Local fashion designer marks one year anniversary with international fashion show

Had you told Danielle Salinas a year ago she’d be presenting her fashion line Maison de Papillon in Paris as part of the oldest, most prestigious lingerie fashion show in the world, she probably would not have believed you.
The 36-year-old McAllen resident celebrated the one year anniversary of her company on Nov. 26. The product of her hard work has resulted to her design line being featured in Salon International de la Lingerie in Paris, France, Jan. 26 through Jan. 28.
“This is our first international show,” Salinas said. “This is the oldest marketplace for lingerie in the world. This is when the major buyers of the world and celebrities come out and see the new trends. It’s kind of like a market show.”
A native of Weslaco, Salinas first launched Maison de Papillon a year ago after deciding to design a comfortable and versatile line of sleepwear and sleeping eye masks she calls “sleep shades.”

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“A few years back I had an epiphany of starting a sleepwear company. I wanted to design sleep shades and incredible pajamas because I was just so disappointed in the options,” Salinas said. “I literally woke up one morning and told my husband ‘I’m designing sleep shades because we need sleep shades and nobody has good sleep shades.’ He was like, ‘Ok, you do that.’”
After working on design prototypes and conducting research, Salinas was determined to set her dream into motion by attending Parsons The New School for Design in New York City.
“I told my husband I wanted to apply to Parsons and I’m going to have to move to New York to go to school,” she said. “I just decided this is what I wanted to do. My husband supported it.”
Two years later, Salinas completed her fashion program at Parsons. She had started working on her Maison de Papillon line while still enrolled in classes.
“We have had some incredible success in one year. We’ve been featured in Vogue, OK Magazine … it’s been incredible.” Salinas said.
What makes Maison de Papillon so unique is the versatility and concepts of the garments, Salinas said.
“The concept of the garment is like a hybrid garment. We work predominantly with silk, so we design a lot of silk blouses and silk drawstring pants, but the whole idea is that it’s very transitional,” she said. “You can wear it to travel and you can wear it, obviously, to sleep but you can also throw on a pencil skirt and wear it out to the office. So that’s what our buyers have been really excited about.”
The concept of the line has spurred attention from major markets such as Sea Island beach resorts, Baha Mar hotels in the Bahamas, the Beverly Wilshire, Four Seasons Hotel in Beverly Hills and even Trump International Hotels.
“I actually got emails from Trump International Hotel which basically said they are using Maison de Papillon as a platform to legitimize their luxury spa,” Salinas said. “I mean, when you get an email like that from Trump Hotel — as a designer that’s only been in business for one year — that is pretty amazing.”
Maison de Papillon spearheaded when New York Fashion Week included the brand in their “Top 10 designers to watch out for” list. They were handpicked out of 480 designers from all around the world.
“We are so excited and it’s been a lot of hard work,” Salinas said. “And I’m a little girl from Texas, you know, not only Texas but from McAllen. Now we have big names like Harris, Harvey Nichols of London, Neiman Marcus, SAKS, Barneys — people just reaching out and basically saying ‘Look, this line Maison de Papillon is one you don’t want to miss.’”
With the growing success of the line, Salinas took on a partner this year, Shriya Bisht, whom she met while attending design school.
“We met at Parsons our first semester and became really good friends,” Salinas said. “We had similar visions in what we wanted to do and a very similar aesthetic, so it was just a perfect partnership.”
Now co-owner of the company, Salinas has been able to embark on a new project under the Maison de Papillon umbrella — a recently launched brand of teas.
“We just got featured in Vogue for our teas, which are sold exclusively on our website,” Salinas said. “It’s basically our version of a beautiful chamomile tea with peppermint. We are in collaboration with a tea salon and this tea is just incredible. So that is one of our big projects right now and we just launched it for holiday ’14.”
The tea, called Le Reve Chamomile Thé, is meant to go hand-in-hand with the overall message of the design line: comfort. La Reve is a soothing blend of chamomile, peppermint, rose and marigold petals, peppercorns and licorice.
“When I was a little girl, my parents gave me manzanilla (chamomile) tea whenever I had a cold,” Salians said. “For me, chamomile is such a huge part of my heritage. This particular blend for me really took me back home.”
Constantly traveling between New York and McAllen, Salinas attributes much of her ambition to her family, especially her 17-year-old son.
“… When you’re a parent, you just can’t fail. You have to prove to them that anything is possible through hard work.” Salinas said.
Salinas lives predominately in New York City to be close to her business but has never lost touch with her heritage and culture.
“It all started here with my roots. I’m really proud of where I’m from, I’m really proud of my heritage and I’m so proud of South Texas,” she said. “I think we have some of the best culture here and I’ve been all around the world. There’s still nothing like coming home.”
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Stop the madness and eat better in 2015

It's been a year since I started my journey of writing about making my life better. I've received many emails and letters from readers with words of encouragement and follow-up questions regarding some of the people, places and products I've written about.
This past year, I have changed almost everything I could think of to be the best possible version of myself. I have a way to go, but I get up every day determined to learn as much as I can, to help as many people as I can, and to be kind and gentle to myself and others.
In short order, I sold my house and moved back to my childhood neighborhood of East Hill, renovated a bungalow, started taking yoga lessons, read more, went to see my therapist once a week and ate healthier.

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Aspiring to become a minimalist, I stopped watching television, though I listened to more music. I purchased a more practical car, spent more time with my friends and family and decided to enjoy every minute that I could of this beautiful world.
I've been so very happy about it.
In 2015, I am going to start with being as healthy as I can possibly be. I love to be active, but I've spent too much of my life worrying about being skinny when I should have just enjoyed being able to be healthy and fit.
I have literally tried every diet that there is, was or could have been. I became obsessed with how my body looked instead of how healthy I was.
I have also found out that I'm not alone. Most women that I run into are unhappy with their size or shape — what a shame that is.
In fact, it needs to stop because it's stupid. Here's how stupid it actually is:
According to a recent study, over one half of the females between the ages of 18-25 would prefer to be run over by a truck than be fat, and two-thirds surveyed would rather be mean or stupid, according to G. Gaesser's "Big Fat Lies: The Truth About Your Weight and Your Health."
Dieting is the most common behavior that will lead to an eating disorder, says Natalia Zunino, Ph.D., of American Anorexia and Bulimia Association, Inc.
One in five women struggle with an eating disorder or disordered eating, according to the National Institute of Mental Health's guide, "Eating Disorders: Facts About Eating Disorders and the Search for Solutions."
Eating disorders affect up to 24 million Americans and 70 million individuals worldwide, according to The Renfrew Center Foundation for Eating Disorders, ("Eating Disorders 101 Guide: A Summary of Issues, Statistics and Resources," published September 2002, revised October 2003, www.renfrew.org).
All but being hit by a truck, being mean or stupid resonates with me and a lot of my friends.
Over the past few years, I've been starving myself. I convinced myself that I was only hungry once a day and my body worked best this way. So, I'd have coffee, water, nothing all day — go home, eat dinner (whatever I wanted), and then pass out from a food coma, wake up, and start the cycle all over again. I got thin, all right, but it was never thin enough. I was hungry and mean. I was also very boring and zero fun to be around. Nothing is more dreadful than going to lunch with a girl who won't eat and is clearly hungry.
So this year is my year to just stop the madness and eat a delicious, sensible, locally sourced diet. I'm going to do my best to limit my sugar, corn and wheat intake because I really do think it's bad for our bodies to eat these. I'm also going to keep myself moving. I love to run, I love to do yoga and almost any sport. Living in East Hill, I've had a really awesome time riding my bike downtown for special events, to the Farmers Markets and going out to dinner.
Karen Shell, my therapist, says that I'm on track — she thinks all women are phenomenal goddesses.
In fact, the assignment she gave me when I told her that I was going to write about this was to go home and read the Maya Angelou poem, "Phenomenal Woman."
Until next time, y'all, relax and be phenomenal.

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Fashion Trends May Soon Be Predicted By Data, Technology

By analyzing relevant words and phrases from fashion reviews, researchers from Penn State University were able to identify a network of influence among major designers and track how those style trends moved through the industry.
"Data analytics, which is the idea that large amounts of data are becoming more available for finding patterns, establishing correlations and identifying emerging trends, is very hot these days and it is being applied to many industries and fields -- from health care to politics -- but what we wanted to see is if data analytics could be used in the fashion industry," Heng Xu, associate professor of information sciences and technology, said in a statement. "We were drawn to the question of whether or not we could really trace a hidden network of influence in fashion design."
For the study, researchers analyzed 6,629 runway reviews of 816 designers from Style, formerly the online site for Vogue, one of the most influential fashion magazines. The reviews covered 30 fashion seasons from 2000 to 2014.

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Xu said her team extracted keywords and phrases from these reviews that described silhouettes, colors, fabrics and other details from each designer's collections and added them to the dataset. The researchers then created an approach to rank the designers and map influences within the group.
While professionals in many industries are welcoming data analytics, this type of analysis may meet some skepticism from fashion designers, who view their work as a form of art and more difficult to quantify, said Yilu Zhou, associate professor of information systems, Fordham University, who worked with Xu.
"But, what we are finding from the data is that we can find footprints -- there are clues -- that can be traced back to individual designers," said Zhou.
The researchers said the technology could one day help industry professionals to better predict fashion trends and identify up-and-coming designers.
"We all know the big designers now, but could we use this type of technology to find out who will be the next big fashion designer, the next Jason Wu, for example, and what the next big design trend is going to be?" said Zhou.
Xu said that the technology may also help consumers by helping them create wardrobes that are in their budget and are also in style.
The findings were presented on Dec. 18 at the Workshop of Information Technology and Systems in Australia.
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Marques for millennials

THE MOST COVETED ticket at London’s half-yearly fashion weeks is to Burberry’s Prorsum show, where the British trench coat-maker presents its upmarket ready-to-wear clothing. Christopher Bailey, the brand’s chief creative officer and CEO, likes to surprise his audience. At the birds-and-bees-themed unveiling of his women’s wear for spring and summer 2015, held in September in London’s Kensington Gardens, the sartorial novelty was an indigo wasp-waist denim jacket. The digital novelties included a highlights tape on YouTube that let viewers zoom in to focus on various aspects of the show, such as the music. Twitter used the occasion to launch in-tweet purchasing for luxury.
This is a big change from the traditional model of presenting fashion in which designs are conceived at the top, handed down to journalists and buyers at fashion-week set-pieces and pop up in the shops four or five months later. Technology has narrowed the distance between designers and consumers and sparked a conversation. YouTube, Instagram, WeChat and the like have “completely disrupted” the way fashion companies communicate, says Imran Amed, editor of The Business of Fashion, an online journal.

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This is the first of three technology-induced changes that will profoundly affect luxury brands. The second is a shift from selling in physical stores to online. The third, for now only just visible in the distance, is a technology-related change in the way luxury goods are made.
The digital transition is running alongside a demographic one. By 2026 the main consumers of luxury will be millennials (or generation Y), people born in the 1980s and 90s, says Unity Marketing, an American market-research firm. Brands with pedigrees can use technology to win this age group over, as Burberry is trying to do. Newer ones can employ it to break through.
A study by the Boston Consulting Group reckons that millennials “are geared to pleasure rather than to possessions”, making them less inclined to buy things. They are assertive, sceptical of authority and nonconformist, none of which bodes well for traditional luxury brands. On the other hand, photo-sharing social media like Instagram put a premium on appearance, argues Mr Denis of Jimmy Choo, which should be a good thing for companies like his. In the same vein, Eric Briones, a French consultant who has written a book about the millennials’ relationship with luxury, says they consume it “without remorse”.
But not uncritically. Brands must prove that their products are worth the price, not rely on mystique alone. Generation Y-ers tend to be unimpressed by logos but entranced by “codes”, subtler ways of conveying a brand’s identity. The red soles of Christian Louboutin’s shoes and the quilting on Chanel’s 2.55 handbags are the sort of signs that young consumers can make their own, says Mr Briones. Unhappy customers can sound off on websites such as styleforum.net. Some millennials also want luxury goods to be made in ways that damage neither workers nor the environment.
Burberry was among the first to spot millennial potential. In the early 2000s Britain’s ostentatiously vulgar “chavs” (a particular group of loutish lower-class youths) were sporting the brand’s distinctive tartan plaid as their unofficial uniform. It appeared on baseball caps, even dogs. Angela Ahrendts, an American who became the company’s chief executive in 2006 (and has recently left for Apple), made the digital courtship of millennials a centrepiece of her strategy for reviving the brand. Today Burberry is unabashedly digital. Two-thirds of its staff are under 30 and use social media to talk both to each other and to Burberry’s customers.
Burberry sees its website and its shops as complementary. It even struck a deal with Amazon to list beauty products on the online retailer’s site. In the six months to September 30th Burberry booked a year-on-year rise in revenue of 14%, largely thanks to buoyant digital sales. It recently assumed direct control of its cosmetics and fragrances business, hoping to “disrupt beauty through digital”.
Disruption is not something that comes naturally to most established luxury brands, but when they embrace it they sometimes do it well. Creative directors are increasingly targeting millennials. The mission of Louis Vuitton’s newly appointed creative director, Nicolas Ghesquière, is to “reboot the monogram”, making it less of a logo and more of a code, says Mr Briones.
Live-streaming of catwalk shows is now common practice, as is giving celebrity bloggers front-row seats alongside editors of the main fashion bibles. Brands feed their “communities” with streams of images on Instagram and Pinterest and Hollywood-quality videos on YouTube. Cartier’s L’Odyssée de Cartier, starring a bejewelled panther, has been seen 17.6m times.
But the conversation between luxury makers and their public can easily take an awkward turn. Stella McCartney, a designer who likes to display her social conscience, got into trouble when her company’s Instagram stream featured a photo of a painfully skinny model. On receiving complaints from fans, her company removed the photo and declared its enthusiasm for people of all colours, shapes and sizes.
Actually selling luxury online is more difficult than talking about it. Even brands that dabble in it doubt that any website can match the experience of shopping in a boutique. “To buy a luxury product you have to touch it,” says Mr Arnault. Many companies offer just a small range of their products for digital sale, and some none at all.
But e-commerce is making inroads. Net-A-Porter, a website that pioneered internet sales of upmarket fashion, has a customer base of 6m women and has persuaded some 650 brands to offer their wares on its platform. For now only about 8% of all luxury sales are online, but they are growing at a rate of 25-30% a year, says Claudia D’Arpizio of Bain’s Milan office. Much of this is at the expense of independent boutiques. If the share of digital sales goes much above 10%, investment in stores “will be rethought”, she says.
Goodbye to Bond Street?
The future is “direct to the consumer through the internet”, says Nathan Morse, who runs the business side of Hannah Martin, a London jeweller. It belongs to a new generation of luxury houses with no hang-ups about e-commerce (and not enough money to open a lot of stores). They may have short histories, but they have stories. Hannah Martin’s androgynous pieces are fashioned by hand in London.
It used to take 30 years to build a global brand, says Uché Okonkwo-Pézard of Luxe Corp. Thanks to the internet, “now you can become global in 18 months.” That has spawned new brands as well as business models. Bargain-hunters can turn to online outlets like The Outnet or flash-sales sites such as vente-privee and mei. People who want to hire can try Bag Borrow or Steal or LuxTNT, a Hong Kong startup. Second-hand luxury is available from stylesequel and InstantLuxe. Such services have been around for a long time, notes Stephanie Phair of The Outnet, but they have been “supercharged because of the internet”.
The final challenge is to decide how far to incorporate technology into the making of luxury, and perhaps into luxury itself. Iris van Herpen, a Dutch fashion designer, uses 3D printing to construct her garments. Ralph Lauren makes a handbag with a light and a smartphone charger. Suppose machines could stitch Birkin bags better than the craftsmen at Hermès or etch watch dials more finely than Vacheron Constantin’sguillocheurs? “The big gap between hand work and technology will become smaller and smaller,” predicts Ms van Herpen. Luxury can embrace innovation; what it must be wary of is obsolescence.
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Women on the verge of song and dance: why Almodóvar’s world is pure theatre

‘“Perhaps it’s the wrong time of day,” says Monica, the tourist office guide who’s taking me on the Pedro Almodóvar tour of Madrid. We’re in the La Latina quarter, looking at a 14th-century square. In the film-maker’s 1988 sex comedy Matador, we see this part of town in early evening: it’s the prelude to a mad seduction, and the scenes are shadowy, sultry and sweaty, full of lust and menace. But it’s not looking anything like that today. Everything is wrong: the light, the chill, the fact it’s deserted. The only other person here is draped over a bench holding a beer can. It’s hard to imagine him menacing anything, except possibly a bin.
Maybe a walking tour first thing on a Monday morning wasn’t the brightest of ideas. For the full Almodóvar experience, I say to Monica, perhaps we should have gone on a pill-fuelled bender through Chueca, the gay district, before leaping off the Viaducto de Segovia naked. She looks alarmed. We compromise on a cafe that features in Live Flesh.

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As a musical version of Women on the Verge of a Nervous Breakdown starring Tamsin Greig prepares to open in London’s West End, I’m in Madrid to explore the reality behind Almodóvar’s films: the city is so prominent in them that it sometimes feels like a genuine character. But as Monica and I trawl around the sober-suited, business-hour streets, it occurs to me that Almodóvar’s Madrid is, in fact, a strikingly unreal place, elusive and fragmentary, half-tangible and half-imagined, a chimera of shadows and reflections rather than picture-postcard snapshots.
It is, I am beginning to realise, more like the world of theatre itself, all of which makes a live-action, singing-and-dancing Women on the Verge seem a little less surprising. After all, from the Cocteau-influenced Law of Desire to the Lorca-tinged Dark Habits, his films feel steeped in the stage. He is probably the only film-maker in history who has placed scenes from A Streetcar Named Desire and Lorca’s Blood Wedding in the same movie, namely All About My Mother. Streetcar in particular infiltrates the film – the heroine sees the play at a life-changing moment and becomes so obsessed that she takes a job as assistant to the woman playing Blanche, even going on stage as Stella at the last minute.
Then there’s Talk to Her, the 2002 film in which a male nurse becomes fascinated with a woman he can see dancing from his apartment window. The great German choreographer Pina Bausch doesn’t just make a cameo – the whole film is infused with the spirit of her Tanztheater, leaping from one visual extravaganza to the next. We think of Almodóvar as a cinéaste, fond of filming love letters to Bette Davis, Alfred Hitchcock and Douglas Sirk, but perhaps he’s actually more like a theatre-maker who happens to work in the movies.
Women on the Verge is not the first attempt to put Almodóvar on stage. In 2007, Diana Rigg and Mark Gatiss appeared in All About My Mother at the Old Vic in London. But it’s Verge, says director Bartlett Sher, that poses unique challenges. With the help of lyricist David Yazbek and composer Jeffrey Lane, Sher has performed major surgery on the musical since 2010, when it opened on Broadway and was called “a sad casualty of its own wandering mind” by the New York Times. “In Women on the Verge,” says Sher, “reality gets torn apart. It’s just so crazy, nothing is as you think it is. Everything is down the rabbithole.”
In fact, you could almost say Almodóvar’s picaresque tale of Pepa – who is spurned by her lover, chased through Madrid by his gun-toting wife, then drawn into an Islamist terrorist cell – is a fast-paced farce yelling to be put on stage. Theatre is more indulgent of disbelief than cinema: it’s easy to see how Almodóvar’s fondness for dream sequences and surreal plot leaps might translate. Music, too, is such a part of his universe that the most implausible ingredient of any musical – that someone might burst into song while waiting for a bus – hardly feels crazier than anything else, including the bit in Verge where two cops are drugged with gazpacho spiked with sedatives. “There’s a heightened sense of conflict and drama,” says Bartlett. “It’s the kind of material that sings.”
In Madrid, I have another appointment, with Agustín Almodóvar. Not only is he Pedro’s younger brother, he has also produced every one of his films since 1987’s Law of Desire, in addition to making fleeting cameos. A jowlier and more earnest version of his sibling, with a bald crown instead of the wild grey quiff, he sits with me in their airy production studio, explaining that theatre goes to the root of their work – right from their earliest days in the city.
Unable to enroll at Spain’s national film school because of the Franco dictatorship, Pedro fell in with an avant-garde drama troupe called Los Goliardos (a medieval word meaning, roughly, “vagabonds”), performing outrageous versions of Lorca and Sartre to a bohemian audience. “They were doing The House of Bernarda Alba,” says Agustín with a grin, “and the police came and shut it down because they thought it was subversive. We used that in our advertising for next time.”
While with Los Goliardos, Pedro met an actor who would change everything:Carmen Maura. She encouraged him to stop fiddling around making bawdy super-8 films and do features instead. Maura ended up starring in his first – 1980’s gleefully camp Pepi, Luci, Bom – and went on to play numerous redoubtable heroines, from the transsexual Tina in Law of Desire to Irene in Volver. Maura is not the only actor Almodóvar has collaborated with repeatedly: Penélope Cruz and Antonio Banderas have become familiar faces, alongside a reliable character cast. “It’s almost like he has a repertory company,” says Agustín. “Pedro calls it his family and he means it. You create blood ties with people you work with.”
If Almodovár seems reluctant to be trapped by the conventions of cinema, this may have something to do with the Movida Madrileña. A carnivalesque movement that burst on to the Madrid scene after Franco’s death in 1975, it comprised writers, musicians, designers, photographers, actors and artists, all joyously tearing down the restrictions imposed by Spain’s authoritarian government. Performance blended into porn, comic-books appeared and influenced fashion, while drugs and partygoing became practically compulsory.
“It was the big bang, when everything bubbled over,” says Agustín.” He seems the sensible type. Was Agustín out partying with the best? He smiles shyly. “I was lucky enough to be a witness. Pedro protected me, he was my older brother. Now, in a way, the roles are reversed.”
In the topsy-turvy, constantly evolving world of Almodóvar, it’s hard to pick out consistent themes, but one might be the nature of identity: how we project ourselves to the world, who we appear to be versus who we really are. Even films that stray nowhere near a theatre – Bad Education, The Skin I Live In – pose questions about illusion and artifice, about gender roles, about roles of all kinds.
Talk to Her was born out of Pedro’s friendship with Bausch, whose fascination with the relationship between the sexes nourished all her work. The brothers visited Wuppertal, her company’s home, and shot fragments of two Bausch works, Café Müller and Masurca Fogo, for the film’s opening and closing sequences. Café Müller’s ambiguous, disturbing images of entrapment and control – female dancers drifting distractedly through a thicket of chairs manoeuvred by men – mirror the movie’s own, says Agustín. “Pedro saw Pina as an artist who was totally original. There were no words in those scenes. Inner emotions were dramatised through movement.”
Given his enduring fascination with the stage and stagecraft, has his brother ever been tempted to return to theatre? “There have been times,” says Agustín, “but at the last minute he’s always gone back to film. He likes the control.”
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Breaking new grounds in fashion

Fashion designers are known for their unmatched sophistication and good taste. In the recent years, more and more Arab women are emerging as fashion designers and they simply do not exist in the field, they excel in it and make their presence felt like no other. Saudi designer Haifa Fahad is a young designer who has carved out a niche for herself in the fashion world. Arab News met with Fahad and found out more about her dreams and designs.
Tell us about yourself.
I am a young Saudi girl who lives in Riyadh. I studied interior design engineering, and then joined the Arts and Skills Institute where I studied fashion.
How did you start off as a designer?
At first I was designing for myself. My clothes got the attention of my friends and relatives, who started inquiring about them. At that point, I thought of designing more clothes and selling them at affordable prices. I initially designed for my relatives and then for my friends and colleagues. Through social media, the number of customers and orders I get has increased many folds.

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Who are the people who encouraged you to design?
The person who encouraged me most is my mother. She is the source of my inspiration. I have always gotten new ideas from my mother because she loves fashion and is well-informed on the latest fashion trends.
How would you describe your designs?
My designs are simple and they reflect a bit of my personality. I present something of myself. So any woman or girl who wears my design wears a piece of Haifa Fahad’s imprint.
How many collections have you released so far? What is the price range?
I have released two collections. The first collection comprises dresses designed for night parties and the prices start from SR 2,000.
The second collection is about exotic winter clothes, where the idea was inspired by exotic creatures. The prices start from SR 1,000.
What kind of a woman wears your clothes?
Everyone can wear my designs, but each person is different from the other, according to the personality and skin type. There are many colors and shades of the same color, and each color suits a certain personality and a certain skin color. I see a woman’s personality and the color of her skin and then I design the dress according to her taste and depending on the character and color of her skin so that the design suits her.
What sets your designs apart from the rest?
The material is an important thing in the design. The material of the fabric and the piece must be good and consistent with the colors so that the final outcome is well-designed, beautiful and appropriate. I focus on everything. I focus on the thread I use, for example, and I always follow up and supervise. I check the measurements and see if the dress is good enough to be displayed and sold.
Many people believe that the fashion designing world requires a considerable effort that is difficult to achieve. What tips would you like to give to our readers?
First of all, there is no such thing as difficult. I always remove words such as ‘difficult’, ‘I cannot’, and ‘impossible’ from my mind. True, some people say that the designing world is beautiful and wonderful, but there are also those who oppose and criticize the designs. A person can both succeed and fail. It is not shameful to fail. However, the real shame would be failing and not fixing the mistakes. By learning from our mistakes, through will and persistent effort, we can accomplish everything no matter how difficult things are. An individual must be prepared to face risks and challenges in all aspects of life, not just in the field of design.
Finally, how do you visualize your look on your wedding day.
My look would be unforgettable. I will design my wedding dress, which will be white in color, and not off-white. It will be simple, and not fluffy/ puffy, and that is what would distinguish my wedding dress from the rest.
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