The two newcomers and her parents in the wedding scene. Zhou Yun This is a typical American wedding,Burberry the bride choose the wedding to see the know. Warm months, there has been speculation that Chelsea will be overjoyed to wear that day who designed the wedding dress. Finally turns out – the Chinese-American wedding master Vera Wang (Vera Wang)! Must have affected the United States, well-known phrase Chelsea’s choice: “unmarried woman wants a Vera Wang, Divorced women miss the set of Vera Wang, married woman congratulated themselves and then have a Vera Wang.” Vera Wang has been a Clinton family friends,Burberry Handbags the wedding of course, for Chelsea to invite her to participate. Furthermore, also Vera Wang bridesmaid dress design. Burberry (Burberry)’s creative director Christopher Bailey to design tuxedo groom Makemeizi Stravinsky, as well as the best man and bride’s father – former President Bill Clinton design tie. The bride’s mother – Secretary of State Hillary Clinton wore the dress from her trusted designer Oscar de la Renta (Oscar de la Renta). Last week, Chelsea were photographed had patronized the Vera Wang’s New York studio. Despite speculation that Chelsea will be before many people choose “Oscar de la Renta” (daughter of former President Jenna Bush wedding 2008 wedding had to wear the brand), but Vera Wang had so many celebrities to design dresses (actor Jenny Foluopeizi, Jessica Simpson, Carina Lau, etc.),Burberry Scarves may value the Vera Wang Chelsea precisely the kind of classical, romantic and fairy-like feel in the design of the Princess. And general Tube Top wedding is different, Chelsea wore this dress and veil accompanied by exaggerated skirt inlaid silver wire highlights the bride’s slim waist. Ivory white flowers, a touch of makeup and hair rolled up the added elegance.
Showing posts with label burberry scarf. Show all posts
Showing posts with label burberry scarf. Show all posts
Wednesday, August 4, 2010
Monday, August 2, 2010
Ambra Medda’s Latest Craft Punks Hit Fendi
Considering the success of the Craft Punk event, both at last year’s Art Basel Miami Beach and this April’s Salone del Mobile in Milan, it was no surprise to find Design Miami’s Ambra Medda backstage at yesterday’s Fendi’s show. Medda’s innovative brainchild, of course, brings talented young industrial designers together with luxe remnants from Fendi’s factories and a few of the house’s expert artisans and in the process uncorks a torrent of creativity. Today, Medda had in tow Moritz Waldemeyer and Paul Cocksedge, two designers set to appear in the next Craft Punk event at Art Basel this December. “We’re into rock ‘n’ roll technology,” explained Waldemeyer, a techy creative who isn’t a stranger to fashion. He worked on Hussein Chalayan’s mechanical dresses from Spring 2007. Cocksedge, meanwhile, is a rising star in lighting design. So how would their specific skill set mesh with Fendi’s pretty analog form of luxury? “This difference is a challenge,” said Moritz. Added Cocksedge, “We both love the idea of looking into archives and mixing up the old with the new. Ambra brought us here to be sponges, and I have to say, we are really enjoying soaking up the Fendi aesthetic.”
Fendi Tote SL1450
Burberry Pink Icon Check Cashmere Scarf
Fendi Tote SL1450
Burberry Pink Icon Check Cashmere Scarf
A Walk on the Wild Side
"I seriously doubt that there will be anything of this magnitude or anything this magical for a very long time," said Kate Bosworth, following Fendi's history-making sunset fashion show on the Great Wall of China on Friday night. LVMH chairmanBernard Arnault (who arrived by police escort),Karl Lagerfeld, Silvia Venturini Fendi, and company chairman and CEO Michael Burke gathered an of-the-moment crowd of 500 for an extravaganza that had been months in the making. Among the suitably impressed: actresses Ziyi Zhang and Thandie Newton, Miss Universe Riyo Mori of Japan, gallerist Pearl Lam, artist Terence Koh, A Bathing Ape's Nigo, and a planeload of New York socials, including Fabiola Beracasa, Zani Gugelmann, Amanda Hearst, Tinsley Mortimer, Julia Restoin-Roitfeld, and Bettina Zilkha.
Those not warmed by a Fendi fur clutched tightly to hand warmers encased in logo fabric while sitting on the edge of their heated seats and hoping that none of the models would tumble down the steep runway in their high heels. "Last night I wore the shoes the models are wearing on the runway," said Bosworth. "They're phenomenal, but they're not easy to walk in." The mannequins managed to stay upright, as did the guests, most of whom ignored the suggestion to bring flats and climbed up and down the wall in spiky stilettos with the much-needed assistance of the railing or an usher.
The show, which opened with a vibrant red dress and closed 88 looks later with Chinese top model Du Juan styled as an empress in a black cheongsam gown, included an entire mini-collection created specifically for the occasion, as well as select looks from the Spring 2008 line shown in Milan less than a month ago. "Beforehand, part of me was thinking, how can you justify using the Great Wall of China in this way?" admitted Newton, in a yellow Fendi gown. "Seeing the show up there tonight—that is how you can justify it. You could see all of Karl's inspiration in the way he designed the clothes—the beautiful spheres, the belt that was reminiscent of the actual construction of the wall. It was all there, so I felt like it was Fendi's gift back to China." Indeed. The entire production was said to have cost around $10 million, a huge sum for a fashion show, and a clear indication of Fendi's belief in its future in the country.
Following the runway presentation, chilly guests were served hot chocolate or brandy to thaw them out before they were bussed to the Village at SanLiTun, an unfinished mega-mall in Beijing, for an alfresco dinner. For entertainment, there was a laser graffiti artist and dancers—some of whom were suspended from ropes so it looked like they were performing on the face of a replica of Fendi's Roman flagship. Lagerfeld made an entrance in a sequined blazer—sans gloves. After dinner, some attendees retreated to the warmer bars for drinks while the model contingent, a few still with their hair extensions, hit the dance floor. How to sum up the extravaganza? Bosworth's beau, James Rousseau, had one word: "majestic."
Scarf
Fendi Shoulder
Those not warmed by a Fendi fur clutched tightly to hand warmers encased in logo fabric while sitting on the edge of their heated seats and hoping that none of the models would tumble down the steep runway in their high heels. "Last night I wore the shoes the models are wearing on the runway," said Bosworth. "They're phenomenal, but they're not easy to walk in." The mannequins managed to stay upright, as did the guests, most of whom ignored the suggestion to bring flats and climbed up and down the wall in spiky stilettos with the much-needed assistance of the railing or an usher.
The show, which opened with a vibrant red dress and closed 88 looks later with Chinese top model Du Juan styled as an empress in a black cheongsam gown, included an entire mini-collection created specifically for the occasion, as well as select looks from the Spring 2008 line shown in Milan less than a month ago. "Beforehand, part of me was thinking, how can you justify using the Great Wall of China in this way?" admitted Newton, in a yellow Fendi gown. "Seeing the show up there tonight—that is how you can justify it. You could see all of Karl's inspiration in the way he designed the clothes—the beautiful spheres, the belt that was reminiscent of the actual construction of the wall. It was all there, so I felt like it was Fendi's gift back to China." Indeed. The entire production was said to have cost around $10 million, a huge sum for a fashion show, and a clear indication of Fendi's belief in its future in the country.
Following the runway presentation, chilly guests were served hot chocolate or brandy to thaw them out before they were bussed to the Village at SanLiTun, an unfinished mega-mall in Beijing, for an alfresco dinner. For entertainment, there was a laser graffiti artist and dancers—some of whom were suspended from ropes so it looked like they were performing on the face of a replica of Fendi's Roman flagship. Lagerfeld made an entrance in a sequined blazer—sans gloves. After dinner, some attendees retreated to the warmer bars for drinks while the model contingent, a few still with their hair extensions, hit the dance floor. How to sum up the extravaganza? Bosworth's beau, James Rousseau, had one word: "majestic."
Scarf
Fendi Shoulder
fendi resort 2008
Short and sweet—that's Karl Lagerfeld's message for Fendi resort. Working in shades of brown, white, and black with jolts of electric hues, he did hip-skimming cover-ups, the briefest of shorts, and swingy trapeze dresses, many decorated with little extras like fluttery flounces or eye-catching pleats (courtesy of the house's innovative, high-tech ateliers). Of course, leather and accessories are what the girls love Fendi for, so there was no shortage of outerwear—a snug jacket with a kicky peplum was a stand-out. (Cuffed leather shorts, on the other hand, looked less convincing.) And there was a bag, or two, for every look. The strongest? A group in multicolor patent leather laser-cut for an effect that might be described as Mondrian crossed with a computer chip.
fendi fall 2010
To describe Fendi as verging on reserved and sober when there was a white lynx coat right there in the middle might seem fashion-delusional, but even the Roman home of superdeluxe furs has indeed caught the season's mood of restraint. In this winter, when all leading designers are concerned with calming and reshaping the silhouette, Karl Lagerfeld seemed less interested in showcasing the furriers' storied technical fireworks than pulling back to work on swing coats; soft, billowy blouses; mid-calf dirndls; and a slightly countrified, muted palette of gray, navy, beige, and mustard. Even the footwear was a play on the sensible and utilitarian. Not teetering statement platforms but high-heeled booties detailed with ribbed rubber toe caps and top lacing akin to Wellingtons or the muckers that horsey girls wear in the stable yard.
It's all relative, of course. Backstage, and close up on the racks, there was more state-of-the-art fur expertise in evidence beyond the patchworked coats and vests (and that exceptional lynx) visible on the runway. The passage in what could pass as camel hair was actually shaved beige fur. The velvety nap of the eveningwear was constructed from ribbon strips of organza and fur, too. Still, from the point of view of the current drive toward chic practicality, it was the least showy coats—the simple, narrow, collarless suede cardigans with shearling on the inside—that could turn out to have the greatest fashion appeal in reality. Which is what it's all about now.
It's all relative, of course. Backstage, and close up on the racks, there was more state-of-the-art fur expertise in evidence beyond the patchworked coats and vests (and that exceptional lynx) visible on the runway. The passage in what could pass as camel hair was actually shaved beige fur. The velvety nap of the eveningwear was constructed from ribbon strips of organza and fur, too. Still, from the point of view of the current drive toward chic practicality, it was the least showy coats—the simple, narrow, collarless suede cardigans with shearling on the inside—that could turn out to have the greatest fashion appeal in reality. Which is what it's all about now.
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