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Say Hello to the McDCouture Runway Collection: 20 Dresses Made From McDonald's Wrappers

Say Hello to the McDCouture Runway Collection: 20 Dresses Made From McDonald's Wrappers

We're loving it!

Miami Beach Funksion Fashion Week arrived on Thursday, Nov. 5, and it came complete with what we believe may be the most mouth-watering styles we've ever

laid eyes on: a 20-piece capsule of dresses crafted from McDonald's iconic packaging.

PHOTOS: Stars in the kitchen

To present the McDCouture collection, the fashion students at Miami International University of Art used the beloved fast food chain's french fry boxes,

hamburger wrappers, McCafe coffee cups, and more to create the couture styles. And yes, like a true couture collection, there is one wedding dress, which was

designed using more than 900 white wrappers (with 60 yellow additions to make the bouquet pop, naturally).

PHOTOS: Viral moments of 2015 (so far!)

Feast your eyes on the best of the collection below, then meet us at the drive-thru. (We need a Quarter Pounder, stat.)

PHOTOS: Celebrities eating out!

The design by, Ricardo Hardouin, a Miami International University of Art and Design Fashion Student was created with 900 white sandwich wrappers, 60 yellow

sandwich wrappers and 20 fry boxes for the McDCouture Fashion Show at Funkshion Fashion Week Miami Beach at The Setai Hotel on November 5, 2015 in Miami

Beach, Florida.
The design by, Ricardo Hardouin, a Miami International University of Art and Design Fashion Student was created with 900 white sandwich wrappers, 60 yellow

sandwich wrappers and 20 fry boxes for the McDCouture Fashion Show at Funkshion Fashion Week Miami Beach at The Setai Hotel on November 5, 2015 in Miami

Beach, Florida.
Credit: Alexander Tamargo/Getty Images for McDonald's

One of 20 one-of-a-kind designs created from McDonald's packaging and paper goods by Miami International University of Art fashion students during Funkshion

Fashion Week Miami Beach at The Setai Hotel on November 5, 2015 in Miami Beach, Florida.
One of 20 one-of-a-kind designs created from McDonald's packaging and paper goods by Miami International University of Art fashion students during Funkshion

Fashion Week Miami Beach at The Setai Hotel on November 5, 2015 in Miami Beach, Florida.
Credit: Alexander Tamargo/Getty Images for McDonald's

One of 20 looks created from McDonald's packaging and paper goods by Miami International University of Art fashion students during Funkshion Fashion Week

Miami Beach at The Setai Hotel on November 5, 2015 in Miami Beach, Florida.
One of 20 looks created from McDonald's packaging and paper goods by Miami International University of Art fashion students during Funkshion Fashion Week

Miami Beach at The Setai Hotel on November 5, 2015 in Miami Beach, Florida.
Credit: Alexander Tamargo/Getty Images for McDonald's

One of 20 one-of-a-kind designs created from McDonald's packaging and paper goods by Miami International University of Art fashion students during Funkshion

Fashion Week Miami Beach at The Setai Hotel on November 5, 2015 in Miami Beach, Florida.
One of 20 one-of-a-kind designs created from McDonald's packaging and paper goods by Miami International University of Art fashion students during Funkshion

Fashion Week Miami Beach at The Setai Hotel on November 5, 2015 in Miami Beach, Florida.
Credit: Alexander Tamargo/Getty Images for McDonald's

One of 20 looks created from McDonald's packaging and paper goods by Miami International University of Art fashion students during Funkshion Fashion Week

Miami Beach at The Setai Hotel on November 5, 2015 in Miami Beach, Florida.
One of 20 looks created from McDonald's packaging and paper goods by Miami International University of Art fashion students during Funkshion Fashion Week

Miami Beach at The Setai Hotel on November 5, 2015 in Miami Beach, Florida.
Credit: Alexander Tamargo/Getty Images for McDonald's

Alexander Tamargo/Getty Images for McDonald's
Alexander Tamargo/Getty Images for McDonald's
Credit: Keeping with McDonald's gold standard, Kami Lin's McDCouture evening gown, made from 30 fry boxes, 400 McChicken Sandwich wrappers and 500 "created

for you" wrappers left the audience wanting more at the McDCouture Fashion Show during Funkshion Fashion Week Miami Beach at The Setai Hotel on November 5,

2015 in Miami Beach, Florida.

One of 20 one-of-a-kind designs created from McDonald's packaging and paper goods by Miami International University of Art fashion students during Funkshion

Fashion Week Miami Beach at The Setai Hotel on November 5, 2015 in Miami Beach, Florida.
One of 20 one-of-a-kind designs created from McDonald's packaging and paper goods by Miami International University of Art fashion students during Funkshion

Fashion Week Miami Beach at The Setai Hotel on November 5, 2015 in Miami Beach, Florida.
Credit: Alexander Tamargo/Getty Images for McDonald's

One of 20 looks created from McDonald's packaging and paper goods by Miami International University of Art fashion students during Funkshion Fashion Week

Miami Beach at The Setai Hotel on November 5, 2015 in Miami Beach, Florida.
One of 20 looks created from McDonald's packaging and paper goods by Miami International University of Art fashion students during Funkshion Fashion Week

Miami Beach at The Setai Hotel on November 5, 2015 in Miami Beach, Florida.
Credit: Alexander Tamargo/Getty Images for McDonald's

One of 20 one-of-a-kind designs created from McDonald's packaging and paper goods by Miami International University of Art fashion students during Funkshion

Fashion Week Miami Beach at The Setai Hotel on November 5, 2015 in Miami Beach, Florida.
One of 20 one-of-a-kind designs created from McDonald's packaging and paper goods by Miami International University of Art fashion students during Funkshion

Fashion Week Miami Beach at The Setai Hotel on November 5, 2015 in Miami Beach, Florida.
Credit: Alexander Tamargo/Getty Images for McDonald's
Wholesale Jumpsuits clubwear for women Wholesale Tight-fitting Dresses Designed for any time of the day by Miami international University of Art and Design Fashion student Stephanie Castanon, this all day breakfast McDCouture

was created with 20 McCafe Cups, 30 hash browns, 150 Egg McMuffin wrappers, 200 Burrito wrappers, 20 all day breakfast coupons and one breakfast menu clock

during Funkshion Fashion Week Miami Beach at The Setai Hotel on November 5, 2015 in Miami Beach, Florida.
Designed for any time of the day by Miami international University of Art and Design Fashion student Stephanie Castanon, this all day breakfast McDCouture

was created with 20 McCafe Cups, 30 hash browns, 150 Egg McMuffin wrappers, 200 Burrito wrappers, 20 all day breakfast coupons and one breakfast menu clock

during Funkshion Fashion Week Miami Beach at The Setai Hotel on November 5, 2015 in Miami Beach, Florida.
Credit: Alexander Tamargo/Getty Images for McDonald's

One of 20 one-of-a-kind designs created from McDonald's packaging and paper goods by Miami International University of Art fashion students during Funkshion

Fashion Week Miami Beach at The Setai Hotel on November 5, 2015 in Miami Beach, Florida.
One of 20 one-of-a-kind designs created from McDonald's packaging and paper goods by Miami International University of Art fashion students during Funkshion

Fashion Week Miami Beach at The Setai Hotel on November 5, 2015 in Miami Beach, Florida.
Credit: Alexander Tamargo/Getty Images for McDonald's

One of 20 looks created from McDonald's packaging and paper goods by Miami International University of Art fashion students during Funkshion Fashion Week

Miami Beach at The Setai Hotel on November 5, 2015 in Miami Beach, Florida.
One of 20 looks created from McDonald's packaging and paper goods by Miami International University of Art fashion students during Funkshion Fashion Week

Miami Beach at The Setai Hotel on November 5, 2015 in Miami Beach, Florida.
Credit: Alexander Tamargo/Getty Images for McDonald's

I don't get excited about clothes': Fashion photographer Miles Aldridge brings a realistic, bleak edge to his work

'I don't get excited about clothes': Fashion photographer Miles Aldridge brings a realistic, bleak edge to his work
Miles Aldridge is a fashion photographer with an eye for the tragedy behind the glamour. The women in his pictures are extravagantly beautiful and impeccably dressed but often reside within scenes of domestic bliss minus the bliss.

His work is like a series of vivid single-frame movie melodramas: mothers and wives in the kitchen, in the nursery, in the bedroom, on the town, staring vacantly into the distance, lost in their thoughts and disappointments. In one picture, a blond wearing a slip points a pink hairdryer at her head like a gun. In another, a lipstick-stained cigarette is shoved angrily into an egg yolk, breakfast ruined.
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"I don't get excited about clothes," says Aldridge, a youthful 50, sitting in his room at the Chateau Marmont, his morning tea and newspaper on the table. "If I can make someone buy a stupid dress, I'm not happy. That's not my job. If I can shake someone, that is enough for me. I want to give that feeling of 'What the hell am I looking at?'"

His pictures of super-saturated color and bleak undertones are on exhibition in "Miles Aldridge: The Pure Wonder," through Oct. 17 at the Fahey/Klein Gallery in Los Angeles. Much of the British photographer's work first appeared in the pages of Vogue Italia and was collected in his 2013 book "I Only Want You to Love Me" (Rizzoli).

See the most-read stories in Life & Style this hour >>
"I go into my work as a fashion photographer to find an interesting way to record these dresses but hopefully record some of this stuff in the picture," he says, pointing to the newspaper front page. "Are we living in the period of plenty, anxiety, strife, peace, joy, delusion? I try to invest the work with those sort of feelings."
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Aldridge drew crucial inspiration from some of the great fashion photographers of the 20th century, including Helmut Newton and Richard Avedon, but also the darkly vivid filmmaking of David Lynch and Alfred Hitchcock. He still remembers being unnerved in 1986 by the collision of bright and dark in his first viewing of Lynch's "Blue Velvet."

"How can you make roses, a blue sky and a picket fence so sinister? I'm still mystified by that," he recalls of the opening scene. "That film and the shower scene in 'Psycho' have stayed with me. It's probably why I do pictures like that." He points to a picture in the book of a woman lying in a hospital bed, a male figure in black leathers and motorcycle helmet watching over her like an angel of death.

A journalist once suggested in an interview that the picture was about rape, which surprised Aldridge. It had everything to do with the death of his mother, whose life raising him and his sister alone in London can be felt in many pictures.

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The ideas tend to come before the clothes, inspired by dreams or daily life. One image of a full ketchup bottle shattered on the floor beside a pair of elegant shoes came after his then-wife brought him lunch on a tray and dropped the ketchup. He sketches the ideas like movie storyboards.

"I always meet with Vogue Italia after the Chanel show," he explains. "They've seen all the shows, I've seen none. I've done my drawings and my thoughts about what have you. I say I want to do a beauty salon or some ketchup on the floor or whatever, and they say, 'Why don't we do it with that collection...' And that works really well. That is the old-school way of doing things."

The son of graphic designer Alan Aldridge — known for his work with the Beatles and Elton John — Miles first became a filmmaker, directing several music videos. His sister, Saffron Aldridge, was already a successful Ralph Lauren model, and one of his earliest photography assignments was to shoot her in a pregnant bride story. (His two younger sisters from his father's second marriage are also models.)

He's worked for magazines ever since, taking assignments for such varied international titles as GQ, the Face, Vogue Nippon and the New Yorker. He still prefers film over digital photography and despair over sentiment.

"When I got a chance to say something in my work, I wanted to undermine that world — all of this luxury will not make you happy," Aldridge explains, then adds of the pictures collected at Fahey/Klein, "I'm sure I can do much better. This work is a kind of juvenilia, even though I'm 50 now. I feel like this is a first album. It's kind of brash in its language. I'm really curious about how to do it better and where to take it."

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Yesterday I knew that one of my friends was married, which surprised me. She is not very beautiful and she don’t know how to wear fashionable clothes. We always have joke with her, we all think she can’t get married until she is forty. But when we heard that she found her Mr. Right, we felt happy for her, and at the same time we thought why she become so charming and attractive.
She told us because she changed her wearing style, she wore this kind of Tempting Tulle and Sequined Gold Mini Dress with Deep V Neck & Low Back to a party. She was invited to a party, she hesitated when she received the invitation. But her friend introduced her this club dress, she told her that it would be her breakthrough, maybe she would find a boyfriend. So she wore it to the party. When she entered the club, she drew all people’s attention. She has a perfect figure, so she can wear it very beautifully. The deep-v can present her breast perfectly. She was the most beautiful woman at the party.
So girls, do you still single? Do you want to find a boyfriend? It is necessary for you to change your style. Put the sexy dress on. You will be very fascinating.

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The Deities of Men’s Style

The Deities of Men’s Style
Whenever men’s wear designers find themselves in need of inspiration,
they turn to the pantheon: Cary Grant, Steve McQueen and Paul Newman.
Though roughly 330 million deities populate the Hindu heavens, there are only a handful most people worship daily and know by name. Similarly, though there are about 330 billion images of celebrity divinities floating around the web empyrean at any given moment, when it comes down to it we seem inevitably to worship the same group of guys. This is meant in terms of style.

One hardly needs name them. Just utter the words “male style icon” and images inevitably form of celestial beings like Cary Grant, Paul Newman or Steve McQueen.

At least they do among that segment of the population that came of age before all manner of visual information was streamed directly onto the cerebral cortex by way of Instagram. That group would, of course, include most men’s wear designers, never in any case a culturally progressive group and less so when it comes to frame of reference — or, as image theft is often euphemized in fashion, “inspiration.”

“A lot of designers latch on to the same handful of guys,” the designer Michael Bastian noted recently, declining to point any fingers, both for diplomacy and because he himself has made frequent withdrawals from the familiar image bank. “It’s Steve McQueen, it’s Paul Newman, it’s Cary Grant and Fred Astaire, all done to utter death,” Mr. Bastian said.

Photo
Cary Grant (shown in Paris in 1956) helped define the term “fashion icon.” Credit RDA/Getty Images
It is probably worth pointing out that there are good reasons why the same small group of men continues to exert a disproportionate influence on what we here at Men’s Style think of as men’s style.

Not only were Steve McQueen, Paul Newman and Cary Grant uncommonly handsome humans, they were also possessed of that certain ineffable quality we categorize as cool. They looked great in clothes seemingly no matter what they wore. In part, this was because they looked as if they gave clothes and fashion not a moment’s thought.

“Perhaps the first thing I learned about style was that if something makes you feel good, chances are you look good,” Remo Rufini — the 54-year-old Italian billionaire who made his fortune by restoring cool to Moncler, a fusty and largely forgotten ski-wear label — said during the recent New York Fashion Week. “I think what makes people ‘icons’ is the confidence they give off wearing whatever it is they love to wear.”

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Preternatural confidence is a signal quality of the male icons under discussion. And it is, to be sure, a highly limited group, lacking altogether in racial and social and gender diversity. “So few black leaders have been allowed to shine forth,” and find an enduring place in the style pantheon, said Horace D. Ballard Jr., an essayist on black style and curator of education at the Birmingham Museum of Art. “Where is Marvin Gaye or Paul Robeson?”

Photo
Marvin Gaye in 1970. His style has transcended generations but has been largely ignored by the fashion elite, according to Horace D. Ballard Jr., an essayist on African-American style. Credit Afro American Newspapers/Gado, via Getty Images
The available images of each of those men, no less than those of Newman, McQueen and Grant, convey a powerful sense of the difference between wearing one’s clothes and having them wear you. And in this they are all starkly unlike the dress-up dolls turned out in borrowed tuxedos at the Emmy Awards or any of the now ubiquitous and wholly purgatorial red carpet events.

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“The distinction between then and now is this idea that celebrities, the supposed role models, tend to be styled,” Josh Sims, author of “Icons of Men’s Style,” said by telephone from London. “They have assistants and their look is a professional, very deliberate creation of a team.”

That is not to suggest that the male Hollywood stars of the last century were unconcerned about image, he added. It is well established that Steve McQueen required that his bluejeans were tailored in such a way that one of his favorite assets, his behind, was well accentuated.

The care McQueen took with his off-screen appearance was also mirrored in the stylish cut of the clothes he wore in some of the films that seem to play in an infinite rerun loop in the imaginations of many men’s wear designers — classics like “Bullitt” and “The Thomas Crowne Affair.”

“Even the khakis he wears in ‘The Great Escape’ were not in any way accurate to the period,” Mr. Sims said. Standard-issue trousers for members of the Allied forces during World War II would have been wide legged and with a high-waist, ample in the rear. “McQueen had his cut to a ’60s proportion” for the film, Mr. Sims said. “They were much slenderer and much more fitted than the traditional trouser cut.”

Photo
Steve McQueen, considered one of the godfathers of modern men’s style. Credit John Dominis/The LIFE Picture Collection, via Getty Images
The Italians have a handy term — sprezzatura — for sartorial gracefulness achieved through artful nonchalance. The concept behind sprezzatura was first codified by Baldessare Castiglione in his 1528 treatise, “The Book of the Courtier.” In it he steered young Renaissance gentlemen away from dangerous shoals of artifice and affectation, guiding them toward the safe haven of a public comportment predicated on making all a man does or wears “seem uncontrived and effortless.”

Naturally, sprezzatura is abused all the time in modern practice.

Think of a necktie deliberately knotted that slight bit wrong. Think of the absurdity of a half-tucked T-shirt. Think of shoes without laces or sneakers with suits. Think of the overwrought pocket square. The great cinematic icons would never have been caught dead betraying the amount of care that went into transforming, say, Paul Newman — a middle-class kid from suburban Shaker Heights, Ohio — into the quintessential sexy rebel or the archetypal cowboy of “Hud.”

“The personas stars created fulfilled a particular need of the times,” said G. Bruce Boyer, a men's wear expert and the author of the recently published “True Style.” “In ’30s stars, what was needed was an overt sex appeal and an extrovert personality necessary to cope with the Depression. In the 1950s and 1960s, it was expressions of rebellion against corporate consumerism, but safely and acceptably.”

It hardly matters that often the great style gods portraying rebels and adventurers and sportsmen were putting on a performance. What counts is that they kept us from noticing it all was an act.

“The best thing in style is a man who pulls off wearing a pair of jeans and a T-shirt perfectly,” Gert Jonkers, the co-editor of the influential men’s wear bible, Fantastic Man, said by phone from Amsterdam.. “That is almost the ambition everybody has. Every fashion designer you ever speak to says: ‘Oh, men shouldn’t wear fashion. Men should wear just jeans and a crew neck sweater.’ These style icons are the ones that did that first.”

And the gorgeously offhand photographs of them racing sports cars or riding motorcycles or popping open a beer were not necessarily the products of a candid camera. Almost all but the semi-nudes and stoner snapshots the photographer William Claxton took of his good friend Mr. McQueen were to some extent staged.

The photographic quality and rarity of those images adds to their potency and timelessness, Mr. Jonkers said. “It’s not like today’s celebrities, where there are so many bad images of them,” he said. “It’s great to look at Ryan Gosling until you see that picture of him running to the supermarket to get a carton of milk.”
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Several women that meet weekly at Denver United Methodist Church

Several women that meet weekly at Denver United Methodist Church have made a global impact with their sewing machines.
Church members Faye Helton, Jean Durham, Connie Berry, Wanda Reynolds, Judy Martin and Margaret Reep came together in May of 2011 after seeing a dress

pattern on a television show. With that dress pattern, they’ve impacted men, women and children in the countries of Haiti, Armenia, China, Belize, India,

Peru, Honduras and Guatemala and in various countries in Africa.
“There’s a show on television called ‘Nancy’s Notions,’” Reynolds said. “And they were talking about these little dresses. So we got the pattern and
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started making the dresses.”
“We did pillow cases for another group,” Helton said.
The small sewing group gets the fabric for the dresses mainly from donations, although some of the trim and incidental sewing needs that are required to

complete the dresses are out-of-pocket expenses. To date, the ladies of Denver United Methodist Church have sewn 47 shirts, 60 pants and 1,650 dresses. The

dresses are donated for mission trips for various churches in Lincoln County and the surrounding area.
“If we hear of someone going on a mission trip,” Reynolds said, “not necessarily from our church, then Faye talks to them or we talk to them and tell them

that we have these little dresses that we will give to them for no charge.”
The standard number of dresses any group takes usually runs between 20 and 25, but there are large orders.
“We’ve sent out up to 100,” Helton said.
The group has an efficient assembly line. One woman cuts the pattern while another irons the fabric to prepare the dress for sewing. Another woman adds trim

and yet another laces the elastic. Dress sizes run small, medium and large.
“The large can fit a small adult,” Durham said. “And we’ve made special requests before.”
The women are passionate about their work and have gone to great lengths to make sure their mission remains intact.
Helton and Reynolds have traversed through large containers full of bolts of fabric and the entire group will pay out of pocket to make sure all of the items

required to make the dresses are available. The church donates finances to the cause and they have a few patrons, but the women are always on the lookout for

any help they can get to help the little girls around the world that wear their dresses.
The group meets on Mondays from 9 a.m.–noon at Denver United Methodist Church at 3910 Highway 16 in Denver.
Donations of fabric, materials or finances should be sent to the church.

Weddings are special days for couples tying the knot. But even the most

Weddings are special days for couples tying the knot. But even the most carefully planned wedding requires some patience and perseverance.

For brides-to-be, finding the right gown is one element of wedding planning that calls for patience and persistence. Trial and error is often part of the

process as women look for the perfect wedding gown. Brides-to-be who have a specific style in mind may find that their dream gown doesn't always live up to

expectations, while another style of dress they never imagined wearing turns out to be a stunner.

Another challenge many women face when gown shopping is that many wedding gowns are styled and geared toward women with slender figures, making the process

of selecting a gown for a curvier bride a bit more difficult. But any bride, regardless of size or figure, can find the ideal dress, especially when she

employs the following tips.

* Sample sizes fit a select few. Bridal shops carry a range of dresses but may only stock one or two sample dresses. For economy, these samples are a median

size intended to fit as many shoppers as possible. Such gowns are usually in the neighborhood of a size 10.  Most women, whether petite or plus-size, will

not fit into the sample, so do not get discouraged.

* Visit large retail chains. Popular wedding dress chains, such as David's Bridal, may have a wider selection of sample dresses in larger sizes. Department

stores as well as designers who specialize in plus-size gowns also make good resources.

* Call bridal stores in advance to schedule your visits. Your time is precious, so call bridal shops prior to visiting and explain to them your size and what

you are looking for in a gown. This will ensure you aren't wasting your time driving to stores that can't provide what you want.

* Select the right fabrics. Heavier fabrics like taffeta, silk dupioni and satin may conceal better than others and can be ruched to camouflage areas you

want to minimize.

* Use salespeople as a resource. The right salesperson can make wedding shopping much easier and far more pleasant. Don't rest until you find someone who is

excited to work with you and will give you his or her honest opinion and recommendations.

* Dresses can be altered. Every bride needs some alterations made to her dress to achieve the perfect fit. Plus-sized brides may need a few extras. A dress

is unlikely to meet all of your needs right off the rack, so find a good seamstress who can alter your dress to meet your needs. Sleeves can be put on,

dresses can be shortened, support can be added, and many customizations can be done to a gown post-production.

* Find a flattering shape. Choose a gown with a full-skirt or an A-line skirt with an empire or a dropped-waist seam that will elongate your midriff and flow

away from your hips. Curvier brides typically avoid strapless gowns, as such dresses have a tendency to make a woman's shoulders and arms look wider.

* Don't get stuck on size. Sizes vary widely depending on the manufacturer. Wedding gowns tend to be labeled with couture sizes, which are much smaller than

street sizes. A good salesperson should have a reasonable conversion chart or will choose sizes based on your measurements alone. Ignore the size on the tag

and go for the gown that fits.

* Never settle for less. Whether it's a gown that's not flattering or a salesperson who is rude or chastises you for not being the ideal size, do not settle

for anything less than a great gown and attentive service. Bridal stores compete for business, so if a given shop does not meet your expectations, don't

hesitate to work with another store.

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For human-rights lawyer Amal Alamuddin’s fairy-tale wedding to George Clooney, only a dream dress would do. Enter Oscar de la Renta.

“He is the man every woman wants to hug!” Amal Alamuddin says happily. Surprisingly, the British-Lebanese human-rights barrister is not referring to George Clooney, her groom come September, but rather to the equally debonair Oscar de la Renta, who is designing her wedding dress. “George and I wanted a wedding that was romantic and elegant, and I can’t imagine anyone more able than Oscar to capture this mood in a dress,” she says. “Meeting him made the design process all the more magical, as he is so warm and such a gentleman.”

Indeed, on a warm Wednesday in late July, 36-year-old Alamuddin gambols blithely into de la Renta’s Bryant Park offices on towering wedge sandals, eager to greet the designer with a double kiss. She wears a floral-printed day dress, also by de la Renta. A sand suede Balenciaga motorcycle bag dangles from her forearm. Her long jet-black hair is blown out with just enough volume around the temples to softly frame her minimally made-up face.  Following her into the showroom are her mother, Baria, who lives in London, and sister, Tala, who has come all the way from Singapore for the fitting.

Soon after the trio arrives, Alamuddin is whisked away into a changing room to be outfitted in the almighty dress for her final appointment with de la Renta and head tailor Raffaele Ilardo, armed with a pincushion and a tape measure draped around his neck. Several minutes later, she emerges with a swishing sound. The dress is an exquisite mille-feuille of ivory tulle appliquéd with fourteen yards of Chantilly lace, its bodice hand embroidered with beading and crystals.
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“Be careful, guys,” de la Renta calls to Ilardo and his team. “Don’t let the dress touch the floor!” Like a conductor Ilardo raises and then dips one hand, and in unison he and two helpers bend and pick up the skirt of the dress in one coordinated swoop. As Alamuddin arrives in front of her audience, Tala’s eyes well up immediately. Her mother’s eventually do as well, though she is temporarily distracted by the desire to add additional layers of tulle to the skirt. This is voted against by committee, one reason being that the role of train shepherd is already deemed too much for Tala’s twelve-year-old daughter, Mia, who is Alamuddin’s only flower girl. “That won’t be enough,” says de la Renta confidently. “You will need a grown-up to help as well—your sister.” He nods toward Tala, who is happy to take on the task.

Alamuddin twirls slowly toward the designer, careful not to upset the lower layers of the skirt. She, too, wipes the corner of her espresso-brown eyes as she stands resplendent in her dress. It is agreed by all that de la Renta was right about everything: the cut, the volume, the minimal beading, the subtle ivory hue. He smiles, satisfied. “Look at the color of the paper on the floor; that color is true white, so you can see the dress is cream.” Indeed, the floor has been carefully covered with crisp white butcher paper to protect the pristine hem.

“It’s the most important dress in the life of a woman,” de la Renta says. “Any girl from any walk of life dreams of that special dress, and I try to make that dream a reality for her. Amal and I looked at a lot of evening dresses and wedding dresses together, and we discussed what she liked. That gave me the idea of what she wanted.” The Oxford and New York University law school graduate’s daunting legal résumé—she has represented WikiLeaks founder Julian Assange in his fight against extradition, as well as Ukraine’s former prime minister Yulia Tymoshenko, and acts as counsel to the United Nations’ inquiry into drone strikes—does not preclude her from having strong opinions on fashion and the minute details of her wedding day. As Ilardo pins a fold of lace at the small of her back, she asks de la Renta whether he thinks it is necessary to have a second, shorter veil for the wedding dinner.

“No, I think after the wedding you take off the veil altogether; you don’t need it anymore,” he replies. “Once you are married, you are married.” Alamuddin smiles. Like the dress, the cathedral veil is adorned with Chantilly lace and bead-and-crystal embroidery; it descends all the way down the back of the dress almost to the floor.

The topic of hairstyle is broached, and it is agreed that hair down but tucked behind the shoulders is the best solution so as not to compete with the neckline of the dress and the embellishment on the veil. The hair and makeup by Orlando Pita and Alice Lane for Alamuddin’s Vogue photo shoot will act as a wedding-day trial run.

The most envied bride-to-be since Catherine Middleton became the Duchess of Cambridge, Alamuddin runs her fingers across the dress’s bateau neckline, exposing the seven-carat, ethically mined emerald-cut diamond that hovers like a Chiclet-size spaceship over the fourth finger of her left hand. She asks Ilardo about the neckline, cut off the shoulder to highlight Alamuddin’s Parmagianino neck and poitrine, and wonders if it will remain unfinished. He nods vigorously in agreement. “Oui, madame, it will be a raw edge. Un peu impur.” She discusses the details of the tailoring with Ilardo in French before replying to her mother’s questions in Arabic and proceeding to implore de la Renta, in English, to join their wedding festivities in order to see the dresses in action. Dresses, plural, includes the festive, Gatsby-style party frock that de la Renta is supplying as the second act of the evening.
Clubwear Lingerie Sets Wholesale Clubwear Wholesale Sexy Lingerie This she slips into after the wedding dress has been carefully removed. Her entrance is preceded by a soft clicking sound, like the chicest swarm of cicadas, the all-over silver and pearl beading and beaded fringe hem snapping together with each step. The dress is from de la Renta’s fall 2014 collection,  and Alamuddin’s reedlike frame fits effortlessly into the runway sample. It has been shortened from ankle to mid-thigh, the better to show off her endless legs and to make it a true dancing dress.

De la Renta studies the outfit and then issues a soft command to one of his deputies. Suddenly a pair of hand-embroidered beaded silver pumps emerges from a hidden closet. These Baroque marvels are the runway shoes for de la Renta’s upcoming spring 2015 show. The ensemble is complete. De la Renta looks on proudly, the elegant Dominican fairy godfather.

“You look hot!” he declares.

The room erupts into giggles.

Hair: Orlando Pita for Orlo Salon; Makeup: Alice Lane
Set design: Mary Howard
Sittings Editor: Phyllis Posnick

How to Change Your Look from Day to Evening in Five Minutes

How to Change Your Look from Day to Evening in Five Minutes
When it comes to parties, everyone wants to look good especially women. I am also very conscious about what I wear on different occasions. When I am buying a party dress Cocktail Dresses for myself I have to keep a lot of things in mind and so should you. And I think many of you, as me, often work for long time, leaving little time for us to choose a wonderful dress. Now, No need to run home from work to change for an evening on the town. With some simple tips, you can be on your way.
Step 1: Use what lies beneath
Wear a sparkly or jewel-tone sleeveless top with dress pants or a skirt, or a simple cocktail dress. Keep your outfit under wraps during the day with a complementary jacket.
Step 2: Add a dressy jacket
If you have a velvet, brocade, or satin evening jacket, slip that over a simple daytime ensemble. Create a whole different look for a jacket or dress by belting it.
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Step 3: Switch accessories
Swap your pumps for stiletto heels, metallic sandals, or knee-high boots. Trade your pocketbook for a delicate evening clutch. If you’re wearing plain hose with a skirt or dress, switch to patterned or fishnet stockings. Elbow-length evening gloves can transform a simple shift into an elegant cocktail dress.
Step 4: Change jewelry
An elegant watch can double as jewelry.
Step 5: Ramp up your makeup
Ramp up your makeup: Add a layer of mascara, concentrating on the outer lashes, and then curl your eyelashes. Wipe on either a darker lipstick or add shine to your regular shade with some lip gloss. Create smoky eyes by applying black shadow along the upper lash line with a damp makeup brush. Add a little blush.
Step 6: Do your 'do
Transform daytime hair by pulling long hair into a twist, creating drama in a short style with gel, or adding decorative hair clips.
Last but not least, Just remember “Keep the season, trend and occasion in mind while selecting the dress.” And then enjoy your party!

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