In 2010 and 2011 a handbag can be furry all over as many of fashion designer present fur handbag for Autumn Winter 2010 2011, and one cant not deny Fur handbags charm and fashionable look. Whatever your preferred take, one thing is certain: a fur bag makes a statement. Flowwing are the fashionable fur bags of hottest fashion brands.

Louis Vuitton

Marc Jacobs

Chanel

Christian Dior

Dolce & Gabbana

Marc by Marc Jacobs (Left) and Fendi (Right)

Ralph Lauren

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Curvy model Crystal Renn has added another feather to her crown with Chanel Reopening September 2010 ad campaign shot in a studio in Paris. Crystal Renn along with Baptiste Giabiconi are featured in campaign for reopening of Chanel store on Spring Street in SoHo in September.

Choosing Crystal Renn for Chanel reopening campaign is shocking as Karl Lagerfeld had made a statement earlier that fashion doesn’t want curvy women. Everyone including Crystal Renn is shocked at being part of this campaign and says it is “proudest moment of my life.” Crystal Renn has also walked runway for Chanel Resort 2011 Collection.

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Talk about drama doused with leopard print. Judging by Scarlett Johansson’s new Dolce & Gabbana makeup advertisements, she and Marilyn Manson could totally share the same makeup bag.

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Spring is in the air. It started last week with Giorgio Armani, who opened market for his Armani Collezioni lineup in New York.

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Karl Lagerfeld has often insisted that his collections come to him in dreams, but following his new Chanel couture show, he claimed the dream this time had been a nightmare. “No, no, just kidding,” he quickly added, but there was a weight to the clothes that suggested a darker thread in Chanel this season. Compared to the glistening sci-fi whites of his Spring couture, these looks had a moody tinge. The colors, for a start: maroon, loden, navy, brown, camel. Next, the fabrics. As the show unfolded, there were velvet trims on shadow plaids, crystal trims on camel, fur trims on tweed. Dark tapestry was crusted with embroidery and beading. Imperial gold detailing against a field of navy sequins made Freja Beha Erichsen look like a girl waiting for her Ruritanian soldier.

Then there were the proportions—tiered, short-over-long. A cropped jacket with elbow-length sleeves topped a high-waisted, to-the-knee skirt—a look that combined elongation and bulk in a way that was intriguing though likely to pose a challenge to many bodies.

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Old Hollywood has had a hold on Giorgio Armani since he was a boy. His first suit today—the skirt limning the body, then flaring out just below the knee; the draped jacket with the definite shoulder; the crepe silk overcoat thrown insouciantly over the lot—could have been Carmen Kass playing Carole Lombard (with Sharon Tate’s hair). Even the shoes with their thick Perspex heels chipped in. The outfit set the pace for the designer’s Armani Privé show—not retro but remarkably restrained and businesslike, with a subtle monochrome feel that was underscored by the many shades of brown on display, reflecting the theme “A Play on Amber.”

The draped jacket and skirt combination is an Armani classic, of course. Here, he emphasized fluidity, exaggerating and softening the drape, extending one scarf collar over a shoulder and fastening it with a large wood and amber brooch.

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Elie Saab loves La Fenice, Venice’s legendary opera house. As its name would suggest, this phoenix has burned to the ground and risen from the flames three times. For his Fall Couture collection, Saab borrowed the ruched velvet of La Fenice’s curtains, the gilt and blue of its decoration, and even the fire and ash of its hellish moments for one multicolored mousseline gown. Given that backstory, the result was understandably a little overwrought.

Before the show, Saab said, “If a woman doesn’t want ‘rich,’ she doesn’t come to couture.” So rich was what he gave her, from the moment Karolina Kurkova sashayed out onto the catwalk in a gown of deep red guipure lace swathed in silk tulle. The dress that followed her was short but scarcely simpler, with its bands of chiffon and lace liberally doused with sequins.

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Right now, in the Paris hotel rooms of many fashion editors, there are bunches of flowers, plastic-wrapped and raffia-tied. When they returned to their rooms after the Dior couture show today, did the attendees make the connection between what they’d just seen on the catwalk and what was sitting in a vase in front of them? Stephen Jones created headgear that looked like a florist’s plastic wrap. Someone else contributed the raffia belts. And nature did the rest. “It’s the most inspiring teacher,” said John Galliano, after a show that was a hymn to all things floral.

Part of his research involved studying real flowers, spending an hour watching the light change on a parrot tulip, for instance. That partly explained the collection’s wonderful colors, especially the vibrancy of the dégradé effects.

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On one side is a luxury goods brand loved by celebrities and fashionistas across the globe; on the other, the great-granddaughter of the empire’s founder. Welcome to the battle of Gucci vs Gucci.

The fashion house is taking legal action against Elisabetta Gucci after she announced plans this month to launch a worldwide chain of hotels in her name. The first, an 87-room luxury boutique hotel in Dubai, is scheduled to open this year.

The fashion house, now French-owned, has filed a lawsuit against Elisabetta Gucci “seeking injunctive relief in order to protect its rights”.

“Following the news that appeared in the last few weeks in some international media titles and the alleged involvement of Gucci fashion house with a certain hotel project, Gucci wants to make clear that it has no relationship to Elisabetta Gucci Hotels and that it is not involved in any project whatsoever with Elisabetta Gucci Hotels,” said a statement from Gucci, which made €2.3bn (£1.9bn) in revenue last year.

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Mark Badgley and James Mischka are in expansion mode. After opening a Palm Beach boutique this past winter, the duo added a Newport outpost last week. For Resort, they took inspiration from the two locales. Well, where were you expecting with these designers? Williamsburg?

Badgley and Mischka had Newport in the Gilded Age in mind: One gown was literally glittering (a strapless gold number dripping in sequins), while another featured a Belle Époque-style bustled skirt. Other references to the coastal Rhode Island town were more playful: Pale ribbons shimmered like shells; jeweled belts resembled sunken treasures.

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When Christopher Bailey said he wanted the clothes in Burberry Prorsum’s pre-collection to look like they’d had a life before you met them, he was talking about much more than that slightly faded, vintage-y English rose mood that his Burberry has evoked so expertly in the past. Here, the texture of a dress in ruched and washed leather suggested something much more ancient—a sunbaked lizard’s skin, perhaps. That was in keeping with the exotic subtext Bailey was exploring. He started with uniforms from the British colonies in the 1930′s and forties that he found in the company archives, which meant plenty of the authentic military shapes and detailing—belts (the best in python), utility pockets, epaulets, wrist straps—that added spine to Burberry’s standout Fall collection.

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Giorgio Armani played with shapes and patterns for his Armani Collezioni collection — with bold geometric tops, feminine floral skirts and chic stripes on classic pin-striped suits and nautical Ts. He showed his attention to detail with textured and treated leathers, giving the lineup a cool, urban edge.

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