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What’s The Secret Behind The StrapDoctor™?
Simplicity of course! Let the science of the gripping technology do the hard work for you. It’s easy to use and it stays in place all day long.
StrapDoctor™ was invented by Paula Fraser, who lives in rural Prince Edward Island, on Canada’s east coast. Paula and her husband David had farmed full time for years, but due to poor prices had to give most of it up. Today wild blueberries are still grown and harvested.
Paula had some slipping bra straps that drove her crazy and so the farmer decided to fix the problem once and for all.
Noticing the blue shelf liner material underneath the telephone in her home office, she used that same grip concept to come up with a solution. It wasn’t pretty, but it worked!
Curiosity led her to talk with her friends about this problem and she found that over 50 % of women surveyed were annoyed by slipping bra straps, sparking the idea of a commercial venture.
Women’s reactions ranged from “What a great idea” to “I’ll be your first customer”, to the most favorite one of all “Bless you!”
Perfecting StrapDoctor™ was a long slow process but perseverance paid off as Paula eventually came up with materials that worked. Thankfully, it’s also a much better looking version than when it was a newborn.
StrapDoctor™ is now manufactured in rural Prince Edward Island and has been bought by women all over the world.
Paula & David continue to live on the farm where they share space with their 3 children and a variety of pets and livestock.
Innovation Acres Inc. is busy developing other products that solve everyday problems.
Click here to watch a video on how the StrapDoctor works:
http://www.strapdr.com/images/videos/strapdocvid/StrapDoctor.html
Excuse me, is there somewhere I can charge my dress?
That’s the question fans of CuteCircuit, a fashion tech company, will be asking if they party a few hours too long in one of its outfits. Last week, CuteCircuit launched its second ready-to-wear collection of dresses and tops embedded with LED lights. The clothes recharge via USB, and some items, like the “K-dress,” have controllers that allow wearers to pick the color and pattern of their lights.
The UK brand’s slogan is “future fashion now,” though it tries hard to keep up with current trends. Designer-artist team Francesca Rosella and Ryan Genz, who formed the company in 2004, have made custom couture dresses for Katy Perry. In 2010, they made a “phone dress” with a SIM card and antenna sewn in the fabric. Last month, they debuted a haute couture gown at a party for watchmaker Breitling, made with Swarovski crystals and 10,000 LED lights, meant to evoke the aurora borealis, or northern lights.
The ready-to-wear clothes sold on CuteCircuit’s website are a bit more accessible. A black t-shirt minidress speckled with crystals costs 210 pounds, or $332. CuteCircuit is currently talking with retailers about getting its clothes in “fashion forward department stores,” according to PR director Marina Delgrano.
LED lights, which use less energy and last longer than normal incandescent bulbs, are becoming increasingly popular both in homes and for creative projects. The lights are expected to take up 60 percent of the global market share in the next 10 years. Artists and designers have put the lights on shoes, sculptures, makeup, and wine charms, among other products, according to the Elemental LED blog.
Now could be the right time to re-illume electric fashion. In the ’90s, everyone from TLC in their “No Scrubs” video to Kimmy Gibbler on the TV show “Full House” to every cool kid in middle school with L.A. Lights sneakers rocked the trend. Not that this was even where it started — people have been dreaming about putting lights on clothes since the early years of electricity. In the 1930s, British news show Pathetone predicted women would be wearing lantern hairpieces by the year 2000. Katy Perry, take note.
Kate Middleton sure is getting to see a lot of her in-laws these days.
This afternoon she joined her father-in-law, Charles, at a south London gallery dedicated to art therapy for children. The pair were greeted by hundreds of cheering schoolchildren waving Union flags when they arrived in the bright sunshine at Dulwich Picture Gallery with the Duchess of Cornwall. It was the first time Kate had joined Charles on a visit to one of his charities. They chose to see the work of the Prince’s Foundation for Children and the Arts at Dulwich because of their mutual interest in “art, art therapy and children,” a Clarence House spokesman said.
Kate wore a dark grey Orla Kiely dress with black pattern detail on the top, and a pleated skirt. She wore a coat dress by the same designer on a previous engagement earlier this year. The outfit was completed with black high heels.
Inspired by the vibrant culture and ancient beauty of her Lebanese heritage, Dareen Hakim brings to life an intriguing mosaic of old world authenticity and modern style. This contrast in design shapes her handbag collection’s freshly unique and unusual statement pieces. Combining the chic elegance of modern silhouettes with a touch of the ancient and rustic, the collection celebrates at once fashion and tradition. Sumptuous leathers and dramatic hues are adorned with hand-engraved metal plaques some artfully inscribed with arabesque calligraphy. Messages of love, laughter, happiness and strength are Dareen’s personal reminders of life’s simple pleasures, and reflect her motivations from early life during Lebanon’s turmoil-stricken days to today. With their cool art-piece feel, these handbags have appealed to women with a taste for elegant, yet unique fashion statements.
The Melbourne Fashion Festival’s cultural program was officially launched yesterday with a ribbon-cutting ceremony by David Jones ambassador Samantha Harris and lord mayor Robert Doyle.
International stylist, Melbourne-born Alex Zabotto-Bentley, also unveiled five collaborative installations by artists, fashion designers and visual merchandisers, set up within five of the store’s windows on both sides of Bourke Street Mall.
The artworks are part of a city-wide ”Windows by Design” project, one of 80 events in the festival’s cultural program of exhibitions, seminars, workshops and alternative fashion shows expected to attract 200,000 visitors.
”It’s been an intense, creative process to connect fashion to the consumer in these ephemeral spaces,” curator Zabotto-Bentley said.
One window features an arc of tumbling timber chairs and cascade of cobalt blue rope macrame by artist Sarah Parkes.
”It’s a study of perfect symmetry, a sculptural environment with the garments nestled in,” Zabotto-Bentley said. The window’s centrepiece is a mannequin wearing cobalt blue silk by Willow, a ring of expensive designer shoes at her feet.
Another window features plaster-dipped peony blossoms bursting from dozens of trumpets arranged around mannequins wearing Bianca Spender and Easton Pearson designs.
”This is an incredible initiative,” said festival CEO Graeme Lewsey. ”These windows are going to captivate all the visitors we’re expecting next week, including interstate and international visitors.”
A map of the 16 Windows by Design, in stores around the city, encourages visitors to walk, explore, shop, and think about fashion in new ways.
The L’Oreal Melbourne Fashion Festival runs from next Thursday, March 8 – 15
(original article here)
Imagine working for one of the most successful beauty companies in the world and imagine choosing to give it all up at the height of the financial crisis. A risky move, one that handbag designer Dareen Hakim says it was all worth it. The Dareen Hakim Collection is only over a year old, and at least half of her debut bags have already appeared on almost every shopping gift guide editorial since last spring.
I recently met Dareen at a charity event and was so inspired, not just by her beautiful and unique clutches (I’m a proud owner of her Le Capri clutch) but also her courage to leave the stability she’s known for almost ten years in the corporate world to pursue her passion for fine Italian leather and authentic Arabian metal. She molded those two things into the one thing we women don’t want to live without… our handbag. (by Nour Akkad from The Huffington Post)
Below are a few designs available in our boutique currently:
Exclusive: Telegraph Fashion follows the acclaimed street style photographer Tommy Ton at New York Fashion Week.
admission price: free
Seventh Avenue at 27th Street New York, NY 10001
Armor-infatuated heiress Daphne Guinness occupies an amorphous place in the cultural zeitgeist that could only originate from the fashion world. A sometime-model/journalist/promoter, Guinness co-curates this show of haute couture, drawn from her personal collection, with pieces from such luminaries as Alexander McQueen, Karl Lagerfeld and Valentino. For more information, visit fitnyc.edu.
Not-so-desperate housewife Eva Longoria was spotted by People Magazine in London wearing the classic “Le Capri” clutch by Dareen Hakim while out on date night with Eduardo Cruz. Le Capri comes in 5 colors and retails for $245.
I think the title “Savage Beauty” very much epitomizes the contrasting opposites in McQueen’s work. As you enter the exhibition, you’re faced with two mannequins—the two mannequins that I think represent many of the themes and ideas that McQueen revisited throughout his career: polarized opposites, whether it’s to do with life or death, lightness or darkness, predator/prey, man/machine…. Read More (Andrew Bolton, curator of Alexander McQueen: Savage Beauty)
About the Exhibition:
The exhibition, organized by The Costume Institute, celebrates the late Alexander McQueen’s extraordinary contributions to fashion. From his Central Saint Martins postgraduate collection of 1992 to his final runway presentation, which took place after his death in February 2010, Mr. McQueen challenged and expanded the understanding of fashion beyond utility to a conceptual expression of culture, politics, and identity. His iconic designs constitute the work of an artist whose medium of expression was fashion. The exhibition features approximately one hundred ensembles and seventy accessories from Mr. McQueen’s prolific nineteen-year career. Drawn primarily from the Alexander McQueen Archive in London, with some pieces from the Givenchy Archive in Paris as well as private collections, signature designs including the “bumster” trouser, the kimono jacket, and the three-point “origami” frock coat are on view. McQueen’s fashions often referenced the exaggerated silhouettes of the 1860s, 1880s, 1890s, and 1950s, but his technical ingenuity always imbued his designs with an innovative sensibility that kept him at the vanguard.
The exhibition is organized by Andrew Bolton, curator, with the support of Harold Koda, curator in charge, both of The Costume Institute. Sam Gainsbury and Joseph Bennett, the production designers for Alexander McQueen’s fashion shows, served as the exhibition’s creative director and production designer, respectively. All head treatments and masks are designed by Guido.
Located in the Iris and B. Gerald Cantor Exhibition Hall, second floor, the exhibition is free with Museum admission. See Plan Your Visit for Museum hours, directions, and admission information.
“You’ve got to know the rules to break them. That’s what I’m here for, to demolish the rules but to keep the tradition.”
—Alexander McQueen
McQueen doggedly promoted freedom of thought and expression and championed the authority of the imagination. In so doing, he was an exemplar of the Romantic individual, the hero-artist who staunchly follows the dictates of his inspiration. “What I am trying to bring to fashion is a sort of originality,” he said. McQueen expressed this originality most fundamentally through his methods of cutting and construction, which were both innovative and revolutionary. This technical ingenuity was apparent as early as his graduation collection from the Fashion Design MA course at Central Saint Martins College of Art and Design in London. Entitled Jack the Ripper Stalks His Victims (1992), it introduced such iconic designs as the three-point “origami” frockcoat. In his first collection after graduating, entitled Taxi Driver (autumn/winter 1993–94), McQueen launched his “bumsters,” pants that sat so low on the hips that they revealed the buttocks. Indeed, McQueen was such a confident designer that his forms and silhouettes, such as the “bumster,” were established from his earliest collections and remained relatively consistent throughout his career. Referring to his early training on Savile Row in London, he said, “Everything I do is based on tailoring.” McQueen’s approach to fashion, however, combined the precision and traditions of tailoring and patternmaking with the spontaneity and improvisations of draping and dressmaking—an approach that became more refined after his tenure as creative director of Givenchy in Paris from 1996 to 2001. It is this approach, at once rigorous and impulsive, disciplined and unconstrained, that underlies McQueen’s singularity and inimitability.
We always love to get personal pictures from the fantastic women that associate with blendnewyork. Naomi Peters (center) wearing Analili, is definitely one woman to be recognized! You can catch her in film, television, (even video games) kicking ass and taking numbers as an actress and stunt woman in shows such as Men in Black 3, Indiana Jones 4, Precious, Ugly Betty, Law & Order: Los Angeles, Law & Order: SVU, 30 Rock, Castle, The Mentalist…..the list goes on. Check out her full resume here.
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