A Pop of Culture

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A Pop of Culture

A Pop of Culture

Kyle. 20. High Point University. Journalist. Actor. Radio Personality.

Pop Culture junkie, who is living an extraordinary life.

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orlandaspleasure:

Stephane Rolland
Spring 2013

chiffonandribbons:

Zuhair Murad Couture F/W 2009

hautekills:

Bride Vanessa Traina in Givenchy haute couture f/w 2010, photographed by Samuel Lippke and Allan Zepeda

Thierry Mugler Haute Couture Fall/Winter 1995: 20th Anniversary Show

ejakulation:

Kate Moss in Givenchy Couture under Alexander McQueen by Mario Sorrenti for US Harper’s Bazaar, April 1998

66lanvin:

LOVE looks NOT with the EYES……….No.7

fashion-spasm:

Daphne Groeneveld photographed by Mark Segal for Vogue Japan, November 2012

hautecoutureoverdose:

”Venus” dress by Christian Dior, 1949
Gray silk net embroidered with feather-shaped opalescent sequins, rhinestones, simulated pearls, and paillettes.
This extraordinary ball gown by Christian Dior, of foggy gray silk tulle, arrayed with an overlay of scallop-shaped petals, is called “Venus.” The bodice and shell forms of its skirt are embellished with nacreous paillettes and sequins, iridescent seed beads, aurora-borealis crystals, and pearls. The glittering overskirt and train adumbrate both the seashell motif and the crescent wave patterns of Botticelli’s Venus. Dior is best known for his revival of the wasp-waisted silhouette seen here. His celebrated first collection of 1947 was dubbed the “New Look” by the influential American editor Carmel Snow, because the corseted, full-bosomed, and hourglass shaping had not been seen for decades. In fact, the “New Look” was an old look revived. After the deprivations of World War II, Dior believed that the survival of the haute couture relied on its ability to restore fantasy and luxury to women’s wardrobes. The fragile effects of this gown, which merges Second Empire romanticism with the classical iconography of ideal and eternal beauty, recall Dior’s belief that “fashion comes from a dream.”

bjornsrandoms:

With the concept of the “cosy home” in mind, the new Chanel boutique is made to look (and feel) like a residence, with an open rooms concept, so that one can walk about freely and seamlessly from one “room” or “salon” to another: Ready-to-Wear, Accessories, Shoes, Watches, and Fine Jewellery. The clever use of mirrors within the store also makes the store seem MUCH larger. The natural light that comes through via the glass windows coupled with the use of warm lighting throughout the store adds to the cosy factor, and is thus felt to be more inviting, especially for their clientele. Sofas and chairs are also strategically placed throughout the store; all made of Chanel’s signature tweed.

The facade from Jalan P. Ramlee. One can drive right up to the entrance and get dropped off in front of the store.

The other entrance from inside KLCC (located next to Tiffany & Co)

The black wall panels are is the feature wall for watches

The RTW salon which can be partitioned into a private area. There’s also a VIP fitting room and area in the new store that is cleverly concealed. Try to see if you can spot (within this picture) which bits would lead you to this VIP area.

classicmugler:

Simonetta Gianfelici wears a smoking jacket in black satin and grain de poudre with a transparents back and diamanté-embroidered train over matching cullotte pants, with black net gloves and a satin choker with a silver and diamanté ornament. Embroidery by Vicaire, crystals by Swarovski
Thierry Mugler‘Ritz’Couture CollectionAutumn/Winter 1992-93Photo by Patrice Stable

chiffonandribbons:

Marchesa S/S 2013

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