Turquoise Bridesmaid Dresses Add Romantic Touches to Your Wedding

For years, girls don’t stop to seek for dresses that seem rather simple, but sophisticated. These desires are certainly recognized by fashion elites. They remove complicated accessories away from those blue and green gowns for bridesmaids. The big impact aroused by turquoise bridesmaid dresses is exactly convincing evidence for this. Turquoise bridesmaid dresses are favored by lots of modern girls because it is perfect for a lovely cool wedding.

Today extremely simple styles are shown by turquoise bridesmaid gowns. You can choose empire waist, sweetheart or one shoulder they will definitely hold sway over tendencies on the neckline patterns. These dresses are usually made to be tea-length to ideally match with the princess-like sense on the bride. Like them or not, they always make females incredibly glamorous and of course add aristocratic and romantic spices to your wearers' overall appearances!

Since the turquoise is ideally matched with the blue sky and the blue sea. It’s perfect to have a beach wedding which is obviously very romantic. And we have some general suggestions for your perfect wedding: you should select a turquoise bridesmaid dress that has an illusion neckline because it is perfect to provide some sheer coverage and to wear for weddings taking place during a candle light ceremony. For another suggestion is to select an A-line silhouette to ensure a complementary fit on nearly every member of your female bridal party and allow them to choose their own neck line based on their individual style and needs. Then about the hairstyle, if your wedding hairstyles for bridesmaids are long, loose, and flowing, then the turquoise bridesmaid dresses should be embellished with layers of ruffles to complement this hairstyle.

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Another occasion, if you are holding a beach wedding, here are the detailed suggestions: the pockets in turquoise bridesmaid dresses will keep the look casual and carefree, perfect for a simple beach wedding at an all-inclusive resort. And you should select chiffon bridesmaid dresses which will move in the ocean’s breeze or a turquoise dress that has a contrasting print, turquoise and pink or turquoise and white are two color combinations that will enhance beach turquoise wedding decorations and create unique designs throughout the dress. And not to forget about the accessories like coral jewelry that makes the ocean blue color pop because turquoise dresses will complement grey beach wedding suits.

Blush for tanned skin

I’M an Indian girl with tanned skin. I love using blushers but after applying, it disappears within an hour. Is there a way to make it last longer? Which blush colour or tone is suitable for my skin colour? I also have oily eyelids.

My whole face tends to be pretty oily generally, but my eyelids are the worst! I sometimes feel I can’t wear any eyeshadow or eyeliner because they will just slide right off or smudge. It gets into my eyes and causes a stinging sensation, because the oil (I think) gets into them. Is there any solution for this problem? – Suzana

It important to choose the right blusher colours for your skin. Each person should have at least two shades to pick from, a peach and a pink, says Joyce Lee, chief make-up artist for Estee Lauder. This way you have a colour to choose from regardless of the look you are going for.

For tanned skin, choose colours from mauve to plum, or rose to deep oranges. Choosing a shade that’s too light will make your skin appear washed out and pale.

And then, you need to get a blusher that will last through the day. Powder is typically the best for oily and combo skin. Cream is great for dry skin. Liquid and gel are great for oily skin. For better results, combine cream and powder together.

To apply a long wearing blush, use a liquid gel blusher and dap onto cheeks with your fingers with Estee Lauder Pure Color Cheek Rush. Apply powder blush, Pure Color Blush, on top of the liquid gel blusher. If you’ve gone a bit heavy on the powder blush, brushing Lucidity Translucent Loose Powder lightly over it will calm it down.

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For those with extremely oily eyelids, these steps will help reduce smudging.

At Estee Lauder, we have a technique called “Simple Smudge”. Prep your eyelids by using Estee Lauder’s Double Wear concealer on your eyelids. Next, use a setting powder which will help your eyeshadow to last.

Apply Estee Lauder Double Wear eyeliner that lasts up to eight hours. Smudge the liner using the smudger, and then apply your eyeshadow. Avoid using cream eyeshadows. Use the Double Wear Gel Eyeliner on top of the pencil liner. And then, set your eyeliner by applying a powder eyeshadow in a similar colour on top of your eyeliner.

Don’t worry about having oily eyelids. Think about it, when the skin stops producing oil, it becomes dry and dehydrated, and that’s when wrinkles start to creep in!

I’M 54 and have dark patches around my cheeks. Also, how do I get rid of eyebags? I noticed that my laugh lines are getting longer and deeper. I have tried some products but so far they haven’t yielded any results. – Deel

According to La Prairie trainer Rebecca Ong, dark patches, skin pigmentation, sun and age spots are due to increased pigment at the bottom layer of the skin.

Skin pigmentation may be induced by hormones, such as birth-control pills and estrogen therapies, or triggered by UV light. Other causes could be skin inflammation, acne marks and certain types of medication. which can make the skin become sun sensitive.

Whilst dark patches are worrying, firming and conditioning the skin are also important. Cleanse twice a day with a hydrating face wash, exfoliate three times a week and use sunscreen with SPF protection daily. Use La Prairie White Caviar Illuminating Système collection which will treat the dark patches, and enhance skin firming and promote skin hydration.

La Prairie White Caviar collection uses advance formulas for treating pigmentation without bleaching agents or harsh ingredients that irritate the skin. Using the system together helps control discoloration before, during and after pigmentation sets in, as the formula works to reduce tyrosinase, the enzyme responsible for melanin production. This results in less clustering of melanin, a more even skin texture and lightened dark patches.

The White Caviar collection contains high caviar extract, antioxidants and anti-wrinkle peptides that can help reduce the depth of laugh lines. Start with White Caviar Illuminating Clarifying Lotion day and night. This pre-treatment lotion helps to condition, clarify, gently exfoliate and prepare the skin for the brightening process. Golden caviar and edelweiss extracts help to lift, firm and refresh the skin.

Follow up with White Caviar Spot Treatment two times a day, applied only on the dark patches. This formula contains the highest level of brighteners developed to focus on stubborn spots and prevents new spots from forming.

Lastly, use White Caviar Illuminating Serum and White Caviar Illuminating Cream day and night. The formula has licorice extract, vitamin C and high antioxidants that will help interrupt melanin production, lift and firm with nutritious golden caviar extract and anti-wrinkle peptides. Apply La Prairie Sun Protection Emulsion Face SPF 30 during the day for protection and prevent moisture loss.

Eyebags are common sign of ageing as the skin membrane tends to break down. It could also be fluid retention under the eyes. Use White Caviar Illuminating Eye Serum and Eye Cream after cleansing. The brightening and other anti-ageing effects will be seen on the deeper and outer layer of the skin on the eye areas. Enhanced blood circulation will give you firmer and smoother skin texture around the eyes.

Michael Kors Holiday 2013 Campaign

The Michael Kors holiday 2013 campaign shot in New York by talented photographer Mario Testino is based on the idea that the holiday season is the best season of all. With that in mind, the renowned designer created a series of looks that would be modern yet festive: "When I was designing holiday, I kept thinking about how can you have it all. I love the idea of this rock-and-roll, denim and diamonds Christmas. It’s cozy but glamorous—the perfect combination for the holidays."

For the new Michael Kors holiday 2013 ads, the luxury brand enlisted the help of models Corey Baptiste, Ji Hye Park, Julia Frauche, Karmen Pedaru, Lais Ribeiro, Simon Nessman and Victor Nylander, to create the perfect holiday party atmosphere and unveil the potential of the gorgeous pieces. A single glance at the new set of ads is enough to prove that the pieces are versatile indeed, something that can't usually be said about most holiday offerings.

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Among the cool pieces from the new Michael Kors campaign for holiday 2013 are tank tops, gorgeous metallic pants and jeans, fluffy jackets, animal printed dresses and jumpsuits and sparkly tops. The pieces are combined simply yet cleverly to create an effortlessly cool allure every single time. Though the looks seem fairly simple, the accessories add a special, luxurious touch. Practical handbags, eye-catching bracelets, classy rings, modern classy watches and many more make these cool looks inspirational and memorable.

Taking a few style cues from the new campaign is definitely helpful if you're looking for modern outfit ideas to make a statement without sacrificing completely functionality. Modern, cozy, glamorous and sexy is usually a rare style combination but is one that instantly impresses when all done right, so the new ads definitely fit the criteria.

Private No More: Giancarlo Giammetti on Life With Valentino, Elizabeth Taylor’s Expensive Taste, and Lauren Hutton’s Tantrums

Many of fashion’s great performers have benefited from great showrunners—those unsung partners who protect and guide from offstage. The line you hear about Giancarlo Giammetti, then, is that he allows Valentino to be Valentino. What that means exactly can be hard to explain. Suffice it to say that what began as a mutual attraction turned into one of the most fruitful collaborations the fashion world has ever seen. In helping to build up the legendary label, Giammetti also laid the groundwork for the industry as it is today. His relationship with his partner is as moving as it is complicated—or so it appears in Valentino: The Last Emperor, the acclaimed documentary that ushered Valentino vividly back into the spotlight in 2008, at a time when the pair behind the famous name might have retreated into relative (but impossibly opulent) obscurity. Now, with Private: Giancarlo Giammetti, Giammetti offers another peek into the Valentino world. Published by Assouline, the twelve-pound tome is a compendium of reflections and photos, nearly all of them snapped by Giammetti himself, of the long, enviable life he’s led—one that has contained so many royals, Hollywood idols, and pharaonic fashion types that it more or less functions as an illustrated social history of the latter half of the twentieth century. Giammetti spoke about fashion then and now, the glamorous “tribe” with which he’s always traveled, and the “diva fits” he’s come to take in stride.

In his foreword to the book, Valentino writes that he learned some things about you that he did not know before. Is that even possible?

It’s true. Everybody has secrets, no? It was easier to tell them to the book than to him! He would have reacted, probably. At least the book was silent.

The Last Emperor made your life public in a way that it never had been before. Could you have done this book without that movie?

No.

You’d always guarded your privacy. Tell me about how the movie changed that.

The movie was a surprise. The first time we went to see it, we came out of the room so shocked that I called the lawyers. I felt so violated. I expected a documentary about fashion, the beautiful girls, the runways, the parties. I didn’t expect to feel so naked.

But eventually you came around.

We got eight minutes of standing ovation in Venice, and everybody started to say how great it was to see a different aspect of our lives. I remember that Matt [Tyrnauer, the director] said, “This is not a movie about the rich and famous. This is about love, and the end of an era.” And it seems that people were attracted to this. Also it helped people—I’m talking about gay people, probably—to see there are people that can build a relationship and a life together.

How did this book come about, then?

There was this enormous collection of photos I did all my life, and my diaries. The pictures were glued in albums, so three or four years ago I called an archiving company that specialized in this kind of thing—the same one that did all the Vatican’s documents. I started to look at these pictures inside my computer, and I had an offer from Assouline already, so I said, “Why not?” We went from 57,000 archived [images] to 500 or 600.

Drama, or mini-drama, seems to be a recurring fact of life. You write about Lauren Hutton throwing a “diva fit,” and mention the “tantrums” of Naomi Campbell. How have you learned to deal with it?

Fashion is full of drama people, and [you see that] some problems are more important than others. If Naomi wants to go out first and not second, you let her do it, because it’s not worth it, and because despite being a difficult character she is a great person and an amazing friend. Lauren’s tantrum made me more upset because it was in the middle of an event. But yes, I have quite a tough skin now.

In one sense—as romantic partners—you and Valentino broke up in 1972. In another sense, you never did. It’s an unorthodox business arrangement. Did you ever have any doubts it would work?

Of course it’s never easy. But I am somebody who hates to lose track of people that are important to me—the construction of this “tribe” is because of that. And don’t forget, we [had been] in business for twelve years. You don’t leave everything [behind] just because something doesn’t work anymore.

Valentino is sometimes considered the first house really to embrace celebrities. Was that plan or accident?

A bit of both. It’s interesting to see people who are successful, and even then it was important to have them wearing your clothes in front of a camera. I remember in ’61 Elizabeth Taylor was in Rome for Cleopatra and went to an opening of Spartacus, the movie with Kirk Douglas. She wore this pleated white chiffon Valentino dress with ostrich at the end, and it was in every paper. The day after, she came to the fashion house and wanted seven outfits. She said, “Oh, you have so much publicity with me today—I deserves this, this, this, this.” In a certain way she was like an animal, she wanted things, and when she wanted something, she’d use any means.

Did you give her all the dresses she asked for?

Of course. And they were the most expensive [ones]. I remember one in embroidered velvet with a sable collar. She chose that first, of course. But she was also an amazing woman. Anyway, we understood that this was a good way to promote the brand, and it was fascinating to be sitting with Elizabeth Taylor.

Is it harder to work with celebrities now?

Very much so. In the beginning, Valentino was really the person involved. You had Elizabeth Taylor or Jackie Kennedy coming to your office and choosing the dress. You’d discuss, and fight or not fight. But now stylists decide which dresses will be in the room. The most famous dress for Valentino, for example, is the Julia Roberts [the vintage Valentino she wore to the Academy Awards in 2001]—and we didn’t know anything about it. It was there in a room with twenty-five other dresses from twenty-five designers. She went out in another dress and her niece, Emma, said, “I don’t like this dress—why don’t you wear the Valentino?” And she changed at the last moment. It was a huge success, and I absolutely thank Julia. But it was not something personal.

Despite all that, you and Valentino still have personal relationships with lots of celebrities.

But it has nothing to do with wearing our clothes, thank God. We had an accident with Anne Hathaway during the Oscars—she didn’t wear a dress that we made with a lot of care and love. But it doesn’t mean that she is not one of our best friends.

This book is very much about the dolce vita. There is a section in there about work, but it isn’t exactly represented in images.

Fashion is not people playing with dolls, you know? It’s a very tough business, very competitive. And wherever there’s competition there’s a lot of pressure and anxiety and sleepless nights. If there were pictures [of this], I wouldn’t mind publishing them. But there are no photos.

Yves Saint Laurent versus Valentino is considered one of the great rivalries, but you’ve said that Valentino did not feel personally that competitive toward other designers. Was it more of a rivalry between you and Pierre Bergé, then?

No, it was more of a complex of Mr. Bergé. I think Yves Saint Laurent is an amazing designer—there was nothing to say. It was not a real rivalry for me. I don’t have the greatest admiration for Mr. Bergé. I don’t think the way that he handled the relationship with Yves was right. And even now, I don’t like what is happening to that company. The cancellation of Yves in the name, I thought it was really something horrible.

You write that there is no training for the job you’ve done. But nowadays people get trained for every job, don’t you think?

The difference is that I was doing it by myself. Today five or six people would do this job together. And it was dictated by feelings. I was also owning the company, so there was the ambition to make it bigger, not just to save my chair or title. It was a different moment, suddenly not just couture anymore. You had dresses on racks, publicity, advertising, magazines—so many things.

And fashion did not have the cachet it has now, when everyone wants to be in the business.

I remember just to get an accountant in Rome in the sixties, you couldn’t get a man. They were ashamed to work for a designer! And today we could have the president of United Airlines come in and work for any fashion company. There is an appeal in fashion today that is amazing. There is also a lot of money involved. I don’t think that the business has the same salaries [anymore].

If the fashion business has gotten more glamorous, some people would say that you and Valentino are, to an extent, responsible.

I don’t know if the money was my fault! But the cachet we brought to life.

Is this book the last time you’ll share so much of your memories and archives publicly?

I don’t know. Maybe there will be another book with less pictures and more text—something that you can take to bed.

Sounds like a memoir.

Why not?

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Vogue's Designer Halloween Masks Costume Up New York's High Society

When Vogue deigns to participate in the Halloween rituals, everybody else just looks bad. Suddenly our hilariously ironic costumes and extravagant manicures seem immature, cheap, and overdone, and we realize that real grownups celebrate Halloween as though they were selecting a fine wine: They want something subtle, nuanced, and insanely expensive.

Instead of doing anything as predictable as “dressing up” in “costumes,” Vogue asked designers to compose Halloween masks — the world’s most alluring prop for disguising one’s identity — and then asked their favorite New Yorkers to model the results. Words cannot describe the beauty. Toni Garn in a golden Philip Treacy mask. Tabitha Simmons in Dolce & Gabbana. We’re pouring gasoline on our “Sexy Kale Salad” costumes and lighting them on fire.

Just look at Grace Coddington and her blazing red witch hair beneath that Steven Jones “Fashion Pussycat” mask (above) — who needs a broomstick when you’re embodying the Platonic ideal of black magic? Vogue debuted a few more shots on their Instagram, causing us to weep tears of awe and envy:

Here’s model Jessica Hart in a Langley Fox mask. There’s something about the sparkle and the sexy cat-eye shape that tricks you into thinking this mask is pretty, almost childish — until you notice the skulls and crossbones adorning the rest.

These fraternal, genderless twins look straight out of a futuristic horror film; you know, the type of world where humans are so perfect, they’re terrifying. Lanvin designed, Kelly Connor and Chelsea Zalopany of Vogue modeled; the pale, oversized shapes conjure up images of human balloons, as though the girls might float off at any minute, horribly attached to those glamorous fake heads.

Gym wear for 3013? Model Hilary Rhoda wears a mask designed by Nike, which was inspired by the Air Jordan 13 basketball, which was in turn inspired by Jordan’s nickname, “Black Cat.” If she and Grace Coddington wore these masks to the same party, the world would explode.

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Connie Britton Talks Low-Key Beauty—and That Time She Got a Perm

Big curls, shimmery eyes, sequined everything: It doesn't get any more high-maintenance than Rayna James, the country music star Connie Britton plays on Nashville. It's not surprising that when the cameras are off, the actress is decidedly less flashy. "I'm low maintenance," says Britton, a new spokeswoman for Pond's. She gave us a glimpse of her "quick and easy" beauty routine and her must-have products—and told us about her biggest beauty mistake.

How is your approach to beauty different than Rayna James's?

"Rayna's way more high maintenance. When I'm doing my own personal care, I like to keep it simple. As an actress, I spend so much time in the hair and makeup chair, and Rayna does that, too. Particularly in Nashville, there's a very specific look. People are very done. It's all so time-consuming. If I don't have to spend hours dealing with makeup, I'm happy."

What's your skin-care routine?

"People have told me to use certain creams and serums, and that's not my style. I'm quick and easy. I've made it a lifelong study: How can I pare this down to the briefest but most effective routine? I like to keep the ingredients simple and try to use something that will really work for everything. Of course, SPF is so important, and that's an absolute no matter what. I remember when the first products started coming out that had SPF in them and they'd give some coverage, too, and I was like, What an idea! Now, we've really mastered that."

What's the one product you reach for before you run out the door?

"If there's one thing, it's usually something that will even out my skin tone, like Pond's Luminous Finish BB+. Or I'll throw on bronzer and mascara and think, OK, I can do this. I'm OK to go out in the world."

What's the best trick you've picked up from a makeup artist on set?

"Moisture, moisture, moisture. My makeup artist on Nashville is all about that. She is constantly wanting to moisturize my skin, and it's also about drinking water all day. The more moisture we have in our skin, the brighter it will look, and wrinkles won't show as much."

Any beauty regrets?

"I recently ran into a picture of myself in high school and I had a perm. That was hilarious. Especially considering how much hair I have. It was so unnecessary! I will never do it again."

So how did you decide to partner with Pond's?

"I was really impressed with Pond's as a whole. I love how historic the brand is, and it has a lot of authenticity and integrity. I was blown away by their Luminous Finish BB+ cream, and was like, 'Let's do it!' I love to wittle down the number of products I use as much as possible, particularly now that I'm a mom. I like having something thing I can use right after the shower that gives a flawless finish and has SPF. I can put it on and get out the door."

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Halloween Makeup Idea: Pretty, Sparkly Fish

My favorite part of Halloween isn’t necessarily dressing up—it’s being able to play with all the crazy makeup that I love, but never have the chance to use. And that’s actually how I came up with this year’s costume. After finding a collection of iridescent sequins stashed under my desk and a hair gel that makes your hair look like rubber, an idea popped into my mind—I could be a fish! Random, yes, but when I started looking around online, I realized it could be very, very cool. I knew I needed some help coming up with a look, so I called MAC makeup artist Gina Bettelli. To give her an sense of what I was thinking, I sent her inspiration shots as diverse as makeup from the couture runways to the CoverGirl Captiol Collection ad campaign. Together, we came up with a plan, picking the colors, the features we wanted to focus on, and the fact I wanted to look beautiful rather than like the creature from the black lagoon. When we got together, she put together a makeup look that went above and beyond what even I could imagine. It looks complicated, but Bettelli helped break the process down into easy steps. Check it out by clicking here, then read below for some of her great tips for creating costume makeup look like this.

Never skip foundation. “It keeps everything looking pretty and clean,” explains Bettelli. Also, always rim your eyes in black, especially when wearing crazy colors. Not only does it make the colors stand out even more, it does the same for your eyes.

Always lay down a cream first. “You need something for powder shadows or loose pigments to stick to,” she says.

Easy does it on the glitter. When looking through the inspiration pictures I sent, Bettelli pointed out the difference between the ones we really liked and the ones that were only so-so. “The ones that are a little crazy looking have glitter all over the face,” she said. “It looks prettier if you only use glitter in small doses.”

Get the right tools. Applying sequins and crystals requires a steady hand and a lot of patience, especially if you’re using tweezers. Bettelli has an easier method: Pick up the iridescent flakes with a waxy brow grooming stick (she used the MAC Brow Finisher), or anything waxy like a crayon. Oh, and dot the glue on your skin first. Bettelli used the end of a makeup brush to apply the perfectly sized dollop.

Stand back. The most important thing about this type of makeup is making things symmetrical, which you can only really do by stepping away from the mirror a bit.

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