Friday, March 13, 2009

Louis Vuitton F/W 09.10 Paris

From Louis Vuitton F/W 09.10 Paris

PARIS, March 12, 2009
By Sarah Mower

Marc Jacobs ended the season at Louis Vuitton in Paris as he began it with his own show in New York: with the eighties. Different city, different accent, though, and this slice of the late eighties—ruffled, ruched, and poufed as it was—looked as if Jacobs had pulled out his 1987 magazines and worked up a playful homage to Christian Lacroix. He didn't quite put it that way backstage, however. Jacobs said that, partly in preparation for the Model as Muse exhibition at the Met and his role as honorary chair of the opening gala, he was thinking of "all those great French muses of the late eighties." Specifically, he cited Marie Seznec (who modeled for Lacroix), Victoire de Castellane (who worked for Chanel), and Inès de la Fressange (who was virtually French fashion mascot in chief at the time).

Looking back on those days of chichi fashion extremes brought out a lot of jeune Parisienne frivolity in the clothes, if not the staging, which was done, pseudo-salon style, without a runway (albeit in a large transparent tent parked, as usual, in a courtyard of the Louvre). The chance of a close inspection revealed lots of puffy peplum jackets, tons of shirring and ruching (in print or leather), bubble skirts, bejeweled satin leggings, and a mini lace Marie Antoinette pannier dress with a saucy sheer balconette. Jacobs' take on big shoulders ran from grosgrain bow-smothered balloon puffs to the widest short coats (in camel or red) on any runway—almost as broad as they were long.

It was also a rich accessory fest for the leather goods company. Leather necklaces and belts came fashioned like paper chains, and thigh boots were topped with ruffles and balanced on pearl and glitter-covered heels. The all-important bags had also acquired eighties pie-crust frills and gilded monograms. If it wasn't quite the fashion tour de force of Vuitton's Spring collection, this penultimate show of an often dour and cautious season read as a welcome interlude of cheerful, flirty confidence in a post-crash depression.

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Dsquared2 goes to the Circus

From Dsquared2 goes to the Circus

Head designers and founders of Dsquared2, Canadian Canadian twin brothers Dan and Dean, did costume design for the ongoing Britney Spears Circus world tour, some on the sketches above. You can view more of DSquared2 circus tour outfits at their website, with special previews form the tour.


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Robert Pattinson pour GQ

From Robert Pattinson pour GQ

"GQ Magazine's profile of "Twilight" hunk Robert Pattinson in its April issue is one of the best celebrity interviews I've read in ages. Usually these things put me to sleep; same manufactured stories, nothing true or funny or slightly off-script.

Maybe this one is good because the writer is observant and witty, and he also writes about real fans' reactions to Rob during their lunch at La Conversation on Doheny Drive in West Hollywood. (About three blocks from my house!)

And it may be mostly because Rob is sweet, nervous, funny, honest and not at all media trained (yet).

You find out a lot about Rob's sex life (onscreen only, sorry), how he's terrified of interviews, how he slept with his dog when distraught over a cheating girlfriend, when he took his first Valium, doing it with a dude in “Little Ashes” and how he really spends his nights (not in hot L.A. clubs, but at home watching videos).

Here’s what Pattinson says about getting the part of Edward in "Twilight":

“I took half a Valium and then went into this thing — and all this stuff happened.”

“It was the first time I’ve ever taken Valium,” he tells GQ. “A quarter. A quarter of a Valium. I tried to do it for another audition, and it just completely backfired — I was passing out.”

And then there’s his new film, “Little Ashes," in which he plays artist Salvador Dali to Javier Beltrán's poet-playwright Federico Garcia Lorca and, naked, has graphic sex with a guy.

“In a lot of ways,” Pattinson admits “I was kind of crossing lines of what I thought I was comfortable doing. I had to do all this naked stuff.”

“There’s all these gay sex scenes. And y’know, I haven’t even done a sex scene with a girl, in my whole career. And here I am, with Javier, who plays Lorca, doing an extremely hard-core sex scene, where I have a nervous breakdown afterward. And because we’re both straight, what we were doing seemed kind of ridiculous.”

It gets worse. People were watching. People who spoke a different language. And they were laughing.

"And it wasn’t even a closed set," Rob moans. "There were all these Spanish electricians giggling to themselves.”

Poor Rob!"


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Thursday, March 12, 2009

Dustin Milligan shirtless pour V Magazine

90210 hunk Dustin Milligan, aka Ethan Ward, goes shirtless sexy in this new photo from the upcoming issue of V Magazine.

“I don’t know anything about fashion or looking good,” the 23-year-old Canadian actor tells the mag. “Going out to clubs and trying to grind with the ladies is not really my thing. I like skateboarding and being close to the beach, rather than spending my time recovering from the night before. It will be interesting, because when the cast does go out, there will probablt be some intense attention. It’s knd of nuts. I’m still trying to prepare myself for it, but I’m not really sure there’s any way you can.”

Jacket and pants by Dsquared2.


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Pattinson heats up Vancouver

Hiding underneath his hoodie and shades, Robert Pattinson puffs away at his cancer stick in Vancouver, Canada on Sunday (March 8).


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Pinto in Paris pour Chanel!

Freida Pinto attends the Chanel Ready-to-Wear Autumn/Winter 2009 fashion show during Paris Fashion Week at Grand Palais on Tuesday (March 10) in Paris, France.


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John Galliano F/W 09.10 Paris

From John Galliano F/W 09.10 Paris

John Galliano Fall 2009 Ready-to-Wear
By Sarah Mower

John Galliano struck out on his own into the frozen wastes of Russian-Balkan folklore for Fall. A micro-bubble snowstorm was falling on the runway, and a trick of laser lighting created a magical illusion that the models were walking in some fairy-tale tunnel far, far removed from the brutish realities of humankind's current worries. It was theater, escapism—the creation of a parallel fantasy world upon which the concerns of "fashion" barely impinged.

Oodles of embroidery and workmanship, and a ton of research into folk costume had been lavished on the details of the pannier-hipped, full-skirted coats; balloon-sleeved peasant blouses; bodices; headdresses; and pompom-trimmed cross-laced boots. Toward the end, the show moved into more traditional Galliano territory with a sequence of spun-silver bias-cut dresses that had all the delicate romance his fans adore.

Technically, it was faultlessly accomplished and—for anyone put off by the blanket of black that has fallen over many of the collections—offered some of the season's few opportunities to pick up color. But it remains to be seen whether those will be strong enough attractions to outweigh the fact that this show had very little to do with anything else that's going on.

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Valentino F/W 09.10 Paris

From Valentino FW 09.10 Paris

PARIS, March 10, 2009
By Nicole Phelps

The fanfare of their first haute couture outing behind them, the new Valentino designers, Maria Grazia Chiuri and Pier Paolo Piccioli, presented their ready-to-wear collection today, and while the label's retired founder wasn't visibly cheering from the sidelines as he was in January, his spirit was certainly present. As former accessories designers under Mr. Valentino, the incumbent duo are keenly aware of the house codes, and today they adhered rather dutifully to the ladylike sensibility for which these clothes have always been known.

Elaborating on several of the ideas they presented in their sixties-inflected couture collection, Chiuri and Piccioli showed sleeveless sheaths and coats with fan pleating below the ribs, some accented with a jeweled brooch. There were evening coats with gradated crystal beading, deep fox-fur cuffs and hems replacing couture's feathers. Cocktail dresses and gowns, meanwhile, featured draped and shirred bodices, but despite bold colors like emerald, golden yellow, and turquoise, they erred on the staid side. The same goes for those camel and bordeaux cape-backed lunch suits. A long leopard-spot cape with a wide band of fur at the hem had a younger feel.

Overall, capturing the youth vote with this collection will prove a challenge. Mr. Valentino, of course, was popular with ladies of a certain age, but he always was—and continues to be—quite tapped in with the fabulous crowd. In order to move the label forward as the new designers' mandate requires, a little less reverence for the past and a little more attention to what the palazzo set is wearing now will be in order.

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Chanel F/W 09.10 Paris

From Chanel F/W 09.10 Paris

PARIS, March 10, 2009
By Sarah Mower

In a season when coat-dresses and skirtsuits have risen to somewhere near the top of the item charts, Chanel presented a series of fashion's most poised and charming versions. That formula transmitted some of the loveliness of Karl Lagerfeld's sublime origami-paper Spring Couture collection into super-feminine white collar and cuff treatments—frothy plissé ruffs, chiffon camellias, and French maid frills encircled the neck or sleeves on soft, fitted black silhouettes. Cleverly, today's outing also achieved a rare balance between being grown-up and youthful—a note set by the casting of Karen Elson to open the show. Here was a fabulous-looking 30-year-old woman, rather than some anonymous waif.

Lagerfeld tagged the collection "Belle Brummell," a gender-reassigned quip referring to the British Regency dandy who dictated men's fashion by tying his cravats in ever more elaborate configurations. The pun also gave full permission to bring the classic Chanel white georgette blouse into play, a perfect device for subtracting the austerity from black in a distinctly Rue Cambon manner. Lagerfeld worked it every which way, in bouclé, lace, knit, satin, and paillettes, while also making a witty swerve in the direction of the season's motorcycle leathers (interpreted here in slim drop-waist dresses) and puffer jackets.

What color there was turned up in brief passages of pale green or baby pink. Admittedly, that green wasn't the most felicitous shade in the palette for clothing, but it was really there to underline the presence of the jade Deco-style pendants and neckpieces—a further echo of which could be found in the jade rings implanted in several pairs of heels. All in all, though, this wasn't one of Chanel's more playful simultaneous broadcasts to the world—more a serious reinforcement of the brand's eternal attractions.

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Alexander McQueen F/W 09.10 Paris

From Alexander McQueen F/W 09.10 Paris

PARIS, March 10, 2009
By Sarah Mower

Alexander McQueen may be the last designer standing who is brave or foolhardy enough to present a collection that is an unadulterated piece of hard and ballsy showmanship. The heated arguments that broke out afterward were testament to that. There were those who found his picture of women with sex-doll lips and sometimes painfully theatrical costumes ugly and misogynistic. Others—mainly young spectators who haven't been thrilled by the season's many sensible pitches to middle-aged working women—were energized by the sheer spectacle, as well as the couture-level drama in the execution of the clothes.

It was certainly meant as a last-stand fin de siècle blast against the predicament in which fashion, and possibly consumerism as a whole, finds itself. The set was a scrap heap of debris from the stages of McQueen's own past shows, surrounded by a shattered glass runway. The clothes were, for the most part, high-drama satires of twentieth-century landmark fashion: parodies of Christian Dior houndstooth New Look and Chanel tweed suits, moving through harsh orange and black harlequinade looks to revisited showstoppers from McQueen's own archive.

The romantic side of McQueen's character, which rises intermittently in deliriously beautiful shows like his recent tribute to the Victorian empire, was emphatically in abeyance. This is a designer who has drawn so much poetry out of the past, yet this time his backward look appeared to be in something like anger, defiance, or possibly gallows humor. Some of the pieces, like a couple of swag-sided coats, seemed to be made of trash bags, accessorized with aluminum cans wrapped in plastic as headgear.

Nevertheless, however frustrated McQueen may be by the state of commercial fashion, he was not really in absurdist rip-it-up mode. Whatever else is gnawing him, this is a man who will never compromise on construction and craftsmanship. This season, he'd noticeably forgone his typical carapace corsetry, making for slightly easier shapes, like boxy jackets, airy gazar dresses, and a fringed dogtooth sheath. For McQueen's faithful, there were also fiercely tailored coats, nipped in the waist and picking up on biker quilted leather and big-shouldered silhouettes. Evening-wise—sans the drag-queen makeup—there was a slim, black paillette homage-to-YSL wrapover dress with a red-lined hood that would stand up as elegant in any company.

Ultimately, for all the feathered and sculpted showpieces that must have taken hundreds of seamstress-hours to perfect, this was a McQueen collection that didn't push fashion anywhere new. Yet that seemed to be exactly one of the things he was pointing to: the state of a collapsed economy that doesn't know how to move forward.

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Saturday, March 7, 2009

Small Town Boys

From Small Town Boys

Top models, Reid Prebenda, Alan Carey (Red Model Management) and Simon Nessman (Major Model Management) star in Numero Homme's editorial called "Small Town Boys" by Mariano Vivanco.


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Christian Dior F/W 09.10 Paris

From Christian Dior F/W 09.10 Paris

PARIS, March 6, 2009
By Sarah Mower

Squaring circles is the name of the game for every established house this season. In a nutshell: How do you keep customers (i.e., freaked-out department stores and skeptical, reality-seeking shoppers) onside, while also keeping up the dialogue with fashion? At Dior, John Galliano found an easy compromise with a collection lightly based on the orientalism of Paul Poiret, an artistic Parisian craze dating back almost a century. No need for frantic reference-Googling here: The main point of Galliano's device is that it gave access to the areas of harem pants, rich gilded brocades, and Asian influences in general. Christian Dior never went East himself, certainly, but the notion wove ikat patterns, cheongsam fastenings, paisley prints, and those newly fashionable trousers into the house codes in a way that came out making sense for the many markets Galliano has to juggle.

Happily, there was no sense of straining for a recession solution about it. After treating Dior's standard suitings to a light, shortened adaptation of Poiret's hobble skirt, Galliano moved on to paisley-print day dresses and thence to the drapey harems (best in cream satin with a pale beige astrakhan gilet). That opened a neat portal through which Galliano's romantic, silver filigree Indian-embroidered chiffon cocktail and evening dresses could pass, looking effortlessly pretty. The result: grown-up fare for regular women, editorial-grade styling to appeal to the fashion press, and, in total, a clever feat of simultaneous translation from a well-traveled designer who knows how to reach his global markets.

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Wednesday, March 4, 2009

Versace F/W 09.10 Milan

From Versace F/W 09.10 Milan

MILAN, March 2, 2009
By Sarah Mower

If one person in Milan could have gone back to the eighties with full credentials—massive shoulders, Day-Glo, disco-mania, and all—it would have been Donatella Versace. Full marks to her, then, for refusing. Her collection, like the woman herself, has long moved on. These days, she still drapes a slinky, liquid dress with much of the mastery Gianni achieved in his time, but any real compulsion to look back at the good old days has evaporated. There was, it's true, a quick flash of neon somewhere in there, but mostly Versace concentrated on working around metallics—silver, gunmetal, dark gray, and midnight blue—and palest neutrals. Decorated trenches, super-skinny cargo pants, and the odd biker jacket appeared for day, the only embroidery subtly streaked onto the hemline of a coat. No bling, no gold, no logos in sight.

Restrained wasn't quite the word for it, though. Daywear out of the way, Versace dealt out dress after dress, long and goddess-y or short and covered in plastic paillettes. Best in class were the one red dress and a nude, bugle-beaded gown, fit for a thirties movie siren. It all went on a bit too long, but funnily enough that gave time for the eye to observe some changing aesthetics. Noticeably, it was the girls who could fill out the dresses who looked best in these clothes—and knew it. To see Carmen Kass, Coco Rocha, Isabeli Fontana, and the newly (slightly more) curvy Lily Donaldson work these dresses with visible confidence was an encouraging reminder that, yes, some things can get better with age.

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Tuesday, March 3, 2009

Dolce & Gabbana F/W 09.10 Milan

From Dolce & Gabbana F/W 09.10 Milan

MILAN, March 2, 2009
By Sarah Mower

No wonder Dolce & Gabbana are in love with Elsa Schiaparelli for Fall. She was an original proponent of the ballooning shoulder (the fashion story of the season), worked her surrealist glamour through tough and weird times, and was an Italian to boot. In an edgy moment, Domenico Dolce and Stefano Gabbana used her example to defy all fashion nervousness and lay on a sumptuous show whose production values gave no quarter to the idea that cutbacks and timidity should be the order of the day. Quite the opposite, in fact. The front row was positively teeming with A-listers: Scarlett Johansson, Kate Hudson, Naomi Watts, Freida Pinto, Eva Mendes, and others who had all flown in to view the clothes, and then take in the Extreme Beauty in Vogue exhibition opening that the designers have underwritten at the Palazzo della Ragione.

The thirties and forties references played through the displaced gloves used as headpieces and scarves, the shell-shaped buttons, the clunky wartime suede platform wedges, the homages to Schiap's shocking pink, and, of course, those huge, puffed-up leg-of-mutton sleeves, rising up in some cases to earlobe level. The spending on luxe materials and a cinematic level of beauty never ceased. Fox, dyed goat hair, mink, and rich brocades were worked into narrow-waisted silhouettes, alternating—though not much—with bell-shaped skirts.

It might have been a one-message show, but as is always the case with these superconfident designers, there was never any surrender of house identity. Dolce & Gabbana-isms were wittily reiterated when their signature Sicilian corseted and see-through lingerie dresses reappeared, Schiap-shaped, counterpointed by black tuxedo suits. Finally, their traditional ending parade of exaggerated crinolines shifted the look completely to their own territory, with Monroe photo prints spreading over the skirts. Times may be tough, but these are two guys who are not about to give an inch on what they believe in.

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Prada F/W 09.10 Milan

From Prada F/W 09.10 Milan

MILAN, March 1, 2009
By Sarah Mower

One thing's for certain: Miuccia Prada is not going to the eighties disco for Fall. Instead, her collection seemed to be a call for austerity measures, if that's what you can read into boiled wool forties-style coats and suits, clothes that might have been appropriated from domestic upholstery fabric, and (possibly for women going back to the land for survival) kinky fishing waders. It was a bizarre take on utility even Prada found hard to explain. "I didn't want to do anything about the city," she said, "more something about sport and the outdoors in general—freedom and nature. But in the end, I realized I liked coats and suits. It was serious, in a way. It was about a need for feminine empowerment." Prada's women, with their violently frizzed-up hair, certainly had a disconcerting look about them as they advanced, with red-rimmed glitter-ringed eyes catching the light with a nearly malevolent glint. What they were wearing was constructed from substantial tweed and stiff leather, slit to reveal sexually incendiary flashes of naked leg and red knit underwear.

As is entirely normal in the Miuccia Prada universe, any easy reading of narrative or reference was thrown off at every turn. Some of the strangeness was in the search for new volumes, swinging heavily from the shoulder in triangular, sometimes fur-laden shapes, or pinched into peplums by narrow, mannish leather belts. The footwear—wide-topped leather boots or velvet heels with Mohawk patent fringing at the heel—only added to the oddness of it all. In the end, however, it was not so disorientating and experimental that Prada codes weren't also fully exercised. The tweedy tailoring, fur, paillette embroidery, and, of course, the bags (now in plain businesslike leather or, for evening, an update of last winter's novelty sequin) have been staples for years. Even though Miuccia Prada might be considered one of fashion's out-there thinkers, this is still clearly a time to keep the brand fires burning.

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D&G F/W 09.10 Milan

From D&G F/W 09.10 Milan

MILAN, February 27, 2009
By Nicole Phelps

In 1954, Maria Callas recorded a memorable version of Bellini's Norma at the Cinema Metropol, the theater where today Domenico Dolce and Stefano Gabbana stage their fashion shows. With the legendary soprano for inspiration, their D&G collection was unapologetically operatic. Bustier dresses with lampshade miniskirts came in brocade, jewel-studded velvet, or tapestry-print chiffon, while a bustier top was paired with high-waisted jeans encrusted with big, colorful crystals. And because every diva needs a cape (a strong theme here in Milan), there was a version in ocelot-print ponyskin and another in gray fur with a collar that looked like chinchilla. The colors—ocher, burgundy, cadet blue, and black—were as lush and rich as the collection's furniture fabrics, but point d'esprit and tulle tutus in pastels worn with T-shirts printed with Callas' image lightened the mix.

As a foil to the sweetness, the designers threw in some tailcoats with trompe l'oeil frogging and gaiter pants. The models marched down the red-carpeted runway in sky-high platforms with curtain swags in their hair. You could picture some of these clothes finding their way onto the narrow shoulders of young starlets on the premiere circuit. Dolce and Gabbana's message was loud and clear: "The show must go on."

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Sunday, March 1, 2009

Let's all move to Toluca Lake!

From Let all move to Toluca Lake!

Hannah Montana starlet Miley Cyrus and her shirtless boyfriend, model Justin Gaston, work up a sweat together, taking a jog around her neighborhood Toluca Lake in the San Fernando Valley on Saturday (February 28).


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Twilight in Tokyo

From Twilight in Tokyo

Twilight stars Robert Pattinson, Kristen Stewart and Taylor Lautner attend a press conference at Ebisu Garden Place on Friday (February 27) in Tokyo, Japan.


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Orlando Bloom & Miranda Kerr do the nasty!

From Orlando Bloom & Miranda Kerr do the nasty!

Orlando Bloom and model girlfriend Miranda Kerr can’t hide their love for one amother, sharing a sweet smooch on the balcony of their hotel in Sydney, Australia on Thursday (February 26).


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Tuesday, February 24, 2009


From Oscars 2009

Here is the Official list of Winners and the respective nominees on different categories of recently concluded Academy Awards 2009 which took place on Monday!

"On what we all knew was going to be a Slumdog night, it appeared that there would be no real surprises (unless you count Israel’s Waltz with Bashir losing to Japan’s Departures in the best foreign language category). Until, that is, Sean Penn won the award that was seemingly destined to be Mickey Rourke’s, for best actor. Both stars were certainly worthy, but according to that Oscar calculus which settles ties by choosing the actor who has been around the block but hasn’t collected a piece of hardware (and, in Rourke’s case, is fairly unlikely ever to be nominated again), it was at least a mild upset that the man who played Randy the Ram didn’t get the gold statue, especially considering his Golden Globe award and the massive wave of press attention given to his performance and its real-life parallels (even Nate Silver, everyone’s favorite predictions guru, whiffed on this one, as well as on best supporting actress). Perhaps Academy voters just weren’t interested in hearing another mumbled eulogy to all of Rourke’s dogs, but it was a shame to be deprived of the actor’s sublime weirdness on the Oscar stage, and for anyone who wanted to see Rourke win, Penn’s singling out of his peer at the end of his acceptance speech was a wan sort of consolation prize.

Despite the (relative) lack of surprises, the 81st Oscar ceremony was more engaging and entertaining than in recent years. Given the times, Hugh Jackman’s vaudevillian, sui generis turn as host felt like an appropriate replacement for Jon Stewart’s acerbic presenting style, and changes to the night’s format were (mostly) welcome. In particular, the decision to bring out five past winners to present the nominees in the acting categories nicely served to personalize the awards people care most about, ensure that all the nominees were recognized, and wrap up the proceedings in the full weight of Oscar history. (Meanwhile, the decision to sandwich the best actress and actor awards between best director and best picture, no doubt motivated by a desire to separate two awards that usually go to the same film, felt jarring.) Heath Ledger’s moment was touching, though a touch anticlimactic coming more than a year after his death, especially considering the crushing inevitability of the award. The more poignant moment involved another joker, the great Jerry Lewis, who won this year’s lifetime achievement honor, the Jean Hersholt Humanitarian Award; though clearly impaired a litany of health concerns, the 82-year-old comic was still able to flash one of his instantly recognizable, endearingly pathetic dunce grins after finishing his mercifully brief speech.

Sean Penn provided one of the evening’s most heartfelt moments when he turned his acceptance into a plea to end the bigotry which led to the passing of Proposition 8 in California just as Milk hit theaters (a plea later echoed by Penn). The irrepressible Petit celebrated by making a coin disappear before the eyes of the Kodak Theater audience, then balancing the Oscar statuette on his nose. In vastly different but equally indelible ways, each brought a bit of magic to the movies in 2008." - VMAN

*winners list*

“The Curious Case of Benjamin Button”
“The Reader”
“Slumdog Millionaire” (Winner)

Anne Hathaway “Rachel Getting Married”
Angelina Jolie “Changeling”
Melissa Leo “Frozen River”
Meryl Streep “Doubt”
Kate Winslet “The Reader” (Winner)

Frank Langella “Frost/Nixon”
Sean Penn “Milk” (Winner)
Brad Pitt “The Curious Case of Benjamin Button”
Mickey Rourke “The Wrestler”
Richard Jenkins “The Visitor”

Amy Adams, “Doubt”
Penelope Cruz “Vicky Cristina Barcelona” (Winner)
Viola Davis “Doubt”
Taraji P. Henson “The Curious Case of Benjamin Button”
Marisa Tomei “The Wrestler”

Josh Brolin “Milk”
Robert Downey Jr. “Tropic Thunder”
Philip Seymour Hoffman “Doubt”
Heath Ledger “The Dark Knight” (Winner)
Michael Shannon “Revolutionary Road”

Danny Boyle “Slumdog Millionaire” (Winner)
Stephen Daldry “The Reader”
David Fincher “The Curious Case of Benjamin Button”
Ron Howard “Frost/Nixon”
Gus Van Sant “Milk”

Dustin Lance Black “Milk” (Winner)
Courtney Hunt “Frozen River”
Mike Leig, “Happy-Go-Lucky”
Martin McDonagh “In Bruges”
Andrew Stanton, and Jim Reardon; original story by Stanton and Pete Docter “WALL-E”

Simon Beaufoy “Slumdog Millionaire” (Winner)
David Hare “The Reader”
Peter Morgan “Frost/Nixon”
John Patrick Shanley “Doubt”
Eric Roth, Robin Swicord “The Curious Case of Benjamin Button”

“The Baader-Meinhof Complex” (Germany)
“The Class” (France)
“Departures” (Japan) (Winner)
“Revanche” (Austria)
“Waltz with Bashir” (Israel)

“Kung Fu Panda”
“WALL-E” (Winner)

“The Curious Case Of Benjamin Button” (Winner)
“The Dark Knight”
“The Duchess”
“Revolutionary Road”

“Changeling” Tom Stern
“Slumdog Millionaire” Anthony Dod Mantle (Winner)
“The Reader” Chris Menges
“The Curious Case Of Benjamin Button” Claudio Miranda
“The Dark Knight” Wally Pfister

“The Curious Case of Benjamin Button” Kirk Baxter, Angus Wall
“The Dark Knight” Lee Smith
“Frost/Nixon” Daniel P. Hanley, Mike Hill
“Milk” Elliot Graham
“Slumdog Millionaire” Chris Dickens (Winner)

“Australia” Catherine Martin
“The Curious Case Of Benjamin Button” Jacqueline West
“The Duchess” Michael O’Conner (Winner)
“Milk” Danny Glicker
“Revolutionary Road” Albert Wolsky

“The Betrayal (Nerakhoon)”
“Encounters at the End of the World”
“The Garden”
“Man on Wire” (Winner)
“Trouble the Water”

“Slumdog Millionaire” “Jai Ho” (Winner)
“Slumdog Millionaire” “O Saya”
“WALL-E” “Down To Earth”

“The Curious Case Of Benjamin Button” Alexandre Desplat
“Defiance” James Newton Howard
“Milk” Danny Elfman
“Slumdog Millionaire” A.R. Rahman (Winner)
“WALL-E” Thomas Newman

“The Curious Case of Benjamin Button,”(Winner)
“The Dark Knight”
“Hellboy II: The Golden Army”

“The Dark Knight”(Winner)
“Iron Man”
“Slumdog Millionaire”

“The Curious Case of Benjamin Button”
“The Dark Knight”
“Slumdog Millionaire” (Winner)

“The Curious Case of Benjamin Button” (Winner)
“The Dark Knight”
“Iron Man”

“Auf der Strecke (On the Line)”
“Manon on the Asphalt”
“New Boy”
“The Pig”
“Spielzeugland (Toyland)” (Winner)

“La Maison en Petits Cubes” (Winner)
“Lavatory - Lovestory”
“This Way Up”

“The Conscience of Nhem En”
“The Final Inch”
“Smile Pinki” (Winner)
“The Witness - From the Balcony of Room 306″

Oscars Fashion
Oscars Drama
SlumDog's moment!
Governors' Ball

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Wednesday, February 11, 2009

The true search!

Searching for a pair of new jeans can be tedious our own fetchie, Marius retells his experience;

Having dropped a fairly decent amount of weight, I decided to go in for a new pair of jeans. Also, my faithful pair of blindingly black Kenneth Coles had finally fallen apart, and while the farewell was emotionally charged, much to the amazement of my room-mate, I found myself looking forward making the acquaintance of a new pair.

My search began where all valiant, sartorial quests begin: the mall. With long, determined strides and my handkerchief to my nose, did I march right past Hollister, Aeropostale, Abercrombie & Fitch and Hot Topic. Macy's! Yes! That was where this quest would find fruition. Or so I thought. Macy's and it's sad little racks of sad looking Guess! jeans was a major disappointment. Don't get me wrong, I love Guess! But this particular assortment just seemed so woe-begone that I simply had to leave! Dejected, I placed my person upon a bench and carefully sipped my Orange Julius Pina Colada. This was a disaster! I was to return empty handed! Sure, the rest of the evening would be uneventful! I'd play a little Russian Roulette with my Organic Chemistry text- a game that would end at an impasse, maybe do coffee with a friend, think about my Shakespeare paper *sigh*, all of this while living with the realization that I had failed! No jeans for me! It was my darkest sartorial hour (barring the time S and I flirted with hideous grape-colored T-shirts but that was all in jest...) and suddenly the sun emerged almost defiantly...

I think it was the strains of 'Shut Up and Let Me Go' that caught my attention. I followed the music, as if entranced and found myself standing right in front of 'Express'. Oh fortunate sight! The store, with its sculpted letters, enthralling clothes and a staff that wore all-black (in the classiest possible sense) seemed to beckon me! Who was I to resist? Express: home of the 1MX shirt was the best thing that could have happened to me! How did I get through high-school without this place?! Trendy, stylishly patterned dress-shirts, ties so staid but wait! Is that a skull? How clever! And jeans! I began doing that one dance we've all mastered: the Attendant Two-Step. One-small talk-two-help me-one-measure me-two-find what I need-and a one...My partners were exceedingly skilled, I tell you! I was finally home! European sensibilities fused with American chutzpah create clothes that urge you to feel young and come alive!

I left with pair of black Rocco’s that do fantastic things for my height and...other things! Shopping at Express was like being a part of a particular cheeky production of 'A Midsummer Night's Dream': it's Shakespeare but it winks at you and urges you to 'imagine all the girls ah ah ah ah ah ah ah ah....'

Until the next time,

Just Cavalli S/S 09

From Just Cavalli S/S 09

Season: Just Cavalli S/S 09
Models: Kate Moss & Justin Gaston
Photography: by Mert & Marcus

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W Magazine March 2009 : Madonna by Steven Klein

From W Magazine March 2009 : Madonna by Steven Klein

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Saturday, February 7, 2009

The CW bites!

The CW is looking to take a bite out of the vampire craze, picking up a pilot based on the "Vampire Diaries" series of books.
"Vampire Diaries" comes from Alloy Entertainment, the same shingle whose past book series led to the Dub's series "Gossip Girl" and "Privileged."
Originally published in 1993 -- which, as the CW took pains to note, was years before Stephenie Meyer launched her "Twilight" book franchise -- "Vampire Diaries" revolves around a young woman who's torn between two vampire brothers -- one good, one evil -- who are battling for her soul, and the souls of her pals, family and the small town where they live.

The CW has reunited with "Scream," "I Know What You Did Last Summer" and "Dawson's Creek" scribe Kevin Williamson, who last produced "Hidden Palms" for the net, to exec produce and write. Julie Plec ("Kyle XY") is also on board to write and exec produce.
Warner Bros. TV, where Alloy (which owns the rights to "Vampire Diaries") is set up, is the studio; Alloy's Les Morgenstein and Bob Levy are also exec producers.
A four-book novel series, "Vampire Diaries" was originally penned by L.J. Smith. After the success of the "Twilight" series, Morgenstein suggested to HarperCollins, the publisher of the "Diaries" books, that they should re-release the books with new covers.
Since then, "Diaries" has hit the New York Times Bestseller list, and HarperCollins has ordered three more books. The first new installment, "The Vampire Diaries: The Return: Nightfall," comes out Tuesday.


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AnnaLynne McCord “New Moon’s” newest!

Another 90210-er may be making a stop in the Twilight zone.
I'm hearing that filmmakers have been considering the idea of casting 90210 star AnnaLynne McCord as Heidi in the upcoming New Moon, the much-anticipated sequel to Twilight.
Heidi isn't a major character in the book, but McCord definitely has the gorgeous looks to pull it off.
The character is a "fisher" who brings humans to the Volturi vampires to eat. She's also known as "bait" because of the way she uses her stunning looks to attract humans. In her brief appearance in the book, Bella describes Heidi as having "exceptional, unforgettable" beauty. She has stunning legs, long hair and violet eyes.
Sources tell me McCord has auditioned for the role. "It's not a big part," one of the sources said. "Heidi would be more like a cameo."
McCord should feel pretty comfortable on the set. Her 90210 costar Kellan Lutz—and rumored real-life boyfriend—played Emmett in Twilight and will return for the sequel.
McCord's rep did not immediately comment nor did a rep for the studio, Summit Entertainment.
Director Chris Weitz is expected to start shooting the flick with Robert Pattinson & Co. next month in Vancouver and Italy with a Nov. 20 release date. Summit has yet to make any major new casting announcements for New Moon. However, as I exclusively reported, Dakota Fanning is in serious talks to play Jane.


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VF- The Hollywood Portfolio 2009

From VF- The Hollywood Portfolio 2009

Some of these actor-director teams have a history together—remember Ron Howard and Tom Hanks’s breakthrough, Splash, a quarter-century ago?—while others produced their first mind-melds in 2008. Sam Mendes and Kate Winslet even brought marriage and kids to the Revolutionary Road set. But in each case the chemistry was profound, the effect exponential. From Gus Van Sant and Sean Penn to John Patrick Shanley and Meryl Streep, Annie Leibovitz photographs 10 partnerships that helped generate more than four dozen Oscar nominations this season.


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Thursday, February 5, 2009

Sisley S/S 09

From Sisley S/S 09

Season: Sisley S/S 09
Models: Åsa Engström, Helena Schröder & Hanna Hojman
Photography: by Camilla Åkrans

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Sarah Jessica Parker Harper pour Bazaar March 2009

Despite being the resident fashionista of the Sex And The City franchise, Sarah Jessica Parker famously wore black on her wedding day and tells Harper’s Bazaar, if she had the chance to do it over, she’d wear white this time around.

“I’m not kidding. White it up. I’d wear a beautiful, proper wedding dress, like I should have worn on the day.”


posted by (m)

Bloom rocks Tattoos!

Tattoo-ed up Orlando Bloom is spotted shirtless on the set of his new movie, Sympathy For Delicious, in Los Angeles on Wednesday (February 4).


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17 Again - first look

The movie poster for Zac Efron’s age-reversing flick 17 Again has arrived!!!
The 21-year-old actor keeps it cool in a pair of aviator sunglasses underneath the headline, “Who says you’re only young once?”

The film is about a guy (Matthew Perry) who gets to turn back time and be seventeen again (Efron) rewriting his life in the process. Also starring: Leslie Mann (director Judd Apatow’s wife), Gossip Girl’s Michelle Trachtenberg, The Office’s Melora Hardin, Weeds’ Hunter Parrish, 90210’s Adam Gregory and Rita Rocks’ Nicole Sullivan.
For more info,



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Were chucking out the old and bringing in new blood people… after Ady’s flight to Moscow (BAD breakup!), Eve’s embezzlement charges, Pebe’s drunken brawl at Buddha Bar, I, Sean have decided to … lets say… remove them!
They will still be a part of FETCH, as guest writers along with Marius who’s currently having a scandalous affair with his literature professor *sigh* and George will continue to do his thing but as I said before were bring in the newbies!


*Daria – she’ll cover fashion
*Marion – She’ll cover celebs and popculture
*Elise – She’ll cover all the special features
• Look of the day!
• Must buy!


Posted by the fetchies!

Pepe Jeans S/S 09

From Pepe Jeans S/S 09

Season: Pepe Jeans S/S 09
Models: Anna, Cameron, Edita, Iris, Shannan, Boyd, Jamie, Danny
Photography: by Meisel

image source

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Thursday, January 29, 2009

Christian LaCroix Haute Couture S/S 09 Paris

From Christian LaCroix Haute Couture S/S 09 Paris

As Christian Lacroix made his customary run down the catwalk, being pelted with carnations (one always thoughtfully left on each seat, just for this very purpose), there was a huge smile on his face.

“More clients;” he beamed backstage, “I’ve just met another new one.”

It is easy to understand why women, of any age, want to buy into the Lacroix look, if they can afford it. His designs are never radical or extraordinarily referenced or require a manual in order to understand how to wear them. His collections are always beautiful, mixing deliciously feminine and romantic looks, with the nonchalant chic of masculine tailoring.

He opened with a short-sleeved, navy, military jacket, gilt-buttoned and braided, worn with loose, navy gaberdine trousers; then a black, cardigan-style corset, with little bloomers, overlaid with embroidered tulle. A navy crepe skirt suit featured a dandified, black, embroidered bow at the neck and was finished with a ruffled, beige blouse. A series of softly-tailored bright red suits were encrusted with black embroidery, matador-style; a classic Little Black Dress worn with an intricate cream lace bolero. More short, sharp military ‘spencers’, detailed with embroidery and gilt buttons, were paired with frou-frou skirts in black and white stripes, generally with a hint of lace petticoat – a favourite Lacroix combination.

The contrast between borrow-from-the-boys and unashamedly girlish was echoed in the red carpet designs. A navy and white, crisp, tailored shirt, for example, was knotted at the waist with a red rose and then paired with an extravagant, long, crinoline skirt in emerald green and navy.

Evening always opens the doors to a blaze of rich colour and ornamentation at Lacroix. A rainbow-striped, organza and chiffon gown featured sleeves worked in a magic carpet pattern, another rainbow-hued design, underscored the one-shoulder trend, as did a gold lame sheath, which featured a giant bow on the left shoulder, and was then draped and curved around the body to finish in a fishtail hem.

A short ball-dress showed Lacroix’s love of the colours of Watteau and Fragonard, featuring a one-shouldered bustier, embellished with silk roses, elaborately embroidered in gold and pastels, and allied to the designer’s invention, a doll-like puffball skirt in rose-pink taffeta.

-Hilary Alexander

image source

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Stephane Rolland Haute Couture S/S 09 Paris

From Stephane Rolland Haute Couture S/S 09 Paris

French designer Stephane Rolland made his debut Monday as a full member of the elite club of grands couturiers, sending out an imaginative collection of cocktail dresses and evening gowns that played on bold beadwork and unexpected elements like bustles and capes.

Rolland cited Constantin Brancusi as an inspiration for the collection shown on the opening day of Paris haute couture week, and the influence of the Romanian-born sculptor was clear in the show's big, bold volumes and harmonious lines.

A stiff cone-shape panel emerged from the bust of a strapless shift dress and, curling ingeniously around itself, attached to the hemline.

Another shift dress in fire engine red had a bustle-like drapery that emerged from the shoulders and attached to the hemline, creating a sort of chic superhero cape. One show-stopping look improbably melded a one-shoulder evening gown with a pantsuit.

Lozenge-shaped leather discs covered a sleeveless organza evening gown in an intricate scale pattern.

Artful mosaic beadwork also adorned the hemline of many of the other floor-length dresses, making tinkling sounds as the models strutted their stuff. At the end, the catwalk was littered with sparkling beads and rhinestones that had popped off during the show.

The collection, which opened with 10 little back dresses, was heavier on daywear than most haute couture shows, in what was perhaps a concession to the current hard economic times.

But don't tell that to Rolland. The designer bristled at talk of the economy, saying he was "sick and tired of hearing the word 'crisis.'"

- the AP

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Tuesday, January 27, 2009

Christian Dior Haute Couture S/S 09 Paris

From Christian Dior Haute Couture S/S 09 Paris

When people are confronting recession, counting their pennies and designing their wardrobes on the save-not-splurge formula, what is the role of French haute couture where a single dress can cost the price of a modest British home?
John Galliano, the couturier at Christian Dior, offered a master class in the art of the couture atelier by way of explanation, in his collection, on the opening day of the spring/summer 2009 season in Paris yesterday.
Galliano literally turned gowns inside out to show the extraordinary construction, hand-finished seams, painstaking cross-stitching and velvet ribbon bindings which go into the making of an haute couture creation.
As many as 80 craftsmen and women in the Dior couture ateliers worked for between 300 and 400 hours to create each of the six corseted, crinoline, ballgowns for the show's finale. Then, each gown was sent to Paris's surviving artisan studios which employ the specialist hand-beaders and embroiderers.
"I spent hours in the archives, examining the inside of Dior's designs, subjecting them to an almost forensic examination. It was like discovering a long-lost love letter which declared a passion for clothes which are beautifully and elegantly made. It is an art, which the craftsmen and women perform with love and pride," Galliano said.
His sentiments were echoed by the president and chief executive of Dior, Mr Sidney Toledano, who, in referring to an escape route from the global financial meltdown, said: "Politicians can provide the leadership, but artists such as John (Galliano) have a role to play, as well."
The Oscar-winning French actress Marion Cotillard, Mischa Barton, the R&B singer Kanye West, and the burlesque star Dita Von Teese, who opens a new season at Paris's Crazy Horse at the weekend, were among the front-row celebrities, together with a solid turnout of "real money" clients.
The French First Lady, Carla Bruni-Sarkozy, who is one of Dior's most high-profile fans, was not present but was there in spirit as tracks from her latest CD, "Comme Si de Rien N'Etait", featured on the soundtrack.
The collection, inspired by Flemish Old Masters,Van Dyck and Vermeer, paraded against a stained glass-inspired backdrop which echoed the colours of their paintings and was, in turn, reflected in the rich gold, chrome yellow, ivory and Delft blue colours of the clothes.
Pearl necklaces, referencing Vermeer's 'Girl with Pearl Earring', embellished the necklines of Guipure lace, shawl-collared suits. Pencil skirts featured pannier-style "wings" at the side or were draped into soft pleats and bows at the back. Matching shoes were balanced on scroll-design pedestal heels.
The Dutch tulip was a recurring motif, hand-painted, beaded and embroidered on the underside of rise-and-fall hems.

-Hilary Alexander

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Monday, January 26, 2009

Paris: John Galliano - fall 2009

From Men's John Galliano - fall 2009

Though there were several thousand votives burning and Slumdog Millionaire was playing on the soundtrack, it was freezing in John Galliano's show venue. And the wintry chill penetrated his collection. From Scott Barnhill's entrance in a tricorn, with powdered wig and bruised eyes, the scene was set for the usual pell-mell historicism. But it didn't quite engage, possibly because Galliano's cast of characters was a little frosty. Dead-eyed highwaymen in their britches and buccaneer boots were followed by a crew of piratical zombies who also looked to have shuffled off this mortal coil. Next came a posse of Pans, their satyrdom curtailed by the subzero temps, and a coven of black-clad Pilgrim Fathers—not a fun bunch at the best of times, even if this lot were wearing shirts as sheer as lingerie.

There was still enjoyment to be had, particularly when—during the underwear promo that has become the wingiest part of a Galliano show—the designer paraded a high-court judge in wig, undies, shoes, socks, and garters. But maybe it was color that was missing from the show, and that may very well have been Galliano's comment on a world gone wrong.

— Tim Blanks

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SAG awards 2009 - winners!

From SAG Awards 2009

—- FILM —–
Outstanding Performance by a Cast in a Motion Picture
‘Slumdog Millionaire’ — WINNER
‘The Curious Case of Benjamin Button’

Outstanding Performance by a Male Actor in a Leading Role
Richard Jenkins - ‘The Visitor’
Frank Langella - ‘Frost/Nixon’
Sean Penn - ‘Milk’ — WINNER
Brad Pitt - ‘The Curious Case of Benjamin Button’
Mickey Rourke - ‘The Wrestler

Outstanding Performance by a Female Actor in a Leading Role
Anne Hathaway - ‘Rachel Getting Married’
Angelina Jolie - ‘Changeling’
Melissa Leo - ‘Frozen River’
Meryl Streep - ‘Doubt’ — WINNER
Kate Winslet - ‘Revolutionary Road’

Outstanding Performance by a Male Actor in a Supporting Role
Josh Brolin - ‘Milk’
Robert Downey Jr. - ‘Tropic Thunder’
Philip Seymour Hoffman - ‘Doubt’
Heath Ledger - ‘The Dark Knight’ — WINNER
Dev Patel - ‘Slumdog Millionaire’

Outstanding Performance by a Female Actor in a Supporting Role
Amy Adams - ‘Doubt’
Penelope Cruz - ‘Vicky Cristina Barcelona’
Viola Davis - ‘Doubt’
Taraji P. Henson - ‘The Curious Case of Benjamin Button’
Kate Winslet - ‘The Reader’ — WINNER


Outstanding Performance by a Male Actor in a Drama Series
William Shatner, “Boston Legal”
Michael C. Hall, “Dexter”
Jon Hamm, “Mad Men”
Hugh Laurie, “House” — WINNER
James Spader “Boston Legal”

Outstanding Performance by a Female Actor in a Drama Series
Holly Hunter, “Saving Grace”
Sally Field, “Brothers & Sisters” — WINNER
Mariska Hargitay, “Law & Order: Special Victims Unit”
Elisabeth Moss, “Mad Men”
Kyra Sedgwick, “The Closer”

Outstanding Performance by a Male Actor in a Comedy Series
Steve Carell, “The Office”
Jeremy Piven, “Entourage”
Tony Shalhoub, “Monk”
David Duchovny, “Californication”
Alec Baldwin, “30 Rock” — WINNER

Outstanding Performance by a Female Actor in a Comedy Series
Christina Applegate, “Samantha Who?”
America Ferrera, “Ugly Betty”
Tina Fey, “30 Rock” — WINNER
Mary-Louise Parker, “Weeds”
Tracey Ullman, “Tracey Ullman’s State of the Union”

Outstanding Performance by an Ensemble in a Comedy Series
“30 Rock” — WINNER
“Desperate Housewives”
“The Office”

Outstanding Performance by an Ensemble in a Drama Series
“Mad Men” — WINNER
“The Closer”
“Boston Legal”

Outstanding Performance by a Male Actor in a Television Movie or Miniseries
Paul Giamatti, “John Adams” — WINNER
Ralph Fiennes, “Bernard and Doris”
Kevin Spacey, “Recount”
Kiefer Sutherland “24: Redemption”
Tom Wilkinson “John Adams”

Outstanding Performance by a Female Actor in a Television Movie or Miniseries
Shirley MacLaine, “Coco Chanel”
Laura Dern, “Recount”
Laura Linney, “John Adams” — WINNER
Phylicia Rashad “A Raisin in the Sun”
Susan Sarandon “Bernard and Doris”


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Sunday, January 25, 2009

Lanvin Pre-Fall 2009

From Lanvin Pre-Fall 2009

In these uncertain times, Alber Elbaz still believes in dreams and the power of glamour and beauty. For Lanvin, he took paillettes and lamé to a new level and introduced luxe evening fabrics for day. He offered up brocade blouson jackets, ruffled lace cocktail dresses, beaded skirts with elastic waists and cozy knits and furs — all perfectly draped to a woman’s frame. Although he recycled elements from past collections, Elbaz updated some pieces by reducing volume for “real life,” as he put it, and added self-attached waist-cinching belts and ribbons to emphasize shape.


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Christian Dior Pre-Fall 2009

From Christian Dior Pre-Fall 2009

John Galliano’s pre-fall collection for Christian Dior took inspiration from two distinct aesthetics: Alfred Hitchcock’s icy heroines and Helmut Newton’s tough-chic glamazons. It added up to a strong and graphic, yet feminine, collection with long dresses and coats, double-faced wool suits and luxurious furs and evening dresses. The colors ranged from the classic gray of flannel to strong, vivid shades reminiscent of René Gruau’s drawings for Dior in the Fifties.


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Dolce & Gabbana - gym collection 09


models: Julien Quevennem, Jesper Lund, Sean Harju, David Jensen, Noah Mills, David Gandy + unk


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Friday, January 23, 2009

Dolce & Gabbana SS2009 Full Campaing (HQ) repost

From Dolce & Gabbana SS2009 Full Campaing (HQ)

Models: Maria Carla Boscono, Caroline Trenti, Karlie, Adam Senn, David Grandy, Justiin Q., Noah Milss,+ unknown
Photographer: Steven Klein
Styling: Patti Wilson


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