So will Ditto be staging a runway show of her own in the future?

It was Grand who orchestrated Ditto's runway appearance at Marc Jacobs's spring 2016 show as well. "She's always been 110% amazing to me," said Ditto, adding she was particularly excited to walk for Jacobs because the brand didn't ask her to perform — they just wanted her to model. "I think a lot of people would be like, 'What's it like to be fat and do that?'" she said. "But at the same time we're all people. And it was really fun and funny because New Prom Gowns I'm so short compared to those girls." Ditto followed it up with an appearance in the label's spring campaign, too.So will Ditto be staging a runway show of her own in the future? "I'm so excited about the next [collection]," she said, implying this release is just the beginning. I suggested branching out into bridal in the future, but she responded that a big dream would be to tackle prom wear — a particularly underserved plus-size market. "I don't consider myself a part of fashion," she said. Looks like that's about to change.

See Beth Ditto's debut collection look book styled by Katie Grand www.promdresses2016.us.com below.Just over a month ago, the music world lost one of its greatest, most legendary talents, David Bowie, after an 18-month battle with cancer. We expected a number of attendees and performers at Monday's Grammy Awards to pay tribute to the widely inspirational artist, but one in particular took it to an extreme: Lady Gaga showed up in a custom, embellished Marc Jacobs dress, complete with strong shoulders, a fiery red mullet, glittery blue eye shadow and sky-high platforms.It's a unique (yet somehow spot-on) nod to both Ziggy Stardust and Bowie's "Aladdin Sane" album cover, the latter of which she just so happened to get tattooed on her body over the weekend. The singer will perform a tribute to the late musician later in the evening, and if this outfit is any indication, we're all in for one hell of a spectacle.At the Metropolitan Vintage Prom Dresses Museum of Art's press preview for the Costume Institute's upcoming exhibit, "Manus x Machina: Fashion in an Age of Technology," head curator Andrew Bolton touched on the traditionally dichotomous relationship between the handmade and machine-made in fashion, and the blurring of the two disciplines in the creation of haute couture and ready-to-wear.

Bolton started off by noting that since the birth of haute couture in the 19th century, the hand and the machine had been constructed as "discordant instruments of the creative process," with the former seen as a symbol of "detrimental nostalgia" by its opponents, and the latter as a symbol of inferiority and dehumanization. With this exhibit, which opens in May, the Costume Institute hopes to "suggest a spectrum of practices whereby the hand and the machine are mutual protagonists in solving design problems.”