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Day two of Paris Fashion Week kicked off with an intimate presentation at Courrèges, followed by John Galliano’s twisted takes on Americana at Maison Margiela, several hours after came a beautiful anniversary show from Dries Van Noten. The sincerity and love in each collection resonated not only with those there in person, but also through pixels to all of us following along worlds away. If that’s not a recipe for feel-good fashion, what is? Here, today’s big takeaways from Paris Fashion Week.

Photo: Courtesy of CourrègesAfter presenting a full-look runway show for Spring, the Courregès designers went back to basics for Fall 2017, revisiting the system of designing for specific categories they began with at the brand. This time, Sébastien Meyer and Arnaud Vaillant focused on outerwear, prom dresses 2016, knits, and minis, allowing their cool friends and muses to style the pieces themselves for the lookbook.

Photo: Indigital.tvFrom the Statue of Liberty cut-out on the back of a trench to the hollowed-out varsity jackets, the American spirit of Maison Margiela’s Fall 2017 collection was hard not to miss.

Photo: Indigital.tvDries Van Noten is not one for big celebrations—that’s why his 30th anniversary came and went without a peep. For his 100th fashion show, the designer found a new way to celebrate, casting models he’s worked with over the years and resurrecting some archival prints. Cheers!

Photo: Indigital.tvFur and feather gilets and smart suiting were the calling cards of Bouchra Jarrar’s couture business. While her first Lanvin show edged away from those signatures, at her sophomore show today, she embraced them, adding a flirty, pale pink romance into the mix.

Photo: Indigital.tvRochas’s Alessandro Dell’Acqua and the duo at Lemaire landed on a sort of unfussy prettiness for Fall, with the former honing in on a retro elegance, and the latter continuing their arty streak via draped 2017 prom dresses uk and high-rise pleated pants.

Photographed by Kevin TachmanIf our detail shots aren’t enough for you, find even more photos of Paris’s best accessories in our backstage slideshow, photographed by Kevin Tachman and Corey Tenold.

Miss Alison Shaber Porter and Mr. Denver Reece Pradon were united in marriage on Saturday, January 14, 2017 at six o’clock in the evening at First United Methodist Church in Bryan, Texas.

The double ring ceremony was officiated by Reverend Donnie Williams of Odessa, Texas. Following the ceremony, the bride’s family hosted a reception at Coulter Airfield where guests dined on “southern comfort” food and danced to the Texas Unlimited Band. The table arrangements included cotton bolls grown on the bride’s family property.

On the day prior to the wedding, the grandmother of the bride and aunts of the bride and groom hosted a Bridesmaid’s Luncheon at Madden’s Casual Gourmet. The bride wore her grandmother’s wedding graduation dresses for the occasion. On the eve of the wedding, the groom’s parents hosted a rehearsal dinner at Brazos Cotton Exchange in downtown Bryan, where the bride wore her mother’s wedding dress.

The bride is the daughter of Mr. and Mrs. Steve Porter of Bryan, Texas. She is the granddaughter of the Honorable and Mrs. Larry Melton of Odessa, Texas and the late Mr. and Mrs. Boswell Porter.

The groom is the son of Mr. and Mrs. Darryl Pradon of Odessa, Texas. He is the grandson of Mr. and Mrs. Archie Reece of Odessa, Texas and the late Mr. and Mrs. Peter Pradon.

The bride was escorted down the aisle by her father and given in marriage by her parents. She carried a bouquet of white roses, accented by cotton bolls. Miss Porter wore an a-line draped satin La Sposa wedding gown with a sweetheart bodice with sheer illusion tulle overlay decorated with lace, thread embroidery, and gemstone embroidery appliques. She wore the cathedral length antique family veil that has been passed down to Porter brides for six decades.

Matron of honor was the bride’s sister, Mrs. Victoria Krawczynski of Garden Ridge, Texas and maid of honor was Miss Shelby Hillman of Houston, Texas. Serving as bridesmaids were Miss Caitlan Berry of Houston, Texas, Miss Eliza Ann Bornman of Houston, Texas, Mrs. Tuesdee Pradon, sister in law of the groom, of Midland, Texas, Miss Marea Pappas of Washington, D.C., Mrs. Hannah Roebuck of Beaumont, Texas, and Miss Danielle Willett of Dallas, Texas. Junior bridesmaids were cousin of the bride, Miss Catherine Melton of Austin, Texas and Miss Kinli Sanchez, cousin of the groom, of Odessa, Texas. Serving as flower girls were nieces of the bride, Miss Wyatt and Miss Campbell Krawczynski.

Best man was the groom’s brother, Mr. Derek Pradon, of Midland, Texas. Serving as groomsmen were Mr. Chris Addison of Snyder, Texas, Mr. Travis Austin, Mr. Dex Dennard, Mr. Caleb Gregory, Mr. Brian McDermett, Mr. Derrick Teegarden, and Mr. Miles Torres of Odessa, Texas, Mr. Jake Carter of Tyler, Texas, and Mr. Nash Porter, brother of the bride, of Tulsa, Oklahoma. Ring bearers were cousins of the groom, Masters Reid Miller and Knox Pradon. Masters Eli and Porter Epstein, cousins of the bride, served as acolytes. Mrs. Katherine Tober read at the ceremony.

Serving as the house party were Mrs. Jacey Dennard, Mrs. Andrea McDermett, and Mrs. Blakeley Wilbanks. Serving as ushers were cousins of the groom, Mr. Brock Bourland, Mr. Jarret Cotton, Mr. Justen Cotton, Mr. Kai Sanchez, and Mr. Kail Sanchez of Odessa, Texas. Also serving was cousin of the bride, Mr. John Melton of Austin, Texas.

Alison is a 2009 graduate of Bryan High School and a 2013 graduate of Texas A&M University. She received a Bachelor of Arts in English and was a member of Delta Delta Delta sorority. She also completed a Certificate in Nonprofit Management from the Bush School of Government and Public Service. Alison is the Coordinator of Children’s Miracle Network for the West Texas region.

Denver is a 2009 graduate of Odessa High School and a 2014 graduate of Texas Tech University. He received a Bachelor of Arts in Political Science and a Bachelor of Business Administration. He also completed a Masters in Business Administration with a Certificate in Energy Business from the University of Texas of the Permian Basin. Denver is employed by Pradon Trucking and Construction.

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Art and fashion have always intermingled, but what happens when you toss in a heavy dose of tech and all the contemporary philosophical conundrums that come with it? It would probably look and feel a lot like the stylishly flashy, forward-thinking fashion line, Ab[Screenwear], which made its New York Fashion Week debut earlier this month at Postmasters Gallery in Chinatown.

For all the high-concept themes and influences that founder Olya Petrova Jackson incorporates into her clothing, like her original code-based language system for the various layers and materials she uses (multi-colored dichroic polyurethane panels, shearling, leather, wool, and precious furs), or her vociferous dialogue with Kurzweil’s theory of singularity, the looks are strikingly chic and completely ready to wear.

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“That’s body,” says Petrova Jackson from inside her stylish and minimal Brooklyn apartment, which she shares with her husband. “That’s part of me being a fashion designer, everything else is concept and artistic expression.” For those familiar with the designer’s prototypes and sample items, which she’s been developing for over three years, one can’t help but wonder if she faced external pressure to create more traditional, palatable works to lure the mainstream fashion status quo. “Hell no,” she offers in her delightfully self-aware, Russian accent. “That’s judgment that I don’t care about. If I did, I would have faded away years ago.”

Ab[Screenwear]’s Fashion Week presentation, geographically speaking, was divided into two halves. On the west side of the gallery, three contemporary movement dancers, each in a unique look, played off each other in a slow motion contemplation of our relationship to inter-personal space, sound, light, as well as the various materials interacting with their [our] own flesh. This triumvirate appeared to be led by the actor/model/dancer Elliot Sailors, who brought a ferocious physicality to the proceedings.

One is apprehensive to use a word like androgynous to refer to Sailors, especially in 2017, as [her] confidence seems to obliterate any third-party speculation as to exactly who or what she is. Sailors was joined by the elegant Elanor Bock and transgender model Indya Moore. Their improvisational performance took place in front of a video art piece by Kurt Hentschlager called “Cluster.” The video features a trippy, kaleidoscopic vortex of contorted limbs, pulsing and undulating outward in concentric circles like a human mandala.

One is apprehensive to use a word like androgynous to refer to Sailors, especially in 2017, as [her] confidence seems to obliterate any third-party speculation as to exactly who or what she is. Sailors was joined by the elegant Elanor Bock and transgender model Indya Moore. Their improvisational performance took place in front of a video art piece by Kurt Hentschlager called “Cluster.” The video features a trippy, kaleidoscopic vortex of contorted limbs, pulsing and undulating outward in concentric circles like a human mandala.

What’s most interesting about Ab[Screenwear]’s presentation (a clear standout), is the fact that this three-person movement performance, though lovely and at times hypnotic, was in some ways a clever diversion from the real performance taking place on the east side of the room between the audience and Petrova Jackson’s 13 models, all partially frozen on light-box pedestals in a seemingly traditional standing presentation. This format has become commonplace in the fashion world, as it’s less fleeting than runway and provides more time and access to the fabrics, cuts and overall looks. The audience is able to move face to face with the models, as if they were living, breathing mannequins, open for consensual objectification and game for countless up close and personal photographs, detailing every inch of their bodies.

“You don’t usually come across people who would allow that intimacy,” says Petrova Jackson of her model brood. In Ab[Screenwear], the designer turns the tables back on the voyeur, as many of the models, who rarely if ever speak, were fit with thin translucent dichroic polyurethane panels that housed their iPhones, which were set on record and trained back on the viewer, igniting a mutual sense of awareness between the model and fashion enthusiast, while commenting on our collective dehumanization in the face of advancing technology. “The girls totally got it,” Petrova Jackson continues. “I call this ‘Post Language.’ It’s not about perfection of the physical, emotional, or spiritual, it’s about our imperfection. It’s telepathy. Some people get it, some people don’t, but that might mean they’re not connecting consciously.”

Where other fashion lines over the last few years have gone out of their way to celebrate the complexity and vast spectrum of skin color as a means to deconstruct race, Petrova Jackson asks us to contemplate the evolutionary stagnation, not only of fashion, but of the human species collectively. “What I’m trying to explore is; if you put that [polyurethane screens] over your body and it has all the capacities your phone has, to switch, choose, project, absorb with your fingertips, it might give you a completely new dimension as a human.”

Much of this incredible material was cut and incorporated by one of Olya’s most vital collaborators, Tereza Barabash. Hailing out of Lviv, Ukraine, a cultural hub renowned for its weaving & textile industry, Barabash has won a golden medal at the Textile Triennial in Warsaw, both in 2013 and 2016. The designers would use NYU Fulbright scholars as fabric mules to send repurposed strips of the polyurethane, leather and other materials back and forth to each other. “That’s me coming from an Eastern European, post-soviet block. It’s manic. I would keep it in boxes for months, cut it into thin strips, and send it to Theresa with a courier.”

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A nearly-naked wedding cocktail dresses has become one of the most popular looks of London Fashion Week autumn/winter 2017.

Bollywood actress Amy Jackson shared an Instagram photo of herself modelling the Rocky Star cheap cocktail dresses on Sunday 19 February and it quickly rose to become the top post for the hashtag #LFW, gaining more than 28,000 likes within five hours.

Rocky Star’s designs have been worn by Beyoncé and Priyanka Chopra, as well as appearing in many Bollywood films. This is the second collection he has shown with Fashion Scout at London Fashion Week.

Star said his ‘Vida’ collection is about “discovering yourself”. “It’s all about old world charm and I’m trying to create my own style which is about a woman who travels a lot,” he told India Today.Speaking ahead of the show Star said that Jackson, who regularly travels between India and England, was the perfect choice to represent his collection and he was sure she was going to “rock the show”.

Raul Juarez produced his first quinceañera expo in Houston in 2001 with a handful of vendors to help families shop for cakes, prom dresses liverpool and reception halls all in one place. Budgets were typically less than $5,000. A stretch limo was a major extravagance.But as the Latino community has grown – both in numbers and buying power – so has the coming-of-age party for 15-year-olds. At Juarez’s 16th annual expo last month, a man on stilts in a fully lighted robot costume made the rounds while girls perused dresses that cost as much as $8,000. The all-in budgets today can easily approach $30,000, he said.

Limos have given way to tour buses or, in some cases, helicopters for a more dramatic entrance. Choreographers charge as much as $4,000 to develop a 15-minute performance. Extended family members and godparents still help with the tab, but some small banks have begun offering special financing for the big day as tradition increasingly meets consumerism.”It’s getting bigger and bigger,” Juarez said, “with quinceañeras outdoing each other.”Rachel Gonzalez-Martin, assistant professor of Department of Mexican American and Latina/o Studies at the University of Texas, is writing a book on the increased commercialization of quinceañeras. She said it reflects not just corporate America’s interest, but also the growing affluence of Hispanic families.QUINCEAÑERA EXPOQuinceañera ExpoWhere: George R.

Brown Convention Center, 1001 Avenida de las Americas.When: March 5, 12-5 p.m.Who: More than 100 vendors will be exhibiting their products and services, from dresses to dance choreographers.Tickets: $10 online at quinceaneraexpos.com.More information: 210-781-6377.”While it’s still about family honor, it’s not about the girl’s virtue,” she said. “It’s about the family’s socioeconomic success.”Indeed, while the U.S. Latino population grew 57 percent between 2000 and 2014, research by the Pew Research Center found the community’s purchasing power soared 155 percent, to $1.3 trillion, in the same period.

Last year, Pew found, 81 percent of surveyed Hispanic adults said they expected their financial situations to improve in 2017.”Parents aren’t just buying stuff,” Gonzalez-Martin said. “They’re buying soft skills for upward social class mobility.”Cost risesJuana Salsero and her goddaughter, Irayes Romero, were at Juarez’s Quince Expo last month at Bayou City Event Center (moved from its usual NRG Park location because of the Super Bowl).Romero, who turns 15 in May, browsed through vendor stalls until she spotted a sequined dress styled after the one worn by her favorite Disney princess, Cinderella. She gasped and teared up, and Salsero, who will buy Romero’s dress, immediately went up to the attendant and sorted out dates for a fitting. Prices weren’t discussed as Salsero put no limit on the cost.

BUSINESSBusiness calendar#FormatImgID_0# Week in review#FormatImgID_1# Stocks inch to new records; S&P 500 up 4 straight weeksStock market activity this week#FormatImgID_2# Unilever remains cool to Kraft Heinz takeover bid#FormatImgID_3# Statoil sues researcher, claiming theft of technology”It’s how a young woman is introduced to society,” she said. “You have to make a great first impression.”The cost of making that impression is rising, on everything from food to outfits to entertainment.Tomas Benitez has designed quinceañera dresses in Houston for 11 years. His products range in price from $1,500 to $8,000. By keeping abreast of industry trends and using designer brands, he said, Benitez’s business has grown at a steady 15 percent annual rate.Lorena Lock, who started Million Cakes in Katy 10 years ago, said 60 percent of her business today is focused on designing quinceañera cakes.

They can go for $200 to $3,000 apiece.”People want quality,” Lock said, “not a homemade cake made by a family friend.”Reception hall owners including Memo Garza of Anais Reception Center, need to be ready to host at most around 700 guests for a party.Garza hosted 86 parties in 2015 and 100 last year. He’s already booked 42 so far this year. Garza’s prices range from $1,200 to $20,000 depending on whether the family simply wants to rent his venue or have him coordinate the whole shindig.To keep pace with the competition, Garza said, he expanded his business in 2014 to include on-the-go party rental services catering to cities such as Victoria, Bay City and El Campo.”The market is flooded,” Garza said.Business opportunityNot everyone goes to extremes. Susan Guzman, for example, said while perusing the Quince Expo she will stick to a $5,000 budget for her daughter’s party. But, she added, her sisters dropped $20,000 on parties for their daughters.

Regardless of the price range, quinceañeras represent a growing business. Just last month, Janet Quezada opened a new store, Karla Boutique, with charro-designed dresses imported from Mexico, where the market is more saturated.”The Mexican market has already become such a mature industry that it’s hard to enter it as a small-business owner,” Quezada said.Quezada, whose prices range from $890 to $1,800, said she foresees smaller boutiques popping up in Houston to better cater to a wide range of party budgets.Juarez said consumers’ demand for better quality, and higher-priced, party supplies seemed to happen almost overnight.”The changes are happening in leaps and bounds,” he said.

Juarez noted a couple of advantages he has over businesses that cater to the wedding industry. First, there is no peak or slow season for quinceañeras; girls turn 15 all year round. Plus, he added, Latino families’ tendency is to pay for everything up front.Juarez and others can only see the industry grow from here, simultaneously benefiting and challenging vendors for years to come.Gonzalez-Martin, the UT professor, said there are other, more subtle advantages to continued growth and expanded exposure of the American quinceañera.”As the industry grows,” she said, “the cultural presence of American Latinos cannot be ignored.”

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Ashley Graham on Wednesday became the first plus-size model to walk on the New York runway for Michael Kors, who unveiled a collection full of opulent fur coats and monochrome looks.

Graham, the 28-year-old American and self-proclaimed body activist who this month became the first plus-size model to appear on the cover of Vogue, took to the catwalk in a black prom dresses london slashed to the thigh and belted at the waist with a cropped grey fur coat.

The 57-year-old New York designer was a major draw on day six of fashion week in the Big Apple, pulling in actress Blake Lively and her husband, the Canadian actor Ryan Reynolds, as well as Vogue editor-in-chief Anna Wintour.

Models sashayed down the runway to the strains of Eurythmics hit “Sweet Dreams”—performed live by a string ensemble wearing fur coats, evening dresses and metallics.

Model of the moment Bella Hadid looked stunning in gunmetal grey. Kendall Jenner closed the show in a black tasseled evening dress.

There were a succession of one-color outfits in chocolate, camel and olive, slouchy suede boots, asymmetrical cutaways to reveal the thigh and rich dresses in molten silver and gold.

It was a very New York look: draped dresses, skirts and blouses contrasted with tailored jackets and a defined waist to present what Kors called “covered-up sexiness” and “urban takes on languid kimonos and sarongs.”

Graham, who is followed by 3.2 million people on Instagram, shot to fame last year when she became the first plus-size model on the cover of the annual “Swimsuit Issue” of magazine “Sports Illustrated.”

Her presence suggested that Kors had changed his attitude about size diversity on the catwalk, having told USA Today last September that it was not logistically possible to feature them on the runway.

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What’s the most coveted souvenir from New York Fashion Week? An invitation to Kanye West’s Yeezy fashion show. Last season’s event, held at Franklin D. Roosevelt Four Freedoms Park, featured invites printed on T-shirts, many of which immediately found their way onto eBay, where they were quickly bought up by the haute-meets-hypebeast fashion set.

Among the things that makes watching Kanye’s show such a good spectator sport is the front row presence of Kim Kardashian West, who is reliably decked out in one of her husband’s dazzling ensembles. For season one, Kardashian West, joined by baby North, owned the front row in a camouflage jacket over a form-fitting bodysuit and cropped bra top for a mashup of high fashion and post-apocalyptic style. This look was given a dose of monochromatic magic for season two when Kardashian West hinted at her growing bump in high-waisted leggings and mid-calf grazing duster, all in shades of sand.

But leave it to the reality television mogul to up the ante for her husband’s The Life of Pablo listening party and season three show. Flanked by the vast Kardashian-Jenner crew—Caitlyn Jenner, Kris Jenner, Lamar Odom, and countless other friends and family—Kardashian West changed things up in an OTT fur coat and embellished prom dresses manchester crafted by West and Balmain creative director Olivier Rousteing.

But this past September, Kardashian West returned to a more subtle and sophisticated look in a ribbed knit dress and tonal tall boots. With Kardashian West switching up her look for 2017— sporting everything from slinky, ’70s style dresses to 1980s inspired tracksuits from her husband’s yet-to-be released Calabasas collection—there’s no telling what sartorial treats are in store for us today.

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It has been an eventful two months for Carolina Herrera. First there was that nasty lawsuit against Oscar de la Renta wherein it transpired that her former chief executive had hired a former ODLR designer to be her heir in waiting without telling her, a situation that did not end well for anyone involved. (The designer returned to her previous place of employ, the chief executive left, and dirty laundry was seen by all.) Then there was the Ivanka Trump inaugural ball gown, a fairy-tale confection that cast Mrs. Herrera into the eye of the political storm.

So if she was feeling distracted, it was understandable. Perhaps as a result, for her fall collection she took refuge in the details.

Moving away from her uptown show home at the Frick to an empty space in the meatpacking district with a Modernist industrial glass ceiling designed by I. M. Pei, Mrs. Herrera laid down a foundation of neat white cotton shirting (the kind she wears so well herself) with wide Edwardian governess collars, paired with pleated gray flannel skirts and finished with a thin black velvet bow at the neck.

More bows tied — literally — the collection together, as it moved through the various stages of a wardrobe and assorted personalities (schoolgirl, urbanite, debutante, royalty). They cinched the back of black leather biker jackets, and the neck of a burgundy crocheted day prom dresses liverpool; were stuck on the diagonal across a black velvet bustier atop a full teal green lace and chiffon skirt; and were tied at the waist of a fragile shell pink cocktail dress. It was a promising idea, but by the end, rendered in organza and tacked onto the neck of a backless sapphire velvet halter evening gown so that the wearer resembled a prized puppy, it seemed more like a styling trick than a gift.

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He was a Eurasian Catholic while she was a Chinese Buddhist.

Right from the start, Madam Chua Poh Choo’s parents objected to their relationship. But Madam Chua, 67, was sure Mr Percival Shepherdson, 69, was the one for her.

They had met in 1974, while they were doing volunteer work to help the underprivileged. Madam Chua was working as a stenographer then and Mr Shepherdson was a senior security officer. She was very impressed by his leadership skills and his generosity towards others.

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Mr Shepherdson was drawn to her beautiful smile. And as he got to know her better, he noticed that she got along well with everybody, and that she never seemed to ask for anything in return.

The first time he paid for her bus ticket, she ran from the bus stop to the office in tears.

“I did not know who he was. The bus conductor told me that a man had paid for my ticket, so naturally I was afraid. Who knows what he might be up to?” Mrs Pereira, 80, recalled. After all, she was just 17.

The Pereiras eventually became friends and tied the knot on June 12, 1958, four years after they had met. They have two daughters.

Asked what advice he has for young couples, Mr Pereira said: “Forgive. Do not carry the anger with you. And do not borrow money. Even if it is to buy something to make your wife happy, always spend within your means.”

Mrs Pereira said patience and understanding play a big part too. “He is quick-tempered. So when he gets angry, I leave him alone until he has cooled down.”

These days, the couple look forward to spending time with their four grandsons and a great-granddaughter. They sometimes also take bus rides across the island.

“Sometimes, we go to Tampines, other times, Woodlands, or wherever we like. Then we ‘jalan jalan’ (walk) and catch a bus home,” said Mr Pereira.

TRUE LOVE OVERCAME FAMILY BACKGROUNDS

The first time Mr Syed Mohammad Syed Umar Shahab, 84, and Madam Sharifah Naraini Syed Hussein Alsagoff, 78, set eyes on each other, they were smitten.

But there was nothing more they could do than exchange glances.

They were both attending an event by the seaside at Marine Parade but the then 17-year-old was with her family.

Still, it was meant to be, for they met again a few weeks later at a wedding. This time, they spoke and exchanged phone numbers.

But the path of true love was anything but smooth, given how they were from very different backgrounds.

She was from a wealthy family with very strict parents. Their family backgrounds were worlds apart.

Knowing that her parents would not allow them to be together, she dated him secretly for several years.

He recalls how he would ring her home, and hang up. That was his signal for her to answer the next call. She would secretly skip her sewing classes so that the two of them could meet.

It took almost seven years for him to save up enough money working as a meteorologist at the airport to ask for her hand in marriage. “I was willing to wait because he is a good man,” she said.

The wedding, a grand affair, lasted five days at the bride’s home. Fifty-five years and two children later, the couple are still inseparable.

One of their habits is to never go to sleep angry with each other. “We argue, but before we go to bed, we have to settle the quarrel,” he said.

These days, they spend much of their time with family and friends.

And at least once a month, she cooks food they can pack for a picnic on the beach. “We love the sea, as that is where we first met,” she said.

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Audrey Hepburn’s eldest son was sued Wednesday by a charity he helped establish to continue his mother’s support of children’s welfare causes.

The Audrey Hepburn Children’s Fund sued Sean Ferrer on Wednesday in Los Angeles Superior Court, alleging he has interfered with the charity’s plans to exhibit several of the Oscar winner’s high fashion cheap prom dresses and other memorabilia. The exhibitions are the primary source of money for the charity, which supports children’s centers in hospitals in Los Angeles and New Orleans and a facility in New Jersey.

Ferrer and his half-brother, Luca Dotti, established the fund after their mother’s death along with their mother’s longtime companion, Dutch actor Robert Wolders.

Dotti currently serves as the charity’s chairman.

The siblings are embroiled in a separate court dispute over division of jewelry, property and other items their mother left to them after her death in January 1993. The lawsuit contends that while only one brother has to give permission to display the items, Ferrer has threatened litigation over planned exhibits in Korea and China, and also restricted the charity’s access to its website.

The lawsuit contends Ferrer’s actions may force the charity to cease operations and could “irreparably damage the sterling reputation of the late Audrey Hepburn.”

Emails a phone message left for Ferrer’s attorney Wednesday were not returned.

Ferrer, who once ran the charity but stepped aside several years ago, has interfered with potential exhibitions of some of Hepburn’s Givenchy prom dresses cheap in China and Korea, the lawsuit states.

“The fund is seeking to continue to raise funds in the same way it has done for more than two decades,” its attorney Steven E. Young wrote in an email Wednesday.

In 2013, the charity made $30,000 in donations to children’s hospitals in Los Angeles and New Orleans, according to the most recent tax records available. The records show the foundation’s revenues declined from $290,000 the previous year to $223,000 in 2013.

Wednesday’s lawsuit comes 18 months after Ferrer sued Dotti seeking to divide up ownership of jewelry, property, a vintage movie poster collection and other memorabilia Hepburn left to her sons. Attorneys for both men reported to a judge in November that negotiations over the items had been productive, but no settlement or resolution has been announced.

Young said Wednesday’s lawsuit and the dispute over other items that belonged to Hepburn are not connected.

Hepburn won an Academy Award in 1954 for “Roman Holiday” and was awarded the film academy’s Jean Hersholt Humanitarian Award in 1993. She died before that year’s Oscars ceremony, so Ferrer accepted it in her honor and summarized his mother’s commitment to helping children.

“She believed every child has the right to health, to hope, to tenderness and to life,” Ferrer said during the ceremony, according to a transcript on the film academy’s website. “On her behalf I dedicate this to the children of the world.”