shirts for different occasions. Right now, it only comes in tasteful blue-and-white stripes, but given early demand, that palette should expand.
Price: $175; thomaspink.co.uk
Rebecca & Drew: If the Shirt Fits…
Buttonhole gapping. Boxy fit. Pulling at the chest. What does a girl have to do to get a shirt that actually fits? Unlike guys, who have always had a range of neck sizes and sleeve lengths to choose from, women have been at the mercy of manufacturers' whim. Rebecca & Drew's TrioFit collection lets women choose a shirt based on chest circumference, bra-cup size, and torso length. The one-and-a-half-year-old company, started by friends Rebecca Matchett and Drew Paluba, is rapidly adding sizes as demand escalates. "Out goal is to fit everyone," Matchett says.
Prices: $165-195; rebeccaanddrew.com
Anne Fontaine: Woman in White
For Anne Fontaine, becoming a shirt designer was a complete non sequitur from her intended life of ecological activism. But on a whale watch, the Brazilian native met her husband, Ari Zlotkin, the son of French textile entrepreneurs. The two now have 60 stores worldwide built on one simple idea: the beauty of the white shirt. Like her stylistic inspiration, Yves Saint Laurent, Fontaine often mixes feminine styles with masculine shapes. She has recently expanded her line to include black and, occasionally, a burst of color.
Prices: Starting at $150; annefontaine.com
Robert Graham Pattern Recognition
"Knowledge. Wisdom. Truth." Somewhere, on every Robert Graham shirt, you'll find embroidered those three little words. Why? Not even the designer, Robert Stock, really seems to know. But they sure are cool and identify you as a person who's probably, you know, deep. Truth be told, "Color. Pattern. Jazzy" would sum up this line more accurately. Stock, who once designed Ralph Lauren's Chaps line, launched his own company in 2000. Since then, he has fielded a steady stream of gorgeous shirts, distinguished by their exquisite detailing, such as contrasting fabric inside cuffs and placket. For every 100 shirts he produces, Stock uses 400 fabrics. He recently added a women's line. Introducing "Tonya."
Prices: $188-$228; robertgraham. yanzic0530.
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http://fashionlover13.jigsy.com/entries/general/their-sudden-departure-from-the-gucci-group-in-april-2004-rocked-the-global-fashion-business

the designer could more effectively protect its brand equity

Target's strategic answer to this issue is to have the collections changed every 90 days. Once a line, through its Go International program, has concluded, the name and all links are removed from the company's Web site and replaced with the next lineup of designers.
Still, the challenge remains of how best to insulate the core brand while at the same time selling a lower-tier line that bears the same designer name. Because of the risks involved--in particular, the risk of losing quality control during the manufacturing of the retail line--some designers elect to produce line extensions on their own and without any retail partners at all.
But that involves a trade-off. While secondary lines produced in-house can potentially bring in more sales than even the flagship collection, they require a significant investment--in sourcing, production, distribution and marketing, to name a few--that isn't part of the retail design model. Though considerably more expensive, it's a tactic well used by industry leaders such as Prada, Dolce & Gabbana, Marc Jacobs and the ubiquitous Ralph Lauren.
In 2006, Lauren launched Chaps for women and boys, distributing these collections via an exclusive agreement with Kohl's stores. Doing its own manufacturing ensured that the designer could more effectively protect its brand equity, but it wasn't easy. According to the company's 2006 annual report, "This was a significant undertaking from designing, manufacturing and delivering product to all Kohl's stores, which number more than 700 locations, to using existing infrastructure from systems to supply chain to human resources."  yanzic0522.
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http://fashionandbeauty412.blogspot.com/2013/05/forget-that-you-have-expensive-clothes.html

forget that you have expensive clothes on sale at the luxury stores

"New audience," of course, translates in practice to the hope for increased revenue. The collections are geared towards giving the designers access to the high-volume arena, with the hopes of a trickle-up effect for their luxury collections.
While the business models vary by individual venture, the basic structure contracts a designer to work up a collection for the retailer, who in turn produces, inventories and merchandises the entire line. In return for what boils down to the cost of time and labor to design garments, the brand receives sales royalties, with virtually no capital outlay, according to Stone.
"It's definitely a revenue-generating proposition for the designer, and very profit-rich," he said. "If the sales of [the retail collection] are at a high level, the designer can be earning millions of dollars a year."
To cite one example, Proenza Schouler's sales not only went from a prepartnership total of $2 million to an estimated $6 million currently; its management has stated that it hopes to hit $25 million in sales within five years, not an unrealistic proposition if its growth maintains the pace that it has now.
The Delicate Balance
Extra millions in revenue will mean very little if the core brand suffers from a downscaled perception on the part of consumers. The trick with doing these projects well--and emerging with brand image unscathed--is making sure that the designer is in, and then quickly out of, the lowerend retail chain. So says Dana Thomas, Newsweek's fashion and culture reporter and the author of Deluxe: How Luxury Lost Its Lustre. "The most important thing," Thomas said, "is to do a capsule collection with a clear beginning and end time so that people don't think you're just a Kohl's or Target designer, and forget that you have expensive clothes on sale at the luxury stores."  yanzic0522.
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I like to see how a fabric threads, what the selvage looks like, how it reacts to the scissors

"I like to see how a fabric threads, what the selvage looks like, how it reacts to the scissors," she says, twirling a red and black cloqué sample with her fingers. "The structure of a fabric is what makes it organic."
Indeed, treating and manipulating fabrics are a Toledo signature. For fall, she "built" a gold silk damask with gray undertones by backing it with chiffon, then married the two fabrics with a picot machine. "I start with a very drapy fabric, which is perfect for the top of a dress, but then I give it structure and architecture by backing it, which works well for the bottom of the dress," she explains. "So you have a playful, barrel-like bottom that stands away from the body with a softer, sensual top that moves with the body."
Working in mostly nude, ivory, black and "elephant gray," one of her favorite colors, Toledo forgoes a defined palette for fall in favor of textures via stitching, patchworking and pleating that she says create the shade and color. A fake croc-embossed black acetate is a perfect example: "It's all black, but at a certain angle, when the light hits it, you see glimpses of silver," she says.
That red and black cloqué, meanwhile, will be cover-stitched or double-stitched to give it even more dimension. "It's a very couture-like fabric," says Toledo. "I plan on creating something with a military feel, something a bit more active."
And for another cloqué -- a richly textured wool and silk in gray and ivory -- Toledo is feeling particularly playful. "I want to shape it into a big pullover of some kind," she says. "Maybe I'll rib it to really enhance the texture." Leave it to Toledo to give even cloqué a friendly feel. yanzic0510.

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creativity and innovation continues to be alive and well within the fashion world

This includes Stella

McCartney and Karl Lagerfeld's phenomenally successful ranges

for H&M, while Kim Jones and Philip Treacy have recentiy stepped

up to create lines for Umbro. Although these designs could be

considered gimmicky, by making limited edition lines (which

usually sell out within a few hysterical hours in the case of H&M),

they manage to keep a whiff of exclusivity about them.

Film, as evidenced by McQueen's recent show, is also

beginning to be used as a more cost-effective means of showing

off new designs, "Films are increasingly popular in place of or

combined with a catwalk show, and this is something we have

been encouraging over the past five years at SHOW studio through

our moving fashion channel. " explains Penny Martin. "With the

exclusion of Alexander McQueen, film tends to be screened at

London Fashion Week and made by designers who are younger

and more aware of the potential for new media. Also, producing

films is less expensive than even the most basic show, which

costs around £50-70,000."

While it seems unlikely that these small gestures will

overthrow the industry's traditions any time soon, they do suggest

that creativity and innovation continues to be alive and well within

the fashion world, despite the corporate juggernaut that has

threatened to suppress the wilder innovations to ensure

maximum financial gain. "The industry is quite conservative, in

that they expect fashion week to exist as it always did and most

journalists still want to see clothes close-up," acknowiedges

Martin,  "There are certainly moves to incorporate strands of

branding into the shows... but I don't think there is a singie

designer that would say the role of their show is not to present

cutting edge design first and foremost."

Despite this, Saville retains his bleak viewpoint. "Fashion is

not defining progress anymore, it's caught up in another place

and the workings behind it are pretty Machiavellian in my

opinion," he says despairingly. "I don't like seeing the secrecy

and outright lying of the industry, it used to be like LSD, in that it

was something you might find difficult but ultimately was

rewarding, but now it's like crack."  yanzic0508.

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everything in between is bog-standard and totaily wearable

McQueen incorporated a

film, directed by Baiiiie

Waish and art directed by

the designer, of modei Kate

Moss dressed ethereaiiy in

organza ruffies into the

show, which was projected

as a hologram (9).

10, Production stiii for the

Alexander McQueen

Autumn/Winter 06/07

show, which shows the set

and hologram in itsfuil

glory. Production for all

McQueen shows shown

here is by Gainsbury and

Whiting.

pilot and going through a simulation of itself."

Creativity at least was back in evidence in the recent

Alexander McQueen ready-to-wear Autumn/Winter 06-07 show in

Paris, McQueen, while a trailblazer for conceptual shows early in

his career, has been producing disappointingly sober shows of

late. Yet this show suggested something of a return to form as a

strong collection of clothes that draw on his Scottish roots was

joined mid-performance by a hoiogram of an ethereal Kate Moss

in organza ruffles, in a video shot by director Baillie Walsh and art

directed by the designer.

So if McQueen can do it why can't other major brands? For

renowned set designer Simon Costin, who has collaborated with

designers Including McQueen and Givenchy, many of the

restrictions are financial. "Dozens of designers would love to do

shows like this but nobody's spending the money," he says. "It's

a shame as it's that stuff that gets watered down and that makes

a change within design. You tend to find it at the beginning of a

designer's career and then at the very end, but everything in

between is bog-standard and totaily wearable,"

One solution to the money problem is for the industry to

diversify, adding to the traditional ways of showcasing work and

finding new creative ways of displaying designs and reaching new

audiences. Top-end designers are now regularly collaborating with

high street brands in order to spread their designs to a wider

audience at a more reasonable budget.   yanzic0508.

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fashion fleece is picking up

Wrangler has not seen any lessening of interest in denim shorts. Phillip Dunn, vice president of the women's jeans division, commented: "We're very pleased with our results in what is for us a new program in jeans-related shorts. We've done exceptionally well with them and we're going to continue to be aggressive with them in 1995, and we think they'll still do as well then." Joyce Markwell, Wrangler's merchandise manager, said that "most of what we have sold has been in core finishes in heavy fabric. The missy customer likes something that has some body. But we have expanded the line with some 10-ounce midweights.

"We run several stonewash finishes as our core colors, light and medium to blue overdyed indigo, in the 14 3/4-ounce. In the midweights, we have our 'sunbleached indigos.' These are very light stone-bleached finishes and we also have a bleached ticking stripe. In twill, we have navy, white, and red, and we've added some sand colors in the khaki family. New earth-tone neutrals include seafoam, stone, and sea oats--sort of a light yellow or maize. Workwear looks are unique to our company--a loose-fitting short with a 7-inch inseam in a variety of fabrics: soft, vintage denim that resembles ringspun, and yarndyed engineers' stripes or herringbones. These can be shorter because they're aimed at a younger, junior customer. But our research has found that our mainstream customer prefers the 9-inch inseam that she can wear as is or roll up." Riders offers several shorts styles for both the missy and junior markets, reported Melanie Albert, director of advertising for the brand. "They are in the same relaxed silhouettes as the missy jeans, and we have added shorts in the London Riders style. The lighter indigo finish is key for missy sizes. Natural did very well in some Northeast markets, though white was not a huge business," she said. "Baggy Riders, in soft 10-ounce fabric, also did well, as did elastic waist styles in fashion colors. For juniors, the EZ Rider was key, in light blue and jet black. For that market, we also have a notched-fly model and short-shorts, in melon and other forward colors."

THE 'REAL' ACTIVEWEAR
But the core of the retailer's activewear business is still basic fleece. "We sell a lot of basic sweats at Kmart," said Gil de Marrais. "The business has softened somewhat in basics, but fashion fleece is picking up. If you have a little bit of fashion--a print or a texture--the item will do well, better than a basic. We've added hoods, of course, to the basic top and heavyweight fleece now does very well." yanzic0504
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five-pocket models that are really an offshoot of our Brittbaggy styles in jeans

George Wechsler, general manager, women's wear, for Gitano, called denim shorts "extremely hot sellers at retail. Right now, it's pure basics--derivatives of the five-pocket jean. But fashion basics are doing better--updated five-pocket styles with waistband trims, belts, and a little bit fuller cut. That looks like a trend for next year. Vintage stone wash is very strong and white has come on big. Bleach wash looks good for the future and we see yarndyes as becoming very important. We've done extremely well already with yarndyes in little checks, stripes, and patterns like that, all in blue.

"We have a sense that the Dirty Dancing look will be back. It never really died and we see that in yarndyes also. Shortalls and rompers should be a bigger piece of the inventory in spring '95 also. They all have blue denim shorts and they'll be looking for a change. For example, the fact that white has done so well recently shows they are ready for a change in color, finish, or cut," he explained.

But at the moment, especially among more mature missy customers, the standard five-pocket is still the big seller. Pattie Eakin, merchandise manager for Brittania women's wear, said that "generally speaking, since we usually aim at an older or more mature customer, our styles are rather basic, five-pocket models that are really an offshoot of our Brittbaggy styles in jeans. We're more classical--indigo sells best or what we call our 'bayside stripe,' a narrow indigo and white striping. We've also done very well with white. We've shown natural as well, and this past year, in the upper retail tiers, natural and beige stories have been very important. Going forward, we feel they'll be good in mass merchants as well. I don't see the shorts business as slowing up at all. The seasons seem to be stretching out in fact--we start shipping for January and there's still a lot of shipping in mid-summer, so you're talking about a six-month shipment window for shorts." yanzic0504

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Buffalo Tom are not afraid to turn their live shows up to ear-bleed levels

``A big part of developing the group was just learning to play,'' says Colbourn. ``We still feel like we're learning to play our instruments. For a very un-punk-rock band, it's a very punk-rock element.''

For a very un-punk-rock band, Buffalo Tom are not afraid to turn their live shows up to ear-bleed levels and offer brutally physical sets.

``We see these fratlike guys coming to our shows,'' says Janovitz. ``And I keep thinking: `These are the guys that I used to be afraid of. These are the guys who used to head-butt me for no reason.' Now they're in the front row. We call it the idiot factor.''

To create their latest offering for the idiot factor, the three friends from Boston headed West. In Los Angeles, the band worked with the Robb Bros., the three-sibling production team that once served as Del Shannon's backing band and that has brought the world Alice Cooper's Zipper Catches Skin, the Lemonheads' It's a Shame About Ray and John Davidson's Every Time I Sing a Love Song, among many others. It was there that Buffalo Tom encountered the other folks sharing studio space: Lita Ford, Gene Simmons, David Lynch (who was producing an LP for Julee Cruise) and, as if the surreal ante weren't upped just enough, thank you, funkster/ alleged kidnapper and torturer Rick James. Buffalo Tom - who cite meeting Lynch as the two-month period's biggest thrill - were happy with the bizarre quotient.

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It's a very dubious thing, hearing that a rock songwriter writes poetry

``It's a very dubious thing, hearing that a rock songwriter writes poetry,'' says Janovitz, who studied with James Tate, last year's Pulitzer Prize-winning poet. ``I read a lot of poetry as well. We all do. But what I write for songs is much different than personal poetry. When people hear rock and poetry, they start thinking Jim Morrison. Oh, one of our greatest American poets, Jim Morrison. Yeah.''

Not that everyone is a fan of the Buffalo Tom canon. ``We got slagged in the British press,'' says Maginnis. ``They said, `Buffalo Tom like short words that rhyme.' ''


YOU PROBABLY DON'T REMEMBER PLATE OF MUTTON. It was the early '80s, and Boston was experiencing a post-punk boom. Mission of Burma. The Neats. Dogmatics. The Lyres.

On the banks of the river Charles, Plate of Mutton were also getting gigs, and this fact was not lost on local suburban youths Bill Janovitz and Chris Colbourn. The significance wouldn't be felt for a few years, but it would eventually have its impact on Buffalo Tom. You see, the bass player for Plate of Mutton was high-school student Tom Maginnis. By the time all three Buffalo Tom members met and became friends at the University of Massachusetts at Amherst, Maginnis had already helped inspire his future band mates. ``Plate of Mutton were playing original songs,'' says Janovitz. ``That was really encouraging.''

So, flush with optimism - and mostly badgered by a close group of friends that all three shared - the trio was born. They named themselves Buffalo Tom - like Buffalo Springfield only with Maginnis' first name, because as the quietest, most low-key of their friends (have you noticed a decided lack of Maginnis quotes thus far?), they knew it would embarrass their drummer. It does to this day. Then, since all three played guitar, they began figuring out just how it was all going to fit together.

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these smaller sizes are being introduced at a time when the average U.S. woman weighs about 155 pounds at 5 feet 4 inches of heighth

Think of vanity sizing as self-delusion on a mass scale. Any woman over 40 knows something isn't right if she can wear a smaller size than she wore 20 years and 10 pounds ago. Yet we gratefully slip into a size 6 pair of Old Navy jeans even though we wouldn't be able to squeeze into our 1980 size 10 Calvin Kleins. It's faith-based sizing. Women want to believe they're a size 6 because the label says so even when the scale disagrees.

Miller's spokesperson, Allison Hodge, says the designer created the subzero for naturally petite women, not for 5-foot-10-inch 14-year-old models who think skinny is the new fat. But there is some concern that the less-than-zero sizes will be a new status symbol for girls with eating disorders. Last month, rail-thin models were banned from a Madrid runway show. But despite the banishing of bony models and the disparaging headlines over photos of shrinking celebs like Nicole Richie, it's hard to shake the impression that razor thin is still very much in vogue. And it seems there's less than zero chance that will change any time soon.

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There are many roads to success in the fashion world

It's not only Black students who stand to benefit from this push toward inclusion. Without diversity, full and rich, the industry will never reach its full creative potential. "When more than half of the student body have an identical background," says Gunn, "you have no one to challenge the status quo."

Fashion clout: 9. Patrick Robinson created looks for Giorgio Armani and Perry Ellis before his four-year stint heading Gap's design team. 10. Kevan Hall is known for his red carpet--worthy styles. Queen Latifah and Vanessa Williams are fans. 11. Williwear's Willi Smith, whose work appeared in Spike Lee's School Daze, rose to fame with brightly hued trendsetting "street couture" pieces. 12. Stephen Burrows is one of five designers who represented American fashion in a historic show in Versailles, France, in 1973.

BEHIND THE SCENES
There are many roads to success in the fashion world. Not every designer, Black or otherwise, can be in the spotlight or even wants to be. And few designers have the resources or even the interest in mounting a catwalk bacchanal. Wilkerson, with nearly three decades of experience, remains one of the industry's behind-the-scenes powerhouses, one who chooses to work for a major brand rather than running his or her own company. And Patrick Robinson, a contemporary of Reese's, dressed middle America during his four-year tenure as executive vice-president of Gap Global Design for adult and body, which lasted through spring 2011. Before that, he worked in Milan for Giorgio Armani and helmed Anne Klein in New York and Paco Rabanne in Paris. There are also Black designers working in the shadows at Burberry, Liz Claiborne, Coach and elsewhere. In Europe, biracial designer Olivier Rousteing made headlines this year when, at only 25, he took the reins at the French house Balmain, known for its rock-star aesthetic. And Lawrence Steele, who created Jennifer Aniston's dress for her wedding to Brad Pitt, now designs for the chic Italian label Aspesi All of these designers have found success on their own terms.

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She bought a dress for an "important client"

Soon after the show, Chicago retailer Ikram Goldman came calling. She bought a dress for an "important client." In 2011 First Lady Michelle Obama wore Smalls's lime and black watercolor-print sheath to a Cinco de Mayo party at the White House. "I can't tell you what it did for me emotionally to know that my dress was hanging in the White House," says Smalls. The First Lady has been a patron of most every standout Black designer. In addition to wearing clothes by Reese and Smalls, she donned a jacket by Nigerian-born, London-based designer Duro Olowu during her visit to South Africa. She wore a Stephen Burrows pantsuit for a White House celebration of the arts and a Kai Milla dress for an evening in honor of Kai Milla-Morris's husband, Stevie Wonder.

Milla-Morris isn't a performer turned designer, but the Washington, D.C., native is a celebrity wife, with access to financing as well as A-list friends. And yet she has to fight the perception that she's a dilettante. "People have expectations and make assumptions," she says. "You have to constantly knock down those ideas." When she launches her new line this fall, it will not bear her name. She wants it to be judged based on the work, not on her husband's fame.

Fashion is a tough business, whether you're famous or unknown, wealthy or just getting by. Recognizing that, New York's garment industry offers more than a few programs aimed at supporting rising talent by providing money, mentoring and publicity, such as the CFDA/Vogue Fashion Fund, the Swarovski Awards and the CFDA Fashion Incubator. Yet few Black designers in their twenties seem to be taking advantage of this uplift. Currently, the CFDA Incubator includes one Black designer, Maxwell Osborne of the edgy sportswear brand Public School NYC.

The problem isn't that hordes of qualified young Black designers are being overlooked. Rather, design schools are graduating few Black students. Although African-Americans make up about 14 percent of the general college population, in 2010 they accounted for less than 5 percent of fashion design students, according to Towers, Parsons' executive dean. To improve those numbers, the school launched the Parsons Scholars program in 1997 to bring in students from New York City public schools to expose them to the field. Of those students, currently 40 percent are African-American. In addition, Sheila Johnson, cofounder of BET, who is chairperson of the school's board of governors, has pushed the institution to improve its Black enrollment through efforts like a recent conference in Black studies.

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consolidate a uniform agricultural national folk dress in Israel's dynamic immigrant society

and noted that folk dress should emerge gradually and naturally and
cannot be imposed artificially. One year later, a male member ofthe same
Kibbutz wrote that it was difficult to consolidate a uniform agricultural
national folk dress in Israel's dynamic immigrant society, but he hoped
that in time "our stability and rootedness would be reflected in our
dress." However, since the foundation of tbe state, "Americanism and
snobbery" and contagious evil petit-bourgeois attitudes have spread
even into Kibbutzim. Therefore, in order to keep the pioneering spirit
and the unique Kibbutz lifestyle, "our dress should be simple, modest
and comfortable (less eager to follow journal-dictated fashion).""
Indeed, the basic guidelines of Kibbutz anti-fashion and its antibourgeois
tones were maintained to a certain degree even among the
highest ranks. Unlike some Israeli delegates, who openly flaunted
expensive clothes which they bought when abroad (Rozin 2002: 101),
Kibbutz members who served as Israeli emissaries, parliament members,
and cabinet ministers "dressed down" even in formal events. They
reluctantly consented to wear black suits and starched white shirts
332 Ana? Helman
(maintaining the typical colors of Kibbutz Sabbath clothes), but flatly
refused to wear ties, which they regarded as the ultimate trademark of
bourgeois culture. They had to explain to their foreign hosts and guests
that this informality was a long-time custom of theirs and in no way a
sign of disrespect: even in the opening ceremony of the newly founded
Israeli parliament they wore no ties (Bankover 1975: 133).'*'
Kibbutz sartorial culture was going through some changes in the
1950s and fashion was apparent alongside growing material comfort,
increasing heterogeneity, and gradual modifications in the collectivistic
framework. Those Israelis who wanted to manifest pioneering national
ideals, especially members of youth movements, wore apparels that
somewhat resembled Kibbutz Sabbath clothes (Almog 1997: 317,
324-8; Raz 1996: 160-1), thus making Kibbutz style less exclusive. Yet
Kibbutz anti-fashion still managed to serve both its external purpose of
setting the group apart by a distinctive took, and its internal purposes
of accommodating the Kibbutz work-orientated lifestyle, expressing
and confirming its basic ideals, and maintaining a certain amount of
equality and uniformity among its members.
Whereas Kibbutz members were internally arguing whether change
was desirable or not and to what degree, it seems as if non-Kibbutz
Israelis hoped and expected Kibbutz members to retain their unique
dressing style. The Kibbutz male native was strongly and favorably
associated with modest clothes and resistance to pretentious elegance
{Tafrit 1949). In the early 1950s, when clothes were rationed as part
of Israel's postwar austerity policy, the editor of a women's periodical
demanded that more clothing coupons be distributed to urban women
and workers, who supposedly "needed" more clothes than agricultural
laborers and female Kibbutz members {Ha-ishah bamedinah 1950).
Glamorous dress was explicitly and exclusively associated with "the
urban girl" {Ha'olam hazeh 1955). The beauty advisor of a women's
magazine was addressed in 1950 by a young Kibbutz female member,
who announced that she does not regret leaving the easy life of the
city for the life of hard work in the Kibbutz, but asked what to do
about her skin, which was seriously damaged by the sun. The advisor
replied that since makeup was "unsuitable for your surroundings," only
facial cream and massaging the face with her hands should be applied
(L?-ishah 1950a). The modesty and simplicity of Kibbutz dress was
approved of, and supported by, Israeli society at large.
Even the right-wing revisionists, who objected to the Kibbutzim on
ideological and political grounds, criticized the moral and material
transformation from Kibbutz modesty to urban luxury.

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the most sexy Qin Keqing, sexy with no exposing extra part

   【 hong huang: Tang Yifei act as Qin Keqing “not exposing, but is the most sexiest” 】

Tang Yifei’s Qin Keqing modelling released! Surprise her sexy and not with the people equate imagination exaggerated exposure, but opted for a low-key, implicative, mysterious ways; However, all this is understandable, because Qin Keqing is Chinese classic a dream of red mansions in the noble beauty.

“World city I LOOK” producer Tang Yifei Qin Keqing hung evaluation model “of dew,” sexiest! Cover to enable the ancient costume modelling is a key initiative, is the new TV series “a dream of red mansions” art director Ye Jintian and hung, two people’s top culture jointly selected, Qin Keqing modelling is Ye Jintian in the red chamber the beauty it is according to the masterpiece, and hung evaluation indicates ancient costume modelling and fashionable elements on “Qin Keqing” Tang Yifei together into a perfect combination:

Slender willow curved eyebrows, jade-like stone green highlights eye shadow, drooping eyes, and sexy red lips, and graceful jaw, “Qin Keqing” Tang Yifei under the freehand brushwork in traditional Chinese painting of beautiful poetic style, reproduces a noble mystical enchanting reservation, distinctive Qin Keqing! Black dress sexy for its smooth add a few of mystery, green, purple, noble color also creat a rich imagination.

http://www.teenloveme.com/blog/?p=6

“Corset” reveal the movie modelling with gorgeously-shaped

with the premiere of the film “Anna karenina”, unleashing a loving for trend of retro fashion . We have miss the classic style restoring ancient style. Especially the bodice acclaimed in the film, from “gone with the wind” and “Titanic” to “the curse of the golden flower”, we all saw the exposed breast bra. Now, let’s review those amazing modelling in the movie.

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