• Bridal ball by thankful Leeds mum expected to raise thousands for lifesaving charity

    Carrie Cheeseman (centre) with friends (left to right) Sarah Creed, Angela Hickson, Caroline Sams and Kim Voyce.
    (Photo:prom dresses uk)

    Carrie Cheeseman suffered major injuries during the horror crash outside her Morley home in November 2009 just a fortnight before she was due to get married, and was airlifted to hospital by the Yorkshire Air Ambulance (YAA).

    Carrie and both her children, Scarlett and Maxwell, recovered and she walked down the aisle at the Marriott Hotel, in Leeds, in August 2010.

    The 41-year-old will be back at the venue in her wedding dress on Saturday October 10 for a special fundraising ball in aid of the YAA.

    She said: “Although you can wear anything for the ball, a group of my friends are also going to be squeezing into their wedding dresses to help me celebrate which is just great.

    “People and companies have been incredibly generous with auction lots and raffle prizes and the evening is all about having an amazing time for a fabulous cause.”

    Carrie is now hoping hundreds of charity-minded guests say ‘I do’ to tickets to support the rapid response charity that helped to save her life.

    During the 2009 car accident Carrie suffered breaks to her neck, back, pelvis, collar bone, several ribs, both legs, right shoulder blade and her right arm. Scarlett, who was nine months old, broke her ribs, pelvis and lacerated her liver, while Maxwell, then two, had a blow to the head, but they all fully recovered.

     

    Carrie was due to marry partner Stephen 12 days after the accident, but the wedding was postponed. Six months later the YAA was also dispatched to rescue Stephen, 34, after he was involved in a cycling accident and he later recovered.Read more at:graduation dresses

  • Kaleidoscope of colors, motifs at Gucci womenswear show

    Snakes, birds and flowers took center stage among a kaleidoscope of motifs at Gucci's womenswear show, with designer Alessandro Michele transforming clothes into "psycho-geographic maps" for the Italian fashion house's spring/summer 2016 line.

    Models strutted down a catwalk, itself printed with flower and snake designs, in chiffon and printed silk tops and long prom dresses, some of them bearing trompe l'oeil ruffles and large bows.

    Ancient Egyptian imagery was also printed on some of the collection, which mostly featured colorful flowers and animal designs -- birds, fish and snakes on trouser legs.

    There was also a nod to the 1970s with bowl haircuts, gold gloves worn under large rings and angular leather handbags.

    Michele, Gucci's former head accessories designer who became creative director in January, also regularly referred to the "Carte de Tendre", a map based on the theme of love, in his creations, shown on Wednesday as part of Milan Fashion Week.

    The map, published in 1654 in the first part of Madeleine de Scudery's novel "Clelie", featured on a skirt and dress.

    "These hints gather on the collection's clothes to form eclectic palimpsests rich with heterogeneous references," the designer's notes read.

    "The clothes are transformed into psycho-geographic maps capable of recording the urban unconscious: maps that embroider the world within a discourse of affectionate intimacy."

    Michele elevated Gucci's classic loafer into a heel, accessorized trousers suits with ties that featured bold drawings such as a smiling mouth and a ladybird.

    Models wore large spectacles, some of them glittery, beret hats, heeled sandals with leaf cutouts and held an array of handbags. Michele kept the classic Gucci stripe on accessories, such as a belt on a green lace black prom dresses.

    Milan, home to fashion heavyweights Giorgio Armani, Versace and Dolce and Gabbana, hosts some 70 catwalk shows until Monday.

  • London fashion is finished with posh style – get real with This is England '90

    If you want London fashion week in a nutshell, it’s this: autumn is all about This is England ’90 on a Sunday night, not Downton Abbey. It is not long since the catwalks were in thrall to Downton – in 2011, we were awash with velvet and pearls and sparkly hair jewellery – but now, fashion has dropped the posh accent and fallen back in love with the real and the lo-fi.

    What this means for what you will wear next spring starts with more black than we’ve seen for a while. Also acid brights, charity-shop leopard and shocks of yellow. Spaghetti straps, and therefore (for bra reasons), yes to nipples but no to cleavage. Tea dresses, but as worn by Courtney Love, not by Lady Edith. Long dresses with flat shoes, as at Burberry, or anoraks over short skirts, as at Hunter Original.

    There was music of a certain vintage – Primal Scream’s Loaded for the Topshop Unique finale, Portishead’s It Could Be Sweet at Eudon Choi – but this was neither a 90s rave revival nor a reworking of grunge. Instead, what it has in common with This is England is that sense of how powerfully subversive nostalgia can be when it is about aspects of British life that aren’t costume-drama pretty.

    I am a big believer in the meaning of canapes, and cite the snacks at Donatella Versace’s Versus party on Saturday night as proof of the centre of gravity moving towards anti-glamour. They were miniature burgers, piled on trays wrapped in (Versace-branded) greaseproof paper. And, as Monday morning dawned with news suggesting that upper-class parties were perhaps not always affairs of exquisite taste and refinement after all, it was hard not to feel that fashion was on the right track.

    Designers each had their own reasons for the mood. At Christopher Kane, the mood of distress and jagged edges was distinctly personal, a vivid clothes-poem about damage and repair made in the aftermath of his mother’s death. His muse – an outsider, he said, someone cool but unsophisticated – was an expression of his own feelings of alienation. By contrast, Burberry arrived at slouchy prom dresses manchester, hoodies and rucksacks from a completely different starting point. In the season that it collaborated with Snapchat and Apple Music, Burberry wanted its catwalk collection to have a more youthful, direct connection with the audience – a step-change from the cerebral Bloomsbury mood of recent collections.

    Fashion week’s move from Somerset House to Soho inspired Gareth Pugh, whose show notes recalled “arriving here for the first time, coming down to study at Saint Martins – it was like falling down the rabbit hole. There were such feelings of euphoria, of danger and possibility.” Pugh’s collection was hyper-glamorous, but in an alternative, drag-queen kind of way. Meanwhile, Versace moved her Versus show from New York to London because she felt the city’s edgier, dirty-glamour vibe was right for the diffusion line. The celebrity dresses were punky, Versace’s safety-pin-and-slashes side rather than the chiffon-and-corsets one; and then there were those burgers, served with margaritas. At Antonio Berardi, where the mood was “distressed elegance”, there were black cobwebby knits among the bedazzling gowns.

    I am not even convinced that Topshop Unique, where the posh party-girl look reigned in polka-dot silk, is as diametrically opposed to all this as it might appear. For a long time, the 1980s references on the catwalk were either about street style or power dressing – as if we believed that the elite spent that whole decade having board meetings. These days, the 1980s references are about posh-but-trashy parties, peopled by girls in satin party frocks. This seems to me a far less reverential take on the self-styled masters of the universe. Fashion is in no mood to doff any caps.

    Three London fashion week moments

    1. The JW Anderson soundtrack

    The JW Anderson show

     

    We like JW Anderson for the clothes and also for how clever the show makes us feel. This season’s “odyssey oscillating between intergalactic Olympics and empowered femininity” featured Public Speaking – Martin Scorsese’s documentary about Fran Lebowitz – on the soundtrack, with the author saying such things as: “Andy Warhol made fame more famous.” Deep.

    2. The long split skirt

    The Jonathan Saunders show

    Hemlines are long next season, but you’ll still be showing some leg. Jonathan Saunders had the best take on a style that is everywhere – the long-but-split skirt. Go silky and colourful, and stride out for maximum leg-flashing.

    3 ‘Volume Lite’

    The Roksanda show

     

    The buzz phrase for next season. It means airy volume, not the stiffened peplum kind. Roksanda Ilincic took her inspiration from ballet, aiming to capture “the mix of emotion and physical strength of a woman dancing.” Go for interesting sleeves or a tiered dress. See also: Erdem’s melancholic Prairie Madness collection.