For me, when I find a go-to skincare product I will cherish it forever (see Biologique Recherche) One such product is Estée Lauder’s Advanced Night Repair Synchronized Recovery Complex II. You can call it ANR for short. ANR has been an Estée Lauder bestseller for years: with 25+ patents (and more pending), they’ve spent a great deal of time fine-tuning and researching the formula to make sure it does what it says. And trust me, it does.
A few drops are really all you need with each application, which means one bottle can last you months and months. If you’re not ready to take the leap, head to an Estée Lauder counter and ask for a sample. I can guarantee you’ll see results pretty quickly.
After a mere week of use, I felt that my skin was more supple and had a brightness that was lacking beforehand. The best way of explaining the results, because I have nothing very quantitative to measure, is to say that I look as though I’ve had a full 8+ hours of sleep and had just come back from a months long vacation. Now who doesn’t like that?
Erin Fetherston took a trip around the world for fall, a trek through different cultures and inspirations that were then mixed and matched in a chic, feminine collection. Moroccan references echoed in the color palette with warm spice tones, such as saffron, paprika and turmeric, as well in rich prints that were reminiscent of opulent Indian fabric and shoes inspired by North African pointed slippers. These ingredients helped Fetherston create a charming wardrobe, filled with breezy maxidresses and tunics embellished with tassels that were paired with wide-leg pants for an international globetrotter. The abundance of charming ethnic details were balanced by more urban pieces, such as a relaxed velvet suit and a ribbed turtleneck sweater worn with knitted pants. Despite the lineup’s Seventies’ Bohemian attitude, Fetherston avoided any nostalgic feeling and managed to translate her inspirations into an elegant collection for modern women.
Elie Saab conjured the bygone glamour of the golden age of Egyptian cinema, with the designer citing actress Faten Hamama — in a party scene from film “I Don’t Sleep,” starring opposite Omar Sharif — among inspirations.
The more elaborate gowns in his sparkling, red carpet-oriented collection included a sheer tulle gown with hazy pale blue and silver placement embroidery evoking boats on the river Nile and palm trees, with the silvery fronds of one tree peeking over the sweetheart neckline. Other highlights included a long-sleeved gown in tan satin peppered with deep blue “evil eye” motifs.
Oriental gold embroideries and geometric crystal formations — presented as a surprise feature on the back of a cape, say — were a nice update on the designer’s signature embellishments. Mini crystal tassels and draped chains of gold beads on the bibs of dresses added movement. This is what couture is meant to be.