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Zendaya is fashion's flower girl in pre-release Loewe


If ever anyone needed more convincing of Zendaya's fashion influence -- beyond her Vogue covers, Valentino campaigns (as a global ambassador for the fashion house) and title as the youngest ever recipient of the CFDA's Fashion Icon Award -- look no further than the actor's latest Instagram post.

On Saturday, the "Euphoria" star took the phrase "hot off the runway" to a new level when she shared a photo wearing a dramatic floral look from the Spanish fashion brand Loewe.

The gown, which features an enormous white calla lily bloom made from enamel brass on its bodice, isn't set to make its catwalk debut for almost another two weeks. "ICON Zendaya wearing a little preview of Loewe SS2023," wrote the label's creative director Jonathan Anderson, who is scheduled to show the collection in Paris on September 30. Clearly, it is Zendaya's dress now -- more than 4.9 million people have liked her post in just 72 hours.

The reveal is a masterclass in fashion PR, too: With 64 shows packed into the 10-day Paris Fashion Week schedule, brands will be competing for attention. Thanks to a tantalizing teaser from the right starlet, Loewe is already at the fore.

Known in recent years for its sculptural, surrealist designs -- remember the "ready-made" sandal series from Spring-Summer 2022 that featured cracked eggs, nail polish bottles and rose stems in place of traditional stiletto heels? -- the brand has long been inspired by nature. During this season's menswear shows, Anderson grew chia and grass on the surface of sneakers, pea coats, hoodies and tracksuit bottoms in a collaboration with Spanish bio-designer Paula Ulargui Escalona. The painstaking process required the garments to be kept in a poly-tunnel prior to the event, where they were watered regularly until worn by the models. Loewe also offers a florist service, with a physical store in Madrid called "LOEWE FLORES" selling artfully arranged bouquets.

Fashion's obsession with flora has endured for centuries, in part because of the potent symbolism behind different blossoms. "After women, flowers are the most divine creations," the designer Christian Dior -- who was famously inspired by the gardens of his childhood home in Normandy, France -- is often quoted as saying. And while florals remain a perennial trend in color palettes, prints and drapery, a more sculptural approach has often found its way into the designs of Moschino, Schiaparelli and Alexander McQueen, as well as couture collections from Chanel, Yves Saint Laurent, Jean Paul Gaultier and Dior, among others.

Dutch designers Viktor & Rolf showed an extravagant collection in 2015 featuring embroidery, large-scale pleated petals and wicker fascinators inspired by Van Gogh's "Sunflowers." In 2018, Moschino creative director Jeremy Scott turned Kaia Gerber and Gigi Hadid into giant ribbon-wrapped bunches of flowers, and other models were enveloped in dome-shaped floral arrangements and matching headpieces -- a presentation uncannily similar to Florence Pugh's final look in the 2019 horror movie "Midsommar."

Anderson is now reimagining the classical reference in his own playful, understated way: His is more garment than garden, stripping back the bouquet to focus on one, impossibly overgrown bloom. The result is a dramatic gown you won't get lost in. "Plucked from a beautiful garden," wrote Law Roach, the actor's stylist, on Instagram, "A lily named Zendaya."Read more at:formal dresses | long formal dresses online australia


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Fashion and dance together at Ten’s Across the Board


Ten’s Across the Board was a fashion show presented on Aug. 5 at the San Diego Dance headquarters. Fashion and dance were fused together to create this upbeat event. The sold-out crowd was first greeted by the producer Kiara Jones. The evening continued with host Myla Marino who welcomed everyone and got the festivities rolling.

The dancers were from Dreamland. The first dance routine was choreographed by Jones and the other dances were choreographed by Era James. Models came down the runway moving to tunes spun by DJ De’Andrew.

Playgrownd was the first designer to show their collection. One of the standouts in this group was jeans with zippers from the hem to the knee or further revealing contrasting fabric underneath. They also incorporated hand painting on their clothes. Many of the garments were covered with star clusters so each person wearing them can be the natural-born star they were meant to be. Everything is made in the USA.

The next group was a swimwear collection of Shadi by Shadi Karbasi. They were similar to a bikini only with straps that wrapped around the midriff. One suit was leopard with matching arm gloves and even had matching shoes. Another was snakeskin with matching arm gloves. The va-va-voom models received a huge response from the crowd. During intermission, the group Solaris Band entertained the audience with a fusion of rock/jazz music.

After the intermission Unshook took the catwalk showing off their Inferno Collection for fall/winter 2022. They are an independent fashion house creating elevated streetwear by owner and designer Nathan Ball. One of the standouts was the Wavelength Embroidered Denim pants. This pair of pants had multi-color stitching throughout the entire piece. They also had a button-down shirt and a trenchcoat that were asymmetrical for an added flair.

Last on the catwalk were the designs of Kiara Jones named She He And They. The clothes are unisex and gender neutral. All of the garments were made from recycled materials such as blankets, curtains, jeans, furniture fabrics, and vintage fabric collected from donations. The final model showed off a “Mul-tie Skirt” made with recycled ties. The event was a huge success and the feedback from the audience was all Ten’s Across the Board for the designers.Read more at:formal dresses melbourne | formal dresses


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The reign of yellow in fashion


Vivid, vibrant and vivacious — sunshine yellow is reigning the fashion radar, and how! Often associated with optimism and new beginnings, this shade of yellow has many takers both in India and overseas. Donning a tube top and skirt in sunshine yellow recently was BLACKPINK star Lisa, while actor Anne Hathaway opted for shorts and long T-shirt, complemented by a statement necklace and nude lips, for a Bulgari event recently. Closer home, mums to-be Alia Bhatt and Sonam Kapoor Ahuja looked super pretty in yellow free-flowing dresses, allowing them to ace maternity fashion without compromising on comfort. While actor Vaani Kapoor looked graceful as ever in an elegant yellow saree for Shamshera promotions, actor Mrunal Thakur opted for an infinity blouse and sharara in sunshine yellow, layered with a cape, while promoting her latest release, Sita Ramam.

What makes this colour so popular?

“Yellow symbolises happiness, new beginnings, enthusiasm and confidence. A Spring/Summer 2022 trend, it perfectly embodies the idea of a change. Yellow remains popular as an accent colour. It is fabulous with neutral bottoms like blue, white or black. You can minimise the effect by combining a yellow top with a blazer in a more neutral colour,” shares designer Ritu Beri. Echoing similar sentiments, designer Samant Chauhan says, “Yellow, with its auspicious energy and ever-radiating festive joy, is making a comeback in mainstream fashion now more than ever before!”

For designer Vaishali S, the colour reminds her of the sun. She says, “Yellow is often associated to summer, especially in the western world. For me, it is about energy. I often insert it in my collections to increase the rhythm and power. In the last months, you can find it brightening up my winter, summer, bridal collections and Haute Couture.”

Internationally, yellow is resonated with the onset of spring-summer, and is often seen in designer collections as well as on runways. “It’s summery and represents sunshine. For people in the West, it’s a big deal because they hardly see the sun,” says stylist Isha Bhansali, adding, “With Alia, I felt the silhouette worked very well, especially with her current pregnancy. It’s chic and sexy at the same time, which is tough to get right.”

The pandemic effect

In a world marred by a health scare like Covid-19, what better way to infuse positivity than through our sartorial choices? In this regard, colours like sunshine yellow top the chart. “More than ever, the post-Covid world has understood the importance of sunshine and feel good in fashion and everything else we do. There is no colour that gives as much optimism, hence, the reign of yellow all over fashion,” notes designer Anupamaa Dayal, adding, “A saree in shades of yellow is sensational!”

Stylist Rishi Raj, too, believes the pandemic has had a role to play in the popularity of this hue. “Yellow has always had a happy sunshiny feel to it. After the darkness that the world has recently experienced, it is but natural to express hope and positivity through fashion, as has always been the case,” he notes.

Style it right

According to Bhansali, sunshine yellow is fairly easy to style, for it suits many genres of clothing, traditional or western, as well as body types. “It is also versatile in terms of occasion. You can wear it in the day or night. With a bright pop colour like sunshine yellow, don’t go overboard with the rest of the ensemble. Don’t do matching bags, earrings, etc. Break the monotony, but at the same time, don’t add too much of contrast. If you’re doing colour blocking, purple is a great colour combination with yellow. With accessories, go minimal to celebrate the colour in the most balanced way possible,” she suggests.

Raj, on the other hand, believes the world we live in today has gone beyond predictability and a particular set of what classifies as trendy. “Wear a hint of yellow to spruce up a minimal look. It could be earrings or even eyeliner...or go all out and drench yourself from head to toe and make a statement! Make your own rules, go 50 shades of yellow and wear it in different tones,” he says, and goes on to share a word of caution: “Be careful with colour combinations. A yellow and black combo could remind people of a Kaali Peeli taxi!”Read more at:long formal dresses australia | formal dresses online


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Dress like an Egyptian


The ancient Egyptians may have created some of the most mind-bogglingly complex and intricate monuments known to man, but when it came to clothing, they kept it remarkably simple. Ancient Egyptian traditional clothes were made from locally sourced materials and were surprisingly egalitarian, with women mostly wearing the same clothes as men. There were, however, exceptions and the most elite members of Egyptian society showed remarkable style and fashion.

The Gender-Free Fashion of Ancient Egyptian Clothes

For the ancient Egyptians, they kept their clothing to a bare minimum . Given the heat of Egypt, this was quite clever. In fact, if you were a child, you didn’t wear any clothes for most of the year. For the adults, however, their clothes were made from locally sourced cotton or linen. Some farmers also made their clothes from the hides of their livestock. Clothing was most commonly made from linen, given the abundance of flax (used to make linen) growing along the Nile. Linen is a light, breathable material that is comfortable to wear in intense heat.

For the everyday, lower-class Egyptians of the Early Dynastic Period (3150 - 2613 BC) and the Old Kingdom (2613 - 2181 BC), men and women wore the exact same clothing. The depictions of men and women from this period show a knee-length white kilt-like garment, held up by a belt. The rest of their bodies were left bare, although some people wore sandals made of straw. The wealthier men would wear the same clothing but made with even lighter linen.

For wealthier women, however, clothing was a bit more complex. The upper-class women of the Old Kingdom wore long, straight dresses which covered their breasts. Much like the clothing of upper-class men, these dresses were made with lighter linens than that of the common people. These dresses were much more expensive to make than the kilts too. These dresses were held in place with straps over the shoulders and sometimes a sheer tunic was worn over them. Women also wore dresses made entirely of beads.

Who Used Makeup in Ancient Egypt? EVERYONE!

Also common among both men in women in Ancient Egypt was the use of makeup. Oils and perfumes, as well as eye and facial paints, were used to enhance the appearance of men and women of all social classes. The upper classes could, of course, afford better products. Eye paint in particular was extremely common. A pencil made of wood, ivory or stone was used to apply kohl to the eyelids in order to emphasize their size or shape.

Kohl was made from the mineral galena, which was found in the mountain regions of Sinai. It was then mixed with malachite and other minerals into oil or fat until it produced a paste or cream. This form of kohl was expensive to make, and therefore only available to the upper classes, but the poorer people also had their own, alternative form of kohl. It also had a medical purpose, in that it helped protect the eyes from infections caused by sunlight, dust or flies. Powdered green malachite was often brushed under the eyes as well, while a rouge color was applied to the face and lips through the use of red ochre.

Accessories: Making or Breaking the Outfit since Ancient Egypt

Wigs and jewelry were also a big part of Ancient Egyptian traditional clothes. This was especially the case for upper-class people. Jewelry and wigs were used to show off their wealth, but also because they believed it made them more attractive to the gods. They wore rings, earrings, bracelets, decorated buttons, necklaces, neck collars and pendants. This jewelry was often made from gold or precious stones. Lower-class people also managed to obtain jewelry, although it was usually made from colored pottery beads.

The design of Ancient Egyptian jewelry often reflected religious themes. Motifs included symbols of gods and goddesses and hieroglyphic symbols , as well as birds, animals, and insects that played a role in their creation myth. Commonly seen were the scarab (a type of beetle), the Eye of Ra, lotus and papyrus plants, cobras, and symbols such as the Isis knot, shen ring (symbol of eternity) and ankh (symbol of life). A person’s jewelry was placed in his or her grave when they died, so it could be used in the afterlife.

In ancient Egypt, wigs were worn because they were more comfortable in the arid climate, and they made personal hygiene easier. For example, the prevention of lice became much easier thanks to the use of wigs. Wigs were made out of human hair until the Second Intermediate Period (1782-1570 BC) when horses were introduced to Egypt. After that, both horsehair and human hair were used for wigs. They were padded on the inside using vegetable fibers.

Wigs were made in different styles to be worn on different occasions. For example, different wigs were needed for a family gathering and for a festival. Most wigs were long and heavy and were carefully arranged into plaits and strands. The wealthy often adorned their wigs with beads and great jewels. Poorer people had to use wigs made from papyrus plants or simply shave their heads and wear a head covering.

The ancient Egyptians took good care of their physical appearance, wearing nice clothes, makeup, jewelry, and wigs in order to look better. The major reason for this is because they believed a primary goal of their existence was to make themselves worthy of eternity, and taking care of their physical appearance and their health was one component of doing that.Read more at:red evening gowns online | white formal dress australia


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US fashion industry expects sourcing volume to grow in 2022


About 90 per cent of respondents belonging to the fashion industry expect their sourcing value or volume to grow in 2022, according to a recent survey. Close to 77 per cent feel at least somewhat optimistic about the next 5 years, despite the current short-term challenges, and nearly all respondents—97 per cent—plan to increase hiring over the next 5 years.

Increasing sourcing and production costs remain a top concern for the US fashion industry, according to United States Fashion Industry Association’s (USFIA) ninth annual Fashion Industry Benchmarking Study, a survey of executives from over 30 leading fashion brands, retailers, importers and wholesalers.

For the first time in the nine-year history of the Benchmarking Study, 100 per cent of respondents expect their sourcing costs to increase in 2022. US fashion companies continue to adopt a more diverse sourcing base, to handle supply chain disruptions and growing sourcing risks. Reducing ‘China exposure’ is one crucial driver of US fashion companies’ sourcing diversification strategy. One-third of respondents report sourcing less than 10 per cent of their apparel products from China this year. In addition, a new record of 50 per cent of respondents source more from Vietnam than China in 2022.

Asia remains the dominant supplier of apparel. This key finding has been consistent over the last nine years. Almost all the top ten most-utilised apparel sourcing destinations in 2021 are Asia-based, led by China (91 per cent), Vietnam (88 per cent), Bangladesh (84 per cent), and India (72 per cent). However, there is considerable excitement about increasing apparel sourcing from the Dominican Republic-Central America Free Trade Agreement (CAFTA-DR) region. Over the next two years, 60 per cent of respondents plan to increase sourcing from CAFTA-DR. Improving textile raw material supply will be critical to encouraging more US apparel sourcing from the region.

US fashion companies strongly support another ten-year renewal of the African Growth and Opportunity Act (AGOA). Meanwhile, Ethiopia’s loss of AGOA benefits is negatively impacting the region. No respondent plans to move sourcing orders from Ethiopia to another AGOA beneficiary country. This highlights the uncertain future for sourcing when supply chains are disrupted, as per the study.

Respondents represent companies with headquarters or major management offices in the US. This year, around 75 per cent of respondents also have headquarters or major management offices outside the US, including China, Asia other than China, Europe, Eastern and Central America, and Mexico, among others. In addition to 100 per cent selling products in the US, over half of respondents also sell products in Canada, Western Europe, Mexico, and Asia. These patterns reflect the global nature of the fashion business today and the ever-closer connection of the US fashion industry with markets and supply chain partners worldwide.Read more at:evening dresses melbourne | adelaide formal dresses


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China’s Verdict on Fashion Week


The Menswear Spring/Summer ’23 season was a highly anticipated event in the fashion world, with some of the biggest names in luxury descending upon London, Florence, Milan, and Paris. Swarms of industry professionals and fashion fans flocked to the shows to catch a glimpse of the newest collections and the personalities attending the events. Some of the standout collections came from designer houses such as Prada, Dior, and Louis Vuitton. The season was also marked by a number of up-and-coming designers making a name for themselves on the global stage.

Unlike previous seasons, Shanghai’s runway presentations correlating with brands’ runway shows in Milan and Paris were unable to take place as the city still reeled from the effects of COVID-19 lockdowns. As a result, China’s luxury market has become unstable, with several luxury brand executives reportedly lowering their expectations for their China market segments. Although high-end malls in Shanghai boasted a million-RMB turnover on the first day businesses resumed operations, the high turnover due to retaliatory spending did not last long as the pandemic continues to fluctuate daily. Nevertheless, the Chinese luxury market is still the second largest in the global market. According to Bain & Company, China is expected to become the world’s largest luxury market by 2025.

The final stop on the menswear circuit, Paris Fashion Week plays host to some of the world’s leading names in luxury. Not only does it draw in a sea of industry professionals, but swarms of fashion fans, desperate to catch a glimpse of the personalities attending the shows.

S/S23 was all about the spectacle. Extravagant sets included Louis Vuitton’s giant race track, Dior’s quaint countryside cottage, and a live rodeo at Casablanca. King of the destination show, Jacquemus transported guests to the scenic salt mountains of Arles, while Ami captured the essence of Parisian style with a show that overlooked the rooftops of Paris from Sacré-Coeur and a comeback from celebrity models of eras past. Several casting and runway trends emerged during Milan Fashion Week and continued to Paris.

One of the most notable was the continued presence of Gen Z talents, which generated a lot of hype on social media. Outside of Gen Z, athletes are emerging as the new talents luxury brands are focusing on to capture a new type of consumer in China. Prada and Louis Vuitton served as prime examples of this trend.Read more at:pink formal dresses australia | formal dress


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Chinese Yi designer


Inspired by the silver beads on the traditional ornaments made by China's Yi ethnic minority, a pair of "small lantern" ear drop earrings are made from finely hollowed silver beads with soft arcs that weigh only 11.7 grams.

Another pair of ear drops, "Star," made from rich layers of disks resembling stars in the night sky, is based on the Yi people's stargazing tradition.

These ornaments tightly bound to the traditional culture of the Yi ethnic group were designed by Longhong Ziwei, who was born and raised in the compact Yi community in Southwest China's Yunnan Province. In 2017, she established her own fashion brand Soft Mountain.

Since its inception, Soft Mountain has been dedicated to cooperating with excellent Yi artisans. On the basis of respecting tradition, the brand is seeking to protect through innovative contemporary design those traditional skills that are in danger of fading away, Longhong told the Global Times.

The designer has always seen ethnic culture as the source for her designs.

"There are 56 ethnic groups in China, each of which has its own unique cultural heritage and handicraft tradition. What I want to do is to retain their vitality," she noted.

Step by step, Longhong has introduced her brightly colored ethnic works to the fashion world. In May 2019, international heavyweight fashion magazine Vogue named her one of the seven most cutting-edge jewelry designers in China. In 2020, she brought her designs to London Fashion Week.

Longhong said she believes traditional ethnic culture can play a big role in fashion with the help of local artisans who have inherited their skills through the generations. Meanwhile, providing a platform for these artisans is a practical way to revive ancient traditions.

Working with local artisans

Longhong said that the most prominent feature of her brand is its insistence on cooperating with artisans from the Yi ethnic group.

After studying art design in London and creating the fashion brand in 2017, Longhong and her team returned to her hometown to find inspirations from local ornaments. They visited local history museums, wandered the streets and found stores selling silver ornaments.

"Local people are very warm-hearted. Once a grandma heard we were looking for Yi-style ornaments, she rushed to home and brought us her ancestral jewelry so we could appreciate it," Longhong recalled.

Traditionally, the Yi people wear silver accessories. For instance, Longhong's grandmother is accustomed to putting on her accessories as soon as she gets up every day.

Longhong has found eight artisans to work with her studio. One of them was even persuaded to return to the village from East China's Shandong Province, where he worked as a construction worker.

Unable to survive through making jewelry for a living, many local artisans in the village gave up this ancestral skill and left to find jobs in the big cities. Longhong said that this livelihood dilemma nearly spelled the end to Yi traditional handicrafts.

Providing a livable salary is one of the ways Longhong has been keeping the traditional skills alive while also achieving her goal of advancing her brand.

Entering the international stage

With help of local artisans, Longhong's designs have attracted more and more attention overseas.

In 2019, Longhong received an email from popular British e-commerce platform Net-a-Porter, which called her works brilliant and adorable. The email increased Longhong and her team's confidence and since then the designer has set her eyes on the international market.

When she attended to the Spring/Summer 2020 London Fashion Week, Longhong took advantage of the opportunity to do a small exhibition called The Pieces We Are at the city's Arthill Gallery.

On a white wall, black-and-white photos taken by photographers such as Guo Jianliang of folk craftsmen making silver ornaments took visitors to the mountains and rivers where the Yi people live. During the two-week exhibition, people showed great interest in the culture of the Chinese ethnic group.

Longhong recalled that one elderly couple wandered around the exhibition for almost two hours, asking many detailed questions about the ethnic group.

Longhong is not the only ethnic minority Chinese designers to step onto the international stage. Jin Jingyi, a clothing designer of the Daur ethnic group, has organized a research team to engage in the rescue, protection and inheritance of northern China's ethnic minority clothing.

Jin extracted cultural elements from traditional Daur and Qroqen clothing and turned them into patterns and styles for modern clothing that she then brought to China International Fashion Week.

Having attended London Fashion Week, the fashion stages of France, Spain and the US are now on Longhong's agenda.

"Foreign countries show a special enthusiasm for the diversity of Chinese ethnic minority culture and value it very much," she noted.Read more at:formal dress | long formal dresses online australia


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Melbourne Fashion


I often find myself pondering the future of the fashion industry. What will it look like? What will we wear, and what ingenious fabrications will these pieces be made from? Amid global doom and gloom, I find this a more positive topic for my brain to consider.

New forms of leather, innovative recycling or reuse methods and the rise of made-to-order promise a more considerate way forward. And while these are exciting and important developments, more and more, I am convinced that the secret lies in burgeoning local talent.

They are the young people who are still honing their skills yet tackling major world issues with a sense of Gen Z practicality. ‘Be part of the solution, not the problem’, is the defining motto. Take risks, try new things and push for real and positive change.

It’s thanks to organisations like Melbourne Fashion Hub that we can truly pin our hopes on local fashion to change the game. Launched by Julia Browne, a professional dancer and the founder of Style Shifter Media (a platform featuring style advice, fashion news and upcoming Melbourne student runway shows), the organisation is making this a reality.

Identifying a gaping hole between education and business for recent graduates, Melbourne Fashion Hub offers a free yearly program to Melbourne-based fashion students (and those who have graduated). With a group hailing from schools such as RMIT, Whitehouse Insitute of Design and TAFE, the collective focuses on advocating for and empowering emerging and independent fashion designers. It’s the first initiative of its kind in Australia and hopefully, the first of many.

In effect, Melbourne Fashion Hub raises the profile of local, conscious talent and helps them push their work into the real world. Specifically, the program aims to nurture entrepreneurship, open future pathways through building industry connections and assist in the development of these emerging labels.

The work of these designers is amplified, showcasing each collection and giving them well-deserved attention through various pop-up events. The designers selected to take part are exceptional and diverse, each with unique ways of addressing the industry’s issues.

The 2022 cohort of designers exhibits striking talent. Some lean towards streetwear and edgier looks, like Jasmine Sim’s Enso Studio (find out more about the genderless collection here). Meanwhile, Tamika Fawcett’s label, Aurei.Lua, is abundant with feminine silhouettes, delicate prints and statement tiers.

Safa El Samad’s Soof particularly captures my attention, inviting consumers to bring in their old, unloved garments for a revival in a step towards the circular economy. Using digitising software and embroidery technology, each piece is uniquely embroidered with messages that speak to the wearer, prompting a sentimental attachment.

The talent pool is brimming, and you’re invited to take part. To all the budding designers out there, Melbourne Fashion Hub is currently taking applications for its September 2022 intake. Join like-minded individuals, engage with the local industry and take your conscious fashion design dreams to the next level.

The last few months have taught me many things about living in a more conscious way, but one vital lesson is to focus on local: prioritise local fashion labels, local production and locally-farmed ingredients. We might be a nation small in number, but there is no doubt we have the talent to lead the world in sustainability. Melbourne Fashion Hub is making sure that happens.Read more at:formal dresses brisbane | red formal dresses


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Naarm-based designer


Corin Corcoran has been designing clothing for much of her life, having learnt to sew and upcycle clothing in her childhood out of necessity. She called on those skills again later in life when seeking an outlet for her mental health struggles and found catharsis in transforming damaged pieces of clothing into beautiful designs.

After earning an audience through showcasing her designs in DIY photoshoots, Corin launched her eponymous label and moved to Naarm to immerse herself in the city’s fashion scene.

Discover more up-and-coming local designers in our Fashion section.

Her handmade designs continue to recycle clothing that would otherwise be discarded into new pieces. Her work has a gothic-meets-romantic aesthetic – think structural corsets and dresses that look as though they’ve been plucked from the Renaissance, albeit a bit rougher around the edges.

Tell us about you. What’s your fashion background?

I’m Corin Corcoran, a proud Weilwan woman based in Naarm. I’m a self-taught sewer, I started sewing and designing clothes as a kid. We didn’t grow up with much, so upcycling and transforming clothing has always been a big part of my life.

How did the label get started? Talk us through the process and the challenges.

The brand started on my loungeroom floor in a sharehouse in Newcastle when I was 18. I was struggling with my mental health and needed an outlet. I went back to my roots of cutting up old clothes I owned and transforming them into something new, I started doing photoshoots with my housemates and my iPhone camera and people seemed to enjoy what I was doing.

I quickly realised moving to Naarm would be beneficial for me and my career, which is when I started experimenting more with different materials and concept-based work.

What were you trying to achieve from the project at the time? How has this evolved and what are you trying to communicate through the brand now?

In the beginning, I was a broke artist wanting to do something new. I think needing an outlet and dealing with trauma in my life, I was subconsciously taking clothing items that were used and no longer wanted, finding the beauty in them and transforming them into something new.

[That] helped me to deal with my own traumas, transformation and view of myself – being able to appreciate the damage of these items, and myself, and find the worth in them. That has now become the main concept of my work and what I am trying to achieve.

How would you describe Corcoran Corin to someone who’s never seen it before?

A slow fashion brand/journey of appreciating form and growth at the root of what it is.

Where did the name come from?

I’ve always been self-conscious about my birth name (Corin Corcoran) and wanted to change it. But I realised it’s what I’ve grown into and to not be ashamed of it, which felt like the perfect summary of my brand because it is so personal.

What are you most proud of in your work on your label?

I’m shocked I was able to achieve everything I’ve done so far. Growing up with dyscalculia and learning disabilities, I never thought I would be able to make clothing because I struggle with basic skills. But working around that, moving to a new city to create my work, being a part of Fashion Week, and even being hired as a designer, I know that my younger self would be shocked and very proud of what I have achieved.

What do you wish you knew when you started?

I wish I knew how exploitative the industry and big businesses are before I started and had the confidence to do something about it and be my own boss in the beginning. I also wish I knew the worth of myself and what I was making.

Who do you think is most exciting in Australian fashion right now?

All the mob/blakfellas and brands being vulnerable and talking about confronting topics in an industry that is known for ignoring it, the amount of shows highlighting First Nations design, and people learning so much through that, seeing where it’s going to take us in fashion excites me the most.

What about the Australian fashion industry needs to change?

Normalising conversations around where clothing is coming from and ethical choices. Normalising First Nations design in the mainstream and including it in all shows and shoots, all year round.

Dream Australian collaborators?

I would love to collab with Haus of Dizzy, Thottie Spice and Rowland Vision.

Who is in your wardrobe right now?

I’m big on collecting items. At the moment I’m really into John Fluevogs shoes, Fidan Novruzova and vintage pieces that I can get my hands on paired with my Clothing the Gaps statement tees

How can we buy one of your pieces?

I currently have one-off pieces made from cherished items online at Studio Fear. I also do customs and work through my direct messages!

Anything else to add?

Always was, always will be Aboriginal Land.Read more at:formal dresses adelaide | white formal dresses


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もちろん、刻々とイメージを維持してくれるこのロングスカートのミス率とその魅力値は比例しますし、雰囲気のいい人ほどトップスを着ていることは間違いありません。Read more at:formal evening dresses | long sleeve formal dresses


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