Don’t: Don anything extreme, such as cropped tops, tight gym shorts, ripped clothing, worn-out jeans, sweats, or tees with controversial or political messages.

Do: Take a step down from your usual work look—if you normally wear a suit and tie or dress and heels, think a stylish button-down with nice pants and a blouse. If that is your daily look, consider a polo shirt or nice top with tailored jeans.

Men: Try a button-down with contrasting cuffs and collar; wear with khakis or dark-wash denim and a pair of stylish shoes.

Women: A ponte-knit fabric pant looks polished yet allows for easy movement. For a more casual look, try leggings or straight leg, dark-wash jeans paired with a stylish tunic or another long top.

GOLF OUTING: Golf is a game that’s steeped in tradition and, not surprisingly, has strict rules about appropriate attire, whether you’re playing at a fancy private club or a public course.

Don’t: Try to get away with T-shirts and other collar-less tops, street shoes, jeans, sweat pants, or ultra-short skirts.

Do: Wear soft-spiked golf shoes and golf clothing—it has detailing like required collars, front pockets for balls and tees, and fabrics with sun protection. Overall, keep it simple with regard to color and patterns—this is not the time to stand out from the crowd.

Men: Collared polo or golf shirts paired with golf pants or golf shorts and hat. (Many courses require tucked-in shirts, so don’t forget a belt.)

Women: Collared golf dresses or collared shirts paired with golf skirts, pants, or Bermuda-length shorts, plus golf hat or visor. Culotte-style skirts with built-in nylon shorts are especially comfortable and not too revealing when swinging a club.

WORKING ON THE WEEKEND Again, think casual but office-appropriate. When in doubt, go a little more traditional—you’re still at your workplace and not working from your couch.

Don’t: Come to the office in too-casual attire such as workout wear, gym shorts, sweatpants, flip-flops, cropped tops, leggings with short tops, or exposed bra-straps.

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Do: Dress as though you might bump into your boss—you very well might. The trick is to look professional while not too stuffy.

Men: Button-downs, new-looking jeans or khakis, and rubber-soled shoes. Fabrics can be casual, such as a denim shirt, but cuts should be tailored. Creatives can think more out-of-the-box with colorful button downs or graphic T-shirts.

Women: Make changes to your regular attire—wear shorter heels or flats if you usually wear high heels, separates if you always wear suits, and pants (see off-site recommendations above) if you typically wear dresses. Add stretch-blend tops—they’re comfortable and move with you yet are more attractive than tees or sweatshirts. Leggings should be thick, opaque, and resemble pant fabrics and absolutely worn with tops that cover the derriere.

FLYING ON A BIZ TRIP: The trick here? To be comfy—but not look it.

Don’t: Travel in sweatpants, tracksuits, pajama-style outfits, or fuzzy slippers.

Do: Be comfortable without looking sloppy. And dress in layers to accommodate changes in temperature in the terminal and aircraft.

Men: Traveling solo: dark-wash jeans, T-shirt, sweater, or nice hoodie plus stylish sneakers. With the boss, clients, or colleagues: khakis, a button-down, classic blazer, and loafers.

Women: Tailored pants in a stretch fabric, dark denim, or leggings. Pair with sleeveless or short-sleeved long-knit tops and add a wrap-style jacket or a soft pashmina to double as a blanket. For footwear, check out the versatile KaraMac line designed in Mount Kisco; it offers different embellishments and heel covers to create several looks from each pair.

Also Read: beautiful prom dresses

Our new £6.99 lipstick obsession by L'Oreal

Some of the best beauty products seem a little crazy to begin with, and this sponge-tipped lipstick applicator by L'Oreal really is a case in point. It looks odd, it's strange to apply but - crucially - it really is quite brilliant.

I road-tested the Infallible Matte Max Lip Colours after seeing the make-up artist Mario Dedivanovic apply a shade on a model at a L'Oreal trends presentation last month. 'Of course,' I thought, 'it's bound to look good if a make-up artist uses it'. But having applied it pretty much every day ever since (and for a lipstick obsessive like me, that's a lot of love just for one range) I am well and truly convinced.

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The idea is the sponge-tip (which looks like the top of a teeny-tiny Beauty Blender) makes it easy for the user to create an ombre lip. It's excellent for that if that's your style, as you can be really precise about where you lay the colour down, but ombre isn't for me. I like fully-lined, strong lip colour, and this works a treat for that, too.

I use the tip of the sponge to line the lips, and then colour in a couple of layers with the main 'squidgy' part of the sponge. It imparts the most beautiful powdery matte lip colour that actually does last all day. I don't know how it does it, but it works a treat.

The six colours in the range are pretty and wearable, and my favourite is a super bright orangey-red in Disturbia. But why choose just one? They're reasonably-priced at £6.99 a pop - if there was ever a time to buy every colour in one range, it's now.

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White-faced models with clown-like mouths revolve around a heap of blackened discarded objects, the music assaults the excited audience and cameras flash. Yet it’s the clothes more than the spectacle that steal Alexander McQueen’s autumn/winter 2009 show, The Horn of Plenty: Everything But the Kitchen Sink.

Tailored with form-distorting, origami-like folds, it’s almost as if the fabrics have been beguiled to do the designer’s bidding regardless of their properties. “Exceptional,” wrote a watching New York Times fashion critic. “A slap in the face to his industry.”

Watched today, Horn of Plenty is a bravura performance from a designer at the height of his power to both shock and delight. It was also, reportedly, a studied farewell to McQueen’s youth as the designer prepared to turn 40. In it, he returned to familiar motifs; past ideas and props literally piled up on the catwalk. The fact it would turn out to be McQueen’s final autumn/winter show before he committed suicide in February 2010 cemented its legacy in fashion history.

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Savage Beauty, a sell-out exhibition in New York and London, followed McQueen’s death and further burnished his reputation, ensuring the designer’s place in the pantheon of the British Romantic tradition. But what of the man?

A photography exhibition by Nick Waplington, who spent six months documenting McQueen as he magicked Horn of Plenty from sketches on the page on to the catwalk, provides a fascinating insight into how he worked. First shown at Tate Britain in 2012, an excerpt of 34 photographs of the 120 seen in London are now on show at the East Wing gallery in Dubai.

In Nick Waplington/Alexander McQueen: Working Process, McQueen appears both wrung out by the demands of his own creativity, and as a smiling figure, surrounded by a close-knit team in his London and Paris studios. The timing of the project, given the tragedy that followed, is remarkable.

“[McQueen] was very worried about his legacy,” the photographer explains in a short film on Working Process that is being shown at East Wing. “The fact that he was able to share his working practice which was very secretive, but he wanted to share that, and he entrusted me with the job of making the pictures.”

If you’re a follower of fashion and you miss McQueen, don’t miss it.

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‘Gender-neutral’ and ‘gender-blurring’ are the latest buzzwords in fashion. Talking points revolve around designers’ championing of models and campaign stars that have transitioned sexes, while clothing neither aimed specifically at men or women have become a matter of intrigue.

But one model hoping to become less of a tokenistic pawn and more of a signal of real change when it comes to attitudes to gender in fashion is Hari Nef.

In June last year, Boston-born Nef became the first transgender model to be signed by top modelling agency IMG. Joining the same books as Gisle Bundchen, Gigi Hadid and Chrissy Teigen, interest in the 23-year-old soared and she was interviewed and captured for US Vogue, and starred in a shoot for Swedish retailer & Other Stories, which was entirely put together by transgender creatives. Catwalk appearances at New York Fashion Week followed (for small, forward-thinking brands Eckhaus Latta, Hood by Air and Adam Selman, the eponymous label of Rihanna’s former stylist) as did a role in series two of Amazon TV show Transparent.

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Nef is now a contributor to acclaimed scriptwriter Lena Dunham’s Lenny e-newsletter, where she recently penned an essay on ‘being a visible member of a marginalized community’, and has struck up a friendship with one of the most powerful men in fashion, Gucci creative director Alessandro Michele. Michele has dressed Nef in his Gucci creations to for various public outings, but yesterday he invited her to take over the brand’s Snapchat account and star in Gucci Milan Fashion Week show – to model menswear , that is.

Confused? You shouldn’t be, because as Nef explained to Vogue: “Being a woman is an option, being trans is an option, and they’re options that appeal to me. We need to listen to people, not labels, not semantics.” Michele is somebody clearly not defined by labels; since he took the helm at Gucci a year ago, his catwalk shows have featured models of indeterminate gender and his menswear collections have whipped the fashion team here into a waiting-list frenzy.

Nef met the diminutive Italian designer when she requested a dress to wear to the Los Angeles premiere of Transparent – which incidentally, centres on a retired college professor transitioning as a woman – and invited her to have dinner together at the Chateau Marmont, where they hit it off.

Yesterday’s red cape coat-clad turn in the Gucci show was a big deal, as it marked Nef’s first major catwalk appearance in Europe. The significance that she was book by a behemoth such as Gucci will have mattered, but that it was a men’s show? Much less so. As she explained to Dazed after the show: “He’s [Michele] a great guy and he sees people, he sees characters...he doesn’t really see a lot of the labels. To work with the team has been a joy. I can genuinely say it’s been amazing.” Here’s hoping that Nef’s refreshing outlook on labelling proves to be more than a one-season wonder with the industry’s tastemakers.

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Jan Hoek photographs members of society’s most scorned groups—sex workers, the homeless, the addicted—and some of his photos of them are so raw that they can be tough to look at. He’s been accused of exploitation, but does that label acknowledge the agency of the people who consentingly pose for him? Is photography inherently exploitative? Even the comparitively warm and fuzzy portraits by the Humans of New York guy aren't off the hook when it comes to these issues of ethics and photography. In capturing images of people from society's margins, Hoek’s pictures raise fraught questions about how photographers use the power of the camera, especially when poverty, addiction, or oppression have rendered the people in front of it powerless.

His latest project, Sistaaz of the Castle, may raise some of the same issues. Hoek traveled to Cape Town, where he got to know members of the city’s transgender sex worker community. Fashion designer Duran Lantink created couture based upon the South African women’s visions, and Hoek photographed them wearing the outfits. The portraits are presented at the Gashouder as part of Amsterdam’s fashion week, and will later be featured in VICE Magazine. For now, we interviewed Hoek about the project and got some behind-the-scenes photos.

The Creators Project: Why focus on trans sex workers?

Jan Hoek: That they are trans sex worker is just a side-issue, we worked with them because of their buzzling sense of style. Although we do think it is nice from this project that next to the fashion part it also shows the lives of girls who have lives so different than most of us have. And that we hope it shines new bright light on these girls that are normally only in the media in a negative way.

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It seems as though it would be quite challenging to go to a different country, meet members of some of its most marginalized communities, and gain their trust. How did you go about doing that?

Well, a lot of people warned us that we probably would get stabbed and that the trans sex worker girls are extremely dangerous. I never take things like that too seriously. In this case we found out that the trans sex workers were organized in a group called Sistaazhood, that comes every week together at the office of SWEAT, the sex worker advocacy group of Cape Town. It ended up feeling like we now have a new family in Cape Town full of caring and loving new family members: the girls of Sistaazhood! We never felt more safe then in the hands of our new sistaaz.

What was the process behind making the outfits?

The project is in two phases. All the trans sex workers in Cape Town we met are already incredible fashion designers themselves, so the first part of the project consists of documentary photos about their lives, but even more about their skills, creativity and sublime sense of style! The documentary photos are a sort of lookbook of the first part of Duran's collecton that we showed this saturday at the Amsterdam Fashion Week. In the designs he is gonna show, he worked further in the style of the girls and tried to add his own talent to their talent.

The second part are their dream outfits. For the dream outfits we interviewed six of the girls intensively about how they would like to look and live if they had all possibilities of the world, and we made especially for that dream an outfit and in the end made a dream photo, the ones that are gonna be shown in the printed VICE issue in march. For example Gabby wants to work in and own a luxury Victorian-style brothel called Lady Marmalade, so Duran made a luxury Victorian-style brothel manager outfit.

Your work has been somewhat controversial; how do you respond to the criticism that your photos are exploitative?

Well in my work I raise questions about exploitation, so it is logical that people immediately look at my work with these questions in their head. Besides that I think that all photography is exploitative to some extent, even if you make a selfie you exploit yourself. But that doesn't mean automatically that that should be problematic.

In general I see my work more as collaborations in which the voice and wishes of the models are made visible as well. So if models are critical about the photos I've made with them, I show their criticism. But in this case we worked so close with everbody from Sistaazhood, and we are so happy all together with the results, that I think it would be stupid if people would try to problematize this project. But off course I think people will try to do that, they always do. And maybe that is not even such a bad thing.

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As we get older, we kind of need ot up our skincare regime. And this means investing in the best eye cream for wrinkles that your money can buy.

But with oh-so many to choose from it can be a little daunting, even for the beauty savvy - most of us are left wondering where to start. When should we start using one? And most importantly, which one do we invest in?

It's a beauty minefield.

So we're here to make things a whole lot easier, whatever your eye cream SOS, we've got the answer…

What age should I start wearing eye cream?

As a general rule start using eye cream at 18; although it's way to early to be worrying about wrinkles, it's still important to keep eyes hydrated. Beauty Therapist and Skincare Expert, Ada Ooi, explains why, "our eye area lacks sebaceous glands - which means the skin doesn't get oil to the surface so it's easy for dryness to set in. Think about it, whenever your face skin needs moisture, your eyes need a shot of hydration as well." Well moisturised peepers will help your eyes look bright no matter what your age.

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Ok great, so which eye cream is right for me?

This is where your age becomes a bigger factor, as you get older your skin craves different things. Here's what to look for...

Under 28's:

"For you it's all about hydration. Look out for ingredients like marine algae as it'll boost moisture" explains Ada. Super antioxidants like raspberry, green tea and vitamin C and E, will also help brighten up eyes and fade dark circles - perfect for hiding a late night.

Age 28 onwards:

Our eyes lack collagen and elastin fibres (that stop skin from sagging), "keep your eyes looking young by looking for ingredients like Squalene. Squalene can reduce wrinkles, reverse UV damage and lighten dullness" says Ada. Our body's naturally produce squalane, but levels usually start to decline after we hit our mid 20s, so it's better to start topping up early.

Age 35 onwards:

You need ingredients that work hard and can inject moisture into the skin, like hyaluronic acid - which will give a major hydration hit. Peptides are another hero ingredient, they act like a messenger, giving signals for the skin to produce collagen, so it looks smooth and youthful.

How should I store my eye cream?

Eye creams are best kept in cool places to keep the active ingredients from being disturbed by the heat (so steamy bathrooms are a no-no). Keep it in the fridge for optimum condition.

How much eye cream should I use?

A pea-sized drop should be enough for both eyes.

How do I apply eye cream?

Before putting on your eye cream, warm it a little between both fingers. Then apply the cream at the bottom of your eye sockets using your ring finger and gently draw a few inward circles. Repeat this motion just above the eyebrows with any leftover cream on your fingertips. Then, very gently tap the skin in the area, this will help the cream penetrate the skin.

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Women’s fashion brand Gold Queen has introduced its Fall/Winter 2015 with Gold Queen Regular wear and Gold Queen Premium wear. As the name suggests, these include kurtis with intricate embroideries, glittering laces and digital prints. The entire range is exhaustive including casual and partywear kurtis , cardigans, coats, long coats, woollen leggings, palazzos and cigarette pants. Multiple fabrics have been used such as wool, net and velvet with shimmer. Different blends in wool like acrylic, nylon and angora yarn. The colour palette includes hot pink, red, maroon and marsala. Black is back once again.

Perfect fit and print make the cut

“We have introduced a glamorous line up this winter. The demand is more for fashion rather than basic kurtis . And, we have created our products with elegant embroideries and digital prints in a traditional yet modern way. Exclusive patterns, vibrant colours, bold combinations, cuts and flairs designed with elegance makes up the collection,” says Rajan, Director, Gold Queen. The brand has used long length kurtis and regular fit clothes. Usually outerwear and layering garments vary in fit. Even fitting of kurtis vary depending on their design and styles. Some kurtis are straight while others are in anarkali design. Some others have unique centre cuts and little flair that provides a tall and slimmer look. In cardigans and coats, Gold Queen has long lengths in regular fit. Colour choices are plenty in the basic range of coats.

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Tribal prints, monochromes, exquisite florals and jacquards are all used gracefully in Gold Queen’s range of clothing.

Rajan feels the urge to experiment and higher disposable incomes have given a boost to winter wear market. Moreover, awareness, change in lifestyles, and the need for seasonal clothing have worked as catalysts. “We have now added party wear premium range to our winter collection and it is like adding a new twist to our collection this season,” he avers. Today’s fashion conscious consumers prefer changing their entire winter wardrobe more frequently compared to five years back.

Rajan points out the popularity of sweaters have undoubtedly gone down due to the rise in other categories, but still the category is doing well, as it still holds its own charm “if you’re offering is good, it holds good potential,” he opines.

What’s more women shoppers across metros and small cities are increasingly opting for western wear, thereby boosting sales of branded clothing, making it one of the fastest growing categories in the apparel segment. “Traditionally an under-serviced market, women’s western wear is getting traction and wider acceptance owing to an increase in disposable incomes, and more women joining the workforce and dressing smart. Women’s western wear is growing much faster than menswear,” he sums up.

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Londoner Tom Cridland, 25, told Reuters he has combined old-fashioned craftsmanship with a unique silicon treatment applied to fabric that prevents shrinking. The result is a sweatshirt that he guarantees will last three decades, and because the items are priced at an affordable £55 ($83), he insists that buyers will also save money in the long-term.

“It’s made out of organic cotton and then a little bit of polyester, which doesn’t sound so glamorous, but is very helpful for functionality, mobility, and comfort,” said Cridland, “The cotton is very durable, quite heavy, 360 grams per meter. The seamstresses and craftsmen, who are from Portugal, and I decided on Portugal because I’m half Portuguese, they’re the reason why I chose 30 years. I asked them ‘show me the oldest sweatshirt you guys have ever made’ and they’ve been in business since 1964 as a supplier, and they showed me a sweatshirt form the late 1970s which was still in perfect condition.”

He added: “In terms of technology, what they weren’t able to do in the ’70s is treat it against things like shrinking and piling, which we’ve done with the unique silicon treatment that they’ve developed there. They have in Portugal -- despite the fact these suppliers of mine are very old school, they have moved along with the times and they’ve invested in some great equipment.”

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Cridland says his eponymous company hopes to provide an affordable, ethical alternative to the prevalence of fast fashion in which consumers pay low prices for poor quality garments and then have to replace them regularly because the items have fallen apart or shrunk.

His sweatshirts, made by Portuguese artisans, use a traditional knitting technique that forms loops on the backside of the sweatshirt’s fabric. Three yarns of loop-wheeled fabric are used. The material is 80% organic cotton and 20% premium polyester, which Cridland says helps increase garments’ mobility.

The designer says the in-built obsolescence of much modern clothing can be bad for the environmental and that his product will help counteract such waste.

“The mere fact that we’re guaranteeing the sweatshirts for 30 years implies that the sweatshirts are made really well and therefore we’re not wasting our natural resources, which is the main reason is why the project is good for the environment,” he said. “Equally, in the future when my brand Tom Cridland does designs that are more on trend or maybe people won’t want to keep them for 30 years because fashions will change, we are going to try to encourage people -- and this is what all people should be doing anyway -- rather than chuck you’re clothing out, give it to Oxfam.”

In addition, Tom Cridland Co. has joined with international charity Deki and is donating 10% of its sales income to support entrepreneurs living in abject poverty, by giving them grants to work on their businesses.

There remains a peculiarly British tradition of relatives buying unwanted Christmas pullovers which are worn once and subsequently left in the cupboard, before being replaced annually. Cridland says the company could be persuaded to help end that waste by entering the 2016 Christmas pullover market.

“Maybe in the future we might venture into the Christmas sweatshirt market, but I’ll always say that the 30 year sweatshirt, as it is, is a great Christmas present for anyone.”

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When Marilyn Monroe ordered pumps from Salvatore Ferragamo in the 1940s, she had a special request, the shoemaker's grandson revealed. One heel was slightly higher than the other, enhancing her famed wiggle.

A new capsule collection for Salvatore Ferragamo by the luxury Colombian shoe designer Edgardo Osorio reaches back into the company archives to revisit Hollywood's golden era, when the young shoemaker from southern Italy built his business by making shoes for films and thwinning over actors and actresses as customers to his Hollywood Boot Shop.

Ferragamo quickly became known as "shoemaker to the stars," pioneering the powerful link between fashion and the booming film industry.

Those customers included Judy Garland, Mae West and Monroe, said Ferragamo's grandson James, the brand's accessory product director. He said Monroe bought the iconic pumps in the 1940s from a shop on Madison Avenue in New York City for $45 a pair, and he has the receipt to prove it.

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"The Marilyn Monroe walk required a modification to have that wiggle effect," Ferragamo said, saying one heel was several millimeters higher than the other.

For the capsule collection released in time for the holiday season, Osorio, who started designing shoes at Ferragamo before launching his own Florence-based brand Aquazzura, created a contemporary Marilyn-inspired pump with sheer netted panels for a sexy reveal. He also referenced the famed 1938 Judy Garland "Rainbow" wedge with a steep stiletto heel and a feathery winged rainbow accent on the ankles.

"It is not literal at all," said Massimiliano Giornetti, Ferragamo's creative director. "At the same time, it has the same spirit and the same approach that Salvatore Ferragamo had for developing the wedge for Judy Garland."

The collection was launched as part of the luxury brand's 100-year anniversary celebration of Ferragamo's connection with Hollywood and is meant to be the first of a series of capsule collections in other areas across the group from jewelry to women's handbags and perhaps menswear, tapping young talent and encouraging experimentation.

While Salvatore Ferragamo imported to Hollywood some of southern Italy's joyful colors and free spirit, Giornetti said Osorio's collection aims to offer looks for women in different moments of the day, from ballet flats with the Ferragamo bow to gladiator sandals and glamorous booties.

The looks are sexy, with stiletto heels and straps that wrap up the calf, but are also meant to be comfortable, featuring lightweight materials such as cork and recalling some of Ferragamo's most recognized style points, from stylized bows to polka dots.

"Edgardo shares with me and the Ferragamo family not only the same aesthetic principals but also the same sort of lifestyle that is so important to Ferragamo's very dynamic consumer, who is always looking for quality, beautiful Italian craftsmanship and, I will also add, an ironic twist," Giornetti said.

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As NFL teams are battling for Super Bowl 50 bids and optimistic fans are trying to lock in game day tickets, the CFDA is also planning its own winning strategy.

But like many Super Bowl 50-related tie-ins, the CFDA’s collaboration with the NFL is staying top secret for now. That will certainly change before the Feb. 7 showdown in Santa Clara, Calif. But neither the CFDA, nor the NFL provided any details Monday after save-the-dates went out for the January 20 CFDA-NFL Super Bowl 50 collaboration event at the league’s headquarters in New York. A spokeswoman for the CFDA would only say “quite a few designers” will be involved and there will be “some really great stuff.”

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Locally based Levi’s is cooking up a limited-edition Super Bowl 50 collection, but executives at the California-based company declined comment Monday. Nike, G-III, 47 Brand, Majestic and others will also be stamping women’s apparel with the golden “50” logo to reflect the San Francisco Bay area’s historic Gold Rush and its Golden State heritage. As part of its ongoing efforts to build its female fan base, the NFL revealed a smattering of its Super Bowl 50 apparel during the NFL Style Showdown at Artbeam in September. There, Erin Andrews was joined by Erin Heatherton, who appears in this fall’s multimedia campaign for women’s NFL attire, as well as Jamie Chung, Jake Hoffman, Dascha Polanco, Lisa Ramos and Phillip Bloch.

The CFDA and the NFL teamed up in a big way for Super Bowl XLVIII, when the Seattle Seahawks and the Denver Broncos squared off at MetLife Stadium. Donna Karan, Todd Snyder, Dennis Basso, Nicole Miller and Marchesa’s Georgina Chapman and Keren Craig were among the designers who created 48 “haute couture” football helmets as part of the New York area’s inevitable Super Bowl frenzy. The one-of-a-kind helmets were styled by members of the Council of Fashion Designers of America in conjunction with the NFL and Bloomingdale’s, which later helped sell them. With fans in more than 200 countries expected to tune in, the Super Bowl is always a big branding opportunity.

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Every day, the fast fashion juggernaut compels us to buy bigger, more, faster, cheaper without a thought for the consequences, not just on the environment, but also on the ancient, vanishing crafts and craftspeople of India. But if fashion is the problem, fashion is also the solution. One of the coolest things about the industry is that it makes an excellent forum for a society that is struggling to work its way through difficult issues. More and more, the ethics of fashion are slowly seeping into our subconscious, thanks to designers who effortlessly marry ethics and functionality with some absolutely cracking design.

While it isn’t unusual to use traditional fabric in a contemporary context, few do it as effectively as Sheena Roy, founder and creative director of Mogra. Her whimsical, bohemian clothes are not just pretty though. “I believe that clothing should be inspired by and should inspire stories — like the fact that block printing in India is over 300 years-old and some families have only ever done that through generations, how women in the north-east weave for their families just like the women in Punjab embroider beautifully significant fabrics for their daughters’ trousseau,” says Roy. Mogra utilises local textiles and collaborates with artisans who use traditional methods rather than machinery that can be harmful to the environment. Roy’s favourite (and to be honest, ours too) is her ‘Liberate the Saree’ campaign, which sources saris and transforms them into charming dresses. “We are determined to work with unconventional fabrics, right from saris and lungis to shawls and towels — we look at every traditional craft form as material and not necessarily the objective,” she states.

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Shilpi Yadav’s Khara Kapas was officially launched in February this year and has already received overwhelming response. “It’s evident that people are now looking for eco fashion labels,” she says. Yadav works with cotton, mulmul, jute and linen to create the earthy insouciant lines of her collection. “We work very closely with local artisans and our clothes are a fine blend of their crafts and our designs. We also promote fair-trade,” she says. Our favourite items? The floaty pink and inky blue paisley maxi and the ethereal ivory and gold sharara set in delicate mul.

Much like Khara Kapas, Pallavi Bagaria’s PAL for all moments prides itself on its use of local fabrics and artisans. “To a larger extent, the fabrics, mostly cotton and weaves, are sourced from small vendors and weavers around the country. We would ideally like to reach a stage where we only commission and support small artisan communities.” PAL also refrains from using synthetics, hazardous dye and wasteful processing. “We are resourceful in using material like our carry-bags made from fabric scrap,” says Bagaria. But PAL’s clothes don’t sacrifice aesthetics at the altar of ethics. Bagaria plays around with strong motifs and colours to create comfortable, well-cut clothes. Their most popular piece remains the shirt dress — “We are told repeatedly that it is super-comfy and flattering and most of our clients like the idea that it can be styled as western and ethnic.”

One of the most striking labels to catch our eye, Nomad alters the breezy banjaran ghagra into somewhat sleeker gypsy skirts. Nomad’s free-size ghagras are woven from cotton or handwoven chanderi and mashru, and come drenched in vivacious colours like hot pink and royal blue. Its current collection is made from hand-woven tissue chanderi and embellished with recycled flower cuttings from the previous collection. “We hand finish the garments with zari thread and handmade buttons,” says Nomad’s Harshita Gupta.

Artisau emphasises slow, timeless fashion that boasts of sophisticated, modern lines; most of its clothes are made of natural materials and are designed keeping longevity in mind. “Sustainability to me is investing in clothing that is natural and will last and is not essentially based on trends,” says Simran Chaudhry, founder/creator of Artisau’s airy, flowy silhouettes. “As a bonus, we are able to hand weave our fabrics, using only natural materials.”

Perhaps the most compelling sartorial backstory comes from Doodlage. “The founding principle behind Doodlage is based on sustainable eco fashion,” explains Kriti Tula, one of Doodlage’s founders. “Our raw material consists of what is considered ‘industrial and post production waste’. We take this and use it to make surface textures and garments through innovative and exploratory techniques. We also try to adapt a zero waste policy during production.” The material is reconstructed by craftsmen using techniques such as hand-block printing and hand embroidery. Doodlage is not just a do-gooder; its clothes are well-crafted with playful prints. “Our up-cycled denim collection with hand embroidered slogans has been one of our popular collections. It’s quirky with a conscience,” says Tula.

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Women have long complained that those blessed with good looks are more likely to be promoted at work than their less attractive colleagues.

However, a study has found that the opposite may be true of men.

Being handsome can actually impede a man's professional progress, experts found, as male colleagues tend to be reluctant to promote those deemed more good-looking than themselves.

Researchers from University College London's School of Management found that those with the looks of George Clooney or Mad Men's Don Draper were considered competent, but as a result, are perceived as a threat in the workplace.

They are more likely to be rejected for competitive roles requiring individual talent such as sales or investment banking, but picked for jobs in which team performance is rewarded, to enable the decision-maker to further their own career.

The study by academics from the London Business School and the University of Maryland concluded the same did not apply to women, as being pretty is not associated with competence among female stereotypes.

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Dr Sun Young Lee, an assistant professor of organisational behaviour at UCL and the lead researcher, said: "Organisations want to hire competent candidates but individuals have their own agenda.

"When employing someone, they do not want the newcomer to do better than them and show them up." The findings were based on four experiments involving 870 volunteers. Participants were presented with various scenarios in which they had to employ someone for a specific job but had more than one candidate.

The CVs were created to portray candidates with almost identical skill sets and qualifications but the photographs that accompanied them were different.

Lee said: "Managers are affected by stereotypes and make hiring decisions to serve their own self-interests so organisations may not get the most competent candidates.

"With more companies involving employees in recruitment processes, this important point needs attention.

"Awareness that hiring is affected by potential work relationships and stereotyping tendencies can help organisations improve their selection processes." The findings will likely strike a chord with actor Rob Lowe, who last year complained about how tough it had been to further his career because of his good looks.

"There's this unbelievable bias and prejudice against 'good-looking people', that they can't be in pain or they can't have rough lives or be deep or interesting," he told the New York Times.

"They can't be any of the things that you long to play as an actor. I'm getting to play those parts now and loving it.

"When I was a teen idol, I was so goddamn pretty I wouldn't have taken myself seriously."

Lee said her findings suggested that more organisations should appoint external recruitment companies to avoid adverse personalised decision-making.

The study is published in the journal Organisational Behaviour and Human Decision Processes.

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The promise to stand by your partner through sickness and health truly begins on your wedding day.

Figures released by ACC show claims for injuries suffered at weddings - whether guests, bride or groom - are on the rise.

During the past three years, there has been a steady rise in claims, peaking at 256 in 2014.

While it might be polite to help prepare for a wedding, heavy lifting should be avoided.

Carrying chairs for the big day has resulted in injury, while another claimant hurt their back while lifting a three-tier wedding cake.

This year, there's already been 238 claims, with the perilous summer wedding season not quite upon us.

Singletons have more to fear than a lifetime alone, one Kiwi fell over and injured themselves while trying to catch the bride's bouquet.

While often fantastic places to attract a partner with your sweet moves, dance floors can also prove dangerous at weddings.

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ACC has recorded claims related to slipping over on the dance floor, and rolling feet on uneven ground.

So far this year, wedding related injuries have cost ACC $155,247, with the bill only expect to rise.

In 2014, ACC forked out nearly a quarter million dollars on injuries suffered on that very special day, the most expensive wedding season for ACC in recent history.

Accountant Michael Lipman vouched for the perils weddings bring, having attended an overseas wedding where the aunt of the groom fell down some stairs.

"The aunt tried to sue the owner of the house for negligence and a sprained ankle. It got really ugly," he said.

"All the lawyers in the room rushed to help her when she fell, as if to give her their business cards."

Queer Eye Wedding co-owner Francesca Jago said she wasn't surprised by the figures.

"People do get a bit intoxicated and lose their inhibitions, and their balance," she said.

Brides' biggest fears seemed to be falling over in their frocks. "People are worried about tripping down the aisle, but I've never seen it happen."

Pure NZ Weddings owner Jan Edge said the number of accidents was "quite understandable".

"Everybody sees those blooper videos from people's weddings where people have too much to drink, and they're not wearing appropriate footwear, and there are slippery floors and enthusiastic uncles."

She said there was a trend in people doing heli-weddings: taking helicopters to the tops of mountains, which added another level of risk.

Her advice to wedding parties: just don't drink too much before the photos.

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Costumes and sets are important elements in any live performance, and NBC's The Wiz Live! is no exception. The network seemed to get it all right, regardless of the endless commercials. The show earned recognition with "critical acclaim," according to the The Hollywood Reporter. Designer Paul Tazewell is the man of the hour; the Broadway costumer designer put together a dazzling emsemble that brought life to the production.

19-year-old actress, Shanice Williams, who played Dorothy has been hailed as a "star" by the media.

USA Today reported, "Pulsing with life and fun, sparked by energetic dances and colorful costumes, and driven by Charles Smalls's still sturdy score, NBC's The Wiz Live! Thursday night (*** 1/2 stars out of four) was charmed from start to finish. And were that not enough, viewers got to witness the launch of a scintillating new performer in Shanice Williams, the young college student who may just have sung her way to stardom as Dorothy."

Williams captured the essence of Dorothy as a young teen in a red, white and black plaid skirt with a black bodice and red jacket with black accents. Besides her voice hitting all of the notes for songs like "Home," the actress shined in simple attire including the new brand, Nude Barre, stockings that has an array of nude colors for women of color, which went perfect with the sparkly stilettos that make magic happen.

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Orange Is The New Black star Uzo Aduba, who played Glinda the Good Witch, looked exceptional in the gold and sequined dress and platinum blonde wing. Belting out "Believe in Yourself," who knew Crazy Eyes could sing?! Tin-Man Ne-yo, Elijah Kelley as Scarecrow and David Alan Grier as the Cowardly Lion- they all did an outstanding job and their costumes were spot-on. Nothing seemed off-course about their acting, singing nor their costumes.

If there were a best-costume award for the show, it could have gone to Queen Latifah for her attire in role, The Wizard. Her emerald green gown, with the gloves balance the striped green mohawk wig. And yes, Mary J. Blige as Eveline looked approriate in the black gown with a hint of deep lavender.

In short, the make-up artistry was superb!

Emmy award winning makeup artist, Matiki Anoff selected a team of professional makeup artists to work with the cast. MStars News learned exclusively that Anoff designed the "whimsical makeup looks and the colors were chosen by herself." Makeup artist Tamara Delbridge, who was one of the few chosen makeup artists and worked with Kacie Noel Garland, Poppy, Winkle and an Emerald City citizen, says about Anoff, "She is a rue visionary. We used vibrant pinks, oranges for the munchkins. All of the colors that were chosen, corresponded with the stunning costumes. We were given instruction to reproduce the designed looks while incorporating our own artistic flair to the look."

It didn't matter if the castmates were background dancers, singers or played lead roles, the fashion, the set and the acting were all colorful and like Blige sang, there was "No Bad News" about the live show!

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The athleisure trend looks set to continue into 2016 and beyond, and according to experts is on its way to establish itself as one of the fastest-growing fashion segments by 2020. In fact, to many it is more than a trend, but rather a cultural and lifestyle shift that reflects the changing attitudes, and for some, an obsession with healthier lifestyles and wellbeing.

Ariel and Downy/Lenor, alongside renowned designer and P&G Fabric Care Global Fashion Consultant, Giles Deacon, explored the athleisure trend and the fabrics associated with it, in a limited edition washable capsule collection, revealed exclusively at the P&G Future Fabrics event in Barcelona, 2nd December 2015.

Giles commented: “I’m inspired by women that dress with confidence, that exude self-assurance and poise in their style. Here, I wanted to create designs that take this spirit and meet it with an athletic, energetic attitude. This collection is about being unique and individual, about women feeling comfortable in themselves and their clothes, never restricted and always ready to perform at their best”

QUALITIES THAT DEFINE ATHLEISURE AND THEIR ASSOCIATED CLOTHING CARE CHALLENGES

By merging style with the comfort and functionality of sports clothes, athleisure is setting new standards for ready-to-wear fashion, resulting in clothes that celebrate the best of both worlds: body-aware but not constricting, high stretch and comfort, washable and versatile, stylish and casual.

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A recent global survey commissioned by P&G Fabric Care*, on behalf of Ariel, Lenor and Downy, explored the popularity of the athleisure trend, revealing that:

Nearly three out of four consumers (71%) consider active-inspired clothes as part of their “normal” everyday clothes

Over one in four (27%) say leggings are their most favoured article of clothing for day to day wear

Many wear active-inspired attire to run errands (56%), to travel (47%), to go shopping (41%) and even when going out to dinner (16%)

This new trend brings a challenge when it comes to clothing care. Today, 60% of loads contain laundry garments other than cotton. Athleisure garments include knitted fabrics, polyester, Lycra™, new wools, and many other fabrics, meaning that laundry loads are now more varied than ever. People are currently faced with 900+ wash combinations, factoring in the diversity of fibres, fabric construction, load size, soil and staining and water quality.

SCIENCE OF ENCLOTHED COGNITION INFORMS ARIEL, LENOR, AND DOWNY INNOVATION

Understanding the relationship between the wearer and their clothes is key to the redefining clothing care. P&G Fabric Care brands Ariel and Downy/Lenor have embarked on a series of studies with leading Cognitive Psychologist, Dr Lawrence Rosenblum of the University of California Riverside, to delve deeper into the phenomenon of “Enclothed Cognition”. This term describes the subconscious effects of our clothes on the way we perceive ourselves, the way we think, our moods and behaviour.

Existing research shows that people perform better when they are wearing clothes that are associated with the important aspects of the task they are performing. In addition, early experiments suggest that cognitive performance is improved when wearing clean clothing. A massive 70% of people claim wearing fresh, active-inspired clothing can make them feel more energetic, and 62% say it increases confidence*, demonstrating the true importance of caring for clothes properly.

Dr Lawrence Rosenblum, Cognitive Psychologist, University of California Riverside comments: “There are definitely cognitive consequences of wearing formal clothes versus casual clothes. Our clothing changes the way we perceive ourselves, but it also changes the way the brain works, how it forms concepts, and the kind of decisions we make as a result. Our clothes affect us on an entirely different level that exists without other people telling us how we look and feel.”

Comfort, style and performance, have become the ubiquitous qualities associated with athleisure, and retaining a “like new” quality is at the forefront of research and development of all Ariel and Downy/Lenor clothing care products.

ARIEL’S ADVANCED CLEAN HELPS KEEP THE FABRIC QUALITIES THAT DEFINE ATHLEISURE CLOTHES LIKE NEW

Ariel formulas provide advanced cleaning that delivers unbeatable clothing care for the latest natural and synthetic fibre mixes in athleisure wear, via a process of Ariel Fibre Purification and Ariel Fibre Preservation. This advanced Deep Clean Complex allows for washing at lower temperatures, helping to protect the colours and the fibres of fabrics, especially a fibre like elastane which is extremely common in athleisure and can be prone to damage.

Thanks to its proprietary blend of advanced cleaning technologies, Ariel removes seen and unseen impurities embedded deep within fabrics while also preventing them from re-depositing back on fibres to stop their build-up, as they can cause damage and premature aging of clothes (a process P&G clothing care experts call “grey veil”).

Ariel also helps protect the feel of comfort of athleisure clothes through FibreSCIENCE technologies specialized in optimising the wash conditions to help protect fibre integrity and preserve that “like-new” feel.

DOWNY/LENOR – FIBRE PROTECTION AND LONG-LASTING FRESHNESS TO KEEP THE STYLE AND COMFORT OF ATHLEISURE CLOTHES AT ITS BEST

Downy’s/Lenor’s formulation helps preserve the texture and construction of athleisure garments and provides an uplifting perfume experience.

Inspired by the link between people’s emotions and scent, Downy/Lenor enhances garments and moods with sophisticated scent technology and perfume oils that provide an irresistible freshness experience and long-lasting fragrance throughout the day. Each delicate Downy/Lenor perfume is made up of more than 60 scent components delivering rich, complex fragrance profiles.

Furthermore Downy/Lenor penetrates deep in the layers of fabrics to condition the fibres and reduce friction between fabrics. Thanks to the process of Downy/Lenor Fibre Protection, a visible difference can be seen after just 5 to 10 washes, with less bobbling and pilling, helping to protect the in-wear fit and “like-new” feel of your athleisure garments. Every drop of Downy/Lenor contains billions of softness agents that help to reduce friction at a fibre level during the wash, as well as during day to day wear, minimizing the chances for fabric bobbling and pilling which cause damage and premature aging of clothes.

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One has the sense of having completed an epic journey, only without the jet lag, when perusing an Etro collection. Cultural inspirations are part of the luxury label’s charm. It’s known for sumptuous and sensuous renditions of botanical splendor and plush prints. For her latest collection, Veronica Etro didn’t disappoint, as she was inspired by the work of the early-20th-century French painter Henri Matisse. Aside from her playful interpretations of his abstract, architectural forms, she tossed away the notions of what color goes with what, and her key looks flaunted the many brilliant hues of the artist’s paper cutouts of the late 1940s and early ’50s.

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In keeping with the low-key luxury vibe, her abstraction was never really abstract: You could always see the nature in it, thanks to the flowers that ran throughout the collection. Long-sleeved dresses were a patchwork of pulsating print, with stronger lines or intense tones, as in the case of a languid silk turquoise-hued dress with a ruched neckline, giving the bohemian silhouettes a relevant modern fix. The Italian house’s signature paisley motif was worked to resemble cutouts on black silk pants or a bomber jacket with bright fur curlicues, which reclaimed a bolder sense of structure.

As a working mother, Veronica is one of the few designers to harness that much-overlooked factor—practicality. Her Javanese-, Moroccan-, and Japanese-inspired silks lean toward city life. Coats with a profusion of chrysanthemums, versatile kimono jackets, and brilliantly colored tunics over pants will be translatable and understandable for a broad range of women.

Like the many divergent moods of Matisse, the designer’s choices of print were similarly flexible and wide. The lineup alternated between the organic and the geometric. Brightly colored tunics and expanses of soft georgette blouses with lush brush-style designs seemingly rendered in gouache were contrasted with the occasional abstract use of diagonals, diamond patterns, and zigzags.

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Until the early twentieth century, the main way people saw new clothes, especially the latest from Paris, was on dolls. Around 1391 Charles VI of France sent Queen Anne of England a “fashion doll” wearing the latest royal court dress – she was the fashion ambassador of French taste.

In the 21st century, technology takes charge of spreading sartorial trends. Through social media like Instagram and Twitter, it’s easy to find out the latest in Paris, New York, London, Milan, Dubai, Kuwait, and Iran. These pictures are seen the whole world over while hundreds of thousands of people, including models, journalists, retailers, celebrities, and executives, participate in events across the globe. So here’s the question: what should – and shouldn’t – you wear to a fashion show?

While it can sometimes seem that the world has fallen victim to a sort of sartorial globalization, where jeans are welcome anytime, anywhere, the truth is more nuanced. You can wear jeans but you need to spiff them up. Make sure you’re wearing the latest trend – this season’s must-have denim comes with a cropped, slightly flared and frayed hem. And remember, what works in Singapore might be greeted with looks of horror in Paris.

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And while you can pile on the gold and jewels in Greece, you’ll be perceived wearing all this jewelry as vulgar in Germany. So here are the rules on looking not just appropriate but actually stylish around the globe, in fashion events.

Simple: think your everyday style but elevated.

DON’T ignore weather conditions – if it’s cold, wear an appropriate outfit and leave your tiny shorts for summer!

DON’T wear shoes you can’t walk in.

Keep it elegantly casual. Unless you feel like you have to wear an outfit worthy of a thousand camera flashes like Lady Gaga or Anna Dello Russo and you’re up to it, then please refrain. Gone are the days when bloggers had to wear weird outfits to be noticed. The name of the game now, is trendy elegance.

I can’t say it enough, your best kept secret for looking like a million bucks is a tailor who knows your figure. Don’t just grab something off the rack and assume it will fall perfectly on you. Make sure the sleeves are not too long before you get to the show, or the hem length won’t be flattering.)

Unless you are a celebrity with some consistent spending means, there is no reason you should drop an entire month’s rent on a new outfit for the show. By all means do buy a beautiful investment piece that stands out and is re-wearable. But I don’t advise to invest in a designer piece just for this one show.

Put on your diva pout and wear your big sunglasses while on your way to the show. But, please, pull them off during the duration of the event. If trying to stay incognito, then stay home.

Most of the time, I’m all for fabulous over functional. And in this particular event it is not the time for ballet flats, unless you opted for those amazing pointed ballerinas by Dior! This is one of the only times your most decadent, beautiful shoes will have a reason to exist besides collecting them in your closet for your own visual pleasure and ego boost!

If you’re new to the fashion scene, I strongly suggest to bring a fashionable friend with whom you can chat and gossip!

Remember when I said earlier don’t go designer? That doesn’t apply to the handbag. I beg you do not carry a faux designer one; the real thing is a must.

If black is your comfort zone, make an effort and think you’ll be mingling with a fun, bright crowd, you don’t want to be singled out. A pop of color never hurts anyone, or simply go for a black and white outfit.

Elegance and refinement are key words in every occasion including fashion events. No need to flash extra flesh.

And remember, in such an egocentric milieu, most people are going to be so focused on catching a celebrity or busy taking selfies that they aren’t going to even notice what you’re wearing, especially if your shoes are from last year’s collection.)

Bad behaviour

Now that we covered your outfits let’s tackle your behavior.

DON’T block the view of everyone around you while you Instagram every look.

DON’T put on heavy perfume in a show, it is unacceptable.

DON’T post hundreds of blurry, horrible photos on Instagram and useless videos of every event you attend just to show how cool you are. I’m so unfollowing!

DON’T wear imposing hair styles or even hats in the front row. Remember there are people behind you…

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Create a picture perfect, doll-like look following this tutorial.

Why wait until Halloween to go for a dramatic make-up look? The China doll facade is ideal if you want to make a statement, or have no time left to find a fancy dress costume. Alexander McQueen models channelled this style on the runway during the Autumn/Winter 15 shows, but now it's your turn.

Face

Begin with a good primer or BB cream as a base. One with a dewy finish, like Tom Ford Illuminating Primer or Maybelline Dream Fresh BB 8-in-1 Beauty Balm Skin Perfector, is a good option as we want some shine. Rub in all over and allow to dry, before applying another few dots to your forehead, cheekbones and tip of your nose as these are the areas you want to stand out.

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With foundation go for something with a glow like L'Oréal True Match Lumi Healthy Luminous Foundation. The important part is that it's slightly lighter than your normal shade for a porcelain-like finish. Apply with a brush to get an even and light coverage, then top with a very light dusting of translucent/fair powder such as Too Faced Candlelight Glow Face Powder.

Your cheeks aren't complete without a touch of blush , but you don't want anything too bright. Pale coral and pink tones, as seen in Clinique's Cheek Pop blushes, work best applied to the apples of your cheeks.

The eyes

Doll's eyebrows are very faint so if you have dark hairs, add a thin layer of foundation or powder to lighten them. Take an eyebrow palette and use the lightest shade and a soft brush, or alternatively a kohl pencil, and gently fill in your brows - you want a neat finish so make sure no hair is left uncovered.

Pale tones continue on your eyelids to make your eyes stand out. Use a white shadow below your brow bone to highlight, then add a light pink to the outer corners of your lids, followed by a light apricot/peach tone in the inner corner and blend using a crème or pearl shade. This will give your peepers a round finish. Eyeliner comes next and we recommend one like Maybelline Master Precise Liquid Eyeliner for precision. Apply from the middle of your upper lid and follow the natural curve, stopping slightly below the corners of your eyes. Draw another line below your lower waterline, starting from the same place, and join the end for a pointed finish.

Mascara is a vital part of this look - go for length with a product such as The Body Shop Super Volume Mascara, or if you're feeling confident apply a pair of falsies. You want that doll-like flutter and the only way to achieve it is with long lashes!

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Hamburg-based Tom Tailor Group has initiated its comprehensive, multi-year cost reduction and efficiency programme “Core” to focus on its core competencies, it said in a press release. With this initiative, the company is addressing the far-reaching and rapid structural transformation of the textile industry. The goal is to increase efficiency and accelerate processes while improving the cost base in order to enhance the company's long-term competitiveness.

"The effects of globalization and digitalization have brought far-reaching changes to the textile market, and customer needs are rapidly shifting. Dynamism, efficiency and flexibility will be even more crucial to competitiveness in the future. With our envisaged program we will speed up our processes and streamline our structures. This will further boost the performance potential of our retail and partner spaces," said Dieter Holzer, the CEO of Tom Tailor Holding AG.

The “Core” programme is intended to generate additional contributions to earnings. The company expects to realize the full financial impact of the cost reduction measures, amounting to at least 10 million euro per year, from 2018 onward.

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Within the framework of the cost reduction and efficiency program, the Group plans to pare back its brand portfolio, and in the future focus on the strong core brands Tom Tailor, Tom Tailor Denim and Bonita. Consequently, the Tom Tailor Polo Team brand and the Tom Tailor Contemporary Men line are scheduled to be withdrawn from the market in the summer of 2016.

The Tom Tailor group also intends to streamline its sales organization in terms of countries and sales channels. The company plans to further optimize its retail network by closing less profitable stores. Against this backdrop, it will also adjust its rate of expansion. In 2016, up to 30 new stores are scheduled to be opened, as compared with 115 openings in 2015.

Another proposed measure of the “Core” programme is a review and assessment of all operating costs. As a first step, all material costs will be reviewed and options evaluated to reduce the rental and logistics costs.

In the course of the focusing initiatives, the company's workforce capacity will be reduced, realizing cost savings of EUR four to five million. Following initial soundings and information, there will be discussions with the works council over the next weeks so as to arrive at solutions compatible with social priorities.

"By lowering our break-even-threshold and through the resulting improvement of our earnings potential, we are responding to the increasing volatility in the market. As a result, we are positioning the Tom Tailor Group for sustainable and profitable growth and thus make our company weatherproof," said Holzer.

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Rita Ora pulled out all the stops on the red carpet in Berlin, Germany on Thursday (12Nov15).

Singer Rita Ora wowed on the red carpet at the Bambi Awards in a dramatic Marchesa gown on Thursday night (12Nov15).

The 24 year old attended the ceremony in Berlin, Germany to pick up the Music International Award and Rita made sure all eyes were on her in the stunning dress which featured a delicate top half with a plunging neckline and silver embroidery before going into a tulle tiered skirt featuring a long train.

Rita continued the feminine, princess feel with her hair pulled back from her face in a middle parting and replacing her signature bold lip with a softer, nude colour and pastel eye make-up. She completed the look with a pair of diamond earrings in the shape of tree branches.

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The Radioactive singer wasn't the only star to pull out all the stops at the event though, as supermodel and TV personality Heidi Klum also brought her style A-game to proceedings.

The mother-of-four wore a beautiful purple satin gown by Zac Posen which featured a low back and a billowing skirt with train. The corset bodice had an intricate pleated detail and hugged the 42 year old's frame before flowing into the full skirt.

Heidi attended the ceremony - which is one of the top prize giving awards shows in Germany - to receive the fashion award, and didn't let designer Zac down in his stunning gown, which she teamed with a diamond choker style necklace, matching earrings, and a butterfly ring. Like Rita, Heidi opted to pull her blonde locks off her face in a classy up do, revealing her slender shoulders.

Hollywood actress Hilary Swank also attended to receive the International actress award and looked amazing in a black and silver long sleeved dress. The gown featured a sheer skirt and sleeves, giving a hint of the double Oscar winner's skin underneath.

The 41 year old clearly got the memo not to wear her brunette locks down, as she also followed her peers by wearing it in a loose up do.

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