The National Museum is considered to be an ancient monument and historical site in Malaysia. The museum, located in Jalan Damansara, Kuala Lumpur, was opened by the Head of State on 31 August 1963.
Situated close to the Lake Gardens, the museum is also known as Muzium Negara; it features a palatial structure, blending in elements of both traditional Malay and modern design.
Built by the British and Selangor governments in 1898 following the formation of the Federated Malay States in 1896, the museum has over the generations acted as a rich source of the nation’s diverse cultural and historical heritage.
The Federated Malay States was a federation of four protected states in the Malay Peninsula, comprising Selangor, Perak, Negeri Sembilan and Pahang – it was established by the British government in 1895.
Britain was given the duty of taking care of all its foreign affairs, as well as participate in the defence of the federation. It wasn’t Imperialist rule at its best however, because the states continued to be in charge of their domestic policies; the capital of the federation was Kuala Lumpur.
World War II saw the right wing of the museum bombed by the Allied Forces, so for a period of time the museum’s collection was shifted to the Perak Museum in Taiping.
The left wing of the museum reopened after the war and continued to function as a historical site, while the remaining of the museum was rebuilt with the new, present-day structure.
The architect of the museum, Ho Kok Hoe, was inspired by Malay royal palaces and architecture in Malaysia. Displays and exhibits in the museum focus on local history, culture and traditions, as well as arts and crafts, economic activities, local flora and fauna, weapons and currency.
Items include selected pieces from the Bronze Age, the Iron Age, colonial history and the Muslim sultanate of Malacca.
There are a number of outdoor displays of transportation in Malaysia, such as the Bullock Cart, and the Steam Locomotive manufactured by Kitson & Co., England, which came into service in 1921.
Roland Mouret’s inspiration for his collection for Spring Summer 2013 was his twenties, during which he spent much of his time partying at Le Palace, a nightclub in Paris. Minimalism was the core theme here on the runway, and the bold colours and silhouetted worked the latest and hottest developments in fashion charmingly.
A key new shoulder shape has emerged this season, flat, broad and streamlined, and it was present in one of his looks – a white jacked paired with shorts. Pencil skirts, in the design of scuba diving gears, as well as knitted well-cut skirts and feather-light tops with origami folds in a variety of shades, were all present on the runway.
Mouret made use of a glossy wet leather material for one of the looks which he described as being, “mud on fabric, manufactured under the moonlight”. The innovation aided the designer in creating a smooth, sexy and sporty look, with an emphasis on separates which was carried over to many of the looks actually.
The Michael Kors show was packed with glamour for Spring Summer 2013. Gold sequins and white shorts fronted the runway, with sleek and well-cut black evening gowns providing a dab of change of atmosphere at the closing of the show.
The show was largely about daywear, and the colours were all bright, from bold shades of the sun and the sky, to grass green. A new blue cloud print was also visible on the runway, as were monochrome designs.
Some of the models sported oversized visor-sunglasses, and there were rugby stripes present in plenty of the clothes so you could call this a sporty-meets-sixties fashion. Some of the key pieces were the coats, which featured double breasts and geometric print shifts amongst many other innovative charming designs.
The program notes at the Diane von Furstenberg fashion show read:
“Some faity tales end with a girl marrying the prince… some start there.”
The designer’s inspiration this season was that woman – spirited, bohemian and exotic.
In many ways, this collection didn’t venture too far from her roots in fashion – the tagline for the DVF franchise practically speaks about how the DVF girl always travels to exotic places.
Sixties fashion, sportswear-style cuts, as well as invoking some fashion inspiration from far away Marrakesh here and there, kept the collection fresh and diverse.
Billowing silk palazzo pants, pretty summer dresses, jewelled sari drapes, embellished tunics, shorts and harem pants flounced across the catwalk in an air of mystery.
There were also some caftans and wrap dresses in jewelled colours, and narrow trousers. Just as adventurous as her inspiration this season, were the fabulous beaded shoes, decorated with little silver beads.
BCBGMAXAZRIA this season worked their charm with a wide range of materials.
A v-shaped leather overlay was spliced into most of the crepe dresses and gowns, and there were some really elegant Chambray blouses as well.
A more muted palette than usually observed on the catwalk for Spring Summer 2013 was exhibited – coral, black, white and fawn.
Lengths were relatively long, and there was an interplay of sheers and embroidery detailing.
The dresses – all fluttering and ethereal, would be suitable for both daywear and nightwear.
Erdem is infamous for lace work and floral prints, and this season he stayed true to his traditions and showcased something contemporary, manufactured from romantic and feminine silhouettes.
A-line skirts, soft lampshade dresses, strict pencil shapes, were remade in patchworked lace, and re-embroidered organza.
The British fashion house’s inspiration this season was Zenna Henderson, who was an elementary school teacher by day and a science fiction author by night.
She is one of the most pioneering authors in the science fiction genre, and one of the first female science fiction authors; her works largely provided a female perspective on science fiction.
It was easy to spot Erdem’s inspiration working magic on the runway – there was fashion from the fifties everywhere; Zenna Henderson released some of her best works during the era.
Silhouettes popular during the fifties practically defined the collection: full skirts with nipped waists, strapless numbers, sheat inserts in dresses, shifts, shirtdresses, box pleats.
Erdem collaborated with a Swiss embroidery company for this collection, and often picked out inspiration from the fifties, from their archives.
Fashion in the years after the Second World War was more about the resurgence of haute couture than anything else, following the austerity-filled war years, while fashion in the 18th century was all about opulence, elaborate and intricate designs. An interesting mix, surely – it was the prime inspiration behind this season’s collection at Meadham Kirchoff.
There were only a handful of looks displayed but they were distinct in style – embroidered corsetry and lace skirts – something like a mixture of 50’s couture and 18th century fashion.
Feminine tops, full skirts, corsets dazzling in jewels – the British fashion house showcased an opulent collection which really transports you into a sort of fashion haven, where details serve as the prominent feature in just about every piece of design tailored.
White denim jackets with corsetry frills, pleated silk shirts with white lace trims, and gorgeous baroque patterns spread over skirts and trousers were exhibited.
Carolina Herrera described her collection for Spring Summer 2013, succinctly:
“I wanted to work with a new proportion this season.”
And a new proportion it was – the clothes were all light and soft – the Venezuelan-American designer was after fluidity in colour, presenting it all with aplenty of chiffon, organza, tulle and Georgette.
Carolina Herrera delivered her feminine interpretation of lightness and purity at New York Fashion Week with pretty floral dresses, flirty short suits and romantic evening gowns.
There were column gowns in pleated silk, chiffon and fils coupe, as well as busy prints and high-waisted shorts.
An innovative design was the use of golden shimmer witch classic white, as well as vibrant orange shades creatively placed on numerous elegant gowns.
Dolce & Gabbana this season showcased a collection inspired by the summer holidays. Heat was practically exuding from the many brilliant designs showcased in a collection named Sea, Sun and Love.
The Italian fashion house was inspired by the most profound Sicilian tradition of baroque – an artistic style which uses exaggerated motion and clear, easily interpretable details to produce drama, exuberance and grandeur in sculpture, painting, architecture, literature, dance, music, and of course, fashion, for their collection.
The style of Baroque began around 1600 in Rome, Italy, and soon influenced all of Europe. The particular style of baroque designs seen on the catwalk for the Italian fashion house was Sicilian Baroque.
Sicilian Baroque came into prominence during the 17th and 18th Centuries, in the island of Sicily. Characteristics unique to Sicilian Baroque, aside from the usual opulence associated with Baroque itself, is the extensive use of putti everywhere; “putti” means “boys” in Italian and is the name given to the chubby infants seen on many Baroque objects.
Prints depicted the famous puppets of Sicilian street theatres, the island’s traditional ceramic vases, terracota pots and cartwheels. Straw and raffia were also strewn into bustiers and t-shirt dresses, and chandelier earrings in the shape of street puppets were also present in the collection.
Some of the dresses were made from raffia sacks which might have held flour previously. The finale dress was particularly extravagant – a sweeping crinoline in a classic Sicilian basket design. Black Sicilian lace, embroideries, cinched-at-the-waist flaring skirts, all worked their charm on the runway.
The show was certainly full of colour and clothes so richly created; A-line dresses and skirts were reinvented with colourful prints, while textures, raffia dresses and crochet skirts exhibited a rich craftsmanship.
Mix the old with new to add a contemporary touch to your rustic, country dining room to create a delectable palette to host, light lunches, dinner parties, and brunches in.
A dining room decorated in white is good for small apartments or houses with a tiny kitchen because the colour white really opens up small spaces. Compliment your all-white dining room with some neutral décor and wooden panels.
If you would like to add some colour here and there to prevent your dining room from appearing too drab then go for colourful dining room accessories. Aim for light grey or light lilac for dishes, cutleries, serving bowls, a kettle, and so on. Keep the tablecloth a neutral colour
An industrial-style twist can also add more charm to your dining room, make sure to place some bare black bulbs hung above your dining table. A retro design classic, such as the Charles Eames 1950s classic white chairs will add further contemporary charm to your dining room.
The Lacoste show was all about elegantly-cut sportswear, with white coming across as the dominant colour throughout the entire collection. Sure, there were some fiery oranges here and there to invoke the season of summery heat but its the colour white which really stood out.
For lovers of colour, this collection won’t disappoint however, because some splashes of tamarind yellow was present, as well as blotches of orange spots.
Sportswear is rarely seen on the catwalk so Lacoste’s heritage of showcasing sports-inspired looks is a breath of fresh air actually. Crisp white shirts, paired with casual-cut trousers was the first look that was displayed, and it set the tone for the rest of the collection.
There were some raincoat-inspired dresses, tops, and coats in both black and white, which showcased the breadth of innovation at the French fashion house.
Chloé’s collection this season was in time for its 60th anniversary. Chloe throughout the years has had a distinct style of its own – light, frothy, feminine and elegant.
True to its heritage, a certain feminine confidence exudes from the line thiis season as well, with its range of cropped wears and A-line dresses. Ruffles, layering, and pleats were striking in colours of white, charcoal, coral, black and fawn.
Laces cut in geometric shapes and pleats crafted with Japanese polyester set the stage for many innovative designs – the first look showcased was a stunning crisp white tunic top with ruffle details and sheer panels underneath, which was paired with pleated trousers.
Victoria Beckham’s show at the New York Fashion Week was true to her roots in fashion: elegant, minimalist and bold. Front-row guests at the show included her husband, David Beckham.
Beckham has spent the last five years building a small fashion line and then turning it into an internationally significant brand. Her signature aesthetic – flat shoes, the use of silk, canvas and leather brilliantly, and lingerie detailing was present in this collection too.
Backstage, the former Spice Girl spoke about her inspirations behind the collection:
“Everything that was important to me when I started out is still important.” “I always design what I want to wear – but I wanted to design more than just another dress. It was about taking my aesthetic and applying it to separates.”
Beckham has been spending an awful lot of time with her customers, learning more about what they would like to see in her fashion line.
Furthermore, long periods spent travelling about in China for work helped her to present new ideas, mixed with the versatility and ease-of-wear expected from her designs.
Textures were a prominent feature of the collection: Georgette, lace and chiffon, adorned mid-length dresses, which were sometimes spiced with mesh panels.
Tory Burch explored the mostly uncharted territory of wholesome Americana for Spring/Summer 2013. Burch is a bit of a phenomenon in the United States – a self-taught designer who has built an empire entirely on her own interests in preppy fashion.
The collection consisted of inspiration drawn from prairie heartlands, in the form of a bright wheat-print silk faille frock – the first look on the runway, and the Navajo plains, with beads as the centre-focus for many of the looks.
Simplicity in shape was the prominent theme here because many of the clothes stood out solely for their prints and beaded embellishments, rather than perhaps say the presence of any innovative new cuts.
Historically speaking, the looks resembled fashion in the early 1600s, when broad lace and linen collars were quite popular.Charming embellishments in classic pieces, such as a sweetcorn yellow top or an ethnic jacket, added chic eveningwear to the collection.
The Zac Posen fashion show this season was held on the terrace of Lincoln Center’s Avery Fisher Hall in New York. “Moonlight Serenade” and “Sunday Kind of Love” set the tone for the American designer’s show which was all about 1940s fashion.
The majority of the decade was busy with the Second World War, so accessibility to a variety of fabrics for being fashionable, was quite difficult. One of the most characteristic looks from this era was attention to detail at the shoulder: be it in the form of butterfly sleeves or banjo sleeves.
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