Oakley Backpacks ry eyelash is false and preferably beaded, to boot. The time er customer since I stepped foot in that store, she says. I went in when I needed a first date outfit. Tanya immediately treated me like I was in a boutique and set me up with date outfit No. 1, 2, 3, etcShe knows what I like. Cardinale said she also just bought a pair of shorts for her son for just $3 and has accrued rewards for being a frequent shopper. Fundraisers are held monthly to benefit local charities, and Deutsch offers tips on how to properly take care of fashion investments such as leather boots and purses for long term use or future consignments. ConsignItems from top designers and popular contemporary brands in top condition are accepted after being freshly laundered and ironed. The consigner has the option of receiving a check for 40 percent of the sale price or earning 50 percent of the sale price to use in store credit. To make an appointment, call 631 979 5477.Kitsch summer fashion These were established catwalks those heels were Louboutin and Blahnik, the stockings had three figure price tags and the feathers came from the esteemed house of Emanuel Ungaro albeit via the irreverent imaginations of Stephen Jones and Giles Deacon. After a post recession p
Oakley Backpacks eriod of retrenchment, re evaluation and reduction, courtesy of Phoebe Philo's lean, mean Cline, fashion feels ready to have fun again. Of course, fashion isn't known for doing things by halves. When fun's in the offing, fashion goes all out. Hence designers have layered on all the bells and whistles of the Parisian cabaret to ensure it has a ball. Liza Minnelli is seldom quoted as a style icon these days, but designers have decreed that Life is a Cabaret nonetheless. And they're offering the perfect wardrobe for any type of divine decadence that springs to mind. Miuccia Prada led the way, with an homage to cabaret's favourite bad girl done good, Josephine Baker. Her embroidered silhouette danced across drop waist shift dresses, while her signature banana skirt the succes fou of La Revue Ngre in 1925 was re interpreted as a punchy, primary print splashed across a hip hugging pencil skirt with a ruff of movement above the knee. That kind of cunning stunt is, of course, what the British do best. Both Giles Deacon's own label offering and his debut catwalk collection for Emanuel Ungaro featured gargantuan ostrich manes that seemed more at home atop a chorus girl's head at a sleazy Broadway Revue show than on a runway. The Louis Vuitt
Oakley Backpacks on catwalk saw the hand of British stylist Katie Grand in lurex trouser suits, jewelled brocade and embroideries depicting lions and tigers and bears. In London, Mary Katrantzou's collection reinvented the Victorian fringed lampshade as a micro peplum skirt dripping Swarovski crystals at the hem. Think early Christian Lacroix meets Nijinsky's Petrushka, with a touch of the Ziegfeld Follies. They were kind of crazy pieces, she said. And we never expected those skirts to sell. But women want to wear them They want to buy them That's one of the most interesting aspects. This isn't a couple of shonky shock frock samples with make believe price tags consumers are buying into the new fun feeling in fashion and in a major way. A Katrantzou lampshade skirt will set you back five figures she's shifted a couple of dozen. Likewise, that Vuitton collection called for an investment of over 800,000 in Lesage embroidery alone. Prada's profits leapt a gigantic 150 per cent in 2010. That wasn't built on bananas alone, but a new mood of optimism must deserve some credit. What's the take away from all of this Think Technicolor Toulouse Lautrec colourful, glossy and patently artificial. It's high fashion gone high camp. And for those tempted to take
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Vuitton's chip shop Chinoiserie seriously, Marc Jacobs included an extract from Susan Sontag's Notes on Camp on every seat. It could have been the footnote to the season. Camp is a woman walking around in a dress made of three million feathers. Those feathers got the full work out chez Chanel and made more than a fleeting appearance at Zac Posen's first Paris show too. This was stuffed with more feathers than a goose down pillow; plumes sprouting from hips and flecking chiffons in a blowsy ode to Frenchy finishing received rather less favourably than Chanel, but not for want of effort another hallmark of the truly camp. In the same realm of the very hautest of low brow taste, at Jacobs' Vuitton there were colour saturated animal prints, glittery body paint and miles of beaded Flapper fringe. Paris Is Burning glamour and Disco Twenties were just two epithets that summed up the high camp mood of that Vuitton spectacle, which brings us neatly back to cabaret or rather, to Cabaret, the Oscar winning apotheosis of this decadent mood. Perhaps Sally Bowles was too chic a heroine for any current frivolity, but the camp was certainly there. It always is in cabaret, a world where artifice trumps over nature, where every heel is high and eve.
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