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NEW YORK, Jan. 21 /PRNewswire/ -- 5W Public Relations, one of the 25 largest PR firms in the U.S., today announced the addition of KYMARO Intimate Apparel and KYMARO Body Shaper to its client roster. Further expanding the agency's successful fashion retail divisions, 5W Public Relations will be responsible for the publicity and branding of the various brands under the KYMARO flagship. KYMARO is a leader in various health, silver pendants and spa brands.

"5WPR is thrilled to work with KYMARO and we expect to have tremendous success with the various products which they have available. The products offered make life easier and simpler for people, all necessities in today's environment," said Ronn Torossian, President and CEO of 5W Public Relations.

About KYMARO(R):

KYMARO(R) A leader in heath, beauty, and spa essentials. KYMARO offers a variety of products, from shapewear to hair extensions and exercise equipment to bra inserts. KYMARO makes it their goal to provide quality products at affordable tiffany bracelet. Shop for all KYMARO(R) products at www.ubuyez.com or call KYMARO at 1-888-KYMARO1.

About 5WPR:

5W Public Relations (www.5wpr.com) is a full-service public relations firm known for implementing cutting-edge, customized media programs designed to impact our clients' specific business goals and objectives. 5WPR's energetic, fast-paced, and focused culture earned the firm a spot on the INC. 500 list and the title of "fastest-growing agency" three years in a row. One of the 25 largest PR firms in the US, the agency maintains practice areas in consumer, technology, health and wellness, entertainment, lifestyle, fashion, and corporate communications. Our growth and recognition stem from a focused, smart, and creative staff tiffany bracelets expertly communicates client messages to impact ROI. Our committed team has the understanding and ability to harness the newest tools in a rapidly changing media landscape. This 24/7 approach to the media led the industry's foremost trade magazine to describe 5WPR as "aggressive in a way that clearly resonates with clients looking for a firm staffed with type A-plus personalities, a BS-free approach, and results from Day One."

D.I.Y./ (d w) /adj. / An acronym for "do it yourself"; an apropos modifier at a time when resourceful designers are festooning the runways with enough embroidery, frayed seams and patchwork appliques to rival a suburban crafternoon, e.g.,

'I know a hundred nuns went blind making this tiffany cufflinks top, but as Rachel Zoe would say, I die for D.I.Y.'

Performative/ (pr for m tiv) /adj. / Relating to or being an utterance that performs an act by the fact that it's being uttered, as in, "I now pronounce you personal shopper and client." Academic go-to jargon that has become an elastic cliche tiffany earrings that performance art is the new black, as in,

"She stopped short of cutting herself a la Marina tiffany key, but Lily Allen's harrowing turn at the Chanel hoedown was positively performative.'

Shoptimistic/ (shap t mis tik) / adj. / A newly coined portmanteau of "shop" [archaic] and "optimistic," meaning to keep retail positivism in the face of desperation, e.g.,'For Christmas I got nada, but I'm shoptimistic about birthday Prada.'You gotta have faith. HORACIO SILVA

Keeping track of fashion's rotating cast of characters can be more challenging than playing six degrees of separation with inbred European nobility.

Take the case of three of the oldest, most venerable French houses. Nina Ricci is now helmed by the Englishman Peter Copping, who was Marc Jacobs's right hand at Louis Vuitton for 12 years. Copping succeeded Olivier Theyskens, who, before Ricci, had been at Rochas, until that label was shuttered in 2006. Rochas has now reopened with Marco Zanini as its creative director; Zanini had had a brief stint at Halston after cutting his teeth with Donatella Versace for close to a decade. Meanwhile, Rodolfo Paglialunga, who was at Prada for 13 years, was just hired by Vionnet. Like Rochas, Vionnet had been under the radar for the past few years, after unsuccessful attempts to revive it by Sophia Kokosalaki and Marc Audibet.

Got all of that? Don't worry -- half the time we can't keep track, either. Really, all you need to know is that Copping, Zanini and Paglialunga are three names to watch. In a season of overt femininity, these newcomers got it right with flirty, silver earrings clothes that proved they have left their assistant days behind them. Their mission was to reinvent brands that stand for something sophisticated but maddeningly diffuse. Fashion historians revere Madeleine Vionnet, but unless you're a museum curator or a nonagenarian princess, chances are you haven't actually seen the clothes. Nina Ricci is remembered for its best-selling fragrance, L'Air du Temps; and although Marcel Rochas was a groundbreaking designer in the 1920s and '30s -- he pioneered celebrity dressing and was one of the first to put pockets in skirts -- fragrances like Madame Rochas, rather than actual clothes, have been the company's bread and butter since he died in 1955.

So how to design a collection based on a smell? "For Nina Ricci, it does pretty much come down to one perfume," says Copping, who interned with Christian Lacroix and worked for Sonia Rykiel before heading to Vuitton. "But just from the name alone -- L'Air du Temps -- you know that it's something very light and romantic. Mme. Ricci's legacy is much more about a feminine spirit than iconic pieces of clothing." silver key rings intimate debut show, which focused on layers of delicately exposed lingerie (another Ricci staple) paired with ruffled skirts and powder pink tulle cardigans, did indeed bring to mind a Frenchified L'Air du Temptress.

Of course, the concept of fashion revivals is about as new as the sewing machine; plus, the jury is still out on whether contemporary customers actually care about grandmotherly cachet. Last decade, after the success of Marc Jacobs at Louis Vuitton and John Galliano at Dior, virtually every fashion house with a fancy pedigree was given CPR. Some thrived, like Lanvin with Alber Elbaz, but most weren't so lucky. Remember Jacques Fath by Lizzie Disney? We'd rather not. How about Gres by Koji Tatsuno? Or Capucci by Bernhard Willhelm?

Copping, Zanini and Paglialunga are well aware that their new employers had been on this merry-go-round before, despite some good reviews for their predecessors. In the mid-aughts, when the economy was in delirious overdrive and Britney's bejeweled bellybutton was considered aspirational, Olivier Theyskens, then at Rochas, took a stand against "global vulgarity." But even with critical raves and Hollywood A-listers clamoring for his beautiful -- if astronomically expensive -- gowns, Theyskens couldn't purge the planet of thong-revealing logo jeans.

For better or worse, the recent economic crisis has managed to do what no single designer could: refocus our attention on value rather than conspicuous consumption. "Luxury is not a $4,000 T-shirt -- that's just an expensive item, the same as if a can of Coca-Cola cost $5,000," Zanini says. "Real luxury is a balance between quality and the affection you feel for an object that cannot be easily replicated. We've seen so much flamboyance and extravagance from so silver necklaces designers that I feel that focusing on craftsmanship and striking a reasonable price is the right approach for the new Rochas."

It speaks volumes that Zanini, who spent most of his career working with Donatella Versace, the decidedly un-understated queen of gravity-defying, bust-baring and hip-jutting dresses, is the man responsible for Rochas's new demure silk slips, sheer blouses and jackets belted with a flower at the waist. "Donatella is the only person on this planet who can do what she does in a believable way," he says, laughing. "But at Versace I had the chance to work on the couture collections with all the Parisian ateliers -- embroideries at Lesage, feathers with Lemarie -- and you bring all those experiences with you. Now, at Rochas, I'm exploring another side of my taste, and I feel that it's more personal."

Paglialunga's first presentation coincided with a major retrospective of Madeleine Vionnet's work at Les Arts Decoratifs in Paris. It was an extremely tough act to follow: Madame Vionnet, a French national treasure, was responsible for, among other things, the bias cut and the handkerchief dress. She even pioneered copyright laws in fashion and sewed labels (with her fingerprint on them) onto her garments to discourage copyists.