#velvet dress designs 2022

[kaurtrends]

Winter Special Velvet suits #velvet #winterspecial #punjabisuit #kaurtrends

Winter Special Velvet suits #velvet #winterspecial #punjabisuit #kaurtrends

[its-poojagupta-shree]

Plain Velvet Kurti Designs

Velvets are always in fashion, whether you talk about fifty years ago or five years ago. So, make your festivities better by grabbing some of the most gorgeous yet plain velvet kurti designs from Shree’s new Festive collection and winter collection. Velvet kurtis at Shree come with features like three-quarter length kurtis, straight or A-line silhouette, and a round or mandarin collar neckline. Explore more such plain velvet kurti designs at Shree. For more information, you can call us at: +91-7827990062 or mail us at: support@byshree.com or visit our website: https://byshree.com/collections/women?utm_source=cls&utm_medium=seo&utm_campaign=feb-23

[zumaira]

Asifa And Nabeel Velvet Dresses Collection 2023

Asifa And Nabeel Velvet Dresses Collection 2023

[magazinepk]

Asifa And Nabeel Velvet Dresses Collection 2023

Asifa And Nabeel Velvet Dresses Collection 2023

[cressida-jayoungr]

One Dress a Day Challenge

November: Oscar winners

Wakanda Forever / Angela Bassett as Queen Ramonda

Year: 2022

Designer: Ruth E. Carter

After the success of Black Panther in 2018, Ruth E. Carter and Angela Bassett both continued to knock it out of the park with Queen Ramonda's costumes in Wakanda Forever. The queen wears this two-toned purple velvet gown to address the UN in the opening sequence. As with many other onscreen purple dresses, it looks considerably deeper in color in the movie than when seen offscreen. According to Ms. Carter, it took four to six months to create.

As in the first film, a 3-D printer was used to create the collar and crown. I found out the crown is modeled on a style of headdress worn by Zulu married women, called an isicholo.

[treemaidengeek]

you've probably seen this zigzag trim called ricrac/ rick rack, especially if you do craft supply thrifting or work with vintage materials (or grew up between the 1950s & 1980s).

(image from a 2022-23 article touting a rick rack revival)

✨️🧵🪡 Did you know rick rack was invented in the 1860s? 🧵🪡✨️

First known as “waved crochet braid” (catchy huh?), rick rack first appeared in the 1860’s but didn’t take on its modern form or name until around 1880. During the 1890’s rick rack sewing trim was imported for use by American sewists as a decorative edging for dresses, aprons, and lingerie. It was also incorporated into lace and then used to decorate curtains, bedding, and other home linens.

After a brief slump in popularity, rick rack ribbon once again came into vogue during the 1910’s when American manufacturers began to produce it. One of these was William E. Wright & Sons, which was founded in Massachusetts in 1897.

Cotton rick rack was in high demand from the 1930’s through the 1950’s when home sewists were upcycling cotton sacks used to pack commodities such as flour, cornmeal, and livestock feed to make dish towels, aprons, and clothing for their families. Wrights rick rack was prized because it was durable; it would tolerate rigorous laundering. The many choices of Wrights rick rack colors complimented the bright flour sack prints. Adding a bit of rick rack helped alleviate the stigma of having to use the feed sack fabric that was available.

After another lull during the 1960’s, rick rack experienced a resurgence of popularity during the 1970’s thanks to Laura Ingalls’ influence. But rick rack hasn’t ever really gone out of style, and it is available in a rainbow of currently popular colors.

(Missouri Star Quilt Co. on Wright's Rick Rack)

more interesting details on early-20th-C history, from Wikipedia...

During the 1910s, rickrack experienced a resurgence in popularity, and American manufacturers began producing rickrack to supply to the domestic market. Among other uses, this rickrack was incorporated into crocheted lace. Books of designs, such as Nufashond Rick Rack Book, helped to popularize the craft.

In rural America in the 1930s, 1940s, and 1950s, rickrack was used to decorate feed sack dresses. These dresses were worn as everyday attire, and were constructed from the large cotton bags that flour, chicken feed, and other goods were shipped in. Since the food had to be shipped in fabric bags anyway, the flour mills competed with each other by using attractive, colorful fabrics that the buyer could either resell or upcycle into dresses, aprons, nightgowns, dishtowels, and other clothing and household items. Adding trim like rickrack was a way to reduce the stigma around needing to use whatever fabric was available, rather than buying it from a store.

I fell down this rabbit hole when I saw Anna wearing this hat in the early 1920s of Downton Abbey s3:

though on closer examination I see that her hatband accent is not actually ricrac, but rather velvet ribbon woven into a ricrac-style zizag pattern. given Downton's notorious attention to historical set & costume detail, & ricrac's contemporary popularity, I wonder if more "fine family" types & their staff picked up the visual trend in higher quality materials. Very cool!

[brooklynmuseum]

There’s no question that Mugler makes for memorable moments on the red carpet. 

Ahead of tonight’s #Grammys ceremony, let’s bring it back to 2019 when Cardi B wore vintage Mugler not just on the red carpet, but on stage, too. Cardi B made her entrance in the Venus dress made from pink satin and black velvet. She later performed her major hit “Money” wearing a leopard-flocked catsuit and crinoline adorned in rhinestones and horsehair. The archival pieces debuted as part of Mugler’s Fall/Winter 1995-96 collection—his legendary 20th anniversary show at the Cirque d'Hiver, Paris—and are both on view in Thierry Mugler: Couturissime.

While Thierry Mugler officially “retired” in 2002, he continued to design costumes on occasion, including Beyonce’s 2009 “I Am” tour. Beyonce is credited with reviving interest in Mugler’s edgy designs, which were subsequently worn by more American performers and entertainers, including Lady Gaga, Kim Kardashian and Cardi B.  

📷 Cardi B attends the 61st Annual GRAMMY Awards at Staples Center on February 10, 2019 in Los Angeles, California. (Photo by Amy Sussman/FilmMagic) → Cardi B performs onstage during the 61st Annual GRAMMY Awards at Staples Center on February 10, 2019 in Los Angeles, California. (Photo by Emma McIntyre/Getty Images for The Recording Academy) → Installation view, Thierry Mugler: Couturissime, on view November 18, 2022 - May 7, 2023. Brooklyn Museum. (Photo: Jonathan Dorado)

[arwendeluhtiene]

Elrond cosplay - Autumn 2022 nature shoot 😃✨🍃🍁💚💜

This was initially a Rivendell Elf OC outfit, but it’s inspired mostly by Elrond’s outfits and Elrond is one of my fave Tolkien characters, so Elrond it is 😁👌 . I absolutely love the shapes and draping of this velvet combo alongside the dupioni silk sash 💜💚 The tunic was a lucky Zara find with just the exact red-purple silk lining as the sash, how cool is that! It was a robe originally, so I just had to have buttons added to the front and sleeves. I love green with purple, and the moss green velvet of the tunic (almost golden in some lightings), the deep forest green velvet of the mantle and the red-purple (fuchsia in certain lightings) duponi silk of the sash are just so gorgeous 😍 . The embroidery on the sash is inspired on the design of Elrond’s Council robe sash, but I later realized that the shade of the dupioni silk I got is really similar to the one Arwen wears with her Farewell dress as well, and the design she wears is really similar too, so it’s a mix of both xD

My Elrond cosplay posts

DeviantArt

Facebook cosplay page

Cosplay Instagram

[lamaisongaga]

LADY GAGA IN CELINE FOR JOKER LA PREMIERE

Lady Gaga attended the Los Angeles premiere of the upcoming "Joker: Folie à Deux" movie at the TCL Chinese Theatres last night.

Styled by Tom Eerebout and Sandra Amador, here's what she wore!

Gaga opted for a striking black gown by Celine, marking her second time wearing the designer during this press tour. While Gaga had worn Celine at the London premiere just days earlier, her choice to return to the French fashion house for the LA event was deliberate, underscoring her alignment with the film’s darker themes.

This custom piece features a structured silhouette with a mock neck, a daring side slit, and bold, billowy satin taffeta shoulders that extend into a dramatic cape-like feature at the back. The voluminous design of the shoulders, combined with the sleek and minimalist column shape, speaks to a balance between power and elegance—a signature in Gaga’s fashion narrative.

Returning to black after previous colorful and playful looks aligns with Gaga’s understanding of thematic coherence. Black is classic, authoritative, and in many ways, cinematic—especially for a film as tonally dark as this one. Her decision to wear the same designer twice during the press tour could be seen as a continuation of a narrative, tying together both premieres through a consistent aesthetic. Black also allows the focus to shift from the dress itself to the emotional gravitas of the event. It’s a color that refuses to distract, making it the perfect canvas for Gaga’s embodiment of her character.

While it might seem repetitive to some that she chose Celine again, this could signal a deeper connection between Gaga and the brand, especially considering that black, in this case, serves as more than just a fashion statement—it becomes an extension of the film’s atmosphere. Though the user (me) expresses disappointment in not seeing her explore another designer, Gaga’s dedication to theme speaks volumes, staying true to her roots in performance art and creating a cohesive narrative that transcends fashion.

Gaga also opted for Tiffany & Co. jewelry (almost as if expected!).

For her ears, she chose their Schlumberger-designed platinum and 18k yellow-gold on black enamel with diamonds Banana earrings.

Her Vignes necklace hails from the 2022 "Botanica" Blue Book high jewelry collection.

Impressive in scale and presence, it features a suite of oval rubellites of over 330 total carats, oval cabochon emeralds of over 50 total carats and round brilliant diamonds of over 10 total carats – all intertwined by intricate 18k yellow-gold "vines".

Next, she wore the Schlumberger-designed platinum and 18k yellow-gold with diamonds on black enamel bracelet.

Her favorite Pleaser Flamingo-1020 black vinyl platform lace-up ankle boots completed the look.

For the after party, she decided to serve us real 90s goth realness in a vintage black crushed velvet cami maxi dress which she topped off with a Celine classic black wool gabardine blazer with notched lapels and two buttons ($2,750).

Shop:

Celine Classic Blazer ($2,750.00)

She also wore the Oliver Peoples Maysen glossy black acetate sunglasses with silver details ($619).

Shop:

Oliver Peoples ��Maysen” Sunglasses ($619.00)

[adridoesstuff]

Comparing Elisabeth's costumes in the Vienna productions of Elisabeth das musical (Act 1)

And I'm back once again to perhaps prove a point, but mainly to pour out some of the frustration. In this post, I'll be comparing the costumes chronologically worn by Elisabeth in the Vienna productions of Elisabeth: the original/1st revival (designed by Reinhard Heinrich; lower refered to as the Heinrich version) and the 2nd revival/Schönbrunn concert (designed by Yan Tax; lower refered to as the Tax version). The Yan Tax design was first used in the 2001 Essen production, but was later carried over into the 2nd revival Vienna production in 2012 and VBW kept on using it since.

I tried to mainly find higher quality photos of all these costumes, but sometimes, I had no luck in doing that. So, at times, I will use a screenshot because nothing else was available. I mainly tried to look for pictures of the 1st revival (circa 2003-2005) and 2nd revival (circa 2012 - 2013), but I will sometimes use pictures from the original production (1992-1996).

Disclaimer: the contents below are my subjective opinion as a student of set and costume design and I will be mainly looking at what the costume tells me within the context and the construction. If you prefer costumes I don't, your opinion is totaly valid and you're welcome to discuss why you think otherwise in reblogs and comments below. :) After each section, I'll try to sum up which of the costumes I liked better and why.

Little Sisi:

Heinrich version: light blue and white trachten/dirndl with a lace apron, hair bow and ribbon choker. Not only fitting her origin as a Bavarian princess, but also sweet with the pastel colors and the accordingly fluffy, but light construction. The costume is girly, but not hindering when is comes to Sisi climbing trees and other physical activities she mentions she likes.

Tax version: short green/brown/orange plaid print dress. Now, this is a historically plausible costume, but do I like it? Absolutely not. The colors and print are ugly and don't fit Sisi's character in the slightest. And with the way the costume has multiple ruffles and pleats, it just makes it too busy to look at. And the skirt is too fluffy for this point in the show. (And they did Abla absolutely dirty with the wig they gave her in 2022 Schönbrunn)

Which is better? Heinrich version all the way. It's sweet and girly, but not too much and I love that it's a trachten/dirndl. The Tax version is just too busy with the plaid and I don't like the colors.

Bad Ischl:

Heinrich version: Dark blue short-sleeved bodice and skirt, matching hair bow and velvet ribbon long choker and bracelets. This costume is directly inspired by what Elisabeth could have worn during this first meeting in Ischl (when she met Franz, she and all her family were in dark mourning dresses, since they didn't have time to change and unlike Helene, who looked washed out in her dark dress, the dark dress really suited Elisabeth). Another little interesting historical detail I noticed here is the choker, which looks like a ribbon choker Elisabeth was mostly depicted wearing during her engagement to Franz. So, awesome that they kept in these little historical details.

Tax version: Long-sleeved bodice and skirt. Now, I've seen this dress in a ton of different fabrics (white with a broad floral trim on the skirt, blue plaid) but I think the most common variant of this costume is this beige one with the orange-red and green pattern. Now, once again, this is a historically more plausible costume, since the meeting took place during the day and so it would be proper for Elisabeth to be covered up, but it doesn't take into account any of the historical happenings. Which just seems to me like the designer didn't do any background research into Elisabeth specifically. And if we're going on pure aesthetic level alone, this dress is so plain and boring.

Which is better? Once again, Heinrich won this. No question needed. And while we're at it, the colorplay the dark dress on Elisabeth offers in Nichts ist schwer is much better that the light dress (We're about to get into lighting here, because that is also important to consider). With the reddish and blue lights for this scene, the dark dress stands out against that very red Habsburg eagle, but the light dress gets a red/pink wash from the lights, which makes Elisabeth almost visually disappear in that scene (see image below). The entire colorplay in the Tax version is simply off for this scene (because the thing that most stands out to me isn't Elisabeth, it's Franz's VERY green knitted socks).

Wedding dress:

Heinrich version: white satin bodice and skirt with silvery translucent overlay, ruffled bertha collar with beaded fringe and puffed translucent sleeves. The amount of soft texture this dress has under the stage lights is so amazing and I really like the choice of sleeve here, since it does remind me of the puffed sleeves she had on her trachten, but this is like a more grown up version. And since the sleeves are translucent and long, it gives Elisabeth the appearance of not fitting in with the court ladies, who all have short sleeves in opaque fabrics . The silvery contrasts look great and the way that white fringe looks like the fringe on Tod's jacket from the Prolog (thus connecting them visually) is *chef's kiss*.

Tax version: white satin button-up bodice with pagoda sleeves and skirt with striped accents. This dress is giving me a whole lot of nothing. Like, there isn't anything eyecatching here. And it makes Elisabeth look kinda dowdy with how covered up she is. And, if they were going for more "historical accuracy", why then put her in a dress that could be classified as daywear (with the long sleeves and the very prominent buttons in the front) if all of the wedding should be taking place in the evening?

Which is better? Heinrich version. The Tax version is too flat and plain for me. If the Heinrich design is proving anything so far, it's that historical accuracy can easily be beaten out with good and purposeful artistic design.

Nightgown:

Heinrich version: structured white nightgown with a slightly raised waistline, broad lace straps and lace trim. Once again, I love the structure the fabric has, it looks soft and romantic under the stage lights. The straps are so characteristic and they make her arms completely bare, thus making her appear vulnerable when facing Sophie and the ladies in waiting.

Tax version: white satin empire waist nightgown with short puffed sleeves. They literally couldn't have picked a thinner and cheaper looking satin for this costume? It literally looks so flimsy, especially since this costume has no texture and no decoration going on. I think the very high empire waistline is also a rather off choice, since it would be very out of fashion during the 1850s and it is a waist placement that often looks awkward on a lot of people. And there are the sleeves. They are very awkwardly short. Especially on the concert costumes, the sleeves literally look like they have 2 cm of an inseam at best.

Which is better? I think this is no surprise, but Heinrich once again gets it.

Stationen eine Ehe:

Heinrich version: White robe with ruffled lace trimmings, long bell-shaped sleeves and a broad light blue sash at the waist. I always love when I see a good nightrobe on stage and this is no exception. The material is delicate and translucent enough to keep Elisabeth looking very vulnerable in this scene, even though she's covered up. And the amount and placement of ruffling is just right. What I also find very interesting is that sash, because that color is so eyecatching (reminds me of a robin's egg) and it really gives the robe a distinct look.

Tax version: Reddish-pink duochrome satin bodice with fake buttons and pagoda sleeves w/ white puffed undersleeves and a matching skirt worn over a circular hoopskirt. Once again, more historically plausable, but it doesn't offer me anything as a costume. By making Elisabeth's silhouette here the same as Sophie and the ladies in waiting and by not giving the fabric any sort of softening embellishments, it removes this vulnerability she should have here. And I don't get why they went for this weird pink shade, because it makes no storytelling sense. And while we're at it, why did they choose to put her in this braided wig here? In real life portraiture, we don't get Elisabeth depicted with her hair in these braided updos up until the mid 1860s. The Heinrich version cleverly went around this by keeping Elisabeth with long loose curls through Act 1 to emphasize her girlishness and naivity, so when we see her with her hair braided up in the portrait reveal, it's this clear visual breaking point for her, showing us how she matured. But in the Tax version, it's a mess when it comes to wigs.

Which is better? Once again, Heinrich takes the cake. I feel like I might be biased, but I just can't find any rhyme and reason in the Tax costumes so far.

Schatten Hungarian dress:

Heinrich version: black and dark blue striped satin bodice with a fake stomacher and puffed sleeves and skirt with a black lace apron. For how little time this costume gets on stage, it is so crucial in this design, since it is both a visual paralel with Elisabeth's Hungarian coronation gown (but here, the silhouette is less mature and it's like a dark version of that dress), but also, this dress is paralelled again in the Mayerling dresses, since Shatten in Act 1 and Mayerling are paralel scenes, where Death takes away one of Elisabeth's children because of her unadvised decisions.

Tax version: same dress as in Stationen eine Ehe, but over it is worn a red velvet atilla with gold cording and brown fur trim and a matching red velvet hat. The atilla looks decently made and the cording does seem ok. This is a much technically easier way how to do this quick costume change, but it's ok. What I don't like here is the hat. It simply looks awkward witch the placement of where it's sitting and that cord in the front doesn't make it better. And once again, I am missing the paralels!

Which is better? I will probably sound like I'm repeating myself, but Heinrich version wins again. You can never beat good paralels and visual connections in costume design.

Elisabeth, mach auf mein Engel:

Heinrich version: Same robe as during Stationen eine Ehe (but this time with a better picture). Still love it here, because this is still supposed to be a vulnerable moment (especially when Death comes in at the end). So by keeping her in this nightgown, which she previously wore at a vulnerable moment, we have an immediate connection of how she feels.

Tax version: White chiffon robe with elbow length sleeves w/ lace engageants and with a train trimmed with lace ruffles, worn over a long pale pink/peach/orange?? satin slip. And we have a dreaded return of that flimsy satin! The nightgown for the most part looks ok, but another of this production's big issues comes in here and that is a gaping issue on front closing overcostumes. (If you read my 2022 Schönbrunn roast, you might remember how I complained about the massive amount of gaping in the front Der Tod's doctor disguise had). Here, the gaping could have easily been fixed with an added ruffle along the seam.

Which is better? Heinrich once again.

Star dress:

Heinrich version: Cream bodice with gathered tulle overlay, bertha collar trimmed with pearls and 3 tiered tulle ruffle sleeves, matching skirt with draped tulle overlay, tulle sash and pearl necklace. I love how this dress isn't an outright copy of the Winterhalter portrait, but keeps the soft, etherial and dreamy vibe the dress has. This dress looks light as a feather and even if it doesn't outright have stars, it has a light shimmer in the tulle.

Tax version: Cream bodice decorated with tulle overlay w/ gold embroidered stars, with pleated bertha collar, single tier tulle ruffle sleeves, matching skirt, matching star embroidered shawl, white satin gloves and star necklace. I love how this costume looks exactly like the portrait! The design is great, but sometimes, there have been some hiccups with the execution, specifically with balancing the volume of the sleeve in relation to the skirt. The costume below is one of the better ones, but often, the sleeves end up being too big and the skirt too narrow, throwing the proportion off. And sometimes, the costume can end up looking too stiff.

Which is better? Depending on the version. For me, this will be a tie. The better versions of the Tax design are equally as good as the Heinrich versions. However, if I were to take into account some of the stiffer versions of the Tax design, Heinrich would take the win again.

[its-poojagupta-shree]

Buy Velvet Kurti Online in India

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[jessicaminhanh]

Jessica Minh Anh organized J Summer Fashion Show 2023 on Costa Diadema, Rio de Janeiro

Jessica Minh Anh, the world’s renowned fashion show producer and supermodel, transformed the sun deck of Brazil’s most luxurious cruise ship, Costa Diadema, into an epic sky-high ocean catwalk. Against the cinematic backdrop of Rio de Janeiro skyline, Jessica’s latest spectacle, J Summer Fashion Show 2023, premiered exquisite haute couture, swimwear, and accessory collections from Europe, Asia, North, and South America. The red-carpet event was a celebration of fashion, sustainability, and cultural diversity. 

Jessica Minh Anh opened the highly anticipated catwalk in an alluring embellished powder pink “Áo Dài” paired with velvet pants designed by Vietnamese brand Gam Voc. A representative of Jessica’s home country, Gam Voc breathed a new life into Asian cultural wear with charming and chic designs on silk, velvet, taffeta, and lace. Dragon embroidery patterns signaled the coming of the Lunar New Year alongside the use of red, black and pink color palette.

Next on the runway, the exotic beachwear brand Sauvage from the US premiered a bold collection with vivid colors and architectural one pieces and bikinis. The collection by designer Elizabeth Southwood featured colorful prints, Swarovski crystals, and chic detailing. This was the third time Sauvage joined Jessica Minh Anh’s production, following J Autumn Fashion Show 2022 on Pier 34 in New York City.

Ukrainian designer Oksana Mukha closed the show with an extraordinary haute couture collection of lavish dresses and floral details. 

Jessica Minh Anh appeared as a vision in a structured red dress with dramatic, 1980s-inspired sleeves, plunging neckline, and an epic long trail. The red-carpet masterpiece accentuated Jessica’s classic silhouette while showcasing the designer’s high-precision and immaculate craftsmanship. The outstanding dress was accompanied by mesmerizing jewelry pieces including a red sea-inspired necklace and rings from Brazilian designer Cristina Sabatini, who has worked with Jessica Minh Anh over the past decade across the five continents. 

The supermodel’s unique look was complimented by an impressive Christ the Redeemer inspired hairstyle designed by Brazilian artists at Rio’s famous d-unhas salon. Jessica led a stunning model line-up on the sky-high ocean catwalk against the picturesque backdrop of deep blue sea and Rio de Janeiro’s skyline. 

This was Jessica’s fifth collaboration with the Italian pride, Costa Cruises, with the two sharing a vision towards a promising future. Just latest year, Jessica hosted the world’s first sustainable ocean catwalk on the liquefied natural gas cruise ship Costa Toscana in Portofino, Italy and stole the show during Milan Fashion Week. Other editions of her famous cruise series took place in Dubai, Sydney, Hong Kong, and New York.

“Jessica Minh Anh is a trailblazer in the fusion of fashion and sustainability, mirroring Costa Cruises' commitment to providing cutting-edge vessels and sustainable initiatives. Our enduring partnership began in 2013 with the J Winter Fashion Show in Dubai. We are thrilled to once again welcome Jessica and her spectacular production aboard the Costa Diadema. This year, we are celebrating 75 years of Costa in Brazil, and we take immense pride in this anniversary with Jessica Minh Anh on board.” said Dario Rustico, General Manager of Americas at Costa Cruises.

Jessica Minh Anh’s multi-talented team from Paris, Milan, and New York experienced Brazilian hospitality at Hotel Laghetto Stilo São Paulo before boarding the ship from Santos to Rio de Janeiro. “Seeing the vibrant, creative, and welcoming spirit of Brazil and its people was amazing”, said Jessica Minh Anh. 

J Summer Fashion Show 2023 in Rio de Janeiro, Brazil marked Jessica Minh Anh’s 28th innovative production. Nearly a decade after celebrating the strength and resilience of the young generation with the first ever event at New York City’s iconic One World Trade Center, Jessica remains a constant force in revolutionizing global runways. Expect the unexpected from the girl who invades fashion with daring ideas and a strong message for a sustainable future. 

[little1too1dramatic]

4th Week; Favorite thing to put on my head

Yet another theme I repeat. That post from October 2022 starts with a notion that I got drunkest out of our group, but people loved it. See, that´s the problem with being funny while drunk. I get very honest, sometimes passive aggressive, always in a joking mood, and people mistake that for me being a jester.That´s why I shouldn´t drink :D. I get to hurt people without punishment, sometimes even with a reward, and that isn´t right. I need that karmic truck to hit me.

Is Marghareta Head Bow still my favourite accessory to put on? Depends. I mean, it looks great with ½ of my wardrobe, but only if I have newly trimmed bangs. You can see how unfortunate it looked with longer ones in a Christmas meet-up. While it´s still cute, and I will thrown it into the mix every now and then, it gives me a headache and I need to check if it sits right on my head surprisingly often. On the other hand, it´s stunning, with its white and beige lace, pearl details and delicate design.

What I actually wear in my day to day life is a huge velvet bow, that I fot for birthdays from my bestie, Peťa. (The same one from the old edition of this article.) It´s from Sinsay I think, and it´s not lolita specific, but dear Mana, do I love it :D. It elevates outfits, helps me do something with my fine, messy hair and I feel like it even improves my posture if that makes any sense.

I usually wear it with a velvet dress (and I do have quite a collection). It´s long, so sometimes I just like having the ends on my shoulders :D. It reminds me of Alice (from the Wonderland, not Alice Cullen. But man, would that be cool.) Most my other bows have broken clips, but I want to fix that. I also want to do more things with my hair. It´s very fine, but at the same time, it never listens to me. It´s hard to make event he easiest hairstyles with it. But that can´t stop me! I swear, I will share my progress :D.

[dankusner]

DIED OF AIDS...

AIDS Use when referring to a very specific stage of HIV disease. Do not use “died of AIDS”; rather, use “died of an AIDS-related illness” or “died of complications of AIDS” — or describe the circumstances. See HIV below for further guidance. She was diagnosed concurrently with HIV and AIDS.

Behold, sequins, tuxes and a kilt

Try searching for the most powerful gay man at Turtle Creek Chorale’s Cyndi Lauper gala

On the first day of Pride Month, a rainy Saturday, around 500 guests lined the second floor of the Omni Hotel for “Rhapsody 2024 With Cyndi Lauper,” the annual gala to benefit the Turtle Creek Chorale.

Women were there — in sequins and satin and shiny jacquard dresses so long they scraped the carpet — but the men took center stage.

They wore sharp designer suits with pocket squares, chic paisley jackets and Tom Ford open collars.

One attendee paired his tux with glitter platform heels. Another wore a kilt.

“Black-tie formal,” it turns out, had only been a starting point.

The Turtle Creek Chorale has been a staple of the Dallas arts scene since its debut 40 years ago.

The gay male singing group of 200+ tends to wear black tuxes, though they’ve been known to cut loose in flashier costumes.

My date and I were so unfamiliar with galas we actually looked up the word (“a social occasion with special entertainments and performances,” not that helpful), but any lingering social anxiety melted as we joined a gathering where no fashion flex was wrong.

DJ Rockstar Aaron stayed true to his name in a neon-pink mohawk, fake eyelashes so long they were nearly bat wings, and a black-and-white rubber suit that looked borrowed from a cartoon character.

“Klaus Nomi,” DJ Aaron told me when I asked what he was wearing.

An East Village art star in the 1970s, Nomi was a countertenor from Bavaria known for outlandish costumes, and Aaron, who lives in Denver but travels the circuit working events like these, wears his Klaus Nomi suit when the dress code calls for black tie.

Inside the ballroom, the lights throbbed purple, tables draped in white tablecloths with pink and white desserts lined up at each seat. But the open-bar reception in the hallway stayed boisterous, and my eyes were drawn by top hats and white tuxes.

I asked a fellow reporter to point out the most powerful gay man in the room.

Her eyes told me this was an impossible question, but she kindly directed me to Terry Loftis, the chief advancement and revenue officer of the Dallas Symphony Orchestra.

“Powerful?” Loftis asked, chuckling, a bit confused by the prize he just won.

At the very least, he’s impressive. A Booker T. Washington grad who went on to produce The Visit and Bandstand on Broadway, Loftis joined the DSO in 2022.

He introduced me to his partner, Jon Adams, a playful Nordstrom stylist in a flat-brimmed fedora and a long pink jacket.

He sipped a dirty martini, his hand in a fingerless pink mesh glove — very Cyndi Lauper She’s So Unusual era.

Apparently someone was handing out those gloves, which I hadn’t seen since fifth grade, but I never tracked down this wily benefactor.

Finding the most powerful gay man in a room of powerful gay men turns out to be a tricky endeavor.

“Do you mean influential?”

Loftis asked, trying to play my game.

He pointed me toward a debonair man from the Cathedral of Hope, but I lost the guy in the crowd and wound up chatting with a striking gentleman in a black-sequined tuxedo.

I mean, wouldn’t you?

Ethan Skinner was my vote for best-dressed.

A 2013 Brown graduate, he’s the VP of finance at a bank, where he definitely does not dress like this.

“It’s a black-sequined animal-print tuxedo lined with velvet,” he told me, but when I asked him to help me find the most powerful gay man in the room, he drew a blank, so he consulted his friend John McGill, who turned out to be pretty powerful in his own right.

McGill is a brand consultant for MENSA and Visit Dallas’ LGBTQ strategy (he also used to do PR for The Dallas Morning News ).

“Well, Morgan’s not here,” McGill said, referring to Morgan Cox of the Human Rights Campaign.

His eyes roamed the crowd. “Robert Emery runs The Dallas Way,” he offered, referring to the organization “leading the effort to gather and preserve the untold and under-told stories of the Rainbow Community of Dallas,” according to the website.

“Eric Johnson and Mark Parker are a power couple,” McGill continued.

“One’s a doctor and one’s an educator, and they’re huge fundraisers for the Democratic Party.”

But we couldn’t find anyone on his list.

My date and I headed into the cordoned VIP area, emptying out as folks took their seats for dinner.

“You can tell we’ve upgraded by the shoes,” said my companion as I stared at glossy brown leather like the kind in the display windows of NorthPark Center’s high-end stores.

I approached a cute middle-aged duo in expensive-looking glasses who resembled each other, in that way longtime couples often do.

Ryan and Brian Walton-King moved to Dallas from Atlanta 11 years ago, but they told me they were useless for my game.

“We know none of the gays!” one explained, as the other laughed.

They showed me pictures of their two girls, 8 and 11 (both adorable).

Gay life, after all, is not one note — the social scene, clubbing, fashion — but a harmony of them, bachelorhood and fatherhood, wild times and domesticity, one of the beautiful stories about gay life in the 21st century.

Dinner was better than most galas, which in my limited experience tilt toward goat cheese salads and roasted chicken, not that there’s anything wrong with that.

But standard tickets were $600, $1,000 for VIP Premium, and cold rolls are a hard swallow for that kind of scratch.

(I received free media access.)

A deconstructed plate of burrata, prosciutto and Parmesan crisp was followed by short rib with a rich risotto, then those darling pink and white desserts, chocolate cake that tasted as good as it looked. The live auction was head-spinning, bids of $5,000 and $10,000 flying into the coffer with the swivel of a white fan.

By the end of the evening, nearly $900,000 had been raised for the Chorale’s stated goal to “entertain, educate, unite and inspire.”

It was past 9 p.m. when Cyndi Lauper took the stage in a cool and wildly colored pantsuit.

It couldn’t be easy to coax a largely silver-haired crowd onto the dance floor, but Lauper is a pro.

A few bold souls shimmied at their table for “She Bop,” but by the time Lauper performed “Time After Time” about an hour later, at least 100 of us were flanking the stage at the front of the ballroom, swaying and singing to the chorus.

If you’re lost, you can look and you will find me, time after time .

A few days later, she announced that her upcoming tour would be her last.

But let’s be clear: That woman still brings it.

For the finale, the Turtle Creek Chorale joined Lauper onstage for a performance of “True Colors,” the 1986 Lauper hit that became a gay anthem.

My date and I were sitting at the back of the ballroom by this point, my aching feet sore from the high heels.

Lauper told the audience she was singing for her friend Gregory, who died of AIDS, and I thought of the gay men I knew who passed away from that now-distant plague, one of whom was a founding member of the Turtle Creek Chorale.

I was in middle school when my mother took me to see our friend Rodger Wilson sing with the Chorale.

But not long after that, AIDS took him, too.

As much as the evening was a celebration, it was inevitably a remembrance of what we’d lost.

It was nearly 11 p.m. when my date and I headed to the valet, taking one last look around the place. “Tell me what you see,” I asked him, as he scanned the guests lingering in the hallway: men holding hands and sipping cocktails. Women and men laughing together.

“Old love and young love,” he told me, and with that, we called it a night.

[fashioneditswebsite]

Zendaya stuns in vintage Roberto Cavalli at the Green Carpet Fashion Awards

Zendaya - Green Carpet Fashion Awards The Dune: Part Two star celebrated sustainable fashion alongside Chrissy Teigen, Annie Lennox and Donatella Versace. Zendaya made a statement in vintage fashion at this year’s Green Carpet Fashion Awards. The actor wore a grey fringed Roberto Cavalli gown from the spring/summer 2011 collection, with a deep-V neckline and an open back. Zendaya is used to wearing vintage fashion for events. For his autumn/winter 1995 collection, she wore a cyborg suit designed by Thierry Mugler to the premiere of Dune: Part Two in London. Zendaya Her Roberto Cavalli outfit at the Green Carpet Fashion Awards taps into the resurgence of the boho trend – recently seen during Paris Fashion Week at new creative director Chemena Kamali’s autumn/winter 2024 collection for Chloe. Zendaya co-chaired this year's event with Helen Hunt, Julianne Moore, Annie Lennox, Livia Firth, and Cate Blanchett. The Green Carpet Fashion Awards unite fashion and entertainment for positive change, promoting interconnected cultural transformation. Celebrities like Chrissy Teigen wore vintage fashion on the pink carpet at Hotel West Hollywood. Teigen, 38, wore a classic black slip dress with sheer panels from Saint Laurent’s autumn/winter 2022 collection. Chrissy Teigen Donatella Versace, 68, wore a pale pink chainmail dress from her label. The dress was worn fresh off the success of Versace's latest show at Milan Fashion Week. Additionally, it's worth noting that the simple shimmering style has been a Versace signature since the 1990s, when Gianni Versace was in charge. Donatella Versace Broken Glass singer Annie Lennox, 69, wore a simple black suit with a T-shirt that said ‘Global Feminist’ in white lettering. Lennox chose her outfit to promote global feminism, which embraces intersectionality as a way forward. Annie Lennox  “If we fight among each other, if we’re too singular in what we do, then we don’t have a solidarity – and we need it.” Lennox continued: “Global feminism is an umbrella term that includes all kinds of feminism. Everyone needs a safe, inclusive space where people of diverse backgrounds can work towards a better world. “We are working for the betterment of young girls that are coming up into a planet that it’s not guaranteed what the future is going to look like. We must support each other, that’s the best solution, I honestly think.” She particularly praised Green Carpet Fashion Awards founder Livia Firth, who is “positivity on steroids”, she said, and has a “deep understanding and passion about climate justice, the fashion industry, and ecology”. Italian activist Firth wore black flared trousers with a velvet-style plum jacket and tank top on the pink carpet. Green Carpet Fashion Awards founder Livia Firth Helen Hunt wore an all-white outfit to the event. The dress was a midi with a slight shimmer. Actor and director Helen Hunt Michaela Jae Rodriguez wore a strapless black gown and red statement earrings. She's an actor, singer, and model for Charlotte Tilbury Beauty. Supermodel Amber Valletta, 50, recently helped relaunch Donna Karan New York alongside Cindy Crawford, Linda Evangelista, Karlie Kloss, and others. She wore a black mini dress with a dramatic scooped back. Read the full article

[arwendeluhtiene]

Elrond reading - September 2022 nature shoot 😃✨🍃🍁💚💜 Some of these are blurry because the small camera didn’t want to cooperate that day 😅 , but I really like how the poses turned out!

This was initially a Rivendell Elf OC outfit, but it’s inspired mostly by Elrond’s outfits and Elrond is one of my fave Tolkien characters, so Elrond it is 😁👌 . I absolutely love the shapes and draping of this velvet combo alongside the dupioni silk sash 💜💚 The tunic was a lucky Zara find with just the exact red-purple silk lining as the sash, how cool is that! It was a robe originally, so I just had to have buttons added to the front and sleeves. I love green with purple, and the moss green velvet of the tunic (almost golden in some lightings), the deep forest green velvet of the mantle and the red-purple (fuchsia in certain lightings) duponi silk of the sash are just so gorgeous 😍 . The embroidery on the sash is inspired on the design of Elrond’s Council robe sash, but I later realized that the shade of the dupioni silk I got is really similar to the one Arwen wears with her Farewell dress as well, and the design she wears is really similar too, so it’s a mix of both xD

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