#b des fashion design

[mahendrareddy6595]

Crafting Fashion Futures: Bachelor of Design - Fashion Design Course Specializations

The world of fashion is ever-evolving, with new trends and technologies shaping the industry daily. To thrive in this dynamic field, aspiring designers need a robust education that provides both a strong foundation and opportunities for specialization. The Bachelor of Design in Fashion Design at Alliance University offers a comprehensive program designed to equip students with the skills and knowledge necessary for a successful career in fashion.

Why Choose Alliance University?

As one of the premier fashion schools in Bangalore, Alliance University stands out for its exceptional curriculum, experienced faculty, and state-of-the-art facilities. Recognized among the best colleges for fashion designing in Bangalore, the university offers a learning environment that fosters creativity and innovation.

Bachelor of Design in Fashion Design: Course Overview

The Bachelor of Design in Fashion Design program at Alliance University is tailored to cover all essential aspects of fashion design, from fundamental principles to advanced techniques. This program is ideal for those looking to make their mark in the fashion industry, providing a blend of theoretical knowledge and practical skills.

Core Specializations in Fashion Design

1. Textile Design:

   - Explore the intricacies of fabric creation and manipulation. This specialization focuses on understanding various textiles, their properties, and how they can be used innovatively in fashion.

2. Apparel Design:

   - Delve into the world of garment construction. Learn about pattern making, draping, and sewing techniques to create stunning apparel.

3. Accessory Design:

   - This specialization covers the design and creation of accessories such as jewelry, bags, and footwear, adding the perfect finishing touches to any fashion ensemble.

4. Fashion Illustration and CAD:

   - Develop skills in sketching and using computer-aided design (CAD) software to bring your fashion ideas to life with precision and creativity.

5. Fashion Marketing and Merchandising:

   - Learn the business side of fashion, including how to market and merchandise fashion products effectively.

Advantages of Studying at Alliance University

- Experienced Faculty: Learn from industry veterans who bring real-world experience and insights into the classroom.

- Modern Facilities: Benefit from access to cutting-edge labs, studios, and design software.

- Industry Exposure: Gain valuable experience through internships, workshops, and collaborations with leading fashion houses.

- Comprehensive Curriculum: The program combines traditional techniques with contemporary practices, ensuring students are well-prepared for the industry.

Why Study Fashion Design in Bangalore?

Bangalore is a thriving hub for fashion and design, making it an ideal location for fashion education. Studying fashion design in Bangalore offers numerous advantages, including access to industry events, networking opportunities, and a vibrant cultural scene.

Cost and Fees

Understanding the cost of education is crucial for prospective students. The fashion designing courses in Bangalore fees at Alliance University are competitive and reflect the high quality of education provided. Detailed fee structures can be obtained directly from the university’s admissions office.

Career Opportunities

Graduates of the Bachelor of Fashion Design program at Alliance University are well-prepared to enter various roles in the fashion industry, such as:

- Fashion Designer: Create original clothing, accessories, and footwear.

- Textile Designer: Develop innovative fabrics and patterns.

- Fashion Illustrator: Visualize and sketch fashion concepts.

- Fashion Merchandiser: Plan and promote fashion products.

- Costume Designer: Design costumes for film, theater, and television.

Conclusion

The Bachelor of Design in Fashion Design at Alliance University is more than just a degree; it’s a pathway to a vibrant and successful career in the fashion industry. As one of the best fashion designing institutes in Bangalore, the university offers a curriculum that is both comprehensive and specialized, preparing students to excel in various facets of fashion design. If you're passionate about fashion and looking to craft a successful future in this dynamic field, enrolling in one of the best fashion designing courses at Alliance University is a significant first step. Explore your creativity, develop your skills, and get ready to make your mark in the world of fashion design.

[thedesignvillage7]

The Design Village (TDV) stands at the forefront of design education in India, offering a unique and immersive learning experience for students aspiring to shape the world of interior design, fashion design, and product design. With a keen focus on fashion forecasting 2025 and creative trends 2025, TDV ensures its students are prepared to lead and innovate in these rapidly evolving fields. If you are passionate about transforming ideas into reality, now is the perfect time to apply. TDV has opened its admissions for the academic session 2025–2026, and here’s everything you need to know about their courses, fees, and the exciting creative opportunities that await you.

[rishihood-edu]

What is the scope for a BSc in Psychology?

A B.Sc in Psychology has a lot of scope in India because of the increasing need for mental health professionals. Graduates can take up a career in clinical settings, counselling environments, schools or in organizational psychology. As counsellors, mental health workers, and human resources specialists, many students continue on to their chosen careers. Further studies like a master’s in psychology can lead to specializations like clinical, or neuropsychology.

A B.Sc in Psychology, offered by Rishihood University focuses on creating leaders for a mental health impact. They combine traditional psychology with modern practice to prepare the students for different career opportunities. Rishihood stresses the importance of real-world experience and so their graduates are ready for the job market.

It is so versatile; it is applicable in any school, hospital, corporate sector, and NGO. Psychology careers need practical exposure, and internships are the key to successful psychology careers. The programs at Rishihood University supply students with theoretical knowledge and hands-on skills and, students studying at this institute are ready to work in mental health in future.

You can contact us by

Phone: +91 7669916629

Email: at namaste@rishihood.edu.in

Website: https://rishihood.edu.in/contact/

Visit us: at NH-44 (GT Road), Near Bahalgarh Chowk, Delhi NCR, Sonipat, Haryana – 131021

[woxsennuniversity]

Woxsen University offers an innovative B.Des Fashion Design program that combines creativity with practical skills, equipping students to excel in the fashion industry. This course emphasizes hands-on learning, guiding students through various aspects of design, from concept to execution. With experienced faculty and modern facilities, Woxsen provides a comprehensive curriculum tailored to industry needs, preparing graduates for successful careers in fashion design and related fields.

[dcschool]

Your Guide to B.Des & B.Arch Courses in Kerala: Top Colleges, Admission Procedures, and Program Details

DC School offers a comprehensive guide to pursuing Bachelor of Design (B.Des) and Bachelor of Architecture (B.Arch) programs in Kerala. Whether you're interested in a B.Des course in Vagamon, Trivandrum, or across Kerala, or exploring B.Arch colleges and admission procedures, our platform provides in-depth information to help you make informed decisions.

Bachelor of Design (B.Des) Programs: DC School highlights premier B.Des courses available throughout Kerala. Our guide includes:

B.Des Interior Design Colleges: Find top institutions offering specialized interior design programs. Learn about the curriculum, faculty, and facilities that make these colleges stand out.

Bachelor of Design in Kerala: Explore a list of the best B.Des colleges across Kerala. We cover institutions offering various specializations, including product design, graphic design, and fashion designing.

Top B.Des Colleges in Trivandrum: Discover leading colleges in Trivandrum that offer exceptional B.Des programs. Our guide provides details on their courses, campus life, and admission requirements.

Bachelor of Design Specializations: Whether you’re interested in fashion designing, product design, or graphic design, our guide details the top B.Des colleges in Kerala for each specialization.

Bachelor of Architecture (B.Arch) Programs: Our detailed guide covers B.Arch programs across Kerala, including:

B.Arch Admission Procedures: Get step-by-step information on the admission process for B.Arch courses. We cover entrance exams, eligibility criteria, and the documentation required for a successful application.

Best B.Arch Colleges in Kerala: Learn about the premier B.Arch institutions in Kerala known for their excellent education, state-of-the-art facilities, and industry connections.

Top 10 B.Arch Colleges: Our curated list features the top 10 B.Arch colleges in Kerala, providing insights into their strengths, programs, and unique offerings.

B.Arch Admission in Kerala: Understand the specific admission procedures for B.Arch programs, including application timelines and selection criteria.

Other Relevant Design Programs: In addition to B.Des and B.Arch, DC School provides information on other relevant design programs:

Bachelor of Arts in Graphic Design: Explore colleges offering a Bachelor’s degree in graphic design. Our guide highlights programs that focus on digital and visual communication skills.

Bachelor’s Degree in Fashion Designing: Discover institutions that offer degrees in fashion designing, including details on course content, industry exposure, and career prospects.

Bachelor of Design in Product Design: Learn about B.Des programs with a focus on product design, covering curriculum, career opportunities, and top colleges offering this specialization.

Why DC School? DC School is dedicated to providing comprehensive and reliable information about design and architecture education. Our guides are crafted to help prospective students navigate their options and make informed decisions about their educational journey. With detailed insights into course offerings, college rankings, and admission processes, we ensure that you have the tools you need to succeed.

Get Started with DC School: Ready to embark on your educational journey in design or architecture? Visit DC School for a complete overview of B.Des and B.Arch courses, including top colleges and admission procedures. Our platform is here to support you in making the best choice for your academic and career goals. Explore your options today and take the first step towards a successful future in design or architecture.

[kitaston]

ph. Tony Vaccaro | 1961

Hubert de Givenchy

[adypy-00]

UI/UX Design vs. Product Design: Understanding the Key Differences and Career Paths

In today’s digital landscape, the roles of UI/UX designers and product designers are increasingly essential, but often misunderstood. Although they share similarities and overlap, each role has unique responsibilities, skills, and workflows. Understanding these distinctions can help aspiring designers choose the right career path and provide valuable insights into the dynamic world of design.

Defining UI/UX Design and Product Design

UI/UX Design: UI (User Interface) design emphasizes the visual appearance and aesthetic appeal of a product. It involves creating visually appealing and intuitive interfaces that facilitate user interactions. UX (User Experience) design, on the other hand, emphasizes the overall experience users have with a product. It involves researching, testing, and optimizing the user’s journey to ensure it is smooth, efficient, and enjoyable.

Product Design: Product design encompasses a broader scope, involving the entire lifecycle of a product. Product designers are responsible for defining the product’s vision, functionality, and usability. They often collaborate with various teams, including UI/UX designers, engineers, and marketers, to bring a product from concept to market. This role requires a deep understanding of both user needs and business goals.

Key Responsibilities

UI/UX Designer Responsibilities: 1. User Research: Conducting interviews, surveys, and usability tests to understand user needs and preferences. 2. Wireframing and Prototyping: Creating wireframes and interactive prototypes to visualize the user interface and experience. 3. Visual Design: Designing the aesthetic aspects of the interface, including color schemes, typography, and layout. 4. Interaction Design: Defining how users interact with the product through animations, transitions, and microinteractions. 5. Usability Testing: Continuously testing and refining designs based on user feedback.

Product Designer Responsibilities: 1. Product Strategy: Defining the product vision, goals, and roadmap in alignment with business objectives. 2. Market Research: Analyzing market trends, competitor products, and user needs to identify opportunities. 3. Ideation and Concept Development: Brainstorming and developing product concepts and features. 4. Design and Prototyping: Creating detailed designs and prototypes, often in collaboration with UI/UX designers. 5. Cross-Functional Collaboration: Working with engineering, marketing, and sales teams to ensure the product’s success. 6. Product Testing and Iteration: Continuously testing and iterating on the product based on user feedback and performance metrics.

Skills and Tools

UI/UX Designer Skills: 1. Design Principles: Deep knowledge of color theory, typography, and layout. 2. User Research: Proficiency in conducting and analyzing user research. 3. Wireframing and Prototyping Tools: Expertise in tools like Sketch, Figma, Adobe XD, and InVision. 4. Interaction Design: Ability to create engaging and intuitive interactions. 5. Usability Testing: Skill in designing and conducting usability tests.

Product Designer Skills: 1. Strategic Thinking: Ability to align product design with business goals and market trends. 2. User-Centered Design: Strong focus on understanding and meeting user needs. 3. Cross-Functional Collaboration: Excellent communication and teamwork skills. 4. Prototyping and Design Tools: Proficiency in tools like Sketch, Figma, and InVision, as well as knowledge of basic coding principles. 5. Analytical Skills: Ability to analyze data and user feedback to inform design decisions.

Workflow and Process

UI/UX Design Workflow: 1. Research: Gathering insights through user interviews, surveys, and usability tests. 2. Wireframing: Creating wireframes to outline the structure and layout of the interface. 3. Prototyping: Developing interactive prototypes to test and refine the user experience. 4. Visual Design: Designing the final visual elements of the interface. 5. Usability Testing: Continuously testing and iterating on the design based on user feedback.

Product Design Workflow: 1. Ideation: Brainstorming and conceptualizing product ideas and features. 2. Research: Conducting market research and user research to validate ideas. 3. Design and Prototyping: Creating detailed designs and prototypes in collaboration with UI/UX designers. 4. Development: Working with engineering teams to build and test the product. 5. Launch and Iteration: Releasing the product and continuously refining it based on user feedback and performance metrics.

Overlapping Areas While UI/UX design and product design have distinct roles, there is significant overlap. Both roles require a strong focus on user-centered design, collaboration, and continuous iteration based on feedback. UI/UX designers frequently collaborate with product designers to ensure the user interface and experience are consistent with the overall product vision. Similarly, product designers rely on UI/UX designers to create intuitive and visually appealing interfaces that enhance the user experience.

Real-World Examples

UI/UX Design Example: A UI/UX designer at a tech startup might work on redesigning the company’s mobile app. They would conduct user interviews to understand pain points, create wireframes and prototypes, and test the new design with users. Their goal would be to improve the app’s usability and visual appeal, ensuring a seamless and enjoyable user experience.

Product Design Example: A product designer at a large e-commerce company might be responsible for developing a new feature for the company’s website. They would start by conducting market research and user interviews to validate the feature idea. Next, they would collaborate with UI/UX designers to create detailed designs and prototypes. After testing and iterating on the feature, they would work with engineering teams to build and launch it, continuously monitoring its performance and making improvements as needed.

Career Paths

UI/UX Design Career Path: - Entry-Level: Junior UI/UX Designer - Mid-Level: UI/UX Designer, Interaction Designer - Senior-Level: Senior UI/UX Designer, Lead UI/UX Designer - Leadership: UX Manager, Head of UX

Product Design Career Path: - Entry-Level: Junior Product Designer - Mid-Level: Product Designer, UX Designer - Senior-Level: Senior Product Designer, Lead Product Designer - Leadership: Product Design Manager, Head of Product Design

Conclusion Both UI/UX design and product design are essential for developing successful digital products. While they share common goals and overlap in many areas, they have distinct responsibilities, skills, and workflows. Understanding these differences can help aspiring designers choose the right career path and excel in their chosen field.

At Ajeenkya DY Patil University, we offer comprehensive programs tailored to these exciting fields. Our courses in UI/UX design and product design provide students with the knowledge, skills, and hands-on experience necessary to thrive in the industry. Whether you’re drawn to the visual and experiential aspects of UI/UX design or the strategic and holistic approach of product design, our programs are designed to equip you with the tools and expertise to succeed.

Join us at Ajeenkya DY Patil University and embark on a rewarding career journey in the dynamic world of design.

[swarrnimuniversitygandhinagar]

How to Excel in B Des Fashion and Interior Design Courses

The Bachelor of Design (B Des) in Fashion and Interior Design are two of the most sought-after courses for creative minds aiming to make a mark in the design industry. Excelling in these courses demands creativity, passion, and a strategic approach toward learning and practical application. Here’s how you can excel in B Des in Fashion Designing and B Des in Interior Designing, shaping a successful career in design.

Understand the Basics

The first step to excelling in any course is to build a strong foundation. Understanding the basics of design principles, history, materials, and techniques is crucial for fashion and interior design courses. Dive deep into the fundamental concepts and always stay curious to learn more. The basics will serve as your guide in every design challenge you face.

Practice Relentlessly

Design is a skill honed by practice. Regularly working on your drawing, sketching, and designing skills is essential. Whether it's fashion or interior design, the more you practice, the better you become. Experiment with different styles, materials, and techniques. This improves your skill set and helps you find your unique design voice.

Stay Updated with Trends

The design world is ever-evolving. Staying updated with the latest trends in fashion and interior design is important. However, it's also crucial to understand the history and evolution of design to predict future trends. Use online resources, magazines, and books to keep yourself informed. Attend workshops, exhibitions, and seminars whenever possible.

Leverage Technology

In this digital age, proficiency in design software and tools is as important as your creative skills. Learn to use software like Adobe Photoshop, Illustrator, AutoCAD, and SketchUp. These tools help bring your designs to life and are essential for presenting your ideas professionally.

Build a Portfolio

Your portfolio is a reflection of your skills and creativity. Start building your portfolio from the beginning of your course. Include a variety of work showcasing your skills, creativity, and understanding of design principles. A strong portfolio is crucial when applying for internships or jobs.

Seek Real-world Experience

Internships and part-time jobs provide invaluable real-world experience. They offer a glimpse into the industry's workings and help build a professional network. Try to secure internships in reputable design firms or with established designers. The practical experience gained will be instrumental in your growth and success.

Collaborate and Network

Building a network within the design community is vital. Collaborate with peers on projects, participate in design competitions, and attend industry events. Networking helps you share ideas, learn from others, and open up opportunities for future collaborations and job prospects.

Reflect and Iterate

Design is an iterative process. Always be open to feedback and willing to make changes to your designs. Reflect on your work critically and learn from both successes and failures. Continuous improvement is key to mastering the art of design.

Swarrnim University: Shaping Future Designers

Swarrnim University, situated in the heart of Gandhinagar, offers comprehensive B Des courses in Fashion Designing and Interior Designing. With a focus on practical learning, the university provides state-of-the-art facilities, experienced faculty, and a curriculum that aligns with the industry’s current demands.

The interior design course in Gandhinagar at Swarrnim University is designed to equip students with creative skills and practical knowledge. Students are encouraged to experiment, innovate, and develop designs that are aesthetically pleasing but also functional and sustainable.

Similarly, the B Des in Fashion Designing course at Swarrnim University focuses on developing the students' understanding of fashion trends, materials, and the fashion industry's business aspects. The course aims to nurture creative minds who can contribute to the fashion industry with innovative designs.

At Swarrnim University, students have numerous opportunities to engage in real-world projects, internships, and workshops with industry professionals. This hands-on approach ensures that students are well-prepared to embark on their design careers upon graduation.

Conclusion

Excelling a B Des in Fashion Designing and a B Des in Interior Designing requires a mix of creativity, hard work, and strategic learning. By understanding the basics, practicing relentlessly, staying updated with trends, leveraging technology, building a strong portfolio, seeking real-world experience, collaborating, and continuously improving, you can set the foundation for a successful career in the design industry. Swarrnim University, with its comprehensive courses and industry-aligned curriculum, serves as an ideal platform for aspiring designers to realize their potential and craft their future in the design world.

[isabelleffe]

List of Pro-Palestinian Celebrities That I Have Been Working On

pro🍉 (❌ = problematic for unrelated reason, 🕊️= passed away)

reneé rapp

pedro pascal

bella ramsey

bella hadid

gigi hadid

dua lipa

melanie martinez❌(sa - “she didn’t say no” was response)

the weekend❌(misogyny - lesbian fetish)

towa bird

phoebe bridgers

lucy dacus

julien baker

beabadoobee

kehlani

hozier

melissa barreram

macklemore

cate blanchett

hari nef

julia fox❌(connections with kanye and drake)

mitski

SZA

nina lu

zendaya

victoria monét

rachel zegler

jenna ortega

clairo

chloe forero

miss rachel (toddler learning)

ariana grande❌(said her dream dinner date is jeffery dahmer)

ricky montgomery

angelina jolie

maisie peters

chani nicholas

nemahsis

chappell roan

frank ocean

ramy youssef

cardi b

halsey

eddy mack

saul williams

arooj aftab

michelle wolf

carice van houten

matt mcgorry

michael stipe

Jasmin Savoy Brown

Dame Vivienne Westwood

Neemz

amira jazeera

MUNA

Hedy Epstein

Hunter Schafer

Chance the Rapper

ishowspeed ❌ (treated his ex-girlfriend terribly)

Noname (rapper, poet, and producer)

shannon berry

nicola coughlan

bambie thug

zara larsson

AURORA

jonathan glazer

joaquin phoenix❌

lizzy mcalpine

coldplay (will champion, phil harvey, guy berryman, chris martin)

tyler the creator

björk

pink floyd (at least roger waters)

lauryn hill

chuck d

david bowie (loving the alien)🕊️

Malcom X🕊️

the strokes (Julian Casablancas, Albert Hammond Jr., Fabrizio Moretti, Nick Valensi, and Nikolai Fraiture)

earl sweatshirt

michael jackson (palestine, don't cry)🕊️

kid cudi

rage against the machine (zack de la rocha, tom morello, tim commerford, brad wilk)

lorde

FKA twigs

joji

ethel cain

Michael Jordan Bonema

lil peep🕊️

sean beam

liam cunningham

dianne guerrero

sean bean

tobias menzies

charles dance

carice van houten

emma d’arcy

madison pettis

lena heady

mxmtoon

joe alwyn

momona tamada

patrick spicer

mark ruffalo

halle bailey

chloe bailey

nicola coughlan

tom welling

kristen kreuk

rob delaney

kali uchis

louise xin (fashion designer)

isabela merced

joseph quinn

grace van dien

helana christensen

josh hutcherson

charli xcx

megan thee stallion (called for ceasefire at her concert 8/1/24, not sure if she talked about it before that because i only went to one concert)

hozier

not pro🍉 (“neutrality” = not pro 🍉, red text = signed letter for "israel")

taylor swift (no statement)

kanye west

oprah

dwayne johnson

lana del rey

selena gomez

rihanna (no statement)

adam sandler

lady gaga (performed in "israel")

beyoncé (no statement)

justin timberlake (performed in "israel")

noah schnapp

bon jovi (performed in "israel")

robbie williams (performed in "israel")

Brett Gelman

entirety of paramore (no statement)

chris pratt

justin bieber

hailey bieber

haley baylee (no statement)

natalie portman

madonna (performed in "israel")

kardashian family

Jenner family

jennifer lawrence

amy schumer

neil druckmann (admitted to "The Last of Us Part 2" being based on Israel's genocide against Gaza, except from a zionist's point of view)

bruno mars (performed in isnotreal)

mayim bialik

gal gadot

Jerry Seinfeld

Debra Messing

Bryan Lourd

Richard Lovett

Ryan Murphy

Zachery Levi

Sharon Osbourne

Tracey-Ann Oberman

George Lopez

Phil Rosenthal

Mekhi Phifer

Diane Warren

Haim Saban

Irving Azoff

Ynon Kreiz

Jody Gerson

Mark Hamill

Rick Yorn

Howie Mandel

Sherry Lansing

Rick Yorn

Tom Rothman

Julian Edelman

Antoine Fuqua

Jack Black

Aubrey Plaza

Tahj Mowry

Josh Peck

Ziggy Marley

Howie Mandel

Chris Pine

Billy Porter

Ben Savage

Jeremy Seinfeld

Bella Thorne

uncertain

billie eilish (wore ceasefire pin but doesn’t boycott - made videos for mtv israel)

laufey (connections to mitski- no statement)

hank green (historically hasn’t been pro🍉 but has donated recently)

olivia rodrigo (connections to Chappell roan - no statement)

dylan mulvaney (posted in support of palestine but has a few pro-israel friends & has partnered with pro-israel brands)

If you spot any typos, mistakes regarding celebrities listed, or have information about celebrities not listed, please either DM me or leave a comment on this post!!

As always, this blog stands with Palestine, Congo, and Sudan. PLEASE make sure to email your state representatives (if you live in the United States). If you do not know your representative (or how to contact them), you can use this website (which is the official U.S. House of Representatives website). My reposts on Tumblr are all about Isnotreal's genocide on Palestine (at least as of 6/16/2024). Make sure to amplify Palestinian voices and journalists as well (a list will be included below of some Palestinian journalists and groups/people supporting Palestine on Instagram).

@/wizard_bisan1

@/hindkhoudary

@/m.z.gaza

@/anat.international

@/palestine.academy

@/eye.on.palestine

@/ampalestine

@/byplestia

@/wael_eldahdouh

@/jenan.matari

@/thepcrt

@/blackforpalestine

@/jewishvoiceforpeace

@/palestinianyouthmovement

@/eid_yara

[irish-dress-history]

Did the ancient Celts really paint themselves blue?

Part 2: Irish tattoos

Clockwise from top left: Deirdre and Naoise from the Ulster Cycle by amylouioc, detail from The Marriage of Strongbow and Aoife by Daniel Maclise, a modern Celtic revival tattoo, Michael Flatley in a promotional image for the Irish step dance show 'Lord of the Dance'

This is my second post exploring the historical evidence for our modern belief that the ancient and medieval Insular Celts painted or tattooed themselves with blue pigment. In the first post, I discussed the fact that body paint seems to have been used by residents of Great Britain between approximately 50 BCE to 100 CE. In this post, I will examine the evidence for tattooing.

Once again, I am looking at sources pertaining to any ethnic group who lived in the British Isles, this time from the Roman Era to the early Middle Ages. The relevant text sources range from approximately 200 CE to 900 CE. I am including all British Isles cultures, because a) determining exactly which Insular culture various writers mean by terms like ‘Briton’, ‘Scot’, and ‘Pict’ is sometimes impossible and b) I don’t want to risk excluding any relevant evidence.

Continental Written Sources:

The earliest written source to mention tattoos in the British Isles is Herodian of Antioch’s History of the Roman Empire written circa 208 CE. In it, Herodian says of the Britons, "They tattoo their bodies with colored designs and drawings of all kinds of animals; for this reason they do not wear clothes, which would conceal the decorations on their bodies" (translation from MacQuarrie 1997). Herodian is probably reporting second-hand information given to him by soldiers who fought under Septimius Severus in Britain (MacQuarrie 1997) and shouldn't be considered a true primary source.

Also in the early 3rd century, Gaius Julius Solinus says in Collectanea Rerum Memorabilium 22.12, "regionem [Brittaniae] partim tenent barbari, quibus per artifices plagarum figuras iam inde a pueris variae animalium effigies incorporantur, inscriptisque visceribus hominis incremento pigmenti notae crescunt: nec quicquam mage patientiae loco nationes ferae ducunt, quam ut per memores cicatrices plurimum fuci artus bibant."

Translation: "The area [of Britain] is partly occupied by barbarians on whose bodies, from their childhood upwards, various forms of living creatures are represented by means of cunningly wrought marks: and when the flesh of the person has been deeply branded, then the marks of the pigment get larger as the man grows, and the barbaric nations regard it as the highest pitch of endurance to allow their limbs to drink in as much of the dye as possible through the scars which record this" (from MacQuarrie 1997).

This passage, like Herodian's, is clearly a description of tattooing, not body staining or painting. That said, I have no idea of tattoos actually work like this. I would think this would result in the adult having a faded, indistinct tattoo, but if anyone knows otherwise, please tell me.

The poet Claudian, writing in the early 5th c., is the first to specifically mention the Picts having tattoos (MacQuarrie 1997). In De Bello Gothico he says, "Venit & extremis legio praetenta Britannis,/ Quæ Scoto dat frena truci, ferroque notatas/ Perlegit exanimes Picto moriente figuras."

Translation: "The legion comes to make a trial of the most remote parts of Britain where it subdues the wild Scot and gazes on the iron-wrought figures on the face of the dying Pict" (from MacQuarrie 1997).

Last, and possibly least, of our Mediterranean sources is Isidore of Seville. In the early 7th c. he writes, "the Pictish race, their name derived from their body, which the efficient needle, with minute punctures, rubs in the juices squeezed from native plants so that it may bring these scars to its own fashion [. . .] The Scotti have their name from their own language by reason of [their] painted body, because they are marked by iron needles with dark coloring in the form of a marking of varying shapes." (translation from MacQuarrie 1997)

Isidore is the earliest writer to explicitly link the name 'Pict' to their 'painted' (Latin: pictus) i.e. tattooed bodies. Isidore probably borrowed information for his description from earlier writers like Claudian (MacQuarrie 1997).

In the 8th century, we have a source that definitely isn't Romans recycling old hearsay. In 786, a pair of papal legates visited the Anglo-Saxon kingdoms of Mercia and Northumbria (Story 1995). In their report to Pope Hadrian, the legates condemn pagans who have "superimposed most hideous cicatrices" (i.e gotten tattoos), likening the pagan practice to coloring oneself "with dirty spots". The location of the visit indicates that these are Anglo-Saxon tattoos rather than Celtic, but some scholars have suggested that the Anglo-Saxons might have adopted the practice from the Brittonic Celts (MacQuarrie 1997).

A gloss in the margin of the late 9th c. German manuscript Fulda Aa 2 defines Stingmata [sic] as "put pictures on the bodies as the Irish (Scotti) do." (translation from MacQuarrie 1997).

Fulda Aa 2 folio 43r The gloss is on the left underlined in white.

Irish Written Sources:

Irish texts that mention tattoos date to approximately 700-900 CE, although some of them have glosses that may be slightly later, and some of them cannot be precisely dated.

The first text source is a poem known in English as "The Caldron of Poesy," written in the early 8th c. (Breatnach 1981). The poem is purportedly the work of Amairgen, ollamh of the legendary Milesian kings. In the first stanza of the poem, he introduces himself saying, "I being white-kneed, blue-shanked, grey-bearded Amairgen." (translation from Breatnach 1981)

The text of the poem with interline glosses from Trinity College Dublin MS 1337/1

The word garrglas (blue-shanked) has a Middle Irish (c. 900-1200) gloss added by a later scribe, defining garrglas as: "a tattooed shank, or who has the blue tattooed shank" (Breatnach 1981).

Although Amairgen was a mythical figure, the position ollamh was not. An ollamh was the highest rank of poet in medieval Ireland, considered worthy of the same honor-price as a king (Carey 1997, Breatnach 1981). The fact that a man of such esteemed status introduces himself with the descriptor 'blue-shanked' suggests that tattoos were a respectable thing to have in early medieval Ireland.

The leg tattoos are also mentioned c. 900 CE in Cormac’s Glossary. It defines feirenn as "a thong which is about the calf of a man whence ‘a tattooed thong is tattooed about [the] calf’" (translation from MacQuarrie 1997)

The Irish legal text Uraicecht Becc, dated to the 9th or early 10th c., includes the word creccoire on a list of low-status occupations (Szacillo 2012, MacNeill 1924). A gloss defines it as: crechad glass ar na roscaib, a phrase which Szacillo interprets as meaning "making grey-blue sore (tattooing) on the eyes" (2012). This sounds rather strange, but another early Irish text clarifies it.

The Vita sancti Colmani abbatis de Land Elo written around the 8th-9th centuries (Szacillo 2012) contains the following episode:

On another time, St Colmán, looking upon his brother, who was the son of Beugne, saw that the lids of his eyes had been secretly painted with the hyacinth colour, as it was in the custom; and it was a great offence at St Colmán’s. He said to his brother: ‘May your eyes not see the light in your life (any more). And from that hour he was blind, seeing nothing until (his) death. (translation from Szacillo 2012).

The original Latin phrase describing what so offended St Colmán "palpebre oculorum illius latenter iacinto colore" does not contain the verb paint (pingo). It just says his eyelids were hyacinth (blue) colored. This passage together with the gloss from the Uraicecht Becc implies that there was a custom of tattooing people's eyelids blue in early medieval Ireland. A creccoire* was therefore a professional eyelid tattooer or a tattoo artist.

A possible third reference to tattooing the area around the eye is found in a list of Old Irish kennings. The kenning for the letter 'B' translates as 'Beauty of the eyebrow.' This kenning is glossed with the word crecad/creccad (McManus 1988). Crecad could be translated as cauterizing, branding, or tattooing (eDIL). McManus suggests "adornment (by tattooing) of the eyebrow" as a plausible interpretation of how crecad relates to the beauty of the eyebrow (1988). The precise date of this text is not known (McManus 1988), but Old Irish was used c. 600-900 CE, meaning this text is of a similar date to the other Irish references to tattoos.

Kenning of the letter 'b' with gloss from TCD MS 1337/1

There is a sharp contrast between the association of tattoos with a venerated figure in 'The Caldron of Poesy', and their association with low-status work and divine punishment in the Uraicecht Becc and the Vita. This indicates that there was a shift in the cultural attitude towards tattoos in Ireland during the 7th-9th centuries. The fact that a Christian saint considered getting tattoos a big enough offense to punish his own brother with blindness suggests that tattooing might have been a pagan practice which gradually got pushed out by the Catholic Church. This timeline is consistent with the 786 CE report of the papal legates condemning the pagan practice of tattooing in Great Britain (MacQuarrie 1997).

There are some mentions of tattooing in Lebor Gabála Érenn, but the information largely appears to be borrowed from Isidore of Seville (MacQuarrie 1997). The fact that the writers of LGE just regurgitated Isidore's meager descriptions of Pictish and Scottish (ie Irish) tattooing without adding any details, such as the designs used or which parts of the body were tattooed, makes me think that Insular tattooing practices had passed out of living memory by the time the book was written in the 11th century.

*There is some etymological controversy over this term. Some have suggested that the Old Irish word for eyelid-tattooer should actually be crechaire. more info Even if this hypothesis is correct, and the scribe who wrote the gloss on creccoire mistook it for crechaire, this doesn't contradict my argument. The scribe clearly believed that eyelid-tattooer belonged on a list of low-status occupations.

Discussion:

Like Julius Cesar in the last post, Herodian of Antioch c. 208 CE makes some dubious claims of Celtic barbarism, stating that the Britons were: "Strangers to clothing, the Britons wear ornaments of iron at their waists and throats; considering iron a symbol of wealth, they value this metal as other barbarians value gold" (translation from MacQuarrie 1997). If the Britons wore nothing but iron jewelry, then why did they have brass torcs and 5,000 objects that look like they're meant to attach to fabric, Herodian?

Brass torc from Lochar Moss, Scotland c. 50-200 CE. Romano-British trumpet brooch from Cumbria c. 75-175 CE. image from the Portable Antiquities Scheme.

Trumpet brooches are a Roman Era artifact invented in Britain, that were probably pinned to people's clothing. more info

Although Herodian and Solinus both make dubious claims, there are enough differences between them to indicate that they had 2 separate sources of information, and one was not just parroting the other. This combined with the fact that we have more-reliable sources from later centuries confirming the existence of tattoos in the British Isles makes it probable that there was at least a grain of truth to their claims of tattooing.

There is a common belief that the name Pict originated from the Latin pictus (painted), because the Picts had 'painted' or tattooed bodies. The Romans first used the name Pict to refer to inhabitants of Britain in 297 CE (Ware 2021), but the first mention of Pictish tattoos came in 402 CE (Carr 2005), and the first explicit statement that the name Pict was derived from the Picts' tattooed bodies came from Isidore of Seville c. 600 CE (MacQuarrie 1997). Unless someone can find an earlier source for this alleged etymology than Isidore, I am extremely skeptical of it.

Summary of the written evidence:

Some time between c. 79 CE (Pliny the Elder) and c. 208 CE (Herodian of Antioch) the practice of body art in Great Britain changed from staining or painting the skin to tattooing. Third century Celtic Briton tattoo designs depicted animals. Pictish tattoos are first mentioned in the 5th century.

The earliest mention of Irish tattoos comes from Isidore of Seville in the early 6th c., but since it seems to have been a pre-Christian practice, it likely started earlier. Irish tattoos of the 8-9th centuries were placed on the area around the eye and on the legs. They were a bluish color. The 8th c. Anglo-Saxons also had tattoos.

Tattooing in Ireland probably ended by the early 10th c., possibly because of Christian condemnation. Exactly when tattooing ended in Great Britain is unclear, but in the 12th c., William of Malmesbury describes it as a thing of the past (MacQuarrie 1997). None of these sources give much detail as to what the tattoos looked like.

The Archaeology of Insular Ink:

In spite of the fact that tattooing was a longer-lasting, more wide-spread practice in the British Isles than body painting, there is less archaeological evidence for it. This may be because the common tools used for tattooing, needles or blades for puncturing the skin, pigments to make the ink, and dishes to hold the ink, all had other common uses in the Middle Ages that could make an archaeologist overlook their use in tattooing. The same needle that was used to sew a tunic could also have been used to tattoo a leg (Carr 2005). A group of small, toothed bronze plates from a Romano-British site at Chalton, Hampshire might have been tattoo chisels (Carr 2005) or they might have been used to make stitching holes in leather (Cunliffe 1977).

Although the pigment used to make tattoos may be difficult to identify at archaeological sites, other lines of evidence might give us an idea of what it was. Although the written sources tell us that Irish tattoos were blue, the popular modern belief that woad was the source of the tattoo pigment is, in my opinion, extremely unlikely for a couple of reasons:

1) Blue pigment from woad doesn't seem to work as tattoo ink. The modern tattoo artists who have tried to use it have found that it burns out of the person's skin, leaving a scar with no trace of blue in it (Lambert 2004).

2) None of the historical sources actually mention tattooing with woad. Julius Cesar and Pliny the Elder mention something that might have been woad, but they were talking about body paint, not tattoos. (see previous post) Isidore of Seville claimed that the Picts were tattooing themselves with "juices squeezed from native plants", but even assuming that Isidore is a reliable source, you can't get blue from woad by just squeezing the juice out of it. In order to get blue out of woad, you have to first steep the leaves, then discard the leaves and add a base like ammonia to the vat (Carr 2005). The resulting dye vat is not something any knowledgeable person would describe as plant juice, so either Isidore had no idea what he was talking about, or he is talking about something other than blue pigment from woad.

In my opinion, the most likely pigment for early Irish and British tattoos is charcoal. Early tattoos found on mummies from Europe and Siberia all contain charcoal and no other colored pigment. These tattoos range in date from c. 3300 BCE (Ötzi the Iceman) to c. 300 CE (Oglakhty grave 4) (Samadelli et al 2015, Pankova 2013).

Despite the fact that charcoal is black, it tends to look blueish when used in tattoos (Pankova 2013). Even modern black ink tattoos that use carbon black pigment (which is effectively a purer form of charcoal) tend to look increasingly blue as they age.

A 17-year-old tattoo in carbon black ink photographed with a swatch of black Sharpie on white printer paper.

The fact that charcoal-based tattoo inks continue to be used today, more than 5,000 years after the first charcoal tattoo was given, shows that charcoal is an effective, relatively safe tattoo pigment, unlike woad. Additionally, charcoal can be easily produced with wood fires, meaning it would have been a readily available material for tattoo artists in the early medieval British Isles. We would need more direct evidence, like a tattooed body from the British Isles, to confirm its use though.

As of June 2024, there have been at least 279 bog bodies* found in the British Isles (Ó Floinn 1995, Turner 1995, Cowie, Picken, Wallace 2011, Giles 2020, BBC 2024), a handful of which have made it into modern museum collections. Unfortunately, tattoos have not been found on any of them. (We don't have a full scientific analysis for the 2023 Bellaghy find yet though.)

*This number includes some finds from fens. It does not include the Cladh Hallan composite mummies.

Tattoos in period art?

It has been suggested that the man fight a beast on Book of Kells f. 130r may be naked and covered in tattoos (MacQuarrie 1997). However, Dress in Ireland author Mairead Dunlevy interprets this illustration as a man wearing a jacket and trews (Dunlevy 1989). Looking at some of the other figures in the Book of Kells, I agree with Dunlevy. F. 97v shows the same long, fitted sleeves and round neckline. F. 292r has long, fitted leg coverings, presumably trews, and also long sleeves. The interlace and dot motifs on f. 130r's legs may be embroidery. Embroidered garments were a status symbol in early medieval Ireland (Dunlevy 1989).

Left to right: Book of Kells folios 130r, 97v, 292r

A couple of sculptures in County Fermanagh might sport depictions of Irish tattoos. The first, known as the Bishop stone, is in the Killadeas cemetery. It features a carved head with 2 marks on the left side of the face, a double line beside the mouth and a single line below the eye. These lines may represent tattoos.

The second sculpture is the Janus figure on Boa Island. (So named because it has 2 faces; it's not Roman.) It has marks under the right eye and extending from the corner of the left eye that may be tattoos.

I cannot find a definitive date for the Bishop stone head, but it bears a strong resemblance to the nearby White Island church figures. The White Island figures are stylistically dated to the 9th-10th centuries and may come from a church that was destroyed by Vikings in 837 CE (Halpin and Newman 2006, Lowry-Corry 1959). The Janus figure is believed to be Iron Age or early medieval (Halpin and Newman 2006).

Conclusions:

Despite the fact that tattooing as a custom in the British Isles lasted for more than 500 years and was practiced by at least 3 different cultures, written sources remain our only solid evidence for it. With only a dozen sources, some of which probably copied each other, to cover this time span, there are huge gaps in our knowledge. The 4th century Picts may not have had the same tattoo designs, placements or reasons for getting tattooed as the 8th c. Irish or Anglo-Saxons. These sources only give us fragments of information on who got tattooed, where the tattoos were placed, what they looked like, how the tattoos were done, and why people got tattooed. Further complicating our limited information is the fact that most of the text sources come from foreigners and/or people who were prejudiced against tattooing, which calls their accuracy into question.

'The Cauldron of Posey' is one source that provides some detail while not showing prejudice against tattoos. The author of the poem was probably Christian, but the poem appears to have been written at a time when Pagan practices were still tolerated in Ireland. I have a complete translation of the poem along with a longer discussion of religious elements here.

Leave me a tip?

Bibliography:

BBC (2024). Bellaghy bog body: Human remains are 2,000 years old https://www.bbc.com/news/uk-northern-ireland-68092307

Breatnach, L. (1981). The Cauldron of Poesy. Ériu, 32(1981), 45-93. https://www.jstor.org/stable/30007454

Carey, J. (1997). The Three Things Required of a Poet. Ériu, 48(1997), 41-58. https://www.jstor.org/stable/30007956

Carr, Gillian. (2005). Woad, Tattooing and Identity in Later Iron Age and Early Roman Britain. Oxford Journal of Archaeology 24(3), 273–292. https://doi.org/10.1111/j.1468-0092.2005.00236.x

Cowie, T., Pickin, J. and Wallace, T. (2011). Bog bodies from Scotland: old finds, new records. Journal of Wetland Archaeology 10(1): 1–45.

Cunliffe, B. (1977) The Romano-British Village at Chalton, Hants. Proceedings of the Hampshire Field Club and Archaeological Society, 33(1977), 45-67.

Dunlevy, Mairead (1989). Dress in Ireland. B. T. Batsford LTD, London. 

eDIL s.v. crechad https://dil.ie/12794

Giles, Melanie. (2020). Bog Bodies Face to face with the past. Manchester University Press, Manchester. https://library.oapen.org/viewer/web/viewer.html?file=/bitstream/handle/20.500.12657/46717/9781526150196_fullhl.pdf?sequence=1&isAllowed=y

Halpin, A., Newman, C. (2006). Ireland: An Oxford Archaeological Guide to Sites from Earliest Times to AD 1600. Oxford University Press, Oxford. https://archive.org/details/irelandoxfordarc0000halp/page/n3/mode/2up

Hoecherl, M. (2016). Controlling Colours: Function and Meaning of Colour in the British Iron Age. Archaeopress Publishing LTD, Oxford. https://www.google.com/books/edition/Controlling_Colours/WRteEAAAQBAJ?hl=en&gbpv=0

Lambert, S. K. (2004). The Problem of the Woad. Dunsgathan.net. https://dunsgathan.net/essays/woad.htm

Lowry-Corry, D. (1959). A Newly Discovered Statue at the Church on White Island, County Fermanagh. Ulster Journal of Archaeology, 22(1959), 59-66. https://www.jstor.org/stable/20567530

MacQuarrie, Charles. (1997). Insular Celtic tattooing: History, myth and metaphor. Etudes Celtiques, 33, 159-189. https://doi.org/10.3406/ecelt.1997.2117

McManus, D. (1988). Irish Letter-Names and Their Kennings. Ériu, 39(1988), 127-168. https://www.jstor.org/stable/30024135

Ó Floinn, R. (1995). Recent research into Irish bog bodies. In R. C. Turner and R. G. Scaife (eds) Bog Bodies: New Discoveries and New Perspectives (p. 137–45). British Museum Press, London. ISBN: 9780714123059

Pankova, S. (2013). One More Culture with Ancient Tattoo Tradition in Southern Siberia: Tattoos on a Mummy from the Oglakhty Burial Ground, 3rd-4th century AD. Zurich Studies in Archaeology, 9(2013), 75-86.

Samadelli, M., Melisc, M., Miccolic, M., Vigld, E.E., Zinka, A.R. (2015). Complete mapping of the tattoos of the 5300-year-old Tyrolean Iceman. Journal of Cultural Heritage, 16(2015), 753–758.

Story, Joanna (1995). Charlemagne and Northumbria : the influence of Francia on Northumbrian politics in the later eighth and early ninth centuries. [Doctoral Thesis]. Durham University. http://etheses.dur.ac.uk/1460/

Szacillo, J. (2012). Irish hagiography and its dating: a study of the O'Donohue group of Irish saints' lives. [Doctoral Thesis]. Queen's University Belfast.

Turner, R.C. (1995). Resent Research into British Bog Bodies. In R. C. Turner and R. G. Scaife (eds) Bog Bodies: New Discoveries and New Perspectives (p. 221–34). British Museum Press, London. ISBN: 9780714123059

Ware, C. (2021). A Literary Commentary on Panegyrici Latini VI(7) An Oration Delivered Before the Emperor Constantine in Trier, ca. AD 310. Cambridge University Press, Cambridge. https://www.google.com/books/edition/A_Literary_Commentary_on_Panegyrici_Lati/oEwMEAAAQBAJ?hl=en&gbpv=0

[napoleonic-sexyman-tournament]

Pyotr Bagration

a. “From what I’ve read, he was a shy sweetheart outside of war, and an absolutely badass during battle. Like- it was partially that shyness that got him caught up in his less than favorable marriage. Also, have you seen his portrait by George Dawes?! It makes me swoon at the sight of it.”

b. “The best, the sexiest and certainly the greatest NOSE in the Russian army and perhaps all armies of that period. Noseys of Napoleonic era, beware! Believed to be a target of Grand Duchess Catherine Pavlovna's affections, a soldier's soldier celebrated for his courage and spirit, respected even by Napoleon and widely beloved… with the noted exceptions of his own wife and one Barclay de Tolly.”

c. “His sideburns and his nose”

Joachim Murat:

a. “Serving cunt and cake (seriously, look up his Hussar portrait)”

b. “see: any portrait of him. dat ass in dat hussar's uniform.”

c. “He is the First Horseman of France, he is a Grand Admiral who can’t fuckin sail a ship. He allegedly had “For France and For The Ladies” on his sword. He was often called “Beau Sabreur” which some will tell you means Dashing Swordsman. He looked after his appearance, getting a servant to help curl those locks around his fingers and designing so many uniforms - he had the fashion game! And when he died he asked his firing squad to aim at the heart and spare the face, because he knew he was a sexyman to the end.”

[themakeupbrush]

In no particular order, my top looks from the 2023 Met Gala "Karl Lagerfeld: A Line in Beauty"

My thoughts are below, but I'll be honest, I didn't really do any background research this year because there wasn't much to be done. These are really just my opinions on whether or not I liked the look.

Ironically, I felt this was a very mediocre year, which led to me having a lot more favorites than usual because they were kind of all on the same level. In previous years I would have separated this into multiple posts, but I don't really see the point.

Doja Cat: I wanted someone to dress up as Choupette the cat and she delivered, and managed to do so in a way that was still fitting for the event

Keke Palmer: She looked amazing, and really captured the Chanel look with the bombshell hair and the extremely bedazzled tweed. I honestly don't want to think about how much that dress weighed

Anne Hathaway: Besides that fact that I love everything Anne Hathaway has ever done, this dress was the perfect combination of honoring Lagerfeld's style while also incorporating it into the style of the brand she was representing (Versace). It had tweed and pearls, but also sex appeal and safety pins

Cardi B: First, I just want to appreciate her ongoing commitment to high fashion and the fact that she had three (3) completely separate looks. This particular Miss Sohee look was my favorite because she's living out my glinda barbie mermaid fairy princess dreams

Harvey Guillen: This was one of the first looks I saw of the night, and still one of my favorites. It has all the Lagerfeld style essentials, but still manages to look unique. Plus, creative menswear always gets extra points because the bar is painfully low, though this year was a surprisingly pleasant exception.

Jennifer Lopez: It's not the most creative look, but it's right up my alley and honestly, do we expect anything groundbreaking from JLo? She's always going to show up in something pretty that's decently on theme enough for me to just focus on whether or not I like it. And this immediately makes me think of classic Chanel.

Penelope Cruz: She was a co-host, it's vintage Chanel couture from the 80's, and she's one of the people I most heavily associate with Lagerfeld and Chanel. A win all around.

Russell Westbrook: I really want to give Russell Westbrook credit for always showing up to the Met Gala and really going for it. I love all the details: the pearl necklace, the tweed blazer with floral clasps, the bows on the shoes

Chloe Fineman: Another first look that turned out to be a favorite. This again had all the necessary design elements without feeling like a cheap knockoff. Also major points for the bedazzled cat bag.

Anok Yai: I don't know and I don't care how this relates to theme, she looked like a goddess

Bad Bunny: Another man not only doing something interesting but incorporating the theme? Genuinely shocking. Obviously I loved the OTT floral cape, but I really loved the ode to c. 2005 Chanel with the backless suit and backwards necklace.

Gisele: She wore the same dress from an iconic 2007 editorial, proving not only that she still has it, but that she's always had it. A true supermodel.

Salma Hayek: She looked hot, I don't know what else you want me to say about it. Also it had color, which nothing else did. My eyes were starving for color.

Glenn Close: For starters, she needed an entire team to carry her train so props for that. She brought the drama, the glitz, and the "age is just a number so shut the hell up" glamor.

Lil Nas X: This was, for lack of a better phrase, a cheeks out, bedazzled, balls to the wall look. The Choupette inspiration is more obvious when he was inside with the fur (ish?) coat on, but I honestly didn't care. I needed a moment and he delivered. Though I do wonder (1) how long it took to bedazzle him and (2) will he every fully be de-glittered.

Brian Tyree Henry: I don't know if it's the pose or the cape, but it's giving me dramatic shakespeare vibes and I appreciate it.

Naomi Campbell: The only issue I have with this look is that they called 2010 Chanel Couture "vintage" and I can't accept that. Beyond that, I mean, it's Naomi Campbell in Chanel Couture. I was also dying for any semblance of color at this point and somehow this dress was among the most colorful

Jenna Ortega: The perfect combination of chanel tweed cropped blazer/mini skirt and the Wednesday Addams aesthetic. Which was interesting because I thought she was trying to move away from that but I don't care it was a successful look

Ava Max: Chanel was known for the haute couture bride, and this not only really captures that, it was one of the most and quite honestly only majorly dramatic looks of the night

Halle Bailey: She looked like a mermaid and I love that for her

Ashley Graham: I would have loved this look regardless, but after seeing the dress it was modeled after, I also think it was one of the best tributes of the night

Tems: Has she ever looked bad on a red carpet? Her headpieces are just getting bigger and more elaborate and I see nothing wrong with that.

Diddy: I love the drama + the floral cape, though I am left wondering how he didn't faint under all of that. Also, you can roast me all you want for captioning his post with Sean Combs but that's what was given to the AP so it's what I went with.

Shai Gilgeous Alexander: A final man who followed the theme and wore something interesting, arguably more interesting than some of the women. I actually think I like this look better without the coat over it.

[rishihood-edu]

Which are the best BSc colleges in Haryana?

Several top colleges in Haryana offer quality B.Sc programs, including Kurukshetra University, Maharshi Dayanand University, and Chaudhary Devi Lal University. These institutions provide various science specializations with experienced faculty and research opportunities.

For students who are looking for an innovative education approach, Rishihood University offers a B.Sc program focused on creating impact-driven leaders. Their curriculum combines foundational science knowledge with hands-on training and interdisciplinary learning. Rishihood University emphasizes practical skills and personal growth. It stands out as a strong option for students who want an impactful career in science.

You can contact us by

Phone: +91 7669916629

Email: at namaste@rishihood.edu.in

Website: https://rishihood.edu.in/contact/

Visit us: at NH-44 (GT Road), Near Bahalgarh Chowk, Delhi NCR, Sonipat, Haryana – 131021

[woxsennuniversity]

Step into Design Excellence at Woxsen University: A Launchpad for Creative Professions

Woxsen University stands as a beacon of design education in India, offering cutting-edge programs tailored to nurture creativity, innovation, and industry-relevant skills. Among its prestigious offerings are the B Des in Interior Designing and BDes Fashion Design programs, which are designed to meet the ever-evolving demands of the design industry. As one of the Top Design Colleges in India, Woxsen University provides an environment that fosters creative exploration and technical expertise, equipping students with the tools they need for successful design careers.

Why Choose Woxsen University for Design?

Woxsen University is renowned for its commitment to providing world-class education across various design disciplines. The university's design school boasts:

State-of-the-art Infrastructure: Modern facilities, including fully equipped design studios, digital labs, and innovative spaces for hands-on learning.

Experienced Faculty: A team of industry experts and seasoned educators guide students through both the creative process and practical applications.

Industry Connections: Strong collaborations with top design firms and industry professionals provide students with networking opportunities, internships, and real-world experience.

Innovative Curriculum: A curriculum that combines design theory, practical projects, and the latest technological tools in the design field.

B Des in Interior Designing: Crafting Spaces with Style and Functionality

The B Des in Interior Designing program at Woxsen University is a comprehensive course designed to teach students the art and science of designing aesthetically pleasing and functional interiors. This program blends creativity with technical know-how, ensuring that students are equipped to meet the demands of both residential and commercial interior design.

Key Highlights of the Program:

Design Concepts: Students learn to master color theory, spatial arrangements, lighting, and material selection to create cohesive interior designs.

Practical Skills: Courses focus on CAD software, 3D modeling, and building codes, ensuring students can translate their creative ideas into practical designs.

Sustainability in Design: Emphasis is placed on sustainable design practices, with students learning to create eco-friendly and energy-efficient spaces.

Hands-on Learning: Workshops, site visits, and real-world design projects help students apply theoretical knowledge in real-time scenarios.

Career Prospects:

Graduates of the B Des in Interior Designing program can pursue careers as interior designers, spatial planners, design consultants, or work within architectural firms. The program prepares students to work in diverse sectors, including residential, commercial, and hospitality design.

BDes Fashion Design: Shaping the Future of Fashion

Fashion design is one of the most dynamic and competitive fields in the creative industry. Woxsen University’s BDes Fashion Design program is designed to provide students with the creative and technical skills needed to make a mark in the fashion industry. This program focuses on innovation, sustainability, and global trends, preparing students to meet the challenges of the modern fashion world.

Key Highlights of the Program:

Fashion Creativity and Innovation: Students are encouraged to explore their creativity, develop original ideas, and translate them into wearable designs.

Technical Proficiency: The program covers pattern making, garment construction, textiles, and fabric selection, ensuring students have the technical skills to bring their designs to life.

Sustainability in Fashion: With a growing focus on sustainable fashion, students learn about eco-friendly materials and processes, enabling them to create ethical and environmentally conscious designs.

Global Fashion Trends: The curriculum includes modules on global fashion trends, fashion history, and cultural influences, giving students a broad perspective on the fashion industry.

Career Prospects:

Graduates of the BDes Fashion Design program can pursue various career paths, including fashion design, textile design, fashion merchandising, and styling. They are well-prepared to work with leading fashion houses, start their own labels, or become fashion consultants.

Why Woxsen University is Among the Top Design Colleges in India

Woxsen University’s reputation as one of the Top Design Colleges in India stems from its holistic approach to design education. The university blends creativity with cutting-edge technology, ensuring students are not only creative thinkers but also skilled professionals ready to tackle industry challenges.

Factors That Set Woxsen Apart:

Interdisciplinary Learning: Woxsen encourages interdisciplinary collaboration, allowing students from different design streams to work together on projects. This approach helps students develop versatile skill sets and prepare for multi-disciplinary roles in the industry.

Global Exposure: Woxsen provides opportunities for global exposure through international exchange programs and collaborations with universities abroad. This helps students gain a global perspective on design and enhances their cultural awareness.

Strong Alumni Network: Woxsen’s alumni network is a valuable resource for current students, offering mentorship, job opportunities, and industry connections.

Entrepreneurship Focus: Woxsen encourages students to think beyond traditional career paths, with a focus on entrepreneurship and innovation. Students are guided on how to start their own design ventures and navigate the complexities of running a creative business.

Facilities and Campus Life

At Woxsen University, students have access to:

Design Studios: Fully equipped with the latest tools and technology, enabling students to work on projects that align with industry standards.

Library and Digital Resources: A vast collection of design books, journals, and digital resources to support learning and research.

Workshops and Labs: Practical learning is emphasized through regular workshops and hands-on lab sessions that give students real-world experience.

Collaborative Spaces: The campus features collaborative spaces where students from different design disciplines can interact and work together on projects, fostering a sense of community and collaboration.

Conclusion

Choosing Woxsen University for design education is a step toward a successful and fulfilling career in the creative industries. Whether you are interested in the B Des in Interior Designing program or the BDes Fashion Design course, Woxsen’s comprehensive curriculum, experienced faculty, and industry connections will provide you with the skills and knowledge needed to excel. As one of the Top Design Colleges in India, Woxsen University offers a unique environment that nurtures creativity, innovation, and professionalism, making it the perfect destination for aspiring designers.

[evermore-fashion]

Met Gala 2023: My Top 10 Women’s Looks

Here we go, this is my 10 women’s looks from the Met Gala 2023. Just to remind everyone that my opinions are mine alone, so feel free to agree or disagree with me as much as you like. However I will not tolerate any hate personally aimed at me if you disagree with me to the point where you want to start an argument. So let’s keep it respectful, clean (language wise) and more importantly let’s have some fun with this. Like I said, if you’re looking for an argument, then you’re following the wrong fashion blog. 

1. Kim Kardashian wearing Schiaparelli. This was the first look I saw this morning when I switched my phone on and I was blown away by it. I honestly didn’t know what to expect from Kim after her look from last year that got a lot of people talking. So I was pleasantly surprised to see her in an original design that shows off her body in all the right places and I love the draped pearls across her breasts (which are actually covered by a nude bra). Overall it was another Met Gala and another show stopping moment from Kim Kardashian.

2. Doja Cat wearing Oscar De La Renta In comparison to Jared Leto, Doja Cat understood the theme and took it to a whole other level that was both unexpected but not at the same time. I loved the use of prosthetics that complimented her simple yet stunning crystallised gown. Plus who doesn’t love a gown with a hood that has cat ears coming out the top that makes you look like a fashionista rather than someone attending a Halloween party?

3. Gigi Hadid wearing Givenchy I’m a sucker for a black gown that comes not just with a corset but a lot of tulle draped perfectly in all the right places as well. Gigi just looked stunning in this and considering a lot of attendee’s were also wearing either black or white, her Givenchy gown stood out when I was scrolling endlessly through all the looks earlier today. Simple, yet perfect sums up her look that I couldn't not add to my top 10 favourites. 4. Cardi B wearing Chenpeng Studio  I just loved the edgy yet alternative bridal look that also incorporated a masculine energy through the shirt and tie design blended with a corset that still made the overall gown look and feel feminine as well as beautiful. I’m not a fan of Cardi B as a rapper but like Kim Kardashian her Met Gala looks have never disappointed and I think this look was one of her best yet. 

5. Devon Aoki wearing Jeremy Scott Even though it’s yet another black & white gown, I just love the cartoon styled wings on the bust line of the corset. To me it made this gown stand out in the sea on monochrome that plagued the Met Gala 2023. Without that unique design, this gown would’ve gone unnoticed and it would’ve easily become another gown that was worn to the wrong event.

6. Florence Pugh in Valentino Florence has been killing it with her red carpet looks in the last 18 months or so, so it was no surprise that she would turn heads at the Met Gala. Whilst I'm not a fan of Valentino since Pierpaolo Piccioli took over as creative designer when Maria Grazi Chiuri left for Dior back in 2016, I can’t help but love this look. A simple white gown paired with a huge feather crown just looked stunning on Florence and it’s another reason why we love seeing show stopping numbers like this one.

7. Glenn Close wearing Erdem Moralıoğlu Similar to Florence Pugh’s look, Glenn Close just looked phenomenal in her Erdem Moralıoğlu design. Once again it was simple yet stunning and I loved the colour on her. It suited her to a tee and what better way to pair a simple gown that with a huge pale blue cape and the sparkliest jewellery of the night. It just goes to show that anyone of any age and can look amazing when dressed perfectly for the Met Gala.

8. Liu Wen wearing Tory Burch I just love how simple the gown is yet at the bottom it’s filled with white flowers that make the Tory Burch gown stand out amongst hundreds of Met Gala looks. The whole look screams red carpet but it’s also the ideal gown for a bride who doesn’t want to wear white to her wedding. Liu Wen just looked stunning in it and it’s why her look has made it into my top 10. 

9. Salma Hayek wearing Gucci I just love that it wasn’t black or white and the sharpness of the red looked phenomenal on Salma both in the PVC corset and the long tiered skirt. Plus the subtle draping of the pearls as straps just topped the look off altogether. Once again I loved everything about it and I can’t fault it at all. It was perfect.  10. Tems wearing Robert Wun This gown was a standout for all the right reasons. Tems looked absolutely gorgeous from head to toe and I love how all the feathers are perfectly placed on both the gown, the gloves and the headpiece from stepping over that line from haute couture into a costume. The shape of the gown also compliments her body to her a tee and I couldn’t think of anything better that Tem’s could’ve worn to the Met Gala.  So this concludes my top 10 looks from the Met Gala 2023. I have to say picking this list was hard because there were so many another amazing designs worn last night, however these 10 stand out to me the most. Feel free to leave your opinion in the comments about which was your standout garment from last night, perhaps it’s on my list and perhaps it’s not. 

I look forward to hearing what you all have to say about this year’s fashion.