| World-renowned make-up artist Bobbi Brown tells us how to prep for summer.
MAKEUP KIT
Summer makeup is less about rules and more about having fun and doing what fits your mood. Before you apply any colour, however, make sure your skin looks flawless. During the summer, your skin tone can get darker depending on how much time you spend outdoors. Check your face products (concealer, foundation, and powder) to make sure they still match your skin -if not, you may need to go a shade or two darker. If you\'ve been spending most of your days inside and look a little pallid, give your skin a boost with bronzer (choose from powder, cream or gel depending on your skin type). When applying bronzer, focus on the cheeks, nose, and forehead, which is where the sun naturally hits your face.
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PREP YOUR FACE
Moisturiser is the key to fresh looking skin. It creates the perfect base for makeup. For normal skin, use a lightweight moisturising lotion. For dry skin, use a rich hydrating cream or balm. For oily skin, use an oil-free formula that hydrates and helps control oil production. And always begin with a lightweight eye cream to ensure that under-eye concealer blends in smoothly and evenly.
COLOURS FOR 2015
SpringSummer 2015 is about bringing out your natural gorgeousness. From an illuminating moisture balm and skin-energising foundation to colour collections that offer everything from subtle nudes to fresh brights, this season is simple, easy and flattering. On eyes, cheeks and lips, it\'s all about subtle, light-reflective nudes that instantly give you a lift and a healthy, natural glow.
FAUX PAS
The biggest one is women wearing the wrong shade of foundation.
Foundation should match your skin exactly to help you achieve a smooth and even finish. To get the right one, swipe several different shades across your cheek and blend it in using your fingers. It\'s better to test the foundations on your face than on your hand because that\'s where the makeup will eventually go. Opt for the shade that you can\'t discern from your skin.
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| After appearing in this season\'s collections of the biggest names in menswear including Tom Ford and Louis Vuitton, the denim jacket is once again the must-have item for the stylish man\'s wardrobe.
Made famous by the likes of John Wayne, James Dean and every rock band worth their salt in the \'90s, the denim jacket has evolved from working class uniform to cult-status staple.
But on top of its street cred and rich cultural history, the jacket\'s primary appeal comes from its versatility.
Whether it\'s teamed with jeans and a tee on the weekend for a classic rock look or thrown over your shirt and tie to give your work wear a more urban edge, denim jackets ooze an effortless style.
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Lightweight yet hardwearing; warm, but breathable enough to accommodate the most erratic climate, the denim jacket is the perfect solution to Australia\'s weather during transitional seasons.
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But before you reach into your closet and dust off your favourite acid wash bomber, the modern denim jacket comes with a few tweaks to give it a contemporary appeal.
So what\'s the best way to rock the modern classic this autumn?
Sydney-based stylist Dale McKie says the answer is to keep it fitted and tailored.
Fit but you know it
"A modern denim jacket should fit snug to the body," explains McKie.
"It should be fitted enough to allow for outer layering, so you can throw a blazer or trench coat over the top without it looking bulky. But it should still have enough room to layer a few pieces underneath like a sweater or shirt."
When it comes to picking the perfect hue for the season, the creative director of Australian denim label Neuw Denim, Par Lundquist, says you can\'t go past the classic pre-washed blue.
"A modern denim jacket is about subtle details," says Lundquist.
"Choosing a more refined wash up to a rich, mid-shade of indigo will keep it looking masculine and modern."
Washed up
Where black or raw denim has a heavier and more formal feel, the appeal of pre-washed denim lies in its already worn-in aesthetic. It also adds a much-needed touch of colour to what can often become a monochrome seasonal wardrobe.
A great example of this modern tailored look is from French label A.P.C. Or, if you\'re after a traditional indigo wash and need a little more room in the shoulders without being too bulky, Neuw Denim\'s Eddie Rebel jacket is a good option.
As far as upkeep goes, Par recommends treating a denim jacket exactly like you would your favourite jeans.
"Never wash it," explains Par.
"That way, the character of the life lived in the jacket develops over time and you end up with a jacket that\'s completely unique to you."
However, if the idea of not washing your jacket leaves you feeling a touch queasy, a handy shortcut is Shannon Lush\'s lavender/water mixture.
Give the jacket a light spray and then hang it in out in sunshine, inside out, for a quick and easy freshen-up.
Double time
It would be remiss to discus denim jackets without touching on the ever-divisive double denim look.
While images of Bing Crosby and his infamous Canadian Tux made by denim giant Levis probably comes to mind, pulling off a successful double denim look is a hurdle that can be easily jumped.
"I think, generally, denim jackets work best with denim," says Dale.
"A good way to avoid getting that Canadian Tux look is to make sure your jacket sits on or above the waistline of your jeans, allowing your shirt to break up the line. Alternatively, clash different tones and washes, such as a lighter jacket with darker jeans to add some variation."
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| Names of five Scottish designers with ideas to create more sustainable clothing and accessories were announced for funding from Zero Waste Scotland.
“Zero Waste Scotland’s circular economy fund for textile and apparel designers is the first of its kind in Scotland,” says a statement from the agency.
This will help the designers adopt new innovative methods for a more circular economy, where materials are kept in high-value use for as long as possible, rather than being used once and discarded.
Ideas proposed by the successful designers include plans for a transformable accessory which can be used as a scarf, hood or bag and shoes made from wild Scottish deer skin.
Iain Gulland, chief executive, Zero Waste Scotland said, “The five successful designers have submitted unique and exciting suggestions for more sustainable fashion, which uses resources in a much smarter way.”
“The industry is well placed to make the most of the transition to a circular economy, but there are currently no truly circular textiles products or services in Scotland,” he added.
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“Zero Waste Scotland is on hand to help the industry to take advantage of the opportunities that a circular economy offers, and this funding aims to encourage designers to do just this,” he noted.
Iain Gulland said the projects that have been announced and will be funding, are all great examples of how the sector can grow sustainably, and he looks forward to seeing them progress.
The five projects which will receive funding include, Allenomis from Glasgow, which is a capsule collection of luxury women’s wear garments addressing modularity and zero waste pattern design.
It also features design for durability and the use of recycled or waste materials and the garments will be transformable and suitable for different climates.
Another is Diggory Brown from Uist, which is a range of practical workwear garments and accessories made from Yarnover wool, a by-product from Uist wool’s spinning mill
Risotto another project from Glasgow is in to production of closed loop garments, including a 100 per cent recyclable polyester fabric and a system where customers will be incentivised to return goods after use.
Route Clothing another one from Glasgow is in to development and trial of a new system inviting customers to return cycling clothing for repair or recycling.
It is also in to the development of a zero waste natural fibre cycling cap and jacket pattern.
Sword Maclean from Glasgow and Uist is a luxury fashion and lifestyle start-up brand made entirely in Scotland.
It uses materials including Scottish deer skin, a by-product of deer management and Hebridean black sheep wool which is spun on refurbished vintage machinery.
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| Packing your bags just got a whole lot easier. Inventive designer Capri Philip has finally bridged the gap between stylish, comfortable, and functional clothing in her women’s travel wear collection Puresuit. Each piece is designed to outlast any globe-trotting turbulence and span changing environments. With natural fabrics suitable to any climate, Puresuit maintains a chic feminine look that makes travelling in style possible.
Philip has her own travel plans which include Iceland, Argentina, and China, and given that her inspiration comes from exploring her surroundings, her next destinations are sure to evoke new and exciting design concepts. Her inspired ideas and passion to meet and exceed her market’s practical needs have produced the must-haves pieces of Puresuit and promise a bright future for Philip.
Leah Webb: How would you describe Puresuit?
Capri Philip: Travelling is filled with long hours of waiting, changing environments, and unpredictable circumstances. Comfortable and functional clothing is essential to get you to your destination. Through research I’ve discovered this market is greatly under-catered to. What the market currently offers for travel clothing is either fashionable, comfortable, or functional, but not all three. What I hope to achieve with Puresuit is a product that combines all of these aspects.
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Technical fabrics are combined with classic designs to create clothing that can make the transition to multiple environments. Natural fabrics such as Merino wool and rayon from bamboo are used for their anti-bacterial, moisture-wicking and anti-wrinkle properties. Outerwear uses DINTEX technology which is fully waterproof yet breathable. Pieces are designed to be layered to easily adjust to changing environments while travelling.
LW: What was the inspiration behind the collection?
CP: The collection is inspired by European cities in the fall. Colours come from dark wet skies, marble and stone architecture, as well as cobblestone streets. Draped silhouettes are drawn from marble sculptures by the great Renaissance artists.
LW: Tell us a bit about your creative and design process.
CP: Once the market has been defined by extensive research, I move onto getting inspired. Although I like to create designs from an inspiration that my market can relate to, I still like to collect ideas from anywhere and everywhere. Starting from more vague ideas, I like to travel to somewhere I’ve never been, visit galleries, or read a new book—often these things happen all at once. You never know where ideas will come from: a pattern from tiles in a caf� or a person’s outfit on the street can spark imagination. Next, lots of sketching, collecting images, and fine-tuning designs and colours that will be appropriate for the market. Lastly, prototyping and more prototyping to get the fit perfect and to iron out production details. Of course there are many more little details and it never ends up being linear. Parts of these steps can happen out of order or twice over.
LW: What have you taken away from your experience at KPU?
CP: KPU’s fashion program has done a phenomenal job of giving us the skills and knowledge needed to confidently enter the industry. The long hours of practicing technical skills I’m sure will prove to be very valuable in the near future. Handling several projects in and out of school, due dates, part-time jobs and life over the last four years has been a strong lesson in time management. Above all else, I’ve learned that the industry is a community and that all efforts to help my fellow colleagues in their careers will strengthen it for the benefit of everyone.
LW: What are your plans after graduation?
CP: I’m excited to begin working in the industry and start to perfect my craft. What I’m most passionate about is bringing a design concept into reality by learning the needs of the market and applying that knowledge to create a garment that fits that lifestyle.
LW: If Puresuit had a company mission statement, what would it be?
CP: We are all in pursuit of a life we can be proud of. Pure can have different meanings to many people, for me it’s clean and simple. As I’ve incorporated pure into the name, I’ve done the same to the clothing, with timeless design and natural fabrics. The goal is to offer sophisticated travel wear that is as comfortable and functional as it is polished. Flattering silhouettes combined with technical fabrics easily transition between the cobblestone streets of Europe to the ski resorts in Canada.
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http://www.noivosfera.com.br/profiles/blogs/10-tips-on-how-to-wear-a-classic-red-lipsti...
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| The introduction of the new tax system is expected to have an impact on style.
YOU can always count on certain fashion items to remain as staples over the years. One very good example is the classic “little black dress” that every woman surely has in her wardrobe.
That said, not everything stays the same. The cost of looking stylish, for instance, goes up as time passes. While a change in prices is nothing extraordinary as a gradual inflation is to be expected, a sudden increase can be daunting. Many feel that the 6% Goods and Services Tax (GST) will greatly impact our fashion expenditure. But will its implementation, starting from April 1, really make fashion items that much more expensive?
The current sales tax is fixed at 10% for fashion items – with the exception of watches – which are exempted. There is also an additional import duty which varies for different product categories.
Parkson’s chief operating officer Law Boon Eng points out that even though the GST replaces the existing sales tax, it does not affect import duties. Fashion imports will still be subjected to that levy.
Law foresees a slowdown in buying after the GST comes into effect. According to him, there will be a subdued period within the fashion industry before it gradually normalises.
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“All product categories will be affected as consumer sentiment deteriorates. This is due to the impression – whether true or not – that everything is going to cost more,” Law explains.
Senior sales and marketing manager for Braun B�ffel Malaysia, Jacqueline Choo, agrees. She says that once the GST takes effect, consumers will be more careful with their spending.
“We also expect a rush in purchases before April 1. It all depends on the consumers’ perception of GST. And whether they understand how the new tax system will be implemented,” Choo states.
At present, many businesses pay multiple taxes, which leads to a cascading effect along the supply chain. With the GST, businesses can benefit from recovering input tax.
This simply means businesses will be able to claim for the GST paid for raw materials or transportation. Only the GST levy on the final price of the product (output tax) is passed on to consumers.
The GST is a consumer tax, which serves to remind consumers that they are only paying for what they spend. Businesses are not supposed to gain from it by increasing prices indiscriminately.
Nevertheless, there are concerns that profit margins will be affected. A case in point is where a supplier company is not GST-registered, and businesses dealing with them are then unable to recover their input taxes.
Marketing manager for Sacoor Brothers Malaysia, Hugo Carri�o, however, believes that the GST is an evolution of the market and companies must take it in stride. He is confident of consumers being able to discern which brands give them added value.
“There may be a wait and see attitude as already predicted by analysts. Both the luxury and fast-fashion segments will similarly be affected by this. By what proportion? We still don’t know,” Carri�o adds.
There is also talk about different brands absorbing the cost of the GST and not passing it down to consumers. It should be noted that this means that the tax is still being paid.
It just means that some companies are willing to lower their profit margins by reducing the prices of their products. As a result, the final amount paid by consumers (inclusive of the GST) is lower, and equivalent to current prices.
As such, no one can really say how prices will change. Except for watches, which will definitely cost more as they are no longer tax exempt under the GST, other fashion items may or may not be more expensive.
Will the impending GST force fashion-forward Malaysians to completely cut back on shopping? While it may not be entirely true, there is still a widespread belief that everyone will be more selective with their purchases.
Consumers Have Their Say
Sharon Kuan, 28
“I currently spend between 10%–15% of my monthly pay on fashion. The GST will affect my purchasing habits slightly, but I guess I just have to shop smarter. Maybe just buy during sales or when there is a special members’ day promotion.”
Venoshia Vellasamy, 27
“I think fashion is a form of how you’d want to present yourself to others. Is it a necessity? It really depends on the profession you are in. I will definitely feel the pinch once the GST is implemented. Maybe a few cuts to my shopping are in order.”
Shaiful Mukhelas, 30
“I will definitely scale back on designer labels, but not high-street ones. Then again, I have no qualms about shopping less on the whole. Fashion seasons? We are living in a country where there are only two real seasons: rain and shine.”
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| It\'s the opposite of "conscious uncoupling". Welcome to the world of "committed unmarrieds": couples who are committed to one another, but not to the institution of marriage.
While many people cohabit to "try before they buy", there\'s a subset of people who actively resist marriage in the first place.
And a study in an upcoming edition of the Journal of Family Issues on committed heterosexual couples who have no intention of marrying attempts to answer why people are actively saying "I don\'t".
The study, which included interviews with 45 couples ranging in age from 23 to 70 who had been together for more than a year, found many rejected marriage on political grounds.
Their objections ranged from the origins of marriage as a form of property exchange to the notion of a wife being a domestic slave.
This traditional notion of marriage, for one woman, reflected her recent experience rather than a relic from some dim distant past. In her previous marriage she was expected to play the role of a 1950s housewife and, as such, she wasn\'t prepared to risk repeating that in her new relationship.
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"It sort of seemed like, when I got married, I suddenly became a possession with my ex and ... I should have been like his mother, working full-time, plus coming home and taking care of the house and everything else, while he got to come home and sit and watch TV and other fun things like that," she told the researchers.
Unpicking the rituals of engagements and weddings is enough to give any woman the wrong kind of heart palpations.
The symbolism of a father walking his daughter down the aisle and then handing her over to another man is quite outrageous. Yes, yes, I can hear people saying that the cultural meaning of the bridal walk has changed. But, when you pare it back to basics, it\'s still one man giving a woman to another man.
When Prince William asked Kate Middleton\'s father for permission to marry her people thought it was sweet.
Not only do these antiquated rituals go unquestioned, we still think it\'s romantic to treat grown women like children - or property. If we cling to traditional gender power imbalances in the pre-marriage stage, you can\'t blame women for fearing it will rear its ugly head after the ring is on the finger.
Full disclosure, I am happily married and I was pleasantly surprised by the additional sense of security and companionship that came with our public declaration of commitment. But you don\'t have to look very hard to see examples of how marriage, if left unexamined, can be a slippery slope of female disempowerment.
For example, a male acquaintance recently told my husband - without any apparent irony - that he should buy me a Thermomix because it would mean I\'d get his dinner cooked on time.
Other participants in the study likened the decision not to wed to an act of "civil disobedience" - a stance against the fact marriage is, in most parts of the world, a heterosexual club.
"I wouldn\'t sit at a segregated lunch counter. I\'m not gonna get married if it\'s not legal for everybody," one respondent said.
For other couples, their politics of marriage was less about the plans of state and more to do with the seating plan. One couple told the researchers their resistance came down to logistics - keeping warring relatives apart - and the fact his mother "refused to attend a nonreligious ceremony".
For others, modern weddings have become a gauche commercial spectacular that they can do without. And given the average spent on a Kiwi wedding in 2013 was $30,000, you can\'t blame them.
Other couples just couldn\'t see the point of marriage, considering it meaningless, and didn\'t think it would add anything to their relationship.
My friend Carolyn, for example, never got around to marrying her long-term partner and now that they have two school-aged children they see no reason to have a wedding.
"If we got married after all these years everyone would suspect that one of us has had an affair," Carolyn says. "Something really terrible would have to have happened to justify asking all our friends to arrange all that babysitting."
Research suggests de facto couples are six times more likely to split up than married couples.
But an increased likelihood of staying together is not necessarily a glowing endorsement for the institution of marriage - particularly if it can transform modern women into 1950s housewives with Thermomixes.
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| Tokyo Fashion Week features clothes by Japanese designers, but few Japanese models were seen on the runway.
Tokyo Fashion Week has long been a platform for edgy Japanese designers, but perhaps more remarkable is just how few Japanese models grace its catwalks.
Tall, white and often blonde young women dominate the runway, with a foreign look that is now commonplace in Japanese magazines, shows and advertisements.
“It’s kind of odd,” said 24-year-old Rika Tatsuno, one of the few Japanese models appearing on the Tokyo catwalks, where she reckons she is in an Asian minority of about 10 to 15%. “Definitely we would like to see more Japanese models.”
A lack of racially diverse catwalks is by no means unique to Tokyo, which is vying to compete on the global fashion stage. But its lack of Japanese faces is striking.
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In Japan, fashion is divided into wafuku, or traditional Japanese clothing, and yofuku, which literally means “Western-style clothing” and is now everyday wear. While Japanese models are usually chosen to showcase the former, such as kimonos by celebrated designer Jotaro Saito, they have limited opportunities in the latter category – even when the “Western-style” clothes are Japanese creations that will mostly find domestic buyers.
“It’s natural. If I was designing traditional Japanese clothes, I would pick Japanese models,” said young designer Hiroki Uemura of the byU brand, who recently made his debut at Tokyo.
He described his collection as an adult version of the hugely popular kawaii style – the Japanese word for cute or adorable – but one also influenced by the “mismatched” look of British actress and singer Jane Birkin in her youth.
“I want to show the ‘made in Japan’ aspect, but the Japanese are attracted to Europe and foreign countries, so in order to promote this brand’s image, I use foreign models,” he said.
Backstage ahead of Uemura’s show, a group of willowy blondes sat texting and eating sandwiches while stylists touched up their make-up and curled their hair.
Kali Myronenko, a 20-year-old from Ukraine, first appeared on the Tokyo runway when she was 17 and is now based in the city, where the insatiable appetite for her looks gives her a regular stream of work.
“Japanese people ... like this idea of being cute-looking and young, so many Japanese people wear contact lenses with the blue eyes,” she said.
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She thinks the interest in her appearance is down to a typical yearning for what you don’t have, such as curly-haired people desperate for straight hair. “You don’t want to be how you are because you see yourself everyday in the mirror,” she said.
In Japan, that yearning to be different has, as in other Asian countries, led to a robust market for skin-whitening creams, while dyed-blonde hair is not an uncommon sight in the corridors of fashion week, held in Tokyo’s trendy Shibuya district.
As spectators filed out of Uemura’s show, fashion PR worker Kaori Yasuike said it was not at all strange for her to see blonde Caucasians strutting down the runway, because she sees them all the time in magazines. “We want to look at someone who we admire as an ideal body type,” she said.
In pursuit of their ideal look, Tokyo agents nowadays choose many of their models from Eastern Europe or Russia, according to fashion week casting director Bobbie Tanabe. He said they were given attractive contracts with flights, apartments and drivers, meaning they cost about twice as much to hire as local models.
Meanwhile, some Japanese youngsters seeking to make it on the catwalk now try their luck in fashion centres such as New York, Tenable said. “Maybe using Japanese models can be too realistic for (Japanese designers),” he added.
There is also the issue of Tokyo Fashion Week’s global appeal. It still does not attract the prestigious designer names that show in Paris, New York, Milan or London.
Model Rika Tatsuno, who grew up in the United States, thinks this is another reason designers opt for foreign models. “They want to branch out internationally and so they can’t just target the Asian market,” she said, although she suggested Japanese models would help to give “a better understanding of how the clothes would look” on their main domestic consumers.
Ukrainian Myronenko said she would “love” to work alongside more Japanese models in Tokyo, where she finds the job more enjoyable than at shows such as Paris Fashion Week. “I think it’s just the Japanese way that I love, how they treat other people no matter who you are, famous or not famous.”
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| All natural treatments for the hair can turn out to be real messy.
I PASSED the halfway point of the monthly challenge with my head help up high. That is, until I went for a haircut recently, and my stylist commented: “Why is your hair so oily?”
That was a bit of a downer. I feel my hair looks and feels fine, but it just goes to show that sometimes one can be falsely optimistic about something so personal. Maybe all the unusual (not to mention, icky) shampoo substitutes are taking a toll on my scalp after all.
Anyway, I am persevering and going to test out more wacky ideas for Week Three. If raw eggs and honey didn’t do my hair in, then surely it’ll be able to withstand a treatment of yoghurt and bananas?
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Slopping yoghurt on my head didn’t seem like much of a problem at first. After all, I enjoy eating yoghurt and its nutritional values (protein, calcium and vitamins D, B2, B1, B6) are widely accepted.
What I didn’t expect was the stink. While apple cider vinegar made my head smell sharply acidic, yoghurt gave my hair a pungent, sour stench akin to vomit! I kid you not, and in comparison, the vinegar now seems like child’s play.
Then came the bananas, also rich in nutrients (potassium and vitamin B). They were odourless, but incredibly difficult to wash off. Even after vigorous rinsing and washing, I was still picking banana bits off my hair throughout the day. Gross!
I tried two different methods – mashing and blending the banana before adding in the honey, but the problem persisted. No matter how fine the mixture, there was still residue.
It should be noted that using yoghurt and bananas in my hair is not advocated as a shampoo, but more as a conditioner. (I’m back to using baking soda to clean my hair, by the way). The two are touted to be hair-strengthening treatments – seen as a replacement to commercial conditioners.
Note to self: I’m staying off yoghurt for a while. Can’t get the memory of the stench out of my mind.
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| Their international breakthrough was a risqu� gem-studded corset for Madonna and ever since they have gained a reputation for pushing the boundaries of fashion.
The Italian pair are renowned for their daring advertising campaigns and provocative designs, which accentuate female curves.
However behind the sexy image of Dolce & Gabbana the two founders, who were once lovers, are both deeply conservative.
The pair are opponents of same-sex marriage and they are now facing a backlash after speaking out against gay adoption and describing children born via IVF as “synthetic”.
Dolce claimed having children should be “an act of love” while Gabbana declared: “The family is not a fad.”
A Hollywood boycott led by Sir Elton John who has vowed never to wear Dolce & Gabbana clothes again was gathering pace yesterday.
The singer, who is married to David Furnish and whose two sons were test-tube babies, wrote: “How dare you refer to my beautiful children as ‘synthetic’. And shame on you for wagging your judgmental little fingers at IVF – a miracle that has allowed legions of loving people, both straight and gay, to fulfil their dream of having children.”
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The views of Dolce, 56, and Gabbana, 52, were shaped by their conventional upbringings.
Domenico Dolce, who was raised in a village on the island of Sicily, is the son of a tailor and became fascinated by clothes design while playing with scraps of his father’s fabrics.
He says: “I grew up in a traditional family, made up of a mother, a father and children.
“I am very well aware of the fact that there are other types of families and they are as legitimate as the one I’ve known. But in my personal experience, family had a different configuration. That is the place where I learnt the values of love and family.”
He’s a staunch Catholic and found a kindred spirit when he met Stefano Gabbana while both were working for a small fashion house in Milan in the 1980s.
Gabbana, whose father was a printer and mother a cleaner, grew up in a working-class area of the city. To earn a few lire he sometimes helped his mother.
The designer has admitted struggling to come to terms with his own sexuality.
“Many of my issues were rooted in my realising that I was gay when I was a little boy,” Gabbana says. “I knew I was different.”
Their brand was born in 1985 and Dolce and Gabbana were an item for more than 20 years.
Gabbana has described their relationship as “a great love story” but, although the pair have always been openly gay, insists they never considered tying the knot or having children.
Italy does not recognise gay marriage.
They separated in 2003 but saw no reason to break up their company, which now employs more than 3,000 people and has made both men billionaires.
Angelina Jolie, Sienna Miller and Scarlett Johansson are among the A-listers who clamour to wear their latest releases.
The Italians’ clothes are cutting edge but their conservative views are considered outdated in liberal Hollywood.
In 2006 Gabbana remarked: “I am opposed to the idea of a child growing up with two gay parents. A child needs a mother and a father. I could not imagine my childhood without my mother. I also believe that it is cruel to take a baby away from its mother.”
It’s a sentiment his business partner echoes, adding: “Life has a natural course, there are things that cannot be modified. The family is one of them.”
Their opinions have won praise from traditionalists yet the pair have also caused offence among the very same supporters with their racy designs and outrageous adverts.
In one, in 2006, a female model was shown being held down by her wrists while a group of men look on.
The brand was attacked for allegedly encouraging rape and the ad was banned in Spain for humiliating women.
The designers insist they see nothing wrong with celebrating the female form and their clothes are renowned for generous displays of cleavage.
“We love breasts, curves,” Dolce says. “Because our dresses show our appreciation they make women feel at ease.”
Madonna has always been a fan and commissioned 1,500 Dolce & Gabbana costumes for her 1993 world tour.
She enthuses: “Their clothes are sexy with a sense of humour like me.”
The designers’ most recent show in Milan was a celebration of motherhood featuring models and their babies on the catwalk.
They are said to be proud of the number of women employed in senior posts.
As the designers show no sign of apologising over their comments other stars including Victoria Beckham, former tennis players Martina Navratilova and singer Ricky Martin have voiced their indignation.
The Dolce & Gabbana empire has emerged unscathed from previous scandals.
Last year the firm was cleared in a long-running tax evasion case.
But if this storm subsides Domenico and Stefano might just decide to keep their opinions to themselves in future.
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| In her first season on the fashion show circuit, Lineisy Montero did what many models could only dream about: She started as an exclusive at Prada, then went on to appear at only top shows, including Loewe, C�line, Balenciaga, Givenchy, Louis Vuitton, and Miu Miu. A show list like that would be impressive for a supermodel, but for a new face, it offers unparalleled exposure, setting her up for a bright future filled with campaigns and editorial work. Growing up in the Dominican Republic, Montero always envisioned a career in fashion, but her aspirations were behind the scenes, not in front of the cameras. “I always loved fashion,” says Montero, who is now signed to Next, “but my true dream was to be a great fashion designer. I never thought of being a model.”
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Scouted while visiting an amusement park, Montero quickly garnered the attention of modeling’s star-makers. Casting director Ashley Brokaw has a long history of launching distinctive models (stars like Aymeline Valade and Sam Rollinson began their careers after being discovered by Brokaw) and she tapped Montero for a career-making exclusive at Prada. Though Montero admits to not at first fully understanding the importance of walking Prada, once the day of the show arrived, it became clear. “It still feels like a dream—it was my first runway show. I can’t even describe it. I only thought before walking out, I can do anything since God gives me strength. After the show, so many people were congratulating me and saying I looked beautiful. It was really something I will never forget.”
Since walking Prada, Montero and her signature Afro have been generating buzz on and off the runway. A high-profile campaign seems imminent, and industry insiders like Edward Enninful, Pat McGrath, and Stella McCartney have taken to social media to post shots of Montero backstage. The newfound attention doesn’t phase her. “Right now I just want to work hard, make money, and be able to help my family,” she says. Still, the ambitious beauty hasn’t forgotten what brought her here in the first place: “I want to have a clothing line after I have my modeling career.”
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