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Dazzling: The Duke and Duchess of Cambridge arriving at the Ark Gala Dinner at Kensington Palace
Kate's style has been scrutinised since officially becoming a member of the Royal family following her wedding to Prince William in April.
With her recent appearances meeting the Obamas at Buckingham Palace - and watching the horse racing at the Epsom Derby at the weekend - she tested the sartorial water with simple but chic pieces.
Star attraction: William and Kate didn't disappoint on their first official public engagement as a married couple
However, the Duchess pulled out all the stops for this evening's glamorous event.
William and Kate are attending the reception with 900 other guests at Perks Field and will later sit down to a private dinner before the prince gives a speech.
Musician Mark Ronson and his band will perform for the royals and guests.
The Duke and Duchess are attending on behalf of the Foundation of Prince William and Prince Harry - a body which raises sustainable funds for charitable grants.
Glowing: Kate's beautiful gown was teamed with LK Bennett shoes and a clutch bag
The gala dinner was held in an enormous luxury marquee which appeared more like a small building.
As the guests arrived, a troupe of divers entertained them by diving acrobatically into a specially constructed pool.
When the royal couple's Jaguar limousine pulled up, they were greeted by calls from banks of photographers asking them to pose for a picture.
Financier Arpad Busson, co-founder of the organisation, warmly welcomed them before they climbed a few steps to the entrance of the building before posing and smiling for the waiting cameras.
Outside the banquet hall was a covered reception area with two champagne bars and stalls serving sumptuous canapes from the Mediterranean and Far East where guests gathered before dinner was served.
Hot ticket: The couple's presence at the gala will shine a spotlight on work carried out by the charity
The Duke and Duchess mingled with some of the more prominent figures or chatted to associates of their host, Mr Busson, known as Arki to his friends.
William and Kate were the centre of attention with people crowding around them to get a view of the newlyweds or take their picture on camera phones.
Mr Busson has two sons with his former partner, model Elle Macpherson, and in recent years has dated actress Uma Thurman.
The royal couple chatted to his sons, Flynn Busson, 13, and his eight-year-old brother, Cy, laughing and joking with them.
After about 45 minutes, they made their way into the circular banqueting room which was filled with almost 100 oval tables.
Meet and greet: From left to right, financier Arpad Busson, Prince William, the Duchess of Cambridge and Ian Wace, also a co-founder of Ark
Among the guests seated on the Duke and Duchess's table were Oscar-winning actor Colin Firth, actress Liz Hurley, socialite Jemima Khan and broadcaster Mariella Frostrup.
Elizabeth Murdoch, the daughter of media tycoon Rupert Murdoch, also had a place, as did William's private secretary, Jamie Lowther-Pinkerton, and Baroness de Rothschild.
Anish Kapoor, the British-based, Indian-born sculptor, who won the Turner Prize in 1991, was another guest with a seat close to the Duke and Duchess.
Kate sat between Crown Prince Pavlos of Greece, a distant relative of William, and Mr Busson, while her husband was opposite her with socialite Countess Debonaire von Bismarck on his left and Princess Marie of Greece on his other side.
Wrapped around the edge of the room was a multi-coloured dot-matrix display which would later be used to show the bidding for charity lots that included a stay on the Maltese Falcon - the world's largest sailing yacht - or a Kenyan safari at a luxury lodge.
Captivating: Kate seems to have taken to public life with ease as she chats with Matthew Freud
On the tables were tiny consoles to allow the wealthy guests to place their bids and around the room were swings for performers to use to entertain the guests.
Musician Mark Ronson and his band were due to entertain the diners later and a mystery band - rumoured to be the Kings Of Leon - were also performing.
The £10,000-a-head dinner will also feature auctions to raise donations for Ark, which has projects helping disadvantaged children around the globe.
In the UK it sponsors a number of academy schools and runs other projects like Teaching Leaders and Future Leaders.
Ark was co-founded in 2002 by the financier Arpad Busson, who now acts as a trustee of the organisation.
A spokeswoman for the charity said: 'Over the past 10 years, Ark's programmes in the UK, Southern Africa, eastern Europe and India have transformed the lives of more than 200,000 children.
'In tackling access to healthcare in sub-Saharan Africa, improving educational opportunities in the UK, US and India, and giving children the chance to live in a caring and nurturing environment in Eastern Europe, Ark is helping to overcome some of the most severe blights on children's lives.


Star quality: Liz Hurley, Sophie Dahl and Jemima Khan arrive at the gala
source: dailymail

VIA The Duchess dazzles: Kate and William bring a touch of glamour to charity gala

Oh, hello there. Nice to see you. Notice anything different? Anything intermediate? Yes, that's right. I have successfully completed an intermediate pattern. We're talking darts, facing, curvy sleeves, and bits that match up.

And, while I'm (obviously) pretty chuffed with myself I can't take all the credit. Colette patterns are just so damn good. I mean they come in book format. They have a glossary. I know I've praised Colette pattern's organised awesomeness before, but it's worth another shout out.

What I changed?
I used a single layer of fabric for the sleeves and hemmed them instead of using two-layers as the pattern suggests. I think the curve would have been nicer with two-layers, but I was feeling rebellious. I also used a regular zipper instead of an invisible zipper because apparently I live in the deserted wastelands and dark blue invisible zippers over 5cm are rare, exotic gems.

What I like?
Despite my rebellion, I adore the way the sleeves turned out. They're incredibly feminine in how they mimic the bust line. The secret pockets hidden beneath a pleat. We're talking hidden, deep, comfortable pockets that don't change the shape or bulk up the dress. Genius. Someone get Sarai a nobel prize, stat.

I'm also really happy with the fit of the dress, especially the bodice. As usual, the pattern had to go through some epic changes to fit me properly. I originally cut a 4 in the top and 6 in the bottom (holla for the badonkadonks!), lengthened the bodice 3.5cm (1.4"), took in the waist, adjusted the skirt to match, blah blah blah...

What I'll do next time?Match the waist band pieces. Ssssh. Just don't look at them.

So, my verdict is love, love, love and I can't wait to make it again. But, I know you might be wondering... what does my macaron have to do with a field track? Well I was at Uni wearing my dress, so I thought I'd take some photos while out there. And, the reason I was at Uni?

So I'm a graduate with intermediate sewing skillz. Could I be any happier? No. Probably not. Unless I had a chocolate milkshake. Then my life would be complete.

Macarons On My Table

Saying a sewing project is on my table is a bit of a lie. It's really on my floor, with a sleeve on the table, a skirt front over a chair, and a back yoke who-knows-where. But it will come together, with the it being my new, nearly completed Colette Macaron dress. You've probably seen it out in the google-sphere on other talented ladies (or men?). I'm using the same japanese cotton from my Welcome Spring dress... and my present bag.

But please, hear my case. I have a totally legitimate reason. You see I bought the fabric online, and my cautious nature thought "I'll get a touch extra, just in case". I then discovered the Simplicity pattern was a big fat lying liar pants and I needed way less than suggested. So I gotta-lotta fabric. Two dresses and a bag's worth, actually. The Macaron pattern is labelled 'intermediate', but to be honest I haven't found too many issues... yet. It just requires patience.

I have also checked a technique. Look at this facing, it's so facey! I can't believe it took me so long to do facing. I literally stared at it for about an hour. You know what else this facing is? Serged. Seriously I am now considering my life in two parts: Before and after owning a serger. With the latter obviously being far greater and magical.

It makes everything so clean. So neat. So finished. I'm going a little serger crazy. This is going to be the neatest goddamn garment in the land I tell you. Oh, I also have a new addition to my treasured sewing family. Yesterday was my birthday and, what can I say, my boy knows how to buy a good present. I haven't used it yet, but I feel pretty pro just having it in my possession.

Colette Violet

Yeah, things are getting Colette-crazy around here, and next up is the beautiful Violet blouse. I've had this pattern for a while but never mustered the courage to attack those intimidating button holes, or that menacing peter pan collar. I'm sure I'll find, just like every other time I check a technique, it will be fine and I have nothing to fear from a little Peter Pan action.

I'll probably use one of the three fabrics below as they're already in my stash. I'm petrified of creating one of those prevalent space-devouring stash-monsters. That all looks rather pink, doesn't it? The first two I bought at a vintage fair, and the third is a liberty of London fabric I got for my birthday. Spoilt much? Yes. I've never sewn with liberty fabric, but it's been a dream of mine. I'm not embarrassed to admit I've spent hours just holding onto this little strip of fabric, rubbing it against my cheek.

VIA Intermediate Pattern For Colette Macaron Dress

Surprisingly, I miss the smell of mothballs and rotting, moldy fabric. I miss how cold and dark it would be on a hot, summer day. But what I miss the most is the amazing surprise each box would be as uncovered some amazing suit made in Paris or a box just overflowing with heirloom styled petticoats. Do you know how much restraint it took me not to try anything on? lol! Yes, big no-no indeed!

The San Fransisco Museum is having a exhibition on the great couturier Balenciaga. Now, I honestly only knew of this designer in high school from the infamous Balenciaga motorcycle bag that all my friends covereted. Now everyone has a copy hanging from their arm. It wasn't until my great discovery of couture that I realized how beautiful his work was.

Back from spring break and now overwhelmed with work...

I have three major papers to write this week and not much on the sewing front has been completed. I've been knitting a bit, a row here and there. Sometimes I get quite a lot done in a sitting, but then sometimes I maybe knit just a row before my hands get tired. Though, over break I was super excited to finish up my first ball and move onto the second.

Happy Memorial Day

Last night my father invited me to a BBQ up in the mountains. I got my kitchen supplies and drove as fast as I could. There is something about the mountains, the air is crisper and the colors are more vibrant. I made my spicy barbecue bean burgers and an anti-pasta salad. We had the traditional corn on the cob, which we left on the grill too long and blackened on the bottom. I took some shots of the farm valley between my father's home and my mothers on the drive back, I just missed the sunset but it still is just as beautiful at twilight. Soon, around July and August, the fields will be lite with fireflies and I promise when it happens I'll take plenty of pictures.

So, everything is unpacked and I'm back to work...

I can officially call it summer. However, most of my peers won't call it summer until Memorial Day. What a perfect time to start on some cotton, floral frocks! I just finished Simplicity's 2250 by Cynthia Rowley. I did a few adjustments, such as doing a muslin lining, omitting the tie, and elastic in the ruffles. All the fabric manipulation in the top isn't visible in the white cotton. I do think it would show better in a dark color where you can see the contrast if you're focused on that detail. It's intermediate, at best. The top takes a bit of finesse doing all those tucks. It resembles a bit of a puzzle piece, it took a bit of marking and basting. But, if you have patience and can follow directions it might be the best challenge to a experienced beginner.

The back ruffles are a great detail...

You might be able to tell that I only attached the zipper to the underlining. It's something we do at work all the time when there is a light overlay like organza or chiffon. It keeps it nice and light, doesn't add bulk, and makes the zipper sit well when you're using a lining.

VIA There are things I miss working in a costume archive...

Alice In Wonderland: Johnny Depp

Weirdo. Loner. Outsider. These are some of the terms director Tim Burton uses to describe himself. You will notice `creative genius’ isn’t one of them, however, the term is being thrust upon on the quirky filmmaker thanks to Tim Burton: The Exhibition which opened at the Australian Centre for the Moving Image (ACMI) in Melbourne on Thursday. The show is an extension of an exhibition curated by the Performance Center Alexanderhoehe, Iserlohn (Germany), which attracted more than 850, 000 visitors and made it the third largest exhibit at MoMA ever, behind Picasso and Matisse.

It is a remarkable feat for someone who is firstly, not a mainstream artist, and secondly, alive.

“Most of this stuff was never meant to really be seen,” says Burton, sitting cross-legged in an ACMI room in his signature uniform of black jeans, a black shirt and black oversized cardigan. His famous curly hair frizzes out at all ends and his hands, fluid and always moving, add to its state by running through it as he describes the `freedoms’ of being labelled a weirdo.
“As soon as society says you’re a weirdo, then you’re a weirdo, whether you like it or not,” says the 51-year-old.
“After a certain time you just accept it and it gives you a sense of freedom because if you want to wear a bag over your head society will just accept it because they thought you were weird anyway.
“Like when I was at Disney they thought I was weird, so I would work under my desk for half the day.
“Sometimes if they couldn’t find me I’d just be in a dark cupboard working, like my private confessional.
“So there’s an amount of freedom when you’re categorised a certain way. “
Growing up in Burbank, California, Tim Burton was fascinated by the visual image and spent his formative years sketching, painting, animating and filming what he saw around him.
“When you circle outside of society, when you’re kind of, you’re not in there, you’re looking at things,” he says.
“A lot of it has to do with feeling out of society so you have a lot more observation.”
These observations make up the first part of the exhibit, Surviving Burbank, and include, among dozens of sketches and early short films, a handmade book he submitted to Disney in the 1970s and the accompanying rejection letter. Several years later Burton achieved his goal and began working at Disney’s Burbank studios as an animator. Some of his early work for the company was as on family hits The Black Cauldron and The Fox and the Hound, which Burton physically shudders remembering.
“I was never good at drawing foxes, especially the cute ones,” he says.
“That’s why I can’t look at the exhibit because it freaks me out too much.
“I know they’ve done a good job, but it’s like seeing your dirty laundry hanging up. “`Oh there’s my underwear from 1973 and there’s some dirty socks.’

Personal embarrassment aside, the exhibition is an in-depth look at the creative processes and twisted imagination of Burton, featuring more than 700 works including drawings, early films, sculptures, concept art, installations, puppets, costumes and cinematic ephemera. The second part of the exhibition, Beautifying Burbank, follows Burton’s step away from the Disney studio and his first early film and animation works, including his rarely seen Japanese kung-fu version of Hansel and Gretel and better known works Frankenweenie and Vincent, the latter based around one of Burton’s great inspirations — horror movie icon Vincent Price.

The final section, Beyond Burbank, looks at his feature film career, which has spanned over two decades. From his early works, such as Beetlejuice and Edward Scissorhands, to more recent films like Charlie and The Chocolate Factory and Sweeney Todd: The Demon Barber Of Fleet Street, Burton has made the leap from cult to commercially successful filmmaker. His latest film, Alice In Wonderland, has grossed more than $1 billion at the international box office and gone on to become the fifth highest grossing film of all time. But Burton is quick to write-off his recent success and says if spending half his lifetime in the movie-making business has taught him anything, it is that filmmaking is a `humbling process’.

“I remember after making Batman I thought `oh, that was a success, I can go and do anything now’,” he says.
“And so I went and pitched them Edward Scissorhands and they gave me a completely blank look.
“Nobody wanted to do that and nobody wanted to do Ed Wood, so I had to go about it in other ways.
“Then I remember pitching a musical version of The House Of Wax with Michael Jackson that he was into but they, the studio, were definitely not into.
“It’s always a struggle to make a film.”

Despite the many `challenges’ faced when trying to get a project off the ground, Burton says he has faith that everything works out for a reason. He cites the studio not letting him have Sammy Davis Jr play Beetlejuice as an example, because `it opened the door for Michael Keaton’ who also went on to play Batman in Burton’s two adaptations of the comic book superhero. Another near-miss occurred when, after three hours of auditioning, Burton talked a young Tom Cruise out of wanting the role of Edward Scissorhands, which was later filled by Johnny Depp, who has become a frequent collaborator and one of Burton’s closest friends. Failed projects and major successes go hand in hand for Burton, who says he has learned `not to regret anything’.

“I don’t really regret, it’s always important not to,” he says.
“Every movie I’ve done, whether it’s turned out or not, I’ve still enjoyed aspects of it, you know?
“I mean I think the one I got the most slack with is Planet Of The Apes because that was messing with a classic.
“But I still enjoyed seeing talking apes."

One of the highlights of the exhibition is the 2.7kg costume Depp wore in Edward Scissorhands (above), which is stationed at the entrance to the exhibit along with one of the scissor hands on display in a glass cabinet. Other featured works which will have the legions of Burtonites, the name given to passionate Tim Burton fans, gushing is the famous outfit Michelle Phfieffer wore as Catwoman in Batman Returns, original puppets from Tim Burton’s The Nightmare Before Christmas borrowed from the Disney archives, costumes and sketches from Alice In Wonderland and the Burtonarium, a carnival tent buried deep within the exhibit which houses a light emitting sculptural work by Burton called Carousel (pictured at the very bottom).

ACMI Head of Exhibitions Conrad Bodman says the `diversity’ of the exhibits represents Burton as a filmmaker and goes a long way to explaining his loyal fan base.

“One of the things that Tim has always done is work across a range of film genres - action films, animated films, family films, horror films - and I think all of those types of films have different audiences and when you pull all those inspirations together in the one place, people want to come,” he says.
“What we’re showing in the exhibition is a lot of original concept artwork for his major feature films and we’re kind of looking at the process of his feature filmmaking over the years.
“People can see that often the hand drawn is the starting point for some ideas and then that turns into a visual reality for a whole process of development.
“Tim still does a lot of that kind of drawing, painting and making puppets for himself and people will be fascinated to see that process in action.”

Unlike many other filmmakers, Burton says he has been able to maintain his artistic integrity and stay connected to his creative roots by separating himself from the industry.

“I don’t live in Hollywood,” he says.
“I moved away many years ago and once you start doing things they try to treat you as a commodity, a thing.
“You know, you spend your whole life to be recognised as a human being and then they try to tag you as a thing.
“Like `oh, you’ve done this and that’s what we expect’ so I don’t go back and look at my films too much because I try not to become a `thing’.
“I try to keep human... no person or people should be described as one thing.
“I think everybody has lots of different aspects to their personality.
“Some are dark, funny, sad, there are so many words for each person.”

Considering Melbourne was originally to be called Batmania, after one of it’s founders John Batman, it seems appropriate that it is to be the home of Tim Burton: The Exhibition, which runs until October 11. Already ACMI has experienced a fevour amongst Burton’s Australian fans, with all of his public appearances selling out within 24 hours of going on sale and hundreds of fans queuing through Federation Square to be the first to enter the exhibit when it opened on Thursday and have copies of the exhibition guide signed by Burton himself. It is ironic that his work and films are so accepted by the society he once considered himself `outside’ of. It is a phenomenon best summed up by Burton’s partner and regular collaborator Helena Bonham Carter, with whom he has two children. In a book on the art of Tim Burton she says: “When I see him surrounded by flushed and hyperventilating young fans I feel it’s a triumph of the lonely misunderstood outsider child he once felt he was. Now he’s the most understood misunderstood person I’ve come across in the world.”

In the meantime Burton says he is enjoying a lull between live action projects, while busying himself with a feature-length adaptation of Frankenweenie (concept art), due for release next year. He emphasises the stop-motion animated film is the only project he is working on and committed to, despite online reports which have linked him to adaptations of The Addams Family and super-natural TV series Dark Shadows, both which he blatantly denies were ever `considered’.

“That’s why I never go on the internet because it always seems like I have some sort of evil clone out there that is doing all these projects,” he says.
“I’m still recovering from the last one.
“Whenever I read this stuff I get tired, I think `God, I must be busy’.
“The studios often have a release date before they have a script, which is such a mistake.
“I’m trying to get out of that and, you know, into this strange concept of having a script before you announce a release date.”

P.S. I did the good Samaritan thing on Sunday and took some boys I babysit to see The Karate Kid. Considering what I endured sitting through that movie, karma better have a pet unicorn heading my way! And while you're in the laughing mood, you must must must watch the video clip for The Karate Kid theme song: Never Say Never by Justin Bieber, featuring rapping from Jaden Smith. Hopefully this is not an indication that Smith will make a rap song to accompany every movie he makes, just like his dad. But seriously, when you look young standing next to Justin Bieber then it's time to stop rapping and get back in the womb.

VIA Picasso, Matisse and... Tim Burton!..