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Vintage has had a rocky ride to respectability. The Noughties saw the word become fashionable and then ubiquitous. Kate Moss paraded her Twenties flapper dresses, Topshop got in on the act, and vintage megastore Beyond Retro in east London became a hipster hangout. From T-shirts to tea sets, it became a watered-down label applied to anything second-hand. Now the pendulum has swung back: vintage is special again.
“Today, 'vintage’ is overground and it’s hard to find a town without a vintage clothes shop,” says Wayne Hemingway, designer and founder of Red or Dead, who has collected vintage since his youth. “But when I was growing up, wearing second-hand signified you were poor.”
Another long-term collector, Carmen Haid, gave vintage a respectable boost last year when she set up Atelier Mayer (atelier-mayer.com), an online emporium selling gems such as Halston from the Seventies and Nina Ricci from the Sixties. “I loved Net-a-Porter, but there was nothing like it for luxury vintage fashion. We have customers all over the world who buy our pieces because they want to look different, but want good service with it.” A shop opened to follow the website in Bayswater, west London, last summer.
Vintage at Goodwood and Atelier Mayer encapsulate the movement’s new image: polished, accessible and done with passion. They show that vintage can be relevant without being overhyped. But how do you class something as vintage?
“Strictly speaking, items have to be more than 25 years old,” says Haid. “We do take things up to the Nineties, but only if it is a fabulous piece.”
Hemingway sees the lines as more blurred: “I think it takes 20 years for something to look good. For me, it’s hard to class something from the Nineties as vintage. I personally wonder how anyone can be celebrating the Eighties again as, to me, it’s too recent, but it’s fresh to anyone under the age of 30. There’s nothing wrong with different generations interpreting vintage in their own way.”
Echoing New York’s established vintage scene, there’s a new breed of shops that offer well-chosen second-hand pieces at affordable prices, and with good shopping experiences. Wolf & Gypsy (wolfandgypsyvintage.co.uk), a new boutique in Brighton, offers an uncluttered selection in an airy, wood-floored shop. “Everything is hand-picked and I want customers to see that,” says Laura Pollard, Wolf & Gypsy’s co-founder. “I display the pieces to show off their character and charm, and the space makes for a pleasant shopping experience. These days, customers don’t want to visit a thrift shop that’s stacked to the ceiling.”
This appeals to the fashionable, time-conscious customer of today – and makes perfect sense. If you’re spending the same on a vintage dress as you would on the high street, you want the same level of comfort and service. These days, we don’t want to get our hands dirty finding bargains. Unearthing a forgotten gem is a hard task, which is why shops will often search on your behalf.
But for those who can’t stomach wearing cast-offs, however good a condition, vintage inspiration is never far away. Designer labels take endless cues from fashion that’s come before: just look at Chloé’s Seventies-esque trousers for autumn, Miu Miu’s Sixties-style minis or Louis Vuitton’s Fifties-look dresses.
Canny high-street brands, including Toast, Anthropologie and Fever, use vintage shapes each season. “We visit vintage shops and flea markets in New York, Los Angeles, Bangkok and Singapore for influences in both print and shape,” says Matt Barker, creative director of Fever (feverdesigns.co.uk). “A Forties dress can be inspirational, for instance, because they were cut on the bias to get the best shape possible. We might combine a Forties cut with a Seventies print, and end up with a dress that’s really interesting. Customers don’t always just want newness.”

Protect your skin Sunscreen is a must. I live in Australia so I’m used to thinking about the sun and its effects. When you’re buying make-up look for foundations with SPF already in them. Mineral make-up is especially good as it gives you coverage as well as sun protection. You should be looking for factor 15 and above.
Multitask Take multipurpose products on holiday. For cheeks and lips try a water-resistant tint so that you can wear it swimming. Top it up with a little gloss in the evening. You need to be careful, though, of wearing lip-gloss during the day as it can contribute to sunburn; most glosses don’t have any SPF. Try a light balmy lipstick if you don’t want to use a tint; the pigments will offer some protection.
Make-up that will last If you like to go swimming or you’re going to a very hot and humid place, you want make-up that will let your skin perspire but that still stays on. A lot of women, though they won’t admit it, go to the beach with make-up on. You don’t have to look made-up, but it’s nice to have a little coverage. For the face use a sheer tinted moisturiser, and concealer where you need it. To help your make-up be more water-resistant, lightly powder your face using a sheer colour, without any orangey tones. 
Easy on the eye I tend to wear less eye make-up when I’m on holiday. For subtle definition, use a black eyeliner on the inner top lash-line only. Lift up the eyelid with your finger and draw on the inside, so you don’t have any visible colour on the actual lid. It defines your eyes as if you’ve had your eyelashes tinted. I love tube-forming mascara – it’s a polymer that sits on your lashes, unlike regular mascara, which paints them. This means that the mascara won’t come off when you’re in the water. And it won’t give you panda eyes in the way waterproof mascara can.
As the sun goes down For warm, light evenings, illuminating products are really good to pack. A shimmer eye pencil and illuminating gel to use on your cheekbones are very handy. Add a bit more bronzer, and sculpt your cheekbones a little. Apply bronzer under the chin where you don’t tan – it will even things out. Peaches and corals are really flattering blushers. Gold is a great colour for eyes
Beach head You don’t want to do too much blow-drying or styling of your hair. If you do want a professional tousled look, use straightening irons, but twist sections of your hair around them so it kinks in areas. This is also good for frizz. Use a salt spray for instant volume and texture. I like the Solar Sublime range by L’Oréal – it’s especially good if you have dry, coloured hair.


Evening dresses of the 1820s were decorated with all types of fancy borders including rouleaux, the bands of bias cut fabric stuffed with wool or cotton that would provide additional body and shape at the hemline. In addition the hemline is decorated with a pinked silk ruffle above the rouleaux and above that a scalloped flounce accented with satin appliques that appear to be flower buds about to open. The dress has a slightly empire waistline with the bodice fitted with a series of three vertical darts on both sides of the bust.
The neckline is rounded and set off by delicate hand made lace and satin trim. The satin is carried around the neckline and extends in layered "petals" across the puffed short sleeves. Each petal is edged in lace and the sleeves are decorated with the same bud shapes and scalloped edging as is found at the hemline. Back closure with hooks and eyes. The sleeves are lined with a fine silk gauze that is deteriorated but this is not noticeable when on display.
The condition of this gown is remarkable! There is no shattering of the silk and only a few minor holes about the size of a pencil eraser are noted, a couple of which have been backed with tiny pieces of matching silk. There are also a few scattered and minor organic discolorations of the silk which do not detract and should not be unexpected on a piece of this age. Faint crescents of underarm discoloration are also present but again, do not detract. No noted weakness or deterioration of the fabric other than noted.


Ms. Madelyn Shaw (the Associate Curator of Costume and Textiles at the Rhode Island School of Design and Art) wrote a research paper on the Tirocchi Sisters, and touched upon this enigmatic designer, MARGUERITE, (with grateful assistance from another unpublished research paper by Filomena D'Elia of Washington, D.C..) I wish to thank and credit both of these ladies for this important information below on Marguerite's little known life plus works, to be able to describe the background of this special designer made this wonderful gown.
Ms. Shaw referred to this early, important, but nowadays not generally well-known but successful designer of the 1910s -1920s- late 1930's, Marguerite, (later on known as Madame Marge'). Marguerite's dressworks are noted in the research to be documented within the Fashion Institute of Technology, New York (in their Special Collections Library) possessing some of her original gown design sketches, trim clippings, and even dated photos of Marge' Models from 1921's, R. Mallinson's Blue Book of Silks. In the 1910s, Madame Marge' (or, Marguerite as we know her from this time period) appeared often in the American Silk Journal, and was featured for her excellent use, execution and styling of American silks.... MARGUERITE even won the Gossard Trophy from the Fashion Art League of America, (a very big deal in those days) for Excellence in Dress Design an amazing THRICE in a row (1915 to 1918)! For apparelling Ms. Marilyn Miller (of the Ziegfield Follies fame), Marguerite (Madame Marge') was awarded the Mallinson Cup for Excellence in Stage Costume Design, standing on her own alongside the works of the famed Erte's fabulous Zeigfeld Follies designs. Ironically, even with Marguerite's tremendous good press over her career, she'd managed to maintain a low profile, and so is believed to have chosen and preferred to make her living designing clothing predominantly for an exclusive, word-of-mouth clientele... (her name is noted to have never appeared in fashion magazines of the era, such as Harper's Bazaar or Vogue.) Interesting fact to mention also that her story had never been published like many of her more famous female contemporaries suchlike, Lady Duff Gordon (Lucile Ltd.). Now that you know a bit about this wonderful designer, Marguerite, I believe you can only appreciate how remarkably elegant and substantial this example of her earliest 1910 dinner gowns from her truly was!The use and execution of the silks employed in this truly classic, Edwardian dinner gown are exceedingly in the Paris style fashion, with uncommon and beautiful styling... yet, very true to what is usually considered a much plainer period in American fashion. The magnificent Edwardian bodice has a pointedly dropped "V" (Gasp...to the waist!) with loosely pleated, Bretell oversleeves (loosely overblown panel sleeves, as I have seen similarly styled in a "May Manton" fashion pattern) trimmed in yards of hand-made, one-of-a-kind self-fabric, tubular, "Rolleaux" style leaf motif patterns, even with dangling epaulet balls on shoulders, and large Rolleaux patterns directly on the breasts! (Oh my!) Back is decorated much like the front, and closes with hook and eyes.
The net under bodice appears to be made primarily of deep ecru Reticella/ Cluny needlework over net in combination, mixed with insertions of ground net/ with satin-stitched, hand-embroidered flowers, Irish crochet medallions, and woven, hand-knotted shadow lace made in the Valenciennes lace style- in an ode to Fall season wearing- a flowers-to-seeds motif. Very ornate and striking. There's metallic ribbons outlining the throat area, and elbows, ending in fancy, lacy "flowered" Chevrons at elbows and wrists.The ebony-black, soft, silk gossamer sheer overlay of this resplendent Edwardian gown is trimmed profusely in a keyhole pattern of shiny and smooth, Glace' silk taffeta with many, large, padded needlework crochet balls, and large, leaf patterns of yards of Rolleaux hand-knotted trimming, and 1910's styled era tucked hem pleats! Notice the intricate pleated pintucking around the waist to form a very structured, but faux corset, perfectly?! Wow- is all I can say... Marguerite was a REALLY talented designer- the folds all lay perfectly, molding smoothly into the softly flowing skirt to train! There is no underlining to the skirt (never was) so a dark petticoat was worn with this dress.
The inner bodice is made of net, with flexible, cream, twilled silk taffeta liner. You can see Marguerite's tenacious hand stitches inside in black- (this whole gown is a virtual testament to the old school of hand styling...) she made silk taffeta pleats inside at underarms to fill out and acetuate the sides of the bust, and between the breasts to add to the feminine ideal of the "monobust" phenomenon that had been all the rage. All her inner seams are curvy and hand-finished, and has featherboned stays lined in silk twill. There's a lace "Modesty Panel that could (or not be) used by tightening down, and it's edged in original, sturdy, high quality pink, silk satin ribbon. The cream, woven grograin silk satin Petersham at the waist says, "Marguerite, 49 West 39th St., New York" and attached with shiny silk thread in an "X" pattern. Has a quality overall weight and touch to the hand. A decent size 4-5, tall! This is a "WOW WOW" antique Couture gown!First, there is a very sheer, ultra fine, silk gossamer gauze inside of the sleeves/ outer underarms that have some small tears/ wearing. This liner should just be removed (or, relined with china silk or cotton net if desired). Personally, removing the sheer should just be enough. The inside of the bodice netting had been well replaced some time ago (long before me) and this stabilized the inside well enough that it could actually be worn. (I wouldn't remove this net although it is not original to the gown... In this case, if you did not know it was not original, you might not even realize it, so this fact makes it really not worth removing...) All the ecru needle lace is slightly dingy and has a few, tea-colored, tiny spots. Metallic pieces are darkened with age- related tarnish. Ideally, if a talented needle woman removed these lacy pieces and carefully hand cleaned them (removing the sheer sleeve lining at the same time) then replaced these sections- this gown would have almost a new appearance otherwise- the other silks used still glisten with lustrous good health. (No dryness or dry rot.)
The black sheer silk has a few pinholes (as to be expected), and a few vintage, woven mends on skirt. On bodice and skirt there's 2-4 of the black crocheted balls missing- they are almost impossible to make out as missing as the designs are so intricate. One might be able to replace these or make some, or move a few of the others if desired...again, I consider this to be minor. Silk Petersham, and all steel hardware strong, good working order, no obvious looseness, rust or tarnish. A real prize! One of the prettiest 1910 gowns you are ever likely to see, ever.

Early Clothing from the 1700s through the early 19th century including beautiful ball gowns, antique dresses, corsets, delicate petticoats and accessories of the time.
Victorian mantles and fancy evening garnitures, fancy day dresses from the pre civil war era through the bustle era, lingerie and other accessories of dress.
The Edwardian clothing section also features items from 1901 through 1919 including Titanic era dinner gowns and day dresses, evening wraps, sporting clothing and day dresses as well as lovely lingerie.
Flapper & Art Deco dresses can be found with special emphasis on ornate beaded flapper dresses and stylish art deco designs from the 1920s and 1930s. Included are dance
dresses and purses as well as metallic brocade dresses and evening wraps, chiffon dresses and many accessories.
Hi style Designer clothing from the 1940s through today can be viewed in the category for Designer & Other Eras. Creations by Hattie Carnegie, Bonnie Cashin, Helen Rose, Ceil Chapman and others will be found in this section.
In addition special selections will be found in the Hats, Shawls, and Shoes categories which feature accessories from all eras.
Textiles & Needlework features samplers, antique sewing implements and other handmade antiques, while fine quality antique Quilts are now featured on their own page.
Contentment Blog This is where we will post news aboutweb site updates as well as host articles and discussions about antique and vintage clothing and present an archive of previously sold items for study purposes.
This bob hairstyle shows how fine mid-length hair can be made to look thicker by blunt cutting just below ear level. This hair-style can be roller set and brushed through with a bristle brush to smooth or simply blow-dried with a round hair brush.





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| Nick Arrojo |
| DailyCeleb.com |
(New York) Celebrity hair 
Arrojo, previously of TLC's hit show "What Not to Wear," is an acclaimed stylist and educator in the business. His work is regularly featured in 
In 2003, he formed ARROJO education; and in 2007, he successfully launched the ARROJO product.
His first book, Great Hair, a self-help hairstyling handbook providing every woman with secrets for looking fabulous and feeling beautiful, was released in October 2008.
Born in Manchester, England, Arrojo's career began as a Vidal 
After 20 years in the industry, including stints as Creative Seminar leader for Wella International and Director of Education for Bumble and Bumble, New York, he opened ARROJO studio in Manhattan's SoHo district in 2001.
About Peacock Productions
Peacock Productions is an award-winning, nonfiction production company that combines the editorial expertise, technical resources and seasoned production talent of NBC News to offer a wide-range of programming to broadcast, cable and digital entities with worldwide reach.
Lady Gaga Teams Up With Beyonce, Wears New Gigantic Hair Piece Shaped Like Yellow Telephone
Lady Gaga who is famous for her eccentric hair 
The gigantic hair telephone was created out of yellow hair extensions. Adding to the drama of the yellow telephone hairpiece Gaga, who plays a waitress in a diner, adds a gigantic plastic chef's hat. Gaga is teamed up with 
Last year Gaga popped in as a guest for Beyonce's remix of "Video Phone." Keeping her video completely edgy Gaga showcases an American flag bandana with a matching bikini after the initial waitress outfit. A source told The Mail that Gaga was inspired by Quentin Tarantino.
Distraught by the sudden death of her friend, fashion designer Alexander McQueen, the blonde superstar performed a less theatrical version of her "Telephone" at the London Brit Awards which she dedicated to him. Although sad about McQueen, Gaga went on to win best International female artist, best International breakthrough act and best International album for "The Fame".
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| Mel B |
| DailyCeleb.com |
Mel B, known as Scary Spice, 34, of the former Spice Girls is famous for her large personality, fashion styles and hairstyles. She recently appeared in the UK with a brand new partially shaved hairstyle which definitely got attention from the International media.
Of course Mel B is not setting a new hair trend, she's following the lead of Rihanna and others who have been incorporating partial shaved scalps into their hairstyles.
The former "Dancing With The Stars" contestant had the right side of her scalp shaved. She decorated the scalp section with twinkling stars.
Although Cassie was the first to kick off the razored hairstyle in the Summer of 2009, she was followed by Rihanna, model Alice Dellal and Amber Rose, the girlfriend of Kanye West. Mel B gave her own daughter, Angel Iris, a rock chick Mohican haircut last summer.
Although Mel B has not commented about her new shaved do, she was reportedly all smiles when she and film producer husband Stephen Belafonte landed recently at LAX Airport.
Mel B partnered her new shaved hairstyle with big shades and bold necklaces.
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Some of us are born collectors. We can’t help it; we see, we want, we collect. I own collections of collections—tiny boxes, cat figurines, 

But some of my collectibles are more ornamental than others, especially my antique hair comb collection. I have them mounted on a long piece of celadon brocade, and display them as a wallhanging.
I’ve always loved long 
They are not always easy to find, and the fourteen I own have come from many different places. Most of them are made from tortoiseshell (which you cannot find now, and a good thing, too, for the poor turtles), and some are adorned with rhinestones and carvings.
From the top, #1, the largest one, curved with 21 remaining teeth, was found in a rummage basket at a small town flea market. It was clearly made for holding up heavy hair in the back, and it is a lovely deep honey-amber color. I think I paid something like $5 for it; I don’t think the woman who owned it recognized the treasure it was.
The two tiny combs, #2 with clear rhinestones and #4 with bright green ones, were found as a set in an antique shop in Portland, Maine.
I was having one of those “I got to get away/I got to get awa-a-ay” days,
and had taken off for the coast.
At the time, I had grown my hair out to chin-length, and wanted to try using combs to hold back the hair over my ears. Well, that look did nothing for me, but I loved the combs.
As the store was one of those fancy-shmancy ones, I paid about $45 for the pair of them. But it was love at first sight; what could I do?
The center comb, #3, beautifully carved and set with blue brilliants, was found in a friend’s grandmother’s backroom in a box jumbled up with an assortment of oddments.
I pounced on it, and offered to pay my friend just about anything for it.
It ended up costing me nothing but a trip to the movies, popcorn, Cokes, and Milk Duds, my treat. The two round-top combs, #5 and #6, are set with rhinestones. These two, plus #11, cost me an afternoon of cleaning out my then boyfriend’s mother’s walk-in closet.
On that same day, she also gave me a pair of marble-sized pearl 

The oval 
She had gorgeous knee-length auburn hair when she was young, and I like to think of that lovely tortoiseshell comb with its intricate carving gracing that vibrant hair.
Note: Speaking about my grandmother’s long auburn hair, I have to insert one of my favorite stories about her. To say she was willful, stubborn, and opinionated is like saying that the ocean holds several bazillion cups of water.
Just before my grandparents were married, my grandfather used to like to watch her to brush out her hair. As he was enjoying the sight of that rippling titian mass, he said, “Phyllis, don’t you ever cut your hair!”
She snapped back, “NO ONE tells me what to do!” and with that, picked up the shears, cut it all off below her ears, and threw the shorn hair at his feet. He married her anyway. She knew he would.
The tiny bow-shaped barrette, #8, #12, a large barrette with the back broken off, and #13, with the curved rhinestone top, came from a church white elephant sale.
I paid about $15 for the three of them, and I remember the lady who sold them to me also made me take an unopened box of ladies linen hankies. I guess she thought that anyone buying hair combs would automatically be lady-like enough to appreciate hankies as well!
The little hourglass-shape barrette, #10, one of the lightest in color, belonged to a friend’s aunt.
Years ago, a dear sister of hers wore it constantly, and when the sister died tragically of pneumonia at age 11, the barrette was put away for good. I think it made my friend’s aunt glad to know that it would be out on display again.
My favorite, #14, was used to adorn a chignon. I’ve always loved its warm amber color, and as always I like to imagine who wore it and what their hair looked like.
This one came to me from a vintage clothing shop in Tamworth, NH, where I spent an unforgettable summer as an ingnue in summer stock. My own hair was never long enough to wear it, but I did own a genuine hair fall that I wore to play Jane in Jane Eyre. It certainly gave a better performance than I did!
So, there you have it—this is my collection to date. During a recent visit, my mother kindly re-arranged the combs on the brocade, some of which had come loose from random abuse from my cat, Blackie.
After giving Blackie a good talking-to (which did no good at all), Mom re-sewed the combs to the brocade, and we hung it a lot higher. They make a great conversation piece, and they are definitely unique.
If you are interested in collecting antique hair combs, you might want to check out this web 
You may also be able to scare some up at online auction sites: www.ebay.com and www.yahoo.com/auctions. Happy hunting!
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