It is the week after Mercedes-Benz Fashion Week Australia and you might think Christopher Esber would be taking time out to enjoy the praise following his standout show.Esber was described variously as ”the one true breakthrough talent”, ”the official one to watch” and the designer who ”proved his moment had come” following his sleek presentation inspired by karate, fly-fishing and fencing during an otherwise mostly lacklustre week.No less than the respected fashion critic Tim Blanks (of style.com) described the ”newly anointed” designer’s collection to be a ”perfect paradox … complete control collapsing into sensual disarray”.

Akif Mahmood

“I wanted to make it very simple since it is a uniform and requires practicality. Instead of the typical black though, I have a white and lime printed shirt. White works best for men because the weather is mostly sunny and warm in Pakistan. I have added a waistcoat with pockets which is not only fashionable, but will also prove useful to hold all their arms,” explains Mahmood. However, he adds that one can’t be completely fashion-centric because most policemen are older and experimental designs appeal to youngsters more. The designer, who is a fan of denim, has suggested nontreated denim for the pants. “Denim would give a cool feel to the overall look. The whole point is to make the typical uniform interesting and presentable. Also given the popularity of films like Dabanng, policemen are also viewed as icons.”

“This is my vision of how I want to see a policeman. I have used white for the pants not just because it repels heat but because the colour symbolises purity and power. We all expect the police to be this agent of fairness and justice and also expect them to have authority,” states Saleem. The designer has used turquoise, which is supposed to balance out the look since it is a neutral and fresh colour. “I wanted them to feel good about themselves yet not lose their strong image,” says Saleem.

Adnan Pardesy

“I have given the cops cargo pants in poplin cotton instead of twill fabric that is typically used. The cotton is lighter and makes for ease of movement in the summer. Overall, I have retained the blue details of the current uniform but used white as the base,” states Pardesy. For the top, the designer has suggested a polo t-shirt in 60/2 mercerised cotton fabric, which is basically a mix fabric that is easy to wash and wear and doesn’t dull out even after multiple washes. “The polo also gives a formal feel to the uniform and will keep the men cooler yet give them the air of authority. And the best part is that it is extremely cheap to make,” he adds.

“Whenever I think of the Pakistani police, the associated emotion that the term ignites is fear. Yet, as a fashion designer when I visualise the police I think of a sleek and smart look. I wanted to therefore go for a modern, minimalistic look that every police man can carry off,” says Ali. The designer states that since Pakistani police comes from all classes, he chose not to be too experimental with design. “The look is very simple. The cotton under-shirt is in an off-white colour and the upper jacket is dull green with 3D pockets, along with the necessary police monograms. The trousers are grey instead of black and are paired with long boots,” concludes the designer.

Mohsin Ali

“I was thinking of the ancient subcontinental silhouettes of an angharkha, but wanted to make something modern with a twist of history in it. Since it’s so hot in Pakistan, the pants are airy from the hip but tight from below to give a slightly fashionable look,” says Ali. A cool wool is used for the gloves to repel heat and the scarf is added to absorb perspiration. The designer adds, “I also wanted to give the police men solar hats in two layers that create a vacuum in between for air supply.” The colours used in Ali’s creation are very light and the designer has used grey instead of white, “since white gets soiled easily in this dusty weather”.

It is the most celebrated cinematic jamboree across the globe, but the annual Cannes International Film Festival also rolls out the red carpet for the latest and best in the fashion world.
From international divas like Angelina Jolie and Diane Kruger to Bollywood beauties like Aishwarya Rai and Mallika Sherawat, everyone puts her most stylish foot forward at the gala.
The best movies are screened at the fest, with top-rated filmmakers and A-list stars from the world congregating at the French Riviera. But what’s not amiss is a lot of fashion – elaborate cocktail gowns with intricate embroidery and superflous trails, teamed with eye-catching accessories.
Some like it over-the-top, while some keep it minimalistic, but the fashion quotient at the 12-day red extravaganza doesn’t go unnoticed as the paparazzi keep a constant tab on the hits and misses year by year.
From Angelina Jolie’s strapless black gown, Natalie Portman’s white ruffled dress by Givenchy to the Atelier Versace gown worn by Freida Pinto or Sonam Kapoor’s classic white gown by designer Jean Paul Gaultier – fashion divas have been setting statements and trends with their red carpet appearances at the event.
According to designer Shane and Falguni Peacock, who have designed for the likes of international icons including Madonna, Britney Spears and Katy Perry, “Cannes is a fabulous place for fashionistas.”
“Cannes is a classy haute couture affair where all fashionistas come out to play. The look needs to be nothing less than perfect with the perfect synergy between high levels of fashion, glam and elite class,” Falguni told IANS.
“It is abuzz with a high dose of film and fashion and is where everyone looks their best. It is a compliment to us as designers, if a celebrity chooses to wear one of our creations for an event of such calibre,” added Shane.
What with some of Aishwarya Rai’s disappointing choices of attire in previous seasons of the fest, Indian beauties, including Aishwarya, now go out of their way to get the perfect look for their red carpet moment.
Designer Pria Kataaria Puri said: “Cannes film fest is a big and great opportunity for designers to showcase their talent since it has become a big fashion and film glamour event.”
“Everyone eagerly waits to see what everyone is wearing, and there are some points one needs to keep in mind when selecting an outfit. One should realise it’s an international event, and people should keep in mind the colour and silhouette trends abroad.”
Freida, who had a fairytale ride to fame with “Slumdog Millionaire”, grabbed camera lenses with a pink Michael Angel gown on the first day of this year’s fest May 16. Her lime green coloured Atelier Versace number on day two also won a thumbs up from fashion critics.
Bollywood’s “Maiyya maiyya” girl Mallika Sherawat, who is at Cannes for the fourth time, sported a a bold nude-coloured gown with a high neck and a low back. The dress was so body-hugging that the actress took to Twitter and said it was “literally stitched” on her body.
It was a welcome change from the over-the-top, blingy, attention-seeking golden ensemble she wore for her first appearance at Cannes in 2005 when she accompanied international action star Jackie Chan for “The Myth”.
All eyes are currently set on Aishwarya, whose post-pregnancy weight has become the talk of the town in the Indian and international media alike.
Earlier, the former beauty queen-turned-actress received many brickbats for her sunflower yellow sari, parrot green sari and shimmering white gown, but she made up for her fashion misses with her selection of a one-shoulder gown by Elie Saab last year.
Sonam, who is Cannes-bound this year too, stole the limelight during her debut appearance at the festival in 2011 when she opted for a white gown by Jean Paul Gaultier.
Among Hollywood bigwigs, Jessica Chastain, Diane Kruger, Berenice Marlohe and Jane Fonda have impressed fashion critics with their wardrobes.
Chastain’s nude chiffon Gucci gown with gold detailing on the bodice, Kruger’s gold sequin-encrusted Vivienne Westwood gown and Marlohe’s gold lame Emilio Pucci gown have turned out to be head turners at the ongoing edition so far.
At 74, Fonda, who proves glamour is ageless, grabbed eyeballs with a bronze Atelier Versace and black and white Stella McCartney gown.
In the past, international artists including Rachel McAdams have sported designs by Indian jewellery brand Amrapali at the gala as well.
With such a plethora of designs and colours from all nooks and corners of the world, Cannes seems to be becoming another fashion hub.

“American Idol” finalists Jessica Sanchez and Phillip Phillips had one more night to leave millions of viewers with a lasting impression – from a musical and visual standpoint. Sanchez worked the fashion angle to the max. Phillips, as has been is MO the whole season, did not.
As Jennifer Lopez, encased in a one-shoulder sequin emblazoned dazzler and leggings, aptly put it when critiquing the contestants, “It’s the battle of the opposites.”
All three of Sanchez’ looks were high-styled. First up, for her stirring rendition of Whitney Houston’s “I Have Nothing,” (in Sanchez’ case you could change the lyrics to “I have clothing”) she donned a corseted, milk chocolate-colored confection that was frosted with a dark tulle overlay and featured a creamy underskirt which pooled at the bottom and needed to be carried when she walked. Very interesting, and pretty.
For her second song, she simplified matters in a pale pink chiffon goddess gown that read girlish and sweet, though she amped it up with a twisted metallic belt and necklace that featured a large crystal drop. And she ditched the sky-high stilettos she’s known to favor, for, as Ryan Seacrest pointed out, “No shoes.” She was barefoot.
She bowed to a more trendy look for her last act, a white jacket with asymmetrical lapels and black piping over a neon yellow top and slick leather leggings worn with platform boots.
As for Phillips, he was blue, and black and gray all over. In a way, an amazing show of confidence to open a show of this magnitude wearing a pale blue work shirt over a white T-shirt and jeans. From there it went to a black Henley over jeans, and finally a tonal black ensemble that included a clunky sports jacket. Phillips’ bow to the importance of the night may have been the fact that he cleaned up the neck beard a bit. And he certainly looked handsome enough to keep his legions of tween and teen fans enamored.
The judges did their things dawg: Steven Tyler wore a flamboyant mauve paisley swirl of a jacket that may have been velvet over a mauve shirt, and Randy Jackson glowed in a peachy sports coat with white piping and a red lapel flower over a dark shirt with plaid trim.

Rajasthan Fashion Week faces double trouble – company sues them over name, opening designers back out The three-day Rajasthan Fashion Week is to begin today, but it has gotten into a bit of legal hot water at the last minute. A Jaipur-based company has sued the organizers of the week, claiming that the organizers are using the name Rajasthan Fashion Week ‘illegally’, while they, the company, have applied for a trademark for ‘Rajasthan Fashion Week’ and have been using that name since 2003. The company that is alleging ‘illegal use’ and has filed a case is IPD Image Promotions Pvt Ltd, with Monica Sharma as its director. They filed a case on May 17 in a Jaipur city court, stating that they are the prior applicant and user of the trademark Rajasthan Fashion Week. IPD, a registered firm under the Companies Act, 1956, says it has been organizing fashion events under the name ‘Rajasthan Fashion Week’ since 2003. They filed a case, requesting the court to prevent the ‘other party’, Rahul Dhyaan, the organizer of the Rajasthan Fashion Week beginning today, from using the trademark Rajasthan Fashion Week “in any event”. “I have filed a case in district court against an illegal use of the trademark. We were the first to apply for the trademark. How can the other party use this name and mislead the public?” says Monica. “My client is the prior applicant of the title and user and applied for the title in 2003. She has organized several fashion events under this name. The trademark is still under process,” says Shyam Sundar Sharma, Monica’s advocate. Dhyaan, who announced the first edition of the Rajasthan Fashion Week in a press conference on Wednesday, says, “The trademark Rajasthan Fashion Week, which the other party is claiming to be their sole property, is pending under some other category in The Trade Marks Registry, and they cannot use that name to organize events in the field of fashion, culture, sports, etc. In fact, we have applied for a trademark for RWF in category 41, which authorizes us to hold fashion events.” The court heard both parties on Wednesday, but did not pass any order, and the hearing has been deferred till May 25. Opening designers out Designer duo Rahul-Gunjan, who were to open the Rajasthan Fashion Week, have withdrawn from it citing last-minute backtracking by the organizers. They say that the organizers have refused to provide the money and infrastructure for their show, which they had committed to. The duo were to show their wearable art collection in the opening show, which they say is a “premium couture range where every garment is a piece of art”. “The show alone would have cost us about `4 lakh, and if at this stage we are being denied show production support that was originally promised to us, we are not going ahead,” says Rahul Jain, who’s from Jaipur but is based out of Delhi. “We have been asking them for details of the models, choreographers, PR plan, etc, for quite some time, but to no avail. We would have compromised, but not at the cost of ending up doing a show that would work adversely for all of us.” Says organizer Rahul Dhyaan, “No, it’s not that there’s any dispute or they’ve been replaced by any other designer. Due to some production issues, they won’t be a part of the week. The decision has been taken by mutual consent.”

Why is it that ageing men rush out and buy natty European sports cars when they get fat and their hair falls out, while ageing women sink into trainer pants and quit using makeup – and what does this tell us?
That time is heartless, for one thing. Men’s libidos are primed for perpetual optimism, but women pick up on time’s most distant signals, interpret them correctly and swiftly yield to fate.
I don’t like to think this is inevitable, which is why I keep a scruffy kind of file of women who rage against the dying of the light. They’re eccentrics, I admit, and all the more admirable for it. There’s Zandra Rhodes, whose hair dye and clothing never admit defeat; Vivienne Westwood, who can still subvert a pearl necklace; Sonia Rykiel, whose hennaed hair makes her look like a wise fox; and Andree Putman, the French interior designer I’ve always admired, much as I also admire Miucchia Prada, for being neither beautiful nor young, but clever and fantastic.
We need role models of older women who still present themselves as if clothes and grooming are legitimate pleasures, and currently there are few of them. The Queen? She’s probably on the list just for being quietly dignified and predictable. American Vogue editor Anna Wintour? Definitely, for the discipline she displays of being so very thin because it really, really matters to her to be elegant. Hillary Clinton? Well, there I hit a snag.
Clinton has just been photographed wearing glasses, thick glasses at that, and with no makeup apart from lipstick. Her hair is still dyed blonde, and it looks as if there’s still some Botox happening, but she’s signalled that at 64 she’s ready to leap into dowdy.
Commenting on this widely noted move, one author has said that a man making the same choice wouldn’t get the same degree of attention, which is “important, because it speaks to the question of whether powerful women still need to endeavour to look feminine and pleasing. Apparently they do”.
She’s not altogether right, I think. A powerful man who stopped looking after his appearance would also be noticed and commented on. Imagine incorrigible Sergio Berlusconi without his hair dye, Barack Obama with a scruffy little beatnik beard, or Mick Jagger with a pot belly.
We dress for our part in life, and what troubles me about older women is that we’re so quick to step aside and think we don’t have one. That Clinton, one of the world’s most powerful women, is signalling an end to her efforts to keep up her grooming is not just a superficial gesture, then, it’s a bad example.
This abandoning of effort reminds me of my great-aunts, country women who, when they bought a new coat at about 45, would say “It’ll see me out”, as if life from then on was just a matter of waiting to stop breathing. The trouble is, they lived on for another 45 years in which they could have had several new coats – and why not? Are we no longer interesting when we don’t inspire sexual interest? Why on earth would we believe that?
Young women are lovely; being young is enough in itself; but old women who keep their wits about them are always interesting. They can fascinate because of what they know, and the perspective they bring to conversation. They are never dull, which a pretty girl, anxious to please and uncertain of herself, will often be. An ideal dinner party has one of each.
The answer’s not for older women to dress as if they’re still pretty young women, but surely it’s to present in a way that doesn’t merge with the wallpaper.
Clinton famously said her husband was a hard dog to keep on the porch. I’d hate to think she’ll end up sitting on her porch with her jowls dangling, in an old jumper with coffee stains down the front. That’s not liberation. It’s called waiting for death.

Emily Blunt created a “fantastic” vibe for the wardrobe team on the set of her newest film as she loves fashion “so much”.
The actress plays Violet Barnes in The Five-Year Engagement, which also stars Jason Segel and Alison Brie. The film’s costume designer Leesa Evans says the British beauty was a joy to work with because of her enthusiasm for clothes.
“It was fantastic,” she gushed to People. “And what made it so fun was the fact that Emily and Alison both love fashion so much, too.”
In the film, Emily and Alison play sisters Violet and Suzie. Both characters have very different styles, which made picking out opposite ensembles fun.
“Leesa really wanted to create something very singular for Violet,” Emily explained. “She likes vintage shops… doesn’t have that much money. [She wore] stuff she found in a thrift store that she’d tailor and alter.
“[Brie] had a lot of great fashion moments. It was a lot of accessories… bright leggings. I feel like every outfit I was in we had some crazy tights happening.”
Leesa pulled looks from designers including Chloé and Stella McCartney for Emily, and Sonia Rykiel and Vanessa Bruno for Alison.
The clothes expert had a great time putting the ensembles together with the actresses.
“Sometimes when you start trying things on, something stands out as so perfect and so special,” she explained. “And we all start to have so much excitement about having created this person we feel is real.”

INTERNATIONAL. What strikes you on a trip to the Middle East is that everyone is talking politics—all of the time.
That had been the case in countries like Lebanon where it is a national pastime, but it is a new phenomenon in countries across North Africa and the Gulf.
Constitutions are being rewritten, political parties and youth groups are vibrant, and everyone has an opinion on current events. The older generation seems worried by the uncertainty associated with change. The young generation continues to be energized.

Need for an economic rethink
But, what I noticed during a week of travel through the region is that almost no one is talking economics, and that is a worry. Because while 2011 was a year of major transitions in the political domain, almost every economic indicator in the non-oil countries went in the wrong direction.
Growth halved, unemployment rose, reserves came under pressure and deficits ballooned as governments responded to social pressures by increasing spending on wages and generalized subsidies.
New governments across the region are keen to respond to the demand for jobs and justice that brought them to power but are quickly faced with the hard reality of limited resources and powerful vested interests.
So, just as the “Arab Spring” opened a debate about politics in the Middle East, we now need an “Economic Spring” on how to rethink the region’s economic future.
Of course each country will have to define its own strategy, but there will be some common issues that will have to be addressed. How can countries move away from generalized subsidies to ones targeting the poor to free up resources to invest in improving the education system and infrastructure?
How can tax systems become fairer so that the poorest can be given a minimum standard of living? Given bloated public sectors, how will the private sector be induced to create the 50-75 million jobs needed in the next decade?
Unfortunately, there is not yet any real discourse about these issues.

Tougher environment
The region has to make this historic transition in a much tougher external environment than that which faced Eastern Europe after the fall of the Berlin Wall.
In the 1990s the world economy was booming, Europe was keen to embrace the transition countries by providing a policy anchor through membership of the European Union, and external finance was readily available.
None of these conditions are the same for MENA (the Middle East and North Africa) today and while there is willingness from the international community to help, resources are limited. Most of the economic transition in MENA will have to be financed through domestic resources and that means the numbers need to add up.
Launching such a debate in the months ahead is essential.
It must be indigenous and engage the younger generation whose economic futures are at stake — both their job prospects and the debts that will have to be repaid if their economies are mismanaged.
It was refreshing to listen to students from universities in Beirut during a presentation I gave at the American University in Beirut (AUB). They had many questions on the economy and the implications for their futures. There was obvious energy and talent in the room as well as worry about what lay ahead for them.
Their concerns ranged from the need for better access to education, to jobs, to protecting the environment. They also commented about the need for transparency in public finances and how the IMF can help address the many challenges facing the region.
This visit to the region, has made me more convinced that without an “Economic Spring” to accompany the “Arab Spring” and the important political transitions taking place in the Arab region, we risk failure on both fronts.

Online and savvy

Increased communication and sources of information – through the Internet, global television channels, international publications and advertising and just plain travel – have escalated the pace of change and raised the level of sophistication of these new shoppers. “They are very curious and they have time to investigate,” says Godart. “They know what things cost, what their friends have, what’s in style.”
And their bargain-hunting is not restricted to local stores. The Dubai Mall alone last year racked up 54 million visitors – more than the number of people who visited New York City. And here’s where demand and supply join to create a new environment.
Whereas most developing nation citizens need visas to enter France or Italy, (making shopping in the meccas of the luxury world complicated) the U.A.E. makes a quick shopping trip to the Dubai Mall nearly stress-free: BRIC nationals can get a 96-hour/4-day transit visa at the airport on arrival for 250 UAE Dirhams (about 50 euros).

Creative retailing
This demand has in turn led to a wave of activity in creative circles to come up with more, glitzier and commodious retail space. “The most creative retail innovations are now taking place in Dubai and in China,” says Godart. “ Local retailers have to adapt to these waves of customers arriving from China or from Russia, and elsewhere.
That means changing the retail space itself, architecturally at times. “In the Middle East, for example, people shop in groups. Men and women separately. They try stuff together, they discuss it before purchasing. It’s a committee decision. So you need larger dressing rooms,” points out Godart.
The brands themselves also need to adapt to these new customers. There, the challenge is how much adaptation is possible without diluting the brand: a balancing act between emerging market demand and old-world supply. Godart points to the story of Berluti, an Italian men’s shoe-maker whose classic shoes with laces just weren’t making an impression in the sands of the Middle East.
“The distributor in the region (Dubai-based Chalhoub Group) worked with Berluti to create a sandal,” explains Godart. “At first it was a challenge because the first model showed only two toes, which in this region is considered a model for women, and men weren’t buying it. So Berluti made a model with more toes showing and it has been successful. This was a company that didn’t make sandals until it entered the Middle Eastern market.” Today, those popular sandals start at 780 euros per pair.

Revivals and the future
“The Chinese are in a position to revive old names that were around in the luxury world a hundred years ago,” opines Godart. “They could also create new brands, such as Shang Xia, but it takes time for a brand to mature into real luxury – maybe 25 years, though everything is moving faster these days.”
At least in China, the domestic market is so big and vibrant that even local luxury start-ups are likely to succeed…even more so if they are produced in Italy or France. This consolidation is at the root of Prada’s decision to list in Hong Kong rather than in Europe, after years of wavering about the timing, location and pricing of an IPO. Industry analysts say the European debt crisis could mean more luxury brands go to Chinese buyers seeking direct foreign investment in Europe at attractive prices.
But the driving force behind all this is something more profound, Godart believes. “The fact that societies outside the West want these products is a sign that these societies are becoming more equal,” he explains. “Ironically, today when you think ‘luxury,’ you think ‘equality’.”

Amy Winehouse’s goddaughter and Sir Elton John’s musical protégée will both entertain crowds at this year’s glitzy fashion event in Glasgow.
Rising star Dionnne Bromfield and teen singer Tallia Storm will entertain crowds at this year’s glitzy Scottish Fashion Awards.
It was confirmed today that Dionne – the goddaughter of late singer Amy Winehouse – and soul and R&B singer Tallia, who is set to support Elton John this summer – will both take to the stage at the seventh annual event.
Dionne, who performed a moving tribute to late R&B star Amy at the MOBO Awards in Glasgow last year, said she can’t wait to return to Scotland.
The R&B singer said: “I am really excited to be attending and being able to perform in Scotland for the Scottish Fashion Awards, It is an honour and can’t wait to see everyone.”
This year’s prestigious event looks set to be one of the best yet. Hosted by fashionista and TV presenter Alexa Chung, the event will see big names in the industry, including David Gandy, Laura Bailey, Tali Lennox, Millie Mackintosh, Brix Smith Start and Rankin, jet into Glasgow.
The audience – made up of guests, celebrities, supermodels, designers, and a host of international fashion stars – will be in attendance when some of the biggest names in the Scottish industry collect their awards, honouring them for their influence on style and trends.
This year’s Scottish Fashion Awards will see a number of nominee catwalk shows, as well as the exclusive Swarovski runway show, which will preview the upcoming Winter 2012 Kingdom of Jewels fashion and couture collections, created by Paris-based creative director Nathalie Colin.
This year’s nominee shortlists includes stars of the fashion industry from designers such as Jonathan Saunders, Christopher Kane, Holly Fulton and April Crichton for Sonia Rykiel, to textile leaders like Hawick Cashmere, Caerlee Mill and Dashing Tweeds, and brands including Bonnie Bling.
The awards take place on June 11, and for the first time ever the public will be able to snap up tickets to attend the glitzy ceremony, priced at £35.

In a new book, French designer Sonia Rykiel has revealed that she has suffered with Parkinson’s disease for fifteen years.
The 81-year-old fashion designer’s illness has been revealed in a new book co-written by French journalist Judith Perrignon, called N’oubliez pas que je joue (Don’t forget it’s a game).In the book, the illness is referred to in code as “P de P”, which stands for ‘Putain de Parkinson’ – or ‘bitch of Parkinson’s’ in English.
WWD report that Madame Rykiel chose to lift the lid on her condition after no longer being able to keep its symptoms, such as trembling, a secret.
She writes: “I don’t want to show my pain. I resisted, I hesitated, I tried to be invisible, to pretend that nothing was wrong. It’s impossible, it’s not like me” adding that her colleagues at the fashion house she founded would not let her be photographed with the cane she has been using for several years.
Rykiel’s daughter Nathalie has headed up the creative direction at the Sonia Rykiel label since 1995, and took a bow with her mother during the last Paris Fashion Week show in March.

If you’ve paid attention while walking the airport terminal recently, you’ve likely noticed luggage no longer looks the way it did 10 years ago, let alone two. From larger metallic hard-sided traveling bags to carry-on trollies that glide effortlessly on four wheels, luggage trends seems to move at a swifter speed these days, like mainstream fashion. That could mean you’ll be swapping out your luggage a lot more often in the future.The arrival of Tumi(TUMI_) on the NYSE drew attention to its highly versatile premium luggage, a staple of business commuters and luxury travelers. Long known for its utilitarian black bags of ballistic canvas, the brand has expanded its accessories to include wallets and sunglasses. It’s also grown its aristocratic Townhouse Collection, originally designed by David Choo, to include the pricier Arrive. Arrive features chrome detailing, calfskin trim and HTLS Polyester fabric and can turn heads in a Holiday Inn without turning up noses at the Plaza Athenee.Recently Tumi debuted its Dror for Tumi collection, designed by Dror Benshetrit of New York-based Studio Dror. It includes staple pieces from hard-sided packing cases and carry-ons to backpacks and messenger bags priced from $495 to $795. Its Dror Extended Trip Packing Case, available in onyx-colored polycarbonate, offers a four-wheel design with patented expandability via a series of spring hinges that can take the bag to 14 inches from nine. The bag appeals especially to business travelers who need a carry-on that can grow throughout a trip, avoiding the need for an entirely different bag.

Those looking to discover the next Louis Vuitton or Prada need look no further than MCM, the resurgent Mode Creation Munich brand (formerly Michael Cromer Munich) born in Germany in 1976 and once as fashionable and recognizable as the LV logo. A wane in popularity after its ’80s heyday led its ultimate sale to Korea’s Sungjoo Group, the manager of Asian licensee agreements with brands such as Gucci, YSL and Sonia Rykiel. Since 2005, Sungjoo has revamped the ailing MCM in a big way with its logo, inspired by King Ludwig I, and signature pieces recently sported by style icons from Dita Von Teese to Justin Bieber. It looks to be fashion’s new it bag.

For those preferring more steadfast fashion labels, Louis Vuitton has no shortage of luxury bag options for the season, from its collection of hard-sided, rolling and soft-sided travel bags. Their collection of hard-sided luggage offers a timeless travel statement that, while perhaps the prettiest bag you’ll find on the market, is also one of the priciest: It costs from $4,200 to $7,950. Their soft-sided bags, such as the Pegase 60 ($3,900), offer two color choices for monogrammed canvas, a two-position handle and an easy-to-attach protective sleeve that keeps the bag clean while in commercial airline transit.

And for those who scoff at any luggage piece that can be bought at your local high-end mall, there’s Dutch-made Henk, available at Harrod‘s enviable Luggage Shop in London. Their bespoke bags include the Attache Case and made-to-order Travelfriend. They come with a choice of calfskin leathers imprinted in crocodile or ostrich motif and interiors ranging from zebra-print leather to Prussian horsehair and a high-tech fiber that can be polished off with a sterling silver accessory button (for an extra $1,543). With a price tag on par with a subcompact car (from $38,618, depending on your options), the luggage lives up to its promise to be “the ultimate carrying experience.”

Sonia Rykiel is bringing out the ‘big guns’ this season when it comes to makeup as the designer went wild for leopard prints with the Fauve summer 2012 collection. The trendiest hues of the season are given a total spin, a wild-style vibe that will conquer you from first glimpse, so browse through the lovely collection and pick your new season must haves!

Gearing up for the celebration of the 25th anniversary of its label, designer Sonia Rykiel opted to bring out the big guns and go wild with her collection not through her choice in color, but through the pattern chosen to spice up the look of the new Fauve summer 2012 makeup collection. Leopard prints dominate the entire collection making this safari-inspired makeup collection a true delight.

The collection explores the wonderful world of color, bringing to the fashion scene some of the trendiest hues of the season, both warm and cool tones, so you can look fabulous from day to evening. Sonia Rykiel’s Fauve summer 2012 makeup collection exudes sexiness and style with a soft edgy vibe, characteristics brought by the use of pretty pigments and leopard prints. While the entire packaging of the products is enveloped in the pretty leopard prints, only a few of the products include the stylish pattern into the product. Various hues are used to accentuate the fun and youthful vibe of the collection, so dare to explore the wonderful collection and pick your new season favorites to bring out your inner wild side. A quick glimpse at the new makeup collection is all it takes to fall in love with it, so pick your must haves from the following.

Queen of Knitwear – Sonia Rykiel is the name in Russia. This nickname came not by accident: it was invented by Americans cheerful in 1967. It all started with the ideas of its own line of knitwear. At this point Sonia Rykiel turned the her pregnancy, making note that the necessary simple and easy thing for expectant mothers are absent. Therefore, her first collection of dresses was devoted to maternity – dresses Sonia Rykiel for expectant mothers. Her first sweater altered seven times before she was satisfied with the end result of cutting.

Another innovation from Sonia Rykiel – a technique Sone Souture, when in front of the garment are seams and lining.

The main thing in clothes from Sonia Rykiel – is “knitted” comfort. Her belongings are mainly based on dark colors – black, dark brown and beige, mixed with the whimsical stripes. Demode, often referred to as style Sonia Rykel, – a style contrary to fashion, being outside, while applicable in their qualities and comfortable in life. She also comes up with first print words on sweaters.

In 1968 Sonia Rykiel opened her boutique in Paris – since her activism does not stop for a second. As a competent designer, she is trying to attract the interest of the buyer not only her clothes but also to the fact that around women, giving them their own character, – that is to odors. The first collection of perfumes Sonia Rykel produced in 1978, and since 1987 in line is added to cosmetics.

In 1980 she was recognized as one of the 10 most elegant women in the world. She proved that jersey can fit current trends. Her husband, Simon Bernstein, maintains her almost from the inception of the company, the simultaneous arrival Sonia Rykiel and her husband and business partner, and daughter Natalie is working with his mother in 1978.

Known for her legendary little sweaters and her arrogant red hairstyle, she is the image of liberated sophistication and French elegance. It was when she was expecting that she began making clothes, creating pieces that she could wear throughout her pregnancy. Her sweaters and dresses were sold in a small Parisian boutique called “Laura.” Four years later, faced with the furor caused by her creations, she started her own company, Sonia Rykiel, and opened her first boutique on Paris’s Rive Gauche.

Sonia Rykiel amused herself by defending the lost cause and chose for her battle flag what others might consider outdated. She produced sweaters with visible seams, and did away with hems and dress linings. She designed an inimitable silhouette, impossible to miss with its stripes, sequins and messages inscribed on her pullovers.

The Sonia Rykiel brand has grown to include the name “Nathalie,” a children’s line named after her daughter. Nathalie herself is teeming with ideas for developing her mother’s empire. In October 2002, she created a new section called Sonia Rykiel Woman in which she assembled what she called the “Indispensables”: The timeless basics that make up the Sonia Rykiel brand image, as well as a selection of objects dedicated to women and their pleasures. In the basement of the Sonia Rykiel boutique, Nathalie created an ultra chic and girly boudoir where one can explore all of sensuality’s aspects.

Nathalie Rykiel, the first to exploit the concept of the chic sex shop, introduced the term “Sex Toys” into the French culture. The brand also includes a men’s collection, perfumes, and cosmetics and accessories lines. In 2001, Sonia Rykiel launched a line of best-of, the Modern/Vintage Sonia Rykiel.

Interested by culture and literature, Sonia Rykiel does not confine herself to designing prêt-a-porter to express her creativity. She is also the author of in-depth works on the history of clothing, as well as children’s stories and successful novels including Les lèvres rouges (The Red Lips) and Casanova était une femme (Casanova was a woman). She is a member of various clubs including “Croqueurs de chocolat” (chocolate lovers) and the “Amateurs de cigares de Havane” (Cuban cigar lovers). She is the ambassador of Bordeaux wines and defines herself as a daily hedonist.

Tributes were made to her all over the world for her anniversary shows and exhibitions, especially for her participation in the renovation of some of the most beautiful Parisian hotels, and for the creation of the Sonia Rykiel rose with the help of the famous Jean-Pierre Guillot rose nurseries.

In 1994, she appeared in Pret-a-porter, the film by Robert Altman, and sang a duet with Malcolm McLaren on his “Paris” album. After having received three national awards, Rykiel still has not finished shaking up the fashion world. She continues to propose collections that mix fantasy with femininity, with a tasteful touch of provocation, seducing generations of young women avid for something fresh and mischievous in the heart of fashion.

Sonya Rykiel has continued to build her very own French Empire since the ’70s. She recognised the wisdom of establishing a beauty line early on, launching a perfume in 1978 and cosmetics in 1987. Completely independent, Sonya Rykiel business is very much a family affair. Husband Simon Bernstein is her business partner and daughter Nathalie Rykiel has been involved in the company since 1975. With such support, Sonia has the freedom to do other things.

Today, Sonya Rykiel is something of a French institution. She has written novels, decorated hotels, sung a duet with Malcolm McLaren and even had a rose named after her. And the accolades keep on coming. Sonya Rykiel has been awarded an Oscar by Fashion Group International and in December 2001, the French government named her Commandeur de l’Ordre National du Merite. Now in her seventies, the grande dame of French fashion shows no signs of giving up. She has an army of sweater-loving women depending on her, after all.

All-day rain. To work, I wore my Co black leather skirt with a Sonia Rykiel pale pink sweater from the ’70s that was made for the wonderful French yé-yé singer Sylvie Vartan. Instead of rain boots, I chose black leather Tod’s with white ankle socks.

I put much more thought into my evening outfit as I had a rendezvous with a French guy that I like a lot. (I guess now he will know!) I finally chose a black dress with a polka-dot bib collar, black Wolford tights and python sky-high Sergio Rossi heels. The outfit was a bit vamp, so I accessorized with a long Wilfredo Rosado birdcage necklace and a fun Olympia Le-Tan cookbook clutch. He took me to the Upper East Side, where we ate delicious burgers and then to this very special jazz club in Harlem.

It’s been long hours as we prepare for the Paris runway show. So I was excited for a lunch escape with Lisa Pomerantz, a family friend who works for Michael Kors. For me, she embodies this chic, modern working American woman, and I tried to dress in tune with her. I wore loose champagne silk Kors trousers, a cream long-sleeved Sonia Rykiel crepe blouse and my super-comfortable blush suede Prada heels.

After work, I met an editor friend at Sonia Rykiel. I kept the blouse and changed into high-waisted A.P.C. jeans, broke out my new black Tabitha Simmons heels with fringe (I learned at an early age that shoes have deep therapeutic virtues) and put on a Zadig & Voltaire black biker jacket. I also took my magical new Christopher Kane plastic clutch. It’s filled with water and glitter and reminds me of a little toy from my childhood.