Badgley Mischka-Fashion Feast

In July 1991 Vogue 's Dodie Kazanjian looked to six designers (including Bill Blass, Donna Karan, and Michael Kors) for the perfect "little black dress," and found it at Badgley Mischka. Her fashion designs gained name and fame.Her idea of fashion is out of the world.
Frances Lear, writing in Lear's (September 1991), also chose a Badgley Mischka wool jersey as the magazine's "Relevant Dress," calling it "reminiscent of other seminal dresses, yet perfectly contemporary…as comfortable as your own skin." Such is the unerring sense of ease and balance in Badgley Mischka designs—they create something expertly vital without superfluidity or trendiness.Fashion apparelsare just attractive. Fashion catwalks are held.
Lilly Daché, the great stylemaker of the 1950s once said, "real fashion begins with simplicity," and Badgley and Mischka employ this manda te, creating clothing that is not only beautifully made but beautiful to wear. By the end of the 20th century the designing duo dominated the eveningwear market, and had begun to make their mark on the bridalwear. Introduced in 1996, their gowns won raves from critics, stores, and brides-to-be.
In addition to eveningwear and bridal gowns, Badgley Mischka wanted to carve a niche in hip streetwear as well. While critics and celebrities crammed the runway for their opulently beaded gowns, many had little interest for the designers' more casual creations. Yet by 2000 their "tough chic" separates in colorful leather with chunky belts and bikerish cool garnered notice. Women's Wear Daily (20 September 2000) enthused, "Mark Badgley and James Mischka have lightened their touch considerably…. Hemlines rose, shapes got sportier and…though the overall effect was more buoyant, their signature sophistication remained. And it was nowhere more apparent than in the white leather-wrapped miniskirt worn with a gold knit t-shirt…and the flirty gold-accented halter dress—all of which fit to perfection."
Another milestone for the designers was opening their first store, in Beverly Hills, in fall 2000. The stylish Rodeo Drive boutique featured all of their signature creations, including their new footwear collection, launched the year before. The designers had plans for additional stores in New York and Florida, and had been negotiating a licensing agreement for a signature fragrance as well. And as if several starlets wearing their wares for the Academy Awards wasn't enough, Badgley and Mischka were awarded the Marymount Designer of the Year award from Marymount University in May 2001.

Oriens-The Birth Story Of Oriens

Hummmm……….There is a fashion news !Readers once you get used to this Oriens then you don’t look for any other perfume! The classy the aromatic and above all very feminine! It speaks the language of sensitivity. Oriens is considered as an ethnographic objects as it a blend of opulence and lightness as it belongs to the latest trends.Oriens offers fruity and floral blend, it is hard to miss. The perfume is highly elegant and meant for the class.Oriens feels surprisingly pleasant to wear. The perfume manages to create a mantle of security and semi-warmth cut through by a cool green anisic nuance running in the dark velvet material of the perfume which smells more and more of Hades-dark pomegranate with time. It is well known in fashion industry.
. The name Oriens makes sense also in this context as Venice was such a meeting point of cultures between Europe and the Orient.

Oriens smells to my nose like a black diamond more than a watermelon tourmaline. It is abstractly rendered as an oriental-chypre, a hybrid yet classic genre in perfumery which attempts to combine both the warmth and depth of the satisfying and a bit fleeting in the end. It succeeds well at hinting at and even making you live oriental opulence and the dark-lit charm of a chypre scent burning softly in a byzantine church like a lamp oil casting shadows on the wall. It is secretly comforting without being too obvious a gourmand or regressive fragrance. Bernard Ellena seems to excell at indirect, oblique perfumery references that are hard to place. But I also have to accept the fact that Oriens is not meant to be with me for the days ahead.Oriens starts like a classic perfume with a will to live and then vaporizes like it knows in its bones it can only pretend to be a fad and does not want to outstay its welcome.Oriens in this regard is an interesting social object or perhaps better said - ethnographic object - as it brings out the existence of contradictions instead of squashing them into a non-perfume, playing with opposite ideals - opulence and lightness - and resolving them in the end as a perfume of its time.

Badgley Mischka-Brand Created By Passion!

* Established: New York, in 1988, by Mark Badgley and James Mischka. Badgley born in East Saint Louis, Illinois, 12 January 1961; raised in Oregon; studied business, University of Southern California, to 1982; graduated from Parsons School of Design, New York, 1985. Mischka born in Burlington, Wisconsin, 23 December 1960; studied management and art history, Rice University, Houston, Texas, to 1982; graduated from Parsons School of Design, 1985. Before forming own company, Badgley designed for Jackie Rogers and Donna Karan, New York, 1985-88; Mischka designed for Willi Smith, New York, 1985-88.
* Company History: Acquired by Escada USA, 1992; introduced bridalwear, 1996; launched footwear line, 1999; opened first store, Beverly Hills, 2000.
* Awards: Mouton Cadet Young Designer award, 1989; Dallas International Apparel Mart Rising Star award, 1992; Marymount Designer[s] of the Year, 2001.
* Company Address: 525 Seventh Avenue, New York, NY 10018, U.S.A.

Designers Mark Badgley and James Mischka have said of their clothing, "one zip and you're glamorous." Their clothing radiates youthful confidence; fanciful but realistic, their designs recall the elegance of an age when one dressed for evening. The two young designers, who introduced their first collection in 1988 under the label Badgley Mischka in New York, have made glamour attainable by demystifying and simplifying it.

Uptown diners and downtown executives alike find something appropriate and pleasing in Badgley Mischka designs. Evening suits and dresses are refined and uncontrived—form-fitting wool jersey, cotton brocade, faille, embroidered lace, silk, and baby bouclé are used to create suits with long fitted jackets and pencil-thin or swingy full short skirts. One versatile wool jersey dress, perfect for career dressing, looks like two pieces, with a rib knit turtleneck and either a permanently pleated or straight wrap skirt, in gray or pale yellow.

The combination of fine crisp and softly draping fabrics (bouclé and silk, velvet trimmed wool, organza and silk chiffon) adds dimension and drama. Fitted, empire, or lowered, waistlines are superbly shaped. Expertly mixed cocktail dresses—with evocative cocktail names such as the Tom Collins, the Delmonico, the Bacardi— are off-the-shoulder, décolleté, bowed, lacy, or beaded and above the knee. All are subtly provocative, feminine, and flirtatious. Their bridal gowns cause women to swoon, such as the V-backed ivory lace and silk-crêpe dress, or the off-white silk brocade coatdress, with front wrap and jeweled buttons. Badgley Mischka bridal dresses are for the grown-up sweet tooth, confections allowing the beauty of the wearer to shine through the frills.

Feminine Fragrance-Van Cleef & Arpels.

Oriens is the latest feminine fragrance launch this spring 2010 by Van Cleef and Arpels who stress that they were the first jewelry house to associate their name with a perfume named First, introduced in 1976. The brand is also readying for a masculine release later this year. Oriens comes after a more youth-directed composition, Féérie (2008) while borrowing from similar codes, i.e., fruity-floral notes. Like for Féérie and pushed to a greater degree, the bottle of Oriens takes center stage and offers the vision of what you could call a "statement bottle." It is hefty, its cabochon is huge and expertly colored by designer Joël Desgrippes to imitate a watermelon tourmaline

While there are no doubt marketing reasons for the introduction of a perfume which pays homage to the Orient as Asia and the Middle East are revealing themselves to be emerging dynamic markets, I prefer to concentrate for the purpose of this review on the manner in which the idea - and as it turns out - the purported tastes of the Orient, have been interpreted into a perfume composition with a global reach.

The tension one feels readily in the composition is the one existing between the oriental motif which has its tradition and expectations in Western perfumery and the tastes of the potential wearers from the global arena. It might sound pretentious to attempt to discern a planetary trend developing across all markets, but I am ready to bite the bullet by saying that if there is a universal one, that would be the greater seriousness accorded the creation of lightly textured perfumes. Since perfumery, like its companion fashion is both commerce and art, it ensues inevitably that there are both money and aesthetic interests developing around that future of perfumery. It is as if the prescience that world demography is going to explode is bringing new realities in, like the collective need to tune down our scents so as not to stifle the atmosphere and deplete both the good-will of planet earth inhabitants and the soundness of the atmospheric layers. Despite strongholds of potent perfumery, we have seen more and more a perfumery that becomes ever more polite and self-effacing.