What’s left of LFW?

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Madeline Stuart, an 18-year-old tawny Australian girl, will be the protagonist of Woman parade in New York.

Madeline Stuart is a “common” girl, she is not thin, neither tall, neither sexy. She has the Down syndrome but she has a smile able to destroy the darkness.

The main newspapers are concentrated on her. DailyMail writes:

Madeline Stuart, coming from Brisbane, gained a photo-shoot in New York, 7 independent fashion houses and a fans legion on her profile pages.

She based her way to success on some important and recent decisions: losing 20 kg for her own health; feeling beautiful; presenting herself to people.

According to DailyMail author, Madeline wants to change the common concept of beauty. Cosmopolitan has analysed this concept too, eager to discover which could be the meaning that people will give to her success gained from the parades in New York.

The answer of Madeline’s mother is:

“Don’t judge a book by its cover”

Madeline’s history reminds me Viktoria Modesta, a beautiful 20-year-old girl from Estonia, who funded her carrier on her mutilated body: she poses and parades on catwalks in front of photographers and fashion-addicts.

Viktoria Modesta is not the common girl, she is a character of a Japanese cartoon, an invincible Robot covered of Swarovski, a soul that rules the material, a machine that defeats every limit.

Alex Zanardi, a solar Ironman, and the lost and damned Oscar Pistorius are representative of the male world.

I conclude the modern concept of beauty is not exclusively joined to human deity, but to a new version, a bit of man, a bit of machine, it seems an Avatar, ready to exceed the landward limit.

This new type of Beauty is not a Revealed Beauty, but a Devil born from the Eastern gods.

On the other hand, according to the survey conducted by Censis, only in Italy more than 4 million people have a modified body and the esteem forecasts in 2020 there will be about 5 million and in 2040 about 7 million.

What does modified body refer to? It represents both motor and intellectual difficulties.

Today in Italy there are 48.000 people affected by Down syndrome, about 500.000 people are affected by autism spectrum disorders and the ones with motor difficulties are 500.000.

 (Translated bt Eleonora Pasini)

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Burbery, Burbery, Burbery. The top brands distribution operators are calling for Burbery. The British fashion icon, born in 1856, entered in the global imagination. The British Empire Cultural Heritage linked the sense of belonging to an elitist and conservative sense of identity to tartan and trench. Behind the windows of Astana skyscraper, as in the lifts of Raffles or in the humidity of Macau, tartan and trench are LUXURY.

It seems there is enough for all.

Meanwhile, Italians are fighting for Made in Italy, British people are enjoying the return of the manufacturing production of textile fashion. In 2013there were about 5thousand new jobs in the fashion sector and future is smiling to modellers: in 2020 there will be 20thousand new jobs.

In the studio “The Repatriation of UK textiles Manufacture”, the Lord Alliance Foundation presented these esteems to the British Parliament which identified the geographical localization: Lancashire and West Yorkshire, two areas that are still now suffering for the mines’ closure.

Every year the country earns £9billions through the fashion sector, which also creates 100thousand work places and exports £5,5billion (according to data of 2013).

Why the production returns to the United Kingdom? According to the studio, there are two main reasons: (both physical and virtual) sector distribution is working for an effective and efficient sales’ campaign of 100% Made in UK products; the change of mind of the English costumers who prefer 100% Made in UK products.

Paul Short, president of the action group N Brown, declared that:

“The N Brown national program for the growth of the textile sector started only 12 months ago in the north of the UK, but it has already generated more than 1.600 work places. We would like to thank the Government and all our partners for helping us to improve the investments in the textile industry in the UK. Our efforts linked together show that retailers, working with the local and national authority, are able to create a real economic impact”.

(translated by Eleonora Pasini)

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Between the news of Haute Couture Paris, you can find the Russian designer Ulyana Sergeenko. We are so proud to see she entered in the highest French couturier… we thought… “We told it”… with a smirk.

We are not saying people accepted the Ulyana Sergeenko catwalk with imperishable tribute, on contrary, the English magazines preferred Versace.

We love the Ulyana exuberance, as we like how she created the set of the parade telling the “metamorphosis” of her country looked from the eyes of a dame dispossessed of their ancestral rooms at the time of the Russian revolution.

It seems there is always an aesthetic element in the lines and fantasy of Ulyana Sergeenko that tries “to sew the tear of history and taste”, which 100 years ago separated Russia from Europe.

Her style is characterized by lace resting on dark monastic dresses, great-graphic impact skirts with swollen hips silhouette, soft and enveloping outerwear of fur in infantile colours and contrasting decorations. Fur caps, fur sleeves and little trunk bags with a bow complete this woman who did not choose the European minimalism to express her jocularity.

Ulyana Sergeenko, celebrated also for her international socialite, the philosophy studios and the kilometres of catwalk done, is born in Kazakhstan and established in Moscow her own brand in April 2011.

She made the figure of her brand through her cultural heredity and painted it with childhood memories and the manufacturing tradition of her country. In just few years of experience the company grew from 5 to 100 employees involved in the haute couture.

Do not call it differently from haute couture.. Dita Von Teese, probably using lines not suited to her curvy silhouette, wore a Sergeenko SS15 collection on the red carpet.

(translated by Eleonora Pasini)

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