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Tove Lo’s ‘Blue Lips’ conveys pain, beauty

Le 20 novembre 2017, 09:21 dans Humeurs 0

Miren Chacon (Photo:blue formal dresses)

Tove Lo’s sophomore album follow-up, “Blue Lips,” was released. Centered around sex, relationships and drugs, Tove Lo’s new album is still a reflection of the artist’s image but a stronger electro and dance sound sets this album apart from her first two records.

“Blue Lips” is divided into two parts: “LIGHT BEAMS” and “PITCH BLACK.” Both are made up of six songs, making a total of 11 new songs and an already released single, “disco tits.”

Like the club ambience its title alludes to, “LIGHT BEAMS” brings energetic and hypnotizing beats that open the door to the nightlife world.

The single “disco tits” is the first song included on “LIGHT BEAMS.” Starting with a catchy modulated voice saying “I say hi/You say hi/We stay high/You look so pretty,” which repeats throughout the song, achieving a risky, sexy beat resembling ‘80s disco music and perfectly portrays the chaos of night life.

With a strong electronic sound, “shedontknowbutsheknows” tells the story of a girl who knows she is being cheated on, but pretends everything is okay. It is the first song on the album that talks about relationships, a theme that dominates the whole album.

The fourth song, “shivering gold,” is one of the most powerful songs on the album. Going more in-depth about the artist’s escape from reality found in clubs, sex and alcohol with lyrics like “I'm out on the dance floor/Drinking my tears/Acting all cliché and facing my fears,” the palpable pain in Tove Lo’s voice in this song adds an emotional dimension to the hedonistic world her songs portray.

“dont ask dont tell” follows in the footsteps of “shivering gold,” with Tove Lo’s vocals on the spotlight and a soft electronic piano. “dont ask dont tell” brings a smooth beat which wears off toward the end of the song.

With a heavy electronic and catchy beat, “stranger” is the type of song with a chorus that will stay in your head no matter what remedy you try. It achieved breaking away from the vibe of the previous two songs by introducing an electric guitar and bass, but still follows the same themes of sex and loneliness, with lyrics like, “You are my stranger in the dark/I am a lonely heart waiting for someone to take me home.”

The song that closes “LIGHT BEAMS” is “bitches,” and differs completely from the rest of the songs. With a strong sensual sound and explicit lyrics, it doesn't share the electronic sound of the rest of the songs, being more pop than dance with a lyrical emphasis. Despite its slightly repetitive lyrics, it stays addictive from beginning to end.

After the heavy, sensual and explicit songs on the first part of the album, I expected “PITCH BLACK” to dive deeper into the morbid world its title conveys. However, it turned out to be to be the complete opposite.

With songs such as “romantics” and “9th of october,” in which Tove Lo opens up about her relationships, broken hearts and her quest for love, it was like listening to Taylor Swift.

“PITCH BLACK” closes with a song that has a title that disguises its content. “hey you got drugs?” is one of the most emotional songs on “Blue Lips.” It emphasizes Tove Lo’s dwelling and raw emotions with strong intensity variations and a strong chorus.

“Blue Lips” is definitely the best album Tove Lo has released so far. She still brings her world of sex and drugs into it, but manages to pour her emotions into it with great electronic and controversial lyrics.Read more at:yellow formal dresses

Christine Massarany addresses women with busy schedules

Le 16 novembre 2017, 10:13 dans Humeurs 0

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With the sounds of a game unfolding in the next room and the humming noise of a television left hanging between one cartoon series and another, she cradles a new sketch while her ideas begin to translate on paper.

As the waist shoots higher and the tail waltz towards the opposite direction, her pencil moves from side to side before her silver-screen worthy silhouette starts to materialise.

Between motherhood duties and the creative urges of a new designer, Christine Massarany is an up-and-coming local fashion designer that fathoms the significance of busy schedules. Between taking care of two young children under the age of ten and keeping up with the fast-paced fashion industry, Massarany is a true example of modern women and the many chores they juggle on a daily basis.

Therefore, for her first collection, the designer decided to focus on semicouture; a haven for women who aim to dazzle in haute couture, yet still prefer to choose their gowns from the rack.

The romantic collection could be defined by its timeless earthly colour pallet and the use of light fabrics. With floral embellishments and curve-hugging ruffles, the collection aims to bring luxury to today’s strong, independent women.

Daily News Egypt sat down with Massarany to talk about her aesthetic, semicouture and the many hats she shuffles through every day.

How would you define your aesthetic as a designer?

What defines my collection are the feminine cuts as well as the high-waist silhouettes, which together, highlight the feminine curves on a woman’s body. On the other hand, the brocade fabric, which I perceive as an elegant and rich fabric, is a key element in this collection.

Can you define your target audience in one word?

Different and daring.

What kind of market gap do you aim to fill?

We do not have a semicouture Egyptian brand, which means that you cannot easily find a nice and different evening dress that you can buy off the rack. Semicouture is basically the meeting point between the ready-to-wear and the haute couture.

What encouraged you to start a career in fashion at this point of your life?

I had the passion since I was 18, but at that age I did not realise that it can be a career, therefore I studied finance and worked after graduation in PR and advertising for five years.

After I got married, it was not long before I left the advertising industry behind and started looking for courses abroad for fashion design.

Nonetheless, when I got pregnant, everything was postponed. However, this was one of the things that I made sure only got postponed and not cancelled.

It was before my second daughter turned two that I decided it was finally time for me to start taking my first steps towards my hobby.

Despite my commitment, it was not so easy. However, at that point I realised that there is no “right time”; we are the ones who create the right time and if we keep waiting, it might never come to us.

I very much believe in the saying: “when there is a will there is always a way.”

Given the current economic changes, why did you choose to specialise in couture rather than RTW?

In fact, I am planning on having a RTW line, as well as swimwear along with many other ideas. I just wanted to start with an evening collection as it has more details and ideas. Meanwhile, my personal aesthetic is detail-oriented.

How does being a mother reflect on your work?

Being a mother certainly has a positive impact on my work. It has taught me to be super picky and have great attention to detail. Raising two kids has definitely boosted my self-confidence; motherhood is not an easy task.

As a matter of fact, I actually learn a lot with them, from them, and while I am trying to guide them. On another note, it is definitely more stressful; I’m basically always tired.

Establishing a career in fashion and raising a young child are two full-time jobs, how do you manage to juggle both?

I try to work at night after they sleep or during the early mornings, when they are at school; it is doable. However, it needs good time-management.

What are your near-future plans?

My near plan is to hit the market in Dubai and then hopefully also Europe.Read more at:cheap formal dresses

Celebrating the art of fashion

Le 14 novembre 2017, 09:16 dans Humeurs 0

art-fashion-paolo-sebastian-x-adelaide-review (Photo:formal dresses online)

The exhibition, currently showing at the Art Gallery of South Australia, is a collaboration with the Adelaide Fashion Festival and presents a number of fashion installations throughout the Melrose Wing. It celebrates the glamour and luxury of couture gowns by designer and 2017 Young Australian of the Year Paul Vasileff, in conversation with the Gallery’s historic European paintings and sculptures.

“We wanted to raise fashion to what I think is its true place of being an art form, and an art form that the general public can connect with,” co-curator Rebecca Evans says.

Evans, who hails from Sydney, took up the role of curator of European & Australian decorative arts at AGSA 18 months ago and brings with her a wealth of experience – she was previously curator of fashion and textiles at the Powerhouse in Sydney.

Evans worked collaboratively with Chris Kontos, the creative director of the Adelaide Fashion Festival, to put together this exquisite exhibition.

“It signifies the importance of collaboration in this city and the state,” Evans says. “At the end of the day there aren’t four-million people here so there is a greater need and desire to bring together resources,” she says.

Putting together an exhibition such as this was not only the work of the designers, curators and gallery staff, it also involved the art conservation organisation Artlab Australia, which made sure the pieces were presented in the best state possible.

A team of three at Artlab worked solidly for four weeks to make sure Vasileff ’s dresses came to life. Kirstin Phillips, the principal textiles conservator, explains: “Paul’s dresses are lovely translucent floating dresses. He designed them to look great on the body and our job is to make them look good on a mannequin, which is a slightly different thing.”

The translucent nature of the dresses presented a unique set of challenges for the staff. “A lot of the dresses have a skirt, which is quite see-through, so we had to make a flesh-coloured tube,” Phillips says. “It gives an impression of legs under the dress but not obviously a petticoat because that would change the look of the dress.”

Also a lot of the sleeves of the garments are transparent so Artlab had to create a fake arm made from a fabric called crin (short for crinoline) in a flesh colour. The arm had to look as if it filled the dress but didn’t look solid.

The role of Artlab is to make sure the focus is on the dresses. If the audience doesn’t notice the mannequin and only notices the garment then they have done a good job.

“It’s our job to make sure our underneath bits really show off the dresses and do the right thing by them but disappear as well,” Phillips says. “In the gallery context it’s the process of making it look its absolute best while it’s on display.”

Evans deliberately matched Vasileff’s designs with works from AGSA’s European collection to highlight the influence of art history on his work and fashion in general.

For example, the 1870s Bird curtain designed by William Morris has been paired with Vasileff’s Nightingale gown. His Wildflowers collection from last year has been matched up with Camille Pissarro’s 1886 masterpiece Prairie à Éragny.

The exhibition celebrates 10 years of Vasileff ’s label Paolo Sebastian and Evans believes it is the perfect time to celebrate the designer’s career. Derived from his own name, Paul Sebastian Vasileff, the Paolo Sebastian label is recognised worldwide.

“We often celebrate artists and designers at the end of their career with retrospectives but it’s equally important to celebrate artists when they are in the moment — when the public is captivated — and we wanted to capture that moment in the exhibition,” Evans says.

With AGSA director Nick Mitzevich recently announcing a new gallery fashion fund, this renewed focus on fashion is important for growing audiences and helping cement fashion’s place as a legitimate art form.Read more at:bridesmaid dresses

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