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Snowlions Dancing on Clouds by Thomas L. Guta

Finding the core of weaving in Tibet is like unravelling a tangled skein. Loosening and loosening the loops and catches; getting down to the very heart of the knot, its nub, and seeing it to be but a single strand. The realization dawns that nothing was ever there. This is the empty ground, the field of the rug upon which fertile imaginations played.

The Tibet Artisan Initiative and the Dropenling Handicraft Development Center by Claire Burkert and Tony Gleason

In the heart of the old Tibetan quarter in Lhasa, just a ten minute walk from the Jokhang temple, is the Dropenling Handicraft Center. The Tibetan word “Dropenling” means “giving back for the betterment of all sentient beings, ” and Dropenling has achieved its purpose by giving back to hundreds of Tibetan craftspeople all over the Tibet Autonomous Region. Because it sells crafts made only by Tibetans, Dropenling has been popular with tourists who want to purchase authentic Tibetan crafts such as textiles, painted wood boxes and trays, stone carving, leather bags, jewelry, carpets and dolls and toys. In 2007, Dropenling became a self-sustaining business whose profits are re-invested into further support of the Tibetan artisan community.

Although many products in Lhasa and internationally are marketed as Tibetan, most are actually manufactured outside the TAR by non-Tibetan peoples. Moreover, Chinese artisans and business people are settling within Tibet to produce and sell jewelry, statues, prayer wheels and other traditional Tibetan Buddhist items for which there is a steady local demand. Less familiar with enterprise development and marketing, Tibetan artisans are facing difficulty earning income from their crafts skills. The Dropenling store is the brainchild of the Tibet Artisan Initiative (TAI), a p a project of the Tibet Poverty Alleviation Fund (TPAF), a U.S.-based 501(c) 3 non-profit NGO (Non-Governmental Organization) founded in 1997. In addition to providing a steady market to Tibetan artisans through the Dropenling store, TAI has developed a number of programs that address problems and issues faced by the artisans today.

The Future of Nepal’s “Living” Goddess: Is Her Death Necessary? by Deepak Shimkhada

Many sensational articles have recently appeared in the Western media, some with titles such as “Kumari in Peril,” “Kumari Sacked from Her Throne,” “Nepal’s Living Goddess Retires,” and “Nepal’s Living Goddess May Die Soon.” The last title may prove to be prophetic because Kumari, as a tradition, is about to become extinct, if elements of Nepal’s new government and some Western human rights groups have their way.

Global Nail Fashion

Welcome to ImagiNail! ImagiNail has introduced the concept of Nail fashion to the global nail care industry. From Harrods in London and the Galleries Lafayette in Paris, to salons in Milwaukee, Wisconsin; Sacramento, California; Staten Island, New York; and hundreds of other markets across the country, ImagiNail has introduced a new personal fashion statement. It's called Nail Fashion and it's the biggest news in nail care in the last decade. And, it is only from ImagiNail. Only the Nail Fashion Printer^TM can apply high quality fashion images - in vibrant color and photographic clarity - directly onto natural or artificial nails in seconds. Learn how ImagiNail can make you a nail fashion expert exciting your clients and opening a whole new business opportunity.

"The Nail Fashion Printer is a 'must have for every salon'. In the short time I've had my Nail Jet Pro, I have increased my business by 50%. My customers can't get enough!"
Sally Emerson, Sall-E's Nail Design

Color my world

Sometimes, the impetus to paint boils down to economics: Homeowners can increase curb appeal in a tight real estate market by painting.
According to a recent Home Gain survey of 2,000 Realtors, lightening your walls can bring as much as a $1,000 increase in your price -- a 769 percent return on the cost of painting a room, according to Black & Decker.
So, what are color experts saying is "in"?
Don't look for common terms such as red, orange, yellow, green, blue, indigo and violet. Marketing departments add zest to these spectrum standbys.
Names include, respectively, burning love, sorto, solstice, crocodile tears, star spangled, forget-me-not and blackberry jam.
Yellow is increasingly popular. Benjamin Moore & Co. touts its "zesty citron yellow" with a touch of green, called St. Elmo's Fire 362.
"Yellow radiates pure warmth and energy like no other color," Benjamin Moore spokeswoman Eileen McComb said. "A luminous tone like St. Elmo's Fire projects a sophisticated, intimate personality and is suggestive of freshness."
Working in its favor, McComb said, is its hint of green.
"It must work well with neighboring colors," she said. "It's that hint of green that is the key to its compatibility with other hues."
Yellow has come a long way since the days it was isolated in the kitchen.
"While it's still an ideal choice for that space, it now is equally acceptable to apply it anywhere and everywhere throughout the home," McComb said.
White walls "are pretty much out of the picture," said Bradley Veneklase, associate broker for Parkland Properties, which operates Union Square and The Boardwalk condominiums in downtown Grand Rapids.

Fresh paint can increase the value of a house

Maybe it's the post-summer doldrums or a race to get ready for holiday entertaining, but color experts say more people paint their homes in October than any other month.
Whether inside or outside, cooler temperatures, sunny skies and mild breezes to dissipate fumes make October ideal for painting.
With thousands of colors and styles available, selecting the right look for a room or entryway often takes longer than the project itself. Consider these things:
RESOURCES
• For what's new in color trends and styles, visit prattandlambert.com.
• Looking for textures and patterns? Visit valspar.com.
• A good source for information on painting the house, including how much paint to use is the Rohm and Haas Paint Quality Institute at paintquality.com/index.html.
• To see new products to make painting easier, visit shurline.com.
• The October/November issue of Fine Homebuilding Magazine explores the quality of paints. See it online at taunton.com/finehomebuilding/design.
• In addition to colors, be it cowslip 4 (yellow) or ivy wreath (green), there also are textures. Selections include venetian plaster, brushed suede, metallic, granite crystals and anything that starts with "faux."
• Behr, Valspar and Benjamin Moore offer online assistance and interactive help in picking paint. The "Never Compromise" Color System from Pratt & Lambert Paints includes ways to decorate with 1,056 colors.
• Painting tools have been updated, including painter's tape, brushes, rollers and items that eliminate the need for painter's tape.
• A trim tool and tray combo from Zibra (enjoyzibra.com) eliminates the need for tape, while a roller tool ejects paint-laden roller sleeves with the press of a button.
• Paint rollers coated with Teflon may cut painting time by 30 percent and make clean-up easier. Teflon-coated products from Newell Rubbermaid Co.'s Shur-Line division increase roller paint pick-up and release. Paint cleans easier from Teflon-coated rollers, so it's less tempting to throw it out.
• There's an interior design tool called the E-Z Decorator System to help you create quality designs and see what they'll look like before paint touches the wall (ezdecorator.com).
• Obnoxious paint fumes have decreased steadily with government regulations limiting the release of volatile organic compounds, known as VOCs.
Now you can buy paint with no VOCs. ICI Paints North America says its Freshaire Choice paint has no VOCs in the base or colorant (thefreshairechoicepaint.com).

Beautifully modest

In an 820-square-foot space in West Dearborn, Mich., amid a jeweler, a shoe repair and a spa, Samaher Mohammad walks among garments of silk and organza, chiffon and crinoline.
She touches the tulle of a kimono-inspired abaya, an everyday Islamic dress, and the embroidery of a thoub, a formal Islamic dress.
Over days and weeks and months, the 27-year-old designed these gowns, dresses of lace and beading and Swarovski crystals - Arab in their array of color, Islamic in their modesty and American in their silhouette.
They exude fun and creativity yet mesh with the conservative standards sought by many Arab-American Muslims like her. (She veers away, for instance, from hemlines that rise too high or necklines that plunge too far.)
Her repository consists of about 30 gowns, made with fabric from Jordan to Kashmir, which she used to launch the grand opening of her store in August.
With each stitch, Mohammad has woven in a part of herself. The magenta and turquoise and fuchsia reflect the colorful Mediterranean culture of her family's heritage. The embroidered patterns hint at distinct Arabic geometry and calligraphy.
"My culture," she says, "is embedded in my designs. I get inspired by who I am."
Zaynini, the store's name, means "make me beautiful" in Arabic, which is exactly how Mohammad wants women to feel when they slip on her gowns.
Mohammad knows that, given the state of the local economy, it's not the most auspicious time to launch a new business, but she speaks with a friendly, direct confidence.

Isabelle de Borchgrave's paper dresses

They take hours and hours to make, and then, when they're finally finished, you can't even wear them. Welcome to the eccentric world of Isabelle de Borchgrave, an artist who creates exquisite replicas of historical dresses, with one material difference - they're paper. By Eithne Farry
Tucked away behind an unassuming double-garage door on a quiet street in Brussels is the beguilingly obsessive world of the artist Isabelle de Borchgrave. Her studio, a big cluttered space with dim light and concrete floors, is dominated by a group of exquisitely dressed mannequins. One is wearing an Elizabethan gown in rich chocolate brown and cream with old gold detailing, baroque pearl clusters and age-worn lace cuffs and ruff. There's a Madonna figure from a Lippi painting draped in a full, blue cloak and red gown, and a dapper page-boy tricked out in a cape of dark brocade with a matching hat. And a larger-than-life figure wearing an ornate wedding dress in taupe silk-taffeta, sprinkled with pearls. They are remarkable costumes, beautifully constructed - and made entirely out of paper.

De Borchgrave, in complete contrast to her ornate work, is dressed in a simple blue top and trousers, her hair an unruly mix of short curls. She darts over to the long worktable that runs down the centre of the studio and plucks a piece of white paper from a pile. 'It all starts from this,' she says. This is not an expensive sheet of deluxe parchment from a Parisian papeterie, but a rustling scrap of pattern paper that you could pick up for a couple of pounds in the John Lewis haberdashery department. It takes de Borchgrave and her assistants 'hours and hours and hours' of painting, playing, scrunching, gilding and gluing to transform plain paper into a dress that evokes a red, pleated Fortuny Delphos dress or a trompe l'œil Marie Antoinette gown. 'It's magic,' de Borchgrave says, 'a dream.'
The atmosphere in the studio is, indeed, one of dreamy industry. One of de Borchgrave's assistants is painstakingly constructing a pair of boots with layer upon layer of paper, while another is printing a 'shower of hail spots' on to three and a half metres of lens-cleaning paper. 'It's a veil to go with the wedding dress,' Dora explains, as she stencils the spots on with a roller. The veil is light and pretty with painted scalloped edges, but it's not exactly practical.

L.A.Fashion Week

THE BIRTHPLACE of haute denim and home to red carpet events that beam celebrities in designer gowns into millions of homes from Burbank to Belfast, Los Angeles is unique in its ability to serve up clothes that are not just coveted from afar but are worn by real people. Add to that the 24/7 celebrity exposure of every bag and shoe that steps out to Coffee Bean & Tea Leaf, and the City of Angels is arguably the most influential style city in the world.And yet, Los Angeles Fashion Week has never really taken off, partly because organizers have tried to make it fit the template of other fashion weeks around the globe, where success is a front row stocked with retail buyers and New York magazine editors. Because it's being judged by that yardstick, it falls short, and many influential local designers see no reason to show their work here. It also suffers from being an industry-insiders-only club in a city that thrives on pleasing the masses.

So brothers Dean and Davis Factor's announcement this week that the Mercedes-Benz Fashion Week at Smashbox Studios -- which kicks off today in Culver City -- would be the last under their five-year partnership with events producer IMG (which organizes fashion weeks in New York, Miami, Berlin and Mumbai, India, among other cities) provided an opportunity to dream. What would Los Angeles Fashion Week look like if it were built from the ground up, instead of being cobbled together from competing events, as the 10-season IMG-Smashbox partnership was when it launched in March 2004? What kind of showcase would play to the strengths of L.A.'s $33-billion-plus apparel business at the intersection of popular culture and popular fashion?In the spirit of fantasy football, the Image staff has created a "fantasy fashion week." It's a modest proposal that could raise as many logistical problems as it solves. But it rethinks the basics -- the key elements that have the power to establish Los Angeles Fashion Week as a must-see for the design world and beyond. What would that take?

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Bengali Dress

Dress References to the use of clothing in the Gangetic plains appear in the records of the Rig Veda, Artha Shastra and upanisads. Earlier records in the mahabharata and the ramayana carry important references to fabrics and the attire of legendary heroes, describing their dress for rituals, ceremonies, hunting as well as the attires of holy mendicants and brides. Excavation at ancient sites of the Indo-Gangetic civilisation revealed spinning and weaving gadgets and dyers' vats. Clay and stone figurines and statuary from these sites provide representation of the dress worn by commoners, kings and queens. Medieval writings by the Chinese travelers to Bengal, fa-hien (5th century AD) and huen-tsang (7h century AD) provide details of the clothes worn by the people. The excellent terracotta plaques unearthed at dinajpur and mainamati (8th to 12th century AD) in East Bengal also testify to the social and cultural life of those times.

Stone and terracotta sculptures of ancient India at Sanchi, Bharat, Amarawati, Orissa and the exquisite terracotta of kantanagar in Dinajpur, and Mainamati in comilla, throw ample light on social conditions during ancient and medieval periods. These stone and clay figurative works are a rich source of information of the dresses of the people and the nobility. Female figurines display loincloths of varying lengths held up by cords or girdles and some display shoulder drapes. Men figurines wear tightly clinging dhutis and sometimes shoulder drapes. Headdress and ornaments depict elaborate styles. Some garments bear patterns indicating embroidery or weaving. Warriors and attendants wore tunics, long cloaks, waistbands, turbans, headscarf and kilts. Enormous bangles, armbands, anklets, necklaces and earrings cover many figurines, even where the dress is scant.
In kalidasa (500 AD) references are made to the dress of hunters, ascetics and mendicants. Materials described indicate fabrics for hot and cold weather. silk is mentioned under the name cinamsuki, which etymology suggests that it was imported from China. Descriptions of cloth so fine that it could be blown away by a breath indicate that the production of Gangetic muslin took place in antiquity.
The impact of Muslims on the dress and culture of the subcontinent reached the remotest hinterlands as early as the 15th century. Muslim invaders before the Mughals, the Sultans and Khans wore tight fitting trousers, a long coat tight at the waist but flaring out in a full skirt, and with tight sleeves. Turbans were tied around the head and were five cubits in length. Women's clothes were similar and included caps. Such clothes were referred to as Tartaric (Tatoriyat). The caps of both women and men were four-cornered in shape and ornamented with jewels in a style that is seen even today in Tadjikistan, Uzbekistan and other Central Asian States. Women plaited their hair, as was common in Turkey, Egypt, Syria and Central Asia, binding the hair with silk tassels. Both sexes wore belts and shoes, embroidered in gold and silver thread. The judges and scholars (ulema) wore ample gowns (farajiyat) and also Arabic garments.

. As cultural functions demand indigenous dress, the kurta-pyjama or punjabi-pyjama are still in common use, with or without waistcoats. For office and workplace trousers with open-collar shirt are commonly worn. Working class people of all religions still prefer the lungi-genji, the sewn sarong and short-sleeved cotton vest, as a daily garb. Both rural and urban common people wear the climatically suitable lungi-genji or lungi with shirt, which has been the unofficial national dress of Bengal for centuries. Middle and upper class men wear the lungi at home, usually with stylish punjabi.
This has led to a whole range of products in cotton day-dress, using all the formats of block print, hand and machine embroideries, screen print and dressy evening combinations in lace, silk, brocades, tissues and velvets. Jamdani dopattas, Tangail hand-loomed dopattas and muslin dopattas or orhnas are worn according to the choice of dress.
Women's hairstyles have witnessed noticeable changes since the 1980s. Women traditionally made their long hair up in a coil or khopa, and girls wore braids and plaits, but now they took to varying their hairstyles. Access to media has brought in other fashions and beauty parlours now offer services to trim and perm hair to suit the latest international trends.
Urban women's dress fashions are subject to change on an annual basis, but the sari remains a perennial favourite. [Perveen Ahmed]
Dress of the tribal people The tribal communities of Bangladesh usually make their own clothes for their dresses. Almost every family has a loom. In the chittagong hill tracts the fabrics made by the tribal people in their own looms are very colourful. They make sheets, thin towels, dress material, carpets and carrying bags. Traditionally, tribal people have used cotton produced by them on the hill slopes and they themselves have made the yarn for weaving and used natural colours for dyeing. These days, however, they buy yarn and dyes extensively from the market. Dresses for women are full of attractive and colourful designs.
chakma women cover the lower part of their body with a piece of loincloth or lungi with unstitched end. This measures 4BD cubits by 2BD cubits. It is also called pinon. One end of the pinon has designs and is called chabuki. While wearing the pinon, chabuki is always placed on the left. The upper part of the dress is called khadi and measures 3BD cubits by 2BD cubits. The main dress of marma women is called thami, which is like a lungi with an unstitched end. The thami is full of colourful traditional designs. Marma men wear a full-sleeve or half-sleeve blouse or angi. They also love to wear a white turban or khobong. The men wear lungis made of coarse cloth and a shirt without collar but having several pockets. The older men wear white turbans.
tripura women these days wear renai, which is like an open lugni measuring 4BD cubits x 2BD cubits. Renai has broad black borders with red field. Tripura women wear risa at the chest, which is an unstitched piece of cloth 3 cubits x 1 or BD cubit. It displays a variety of designs of birds, butterflies, flowers and leaves. They often use tatting with tiny beads at both ends. Elderly women wear a white cloth as turban. Tripura men wear a loincloth, a thin towel and a white turban. Originally, Tripura men used to wear a turban and a piece of cloth to cover their body up to the ankle. In winter they wear a jacket-like dress.
tanchangya women wear five kinds of dresses: pinon, khadi, junnasilum, fa-dhari and khobong. Their pinons have no borders but have colourful designs on red ground. Their pinons have broad black boarders but with a short width. The khadi worn by Tangchangya women at their chest is similar to the khadi of Chakmas. Their khadi is of two types-phool and ranga. garo women wear the gena, which is their ancient dress. It is an unstitched piece of cloth like lungi that covers the body from the waist to the knee. It has colourful striped designs. The Garo dress dakmunda or ganna dakka is like gena but it extends below the knee. Dakmunda is a designed piece of cloth made in handloom. It covers the entire lower part of the body. These days dakmunda cloth is made in various designs and colours. The eyes in the designs reflect a religious belief. When necessary, Garo women also wear full-sleeve vests. They also use gamchha or a thin towel as a wrapper. Educated Garo women, many of whom now live in the plains, prefer to wear sari.

khasia women wear as a blouse ka-jimpin, jamata or nimakti. They buy cloth from the market to make this dress. The dress for the lower part of their body is called ka-joinsem or chusem. It is worn like a lungi and is usually made of printed cloth. Once upon a time the ka-joinsem worn at festivals used to be made of silk or muga yarn. The women wear a sleeveless long dress called jamapo. Usually this kind of dress is made of cloth of a single colour. The scarf worn by Khasia women is called chusut. It is knotted over the left shoulder after it passes under the right hand. Khasia men wear a pocketless dress called fung marung, which is like a fatua. With the fung marung they wear a lungi. Both women and men wear a belt at their waists. Their ancestors used to wear a kind of cap and turban. The wealthy men used to wear knickerbockers, socks, boots, waistcoats and caps. [Jinat Mahrukh Banu]

Clothing

The habit of people continually changing the style of clothing worn, which is now worldwide, at least among urban populations, is generally held by historians to be a distinctively Western one.[dubious – discuss] At other periods in Ancient Rome and other cultures changes in costume occurred, often at times of economic or social change, but then a long period without large changes followed. In 8th century Cordoba, Spain, Ziryab, a famous musician - a star in modern terms - is said to have introduced sophisticated clothing styles based on seasonal and daily timings from his native Baghdad and his own inspiration.

English caricature of Tippies of 1796
The beginnings of the habit in Europe of continual and increasingly rapid change in styles can be fairly clearly dated to the middle of the 14th century, to which historians including James Laver and Fernand Braudel date the start of Western fashion in clothing.The most dramatic manifestation was a sudden drastic shortening and tightening of the male over-garment, from calf-length to barely covering the buttocks, sometimes accompanied with stuffing on the chest to look bigger. This created the distinctive Western male outline of a tailored top worn over leggings or trousers which is still with us today.

The pace of change accelerated considerably in the following century, and women and men's fashion, especially in the dressing and adorning of the hair, became equally complex and changing. Art historians are therefore able to use fashion in dating images with increasing confidence and precision, often within five years in the case of 15th century images. Initially changes in fashion led to a fragmentation of what had previously been very similar styles of dressing across the upper classes of Europe, and the development of distinctive national styles, which remained very different until a counter-movement in the 17th to 18th centuries imposed similar styles once again, finally those from Ancien Régime in France.[4] Though fashion was always led by the rich, the increasing affluence of early modern Europe led to the bourgeoisie and even peasants following trends at a distance sometimes uncomfortably close for the elites - a factor Braudel regards as one of the main motors of changing fashion.[5]
The fashions of the West are generally unparalleled either in antiquity or in the other great civilizations of the world. Early Western travellers, whether to Persia, Turkey, Japan or China frequently remark on the absence of changes in fashion there, and observers from these other cultures comment on the unseemly pace of Western fashion, which many felt suggested an instability and lack of order in Western culture. The Japanese Shogun's secretary boasted (not completely accurately) to a Spanish visitor in 1609 that Japanese clothing had not changed in over a thousand years.[6] However in Ming China, for example, there is considerable evidence for rapidly changing fashions in Chinese clothing,[7]

Albrecht Dürer's drawing contrasts a well turned out bourgeoise from Nuremberg (left) with her counterpart from Venice, in. The Venetian lady's high chopines make her taller.
Ten 16th century portraits of German or Italian gentlemen may show ten entirely different hats, and at this period national differences were at their most pronounced, as Albrecht Dürer recorded in his actual or composite contrast of Nuremberg and Venetian fashions at the close of the 15th century (illustration, right). The "Spanish style" of the end of the century began the move back to synchronicity among upper-class Europeans, and after a struggle in the mid 17th century, French styles decisively took over leadership, a process completed in the 18th century.[8]
Though colors and patterns of textiles changed from year to year,[9] the cut of a gentleman's coat and the length of his waistcoat, or the pattern to which a lady's dress was cut changed more slowly. Men's fashions largely derived from military models, and changes in a European male silhouette are galvanized in theatres of European war, where gentleman officers had opportunities to make notes of foreign styles: an example is the "Steinkirk" cravat or necktie.

The pace of change picked up in the 1780s with the increased publication of French engravings that showed the latest Paris styles; though there had been distribution of dressed dolls from France as patterns since the 16th century, and Abraham Bosse had produced engravings of fashion from the 1620s. By 1800, all Western Europeans were dressing alike (or thought they were): local variation became first a sign of provincial culture, and then a badge of the conservative peasant.[10]
Although tailors and dressmakers were no doubt responsible for many innovations before, and the textile industry certainly led many trends, the history of fashion design is normally taken to date from 1858, when the English-born Charles Frederick Worth opened the first true haute couture house in Paris. Since then the professional designer has become a progressively more dominant figure, despite the origins of many fashions in street fashion.
Modern Westerners have a wide choice available in the selection of their clothes. What a person chooses to wear can reflect that person's personality or likes. When people who have cultural status start to wear new or different clothes a fashion trend may start. People who like or respect them may start to wear clothes of a similar style.
Fashions may vary considerably within a society according to age, social class, generation, occupation sexual orientation, and geography as well as over time. If, for example, an older person dresses according to the fashion of young people, he or she may look ridiculous in the eyes of both young and older people. The terms "fashionista" or "fashion victim" refer to someone who slavishly follows the current fashions
One can regard the system of sporting various fashions as a fashion language incorporating various fashion statements using a grammar of fashion. (Compare some of the work of Roland Barthes.)

Fashion

Fashion refers to styles of dress (but can also include cuisine, literature, art, architecture, and general comportment) that are popular in a culture at any given time. Such styles may change quickly, and "fashion" in the more colloquial sense refers to the latest version of these styles. Inherent in the term is the idea that the mode will change more quickly than the culture as a whole.
The terms "fashionable" and "unfashionable" are employed to describe whether someone or something fits in with the current or even not so current, popular mode of expression. The term "fashion" is frequently used in a positive sense, as a synonym for glamour, beauty and style. In this sense, fashions are a sort of communal art, through which a culture examines its notions of beauty and goodness. The term "fashion" is also sometimes used in a negative sense, as a synonym for fads and trends, and materialism. A number of cities are recognized as global fashion centers and are recognized for their fashion weeks, where designers exhibit their new clothing collections to audiences. These cities are Paris, Milan, New York City, and London. Other cities, mainly Los Angeles, Berlin, Tokyo, Rome, Miami, Hong Kong, São Paulo, Sydney, Barcelona, Amsterdam, Madrid, Montreal, Vienna, Auckland, Moscow, New Delhi , San Juan, Dubai and Dallas also hold fashion weeks and are better recognized every year.

Design your own Wedding dress

Info.........

The Wedding Dress Creator originally began as a site dedicated to our basic wedding dress design program. The program itself found a good-sized fan base, even garnering our local newThe Wedding Dress Creator originally began as a site dedicated to our basic wedding dress design program. The program itself found a good-sized fan base, even garnering our local news affiliate's 'Site of the Day' status (Fox News Chicago - October 2006) It was not until recently that we had the inclination to offer up a bit more to our 1,500+ daily visitors based on our experiences in getting married just a short six years ago. In fact, in our family that year, our poor mothers experienced a total of five weddings in the span of seven months(!) seeing two sons and three daughters wed.
Having ourselves gone through one of those weddings, we saw it fit to impart a little bit of wisdom that we wish we were given when we first wed. Thusly, WeddingDressCreator.com has become more than just a site that lets you develop your wedding dress online.
Whereas before this site consisted of just the Wedding Dress Creator program and the neckline/silhouette guides, we have since revamped it to include a plethora of other related pages for your perusal. Most notable are the product sections where we highlight essentials and accessories (including for him and for her).
Oths affiliate's 'Site of the Day' status (Fox News Chicago - October 2006) It was not until recentl

y that we had the inclination to offer up a bit more to our 1,500+ daily visitors based on our experiences in getting married just a short six years ago. In fact, in our family that year, our poor mothers experienced a total of five weddings in the span of seven months(!) seeing two sons and three daughters wed.
Having ourselves gone through one of those weddings, we saw it fit to impart a little bit of wisdom that we wish we were given when we first wed. Thusly, WeddingDressCreator.com has become more than just a site that lets you develop your wedding dress online.
Whereas before this site consisted of just the Wedding Dress Creator program and the neckline/silhouette guides, we have since revamped it to include a plethora of other related pages for your perusal. Most notable are the product sections where we highlight essentials and accessories (including for him and for her).
Other miscellaneous articles include suggestions on the "Private Gift Exchange", should you and your soon-to-be spouse consider doing that on your rehearsal night. Now's the time to start creating your own traditions if you haven't already!
Miscellaneous...
WeddingDressCreator.com went live on July 13th, 2006. Since then, over a half million people have downloaded the "Design Your Own Wedding Dress Online" program.
WeddingDressCreator.com is cross-linked to these quality "Dress-Up" websites:
www.DressUpGames.comwww.CartoonCritters.comwww.Fashion-Game.com

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London Art Furniture

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