11. Lingerie Francaise Paris Fashion Show Part 4.

12. Lingerie Francaise Paris Fashion Show Part 3.

13. Lingerie Francaise Paris Fashion Show Part 2.

14. Lingerie Francaise Paris Fashion Show Part 1.

15. Miss Gibraltar is Miss World '09.

Miss Gibraltar, Kaiane Aldorino has been crowned the Miss World 2009. The first runner up is Miss Mexico Perla Beltran and South Africa's Tatum Keshwar came up second runner up. Earlier, Miss India World Pooja Chopra failed to figure in the finalists list for this year's Miss World 2009 pageant. Pooja was a 'fast-track' winner to the semi-finals after she won the 'Beauty With A Purpose' title. Millions of people world wide stayed glued to the TV screens, as beauty queens from around the globe vying for the Miss World title showcased a night of glitz, glamour and suspense.

16. miss world india in begining.

miss world india in begining

17. Victoria's Secret to Madonna-Justify My Love.

18. Victoria's Secret Fashion Show 2008.

19. Fashion Schools & Institutes.

The Bhawanipur Gujrati Education Society is among the few institutes that look into education in totality. It is the first to give preferences to women, encourage education for the deprived and realise the importance of vocational training. This institute is integrated as it gives you the opportunity to begin primary education at kindergarten school and then continue up to university levels in the same institution. The vocational courses add yet another new dimension. We offer you enough opportunity to explore and experiment. Nearly every individual student gets a computer to himself, full-furnished laboratories to experiment, teachers and able supervisors for guidance. Offering a wide range of disciplines in regular courses and vocational courses like textile designing, fashion designing, catwalk and portfolio and several others Gujrat Centre, 5, Lala Lajpat Rai Sarani, Calcutta 700 020 Phone: 247 2950 / 2275 Fax:247 8903.

Anima Institute of Fashion Streching across a time zone not less than 4 years in length Anima Institute of Fashion has been painting umpteens of dreams in expectant minds. Withen this sort span AIF has spread its wings to reach the creative minds of artistic people all over the region. A special niche has been created in the forum of professionals advancing quickly to reach international levelsin fashion & textile designing.Courses Offered: * 2 years Computer Aided course in Fashion Designing* 1 year Computer Aided course in Fashion Designing* 1 year Computer Aided course in Textile Designing* 6 Month Computer Aided course in Textile Designing Address:- 1,Sambhunath Pandit Street,Beside Lazeez Restaurant,Calcutta - 700020,West Bengal Contact Person: Mr Amal Ghosh,Tel : 2231485/4725717, Fax : 2231993

Birla Institute of Liberal Arts and Management Sciences (BILAMS) Established at Calcutta in 1987, is an autonomous non-profit educational society a division of the Birla Educational Institution registered under the West Bengal Societies Registration Act 1961), with a strong commitment to the growth and development of a liberal education. At BILAMS, they feel every educated person should be a bit of an all rounder possessing some knowledge of general cultural heritage, broadly familiar with modes of thinking in other intellectual disciplines and able to find pleasure in simply stretching the mind and imagination. In the city like Calcutta there is a plethora of evening courses, most of them designed to get a better job or more money. 5,Sarat Bose Road, Calcutta - 700 017.

National Institute of DesignThe sprawling green 20-acre campus of the National Institute of Design (NID) on the west bank of the river Sabarmati in Ahmedabad, presents a picture postcard scenario, starkly in contrast to the din of traffic on the neighbouring Mumbai-Kandla highway. Set up 1961, NID today is the premier design hotspot of the country, providing research, service and training in industrial design and visual communication. It is still relatively small, with about 250 students. Courses, There are three main streams – 1.Industrial design 2.Communication designs which includes video programming and film, animation and graphic design; and 3.Textile and apparel design. NID has advanced courses of each compressed into two and a half years to three years duration for graduates of architecture, engineering, fine and applied arts. The other, of four and a half years duration, is for school leavers. And that’s NID’s trump card. Academic evaluation at NID is a system of constant performance review by an internal jury. No marks and examinations here. NID Campus, Paldi, Ahemedabad, 380007.

National Institute of Fashion DesignNIFD the premier fashion design institute of India was first opened at Chandigarh in July 1995. It is the only institute in this region providing the upcoming fashion designers with a campus equipped with fully air-conditioned class rooms, technically designed labs, computers, a well stocked library and above all team of dynamic and friendly faculty from all reputed institutes throughout India and other renowned guest faculties i.e. individuals specialised in their respective fields. They are dedicated to infuse creativity and professional out look in their design conscious students. Their faculty is highly professional. They also have scientifically designed labs equipped with modern technology.In the designing industry constant market research & its application are the most vital business elements. For the primary purpose of promoting scientific training NIFD offers one year & two year Diploma courses & also imparts training in Computer Aided Design to help them discharge their professional duties with a degree of efficiency & integrity. More than 500 students have graduated from the diploma courses & about 300 from the short-term courses Head Office, NIFD Campus, 2-B, Madhya Marg, Sector 27, Chandigarh - 160 019 Phone 657958 Fax 640944 Zonal Office 14-B, Camac Street, Calcutta 700 017 Phone: 033 280 7277 /78 CF-173, Sector 1, Near Swimming pool Salt lake City, Calcutta - 700 064 Ph: 3371924, 3214375 35, Dr. Abani Dutta Howrah - 6 Ph : 665 1117 / 1761

National Institute of Fashion Technology Established by the Ministry of Textiles, Govt. of India in the year 1986, National Institute of Fashion Technology (NIFT) has emerged as a premier institute in the country to train professionals who can meet the requirements of the Apparel Industry. The National Institute of Fashion Technology is a college of design, management and technology catering to the needs of the rapidly growing readymade garment industry which has to meet the challenges of the global market. It is established to act as catalyst for the professionals in the Indian fashion industry. It seeks to impart training and skills comparable to prevailing international standards. NIFT aims to provide the best in international levels of instruction, with regular inputs from industry and technical collaboration with the Fashion Institute of Technology (FIT), New York, the Nottingham Trent University (NTU), U.K and IFM, Paris. The Institute has opened its doors to the best in education, research and training

20. History of Fashion.

Any account of historical Indian costumes runs into serious difficulties not for want of literary evidence or of archaeological and visual materials: of both of these there is a fair measure that is available. The difficulty arises when one tries to collate the information that can be culled from these sources. The descriptions in literary works, for all their great poetic beauty and elegance, are, in the nature of things, not precise and one has to guess and reconstruct. Sometimes the descriptions are so general that they can fit more than one costume quite different from each other. All this is not to say that a broad, general idea cannot be formed of the kinds of costumes worn in the ancient, medieval or the late medieval periods in India. What one is denied is the possibility of going into the many subtleties that Indian costumes possess. Their range is remarkably wide, according to the great size of the country, and geographical differences, and the bewildering diversity of its ethnic groups is added the complex factor of the coming in, at regular intervals, of foreign peoples into India at different periods of time and in varying numbers. The costumes that these people brought along did not stay necessarily apart from the mainstream of Indian dresses - that one could have dealt with - but, with the Indian genius for adaptation and modification, these costumes become altered, even metamorphosed, and eventually assimilated to the broad, native Indian range of dress. One has, therefore, to sift and isolate, and then relate and bring together, the evidence available which is not the easiest of tasks in the context of Indian history where material culture does not always get the attention it does elsewhere. Through sharp analysis of Sanskrit, Prakrit, and Hindi, as much as Arabic and Persian sources, they have brought within reach a rich body of material. The inherent difficulty in the matter of interpreting this material and relating it to surviving archaeological and visual evidence naturally leaves some matters obscure, and others open to controversy. But a very substantial body of information has been collected. A question that needs to be disposed of rather early is whether, in the indigenous Indian tradition, stitched garments were known or used at all. From time to time statements have been made that the art of sewing was unknown to the early Indians, and that it was an import from outside. Serious and early students of Indian costumes, like Forbes Watson, have stated, mostly on the authority of other scholars, that the art of sewing came to India only with the coming of the Muslims.' This statement needs no longer to be taken seriously. As has been established, not only was the needle and its use known to Indians from the very beginning of the historic periods that we know of; the art of sewing was practised, and one comes upon clear and early references to stitched garments that leave very little doubt about the matter.' It is possible that the view that "before the invasion of India by the Mohammedans, the art of sewing was not practiced there" was formed not on the basis of any historical or scholarly inquiry into this matte but simply 'observation': observation of the dresses of two different categories of people, those who were far more rooted in the Indian soil and could thus be taken as representing the long Indian tradition of wearing costumes in a particular fashion, and those who could be linked with outsiders' who came to India late, and visibly preferred different kinds of dresses. This observation could only have been superficial; besides, clear distinction needs to be made between the knowledge of, and the use of, sewing. It is possible perhaps also to draw a distinction between what, in the Indian context, can be designated as "timeless" costumes, and those that are time bound". The 'timeless' Indian dress of men, thus, consists of garments that use no stitching, garments in other words that, as Forbes Watson says, "leave the loom, ready for wear". The Dhoti, the Scarf or Uttariya, and the Turban, which have never really disappeared from any part of India, belong to this category, and their marked visibility in India could have led one erroneously to conclude that the early Indians did not use any sewn garments. Likewise, for women, the Dhoti or the Sari as the lower garments, combined with a Stanapatta or breast-band for covering the breasts, forms a basic ensemble, and once again consists of garments that do not have to be stitched, the breast garment being simply fastened in a knot at the back. And the Dhoti or the Sari worn covering both legs at the same time or, in the alternative, with one end of it passed between the legs and tucked at the back in the fashion that is still prevalent in large area of India.

But the preference of Indian men and women for these garments, rational and understandable in the context of the generally hot Indian climate, does not afford any proof that for long periods of time the Indians knew no other garments than those which "left the loom, ready for wear".

It is not easy to make out everything in Alberuni's description, but there is little doubt that he is referring to a dhoti when he speaks of 'turbans used for trousers', and a kaupina when he is speaking of 'a rag of two fingers' breadth bound over the loins. But the amusing reference to 'trousers lined with as much cotton as would suffice to make a number of counterpanes and saddle rugs' is not easy to make out. Possibly he is referring to dhotis of considerable length and fullness that were tucked between the legs and at the waist behind.

Similar problems arise with the accounts of Chinese writers. Wherever they speak of costume, not too much is added to our information although there is much precision and detail when it comes to their description of the trade in textiles from different parts of the country. This is understandable because one of the principal concerns of the many travellers to India was trade precisely of this kind, sometimes in these very materials. All the same, the information made available is not without interest, and one notices carefully the comment of someone like Chau j ' u-kua, the inspector of foreign trade in Fu-kien in the 12th century, concerning the dress worn by the ruler of Malabar: -"The ruler of the country has his body draped, but goes bare-footed. He wears a turban and a loin-cloth both of white cotton cloth. Sometimes he wears a white cotton shirt with narrow sleeves".

The period of the Sultanates in northern India is marked, once again, by much interest, both on the part of the Indian writers, and of the newly arrived Muslims in matters concerning fabrics and dyes and costumes. But the earlier difficulty of accurately interpreting this information persists, for even though long lists become available, these remain confined to names for which we have no pictorial equivalents in the matter of costumes, and no analytical descriptions in respect of fabrics and the like - in the paintings from the Sultanate period, an area in which our knowledge has increased remarkably in the last quarter of a century or so, there is much that one can observe, but to give precise names to costumes still remains difficult. One can at best try and find relationships between terms for costumes or verbal descriptions, and the dresses that we see men and women wearing in Sultanate period paintings, whether of the Indo-Persian style or those that we associate with western India, principally Jaina paintings produced in Gujarat and Rajasthan. When one makes the effort, however, interesting results sometimes emerge. Thus, in the paintings of the Laur Chanda in the Prince of Wales Museum of Bombay, or the Aranyaka Parva of the Asiatic Society of Bombay, or the recently discovered Devi Mabatntya in the Himachal Pradesh Museum at Simla, the long-sleeved kutia-like garments made of fine cotton material, with fastenings at the right or the left, come remarkably close to the early description by Alberuni of the kurtakas worn by Indians which have lappets with 'slashes' both on the right and the left sides. But this kind of close correspondence is not always easy to establish in other articles.

The Varna-ratnakara of jyotirishvara of the early 14th century, the Prithvichanda-charita also of the 14th or 15th century, and the compilation by Sandesara, the Varnaka~Samuccaya, have remarkably long and detailed lists of stuffs known to India in that period, but there is no correspondingly detailed information on costumes. An interesting development at the same time is that certain Persian writers,- including Amir Khusrau, begin using Hindi words, or words of the vernaculars, in their descriptions of Indian fabrics. in his usual engaging style, thus, Khusrau speaks of 'cloths that redeem the past life, decoration of the person and ornament of the body likejbanbariali and bibari - that are like a pleasant gift of a springtide and sit as lightly on the body as moonlight on the tulip or dew drops on the morning rose'. Khusrau's enthusiasm for Indian fabrics, especially the fine muslin's manufactured in Deogiri, far exceeds his notions of precision in the matter of description, but whatever he says is never without interest. Thus, writing of Deogiri in A.D. 1322, he says:" 12

The fineness of its cloths is difficult to describe; the skin of the moon removed by the executioner star would not be so fine. One would compare it with a drop of water if that drop fell against nature, from the fount of the sun. A hundred yard of it can pass the eye of a needle, so fine is its texture, and yet the point of the steel needle can pierce through it with difficulty. It is so transparent and light that it looks as if one is in no dress at all but has only smeared the body with pure water.

When it comes to a description of the costumes worn by the Sultans or the notables at any of the Islamic courts of north India, the flavour changes completely, for the writers, nearly all of them Muslims of foreign extraction, suddenly seem to move into a world of terms and articles that they are familiar with. Thus, while ibn Batutah might write in very general terms of the costumes worn by Indian women ('the women of this city and of the whole coast do not wear sewn cloths but only unsewn garments. They form a girdle with one of the extremities of the garment and cover their heads and breasts with the other.), the description by Umari of the dresses worn by the notables of Delhi suddenly becomes animated and more vivid:"

The linen garments which are imported from Alexandria and the land of the Russians are worn only by those whom the Sultan honours with them. The others wear tunics and robes of fine cotton. The make garments with this material which resembles the robes (makati) of Baghdad. But these latter as also those called wasafi differ very much from those of India as regards fineness, beauty of colour and delicacy.

Most of their Tartar (Attar) robes are embroidered with gold (muzarkasa bi-dhabab). Some wear garments with both sleeves having a tiraz border of gold embroidery (zarkasb). Others, for example the Mongols, place the tiraz inscription between the shoulders.

It is in this very strain that we have other descriptions from this period, Firuz Shah T'Ughlaq and his courtiers wearing different kinds of dresses. The Sultan himself is said to have worn a kulab costing a lac of tankas which once belonged to his predecessor. In public audience, he is said to have worn a barani with embroidered sleeves, but in private he wore a shirt. The officers are said to be wearing silken robes in public and shirts in private life. Again the Amirs and the Maliks and other officers at the Sultanate courts are described as wearing "gowns (tatailyat),jakalwat and Islamic qabas of Khawarizm tucked in the middle of the body" and short turbans which did not exceed five or six forearms. Of other Amirs we learn that they were as well dressed "as the soldiers except that they did not use belts and at times they let down a piece of cloth in front of them after the manner of the sups. The judges and the learned men wore ample gowns (farajiyat) that resembled jaradiyat (striped material from jand, Yemen) and an Arabic garment (durra) (a garment opening in front and buttoned)