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Recently, the Five Points neighborhood welcomed the fifth annual Native Fashion In The City. This event not only drew in Denver’s Native American crowd but also had quite a diverse audience, from black to white to old and young — we were all captivated by the native inspired fashion.

There were a total of 11 designers that previewed their latest collections —all of native descent. The intriguing thing about this particular show was that not all of the designers were local nor were they native to Denver. We were in the presence of designers from Utah, South Dakota and North Carolina, you name it.

Typically when a designer is announced at a fashion show, just their name and the name of their brand is called out. At Native Fashion In The City, that was not the case. The emcee made sure to announce the name of each designer, what state they reside and/or came from and which native tribe they descend from. They would even add in some fun tidbits about the designer, like whether or not it was their first time previewing their designs at a fashion show or if they had any notable successes within the fashion industry.

Another noteworthy difference between this fashion show versus your usual show were the models. A lot of the time, we will see runway models that are slim and more than six feet tall, but also typically their ages can range from early 20s to mid-30s. At Native Fashion In The City, their models’ ages ranged from pre-teen to no more than their 20s. Also, all of the models had the features of a native man or a woman.

The models weren’t the only youthful aspect. A lot of the fashion that we saw were designs marketed toward a younger audience. Plenty of the collections had a lot of graphic prints, of which were in reference to today’s current events within the Native American community and were kept simple and casual.

The show seemed to be built around social justice and was in favor of social movements such as ending violence and kidnappings against Native women and young girls.

Another popular significance we saw during the show was the raised fist, which is a symbol of unity, strength, defiance and resistance. Either you saw a print of the raised fist printed on to a t-shirt, a jacket or the back of a model’s pants. Strategically enough, the models didn’t stop at rocking the raised fist on their clothes, but they would also raise their arms high and their fists clenched in solidarity once they reached the end of the runway, as a pose for the cameras.

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Gisele says Tom Brady is more into fashion than she is

Gisele says Tom Brady is more into fashion than she is

Given the choice between Gisele Bündchen and Tom Brady, you'd probably guess the supermodel loves fashion more than the New England Patriots quarterback, right?

Well, according to an interview Bündchen did with The Wall Street Journal's Jason Gay, Brady is way more into style that she is. She said she's "a jeans and T-shirt girl" and laughed "at suggestions that she's behind her husband's rakish style choices."

More via The Wall Street Journal:

"I've never in my life told him to wear anything," Bündchen says of Brady. "You should see our closets….It's so funny. I would say that he likes fashion more than I like fashion. I would say he's changed his haircut in one year more than I've changed in my whole life."

Bündchen also admitted to Gay that despite her and Brady's strict diet, Dunkin' Donuts' Munchkins are her "guilty pleasure", which she got into after Brady - who Gay hilariously nicknames "Mr. Avocado Ice Cream" - suggested that's what they should bring to their son's hockey practices.

However, it doesn't sound like they are one of Brady's indulgences, like cheeseburgers.

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Fashion Week El Paseo Closing Night: Ralph Rucci

Fashion Week El Paseo Closing Night: Ralph Rucci

In Palm Springs real estate, it’s all about location. In Ralph Rucci’s new collection, which debuted to a standing ovation on the final night of Fashion Week El Paseo, it’s all about the fabrics: the silks, the wool crepe, the leather and fur, even a silky ephemeral cape that floats off a model’s shoulder like a bridal veil and printed with the most delicate and original design.

Rucci’s collection – and each individual look — embodies an artistic vision: a cut out dress that reveals just slivers of skin with a spider-webbed back; or cutouts that follow the line of the shoulder and swoop of the scapula elevate the concept of power suit to a whole new level. Even the models, wearing identical tight buns, look empowered in his designs. You could practically feel how luxurious a bright pink silk kaftan felt flowing just above bare feet. I imagined wearable butter.

Unlike other designers who favor top-of-the-leg hemlines and open backs and plunge necklines, often in the same dress, Rucci understands that the true meaning of sexy is about a deliberate hide and reveal, as well as a deep appreciation for the structure of a woman’s body, which each look is designed to follow and enhance. Most of Rucci’s dresses fall just above the knee or to the floor. You’ll never see a woman tugging down the hemline of a Rucci dress to avoid a wardrobe malfunction. In fact his clothes are designed to function beautifully, even perfectly, and his artistry is what has made him both celebrated and beloved. A black dress with an illusion neckline features a back detail that traces a woman’s spine. Another dress carved out at the waist has a slight waist and illusion back – variations on the same theme, but showing just the right amount of skin that is less about suggesting what might lie beneath and more about “this is what I choose to show.” A suit with a boxy texture and shape has cuts in the fabric that are only visible as the model moves makes a striking statement: these clothes are meant to be embodied by a woman, and the grace and beauty of the designs are activated only as she moves.

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