The new formula contains green tea extract to create a wider range of colours and is enhanced by a conditioning blend of certified organic plant oils to nourish and condition the locks and leave them with a radiant and healthy shine. The oil blend includes certified organic kukui, sunflower, castor and jojoba. Plant derived LArginine works as a booster to help optimise pH for maximum colour deposit. The new colour range is formulated without PPD dyes, synthetic aromas, nonorganic, non plantbased conditioning agents, or any animalderived ingredients.

In addition, thanks to the improved gel based formula, coverage can be customized from a clear gloss to superior grey blending, all with a processing times of just five to 20 minutes.

This new range is a great introduction for someone who is new to colour, or who wants a lowcommitment shade.

The Moga Aveda salon is on the fourth floor of Helix Quartier, at EmQuartier.

Make an appointment at (02) 003 6190.

DESIGNER Andreas Kronthaler made a touching declaration of love to his wife Vivienne Westwood at their label’s storming Paris fashion show Saturday.

The flamboyant Austrian creator – who many including himself believe is the basis for comedian Sacha Baron Cohen’s 2009 fashion satire “Bruno” – pulled out all the stops in a joyous romp of a collection that put his spin on the Queen of Punk’s iconoclastic career.

“I don’t like looking back, it’s not my way,” said Kronthaler, who took the reins of the brand two years ago.

“But looking at our time together and how many things she has inspired in me and taught me… I just thought, how wonderful.”

His notes for the show was a love letter to his wife, citing her golden rule, “When in doubt, dress up!”

“One should never see the brain working in what you wear, and one dresses to be eventually naked… These mantras of yours and so much more became part of my life and work,” he wrote.

“I still think to this day you are the best dressed woman in any room. Love you forever,” said the designer who met Westwood as a student when he was 25 and she 50.

Westwood, now 76, cheered her husband – who she has called “the world’s greatest designer” – after the show along with American actress Rose McGowan, who helped launch the #MeToo movement accusing the disgraced mogul Harvey Weinstein of rape.

“That is what (fashion) should be. It was great,” she said.

The collection ranged over Westwood’s career from the 1970s with lots of feathers and frills to counter its gender fluid side, with three male go-go dancers in impossibly high platform boots and eight male models walking the catwalk along with 20 women.

Kronthaler said he copied two pieces in the collection, a mohair punk sweater that Westwood knitted for herself – “which says so much about you, and the other is the catsuit which you used to wear when I first met you.”

Meanwhile, French designer Veronique Leroy had earlier shown her collection on the screen of a Champs Elysees cinema.

She said her wool-rich autumn-winter range that featured Harris tweed coats and jackets was inspired by country weekends and that she shot the film in rural Burgundy.

“I have been thinking of showing my work for ages in another way other than on the catwalk,” she said.

“I said to myself I just can’t go on doing the same repetition thing… and in the end I think we showed the clothes and how I came with them better than we could have in a show.”

A technical stretch jersey that’s cut like a woven fabric but is as easy to move in as athleisure clothes, the new material is perfect for professional settings. Adding to the tactile nature of the spring-summer season are leather and suede. From statement jackets and coats with painted edges, to stretch leather and suede power jackets, these pieces are easy to wear and totally stylish.

This is also the season of the shirt, designed to look perfect with casual denim and more formal trousers. Taking a West Coast approach to styling with nonchalant cool, spring’s biggest delivery is all about the mix–everyday knits paired with denim or tailored pieces. Evocative twists on the shirt and slip dress in summer crepe and double-faced sateen usher in a new, softer way to dress for day into evening.

The shirtdress is Theory’s warm-weather must-have, a single piece that works tirelessly and flawlessly through the season.

Referencing the works of artists Sean Scully and John McKracken, Theory’s new men’s creative director Martin Andersson offers a fresh take on American sportswear for Spring.

“I was looking at the suit, and I was thinking about other traditional expressions of work wear, like boiler suits and UPS delivery uniforms,” he says. “Giving these standards a beautiful, subtle colour palette, and mixing our tailored trousers and jackets with clean, sport-inspired pieces – this is really the modern way to dress for work.”

Innovations in fit, fabric, and fashion technology inform all of Andersson’s choices, from the technical seersucker used in two-piece set that creates the illusion of a boiler suit, to the impeccable tailoring applied to everything from tapered trousers to anoraks. Exceptional, functional, and great for travel, this collection reflects on the principles that have defined Theory for 20 years, while steering the brand in a clear, decisive direction towards spring.

In 1997, Theory was founded on the simple idea that stretch fabrics in tailored clothing could change how we dress and improve the way we live.

Twenty years ago, trousers changed the way American women dress. Recognising the need for clothes that felt great and fitted perfectly, Theory developed an innovative stretch fabric that would dramatically improve performance. Fashionable and functional with minimalist design and expert tailoring, the trousers would have the power to make women feel confident, smart, and stylish.

Theory for Men was later established with similar foundation principles, and included innovative suits and shirts that made dressing for work highly functional, stylish, and considered.

Every detail is considered and close attention is always paid to the technical elements that enhance how a garment fits and feels.

Theory sources materials from the best mills in the world, and tests every fabrication for its hand-feel, durability, and design.

The collection is designed with purpose-smart, seasonal pieces cut to support all wardrobes and lifestyles. The brand prioritises the essentials customers need – versatility, sophistication, and easy to wear.

Chief executive Hiran Tanmit emphasised the chain’s growing prominence as a distributor of multiple beauty brands as the 1,000-square-metre shop opened on the second floor, complete with “smart shopping”.

There are more than 1,000 brands available in 80,000 items – cosmetics, fragrances and much more at prices unavailable anywhere else, Hiran said.

The new store has a modern design in black and pink and the concept is “Beauty is Fashion”.

There are 12 zones separated by wide aisles for more convenient browsing. Cosmetics from around the world are ready to be sampled on the spot. The fragrance zone alone has 100 brands, including Prada, Davidoff, Valentino, Chloe, Bvlgari and CK, as well as 20 and 30ml bottles exclusively shipped to Eve and Boy.

In the Luxury corner are counter brands at affordable prices and travel kits. In Skincare are moisturisers, serums, and essences for face and body. In Supplements is everything you need for nutrition, including weight-control and skincare remedies.

The Salon Professional zone is where you find hair products like shampoos, treatments and styling products.

Eve and Boy’s Celebrity collection boasts every beauty product endorsed by Thai stars, from skincare to supplements and cosmetics.

Treat your finger and toenails to 500 colours from brand both domestic and foreign. The 18-metre-long Makeup Station, found only at the Fashion Island branch, has a dressing table with a massive mirror and a Skincare Testing Bar.

On hand for the opening were Pol General Sant Sarutanond, Yuwared Sarutanond, Pimpisa Chirathivat, Silsupa Apirukthanon, Angwara Teeratantikanon, Parichaya Eiamchitr, Pornthip Collins, Nisakorn Sihanatkathakul, Nutchanunt Devahastin, Wilasinee Thunyawisetsilp, Tanyatorn Kitbamrungsart, Paneeda Prasertlum, Farung Yuthithum, Jirawat Benchakarn and Nat Mangkang.

Dior came out with all feminist guns blazing at Paris fashion week on Tuesday seeking to catch the spirit of #MeToo and the new wave of female empowerment.

Designer Maria Grazia Chiuri, who began her reign at the French couture house with the now cult 550-euro (Bt21,200) T-shirt, “We Should All be Feminists”, summoned up the spirit of 1968, the year when social and sexual revolutions swept the planet.

Chiuri’s muse, British model and women’s rights advocate Ruth Bell, led the line with a black and white woollen jumper declaring, “Non, non, non et non!”

“It is not bad to say ‘No! No! No!’ sometimes,” the designer said after the show, “Feminism means freedom, freedom to dress how you want, to define yourself.”

To the thumping “Ooh, I just know that something good is gonna happen” refrain to Kate Bush’s classic song “Cloudbusting”, the Italian sent out a hippie and Beatnik-inspired autumn-winter collection, declaring that “changing the world also means changing clothes”.

“Women’s Rights Are Human Rights” slogans burst from the walls of the set which was papered with 1968 Vogue magazine covers, with Chiuri picking up on a “fun” demonstration women activists staged outside Dior’s boutique in London two years earlier.

The “British Society for the Protection of Mini Skirts” picketed the shop after Dior failed to include a single mini skirt in its collection that year.

The protest prompted its then designer Marc Bolan to cave in and create the younger more “with it” Miss Dior line.

Chiuri said she was struck how the “Youthquake” that legendary US Vogue editor Diana Vreeland wrote about in the late 1960s mirrored our times.

“She wrote that there is a new generation who are changing our view about sexuality about women and about men. In some ways (what is happening) now is another moment like this,” the designer added.

And she credits sparring with her own 21-year-old daughter, Rachele Regini – who she jokingly calls “Miss No” – with helping to sharpen her view. “The younger generation are posing us a lot of questions,” she said.

With actresses Cara Delevingne and Isabelle Huppert in the front row, Chiuri went on a magical mystery tour of late 1960s radical chic.

Having helped bring the beret back into vogue by having all her models wear one at her last autumn-winter show, this time Chiuri did the same for another piece of classic French headgear, the gavroche cap.

But the core of the collection was a line of sumptuous patchwork coats, skirts, trousers, dresses and boots inspired by her southern Italian grandmother.

Another of Chiuri’s favourite models, the British activist Adwoa Aboah, closed the show in a wool-embroidered organza dress.

Chiuri said she shortened her kilts and dresses but none of them could really be called a mini-skirt, and her line of hippie-dippie scarf dresses all dipped below the knee.

Saint Laurent’s Anthony Vaccarello, on the other hand, loves the leggy look. Despite the freezing Paris temperatures his female models wore the merest of black leather mini-skirts, shorts and dresses at his outdoor show opposite the Eiffel Tower – although some at least got to wear shin-high fur-topped boots.

The men in his co-ed show were more fortunate, with several wearing coats, as the Belgian sent a procession of chilly ultra-sexy black-clad killer vamps down the runway, some in broad-brimmed fedora hats.

Vaccarello leavened his rainbow of black at the end with a line of short shoulder-padded floral pattern dresses on a black base.

Earlier young French designer Marine Serre made her Paris fashion week debut with her “FutureWear” show, mixing sportswear and vintage, and also a line of hippish scarf dresses. Her occasional skin-hugging head-coverings also stood out, conjuring up images of divers, or with her crescent moon logo, luge-riding Muslim women at the Winter Olympics.

Like Dior, which featured a number of check suits, young French label Jour/ne mixed richly coloured velvets and tartans, giving a highly wearable twist to vaguely vintage male silhouettes.

 Gucci kicked off Milan Fashion Week in typical eccentric style last Wednesday as models carried replicas of their own heads on a runway transformed into a creepy operating room.

Suspense had already been building for the show by Gucci’s star creative director Alessandro Michele due to the invitations – orange timers which counted down to the event in glowing red numbers.

The first shock came when it started on time – almost unprecedented in fashion history.

Then male and female models walked onto a runway amid operating tables under bright neon lights in the Gucci Hub, the brand’s Milan headquarters, over the steady beeping of a heart monitoring machine.

Michele introduced the “Cyborg Gucci” in the Autumn/Winter 2018-2019 collection, which included a wild mix of cultures and symbols, from a pagoda hat to a balaclava, a classic burgundy velvet dress to a gold lurex jacket, fine lace to the logo of the New York Yankees.

The models added to the transgressive vibe – not only did some carry replicas of their own severed head, but others were adorned with a third eye, or even a baby dragon.

“What touches me is not just the talent but also the dose of humour and self-deprecation on the part of Alessandro Michele,” said leading Italian actress Chiara Mastroianni.

“His collection is so rich it will take time to understand everything.”

Another first day highlight was the launch of the exhibition “Italiana: Italy Through the Lens of Fashion 1971-2001” by the National Chamber for Italian Fashion.

Donatella Versace, Giorgio Armani, Pierpaolo Piccioli, Silvia Venturini Fendi and Jean-Paul Gaultier were some of the stars attending at the Palazzo Reale.

The exhibition was organised by theme – Identity, Democracy, Logomania, Diorama, Project Room, Bazaar, Post-Production, Glocal and The Italy of Objects – and included the clothes by fashion houses such as Missoni, Armani, Versace, Krizia, Romeo Gigli and Gianfranco Ferre.

“There is no nostalgic intention but rather pride and willingness to celebrate fashion and reproduce its complexity,” curator Maria-Luisa Frisa explained.

“Italian fashion is a creative laboratory that has generated worlds, defined strong individual characteristics… and continues to do so today,” she added.

The following day saw Silvia Venturini Fendi and Karl Lagerfeld honouring the feminist wave with their emphasis on strong women in Fendi’s collection for next autumn and winter.

The idea is to dress a woman “who has more and more sway in society, who can defy men’s rules and take over,” said Venturini Fendi, the label’s co-artistic director with Lagerfeld.

In a decor evoking a boudoir crossed with a private men’s club, the silhouettes were assertive, with square shoulders shaping the leather coats as well as the short and long capes in fur or Prince of Wales wool.

The look bestows “super powers on the Fendi Woman,” Venturini Fendi said before the show.

The kerchiefs worn around the neck in many of the creations recall a bygone era when women embroidered handkerchiefs to give to their men as they went off to war, she explained.

As a motif, it is romantic while also saying women are assuming power, she added. “This woman does not stay at home and embroider, she is out in the street with her head high.”

The motif reappears as the patchwork pattern of a flowing white dress that’s both girlish and business-like.

Feminism comes naturally to Fendi, which was founded by five sisters in 1946 building on their parents’ fur and leather shop.

“I’ve never made a difference between men and women, so it’s natural for me to support these struggles when they re-emerge,” Fendi said, referring to the #MeToo movement against sexual abuse and harassment.

After the show, Serge Brunschwig, who was last week named Fendi’s new chairman and chief executive appeared backstage to greet Venturini Fendi and Lagerfeld.

Giorgio Armani, meanwhile, stayed well ahead of heads and other gimmicks when he launched his new collection “Atmosphere” on Saturday, proclaiming his deep-rooted classicism against extravagant theatrical trends.

“My fashion is not that of a theatre which lasts as long as a catwalk show, which serves only to create chatter and would be disconnected from what the client finds in my boutiques,” the 83-year-old designer said at his Autumn/Winter show.

“I won’t talk to you about severed heads… I have never played that game, and today’s show confirms the idea I have always defended – I am not here to confuse you.”

The season is proving something of a crossroads between the so-called “Armania” codes of linear elegance, pure elongated forms and other cultural influences.

For Armani, ethnic motifs are found in embroidery on short or long jackets, in pompom jewellery, on the edges of shoulder bags.

“The intrusion and the inclusion of ethnic references in fashion is what sets off emotion,” he explained.

“Saint-Laurent did it with Morocco in the 70s and people remember that.”

Silhouettes are fluid, trousers billowing, shoes flat.

The neutral palette that characterises Armani style has been lifted with bright colours such as fuchsia, red as well as metallic or glass highlights.

After the show, some guests were invited to watch a short film called “The Jacket” made by the Armani Laboratorio, a cinema workshop where last November eight youngsters worked with renowned mentors from the film world.

Giorgio Armani declared himself “happy with the result” of the film.

“When a project is born but I do not have control of it, I have to leave it to the talent of others and that leads to apprehension.

“So I am reassured and very satisfied,” said the octogenerian with a twinkle in his eye.

Bringing Neighborhood founder Shinsuke Takizawa’s design perspective to a range of street-level sportswear pieces, the range presents pure 3-stripes design in Takizawa’s familiar monochrome aesthetic, in strictly premium constructions while paying tribute to adidas Originals DNA.

Inspired by the Neighborhood label’s trademark of mixing elements of vintage and street culture, the adidas Originals by Neighborhood SS18 range reconfigures sportswear design in a more rough and rugged mode. With minute attention to detail, T-shirts, sweats, track pants and outerwear are elevated through razor-sharp assemblage, a motif emblem that Japanese samurai uphold and incorporate essential collaborative branding.

Classic pieces like the Game Jersey and Commander Sweat introduce subtle adjustments to familiar sportswear essentials, whilst headline pieces like the Riders Track Jacket, a modern interpretation of Neighborhood’s iconic Thunderbolt jacket and Shorts pay homage to functional motorcycle gear through quilted embroidered details, D-ring hardware and reference.

Finally, the NH M-51 Jacket combines classic Neighborhood treatments, nostalgic references and raw technical sportswear design to create a pure expression of the original adidas Originals by Neighborhood ethos.

Accompanying the apparel, four exclusive footwear releases bring this same approach to 3-stripes silhouettes old and new. The collaboration’s take on the Gazelle and I-5923 silhouette stay true to Neighborhood’s blacked-out aesthetic, combining Primeknit constructions with premium suede overlays and co-branded details to create understated approaches to straightforward 3-stripes designs.

At the other end of the scale, a new take on the NMD_R1 is adorned with a striking geometric pattern, as well as a TPU sheet decorated with serrated details, transforming the original NMD model into an entirely new, Neighborhood -exclusive silhouette. Finally, the collaboration introduces the Chop Shop NBHD, a brand new silhouette created exclusively for the adidas Originals by Neighborhood collaboration, combining vintage an adidas Originals shoe-inspired upper design with a boost midsole to present Shinsuke Takizawa’s aesthetic in an entirely new light.

The Adidas Originals by Neighborhood SS18 capsule collection will be available in March at the Siwilai Store on Level 5 of Central Embassy.

LONG NECKS, large chins, flapping ears, crooked noses: welcome to Ugly Models, a London modelling agency of a different stripe, where imperfections are celebrated.

Fashion Week opened in the British capital last week, and among the legions of models strutting down the catwalk, several came from Ugly.

They made eye-catching additions to the perfectly honed or androgynous models that typically feature at fashion’s annual showcase in London.

“It’s celebrating diversity really and it’s bringing a bit more light to fashion instead of just using the bog-standard models,” says agency owner Marc French.

Chairman of Ugly/Rage Models, Marc French interviews a potential model during a casting./AFP

He describes it as a “character” model agency – “from fat, thin, to large to small: you name it, we’ve got it”.

He cited the example of French actor Gerard Depardieu.

“I mean look at him: he’s so full of character and charisma.

“He becomes sexy because he’s so cool and he’s so different.”

Founded a half century ago, Ugly occupies trendy open-plan space in west London featuring a baroque sofa, brushed aluminium computers and walls studded with photos of models.

A portrait of late rock superstar David Bowie adorns the wall, alongside the quote “Imperfection is beauty, madness is genius,” which reads like a company motto.

Model Laura Poole poses during a casting at the Ugly model agency in London./AFP

Like any such agency, it manages the careers of its models, putting them in touch with employers of all stripes, from Burberry to Mercedes to Jack Daniel’s.

On a recent weekday, Ugly was organising a casting to complete its catalogue and those in attendance were atypical models.

Among them were some tough-looking guys.

Chris, for example, a former soldier with arms as thick as logs, posed shirtless with a 50-year-old brunette in a two-piece suit.

Kris Chesney, an ex-rugby player with Toulon and Saracens, is a man mountain at nearly two metres tall and weighing 135 kilograms.

With his shaved head, tattooed arms, rugged face, and body bearing the marks of countless scrums, he is perhaps an unlikely male model.

“It’s a new journey, something interesting, like a challenge,” he grins.

A composite image shows potential models during a casting./AFP

Others are on more of a personal mission.

Sheerah Ravindren, a petite 22-year-old model just 1.61 metres tall, comes from Sri Lanka and proclaims herself a “militant immigrant model”.

Sporting a bare belly between baggy jeans and black top, she has a right nostril piercing and plenty of positive attitude.

“I’m a woman of colour. Growing up, I’ve never seen people that look like me in media, in fashion.”

Frances, a disabled model who gets around using a pair of eye-catchingly futuristic crutches, reveals proudly that her disability “hasn’t stopped me from doing what I want”.

For French, “what makes a good ugly models is someone who is comfortable in his own skin”.

“We don’t want retouching, we don’t want people to change the way they look.

“If someone comes to us a certain way, we’d never say it’d be better if he was smaller.

“It’s really important. There’s so much pressure on young kids,” he says.

The agency is also eager to counter any perception that it cynically exploits its models for their peculiarities.

“Sometimes we’ve had companies ring up and said: we want a small person that will kick themselves in the head. Woo… like no – that’s wrong,” says Lulu Palmer, a booker who is head of new faces.

“We’re not here to exploit people, to take the mickey out of people.”

Always on the lookout for new talent, the team admits the company name can elicit less than enthusiastic responses from would-be models.

But, says French, “the minute they understand what Ugly is all about then they want to be a model.”

Davika Hoorne, the leading Thai actress joined the event, dressed in her favourite Michael Kors of the season. Attending Thai celebrities and socialites at the event were Pimthong Washirakom, Ploychompu Umpujh, Parva Nakasai, Kerika Chotivichit, Ployvarin Songpakorn, Nicole Kittivat Kirn, Sadanun Balenciaga, Chalita Suansane, Thawin P Seawtong and many more.

The event was separated into four different rooms, presenting four main collections including Michael Kors Collection, MICHAEL Michael Kors, Michael Kors Mens, Michael Kors Watches and Jewellery. Guests were enjoying the new collection of Michael Kors Spring 2018 with champagne and live DJ. The event took place at the lively W Hotel.

Michael Kors Spring 2018 Collections will be available in Thailand at Central Embassy, CentralWorld and The EmQuartier this March onwards.

Michael Kors is a world-renowned, award-winning designer of luxury accessories and ready-to-wear. His namesake company, established in 1981, currently produces a range of products through his Michael Kors Collection, MICHAEL Michael Kors and Michael Kors Mens labels, including accessories, footwear, watches, jewellery, men’s and women’s ready-to-wear, and a full line of fragrance products.

Michael Kors stores are operated, either directly or through licensing partners, in some of the most prestigious cities in the world, including New York, Beverly Hills, Chicago, London, Milan, Paris, Munich, Istanbul, Dubai, Seoul, Tokyo, Bangkok and Hong Kong.

For the spring 2018 collection is all about ease and the relaxed attitude of sarongs, kimonos, and pyjamas juxtaposed with oversized menswear tailoring laid-back jacket, trenches, shirts, shorts, and trousers. The luxe sweatshirt barefoot glamour for evening fractional layering and catching by the breeze with chiffon, linen gauze and georgette scarf skirts and dress. The streamer shirt and poet’s blouse tints of rosewater, wisterian and cornflower.

The colour palette has a mix of blues from surf and maritime to water crisp tomes of black and white earthy shades of sand, pearl, and smoke play off of peanut and acorn. There are artisanal detailing hand-weaving, tie dye and dimensional embroidery takes on tropical palms motif. The oversized shoulder sack softly knotted sandals and satchels, plus the ultra luxe croc Flip Flop.

fortune. Typically, food and clothing are offered, but it can also be “said with flowers”.

The “five auspicious flowers” of Chinese lore inspire the “Serendipity of Luck” collection from 88-year-old jewellery brand Jubilee Diamond.

“The peony is the soul-healing flower and symbol of sincerity with pure gentle and jubilant energy believed to be the flower of love,” explains chief executive Unyarat Pornprakit.

“The orchid symbolises abundance, wealth and prosperity. The plum blossom is the first bloom of spring, signifying a delightful step onto a lively new era in the Chinese New Year festival.

“The rose is the queen of flower and symbol of love and marriage, and the crown of thorns is known as the flower of eight gods, as magnet to fortune, honour and prosperity.

“The designs of these five flowers atop the jewellery collection will bring the wearers luck and fortune, together with the collection highlight, being the diamond bangle, which is believed to capitalise on the advantages of life.”

The piece inspired by the peony is the mesmerising Diamond Bangle brilliant with 100 D-colour diamonds and a delicate design of peony petals.

The more straightforward forces of wealth and fortune are signified by the orchid featured atop the charismatic Diamond Bangle elegantly designed with 100 D-colour Triple Excellent diamonds fitted with the delicacy of an orchid.

The Plum Blossom inspired Diamond Bangle in modern design fixed with 99 E Colour diamonds are perfect selections for stylish modern day ladies with an active lifestyle as they can be adjusted to a single or layered up to a chic statement piece.

Accompanying are “Diamond Earrings” featuring 99 E Colour diamonds which can be worn in 2 ways in a stud or drop style for added sophistication.

For the Rose lovers, mesmerised by its delicate beauty, “Diamond Bangle” and “Diamond Ring” of the collection are to die for with the ultimate brilliance of 100 D Colour Triple Excellent diamonds aligned to the design filled with supple movement alongside the signature Jubilee Diamond Emblem that auspiciously defies success and prosperity.

In for the beauty fitted with significant meaning? Crown of Thorns series proudly present the simple yet luxuriously beguiling twisted “Diamond Bangle” in modern design showcasing 99 E Colour diamonds along with “Diamond Ring” eye-catchingly beautiful with D Colour Triple Excellent diamonds surrounding the pair of 0.3 carat centrepiece braided into Crown of Thorns delicate petals hinting at the definition of luck and fortune from the auspicious No 8 resemblance when viewed from the top. Following is the pair of “Diamond Earrings” concluding the series with perfect alignment of 99 E Colour diamonds.

Boost up your luck and sparkle from within with “Serendipity of Luck” diamond jewellery collection today at all counters in leading department stores countrywide. For further enquiries, contact Jubilee Customer Centre telephone (02) 6251111 or follow up on happenings and news at Facebook: Jubilee Diamond (Thailand), http://www.jubileediamond.co.th, Line: @jubileediamond.