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Skull symbolism is the attachment of symbolic meaning to the human skull. The most common symbolic use of the skull is as a representation of death and mortality, but such a reading varies with changing cultural contexts.

Humans can often recognize the buried fragments of an only partially revealed cranium even when other bones may look like shards of stone. The human brain has a specific region for recognizing faces [1], and is so attuned to finding them that it can see faces in a few dots and lines or punctuation marks; the human brain cannot separate the image of the human skull from the familiar human face. Because of this, both the death of, and the now past life of the skull are symbolized.

Moreover, a human skull with its large eye sockets displays a degree of neoteny, which humans often find visually appealing—yet a skull is also obviously dead. As such, human skulls often have a greater visual appeal than the other bones of the human skeleton, and can fascinate even as they repel. Our present society predominantly associates skulls with death and evil. However, to some ancient societies it is believed to have had the opposite association, where objects like crystal skulls represent “life”: the honoring of humanity in the flesh and the embodiment of consciousness.

The skull is a bony structure found in the head of many animals. The skull supports the structures of the face and protects the head against injury.

The skull can be divided into two parts: the cranium and the mandible. A skull that is missing a mandible is only a cranium; this is the source of a very commonly made error in terminology. Those animals having skulls are called craniates.

Functions of the skull include protection of the brain, fixing the distance between the eyes to allow stereoscopic vision, and fixing the position of the ears to help the brain use auditory cues to judge direction and distance of sounds. In some animals, the skull also has a defensive function (e.g. horned ungulates); the frontal bone is where horns are mounted.

 ELIE SAAB

Elie Saab (Arabic: إيلي صعب) (born July 4, 1964), sometimes known simply as ‘ES’, is a Lebanese fashion designer.

In 1982, Saab launched his own Beirut-based fashion label when he was 18 years old. His main workshop is in Lebanon, a country to which he remains deeply attached. He also has workshops in Milan and Paris.

Saab is self-trained. He started sewing as a child and knew that one day he would make a living out of it. In 1981 he moved to Paris to study fashion, but ended up returning and opening his workshop in 1982. In 1997 Saab was the first non-Italian designer to become a member of the Italian Camera Nazionale della Moda, and in 1997, showed his first collection outside Lebanon in Rome. In 1998, he started ready-to-wear in Milan, and in the same year, he held a fashion show in Monaco which was attended by Princess Stéphanie of Monaco. He became an overnight success after he became the first Lebanese designer to dress an Oscar winner, Halle Berry, in 2002. Berry wore a burgundy gown by Saab to the 2002 Academy Awards when she won for Best Actress. Berry later wore another dress by Saab, this time a gold dress, to the 2003 Oscars.

In May 2003, the Chambre Syndicale de la Haute Couture invited him to become a member, and he showed his first haute couture collection in Paris in July 2003. His first ready-to-wear collection in Paris was the Spring-Summer 2006 collection, and Paris is now his permanent ready-to-wear runway.

His creations can be found all over the world, with boutiques located in Beirut and Paris.

Elie Saab

De origem árabe, Elie Saab faz sucesso com seus vestidos de noite vendidos para as mais variadas festas em ambientes formais ou a rigor; de coquetéis a recepções, bailes e casamentos. Com um estilo que faz sucesso tanto entre as mulheres ricas da sociedade quanto no tapete vermelho do Oscar (Halle Berry é uma das estrelas que prestigiam Saab na cerimônia), o estilista mostrou sua coleção para o Inverno 2008-09 com sala cheia para cerca de mil pessoas, incluindo o escritor Paulo Coelho.

Rosas enfeitavam a cintura alta no mesmo tecido dos vestidos, que eram também ganhavam babados, drapeados e outros trabalhos de modelagem em musselines, tafetás amassados, organzas e crepes . Os bordados com brilhos, tão apreciados pelas conterrâneas de Saab (sentadas na primeira fila) ficaram em segundo plano aparecendo em dois ou três vestidos tas inteiros cobertos por pequenos cristais.

O modelo hit da passarela era o clássico tomara-que-caia. Mas Elie Saab também se saiu bem em outros momentos, principalmente da metade do desfile para frente, quando os longos de festa começaram a aparecer (o início, com looks mais formais, em preto, foram menos feliz). Na cartela de cores, os azuis e os verdes mais vibrantes perderam em refinamento para o bonito azul clarinho, com toque de cinza e o rosa quase fúcsia. Na única estampa da coleção a citação ao tema de Elie Saab, numa versão livre da geometria de Mondrian.

Criador de moda para um público feminino que tem dinheiro e gosta de se vestir à maneira dos ricos “de antigamente”, Saab é sucesso de vendas neste setor, com bom corte e caimento de seus vestidos. Os negócios vão tão bem que, recentemente, ele abriu uma loja na Champs-Elysées, em Paris.

RED & BLUE SHADES

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ICA 360

New Discounted Tickets Only for Members

 

 

 

 

 

WEDNESDAY, DECEMBER 10
 7 – 11 PM
 

Don’t miss this spectacular evening celebrating today’s most influential new American designers.  

Now, ICA Members save more than half off the ticket price!  

The ICA is pleased to present NIGHT and DAY, a celebration of the newest in fashion by top American contemporary designers. Organized to honor our second anniversary, this event is coordinated by Debi Greenberg, owner of Louis Boston, the premiere Boston retailer, and Charlie Scheips, cultural historian and author of American Fashion.A fashion show featuring daytime and evening looks by some of the most inventive American designers today includes:  

Ashley Olsen representing The Row
Brian Reyes
Chris Benz
Elise Overland
Jason Wu
Lyn Devon
Magda Berliner
Sari Gueron
Tuleh
Zero + Maria Cornejo

NOW! FOR ICA MEMBERS ONLY – $200 DISCOUNTED TICKETS

$425 general admission
$200 ICA Members – a savings of over $200!

PURCHASE ONLINE NOW

Tickets are also available by phone at 617-478-3103 during regular museum hours.

Media sponsor: ELLE

 

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Ashley Olsen and Mario Russo at the Institute of Contemporary Art’s fashion fund-raising party last night. (bill brett for the boston globe).

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FIDM Alumna Adriana Sassoon.

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Wearable Art designer Adriana Sassoon & Tonn (Tonn Incorporated).

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 Adriana Sassoon, Wearable Art designer at the Institute of Contemporary Art’s fund -raising party last night.
By Mark Shanahan & Paysha Rhone
A bus full of cutting-edge designers rolled into Boston from NYC yesterday for the ICA 360 fashion soiree – and among them was diminu-twin Ashley Olsen, repping her line, the Row. Working the crowd at last night’s bash were designers Brian Reyes, Elise Overland, Jason Wu, Lyn Devon, Magda Berliner, Sari Gueron, Chris Benz, Maria Cornejo, and Bryan Bradley with Tuleh. But the star of the evening was actress/fashion designer Olsen. “The designers here are really inspiring,” she said in between photographs. “I’m a big fan of their work.”

Here’s another exciting event I’m involved in with other designers in which I will be headlining the evening’s finale. I hope to see you and your friends there. I’m also attaching a few links where you can view images from my last show for Boston Fashion Week at the Marlowe Hotel. They are www.earneststudios.com , www.bostonfashion.com and www.bostonfashionindustry.com
 
Thanking you all in advance,
Samuel Vartan
Womens & Mens Collections
 
M 508.962.5334
sv@samuelvartan.com
www.samuelvartan.com

 

 

Chado Ralph Rucci – One of a kind!

 

The Label

Chado Ralph Rucci’s architecturally-influenced clothing is created by designer Ralph Rucci, the only American currently officially invited to show haute couture in Paris. (He shows ready-to-wear on our shores.) Since beginning in 1994, Chado (the name of a traditional Japanese tea ceremony symbolizing respect, tranquility and integrity) has been about impeccable craftsmanship. Rucci himself creates new textiles with his European mills, culling inspiration from his personal archives and those of historical cloths; his prints are derived from his own watercolor and acrylic artwork. The result is a clothing collection that is sophisticated and sculptural, created in luxurious fabrics and a neutral palette. Chado’s small staff includes Rucci’s sister, who works in tandem with him at his Seventh Avenue atelier.

The Look

Sculptural, architectural and clean. Hammered-satin suits, short, laser-cut jackets, narrow pants with sixties-style tunics, slouchy fur tops.

The Designer

The son of a Philadelphia butcher, Ralph Rucci graduated from Temple University, where he majored in literature and philosophy. After moving to New York, he studied design at the Fashion Institute of Technology before starting Chado Ralph Rucci in 1994. In 2002, Rucci became the first American designer since Mainbocher to be invited by Paris’ Chambre Syndicale to show as part of the haute couture fashion calendar. He’s been twice nominated for CFDA Designer of the Year, but has yet to take home the honor.

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

                                                                    

Paris Fashion Week Fall-Winter 2008-2009 Chanel Runway. Straight from the runway the looks and fashions for Fall and Winter 2008 -2009 featuring Chanel designs. Rhianna was even present at the event and looked stunning as always. You can view all of the fashions below.

Spanish Clothing Chain Zara Grows by Being Fast and Flexible

Xurxo Lobato/Cover, for The New York Times

The Spanish clothing company Zara thrives by shipping new products to its stores every few days.

By JOHN TAGLIABUE
 

LA CORUÑA, Spain — This is the town that invented retailing’s secret sauce.

Zara, the big clothing chain based here, created a novel formula in apparel retailing by shipping new products to its 600 or so stores around the world every few days, not once a season, and by manufacturing more than 11,000 products a year, instead of several hundred.

Zara is opening new stores at a rate of one a week, and shows no signs of slowing. But its business model, developed by a publicity-shy entrepreneur who began his career here more than 50 years ago delivering hand-sewn shirts for a local tailor, is facing increased challenges as it expands.

As the dollar melts, the price gap is widening between Zara’s products, the bulk of them made at factories here in Spain, and competitors that import from low-wage countries and pay for goods in dollars. Zara still has plenty of room to grow in Europe before the market is saturated. But to reach its ambitions of becoming a global brand, it will have to replicate on other continents its finely tuned European distribution system, which is more akin to Dell Computer and Wal-Mart than to Gucci or Louis Vuitton.

Moreover, Zara’s parent, the big Spanish group Industria de Diseño Textil, known as Inditex, is moving in several directions at once. It is expanding its other retail chains, including brands like Massimo Dutti and Bershka; introducing new store concepts like Zara Home, a home furnishings outlet; and adding lines of larger-size garments for older women at Zara itself that some industry experts say may dilute Zara’s brand image.

“The question going forward is: how durable is the model as it gets bigger and goes international?” said David Oliver, a principal at Kurt Salmon Associates, a retailing-industry consulting firm.

Though not well known in the United States, where Zara has just 10 stores, six of them in New York, Zara has so far kept the challenges it faces from crimping its robust performance. Two important rivals, Gap and Hennes & Mauritz, are only beginning to show signs of rejuvenation after passing through rough patches, but Zara has been flourishing all along. With 250 million euros ($294.2 million) in net cash at the end of 2002, Zara is awash in liquidity. “We certainly don’t need cash,” said José Maria Castellano Rios, Inditex’s chief executive.

The company’s chairman, Amancio Ortega Gaona, may be one of the world’s wealthiest people, with assets estimated by Fortune magazine at $10.3 billion, but he is also one of the most retiring. Inditex’s ultramodern headquarters, a blend of Scandinavian glass and steel and Mediterranean stucco, is located outside La Coruña, a small city of 250,000 in Spain’s far northwest corner where his father, a railroad employee, moved the family when Amancio was 12. Now 67, he has turned over day-to-day operations to managers like Mr. Castellano while keeping a hand in strategic decisions.

Mr. Ortega never grants interviews, and until recently there were hardly any photographs of him in circulation.

Mr. Ortega took Inditex public in 2001, selling 32 percent of the company to investors on the Madrid Stock Exchange. He and other family members, including his three children, control the rest.

Now that management of the company is largely in the hands of professionals, has the flame diminished for Mr. Ortega? “There’s the same passion,” said Mr. Castellano, 55, who has worked with Mr. Ortega since 1976. “Maybe even more.”

Mr. Ortega opened the first Zara in La Coruña in 1974 to sell the apparel he was making in a factory he had opened a few years earlier with his own savings. Conventional wisdom called for retailers to franchise their stores and outsource their goods, but Mr. Ortega chose vertical integration, owning the factory, the stores and the distribution network in between. While Gap and Hennes & Mauritz contracted out manufacturing largely to plants in low-wage countries, notably in Asia, Mr. Ortega stocked his stores from his own factories in Spain.

The advantage was speed to market, achieving the kind of delivery and restocking frequency usually associated with grocery stores, not apparel merchants.

To be sure, Zara does produce seasonal clothing collections. The company is known for stylish designs, many resembling those of the big-name Italian fashion houses, sold at moderate prices. Yet if it finds that customers are coming in asking for, say, a rounded neck on a vest rather than the V neck on display, a new version with a rounded neck can be in the store within about 10 days. If Jennifer Lopez appears in a ravishing new item, Zara can get a version of it into its stores in a matter of weeks, not months.

To do that, Mr. Ortega built up an elaborate distribution structure over the years. Zara’s huge warehouse features customized sorting machines built in Denmark and patterned on the equipment used by overnight parcel services; they can now handle 40,000 items an hour, and the company’s capacity will roughly double in July when a big new center in Zaragoza in northeastern Spain comes on line.

Trucks deliver goods to Zara stores that are within 24 hours’ driving time; stores farther away are supplied by air. Twice a week, for instance, trucks make the three-hour trip to the airport in Porto in northern Portugal, where KLM 747 cargo jets pick up goods to fly to New York by way of Amsterdam.

Zara’s fashions appeal to dressier European tastes. Laetitia Sernet, 20, a stylist in Paris, contrasted Zara with Gap, saying Zara’s “things are more fashionable, more diversified. They follow fashion.” Ms. Sernet just bought two cotton tops, one for 35 euros ($41.19) and one for 40 euros.

Yet for all its technical prowess, quick delivery has its limits. “One interesting question is: are they locked in?” said John Gallaugher, a professor of information systems at Boston College who admires the company and teaches its model in his graduate business courses. Professor Gallaugher said that for Zara to penetrate the United States on a large scale, it would probably have to duplicate its manufacturing and distribution system in North America, perhaps in Mexico.

Mr. Castellano acknowledged that Zara had been purposely slow to expand in the United States, where in 1989 it first opened a store on Lexington Avenue in Manhattan. That is because there is still so much it can do in Europe, he said. Zara has only begun to crack the British market, and recently set aside its distaste for franchising to form joint ventures in two more difficult countries, Germany and Italy.

Still, he said, Zara does plan to open “two to three stores” in the United States, including one in Washington, in the fall. “In the American market, we have 10 stores, and they are all profitable,” he said.

The two planes to America each week could supply as many as 40 or 50 stores, Mr. Castellano said, “but there is no service that can replicate the model here.”

Mr. Castellano also knows that European competitors that manufacture in East Asia are reaping windfall profits that Zara cannot match. Hennes & Mauritz, for instance, gets roughly half its products from Asia, measured by value. Adidas of Germany and Aigle of France, two sportswear retailers, have both recently said that their profits are growing rapidly because they pay depreciating dollars for goods made in Asia and get strengthening euros when they sell them in Europe.

Zara has not completely resisted Asia’s temptation. Some basic items like T-shirts and jeans, which now account for 20 percent of the selection, are bought from manufacturers there.

But in the main, Zara looks to other aspects of its business for profit advantages. It spends much less on advertising than its rivals, for example, and its distribution system helps keep inventories low. “Price is important,” Mr. Castellano said, “but so is fashion.”

For all Zara’s success, though, Inditex is directing much of its new investment into a gaggle of other retail chains, some that it created and others that it bought, like Massimo Dutti, whose stores offer moderately priced apparel for men and women, and Oysho, a lingerie chain. Moreover, Inditex is expanding Kiddy’s Class, a competitor to Gap Kids, and the Zara Home chain.

But the initiative that raises the most eyebrows is the experimental line of plus sizes that Zara is adding.

Reiner Triltsch, chief international investment officer at WestAM, a Dallas asset management company, wondered about the strategy. “More mature plus sizes have got to be difficult to reconcile,” Mr. Triltsch said. “It changes the image” of Zara, he said, adding that it may alienate teenage customers who will not shop where their mothers do. “I don’t think it’s going to be easy,” he said.

Mr. Castellano says Zara is only testing the idea and has not committed itself. “There are people in the company who say, `Customers who were buying with us when they were 20, well, now they’re 50 or 45 and they want to stay with us,’ ” he said. “We are testing. A decision will come later.”

The diversification into other brands and store types will continue, Mr. Castellano said, with Zara’s share of Inditex’s total revenue falling to 62 percent over the next five years, from 72 percent now.

Essentially, he said, Zara’s strategy is hostage to its abundant cash flow. “We have to do something with the money,” he said.

http://www.zara.com