Discover the Brocade Coat - A Unique and Distinct Fashion Statement

Court Uniform and Dress

Court Uniform and Dress

Court dress (as distinguished from court uniform mentioned in the section below) is worn by all men not entitled to court uniform or military uniform on all occasions of state where such are customarily worn. Court occasions include courts, state balls, and evening state parties.

Peers' robes were worn over normal dress, which gradually became stylised as the court suit. It was only from the late eighteenth century that court dress became fossilised. By the early to mid eighteenth century velvet was largely confined to court dress. Court dress was obligatory in Westminster Abbey for all not wearing official or lordly apparel.

air">http://www.himfr.com/buy-air_jordan_t_shirt/">air jordan t shirtDuring the seventeenth century, gentlemen's court dress was largely determined by two related influences, the retention of out-dated styles, producing a distinctive form of dress, and an interest in military uniform. The first produced the court suit, a coat with tails, waistcoat and knee breeches, worn with silk stockings, and a formal court sword with a cut-steel hilt and embellishments, and bicorne hat. The court suit has undergone a number of changes since the eighteenth century. However, apart from changes in the cut of the sleeves and shoulders, there was little basic alteration until the third quarter of the nineteenth century.

In the eighteenth century, dress worn at court comprised gold and silver stuff, brocades, velvets and cloth coats. They were always embroidered, and worn with waistcoats generally of a different colour- gold or silver brocade, damask, silk or satin, heavily embroidered or laced in silver or gold. From the 1730s at least cloth was popular for court wear. By the 1780s dress was established as dark cloth or velvet, embroidered in silk or metal, single-breasted silk waistcoat (usually white), with the fronts curved away.

From 1810, the Lord Chamberlain laid down regulations for court dress. In the nineteenth century court dress coats were commonly black, brown, dark green, purple, or blue. Breeches matched, or could be silk of a similar colour. The coat, and sometimes the breeches, were embroidered. The waistcoat was generally white satin, sometimes embroidered. These were worn with white silk stockings, black buckled shoes, and sword. A wig-bag was found on the back of the neck. A crescent-shaped chapeau-bras, known as an opera-hat, developed in the 1760s-70s from the three-cornered hat. In the second decade of the nineteenth century, this hat became known simply as the cocked hat.

In the 1830s and 40s, the full court dress was sometimes decorated with embroidery, and sometimes not. Cloth was most general, but velvet was also used. For lev?es cloth trousers were worn.

The court suit consisted of a coat and breeches of fine wool cloth, or increasingly from 1840, velvet, the waistcoat of white or cream silk, single breasted, without lapels and cut with points at the front. It would be embroidered in coloured silk in a conventional pattern of flowers.

The new style of court dress, worn from the 1840s, comprised a dark, frequently black, cloth (or silk-velvet) single-breasted dress coat (lined with black silk, except for the tail, which was white), with a stand collar. The new style is cut like a modern tail coat. This was worn with a white satin or black silk collarless waistcoat, and white neckcloth. For lev?es, this was worn with matching velvet trousers with a gold lace stripe down the seam. For drawing rooms matching breeches with white silk stockings, and a white neck-cloth was worn.

In 1869, the Lord Chamberlain's Department issued new regulations for gentlemen at Court. The new style of suit was described, in which the cloth coat and breeches were replaced with silk velvet. This had been permitted before, but in place of the embroidered waistcoat was a waistcoat of plain white silk. A coat for leve dress had dark coloured cloth, single-breasted, with a stand collar, and trousers of the same material and colour as the coat, both decorated with narrow gold lace on collar, cuffs and pocket flaps, similar to that worn on certain classes of the civil uniform. A gold lace loop and button were similarly worn on the hat, and a sword of the same pattern carried.

In 1898, court dress was described as black (often very dark blue) velvet, or a dark colour cloth suit (not black). The velvet version in 1898 was without gold embroidery on the coat, and the buttons were gilt, steel or plain. The waistcoat was either black velvet, or the normal white one. Trousers were of velvet. Hats were as for the cloth version, that is beaver or silk cocked hat with black silk cockade, but the loop and buttons were gilt or steel, and there was no lace. The sword was gilt or steel with silk shoulder belt. A white neckcloth was worn. When breeches were worn they were black velvet with black silk hose. Gilt or steel buckled shoes were worn. The velvet suit was all black.

In 1898, the cloth coat had embroidery on collar, cuffs and pocket flaps was specified as similar to 5th class civil uniform (3/8th). The buttons were convex gilt with mounted crown in relief. Gold lace striped trousers (for leve dress) or white breeches, black or white silk stockings, gilt buckled shoes, beaver or silk cocked hat with black silk cockade gold lace loop and buttons, sword same as civil, suspended by a silk shoulder belt worn underneath the waistcoat, white neck cloth.

By 1908, the new style court dress was described as being a single-breasted black silk-velvet coat, worn open but with six buttons, a stand collar, gauntlet cuffs, four buttons at back, two at centre waist, two at bottom of tails. It was lined with black silk, except for the tail, which was white. Buttons were cut steel. The waistcoat was white satin or black silk, breeches were black velvet, with three steel buttons and steel buckles at knee. Black silk stockings, black patent leather shoes with steel buckles, black silk or beaver hat, steel hilt sword and black scabbard, belt under waistcoat, white gloves, white bow tie completed the dress. At leves velvet trousers with patent leather military boots were worn.

In 1908, a dark cloth suit was worn for courts and evening parties. This was mulberry, claret, or green, but not black or blue. It was single-breasted, worn open but with six gilt buttons and dummy button-holes. There was a stand collar, gauntlet cuffs, two buttons at back centre waist, and two at bottom of tails. Gold embroidery was on the collar, cuffs, and pocket flaps as for the 5th class. There were matching breeches, gilt buckled, a white corded silk or marcella waistcoat with four small gilt buttons. Stockings, tie, gloves, shoes, and hat were as for the new style, but gilt buckles were added to the shoes, and a gold loop on the hat. The sword was "Court Dress with gilt hilt", in a black scabbard gilt mounted, with gold knot. At leves, trousers were worn instead of breeches, to match the coat, and patent leather military boots.

The regulations for 1912 were substantially the same as in 1908. The only difference for the new style was that the pocket flaps were to have the three points on the waist seams, the coat lined with white silk, tails with black lining, trousers were now not allowed at leves. The hat has a steel loop as a black silk cockade or rosette, sword belt a black silk waist belt under the waistcoat, with blue velvet frog. The cloth court dress is still embroidered on the collar, cuffs and pocket flaps as for 5th class. Buttons are gilt, convex, mounted with the imperial crown. Matching cloth trousers with rows 5/8th" wide gold lace. At es one could wear with the velvet or cloth dress a black or very dark Inverness cape, or a long full dark overcoat.

In 1937, the final edition of Dress Worn at Court was published. The new style velvet court dress included a white satin waistcoat (not white corded silk or marcella), or a new optional black velvet waistcoat. The cocked hat is described as "beaver", silk being omitted. The shirt was to be as worn with evening dress, soft front with stiff white cuffs. Trousers were still prohibited. The cloth coat was now to be decorated with gold embroidery similar to the edge of a Privy Counsellor's uniform coat

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Chinese Silk Through 5,000 Years

Chinese Silk Through 5,000 Years

China has a history of silk more than 5000 years, since she first invented the sericulture and silk production. It is silk that built a bridge between China and Europe, then the Silk Road became a symbol of the cultural and economic exchange between the East and the West. So silk is a part of the Chinese civilization, which made a great contribution to the world.

What kind of oriental silk mysteries will be brought to this beautiful country? It is learned that there will be more than 140 pieces /sets of silk textile exhibits collected by ChinaSilkMuseum, of which 80, carefully selected, extremely precious and rare, are relics of ancient China which epitomizes the historical development of ancient silk culture. Besides, woven fabrics and modern brocade add up to 60 pieces / sets, among which, some master embroidered pieces are supplied by the Culture Ministry of the People's Republic of China.

The exhibition is made up of three parts.

Part I narrates how China and Europe are connected through the route of Silk Road, that is, the silk relics textiles excavated along the Silk Road by land, sea and desert. Chinese silk chronology charts the development of silk in the past 5,000 years with emphasis on Chinese silk history and culture. A group of model weaving looms, ranging from the primitive back-strapped loom, the treadle plain-weave loom, the reclining loom and the mechanical patterning loom act out not only the weaving technology but also how the ancient Chinese made exquisite silk. The precious exhibits, the 5,000-year old components of a primitive back-strapped loom and the silk yarn unearthed in Yuyao county, Zhejiang Province, enable people to understand that the ancestors of the Chinese people began to grow mulberry trees, raise silkworms and weave silk fabrics even then, hence, the long civilization history of China.

Part II exhibits the silk textile relics from the early Qin period (306 BC) to the 40s of last century. You can see a Han dynasty brocade (206 BC) with the motif of running animals amidst the misty mountains, an indication of people's longing for a fairyland. Still another piece called "Persian Samite" which dates back to the Northern dynasties (386-581AD) with its motifs of elephant, camel, winged horse, lion, and hunter in half a dozen colors, clearly indicates the influence of the western regions. Rare animals and gods from the Greek mythology form the major motifs of silk textiles from the 5th-9th centuries. A well preserved silk tabby coat tie-dyed by hand helps us to understand and study the silk production techniques as well as the fashion style in that dynasty. The brocade fabrics, elegant and poised with pearl roundel and floral spray motifs produced in the Tang dynasty not only reflect the prosperity of that dynasty but also the high level of technology in the silk production. The delicate and refined style of the Song dynasty is shown in a suit of gauze coat, trousers and a pair of shoes on display. They are thin, light and graceful. The trousers with its short yet loose legs recapture the fashion style of that time. The silk textiles and clothes after the 19th century on this show are all bright in color, diversified in style and exquisite in embroidery. Beautiful and gorgeous are these magnificent yellow fabrics for the emperor's robe with dragon motifs, the embroidered coats with red flowers, green embroidered woman's-wear and slim-figured Qipao of superb handwork.

Part III deals with the rapid advance of computerized digital technology and resultant digital weaving techniques. Brocade embroidery is the most resplendent chapter of the silk history. With the help of color separation and structure design, electronic jacquard and the new- type rapier, digital colorful silk paintings are more vivid in motif and richer in color expression. On the basis of the traditional printing and dyeing technology, printed silk paintings, and silk paintings from wax-resist dyeing and digital ink-jet improved on by contemporary high tech, are enjoying more appreciation among people. Hand painting and embroidery know-how are also nearing perfection with quite a number of innovative embroidery stitches. Dozens of scenic paintings and embroidery art needlework will surely bring you an eye treat.

The Chinese delegation also brings with them a team of fashion show. At the opening ceremony six beautiful girls from China will put on a performance of what the Chinese wear from the Han Dynasty（206BC-220AD）down to the present, a manifestation of the good time of silk in the past 5,000years. The show will last for 3 days. At the same time, the Chinese textile experts will have dialogue with the audience and receive interview by the media ( in English).

In the past 5,000 yeas silk has become an integral part of Chinese civilization and a great contribution to the world civilization as well. Living in silk is one of the pursuits by the people for a better life. It is believed that this exhibition will promote the cultural exchange between the two countries, strengthen their friendship and facilitate the Czech to understand the long history and culture of China.

"A silkworm spins all its silk till its death and a candle won't stop its tears until it is fully burnt." This Tang poem accurately describes the property of the silkworm. Despite technological development, a silkworm can only produce a certain amount of silk---1000 meters (3280feet) in its lifespan of 28 days. The rarity of the raw material is the deciding factor of both the value and the mystery of silk.

Legend has it that in ancient times, Lei Zu, the wife of Huang Di , taught people how to raise silkworms and how to extract the silk.

The Warring States Period, the beginning of feudalist society in Chinese history, witnessed a prosperous time. The development of productivity popularized silk and it was no longer a luxury just for aristocrats. The pattern, weaving, embroidery and dyeing skills were all improved as they were influenced by the free ideology of the time, while the silk designs had sense of a free and bold air about them.

The silk products excavated from Mawangdui Han Tomb are proof of the advanced skill and artistry of silk at this time.

Silk production peaked during the Han Dynasty when the manufactured goods were transported as far away as Rome from Chang'an (today's Xian). The overland trade route was to become famously known as the Silk Road. However, there was also a Marine Silk Road extending from Xuwen, Guangdong or Hepu, Guangxi to Vietnam. An outward bound voyage lasting five months would arrive in Vietnam; it would take another four months to reach Thailand; while a further twenty days would carry the merchants on to Burma. Two months later they would arrive in India and Sri Lanka, from where the silk would be eventually transported to Rome via the Mediterranean. After such a long journey, the price of silk was equivalent to that of gold. Legendary as it seems, tender silk connected China to the rest of the world.

During subsequent dynasties, professional designers created novel patterns and improved the machines.

The Marine Silk Road took supremacy over the land Silk Road following the Song Dynasty extending the trade to Southeast Asia which became fully developed in the Yuan Dynasty. Besides Chinese exports, foreign businessmen also came to China to buy silk and china wares.

During the Ming and Qing Dynasties silk was transported to Europe and America from Manila and this meant that China dominated the world's silk market until 1908.

Chinese characters including the component "silk" have the intonation of silk or its implication of fine and deep. The richness of color, texture, strength and beauty of silk make it the means to imply something is fine and impeccable. A woman's raven hair is referred to as 'black silk' ; tender feelings are 'feelings of silk' and the Chinese word for a lingering and emotive feeling contains the component of "silk", and even a flavor can be silky and smooth.

Himfr Ivy is a scholar, focusing his research on Chinese cultures. If you are interested in purchasing China silk, please visit www.himfr.com.

Posted by admin - August 10, 2010 at 3:46 pm

Categories: Brocade Coats Tags: 5000, Chinese, Silk, Through, Years

London Fashion Week For Autumn/winter 2010

London Fashion Week For Autumn/winter 2010

frumpy to funky's London based Personal Stylist, Karen Grace, comments on a few of the catwalk shows at London Fashion Week Autumn/Winter 2010

PROPHETIK "Southern Shores" catwalk show.Designer JEFF GARNER

Showing at Vauxhall Fashion Scout 19Feb10

Tennessee based Prophetik kicked off the LFW catwalk shows at Vauxhall Fashion Scout, Freemason's Hall, Covent Garden. And what a kick off!!!

At the beginning we are lulled in to thinking of a carefree southern country theme when violinist Anna Cwad starts playing toe tapping music, with ex-Paramore Jason Bynum joining her on guitar. Then the band Man Raze shatters this illusion with their fusion of punk and pop rock. Not surprising as their drummer is ex-Sex Pistols Paul Cook and their vocals/lead guitar is ex-Def Leppard Phil Collen. And let's not forget their bass guitarist Simon Laffy from Brit glam rock act band Girl.

With Man Raze raising the tempo, the show began for ethical designer Jeff Garner's A/W10 collection titled "Southern Shores". His inspiration came from the American Civil War and sees hope and romance alongside strife and uncertainty.

Main colour palette in true Civil War colours were blues, greys with a touch of red.

The menswear saw layering and serious looking ¾ length coats, waistcoats, vintage buttons, riding boots and peace silk neckties.

For the women, the designs ranged from jodhpurs, ripped leggings, military jackets and capes to full on Little House on the Prairie style dresses. In-between were mini dresses and long flowing dresses both teamed with flat heeled riding boots.

At the end of the show, the music mellowed as Jeff Garner appeared looking the part of the Southern gent taking a stroll with his Southern belle in her striking long red velvet bustier dress.

Garner's collection is proof that no fashion look has to be harmed in the making of ethical clothing.

Prophetik is a sustainable men's and womenswear label using environmentally friendly materials such as organic cottons, hemp, flax, Greenspun (recycled bottles) and organic pigment dyes. One of their signature dresses "the Elle" is made from silk and organic cotton that elephants have painted in collaboration with the AEACP (Asian Elephant Art Conservation Project), which helps to raise funds for an elephant sanctuary in Thailand."

ORLA KIELY presentation -TUESDAYS CHILD AUTUMN/WINTER 2010

presenting at the Portico Rooms, Somerset House 19Feb10

The stage for Orla Kiely's presentation was 2 impressive make shift rooms decorated in the 60's style with brown and beige designed Orla Kiely wallpaper in the living room and dark & light blue in the bedroom. The furniture was 60's vintage and a modern retro looking TV showed the collection on screen. Models sat or stood in above the knee dresses and skirts teamed with shoes and mid calf navy socks.

Patterns for the wallpaper and dresses were inspired by Ivon Hutchins's abstract art and the photography of Erwin Olaf, and captured the essence of falling autumn leaves.

Main colour palette was autumnal – creams instead of whites, various shades of browns, burnt oranges and navy. The obligatory grey and black could be seen on some pieces.

Fabrics used were mohair and silk crepe teamed with traditional checked wool and wool jacquard,

The models wore their hair in a serious bun and makeup was kept simple, providing a good contrast to the cute collars and fun update of the 60's retro style.

LAKOBUKIA "Emotions" catwalk show

Showing at Fashion Mavericks, the Strand Palace Hotel 20Feb10

With her A/W10 collection titled "Emotions" Lako Bukia wanted to show both positive kind and dark bad emotions through fabric, shape and colour.

The main colour palette is black for the darker side and white for the lighter side of emotions. A few cream pieces appear to show that not everything is black and white.

Fabrics used are light soft flowing chiffon, a stiffer cotton silk and wool.

Geometric shapes are seen on collars, and by way of diagonal zips. The zips are also used as a bridge to join together the stiffer fabrics with the softer fabrics. Some pieces are obvious with the contrast between the hard and soft fabrics. On others the contrast can only be seen once the zip has been undone and then only revealing the hidden soft silk fabric underneath. Zips on shoulders and sides allow the wearer the flexibility of changing her silhouette – whenever the mood takes her.

Lako's shoes look striking in black or white soft leather with triangular heels. She explains the triangle is a more gothic shape and gives a harder emotional contrast to the softness of the leather.

Not surprisingly her favourite piece is the long flowing chiffon pleated dress in white which is teamed with a little sharp cotton silk back to front cape. The cape has a high collar with long geometric lapels which represent the bad emotion. Once the cape is removed, the dress is free of restrictions and can float on just the good emotions.

Lako Bukia, beginning fashion designer, was born on October 4, 1987 in the city of Tbilisi, capital of Georgia. After graduating from School No.58 in Tbilisi, she was immediately offered a place at the A. Kutateladze Tbilisi State Academy of Art, where she did her BA in Fashion Design and Textiles.

SADO "Geometric Glamour" catwalk show.Designer CARLOTTA GHERZI

Showing at Vauxhall Fashion Scout 20 Feb 10

The young designer for the Sado label is Russian born Carlotta Gherzi (of Italian parents) who brings a modern elegant edge to the label.

The latest collection had great styles which could be worn by real women and not just catwalk models. The main colour palette was black with blue and pillar box red.

Silks dominated the tops, dresses and even leggings which brought out the vividness of both the blue and red.

"Geometrical glamour" is the title of this autumn/winter 2010 collection – this was shown in the silk leggings, tops and dresses which were all pleated in horizontal tiers giving texture and depth.

Black knits wear glamorous with glitter woven in to produce wide sparkly horizontal bands

Silver and red brocade made an appearance for the evening dresses. Particularly loved the strapless silver brocade maxi dress.

SADO's signature is stylish and classical - this season's collection did not disappoint.

DOII PARIS "Walk in the Forest" catwalk show

Showing at Vauxhall Fashion Scout 21Feb10

This was Korean designer Doii Lee's first catwalk show in London and it didn't let her down.

The collection titled "Walk in the Forest" was inspired by her favourite Russian fairytale "Baba Yaga" In this fairytale a wicked stepmother sends her lovely step daughter in to the forest to visit her aunt,Baba Yaga, the witch.

In Doii's walk in the forest story, she passes through an intoxicating rose maze. Copper haired models wore layered chiffon dresses and glittering sequined dresses - all in the designer's exclusive illustrated print of large pinkish red roses. Red patent high heeled shoes with patterned fabric tied around the ankles in large bows matched the vividness of the designs. White faux fur trims and linings added softness to some of the stiffer sequined fabrics. The first outfit on the catwalk immediately caught our attention – long straight chiffon dress with a kick flare hem, draped with a long trailing shawl covered in the sequined rose pattern and lined with white faux fur.

"A dove guides her along the right path" – the digital prints now were of flying white doves on orange/peach light chiffon or heavily sequined fabric. The short belted double breasted coat covered in sequins on large bold doves looked spectacular with its contrasting print of blues and creams on the lapels. The dove print on the long and short chiffon dresses were more stoned down due to their smaller scale.

"A garden full of glorious sunny memories" Main colour palette was cream with a touch of blue, green and pink. The print of potted plants was hazy as if faded by the sun. Here we saw a loose fitting sequined egg-shaped coat with a sexy kick at the bottom and cuff. The contrasting print on the collar of polka dots added to the glamour.

The story and walk becomes darker, she is in turmoil –mid greys or rich browns are added to the mix. The print is busier and again vivid. The patent shoes colour changes from carefree red to serious black, but still with the patterned fabric tied around the ankle. Here we saw a plain short mid grey double breasted wool coat contrasting perfectly with its brightly patterned lapels, tie belt, cuff bands and buttons.

"Her heart sank"- black and grey dominate and the designer's prints are of lace and netting. Black lace features on the sequined evening dresses, black fur on the coats. Another gorgeous coat (you can see a pattern emerging here – I'm loving the coats!) this time in black with a touch of white and grey. Egg-shaped, black fur collar and that sexy kick at the bottom and cuff. Slouchy black and grey zipped fur leg warmers over the black patent shoes made a luxurious touch. The silver grey lace print teamed with billowing black lace bishop sleeves made a simple egg shaped mini dress a knock out cocktail dress. And the elbow length black lace puffed sleeves and tiered lace high yoke and hem of another silver grey print mini dress gave an Edwardian vintage look.

"But she knew she was a protected one" – the colours here were pale gold and black. Here we saw a sequined gold and black patterned trench coat with plain light grey lapels, tie belt and pockets. A short sequined gold and black patterned dress was given the 20's vintage look with a drop waist and a wide band of scalloped gold lace around the hem.

"My skeleton friend is always with me" – again black and grey dominated for the new print of lace skulls. Here we saw a luxurious knee-length fur wrap coat with silver grey fur wraps and a touch of sequined skull prints; and a plain mid grey mini wrap wool coat adorned with the sequined skull print on the pockets, cuffs, belt and partial front with contrasting polka dot collar and trimming.

"Then the goat queen of the forest is on her side" – honey blonde models came out wearing prints of the goat queen in creams, white, soft browns with a touch of light blue. A padded egg-shaped coat, plain but for the print and teamed with silver grey fur leg warmers. Other outfits lined or trimmed with white faux fur gave a Cossack appearance.

"Divine roses blossom along the dark path of the forest "- Proving anything can look glamorous, a duffle style coat was given the luxury make over with a sequined print of roses along the path of the green forest, lining and trims of light grey faux fur and with the hem longer at the back.

Chiffon dresses were long and short, some with a few of the signature sequins, some decorated with small hanging hearts down the back and some with their hems longer at the back. All were colourful and patterned.

Dresses in heavier fabrics were completely embellished in sequins making Doii's print designs even more dazzling.

My favourites were the coats: all statement pieces proving you don't have to wait to take your coat off before making an entrance.

Doii states that the lady who wears Doii Paris becomes a diva. The last model came out in a black sequined coat and large hat with fringes so long they reached her shoulders. Not representing the end of the story but in true diva style, this piece wanted to take centre stage.

CLEMENTS RIBEIRO presentation

HAUTE BOHEMIAN AUTUMN/WINTER 2010

Presenting at the Portico Room, Somerset House 21Feb10

The style may be bohemian for the husband and wife design duo's (Suzanne Clements & Inacio Ribeiro) latest collection, but this is bohemian with decadent glamour. They chose to look back to the 70's around the time when Yves Saint Laurent created his Russian collection

The footwear was to die for – all embellished with sequin patterns. My favourites were the long boots in soft leather slightly slouchy and gathered at the top.

Sequins also adorned dresses, trousers and cardigans along with crystals.

The collection was divided in to definite sections:

A more masculine tailored section – main colour palette charcoal grey, black and dark plum.

Oversized knits were embellished but in a monochrome tone to create understated classical glamour.

The feminine section showed silk dresses, skirts and tops in paisley and marble effect swirl prints.

One dress and trousers in pale gilded jacquard and cardigans embellished with sequin patterns or bejewelled motifs. The colours were more muted in shades of greens, gold, mustard, light browns and taupe.

The more opulent section showed the heavier brocade for jackets, skirts and coats trimmed with sequins. Main colour palette was black and midnight blue. Nice touch with the leather gloves trimmed with sequins.

This collection shows opulent luxury does not have to be just restricted to eveningwear.

FUTURE CLASSICS presentation. Designer JULIE WILKINS

CUT & PASTE AUTUMN/WINTER 2010

Presenting at the Portico Room, Somerset House 21Feb10

Although advertised as a presentation, designer Julie Wilkins presentation of her label's Future Classics A/W 10 collection was more like a mini catwalk show. The benches were set out so the models could walk down in between them – so everyone had a front row view!

The inspiration for this collection was: "Cut and paste; the written word and renaissance craft (wo)manship."

Main colour palette was neutrals and black (what else for classics) with a splash of pinks and oranges to brighten the collection.

Lots of long knits with draped hoods, trousers and leggings. Especially loved the denim print leggings. Plainer leggings in black or grey were given a more interesting look with a row of buttons sewn down the front.

Fur covered just the sleeves and hats giving a more playful look.

Long black satin fingerless gloves reaching above the elbow looked great with the layered chiffon LBDs.

This collection is for the woman who likes soft tailoring and knitwear but wants a little design twist to her classical look.

For help on personal shopping in London and image consultancy visit frumpy to funky's website http://www.frumpytofunky.com or email Karen on contact@frumpytofunky.com

frumpy to funky was established by Karen Grace, an affiliate member of the Federation of Image Consultants. Karen has studied Personal Styling at the London College of Fashion and received her professional training in one of the London's leading Image Consultancy training centre. More details can be seen on http://www.frumpytofunky.com

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Posted by admin - August 10, 2010 at 3:46 pm

Categories: Brocade Coats Tags: 2010, Autumn/winter, Fashion, London, Week

Winter 2006 Fabrics – Sports & Leisure Industry

Winter 2006 Fabrics - Sports & Leisure Industry

Fur in autumn and winter of 2006 continued hot

Just tired of people live in concrete buildings, the want to escape to Reflections of Nature in the same clothes in extremely concerned with the decorative style, would also like to re-watch have intimate relations with people from the fabric.

Fur Popularity: Just can not resist, like diamonds, women can not resist the charm of fur. If for some reason you can not have a whole fur coat, you can choose mosaic fur clothing. In short, this year's autumn and winter must invest a fur clothing it be regarded as a seeded girl.

NAFA (North American Fur Association) recently released the No. 3 the Bund fur this fall and winter fashion trends, this season's fur coat and knee length design with the main, people feel relaxed retro charm, or the Department of on the belt, and sketched out the body curves. In addition, the parallel stripes of fur is fur trend element.

World-famous haute couture and clothing designers JulianMacDonald (Zhu Lian? MacDonald) in the autumn and winter series this year with the production of luxury fur garments, including mink, beaver and black has become his new favorite . From St. Petersburg, Russia YuliaBunakova (You Liya? Bonakewa) and EugenyHokholff design duo on the metal texture of the leather natural color mosaic on a large number of wild fur. Vogue Italy won the Milan game-winning designer Tommaso (Thomas) and Roberto (Robert) using the parallel stripes of mink and sheared beaver skin, fully embodies the fifties and sixties of last century's nostalgia Sentiment. Even the current hit "The Devil wear Prada" also feature a design by Izzy's silver fox hair dyed red coat, noble and full of momentum.

Care Methods: The broad shoulders of the hanger flying fur coat; placed in cloth bags and maintenance; not comb fur; do not sprinkle perfume on the fur coat; not exposure.

Knitting popularity: Thick knit sweater is full of retro flavor, popular from the streets since the fall of last year and the knee of the coarse long line trench coat, this year it will run out of control, D & G, Moschino and other big names have to start with knitting the article, some lines thick, loose weave; some line of smaller, tightly knit, word-rich change completely beyond people's imagination.

Designer men's sweaters are mostly based on manual weaving, because the machine is woven into the texture and vitality of the lack of unique, to say the exquisite craftsmanship has always been one of the big reasons why expensive. In the match, the season will be popular sweater with reflective leather fabric, for example: MarcJacobs season specifically to sweaters and gloves with leather Ji Xiqun, and then relaxed with mast trousers and boots. "I want to create with the type of mix and match is very good multi-layered." There is a Russian-style hand-woven soft hat Oh! If the models can be used with long smooth stockings, exposed legs, so their body in contrast to the fabric look more sexy.

In addition, as SophiaKokosalaki this cape-style knitted jacket is this year's popular single product, with both a short and small can dress and boots with skinny jeans, very practical.

Care approach: easy to deform and so do not pull hard; not exposure; local polished bright, the used vinegar and water mixed with half of the mixture sprayed on the surface, then wash.

Brocade Popularity: This is a very retro fabric, and because of delicate and a bit Nansi Hou, it may be more superficial than "critical." But many brand designers to express the unique creative ideas, or extensive use of the brocade. The brocade has been improved for the fashion unprecedented elegance.

Often used as a tapestry satin cheongsam, so it counts as "China" fabric, combined with magnificent designs were prepared by Oriental flavor. Season, BillBlass, MiuMiu, Etro, JustCavalli and other big names have chosen to do brocade clothes, coincidentally, designers use fur and knit with stitching, the former seems more riches and honor, which seems a lot of warm peace. Overall, however, brocade clothes made for a number of important occasions to attend, but if mismatches will appear old fashioned, or even rustic.

Care approach: Do not wear continuously for several days; avoid collision pointed object; must be dry. Other popular fabrics

1 corn fiber Traditional synthetic or man-made fibers are made of petroleum refining, and corn fiber is completely recycled from corn and other crops that resources can be extracted, with its clothing made of wicking, easy to clean, wear comfortable, feeling good hanging. Givenchy, Versace, GiorgioArmani, Diesel and other European big names have already started production of corn fiber clothing.

2 Tencel Although the name "Tencel" is used beech wood as raw materials to be used more bedding. Found from the performance, R & D Lenzing AG of Austria, "Tencel" 100% cotton fiber and challenges to the "ambition", during sleep, not only the body can quickly absorb and distribute the moisture essential to ensure the blanket dry, but also inhibiting the growth of bacteria, the skin feeling smooth and ultimately improve sleep quality. Discarded, the "Tencel" will be degraded to water, carbon dioxide and energy, fully green.

3 fine wool Wool fabric used in autumn and winter, but because you can not machine washable, easy care, color is not bright, not fashionable reasons, more and more away from the young. Show at this year's yarn, designer AkiraIsogawa by AWI (Australian Wool Corporation) developed Merino wool has changed people's traditional image. This only can use a washing machine washing wool, the feel soft, colorful, but also through the dyeing process to create a vintage effect of texture and sand wash. Surprisingly, this wool was also applied to the design of the bikini, it seems there are quick-drying, water absorption performance of Oh!

4 milk Wire

"Silk milk" is really made with milk, of course, through the layers of processing. Than cotton, silk strength higher than that of wool mildew, moth performance, there is a natural antibacterial function. Milk silk knitted fabrics are natural, but also rich in protein, so its water absorption, air permeability than ordinary fabrics is superior, and human contact allergy does not occur

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Techsupportwire ? Vendor Independent Network Product Consulting

Techsupportwire ? Vendor Independent Network Product Consulting

Networks are becoming increasingly complex in the 21st century. Virtually all businesses now rely on their IT and Network infrastructures to conduct day-to-day business operations. For Security reasons and in order to not to become too dependant on a single vendor, companies tend to go for a vendor mix. Despite the fact that different vendor products often provide the same technological functionality, the operation and configuration of those components differ significantly from one to another.

Martin Voelk, the founder of the Techsupportwire and CCIE Hotline recognized the need for vendor independent remote network support, and therefore expanded his offerings to include Techsupportwire provides vendor independent remote network consulting services. Over the months that followed the conception of Techsupportwire, the offerings were increased and now include the following network vendor products: Cisco, Ironport, Juniper, Juniper Netscreen, Checkpoint Firewall, Riverbed, Expand, HP, Barracuda, Nortel, 3COM, Bluecoat, F5 Networks, Crossbeam, Brocade, Mailfoundry, Sonicwall, Sourcefire and Coyote Point.

Compared to traditional Network Consulting companies, Techsupportwire has 2 major advantages. Firstly, it only offers its services remotely, which leads to significant cost savings for end customers. Secondly, they focus exclusively on network and security products.

Martin Voelk from Techsupportwire.com worked as an independent Network Consultant for more than 12 years and during that time he developed relationships with a large number of other highly skilled consultants. He successfully secured many of the most experienced and highly certified Experts to work with Techsupportwire, through which they now provide their expertise to clients from around the world.

The majority of companies in today’s market space are focused on just one core vendor. Cisco Partners are concerned solely with the promotion of Cisco products and solutions, even if Juniper offers a more advanced or cost-effective solution for a specific scenario, and vice versa. Often the more expensive vendor solutions are recommended by partners, simply for of political reasons which are of no concern to the end user.

Questions such as which product provides the best and most cost effective solution will not be answered without bias or agenda by vendors or partners. Conversely, Techsupportwire Consultants are entirely vendor neutral and owe no allegiance to any party other than the end customer. They can therefore be trusted to provide unbiased and objective remote Network Consulting to ensure the customer understands which solution is most appropriate for any given environment.

Techsupportwire will not favour one vendor over another. Their Network Consultants work with the products on a daily basis, and will simply evaluate the options and offer advice to ensure the customer receives the best possible solution for their circumstances.

Paul Hutchinson, Managing Director of the Techsupportwire says: ”We advise customers based on facts and networking experience, not on the brand name. Our customers appreciate this approach as it enables them to deploy cutting-edge next-generation networks, whilst getting best value for money.

Martin is an author who specializes in the field IT knowledge and the latest technological breakthroughs. He is an expert in writing articles about Cisco Consulting Services, Riverbed Consulting Services, 3COM Consulting Services, Blue Coat Consulting Services.

Men’s Fashion Week

Men's Fashion Week

While Lakme Fashion Week still in progress here in the country, London Fashion Week continued to woo fashionstas in style. This time the fashion fiesta became the talk of the world for a number of reasons and the most important one was the 25th anniversary of the event and a new venue in 180 The Strand moments away from Somerset House. This being a significant year, there were a host of big-names showcasing their designs. Burberry, Pringle, Jeremy Scott and Sass & Bide. Matthew Williamson, Jonathan Saunders and Antonio Berardi also returned to the city to stage fashion shows here. London Fashion Week kicked off with a fresh air of optimism, enthused by London womenswear designer, Caroline Charles. With five changing themes, Charles kicked off with Cruise- a cutesy collection of poppy polka dots, romantic ruffles and flirty shorts. The designer, who was awarded an OBE after celebrating her 40th anniversary in fashion, then followed with Resort- an exotic compilation of fifties style tunics and cropped trousers, accessorising with heavily beaded necklaces, chunky bracelets and sun hats.

Bora Aksu collection was inspired by the Oscar Wilde story 'The Happy Prince'. True to style, there was an array of textures and fabrics, with tulle and lace being the order of the day. Shades of black, cream and ballerina pink dominated. With futuristic takes on modern classics (think pleated brocade coats with sculpted shoulders and high-rise collars in berry hues with metallic touches), the makeup was feminine, modern and fresh to complement it in Paul Costelloe show. Farm boy turned mystic water colourist Emil Nolde was name checked by Nicole Farhias the inspiration for this SS10 collection. Harem trousers looked subtle rather than attention seeking. There were classic shapes with clever flourishes, including a jade-green skirt with a hip-complimenting V-fold and a jacket and skirt in a textured, woven raffia check. Osman You sefzada's beautifully soft shapes, simple, clean and interesting line dresses were awesome. Mark Fast's collection was full of crocheting and knits but nothing granny like about this collection! It was fine whether it is an overdress or soft jewellery. Mary Katrantzou had colourful and kaleidoscopic prints, which perfectly suited the summer season. Biker meets Boho designs with tassels by Aminaka Wilmontare still talk of the town.

Peter Pilotto without any surprise stuck to gorgeous prints and draped dresses which made it to the wish list of every female. Paul Smith's old fashioned Britishness and quirky eclectic style was commendable and very elegant. Josh Goot presented some really eye catching pieces in a mixture of bright colours and optical monochromatic designs. Christopher Kane used a really unusual use of gingham checks to create beautiful and feminine dresses.

Todd Lynn's silhouettes with the shoulders almost sprouting into wings were larger than life, but still wearable. Marios Schwab showcased a mixture of layering, textures, draping, all put together so cleverly for an elegant look. Meadham Kirchoff's clever use of layering and texture was the highpoint of the collection with a great contrast between flowy and structured. British Household name, Clements Ribeiro showcased a still-life presentation of their newly-revived eponymous label. Aquascutum offered a sophisticated take on all things summery. A collection centred around long lengths and muted colours, the show was about grown up, classic pieces that don't yell for attention yet catch the eye with sheer elegance and strength. Giles Deacon focused on accessories this season. The heavy, complex necklaces comprised of silver balls, Swarovski crystals, chains and various other jewels which were particularly impressive. Insect rings are sure to go down in a storm.

Burberry closed the week with the showing of its Burberry Prorsum womens wear line. Bright colours and long dresses featured prominently on the catwalks at many of this year's spring/summer shows thereby setting a trend. From plus-size models on the Mark Fast cat walk to Slum dog couple Freida Pinto and Dev Patel holding hands in the front row at Burberry, London Fashion Week spring/summer '10 certainly caused a stylish stir.

For more information for Men's Fashion Week and beauty related product, fashion tips for Lakme Fashion Week and fashion deals online you can visit stylekandy.com

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Posted by admin - August 10, 2010 at 3:46 pm

Categories: Brocade Coats Tags: Fashion, Men's, Week

Dolce & Gabbana Replica Handbags And Coat

Dolce & Gabbana Replica Handbags And Coat

No wonder Dolce & Gabbana are in love with Elsa Schiaparelli for Fall. She was an original proponent of the ballooning shoulder (the fashion story of the season), worked her surrealist glamour through tough and weird times, and was an Italian to boot. In an edgy moment, Domenico Dolce and Stefano Gabbana used her example to defy all fashion nervousness and lay on a sumptuous show whose production values gave no quarter to the idea that cutbacks and timidity should be the order of the day. Quite the opposite, in fact. The front row was positively teeming with A-listers: Scarlett Johansson, Kate Hudson, Naomi Watts, Freida Pinto, Eva Mendes, and others who had all flown in to view the clothes, and then take in the Extreme Beauty in Vogue exhibition opening that the designers have underwritten at the Palazzo della Ragione.

The thirties and forties references played through the displaced gloves used as headpieces and scarves, the shell-shaped buttons, the clunky wartime suede platform wedges, the homages to Schiap's shocking pink, and, of course, those huge, puffed-up leg-of-mutton sleeves, rising up in some cases to earlobe level. The spending on luxe materials and a cinematic level of beauty never ceased. Fox, dyed goat hair, mink, and rich brocades were worked into narrow-waisted silhouettes, alternating—though not much—with bell-shaped skirts.

It might have been a one-message show, but as is always the case with these superconfident designers, there was never any surrender of house identity. Dolce & Gabbana-isms were wittily reiterated when their signature Sicilian corseted and see-through lingerie dresses reappeared, Schiap-shaped, counterpointed by black tuxedo suits. Finally, their traditional ending parade of exaggerated crinolines shifted the look completely to their own territory, with Monroe photo prints spreading over the skirts. Times may be tough, but these are two guys who are not about to give an inch on what they believe in.

There’s an older movie and velvet is in the title?

Aeja asked:

something about a purple velvet blanket or coat. maybe it was blue. all the detail i have.
Thanks=is there a way to close this question early or no?

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Posted by admin - March 31, 2010 at 8:50 am