The now-controversial commercial features model, Ashley Grahm of Ford Models.

ABC and the clothing company Lane Bryant are locked in a war of words  after the retailer accused the network of refusing to run ads for a new line of lingerie because it focused on full-figured women.
For almost a century, Lane Bryant has been selling clothes to full-figured women. So when the company came out with a new line of lingerie, the company decided to  sex up their ad. Apparently it was a little too sexy for a couple of networks. The ads have not aired. Lane Bryant claims that's because of a bias against full-figured women.
A woman in the ad is curvy, graceful and showing off her assets.
"I think it's tasteful, it's elegant. I mean, I've seen much worse," said Kari Nevil of Burbank.
"We knew the ads were sexy, but they are not salacious," said a Lane Bryant spokesperson in a blog. "Our new commercials represent the sensuality of the curvy woman who has more to show the world than the typical waif-like lingerie model."
The last comment was directed toward Victoria's Secret, whose ads Lane Bryant says frequently air during primetime on ABC and Fox.
"It's definitely a double standard," said Ciara Jandreau, Burbank. "I think that if they get on the Victoria's Secret models for rolling around half-naked, they should definitely let anyone confident enough to do it. I think they should just let them."

The networks are firing back. Fox said the network is planning to air the ad, just with some minor edits, something  they do with other commercials. ABC officials flat out deny the claim.
"Their statements are not true. The ad was accepted. Lane Bryant was treated absolutely no differently than any advertiser for the same product. We were willing to accommodate them, but they chose to seek publicity instead," ABC said in a statement.
And publicity  it is getting, from New York Post calling it "boob-tube bigotry" to the buzz on the street.
"I saw it and I was just like, 'Oh wow, now  I want to buy one,'" said North Hollywood resident Myra Venegas.
After all of this controversy, Fox said it will now air the ad next  week without edits. The ad was originally supposed to air this week on ABC during "Dancing With the Stars," but now it's still unclear when the network will be airing that commercial.
By Subha Ravindhran
(Copyright ©2010 KABC-TV/DT)


I can't tell you how excited I am about Vivienne Westwood opening her first Los Angeles storefront across the street from our Plush Home showroom on Melrose Avenue. Quite a bit of construction still has to be completed on the space, but it was nice to see an official "coming soon" banner going up.
It seems fitting that in 1971 Dame Westwood opened her first clothing boutique with Malcolm McLaren (manager of The Sex Pistols) on Kings Road in London, and that now her new location will be on the corner of Melrose Avenue and Kings Road here in West Hollywood.
British designer Vivienne Westwood (born 1941) is often credited with being the creator of "punk fashions," among other trend-setting styles. Here is a very minuscule sampling of her designs that range from post-punk to Cary Bradshaw's wedding gown in the Sex in the City movie.

Vivienne Westwood was born in Tinwhistle, England, in 1941. Following just one term at the Harrow Art School, Westwood left and trained to become a primary school teacher. She earned her living teaching until she crossed paths with Malcolm McLaren, the man behind the punk rock group The Sex Pistols.

Under McLaren's guidance and influence, Westwood slid into the world of youthful fashion, which reflected the turmoil of those rebellious times. She was responsible for mirroring and outfitting the social  movements characterized by the growing segments of British population  known as the Teddy Boys, Rockers, and, finally, the Punks.

Early picture, left Vivienne Westwood, right Malcolm McLaren

In 1971 the duo began making drastic changes in British style with a series of shops located at 430 Kings Road. The first was Let It Rock, a 1950s revival boutique, coinciding with the Teddy Boys movement and zoot suits. The store also sold 1950s memorabilia and rock music. Then in 1972 the shop was changed to Too Fast To Live, Too Young To Die, a name stolen from a biker's jacket. In 1974 Westwood and McLaren opened their infamous Sex Shop, selling bondage and fetish fashions of rubber and leather. Rock star Adam Ant has commented that, "Sex was one of the all-time greatest shops in history."
The concept of satirical style and subversive chic was foremost in Westwood and McLaren's minds. Both were once prosecuted for wearing T-shirts that depicted a homosexual cowboy.
In  1975 they opened Seditionaries, the first authentic punk clothing shop  in London. Jon Savage, a Face magazine writer, then called their  look "the only modern look of the '70s." The shop translated the hard edges of street style in an interior filled with photos of a bombed-out,  war-torn London. When her Pirate collection coincided with the New Romantic fashion movement in London, the shop changed focus again, becoming Worlds End, with a bizarre fantasy interior of slate tiles, cuckoo clocks, and sloping floors. Her next collection was dubbed Clothes for Heros, and her patrons included the soon-to-be-famous Boy George.
Westwood's  next three collections, Savage (1981) and Hobo and Buffalo (both in 1982), were highly innovative, and her wildly staged shows (models square dancing to Appalachian music covered with mud makeup) affected the show styles of other designers.

Soon after, another shop opened in London's fashionable West End with a 3-D map of Africa. It was called Nostalgia of Mud, the name a slam of middle-class longings for low-life seedy chic. Westwood's clothing at this time consisted of rags tangled in hair, bras worn outside disheveled clothing, and ripped and torn T-shirts.
In 1983 Westwood's  alliance with McLaren came to an explosive and painful end. Without his tutelage and often overbearing guidance, Westwood began to extend her design range. The Witches  Collection (summer of 1983), the first completely on her own, was a highly successful showing of oddly shaped, cut, and proportioned garments (the neckline often found under the arm) based on a book about voodoo she had read.  Her clothing was cut, not on a board, but on the body, pulling, draping, and then, finally, cutting.
After several seasons' absence, Westwood came back strong with her fall 1985 collection centered on the bubble-shaped hooped skirt with thigh-high stockings. Westwood's Mini-Crinis caused a shift in silhouette that was swiftly picked up, first by Jean Paul Gaultier, then by almost  every other designer in Europe and New York. In fact, 1986 was dubbed by fashion seers as The Year That Went Pouf, and all because of Vivienne  Westwood. Through the 1990s Westwood continued to reign as Queen of  Punk Fashion. She scandalized and outraged the world of fashion with  bare-breasted models and bizarre creations at yearly shows in Paris and  other centers of design. A childhood friend, Fred Vermorel, wrote a  biography of Westwood in 1996.
Westwood and McLaren can be justified in claiming that they invented "punk fashions," and despite her rebellious nature, the fashion establishment recognized her work as important. Her Pirate outfit was the centerpiece of the modern dress collection in London's Victoria & Albert  Museum. Decadent, depraved, and demented are all words that describe the fashions of Vivienne Westwood. She once said of her designs, "My aim is to make the poor look rich and the rich look poor."

In addition to furniture design and interior design, a large part of our responsibility at Plush Home is custom home building, re-modeling, and complete project management. From creating the actual floor layout & building plans with our staff architect, to attaining accurate contracting bids, to specifying every last electrical outlet, we oversee every bit of a turnkey project.
I have a tight-knit team of staff contractors, architects, and landscape architects under our umbrella that I've worked with for years now and that are all on the exact same page (if I specify "crown molding", they know exactly what quality and dimensions that means to me). But trust me, it wasn't initially that easy pulling together our team.

It's not your general contractor's job to choose your materials or create a layout for your space. All these details should be specified by you, your designer, or your architect prior to the bidding phase.

If you are getting multiple bids, make sure that all contractors are bidding the exact same job and materials and that you are comparing apples to apples.

Finding a General Contractor ("GC") for any size project can be an overwhelming, intimidating, and confusing process. Many people have too high or too low expectations, or just don’t quite understand the scope of a contractor’s responsibilities. So before you break ground, it's important to understand exactly what a GC's responsibilities are before making a decision on who you hire.
If you're overseeing your own re-model or are an interior designer overseeing a project for your client, here are my top 10 tips to help you choose the right contractor for your project:
  1. DILIGENCE. Check to make sure your GC has a valid and untarnished license, a physical address, and check for referrals (preferably from someone who has seen an entire job through from start to finish). If you are using a designer or architect, it’s a good idea to get their input on the GC to make sure that your entire team is on the same page. Many designers and architects will also refer their own GC that they may have a track record with.
  2. SEE IT TO BELIEVE IT. Ask to see the GC’s work and ask for all bids in writing.
  3. DON’T FORCE YOUR CONTRACTOR INTO MAKING DESIGN DECISIONS. If you are not hiring a designer, you are responsible for all of  the design aspects of your projects. Your contractor may give an opinion, but it’s not fair to expect a “design eye” from them.  So don’t ask your contractor to make design decisions (finishes, paints, appliances, room layouts, etc.) in order to create your bid, otherwise you may be disappointed in the building phase when your actual material options are not what you expected or budgeted for.
  4. JUDGE THE QUALITY, NOT THE BEAUTY. Be careful, this is where most people get emotionally wrapped up and fail to make a good business decision.  Don’t make the error of judging your GC’s work based on how pretty (or bad) the design looks. The actual design elements has little or nothing to do with the GC (that’s the designer and/or architect’s job). Rather, judge the quality of the GC’s work…and see how it lines up with your overall budget and schedule.
  5. STUDY THE DETAILS. Don’t just consider the bottom line cost in making your final decision – as importantly, consider the details.  How well is the tile installed?  What is the quality of their paint jobs?  Can the crew lace in new hardwood floors with old one’s to make them look like they have been there as long as what was existing?
  6. PERSONALITY CHECK. Make sure that your personality is compatible with the GC. Working on a remodeling project is an intimate affair. The building crew will be spending a lot of time at your house…so be certain that you jive. Make sure that your GC can handle difficult situations with ease and professionalism. It may be helpful to first stop by one of your potential GC’s jobsite to check out their crew, their professionalism, and how clean and organized their jobsite is.
  7. HOW FULL IS THEIR PLATE? Ask the GC how many projects they are working on presently to ensure that they are able to take on your project without issue.
  8. ACCURATE BIDS. Provide your GC with the most accurate design/architectural plans that you possibly can (with as many design details and specifications as possible ) and ask them for a written proposal.  If you are getting multiple bids, make sure that all contractors are bidding the same items and that you are comparing apples to apples.  All contractors charge differently and breakdown their services differently, so make sure you are very diligent with this.
  9. DOUBLE CHECK YOUR CONTRACT. Make sure that you double check the items that are not included in the proposal. Often times, building permits, surveys, appliances and surfaces are not included.
  10. SCHEDULE IT. Ask your contractor for a job schedule. Lock down your start and finish dates for your project. Also  get a rough idea of  the schedule of events for each week so you can check in with the GC once the job starts to ensure that things are moving along at the expected pace. Also note that if a contractor is waiting on you for design decisions, it will slow the job down. Confirm a payment schedule. All contractor’s bill differently and at a different times. Your payment schedule should correspond with your work schedule.


GRACE KELLY, STYLE ICON: The epitome of understated chic, Grace Kelly was famed for her fashion sense. Now her stunning wardrobe has been brought back to life at London's Victoria and Albert Museum in London.
With 40 of her iconic dresses on display and cabinets of shoes, bags, sunglasses and jewelry, the exhibit opened to rave reviews this weekend in the capital.
Paying tribute to her life as an Oscar-winning actress, highlights include the grey and pink silk chiffon dress embroidered with roses, which she wore  in the famous dancing scene with Frank Sinatra in High Society (MGM later gave the dress to her and she wore it several times to various events) as well as outfits from the many Hitchcock films she starred in.
When Kelly left Hollywood behind to marry Prince Rainier III of Monaco in 1956, she stepped up the fashion stakes, wearing haute couture by Chanel and Christian Dior but the Philadelphia-born fashionista never got complacent and according to the exhibition's curator, treated all of her clothes like "old friends", preserving them in dust bags and often wearing the same outfit more than once.
"She's one of the few people who deserves this title of style icon. It's very hard to find anyone else today who can be remembered in the same way 50 years from now," curator, Jenny Lister told AFP adding: "She liked beautiful fabrics, she always accessorized it very carefully with plain white gloves and jewelry."
And wasn't just her style that she left in her legacy. Two years after her marriage, Princess Grace became president of the Monaco Red Cross, using her many celebrity connections to organize fundraising events for the charity. In her first year as a princess, she started an annual Christmas party for the children of Monaco and in 1963 she became the founding president of AMADE, a nonprofit charity helping children in need around the world.
Looks like she wasn't called Grace for nothing.
By Monique Jessen for tonic.com

Erwin Blumenfeld Portrait of Grace Kelly New York 1955 © The Estate of Erwin Blumenfeld 2009

Grace Kelly and Frank Sinatra In 'High Society' 1956 Eric Carpenter/MGM (Kobal Collection)

Grace Kelly with her Oscar ® award, 30 March 1955 © Hulton Archive/Getty Images

Grace Kelly Prince Ranier

Prince Rainier and Princess Grace after the civil marriage ceremony, 18 April, 1956 © Rex Features

Grace Kelly Photograph by Bud Fraker

Grace Kelly in a dress designed by Edith Head

Grace Kelly in a dress designed by Edith Head

Portrait of Princess Grace on her tenth wedding anniversary 1966 © Howell Conant/Bob Adelman books

Princess Grace at the Princely Palace About 1960 © Howell Conant/Bob Adelman books

Family portrait 1973 © Rex Features

The exhibition, "Grace Kelly: Style Icon" is showing at Victoria and Albert Museum in London through September 26.


Over matching = not good.

Do you love to match everything perfectly? Are you obsessed with bringing samples of your wood finishes wherever you go to ensure that any new piece of furniture will look exactly like it?  Does the thought of the exact same colors in your artwork, accessories, and wall color turn you on? Do your drapery panels match your throw pillows?
Does this picture to the left appeal to you? If you've answered yes to any of these questions, you have "matchy matchy syndrome". 

If you've answered yes to all of the questions, I'm afraid it's really bad. Granted, there’s definitely a fine line between creating a beautiful, well coordinated and thought out space...and being overly contrived and matchy-matchy. So don't stress too hard if you've been infected with this syndrome (which you may have received from your Aunt Bernice as a child), because I've jotted some sure fire cures for you below.
DON'T repeat the same fabric in a room or house…EVER!
DO repeat your accent color to create flow and a pulled together look.

Repeat your accent color SUBTLY to create a gracious flow and an elegant and pulled together look.

__________

DON'T repeat too many pairs of furniture, art or accessories. Limit yourself to the main anchors that make a room/house feel balanced.
DO use pairs to help a fragmented room/house feel more balanced.
__________
DON'T select art that is an exact match to your color scheme.
DO select art that is complimentary to your color scheme.
__________
DON'T match every finish on every piece of furniture precisely.
DO use different finishes that compliment each other and that will bring interest to your space.
__________
DON’T use the same size or finish of object too often when you are accessorizing.
DO create a layered effect by using objects with varying heights and different textures and/or finishes with your accessories.
__________


Tiffani-Amber Thiessen working mom jeans and suspenders for Saved by the Bell.

Let’s face it we’ve all fallen victim to some God awful trend du jour at some point in our lives. I am not going to lie, I’ve had a few fashions DON’TS of my own over the years - a few that are even too embarrassing to even mention. Now don't get me wrong, I'm certainly not against trends. A few trendy pieces in your wardrobe here and there can be fun, playful and work beautifully when done properly.
That being said, I also feel that it is crucial to consider whether or not a trend actually works for your body shape before embracing it fully. The biggest mistake I see women making is trying to dress like someone they are not. In other words, you can't fit a square peg in a round hole (you can try, but the corners will inevitably stick out).
I’ll use myself as an example. My body type is a triangle (see the attached image to find out yours) and I am a shorty. You will never see me without my high heels. Taking this into consideration, I can’t exactly dress as if I were a 6ft supermodel without who weighs 110 lbs (a rectangle). Triangles have to be conscious about wearing things that cinch our waists, show off our curves...but don’t necessarily cling to them in all the wrong  places. Long baggy dresses are not our friends. But a slightly above the knee, A-Line dress with a V neck works brilliantly for us because it elongates our bodies, hugs in all the right places and is forgiving in others.
Just the same way that I take into account the architecture of a home before decorating it, I would consider the architecture of a body before dressing it. Here's a useful guide below from Instyle to give you a better sense of what your body architecture is.

Read entire Instyle Article Here for tips on figuring out what your shape is and how to dress it in the most flattering way.


Fashion designer Tala Raassi poses for a portrait in Vienna, Virginia. Photo Credit: Melissa Golden/Redux

One of the most remarkable and under-reported stories in Iran is the strength and character of its women’s movement.  Women continue to be both targets of persecution and agents of change.

After having won some portion of equality in the 70s, all those gains were taken away when the revolutionary government came to power in 1979.  Since then, women were eliminated from all decision-making positions within the government, dress requirements were enforced, and women’s organizations were declared corrupt and disbanded.  Today there is a growing urban, middle class that is making slow progress by situating women’s rights within the cultural framework of Iran….so that its decisions will reflect a true representation of its “people”.

Here’s an article on fashion designer Tala Raasi from Marie Claire I thought was important to post:

The crime? Wearing a miniskirt—in the privacy of a  friend's home—in Iran. As protesters increasingly take to the streets to  oppose the oppressive regime, Raassi, now a fashion designer in the  U.S., describes the punishment that changed her life.
By Tala Raassi as told to Michele Shapiro for Marie Claire.

There’s a memory that has defined my life: I'm standing in line in a long, dark hallway, handcuffed to a friend, while listening to the horrifying sound of two other friends screaming out in pain. I'm in a jail in Iran's capital, Tehran, and I'm about to be served my punishment: 40 lashes. My friends emerge from a room down the hall, tears streaming down their faces and blood staining the backs of their shirts. I can barely breathe as I wait for the guards to call my name. Finally, it's my turn. My friend and I, still cuffed, enter the torture room together.

Two expressionless, middle-aged female guards, each dressed in a chador, or long black robe, remove our cuffs, then instruct us to lie facedown on a pair of bare mattresses. We will be lashed on our backs. The guards grab two black leather whips and dip them in water, to make the lashes sting. I turn my head and see them raise the whips high in the air, then I squeeze my eyes tight, terrified. The first of 40 lashes comes down hard across my back. I feel a shock of searing pain. I'm wearing a cotton T-shirt, which you'd think would be preferable to wearing nothing at all, but I soon learn that it's actually worse. As the lashes come down one after another, the T-shirt starts to stick to the cuts on my back; the whip pulls the shirt away from the welts after each lashing, intensifying the pain. I keep thinking, I can't believe this is happening to me. I'm a good student; I come from a great family. I'm not a criminal.

Photo credit OLIVIER LABAN-MATTEI/AFP/Getty Images

The worst part is knowing that my family members, who are sitting right outside this room, can hear the lashing. The emotional pain is almost worse than the physical pain.

It all started five days earlier, the day of my 16th birthday. My Sweet Sixteen began as it should have: sweetly. Two of us drove to a good friend's house for my party. I was wearing what any traditional young Iranian woman would wear: a scarf over my hair, a black coat, and pants underneath my skirt. When I arrived at my friend's house, I shed my layers, wearing just a black T-shirt and miniskirt. There were about 30 friends at the party, male and female; we listened to music and chatted. It was innocent fun, no alcohol or drugs.

Without warning, not even a knock, the religious police—government-funded groups that enforce Islamic morality—threw open the door and started shouting. It's illegal in Iran to wear "indecent" clothes like miniskirts, to listen to music if it's not approved by the government, and to party with the opposite sex—although people hold gatherings like this in the privacy of their homes all the time. (We learned later that a guy who hadn't been invited to the party had reported us, to get revenge; he thought the party would simply get shut down.) I panicked and ran out the back door with a friend, which is the worst possible thing we could have done. But I was scared; the religious police, with their long, dark beards, are notoriously brutal.

My friend and I fled out into the street; we knocked on neighbors' doors, looking for a place to hide. The officers followed us, shouting. When they yelled, "Stop or we will shoot you!", I obeyed, because I knew they would carry out that threat. A policeman walked up behind me and swung the butt of his gun against my back so hard that I fell to the ground. Then the officers dragged me back to my friend's house, where the police searched all of our bags and pockets. One policeman found my Koran, which I always carried with me; it made me feel safe. He hurled it at my face and asked if I knew what the Koran meant. (In his mind, it wasn't possible to wear fashionable clothing and also have faith.) Then he started rapping me on the head with his pen, before handcuffing me to a friend and shoving everyone into a van.

The police drove us to a local jail, then separated the boys and girls, throwing my 15 girlfriends and me into a barren, rat-infested room—no chairs, no beds, just a cold concrete floor. I looked around and saw a pregnant woman and a woman with a baby, along with several other sullen young women. One woman had clearly been plucked straight from her wedding; she sat quietly on the floor in her flowing white dress. I wondered what she had done "wrong."

We stayed overnight there on the floor, with no food or water. We had no idea what would happen to us, or how long we would have to remain there. My friends and I kept mostly to ourselves, trying not to attract any attention. We could hear rats crawling on the floor and screams from down the hall. If we needed to use the bathroom, we had to ask a guard's permission. There were squat toilets right out in the hallway, and no sinks. One woman informed us that an inmate had been raped with a Coke bottle by other prisoners. I was terrified that this might be my fate.

The next day, my mother arrived with some of the other moms, and I felt overjoyed to see her. She brought my favorite meal: rice and kebabs. But it wasn't exactly a happy feast. As my friends and I ate, all eyes were on us. The other women in our cell were hungry, too.

Two days turned into three, then four. Every day during adhan, the Islamic call to prayer that occurs three times a day, the guards would come and bark at us to line up and prepare to be lashed. We'd stand there for 40 minutes, but they never delivered on that threat. I'd always loved the adhan and found it beautiful, but that week, I came to dread it.

On the afternoon of the fifth day, the guards rounded up my friends and me, pushed us into a bus, and drove us to a nearby court. We weren't allowed to have lawyers or to defend ourselves. The sentence simply came down from the judge: 50 lashes for the boys, 40 lashes for the girls. We were guilty of breaking Islamic rules: wearing indecent clothing, having a party with both genders in attendance, listening to Western music. Some of the parents tried to negotiate on our behalf, even offering to trade their businesses for our sentences, but they were denied.

We were immediately driven to a small concrete jailhouse near the courtroom, where the guards lined us up in the hallway, boys on one side, girls on the other. Our parents were there, too, and they managed to slip some money to the guards to lessen the severity of our lashes. I don't think the guards upheld their end of the deal, though. I don't see how the beating could've been any worse.

I hated that my family had to hear my lashing; the police wanted our parents there to teach us all a lesson. The beating lasted for what felt like an eternity. In reality, it was over in 10 minutes. Those 10 minutes changed my future.

When I was released, I hugged my parents more tightly than I ever had before. I'll never forget that seemingly interminable car ride home. We all just sat in silence; my family simply didn't know what to say. When I got home, I headed straight for the shower and sat on the tile floor for six or seven hours, just letting the warm water run over me. I felt so dirty. I desperately wanted to feel clean.

But the fear was not over yet. Officials at my high school called that same day, demanding to know why I had attended the illegal party. I was terrified that they would kick me out and I wouldn't get to graduate with my friends. However, since I had only a few months left until graduation, the school decided to let me return.

In those first few weeks after my beating, I felt like I was in a state of shock, a sort of trance. I kept to myself, and I barely left the house except to go to school. The physical scars healed, but the emotional scars would not go away so easily; in order to cope, I just tried to block out what had happened. I simply wouldn't let myself think about it.

After graduation, my parents felt that it would be good for me to get out of Iran for a while, so I went to Dubai and stayed with friends. I had always planned to study law after high school, but in Dubai, a different idea began to take shape in my mind. I started thinking about doing something that would somehow celebrate women.

A few months later, I moved to Washington, D.C., to live with a relative. (I'd actually been born in the States—my family had lived in the U.S. for a brief time—so I had a passport and didn't need a visa.) At my new home in D.C., surrounded by American women who were free to wear what they want and think what they want, I knew exactly what I wanted to do: I would become a fashion designer. Because to me, fashion equaled freedom.

I'd always loved sewing. As a girl, I watched my mother, an interior designer, sew beautiful pillows and curtains for our home. I tried to emulate her, stitching an array of cool outfits for my Barbie. (I couldn't actually buy any Barbie outfits in Iran since the dolls were illegal there.) I used the best materials—a swatch from my father's leather sofa, a snip from the bottom of my mother's mink coat, much to her dismay. Fashion had been a hobby for me while I was growing up, but in light of my lashing, I wanted it to become more. I felt that women should feel proud of their bodies, not ashamed of them.

Of course, I had everything going against me: I had no fashion training; I couldn't even speak English. So I started from scratch. I took language classes and studied determinedly each night. I bought a book at Barnes & Noble about how to write a business plan. Then I researched things like pattern making and manufacturing. I visited clothing factories, fabric distributors, and showrooms to learn everything I could about the industry. My family helped me out with money, and I also worked at a local boutique. Finally, I started designing my own line, with some fun, funky, off-the-shoulder tops.

Five years later, I was at a friend's party one night, when a guy complimented me on my top—a black cotton tee with a silver pocket and studs along the bottom. I said, "Thank you—I made it myself." He asked if I was a designer, and I said that I was trying to become one. His response: "Why are you just trying?" He became my first investor and helped me get my business off the ground. I named my line Dar Be Dar, which means "door to door" in Persian.

Today, I'm 27 years old, and my designs are in boutiques in Miami, Los Angeles, San Diego, and Dubai. I also sell my clothes directly through my website, darbedar.net. I make sexy bikinis, tops, and leggings, all by hand. This past year, I had a show at Miami Fashion Week. Now I'm planning to launch a T-shirt line inspired by the revolutionary movement in Iran. The line is called Lipstick Revolution, in honor of women around the world who are fighting for their freedom.

The punishment I suffered in Iran put my life on a different course. To this day, when I hear the adhan, I'm brought right back to the terror I felt in that Iranian jail. But now, with some distance, I can see that the experience made me who I am—and made me appreciate my freedom, instead of taking it for granted. One thing that hasn't changed is my faith. I'm still very proud to be Muslim and Persian. I'm excited to be pursuing my dream of becoming a fashion designer, and I hope that I can inspire, and maybe even help empower, other young women. For me, each day is now a dream filled with creativity, freedom, and safety. And yes, I still carry my Koran with me wherever I go.

Michele Shapiro is the editor of the website drivelikeawoman.com and the head of communications and outreach at New York University's Center on International Cooperation.


FIRST LOOK - The Lucca Dining chair (left). We'll release this next month on the Plush Home website, but I thought you might like an early look. Based on a similar pitch and scale as our popular Sofia Chair design (right), the Lucca collection offers a tight seat & tight back upholstery. I made the first prototype in a white lacquer paint, but this design looks great in a wood finish.


Just launched my new interior design site today with some portfolio highlights. So much of what we do in our custom home building and re-modeling projects involves creating designs and plans for custom kitchens, closets, washrooms, and outdoor living areas. Thought you might like a look at this custom closet we made for a recent Encino re-model (more pics on the site). 

The Park Avenue Ottoman  makes for a simple, usable, and sitting area for changing - this item is actually a big favorite among our trade clients.

Hope you enjoy the quotes on the main page of the new site - they are some of my favorite (and for the record the "Billy Baldwin" I quoted is the legendary designer....not Alec's brother).
Our original Plush Home website will remain dedicated solely to our  furniture line, lighting, and accessories.

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