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Upcycling: the latest ephemeral trend or a way of life? I think it could just be the latter. With more and more of us beginning to care about the mark we leave on this planet, upcycling is a perfect place to start.

In the modern world our material consumption is constantly on the increase, with man's desire for commodities of all shapes and sizes seemingly an insatiable one.

Meanwhile the resources feeding this need are diminishing before our eyes, since the demand for the materials and energy that go into making a product typically outweigh any attempts at conservation or careful, environmental management.

It follows, then, that those concerned by this issue are starting to search for new ways to support sustainable lifestyles, foregoing the long, utilitarian aisles of Ikea in favour of reusing furniture and fittings with a soul.

Upcycling is just one increasingly popular way in which we can reuse, reduce and recycle.

I recently came across a fresh new face on this scene, a start up that has this exact concept as a central motif to their business model. &hobbs Vintage Furniture and Artwork holds the true value of a piece's history and biography at their heart. Set up by stylist and display artist Libby Hobbs, who has a background in textile design along with years creating the dazzling displays of Anthropologie, this home wares company focuses on bringing beautiful, bespoke pieces of furniture into the homes of their clients.

Humble enough to know when a vintage school chair or gentlemen's trouser press speaks for itself, &hobbs provide only gentle care to restore it to its former beauty. Equally though, they aren't afraid to add their creative flair to renovate a well-used piece, and believe that creativity does not depend on a blank, MDF canvas. Instead, they work with a piece's heritage in order to make something new and exceptional. Waste is not something on their agenda.

&hobbs vision is clear and progressive; we cannot sustainably keep creating the new unless we learn to incorporate the old. &hobbs believe that the most unlikely fit can be made between vintage piece and home, and that they add some real character and charm. Ultimately, we should not be afraid of introducing pre-owned pieces into our modern homes.

Spending any days they can at fairs, festivals and sales, selling their items and winning the public over to a more vintage lifestyle, &hobbs are the epitome of a British start up worthy of some serious attention. They source all materials they can from within the UK, or occasionally from France and Belgium, to reduce their carbon footprint, and any outsourcing comes from local honest traders and artisans. Collectively, these self-starters feed their success back into, and help to uphold, the crucial underbelly of our economy.

Hopefully their vision can be spread so that we can all makes steps to depart from the current global practice: consume, consume, consume.

Photos by Cedar Film Co

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One of the toughest things I've experienced, as a new mum, is to learn the fine act of balancing things. It is natural and all too common to forget about yourself and your needs when you are busy taking care of a tiny person, going about in life and handling zillion other things. However, style is not just about vanity it is also about confidence. Hence, as a new mum it is important to honour some of your needs. Here are some of the style lessons I've learnt as a new mum.

Make an effort:

When you are sleep deprived and exhausted beyond words it is natural to let go. But one thing I've learnt is that sitting around in comfortable yoga pants whole day would just leave one feeling miserable. Taking even ten minutes to myself to put on some lipstick, wear a nice dress or some kohl is happiness in an instant. It sounds simple but can shoot your confidence and put a spring in your step.

Don't throw away your old wardrobe:

Do not get disheartened and simply throw your old clothes thinking you will never be able to fit. Go through your wardrobe with a fine tooth comb, there would be things like a shirt which can be used for layering. Pack your favourite items because you will eventually fit in them.

Recycle and re-style your old stuff:

Breathe some new life to your old clothes by re-styling and recycling them. Your old shirts, cardigans and sweat shirts are great for adding a layer and perfect to hide any sins. When picking new things, look for elasticated waist-it is an invention that I thank God for every day. Get some inexpensive t-shirts in a plethora of colours to mix with things in your wardrobe.

Persevere and don't give up:

Your little one will spit on you and cover you with dribble. But that does not mean you have to give up dressing. As stated in the first point, dressing up enhances your confidence. And if you can achieve some happiness with something as simple as a dress then why not? It is definitely worth it.

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Fashion can play quite a complicated role in the lives of many women. ‎It fills our media, acts as a social currency for chatting to our peers, and is a regular weekend pursuit for many yet how many of us are truly happy getting dressed? How many of us stand in front of a full wardrobe, feeling we have nothing to wear?

I am lucky to have lots of lovely clothes but inevitably I don the same thing most days: leggings and a baggy top. My husband recently questioned why I wore a long singlet or t-shirt with every outfit and I admitted that I always feel the need to cover my hips. He couldn't understand it, but for me it is about feeling protected... as if my sensitive area needs a fashion airbag!

A good friend who is a fashion stylist explained women on average use just 20% of our wardrobes because we don't dare step out of our comfort zone. Also, once we get new clothes home, many of us don't actually suit or like the styles paraded by lofty models in magazines or down the catwalk. For a start, few of us are 6 foot and even less a size 4. The translation of the trends to the high street can be inspiring for some and daunting for others.

We are all told ad nauseam that we are this body shape (usually a fruit of sorts!) then we are bombarded with fashion hits and misses (critiquing the poor celebs on the beach or the red carpet). In addition dressing often is driven by the 'other person' dimension - a boyfriend, a boss, a best friend. Will a first date respond more to a plunging neckline? Will a group of friends judge me less if I am wearing my slimming pants? These are all tests of our confidence, of whether we feel we are good enough beyond heels, clothes and accessories.

It's hardly surprising that lots of us stay neutral, or 'hide'. I personally would rather wear leggings than a skirt, easier, comfier, less showy. For others it's long tops, certain cuts, no black or no beige because of their skin tone. We often don't have the confidence to dress to please ourselves. And we are always being reminded that life is a catwalk, with endless features on 'School run style', 'Fitness Fashion', 'Festival chic' and 'Hot looks for the beach'. Each moment of our lives now comes with a look book!

Yet there is another way: finding freedom in our own style. Thinking about selecting outfits as a reflection of who we are and not who we think we should look like. Clearly we can't practically wear exactly what we want every day, a ‎kaftan probably wouldn't go down so well in a board meeting, but there is a lesson to be learnt from breaking free of prescribed fashion uniforms.

So, for a whole week I took a different approach to choosing my outfit. I didn't immediately reach for my staple of leggings and a tunic top. Instead I asked myself how I felt. The first day was a glorious summery day ‎which made me feel hopeful and bouncy. So I picked a skirt I never wear that flared out and a top covered in peachy blossoms. It wasn't fashionable, nor my usual uniform, but in that moment, it was 'me'.

The next day I had to meet my publisher and I caught myself fussing about what to put on, worrying about whether I looked professional enough. Those niggly insecurities narrowed my options down to a grey skirt and white shirt, nice enough but not really me. Me was a writer of a colourful magical world to help build esteem. By far the best way to sell myself was to be myself. So I put on a pair of my fave jeans and a bright pink top, not because it was on trend, or suitable for olive skin, but because it's my favourite colour.

Each day I stuck with the program of dressing to please me, not the doubtful me, or the judgemental 'other'. Some days it was harder to switch off the voice telling me my legs were too white or butt too big. I tried to focus more on how each garment made me feel, through its colour print and texture. It was no different from picking flowers for my garden, cushions for my bed or wrapping paper for a present. None of those choices are loaded with insecurities about feeling ugly or fat. They are simple reflections of our personal and unique tastes. Going shopping or choosing outfits should be the same. If it's good for us, it should be good for everyone. Instead of endless magazine features with photoshopped models projecting what is cool (and by definition soon uncool), real women should talk about themselves and how their passions, tastes and influences shape their identity.

In the past women and men have been restricted to certain dress codes. Today there is no excuse for dressing to please others, the fashion police, or our inner critic. There are no cultural boundaries or social limitations - skimpy, frumpy, vintage, futuristic, sexy, coy. You could go online right now and buy an authentic kimono, a pair of Aussie boardies or an original flapper dress. Hopefully future advances in technology will bring even greater choice and personalisation - customised outfits, made to measure services and an infinite palette of colour choice. But for now, ignore the do's and don't's of the style gurus, be your own trendsetter. Or as the famous designer Versace said, 'don't make fashion own you but decide what you are and what you want to express by the way you dress and the way you live'.

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I got my hair chopped the other day. It didn't turn out quite as I had hoped. The experience reminded me of Very British Problems - how bloody polite we can be out loud when really we are thinking something very different. The following situations will apply to people who, like me, are not lucky enough to have found a regular, reliable hairdresser. (If you do have one and this still sounds familiar, I hate to be the one to tell you - but you should probably look elsewhere)...

Image credit: Pixabay

When did you last get your hair cut?

We say: "Erm, about three or four months ago, perhaps?"

We think: It was 8 months ago. Maybe more. Guilty.

Is the water temperature OK?

We say: "Yeh, it's great!"

We think: It's freezing/scorching (delete as appropriate) but I couldn't possibly tell you that.

How much would you like cut off?

We say: "Just one inch please - I'm trying to grow it." *show one inch via finger to thumb hand action*

We think: I swear the hair falling to the floor looks four inches long?

So what do you do? Are you going away anywhere this summer? Oh, isn't the weather humid?!

We say: "I do [insert job], I'm going [insert holiday destination], yes - the weather is humid."

We think: I really want to close my eyes and enjoy some quiet time.

(Note: On my last trip to the salon my hairdresser informed me that the current weather was making him feel sleepy. That's right - he was moving towards my head with a pair of scissors, feeling SLEEPY.)

Image Credit: Pixabay

Would you like a coffee?

We say: "Yes please!"

We think: Please may you allow me to move from this frozen position so that I can drink my coffee. I will have no problem grabbing that biscuit, though.

Do you ever cut your hair yourself?

We say: "Noooooooooo."

We think: Yes. Regularly. With the kitchen scissors.

So, you want your hair to look like Caroline Flack's?

We say: "Definitely. Here's a photo."

We think: This will never work and I am very aware that it's going to take more than just a haircut to look like Caroline Flack.

What do you think?

We say: "It's PERFECT!"

We think: I hate it.

But do we say it right there and then? Gosh, no - one of the following then happens:

- We greet everyone with an, "I know my hair is awful".
- Say, "I need to wash it and style it - you know - do it my way".
- Call the hairdressers from the comfort of our own home to say we don't like it. If we dare to return, we arrive sheepish and hoping it's quick, painless and our hair looks a whole lot better than the lopsided mop we left with earlier.

Now, if you will excuse me - I'm off to trim my fringe...

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As a teenager I was a goth and in my backpacking early twenties I was more of a hippy, but now at nearly 29 with a husband, baby, blog, freelance career and country cottage I'm not really sure what my style is anymore.

I'm not the most confident person in the world and the whole goth thing was an escapism from school bullies whilst the hippy thing was simply the vibe of Brazil, Thailand, Australia and other countries I found myself exploring on my worldwide adventures. I've never really chosen a particular fashion, rather I've indulged whatever happened to be around me at a given time but with lot of different aspects to my life now, I have recently found myself uncertain of what to go for and therefore sticking with the easy option - generally skinny jeans and a baggy top.

Last month was BritMums Live and whilst it's not exactly London Fashion Week, I wanted to embrace having a couple of days where I was just me. Well, the 'me' without snot and banana on my trousers from the little person and the 'me' that could drink some wine without worrying about getting up for a night feed. Phil, Toby and I went clothes shopping to find me an outfit and I felt so down in the dumps about it. How stupid is that? A fully grown woman with a husband and a child, sulking because nothing looked right, utterly ridiculous!

In the end, I found a gorgeous pair of floral print trousers which were the exact opposite of any style I would expect myself to wear. Phil teamed them with a lovely floaty black top and I was sorted, yet still I felt so nervous putting them on just in case the magical changing room mirrors had lied and actually huge pink flowery trousers weren't a good match for a short ginger girl. Can't imagine why I'd think that... Yet, all worries aside, I had a few people telling me that I looked good and suddenly I started to feel good too!

I'm slowly building my confidence. It helps that I have an amazing husband who tells me he loves me and that I'm beautiful all the time. It helps that I have fab friends, both in 'real life' and 'blogging life' (many cover both of those categories now!) who are supportive of me, who notice if something is new and different but also if I'm not quite myself. The most important bit, though, is that I'm realising that my style is not one image, one type of trouser or top or dress which defines me as a whole, but rather an array of clothes which are suitable for the different versions of 'me'.

There isn't one label for who I am as a person now, so why should there only be one style of clothing? When I'm Mummy, I'll stick to the comfy clothes which allow me to crouch on the floor and play with Toby. When I'm Wife I'll dress up a little, stick on a pretty dress and some heels. When I'm Professional I'll be somewhere in the middle, along the lines of my BritMums outfit or maybe a nice a-line skirt and a blouse and when I'm on holiday (one day!) maybe I'll bust out a bit of the old skool hippy!

As a busy working mum and wife with a passion for rock music and travelling, I am an adaptable person and I'm realising that I am not defined by my clothes, I am defined by the steps I take, my actions and my choices. My clothes simply have to work with whatever Hannah hat I'm metaphorically wearing on any given day.

So to my original question, what is my mummy style? Well it's comfortable, it's most definitely machine washable, is dress up or dress down-able. It's fun on fun days, smart on professional days, heck maybe even a little bit alluring on date days or nights. It's whatever I need it to be and it's flexible. It's me, in all my forms.

Did you have a crisis of style confidence after becoming a mum? What are your favourite outfits and brands? I'd love to hear about them so pop on over to my blog or find me on Twitter or Facebook and show me your mummy style!

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Another day, another controversy. For an industry that's built on aspiration and 'beauty', fashion has a strange mixture of ideologies. It favours the rich, the slightly strange-looking, and, even in an age where people long to emulate Kim Kardashian's curves, fashion loves thin. From models to mannequins, you'd be hard pressed to find something that represents your body. And it's these faceless figures championed by designer and high street stores alike that have hit headlines this week.

25-year-old Laura Berry wrote a lengthy Facebook post, condemning Topshop for their 'ridiculously shaped' 6ft 1in mannequins. It went viral, reaching the attention of Topshop themselves who said they would not be placing any further orders, adding: "This particular style is used in a small number of our stores and is based on a standard UK size 10. As the mannequins are solid fibreglass, their form needs to be of certain dimensions to allow clothing to be put on and removed easily; this is therefore not meant to be a representation of the average female body."

Topshop's not the only chain to garner mannequin criticism. Both Primark and lingerie brand La Perla have been called out on unrealistic features including concave stomachs and protruding ribs. Mail Online went so far as to measure the waists of mannequins from various stores. The results: Topshop - 25.5 inches, Zara - 24.5 inches and H&M - 23.5 inches. Even plus-size brands housed mannequins smaller than a size 12.

With a UK size 8 generally being 28 inches and the average British woman measuring 33 inches, why are mannequins so skinny? Simple answer: because they're not real. In a 2012 short film, legendary mannequin designer Ralph Pucci describes his creations as "art forms", admitting to their unattainable qualities. Walk around any shopping centre and you'll be met with giant headless dummies contorted into alien-like shapes. Are these ultra-thin things, with their spindly arms and twig-like legs, really being mistaken for an accurate representation of female bodies? Apparently so.

The media bandies around the terms 'eating disorders', 'young people' and 'fashion' almost on a daily basis. Since teenagers are notoriously susceptible to advertising and the like, let's think about what they pay attention - and look up - to. The models adorning ad campaigns and flooding our Instagrams; the poster girls for the next generation; the barely legal girls passed off as 'real women'. The images these girls appear in are the things that can require drastic action. Sometimes, a ban is needed (as in the recent Saint Laurent case) if they're promoting unhealthy ideals.

Do people aspire to look like a mannequin? Is anyone directly influenced by their ethereal frame? No-one can give a straight answer - perhaps because it's a pointless, non-existential question. Granted there'll be a few who stare wistfully at the impossible slenderness. But if you're anything like me, the only encounter you'll have with these plastic giants is muttering an embarrassed apology after mistaking one for a live human being.

Mannequins are an extension of a brand's creative vision; one that may not be to everyone's (or anyone's) taste. Will a piece of plastic ever be seen as the equivalent of a human body? Doubtful. Until then, let's focus on banning the things that matter.

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I love a signature style, and I'm a fierce admirer of women like Charlotte Rampling or Helen Mirren who adapt their make- up and hairstyles as they age and have looked sexy and cool over the decades. The fear of looking like mutton dressed as lamb is part of the reason many of us succumb to the cut.

We have a deep-seated terror of coming across as if we're desperately hanging onto our youth. But there is no set age at which we should cut our tresses any more than there is a fixed point to retire our high heels. Feeling fabulous is about confidence. There are no rules. Life is for living and if your inner diva expresses itself through your long hair, embrace it, work with it, own it, and keep it.

1. Get the best haircut you can afford. The debate around short versus long hair is too simplistic. Most of us have moved on since the sixties. Today long hair is all about the cut, the shape and flattering layers. A few weeks ago I had my hair colored and styled at Tres Confidential in Paris and left the salon walking on air. When the miraculous happens and the cut and the color are perfect, you're ready to take on the world. Voila!

2. Care for your hair as though it's cashmere. As we get older our hair loses some of its natural sheen and years of coloring can thicken and damage it. I've been forty shades of grey since my twenties. It's important to use a shampoo for color treated hair and a great conditioner. I use Kerastase products. They also do a great once -a -week hydrating mask. They're not cheap but if you've ever used hotel shampoo and conditioner (eek) you'll know that you mostly get what you pay for.

3. Fight the frizz. Don't neglect the ends of your hair, which tend to get dry. There are a ton of smoothing serums out there. My favorite is John Frieda's Frizz-Ease it works like magic. Squeeze a little onto your hands and rub it into the ends of your hair after you've dried it. For even better results use my granny's tip and massage in warm olive oil before you wash it.

4. Work it from the inside too. The condition of our hair reflects our wellbeing. When we look healthy a few wrinkles are neither here nor there, our zest for life shines through. Make sure to get enough Omega3, Vitamin A and iron and to exercise regularly. This is hard science and you only have to think of times when you weren't well and your hair lacked luster to know that it's important.

5. I live in LA and swim most days so I use a UV hair protector. Try Biolage Color Care Therapie Shine Shake Spray on your hair during the summer months to protect it from sea water or chlorine damage.

6. Play with the style. Once you have a good cut; one that hits at your cheekbones, again at your jaw line and is soft around your face, then it's down to you. That's what's so brilliant about longer hair. It's so versatile. Put it up and pull out those Brigitte Bardot dangly wisps or pull it back into a smooth low ponytail. Try parting it at the side and tucking it behind one ear a la Lauren Bacall. Get a great blow dry and channel Demi Moore. It's summer. Pile it in a top- knot and forget all about it. You're fabulous at any age and your locks are your crowning glory.

Read more about Thérèse's adventures at www.thereseblogs.com and pick up her latest novel 'Letter from Paris', published by The Story Plant and available from Amazon $11.71, as well as Kindle.

Image blogger's own

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Men's and women's wear label Nicopanda has just dropped its Autumn/Winter collection and its signature fun is matched with street-savvy sophistication.

Designed by Nicola Formichetti, the former artistic director of Mugler and Diesel is perhaps more widely known for creating some of Lady Gaga's most memorable looks and videos, including Bad Romance, as well as directing the stunning Gaga's Workshop Barney's windows for her New York charity project in 2011.

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Born in Tokyo, the Italian-Japanese designer often appears to draw heavily on some of the fun aspects associated with Japanese culture for his Nicopanda line - from manga style (his favourite character is Chibi Maruko) to Harajuku street style, colour and cuteness. But, perhaps drawing on the understated Italian side of his heritage, there is also an arch sophistication to this incredibly unique and wearable line.

The latest drop - some of which is pictured here - features architechtural elements, beautiful construction and continues with the ruffles theme seen in previous collections, for both sexes.

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I hadn't planned to write solely about this collection but it just really speaks to me as someone who lives in and for comfy sportswear, and can often feel constricted and awkward when 'dressing up', despite loving a more 'grown up' evening image.

This Nicopanda collection presents a fashion-forward, easy-to-wear look that represents a duality that absolutely appeals to both sporty and more groomed aesthetics without compromising on comfort or personality. And LOOK - they're all styled with (gorgeousgorgeousgorgeous) trainers, too! HELLO.

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It's hard to pick a standout from such a strong collection but I am completely obsessed with the red coat pictured above (also seen in white, here). The rounded exaggerated collars are a clever nod to the season's key 1970s trend and top a fun, sassy style that plays convincingly with volume and proportions in the most perfect shade of lipstick red.

The lace print pieces, pictured top, are also divine, especially the unisex sweatshirt and matching sweatpants/trousers which use a chic colour palette and well-placed ruffle details to take a basic sports luxe design to the next level.

Shop the Nicopanda collection internationally, either online at thecorner.com (coming soon) or from a number of retailers around the world including Machine-A , 127 and Selfridges in London, Hervia in Manchester, and Opening Ceremony in both New York and Los Angeles.

You can also view the full Nicopanda AW15 range now at nicopanda.com - tweet me your favourite pieces @FightForYrWrite

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I have never been one for wearing much make-up, apart from the days when I was 13 and foundation two shades darker than my skin tone was the in thing. I guess I have followed in the footsteps of my mother and grandmother, who opt for minimal make-up and quality skincare products. I am a true believer that if you look after your skin in your youth, you'll reap the benefits in your 30s and beyond! So, when summer comes around, I am fully embracing the natural 'freckles in abundance look'.

Whilst I discovered fashion from the ripe age of 2, dictating to my poor mother what outfit I wore each day, even if that meant an array of clashing colour and print, make-up is something I have really come to discover in the last few years. Immersing myself in the beauty pages of my favourite glossies, reading blogs and browsing cosmetic counters have all sparked my interest and helped me to find my signature look. There are now some products in my life that I just couldn't live without. They're all fabulous for achieving that healthy glow we all strive for both throughout the summer and into the bleaker winter months, when a radiant pick-me-up is key.

Chanel All-In-One Healthy Glow Fluid

It's not a secret that I am a huge fan of Chanel attire and the beauty collection is no different; I adore Les Beiges range. Until the release of this formula, I had struggled to find a Chanel foundation that wasn't too yellow for my rosy undertones, but the All-In-One Healthy Glow Fluid in No 10 ticks all the boxes. Somewhere between a tinted moisturiser and BB cream, it floods the skin with luminosity, providing a great moisturising base to work from. Its lovely floral scent and SPF 15 are a plus too! Although I favour a light to medium coverage to prevent that clogged-up feeling, I have been suffering with breakouts recently, so a good concealer is a must with this sheer, breathable product.

MAC Mineralize Skinfinish

When you're sitting at the beauty counter, under artificial lighting with a professional applying them, it's easy to see products through rose-tinted glasses, but this highlighter did not fail to meet my expectation when I tried it again at home. It emphasises the features women want to embrace with a frosty glistening glow, leaving the skin feeling illuminated and polished. Being fair-skinned, it can be difficult to find highlighters that aren't too golden. MAC Mineralize Skinfinish in Lightscapade enhances pale skin tones with its cool champagne, blue-veined colouring. Sweep under the brow bones, over the bridge of the nose and across the top of the cheekbones for a soft shimmering finish.

Topshop Lipstick

There's something about summer that makes coral lips so irresistibly kissable, but it's a trend I have struggled to trial, owing to my English Rose skin tone. I have always played it safe with red or pink shades when it comes to my lips, orangey pigments have just never looked great. When one of my girlfriends bought me a Topshop Lipstick for my birthday in Ohh La La, complete with a limited edition rose gold case, I discovered I can make coral work for me. Ohh La La has pink undertones, which complements paler rosy hues and it has a lovely creamy texture - yay! I'll leave the more vibrant oranges for all you olive beauties out there.

Diorshow Extase

If there's one thing in my make-up bag that I like to be bold and maybe not so natural, it's mascara; my lashes can never be too voluminous. I cannot praise Dior enough for their mascaras; with little effort they achieve big results! Diorshow Extase in Black is my all-time favourite and certainly lives up to the claim that it 'creates instant volume and a false-lash look in a single stroke'. As well as its instant 'volume plumping effect' and 'lash-care' formula, it stays put for the day and doesn't flake. Let's not forget its beautiful gold packaging that adds a touch of luxury to any dressing table or handbag.

Chanel Healthy Glow Sheer Colour Stick

I'm a cream blusher kind of girl, so when I saw Chanel had launched the Healthy Glow Sheer Colour Stick, I thought it would be rude not to go and test it out at my local counter. The stick comes in three colours: golden brown (No 20), pink (No 21) and coral (No 22). As usual, I headed straight for the pink, but the beauty consultant suggested that I tried No 20. I reluctantly let her apply some to the apples of my cheeks, over my All-In-One Healthy Glow Fluid. Adamant the bronzed effect wouldn't compliment my pale complexion, I was pleasantly surprised when I looked in the mirror at the end result. It gave my skin a natural sun-kissed glow, without looking too bronzed. It's so easy to use, simply apply the stick to the cheekbones and then blend in the velvety formula lightly with your fingertips.

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I love makeup,I really do. As a woman over 50 I've obviously had to change the way I wear it and can't be as bold as I was when I was younger but I refuse to tone down the lipstick which means I'm actually in fashion this summer due to my love of bright orange/coral lips.

For most women they learn about make up from watching their mothers apply it,my own mother still puts makeup on every day (even though she's in her late 70's and looks like Heath Ledger's Joker when she's finished) but I remember as a child I'd watch her with her block mascara that she would spit on before applying the brush to it, then I'd watch her as she put her green eye shadow on and draw a line of black kohl around her eyes before finally putting her brightest lipstick on.To me she was the epitome of glamour as I knew that not everyone's mum did this,so I couldn't wait until I was old enough to wear it myself.

Woolworths was usually the first place any self respecting girl would be seen spending what little bit of cash she had at the makeup counter and the first eye shadow I bought was the Miners bright blue wet look eye shadow in a tube,it must have looked horrendous but I thought I was the bees knees wearing it and I loved it. From there I really got into makeup and as I got older I discovered which brands were best for foundation,which ones had the longer lasting lipsticks and which brand had the mascara that made your eyelashes look like spiders legs.As each season came round I couldn't wait to see who would bring out the best palette of "must have" makeup usually accompanied by a photo of a supermodel supposedly wearing it. I would buy the whole thing,the eye shadows,eyeliner,blusher,lipstick,nail polish and would wear it every day until the new "look" came out.I was of course an advertiser's dream but I didn't care as makeup is a big part of fashion,another great love and the two go hand in hand.

I've been lucky enough to have jobs where it was compulsory to wear makeup,one of them was working in Boots selling makeup for a well known brand and another job was working for Playboy. At Playboy they actually had a woman who used to come in whenever a few new girls joined the ranks and her job was to teach us how to wear makeup.Apparently she also taught the girls who worked on the airlines and any company that insisted on women wearing full makeup.

What I've always found surprising though is how other women my age perceive someone who wears makeup,especially when they don't wear it themselves.We're seen as vain,shallow with the "Who does she think she is?" attitude.I'll give you vain yes,but I wear makeup for me,it's part of getting dressed and I'm certainly not going to stop just because you can't be bothered to make the effort. I will always wear make up full stop,it makes me feel good and yes it makes me feel more attractive and if one day I eventually end up (god forbid) being looked after by carers I hope someone is kind enough to bring in the latest brightest lipstick.
A girl's got to look her best don't you know.

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I don't know if its just me but it seems like everywhere I turn at the moment pictures of 'perfect people' adorn sides of buses, my Instagram and magazines. Whatever the medium of delivery the thing being sold is perfection. I am certainly not immune to the pressure to look good. I take pride in my appearance and have long recognised the importance of looking after my skin. I think I am doing a pretty god job for my age. My mum claims credit whenever I mention this for the fact she only ever washed my face with water and cotton wool as a child. I turned 30 earlier this year and I have never had Botox or anything done to my face except semi regular facials and the odd session of microdermabrasion. Now don't worry this isn't about to get all preachy, I am all for a woman's right to choose what to do with her own body. I confess I have even gone as far as consulting about the use of such procedures but I feel that is something I would like to steer away from if possible or at least put off for as long as I can.

Having said that I still want my skin to look amazing. The stresses of modern living take its toll and I feel we should all treat ourselves once in a while. Whilst I wasn't ready for Botox I was ready for something more than a facial so I did some research and came across a newly launch treatment called the Repair, Restore and Replenish. It's a hydrating, firming and lifting treatment for both the face and lips. The facial combines skincare expertise with advanced LED Phototherapy, to enhance the results of SkinCeutical's high potency formulations. It was all sounded very technical. For me you could have just called it the super facial, as that's what I was.

I arrived for my treatment at the luscious salon located right opposite Harrods. It didn't disappoint as it had all the luxurious touches you would expect. OMNIYA is the first-of-its-kind Health and Beauty MediClinic, hailing a new concept in health & beauty. The pioneering clinic offers an unparalleled selection of health and beauty services, as well as a fully dispensing pharmacy. The think I like most about this place was the knowledge of the staff. As most people can imagine, my relaxed doesn't look too much like everyone else's relaxed. I asked Debbie questions about every procedure and quizzed her on all sorts of things. I was rather impressed with the knowledge but most importantly the passion. Debbie shared a personal story, which I will not repeat, about why she does what she does and I admire that drive immensely. It was one of those moment as a business women when you realise most women have the same core determination we just chose different paths.

It doesn't look it but this was very relaxing!

The treatment itself is a 10 step process but a summary includes a double cleanse, deep exfoliation, a light Gel peel, AOX Lip and AOX Eye Gel Complex application, Vitamin C Firming Masque for the face and neck, the eye and lip areas for receive a hydrating B5 Masque, a deep tissue massage on the shoulders neck and head, the Dermalux red light therapy is used to supercharge the antioxidants, a hydrating serum, corrective cream (if needed). Finally, to protect the skin from UV damage, SPF 50 is applied to the skin. The products used are all SkinCeuticals.

One important thing to note was it was a relaxing break from the stresses of my everyday life, much needed and appreciated. I loved the massage, I'm a sucker for pampering of any sort. My skin looked and felt a little healthier even in the clinic but it wasn't until a couple of days later that I was really blown away. I looked in the mirror and the results were noticeably more radiant skin. I think this would yield brilliant results for those suffering from acne or the early signs of skin aging. There are hundreds of images of me before on my Instagram @misslaurenriley but here is the after.

Who knows how long it's going to be till I write another blog on facial aesthetics so I will take this opportunity to set the record straight over a few comments I read around the time of The Apprentice. I am mixed raced and proud of that fact. Full lips was something I inherited from my Jamaican grandfather and they are completely natural.

For now at least it's no thank you to the Botox and hello beautiful skin!!

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I run Kilimanjaro, a live events promotions company. Our core business is music and we've worked with many major artists including Simply Red, Ed Sheeran and Red Hot Chilli Peppers.

Over the last few years we have expanded into other entertainment and events areas including theatre, comedy, spoken word and sports. This diversity has been an important part of adapting to a changing landscape. A crucial part of what we do is seeking out the freshest new talent, artists and performers who may be at the start of their career who we believe we can nurture and grow. But in a world where a teenager can become an Internet sensation from the comfort of their bedroom it's no longer enough to just focus on the traditional routes. That's why we have been also looking to the online world to seek out our stars of the future.

The power of the Internet, and most notably YouTube has already been felt in a huge way in terms of beauty and fashion vloggers, the most famous of which Zoella has seven million subscribers to her YouTube channel. This almost happened by stealth but of course now big brands have seen the value of people like Zoella and they are monetising what was previously a hobby. What we have found is that although these phenomenons start out online there is an audience appetite to see them in the flesh. And that's where we can help. If you look at the amount of followers these people have it really is staggering, particularly in a world where there is so much entertainment choice. Of course, their content is often free but it's going to be fascinating in the coming years to see what kinds of pay models will emerge. My guess is we will be looking at a mixed economy of free and pay. What's interesting also is that the YouTube stars are also turning to traditional mediums - as per our gigs and live events but many of them have also written books. So we have come full circle in a way.

A few specifics; Miranda Sings is a classically trained singer who started to post spoof videos of a singer who was far from good. This comedy performance went viral and she now has 4.3million subscribers to her channel. We have taken her out on tours, which have all been sold out. Tyler Oakley is a lifestyle vlogger who has seven million subscribers and we worked with him to create a live show, building a stage set to mirror his bedroom, the place it all started. Again, a sold out national tour for Tyler. Then there's an upcoming event with Rachel Brathen who has 1.5million followers on her Yoga_Girl Instagram page. This will be a 90 minute Yoga Class for 300 attendees followed by Q&A and book signing at a venue in London. On the music side of things we worked with Emma Blackery and put her on tour with established artist Charlie Simpson, giving her the chance to learn her live craft and for Charlie to tap into Emma's existing million online followers. With Bethan Leadley we offered a full touring service as she hadn't toured before and had her support established acts like Lucy Spragan.

So it's an exciting and invigorating time for live events. This isn't about a "year zero" approach, ignoring all the other ways talent can be spotted, but my belief is it has to be a big part of the equation - and can only get bigger.

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After the tragedy of Rana Plaza in Bangladesh we have only seen piecemeal change for developing world garment workers - token pay rise announcements after accidents and as a result of protests.

Why do we not see blanket, tangible reform?

Is there any real prospect of change? Actually, some change is possible, but not for philanthropic or empathic reasons. Customers in developed markets will only change when they realise what their clothes genuinely cost them - both monetarily and environmentally.

We encourage consumers to 'Look At the Label' and 'Wear It Again'.

So why aren't consumers outraged sufficiently to take action? One reason is that people have become desensitised to tragic news events. Our daily newsfeed is full of distressing and alarming crises. However none really drives us to take action or demand change. Rather we shake our heads in dismay for a moment and then return to our daily lives.

Another reason is that ultimately few people are willing to change their behavior for what does not affect them directly. In this age of immediate gratification it is difficult to imagine most people foregoing the opportunity to buy a desired item of clothing out of concern for a generally anonymous, faceless garment manufacturer somewhere in the developing world.

And even if consumers were outraged sufficiently to protest, the challenge is that the focus of any ire is not singular. Quite simply, the market - both from a retailer and factory supplier perspective - is too fragmented.

And without knowing precisely who to blame an Arab Spring-type, transformational movement is difficult to initiate.

Are you really getting what you pay for? Look At the Label

A starting point is needed and one which provides a better understanding as to why garment manufacturing exploits the poor in developing nations.

The picture becomes clearer when one looks at the evolution of the garment industry from local to global.

It begins with China, which was a country full of untapped, unskilled, cheap labour confined to its agricultural sector. Under economic reform, which began in the late 1970s under Deng Xiaoping, swathes of this available labour gradually migrated to cities to work in industry.

In tandem with this migration, the developed world transferred much of its production to this low-cost labour region. This led to the demise of manufacturing in traditional Western markets and to China, over time, becoming the factory of the world.

In recent years, however, and as China's economy has become more developed and sophisticated, wage costs there have risen.

This has presented an opportunity to other markets which have similarly large available labour in rural communities and which can be transferred to cities to undertake low skilled manufacturing jobs. This large flow of labour is also likely to continue given favourable demographics in many developing markets, i.e. constituent countries in these regions tend to have significant and growing young populations.

Where garment manufacturing is concerned, peripheral Asian markets, Central and Eastern Europe and now progressively Africa all present potentially cheaper options when compared with China.

To all intents and purposes, fashion brands have an abundance of choice when it comes to cheap garment manufacturing hubs.

What also needs to be borne in mind is that clothes are commodities which can be produced largely by anyone anywhere.

That recent fashion design trends have also leaned towards the simple and minimalist underlines this fact. Rarely now do we see elaborate, complicated constructions for everyday wear.

Basically clothes are not unique products created via application of some special skill, such as with aircraft construction.

Since the skill required is largely ubiquitous, the only point of differentiation is cost. Thus factories across these countries compete to offer the lowest possible cost.

And competition is fierce, especially for those in a bid to secure flagship brands. Indeed such brands have substantial buying/negotiating power, both from a volume and brand perspective. It is worth noting that often one large parent company can own a number of well-recognised, individual brands. In this instance the parent company will look to negotiate and secure low costs across its stable of brands. Factories faced with such powerful customers will have no choice but to compete in keeping costs as low as possible in order to secure business.

Governments also need to be taken into account here. Where economies rely on an industry, the likelihood of transforming, government-led initiatives (e.g. proper pay and/or improved working conditions) is low given it would make that industry less competitive.

For information Table 1 below sets out detail for a number of sizeable and cheap garment manufacturing countries - including where they rank globally in terms of value of ready-made garment (RMG) exports, those exports as a percentage of the country's total exports and respective average hourly garment worker wages.

After China, Bangladesh now ranks as the world's second largest exporter of RMGs in US dollar value terms. It exports over US$25bn worth of RMGs accounting for 82% of the country's total exports. The industry employs 4m people, in a country of 31m households.

A number of other countries' economies are similarly reliant on garment manufacturing - Cambodia (55%), Lesotho (49%), Sri Lanka (44%), Madagascar (20%), Mauritius (27%), Pakistan (18%), Tunisia (16%), Morocco (14%), Vietnam (13%).

It is perhaps no surprise that these countries also have some of the lowest garment worker wage rates.

All of these markets, plus other developing peers, are competing to make our clothes. Since they can only really compete on cost competition becomes a race to the bottom.

If we again take Bangladesh as an example - garment manufacturing has become intrinsic to this country's economic survival.

Bangladesh has spent the last 30 years developing this industry. Over that period the industry has grown by an average 20% per year in US dollar value terms.

Even after the Rana Plaza tragedy Bangladesh's RMG exports grew (see chart below). Indeed its garment manufacturing industry is expected to grow further.

A report by McKinsey conducted, also after the Rana Plaza disaster, and in which 20 chief purchasing officers in the US and Europe were surveyed (responsible collectively for US$39bn of sourcing) stated that Bangladesh would remain the most important alternative apparel sourcing market after China. Bangladesh was also forecast to grow through to 2020. Of the CPOs surveyed 86% cited labour cost advantages as one of their three most important reasons for sourcing in Bangladesh.

Raising costs either through wage hikes or factory improvements would likely put Bangladeshi factories at a competitive disadvantage versus other markets which are competing for its business.

An example of this is the failure to fully implement garment worker wage hikes. In December 2013 the Bangladeshi government imposed a 77% increase in the garment worker monthly minimum wage to US$68 (versus an estimated living wage of around US$245). However, according to the FT and other press reports, almost 40% of factories in Dhaka alone have failed to comply. In addition HRW (Human Rights Watch) has reported intimidation of workers attempting to unionise.

In terms of working conditions NGOs have estimated a cost of US$3bn to raise safety conditions in Bangladeshi factories to adequate standards. This is a colossal cost and one that local factory owners will struggle to meet given falls in profitability, a weak currency, high inflation and high borrowing costs. To add these costs cannot be passed on to clothing companies because the end consumer is unwilling to pay.

And on an individual factory basis each would be subject to the same pressure. Any factory which did choose to stand aside from the norm to pay higher wages and deliver better working conditions would find itself at a competitive disadvantage not just versus foreign but also its country peers.

To this end Bangladesh and its factory owners are really between a rock and a hard place. And they are not alone. Its developing market competitors are faced with the same challenges.

The true price of fashion.

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"Tat-calling" is a type of cat-calling specifically aimed at women with tattoos, but whether or not it's a form of street harassment is a much debated topic.

Website Everyday Feminism put the phrase firmly on the map when they published the piece "My Tattoos Aren't an Invitation for Harassment - So Please Stop 'Tatcalling' Me".

Author Melissa A. Fabello wrote that if you're a man on the street commenting on a woman's tattoos, you're not just simply complimenting her artwork - you're "actually reminding her that men, on the whole, feel entitled to her space, time, and especially her body."

Despite not even having many visible tattoos, apart from on my lower legs (pictured below) it's something I often encounter in the summer months.

"But what do they mean?" is the most common question I get from men, which is an entirely weird thing to have to explain on a packed commuter train, and is usually followed by the man is question having the immediate and unexplained desire to show me all of his tattoos (including a faded Bart Simpson from '94).

tattoos

I often bemoan this fact to my long-suffering mother (who was completely against all of my tattoos in the first place), only to receive the response that I "got them for attention anyway", so why would it bother me?

But I didn't get tattooed because I like attention, I simply got them because I like tattoos.

As Fabello said, "I have tattoos because they make me feel pretty. And just like anything else, that's not for you. It's for me."

If someone else happens to like them too, that's great - but it doesn't mean I should have to constantly take time out of my day to respond to all the questions and comments thrown at me.

Of course, if someone stops to ask something in a genuinely respectful way (as I'm known to do whenever I spot someone with a bag or a dress I like), I'll take the time to respond.

It's the complete lack of manners and invasion of personal space that seems to accompany these interactions that leaves a bad taste in my mouth.

And it only takes a quick sweep of the Internet to see the real extent of the issue. Like the disturbing comments on the hashtag #tattooedgirlproblems:

#OnPoint #tattooedgirlproblems pic.twitter.com/tYLzKhEAId
— Chezka Reaves (@ChezkaPenalosa) March 24, 2015

Why is it that when guys have alcohol they think it's okay to stroke my tattoos? They're not fucking textured... #TattooedGirlProblems
— Bethan Bamfield (@BettyBamfield) March 18, 2014

That moment when you don't know if somebody really likes your tattoo or just wants to see your boobs. #tattooedgirlproblems
— CassandraHope (@CassandraHope89) April 26, 2013

I spoke to lifestyle blogger Rhian HY from Wife Life, who is all-too familiar with the concept of tat-calling.

With tattoos spanning from her feet to her neck and chest, Rhian told me she receives unwanted attention from men on an almost-daily basis.

"I've had to ask several not to touch me after they grab me and turn me around to look at my tattoos. Its such a violation, especially for someone who has anxiety already.

"It's like being different automatically suggests you're fair game to harass because their little brains can't imagine why you'd do something for yourself and not to please men," she said.

tattoos

Lifestyle blogger Rhian HY

But as Rhian also notes, the type of men who harass girls with tattoos are usually the type who'd harass girls without them too.

"Any physical attribute they can comment on is just their go-to line because they don't have anything of substance to talk about," she said of the men who come up to her.

"I also get guys frequently telling me they 'don't usually like girls with tattoos' but that I'm 'different'. I usually inform them that I'm actually not different and judging a whole group of people by their choice to have tattoos is absurd.

"What needs to happen, is that EVERYBODY needs to stop commenting on women's bodies and how people choose to decorate or alter theirs."

Like Rhian, I don't appreciate strange men approaching me to tell me they find me attractive, or even that I'd "look so much better without tattoos" - as if they couldn't fathom the fact that women exist for a reason other than being aesthetically pleasing.

And in true Jeremy Kyle closing soliloquy style, at the end of the day - that's what tat-calling really boils down to.

These men wouldn't dream of stopping a fellow bloke across the street to marvel at his sick tribal half sleeve, so let's just call it what it is - street harassment.

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We are told the Earth's 6th Mass Extinction is near. Let's be clear, the planet is not in crisis, it has all the time in the world. The clue is - it's the 6th extinction - the planet always recovers. What makes us fearful this time round is, our species is responsible for the crisis. We are rapidly moving towards extinction, and we can't blame someone else.

Our actions and our mind-set have to change, the choice is ours. Put simply, we can continue to compete and create war, or we can collaborate and mutually support. Our fearful cultural mind-set believes war is inevitable - we project it onto nature, it dominates our society, we fear it in our aspirational futures, we even believe it exists between the genders. 'Between men and women there is no friendship possible. There is passion, enmity, worship, love, but no friendship.' Oscar Wilde

There has never been a war between the genders, we have always been capable of friendship. Men and women need each other too much, together we create our species, one gender has never been more important than the other. The looming extinction crisis means we need to communicate with each other more than ever. 'The future of humanity will be decided not by relations between nations, but by the relations between women and men.' D. H. Lawrence

There is much more variation between individual people than there is between the genders. If we create separate pie charts of men and women's emotional capabilities, physical capacity, mental abilities, nurturing and pioneering tendencies, relationship to competition and collaboration, whatever one you want. They would all overlap completely. The only pie chart which wouldn't completely overlap is the one including pregnancy, although Thomas Beatie, the first male mother, might disagree.

The differences between men and women reflect our social expectations not our biology. They are not hard-wired into our brains, they are soft-wired. The brain is soft-wired by experience, and it is experience which changes the mind-set. There is hope...we can change, but we need to do it fast. Fortunately, '(t)he rapidity with which the human mind changes and with which the human, through his technology, makes his own world into something completely different from what, just a short while ago, it was, is so great that, for all practical purposes, the pace of evolutionary development, when compared to it, is standing still.' Konrad Lorenz

Our mind-sets have created a culture and society which is lop-sided. Predominant patriarchy and greed has perpetuated a misguided and completely irrelevant storyline for us all. Patriarchy is pernicious, and men and women have to rapidly replace it with gender equality. In order to do this, men will necessarily have to lose their favours and privileges, and women have to gain. Tokenistic equality is not good enough, we have to seriously commit ourselves to wholesale and all encompassing change. That needs to happen across the board. The over-privileged need to give to the under-privileged, whatever their gender. There is much to be done in order to ensure that the process of equality is given the significance it deserves, and, as part of that process, we should be celebrating our shared humanity, not our differences.

Human beings need to accept responsibility, stop blaming others, to open our hearts, and collaborate. Men and women can't afford to wallow in victimhood or try to maintain their superiority. We must seek the path towards redemption for our species. 'Gender equality is more than a goal in itself. It is a precondition for meeting the challenge of reducing poverty, promoting sustainable development and building good governance.' Kofi Annan

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As the owner of an age-perfecting beauty brand, Studio 10, my desire to encourage older women to feel beautiful and believe that they can look great at any age is absolutely all-consuming.

It is what drove me to start the business. It is the purpose behind every product we develop, tutorial we write and message we send. Older women are as beautiful as their younger counter-parts. We believe it and we live it.

The thing is, we also need them to start to believe it. Not just about themselves, but also one another - and understand that that 'beautiful' means different things, to different people. Not so we can sell more products, but because it's absolutely, unequivocally the truth.

image from Wikipedia

Case in point. Last week hairdresser Nicky Clarke suggested that Kate Middleton, barely in her mid-thirties, was a 'disaster' for letting her grey hair show.

Nicky, who has tended to the tresses of many a maturing celeb, including Elizabeth Taylor and ironically Princess Diana said: 'It's not a good look, unless you are really old it isn't acceptable to let grey show.'

Brilliantly women all over bit back, defending Kate's right to let a few stragglers show rather than use toxic chemicals when pregnant.

So far, so good right?

Wrong.

A quick internet search showed that grey has suddenly become the new Botox is debate terms, with women hotly battling on forums across the land over whether dyeing out the grey is against our feminist sensibilities.

'How ridiculous' I say, and journalist and health and wellbeing author, Leah Hardy, certainly agrees. In a post on her Facebook page she wrote about how she had been colouring her hair for years, long before ageing took over. Her hair colour is part of who she is and she doesn't understand why that has to be justified to anyone?

The double standards aren't just aimed at women either. Writing on her wall a commentator said she wondered if Paul McCartney ever had to apologise for dyeing his hair (doubtful).

But quite fairly, Leah, who has over 20 years of experience in the sector, said she thought many men would probably love to hide their ages with a bottle but were scared of being ridiculed.

The issue here clearly isn't in whether or not going grey is ok. It is in our inability to allow one another to make choices about our appearance free from comment.

Why is it ok for 20-something Cara Delavigne to go pink, fabulously pink? But not ok for 30-something Kate Middleton to let a couple of greys show when she is pregnant. Whilst this time last year Nicole Richie was feted by the fashion set for dying her hair a fetching shade of silver artificially, quite simply because she wanted to.

Who is this arbiter of what is right for whom and why? Helen Mirren, Carmen Dell'Orifice, Judi Dench. They all have grey hair and look fabulous.

Marie Helvin, Jane Fonda, Michelle Pfeiffer, and Sharon Stone - none of them have grey hair, now who wants to tell me they don't look wonderful too?

Just last week Helen Mirren talked about how she didn't care a jot for what people thought of how she looked, preferring to dress, look and act how she pleased! If only all of us could take this message on board, oh how much more enjoyable getting older would be.

This isn't about grey/black/blonde or pink. This is about us learning to stop forcing our own personal standards of attractiveness onto one another. Botox, post-baby weight, hair dye....there doesn't seem to be a choice we won't judge, a standard we won't debate.

How about we all just decide that beauty is in the eye of the beholder, and remember. When it comes to the issue of someone else's appearance, if you can't 'grey' something nice, don't 'grey' anything at all....

Now, if you'll excuse me, I have an appointment at the hairdressers - those greys don't dye themselves you know!

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2015-08-03-1438620691-9235828-RWSWEATSHOPSSTOCKFREEIMAGE.jpg

Are you really getting what you pay for?

My previous post discussed low-cost garment manufacturing in the fast fashion segment. But shockingly, a number of premium and luxury brands also opt for these suppliers, leaving you footing the bill for advertising costs, not quality and ethical clothing.

Both the fast fashion and premium/luxury companies that use low cost manufacturing are earning healthy profit margins of around 20%.

In Table 2 below is a breakdown of typical cost structures for selected high street and premium/luxury brands.

The two main cost components are COGs (i.e. product costs including fabric and other garment components plus manufacturing) and Other Expenses (which generally constitute head office and administrative costs, retail overheads and advertising).

With fast fashion brands, most customers assume their cheap clothes are a direct reflection of low-cost manufacturing. This is correct in some respects. As highlighted in the table, around 40% of a garment's price is allocated to its production.

However a further 40% is allocated to other expenses which mostly reflects retail overheads and advertising. So a customer is paying probably as much for the brand's shops and promotion imagery as for the product itself. As we have seen, fast fashion retail outlets can now be found on the high streets and in the malls of towns and cities across the world. Much of this growth is being financed by low cost manufacturing.

What is of greater interest is the cost breakdown for premium and luxury brands that also use low-cost suppliers. Again profit margins here are robust at around 20%.

In this instance, however, only around 25% of a garment's price is allocated to the cost to make it. It would seem that as much as twice that cost or more is allocated to its sale which is mostly advertising given these brands tend to have relatively fewer retail outlets when compared with their high street peers.

So, in reality, the price of premium/luxury garments made in low-cost regions bear little relation to the cost to make them. This is underlined by data in Table 1.

For example, a jacket made in Madagascar that took, say three hours to make, would imply a labour cost of US$0.75 and a manufacturing cost of around US$2.50 (on the basis that labour costs account for around 30% of a factory's costs which is typical). The respective cost in Vietnam would be around US$5. This compares with a price tag that could easily exceed US$1000.

This would, no doubt, surprise many premium/luxury customers particularly those who believe that what they have been paying for is a product of superior quality in all respects and one that has been manufactured in one of the traditional heritage markets, e.g. Italy or the UK.

Aside from the quality there is an element of the cost for premium/luxury products that is attributed to the 'brand'. What customers perhaps don't realise is that most of what they are paying for in reality is advertising, i.e. A-list celebrities in multi-million dollar promotion campaigns.

Customers would need to decide whether these very high advertising costs are genuinely worth the price tag.

What we would encourage customers to do is to look at the label of every item they buy and to assess for themselves whether:
1) they are actually getting what they're paying for?
2) the manufacturing country has pay and working standards they find acceptable?

For reference we include in Table 3 a list of familiar manufacturing countries along with wage rates and human rights rankings.

For companies, decisions about where they manufacture will have to be weighed against potential reputational damage. This could result either from being associated with developing world factories where under-investment in working conditions leads to another Rana Plaza-type disaster. It could also result from customer protest especially for those who want their premium/luxury product to be made in a market that is actually associated with luxury.

Some companies, particularly the global fast fashion brands, would argue that only developing markets have factories large enough to undertake the immense volumes they need. However, that would not be the case for most brands, particularly luxury names which produce in much smaller volumes.

Some companies may also argue that they undertake overseas production in order to naturally hedge foreign exchange risk. This would only be viable for markets in which they sell as well as produce. The point to note here is that the Chinese are renowned for eschewing Chinese-made products. As for other developing world markets, customers there would be few. The developed world represents the majority of customers.

I would also argue that if these brands really did care about pay and working conditions then they could start by paying their interns. As the saying goes - charity begins at home.

For my company I have to consider whether our unwavering ethics will leave us, not only in the wilderness, but uncompetitive.

If my peers have the material advantages of cheap manufacturing and free interns - neither of which I choose - I could also find myself between a rock and a hard place...

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I didn't have a clear vision of becoming a fashion designer and an entrepreneur when I was young, but dressing right and appropriately was always part of my upbringing. My mother, who is one of the most fashion conscious women I know, put me in charge from a very early age of selecting her wardrobe in the shops, choosing her outfits for important meetings, special occasions and holidays. Looking unique and one of kind was her fashion religion. It was always key for her that her look had to suit her, be comfortable to wear, fit the occasion and be appropriate in that moment to wear. She said anything else would not make her look like a fashion pro, but like a fashion amateur. Fashion is there to empower you and to bring the best version out of you and not to feed and expose your body weaknesses and insecurities. Therefore liking something is not reason enough to wear it. You need to know yourself and its rules first before you are ready to break them and start to play and have fun with fashion. Otherwise it will just do the opposite.". To this day she has a power wardrobe that reflects always her current her. So, I guess the skill set and knowledge was always there, but it took a few turns before I followed my fashion vision and put into action.

As a result I have always seen fashion very differently to most women. For me, fashion is a tool to look my best by dressing towards my body strengths rather than my body weaknesses. They are not are not miracle tools where everything and anything goes just because it is in fashion! This early experience combined with the difficulties finding a dress desk to dinner was the inspiration for my fashion label Michaela Jedinak.

"The woman who follows the crowd will usually go no further than the crowd. The woman who walks alone is likely to find herself in places no one has ever been before." Albert Einstein

I wanted to be one of the fashion pioneers who is creating, designing and selling fashion differently not going down the usual fashion path by designing collections for the fashion shows, create fashion that is short lived, doing wholesale or selling it through a physical store . I wanted to design dresses for senior business women - a market that is constantly overlooked, because fashion constantly focuses on day or party or weekend outfits that are not suitable and appropriate to wear to work. These women are constantly on the go, because they have a busy lifestyle and therefore they need a dress that fits it. Dresses that women can rely on 100% throughout the day, that allow them to move with ease and which make them feel confident, comfortable and reinforce their performance. To me the dressing code for work is: Professional, appropriate, comfortable and should make you not only look and feel good but as well strong. As result I am very passionate about empowering women to dress for their body shape and to discover their own style identity.

My inspiration comes from designers such as Coco Chanel who said: " Fashion is like architecture- it is a matter of proportions" and " In order to be irreplaceable one must always different" My design concept challenges traditional fashion rules as most designers only design for one idealised body shape. Dressing right for your body shape has nothing to do with plus sizes although people often confuse size with shape and fit with suitability.

We have as well our unique STYLE DNA and therefore all need a different dressing code to look our best. Dressing right takes simply strategy.

My mission is to empower all women to dress for success stop comparing themselves to others and playing the daily guessing game "does that look good on me. Even if you are as beautiful as Angelina Jolie, why do you want to look like her. You will be always a copy and never the original. It is such a negative outlook this constantly comparing.

Even if we share the same dress size it doesn't mean we can wear the same dress or the same dress will look good on all of us. There are an infinite number of physical features and each person has their own unique combination of these. Dressing right is all about creating visual balance in your look.

When it comes to looking good, it's not your size or shape that matters, it's the fit of your clothes. But fit doesn't equal suitability. Just because something is available in your size it is not guaranteed to deliver an attractive visual balance in your look. Also, we should not believe that a beautiful dress will make us look beautiful. It won't- but the style of a dress - no matter the brand or designer - will always make us look beautiful.

So, be your own fashion expert and lead from the front. Know yourself first - before you dress yourself. That's why I encourage them to invest in a quality timeless styles, rather than following every fashion trend that was not designed for their body shape in the first place! I believe there is a perfect dress for every woman- it is just not the same one.

Dressing with success is like doing business- you are focusing on your body strengths and not weaknesses and combine with what makes you unique- one of kind! Therefore I decided to design with women's body shape in mind. My vision was to design dresses that women love to wear over and over again. So, quality in fabric and English Craftsmanship was key for me. Also, I didn't want to hold stock and decided to focus on made to order, which gives room for customisations and creating unique dress designs a. My dresses are modern classics with a sense of fun. I love colour and to use colour it not only for expressing yourself but also to use it as tool for creating visual balance in a woman's body shape. It allows each wearer the opportunity to add their own style signature and personality by wearing the same dress in a different way. In order to embrace the diversity in women's body shape in full our label Michaela Jedinak has created more than 70 dresses to suit women's body shape. My dresses will bring out the most powerful version of yourself.

So, go your own way, as you shape the world we live in- and while you are doing make sure that the outside is the reflection of being your own fashion expert and the most powerful version of yourself. Be true to yourself and be brave and strong doing it your way by dressing in your very unique way. Set your aim for individuality rather aiming being a bad copy of someone else.

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I've been involved in the plus size fashion world for over four years now as a style blogger. I've been a plus size woman for over 20. There is no getting away from the fact the industry, as a whole is highly politicised. Being a fat woman isn't always easy, so selling clothes to a fat woman can be a minefield. The shopping experience can be emotionally loaded, brands are dealing with women who might not be happy or confident, they might be in transition, hoping to lose lots of weight, or like my little corner of the world, boldly confident and gagging for the newest trends. Generally though, I think most plus size women want to be able to access clothes easily, at affordable prices that fit well. And even that can be difficult sometimes.

As a plus size blogger, even if you deny it, and say you're just in it for the pretty fashion, making yourself visible on an open forum like the internet is a political statement in itself. It is a well dressed, stylish two-finger salute to society. A society that, on the whole thinks you should be locked away, wearing a black sack until, one day magically you will emerge thin and acceptable. Until that day, you don't deserve respect, opportunities, love or kindness. Harsh, but true. It's a difficult arena and as such the plus size retailer can find themselves in a unique position.

Image bloggers own

Not only are they touting the latest fashions and keeping up with consumer demand like their smaller sized counterparts, they are also acting as cheerleader and encourager. There to reassure the not so confident amongst us, that it's okay to enjoy fashion and that you do deserve to treat yourself. But with that comes this sometimes overwhelmingly saccharine marketing ploy to 'beautify' the plus size woman and play to their insecurities. It's a daily onslaught of sickly sweet messages about inner beauty and being yourself. Which, on the surface is great - of course it is important to reassure plus size women they are beautiful, goodness knows the world has spent an awful lot of time telling us we're not, but, isn't it time we evolved from the 'poor little fat girl, we'll make it all better' marketing material? Isn't it time we were spoken to as equals, much in the same way our thinner sisters are? Isn't it time to see slick advertorials, or fun, carefree fashion focussed images?

I have been a size 32 right down to a size 20, I've always been fat, in various shapes and sizes, but I have also always been beautiful and that was never in question. I disliked my larger body because it was inconvenient, because the world I lived in didn't accommodate it. I couldn't find great clothes in my size, I always had to have a seatbelt extension on the plane, when choosing a chair to sit in at the pub or at a family barbecue, I would first survey it and decide if I would fit in it or if it would indeed take my weight. So I made the decision after years of dieting to have weight loss surgery, it wasn't easy and to this day I still suffer the devastating effects it has had on my body and health, but, cosmetically I can now fit in the chair, and do up the seat belt and buy better clothes. But despite all of that, despite my lack of access to things a thinner person takes for granted, I still knew I was beautiful, I still had an active love life, a well paying job and friends and family that loved me very much. You see, despite society's and the plus size fashion industry's preconceptions about the average fat girl, we are capable and ready for so much more. We are bold and bright and intelligent and worthy of dynamic communication and product and we want it now.

I am greeted, on a daily basis, by plus size women who are waving their hard-earned cash in the air, desperate to spend it on clothing, some want fast fashion, trend led pieces, others want classic, well made wardrobe staples that will stand the test of time. The plus size customer is just as complex and varied than that of the straight sized woman, yet it would still seem the industry is playing catch up.

So I put it to you, plus size purveyors of style and trends: Stop telling fat girls they're beautiful and start giving them what they really want, awesome quality, wide choice, well fitting fashion. We know we're beautiful, now give us the clothing to match.

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You may be finding it hard enough finding one wedding dress, but believe it or not, there is a new trend around, the two wedding dresses trend.

As weddings are becoming more lavish, a lot of brides-to-be are having wedding celebrations over several days or even two weddings. Poppy Delevingne wore Chanel couture for her London wedding and then opted for a totally different, but equally as beautiful Pucci bridal gown when she had another wedding in Marrakech.

Even if brides-to-be are only having one wedding, they can still choose to have two wedding dresses i.e. one more formal bridal gown for the ceremony and another more relaxed outfit (even wedding trousers) for the reception.

When Beatrice Borromeo married Princess Caroline of Monaco's son Pierre Casiraghi recently, she wore a Georgio Armani wedding dress for the religious ceremony and then changed into another dress by the designer later on for the reception.

Beatrice Borromeo is not only the high profile figure who changed into another wedding dress for her reception. Did you know the Duchess of Cambridge changed into another Alexander McQueen wedding dress for her reception?

Nobody can forget her absolutely stunning dress that was designed by Sarah Burton for Alexander McQueen for her ceremony to Prince William. However, you may not remember that she changed into a strapless gown by the same designer later on in the evening. The ivory satin gown was strapless and featured diamanté detailing around the waist. She wore a white angora bolero too. She also changed her hair and wore it completely down with no tiara or hair accessory.

One of the reasons why I think this two wedding dresses trend has come about is not only because weddings have become more lavish, but I also think it is because most brides-to-be have dispensed with the 'going away outfit' that they used to change into at the end of the reception before leaving for their honeymoon. Nowadays brides don't need a 'going away outfit' as they party on late into the night at their wedding reception and generally stay overnight before departing for their honeymoon the next day. I personally used to love the 'going away outfit' as it gave brides another opportunity to wear a dress or suit that was very elegant and obviously very different to what they wore ever day.

If you also loved 'going away outfit's but know it is not practical to wear one on your big day, we think you should definitely embrace the two wedding dresses trend. OK, to wedding gowns may dent your bank balance, but if you opt for a shorter dress, you could definitely wear it on your honeymoon too!

And even if you don't want to wear a shorter dress and just like the idea of having two wedding dresses on your big day, we think you should definitely embrace the trend. After all, if you do, not only will you be 'on trend,' but your 'engaged friends will undoubtedly follow in your footsteps

After all, who wants to be a fashion follower when you can be a fashion leader.

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