Introducing the sensational Samsung Galaxy A7 (2016) & A5 (2016), with a stunning Glass and Metal finish.

The new flaunt Samsung Galaxy A 2016 edition.

Samsung Galaxy A7

Design

Glass Meets Metal.

Dazzle everyone with your flaunt quotient. With a glossy 2.5D Gorilla Glass 4 and Metal body, the Galaxy A7 (2016) & A5 (2016) is all you need to stand out and shine.

Camera

Picture Perfect with OIS.

Look sharper than ever. With Optical Image Stabilization (OIS), the new Galaxy A Series (2016 Edition) gives you pictures that are blur-free and mesmerizing.

Power

Quick Charging Battery.

Make sure you never run out of charge.  The Galaxy A7 (2016) comes with a 3300mAh  high-capacity battery* and fast charging feature.

Other Features

Worth The Flaunt.

Flashy, versatile and gorgeous, the new Galaxy A Series (2016 Edition) comes with a host of cutting-edge features.

   Enhanced Display:

• Got it. Display it. The sAMOLED screen brings every colour to life. With 13.93cm (5.5”) Full HD screen* and 2.7mm narrow bezel, the Galaxy A7 (2016) gives you a viewing experience that’s awesome.
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• Powered To Perform:

• Do more with the new Galaxy A Series (2016 Edition). Equipped with 1.6GHz Octa Core Processor, the Galaxy A7 (2016) has a 3GB RAM* that provides faster multitasking and seamless shuffling between games, songs, apps and movies.

• Intuitive Fingerprint Recognition:

• The new Galaxy A7 (2016) & A5 (2016) is as unique as you. With the Fingerprint Recognition feature, your fingerprint is all you need to unlock the device and enjoy a secure smartphone experience.

• Impressive Low Light Selfie:

 Selfies keep getting better with the Galaxy A7 (2016) & A5 (2016). The f/1.9 aperture, 13MP rear and 5MP front camera enable you to take brilliant shots, even in low light. With Palm Gesture and 120o Wide Angle features, you can click selfies with a simple gesture and take in more with every frame.

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Faster Uploads & Downloads:

Transfer high-quality videos and files at incredible speed. Enabled with LTE Cat6 and Download Booster, the Galaxy A7 (2016) & A5 (2016) offer you up to 300 Mbps* Downlink and up to 50 Mbps* Uplink.

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Hell must be filled with beautiful women and no mirrors.

Orry-kelly-costume-design

      So wrote Orry-Kelly, one of the great costume designers of Hollywood's golden era, and the man behind its leading female stars: Bette Davis, Ingrid Bergman, Ava Gardner, Marilyn Monroe.

As head of costumes for Warner Bros. in the 1930s and 1940s Kelly created defining looks for all of the studio's leading ladies, and put Humphrey Bogart in his iconic trench and fedora for 'The Maltese Falcon' (1941).

  According to Ulanda Blair -- the curator behind a new exhibition of his work at Melbourne'sAustralian Centre for the Moving Image on August 18 -- Kelly had a unique ability to balance historical accuracy with "playfulness, volume and spectacle ... his signature cheekiness." He became one of film's most influential designers by tailoring outfits to match each actor's temperament and physical quirks. But while his sketches might be wittily exaggerated, Kelly was meticulous about detail, often employing couture techniques, hand-painted materials, and intricate embroidery.

   The new show traces the Australian-born artist's history, from his background in painting, to a stint on Broadway designing for the likes of Katharine Hepburn, to his glory days in Hollywood. At Warner Bros., Kelly was known for molding two of the industry's most fashionable stars: Kay Francis and Dolores del Rio. Kelly treated both women like objects of art, draping them in liquid silver sheaths against Art Deco backgrounds to set off their black hair and pale skin. These stylized, high-contrast looks became archetypal images of 1930s style.

   Nevertheless, Kelly's most enduring work for Warner Bros. may be his creative partnership with Bette Davis. He dressed Davis for over thirty films, culminating in the great 'Now, Voyager' (1942), in which she plays an oppressed woman who gains independence.

   Kelly's gowns are key to this dramatic transformation, as Davis appears in a series of stunning, minimalist black outfits which showcase her new-found elegance and strength. A master of silhouette, Kelly preferred a lean, linear shape to the frills and puff-ball sleeves popular at MGM, and he knew how to give Davis' figure the illusion of length. When he finally left the entertainment company in 1944, Davis said it was "like losing my right arm."

   After freelancing with various studios, Kelly experienced a renaissance in the 1950s, winning three Academy Awards for best costume design for 'An American in Paris' (1951), 'Les Girls' (1957), and 'Some Like It Hot' (1959). In the latter, Marilyn Monroe's sheer gowns created a sensation, stitched out of soufflé and bugle beads to give the illusion of nudity.

   After seeing Monroe's designs, co-stars Tony Curtis and Jack Lemmon requested their own Orry-Kelly creations for the film's drag scenes. Curtis and Lemmon's dresses will be shown at the Australian Centre for the Moving Image, along with a parade of other seminal Hollywood costumes: Mitzi Gaynor's sequined bodysuit from 'Les Girls', the surreal eye-covered gown from 'The Dolly Sisters' (1945), and a dazzling burlesque number worn by Natalie Wood in 'Gypsy' (1962).

The Orry-Kelly exhibition coincides with the release of a new documentary on the designer, 'Women He's Undressed', by veteran Australian director Gillian Armstrong.

   The film details his early years in Hollywood with roommate and rumored lover Cary Grant, his struggles with alcoholism, and his lifelong perfectionism. Most of all, it argues for Kelly's status as a major artist, responsible for so many of the star images we know today. As costume historian Larry McQueen notes, the designer remains underrated because he "never really seemed to relish the limelight and certainly wasn't interested in playing the distinguished gentleman." But more than 50 years after his death, the legend of Orry-Kelly is ripe for rediscovery.

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