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Canterbury designers tight-lipped on WOW garments

Tatyanna Meharry and Natasha English with their last year's entry
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Of the 121 designers from 14 different countries, six tight-lipped Canterbury designers have been selected to compete for this year's World of Wearable Art (WOW) awards.

Now in its 29th year, the international design competition and New Zealand's largest annual theatrical production attracts around 60,000 fashion enthusiasts to Wellington each year.

WOW finalists, Christchurch designers and sisters Natasha English and Tatyanna Meharry, look ahead to their fifth finalist garment entry since 2013 taking the stage next month. Their garment, in the open category, makes a statement about the "ugly" state of New Zealand's mental health issues.

"The costume is about issues to do with mental health and just trying to look at it from a different angle, the politics of drugs and prescriptions and medication, and the effects which don't affect only the person, but their entire family," Meharry said.

"We take it seriously that it's a wearable art, but we have to provoke the audience. It just can't be stuff stuck together because it looks pretty. Sometimes it's ugly."

From an artistic family, the sisters won the Supreme Award in their first year working as a team in 2013 and have just returned from their two-week internship at Weta Workshop in Wellington in the costume department.

"We both knew how to sew by the time we were five. We were encouraged to be creative. We're pretty lucky," said Meharry.

WOW finalist, Christchurch designer Janice Elliott, was secretive about her finalist garment in the illumination illusion category, which was her 14th finalist entry in 11 years.

Elliott said it was a fantastic experience being a part of the shows.

"People think it's just a few fashion garments but it's not, it's all the theatrical stuff too. It's just mind-blowing," she said.

"You come out of there thinking 'Wow, that's amazing'."

She said the shows had changed over the years since her first show in 2006.

"Even to just get in now, it's hard. But I managed to scrape in and get to go and have a look.

"You get hooked in. You get addicted. Now I'm thinking I've got an idea for next year. I always end up doing it again."

Canterbury designers Naomi Flasher, Tina Hutchison-Thomas and Loretta Sloan will join English, Meharry and Elliott in Wellington for the WOW awards show from September 21 to October 8.Read more at:formal dresses adelaide

04:59 Publié dans fashion | Lien permanent | Commentaires (0)


Stressing careers in technology for women now in Vogue

Cuberider’s Solange Cunin with 
Vogue Australia editor-in-chief Edwina McCann. Picture: John Feder
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Technology and women’s luxury fashion feels like an odd mix but Edwina McCann is determined to ensure that doesn’t last.

The editor-in-chief of Vogue Australia, like every glossy magazine editor, has long grappled with how to engage corporate women with her title — after all, they are the ones who can afford the luxury fashions her magazine so ­lavishly showcases.

Events and summits have come and gone but none has met the satisfaction of McCann.

“My issue is that they never ­really had a purpose — we weren’t trying to solve a problem,” she says. “The problem is getting women into the tech sectors.”

Thus last year Vogue Codes was born, a modest summit for corporate women aimed at ­addressing the many systemic blockages preventing women from embarking on a career in technology.

This year the summit, which ran on Friday in Sydney’s Barangaroo, a new business area named after the “feisty” wife of Bennelong, was aimed at corporate women, while at the weekend it joined consumer event Vogue Codes Live and Vogue Codes Kids, run with the Code Club and aimed at primary school children keen to learn coding basics.

And Vogue Codes will take ­itself to Melbourne with Vogue Codes Live and two breakfasts. “Last year we had 200 people; this year we will have over 2000 ­people go through a Vogue Codes event,” McCann says.

In its debut year, Westpac and HP sponsored the event. This year Telstra and BMW have come on board. “This is a cause-driven issue. At every level there seems to be sexism ­apparent and some of it is women to women; our attitudes need to change.

“We have to accept as mothers and women in management that we have to accept some responsibility as well. We are not encouraging enough women in work and in our homes to seek opportunities in this sector.”

At 24, Solange Cunin, chief executive and founder of Cuberider, is a success in her chosen ­industry but keenly feels the need for Vogue Codes. In December her company made history when a Japanese rocket sent ­Australia’s first payload to the International Space Station, carrying a small ­integrated sensor containing the ­experiments of more than 1000 high school students, part of Cuberider’s science education courses.

“I went against the tide to study science and maths, and I came from the country and there weren’t many mentors,” Cunin says. “I had to do it with a handful of supportive teachers at my school. Going to study engineering was not the norm.

“The whole Vogue Codes project really matches what we do anyway in teaching children coding. Being an entrepreneur can be quite lonely. That is the same for being a chick in tech; there aren’t many of us, so often you don’t get to be in the same room.”

In recent years many luxury women’s magazines have broadened their priorities. Thus rival ­titles such as InStyle laud the achievements of corporate leaders and scientists in their annual Women of Style awards, recognising that fashion and beauty prizes are simply no longer enough.

McCann says Conde Nast, the global publishing giant that ­licenses Vogue locally to News Corporation Australia, publisher of The Australian, has requested several briefings about Vogue Codes.

“It could very much ­become a pillar of the Vogue brand internationally,” she says.Read more at:formal dresses sydney

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Sanjay Garg to present range at LFW grand opening night

Lakmé Fashion Week will take the contemporary-traditional route with textile designer Sanjay Garg showcasing his aesthetically rich collection at the Lakmé Grand Opening Night on day 1 of the LFW Winter-Festive 2017 show. Garg explores traditional clothing techniques of India while questioning the ideas of context, modernity and aesthetics.

Inspired by the heritage and tradition deep rooted in Indian culture, Garg’s designs have always showcased the inherent beauty of craftsmanship and raw material. This collection is inspired by intricate Chikankari work on Bengal mul, zardozi and handwoven brocade. This season’s range is combined with Chikankari detail and an exquisite colour palette.

After successfully launching beauty trends like Gloss, Sculpt and Illuminate in the country, this Winter-Festive season Lakmé will take its Liquid Gold: Argan Oil theme up a notch with Garg’s collection.

“Working with Lakmé Fashion Week is always a pleasure - it is where I had my first show and is a platform that encourages new ideas and talent. The Lakmé Absolute show this Winter-Festive season will be very special as well: this will be my first collection of embroidery - with explorations in Chikankari. Lakmé's beauty theme for the season 'Liquid Gold' is a perfect complement to the collection,” said Garg.

“We welcome Sanjay Garg to the Lakmé Grand Opening Night. He has an eclectic Indian style that matches our Argan-Liquid Gold trend for this festive season,” said Purnima Lamba, head of innovation at Lakmé.

LFW is jointly organised by Lakmé, the No.1 cosmetics and beauty services brand in India and IMG Reliance Pvt Ltd, leaders in sports, fashion and entertainment marketing and management. It has been conceived and created with a vision to ‘redefine the future of fashion and integrate India into the global fashion world’. LFW is organised twice every year.Read more at:formal dresses melbourne | formal dresses

03:46 Publié dans fashion | Lien permanent | Commentaires (0)