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cyarsk52-20 · 5 months

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Can the Weeknd Turn Himself Into the Biggest Pop Star in the World?

He had millions of Internet fans for his strange, profane R.& B. Then he decided he wanted more.

By JON CARAMANICAJULY 27, 2015

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The scene backstage last November at the American Music Awards, that annual gathering of pop perennials and idiosyncratic arrivistes, was carnivalesque: Niall and Liam of One Direction toddled about trying to snap a picture with a selfie stick, while Zayn, their bandmate at the time, smoked coolly out of frame; Ne-Yo was there in a leopard-print blazer two sizes too small; Lil Wayne was wandering around, alone, wearing absurd shoes. In the middle of it all, Abel Tesfaye, better known as the Weeknd, remained calm, slow motion to everyone else’s warp speed.

Allergic to these sorts of scrums, he found his way to his trailer to hang with his friends, five or so fellow Canadians, all of them art-goth chic, wearing expensive sneakers and draped in luxurious, flowing black. Tesfaye, 25, was dressed down by comparison, in a black corduroy jacket and paint-splattered jeans (Versace, but still). He stands 5-foot-7, plus a few more inches with his hair, an elaborate tangle of dreadlocks that he has been growing out for years, more or less letting it go where it wants. It spills out at the sides of his head and shoots up over it, like a cresting wave. Casually, Tesfaye did some vocal warm-ups and sat indifferently as his underutilized makeup artist dabbed foundation under his eyes and balm on his lips.

He’d just had his first flash of true pop success: ‘‘Love Me Harder,’’ his duet with Ariana Grande, the childlike pop star with the grown-up voice, cracked the Top 10 of the Billboard Hot 100. He was scheduled to make a surprise cameo here at the end of a Grande medley. Until that song and, in a sense, that moment, Tesfaye had been a no-hit wonder: a cult act with millions of devotees and almost no mainstream profile.Photo

When Tesfaye came out from the shadows midway through Grande’s performance, the crowd screamed. For two minutes, the singers traded vocal riffs and unflinching eye contact, Grande playing the naïf and Tesfaye the aggressor. The performance was quick and sweaty, and seconds after it was over, Tesfaye was already speeding for the exit, stopping only for a quick embrace from Kendall and Kylie Jenner. When he reached the parking lot, a yappy talent wrangler for an entertainment-news show sensed an opportunity and asked for an interview. Tesfaye gave him an amused half-smile and kept walking. ‘‘Hey!’’ the guy shouted in desperation, fumbling for a name before landing on the wrong one: ‘‘A$AP Rocky!’’ Tesfaye turned his head and said, ‘‘C’mon, man,’’ arching an eyebrow, then picked up the pace.

Even though he had just performed for an audience of millions, Tesfaye was still, to many of them, a total stranger. When he began releasing music in 2010 — murky Dalí-esque R.&B.;, sung in an astrally sweet voice, vivid with details of life at the sexual and pharmacological extremes — Tesfaye chose to be a cipher. The only photos of him in circulation were deliberately obscured; he didn’t do interviews. His reticence was an asset — fans devoured the music without being distracted by a personality. Their loyalty was to the songs and, in a way, to the idea of the Weeknd. He was happy to stay out of the way.

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Tesfaye slowly began revealing himself in 2011 with a handful of live performances. By last year, he was a fringe superstar, selling out shows at huge venues like the Barclays Center, the Hollywood Bowl and the O2 Arena in London. Still, he began to feel that he had hit a ceiling — a high one, and maybe even a sustainable one, but a ceiling nonetheless.

The old Weeknd was comfortably, even enthusiastically, numb — the poet laureate of ruinous nights ending in bleary sunrises. His approach to songwriting, both in subject matter and production choices, was characterized by obscurity and darkness. But he began to wonder if there was another way. ‘‘I felt I had to change who I was,’’ he says. His new album, ‘‘Beauty Behind the Madness,’’ is the end result of a year’s worth of molting old habits, a creative upheaval that has begun to teleport him from the margins right to pop’s center.

By taking his old, gloomy gestures and repackaging them in ecstatic, radio-friendly arrangements, he has made one of the most sonically ambitious pop albums of the year, full of swaggeringly confident music indebted to the arena-size ambition of the 1980s, from Guns N’ Roses to Phil Collins to Michael Jackson.

Above all, it is Jackson in Tesfaye’s cross hairs. ‘‘These kids, you know, they don’t have a Michael Jackson,’’ he says. ‘‘They don’t have a Prince. They don’t have a Whitney. Who else is there? Who else can really do it at this point?’’

Tesfaye was slumped in the back of his Mercedes S.U.V. one evening last December while being driven through Scarborough, a dreary suburban district of Toronto just a short ride from his luxury apartment downtown. The vehicle pulled into a parking lot behind a low-slung apartment complex, and he pointed at an upstairs window, to the flat he used to share with his mother and grandmother. ‘‘It’s a small apartment,’’ he said, ‘‘about the size of this car.’’

His parents emigrated from Ethiopia in the 1980s, when the country was reeling from civil war and drought, and came to Toronto. They never married, and after they split up, Tesfaye’s mother moved with him to this dull expanse northeast of the city center. His father wasn’t in the picture, and the two haven’t spoken since he was a boy. Tesfaye found the stillness in Scarborough to be, by turns, bucolic and sinister. ‘‘Like a Coen brothers movie,’’ he said, staring out the window.

Scarborough was stifling, and he constantly plotted ways to leave. He dropped out of high school when he was 17 and persuaded his best friend, La Mar Taylor, to join him. They met the first day of high school — Tesfaye noticed Taylor’s pink polo shirt — and the two quickly became partners in creative endeavors and, eventually, self-destruction. One day they pulled up in a van at Tesfaye’s home. Tesfaye went to his room, grabbed his mattress, dragged it out of the house and threw it in. His mother watched him grimly. ‘‘The worst look anyone could ever have,’’ he recalls. ‘‘She looked at me like she had failed.’’

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Tesfaye and Taylor and their friend Hyghly Alleyne moved into a one-bedroom apartment in an old Victorian in Parkdale, an about-to-be-gentrified neighborhood that was populated at the time, Taylor says, by ‘‘students and crackheads.’’ They paid the $850 monthly rent with money from welfare checks. They were still teenagers, and they lived like it. During the days, they would shoplift food at a nearby supermarket. Some nights they would walk to the Social, a neighborhood bar. Occasionally, they would get into fights. Most nights, they would get high on whatever was around — MDMA, Xanax, cocaine, mushrooms, ketamine. ‘‘ ‘Kids,’ without the AIDS,’’ Tesfaye said. ‘‘No rules.’’

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Tesfaye sold a little weed, but for the most part he was broke. Eventually the three were evicted, so Tesfaye bed-hopped. When he needed a place to stay, he would tell a girl he loved her. ‘‘There was, like, three girls that thought legit that I was their boyfriend,’’ he says. He found a square job, folding shirts in an American Apparel downtown. Around that time, he began writing and recording songs — at first for others, but when there were no takers, for himself.

When Tesfaye wasn’t high, he wasn’t happy, so he did his best to avoid coming down. And when he began writing songs, he found inspiration in that haze, penning lyrics about the dystopian, bacchanalian nights that he and his crew were having. He worked with a young musician, Jeremy Rose, on moody, sinister beats. The combined result was something like ‘‘American Psycho’’ with a soundtrack by Prince, sonically gauzy and verbally blunt, with Tesfaye cast as both villain and victim.Photo

Taylor uploaded Tesfaye’s first three songs — ‘‘The Morning,’’ ‘‘What You Need’’ and ‘‘Loft Music’’ — to YouTube in the fall of 2010, posting the links to their friends’ Facebook walls and hoping for the best. The clips were audio only, accompanied by black-and-white photographs of not-quite-dressed women. Tesfaye’s likeness was nowhere to be found; you had to dig to find his name. He had wanted to call himself the Weekend, but there was already a rock band in Ontario called that, so he dropped a letter. His anonymity was so complete, he says, that his co-workers at American Apparel would listen to his music while he was working without realizing it was his.

At the end of that year, Oliver El-Khatib, now the rapper Drake’s co-manager, posted that first batch of Weeknd songs on the blog of Drake’s label, October’s Very Own, and Tesfaye instantly became the subject of international fascination. Soon after, he retreated to the studio to finish ‘‘House of Balloons,’’ the first of three planned mixtapes, which he released free online the following March. Meanwhile, Drake recruited Tesfaye to work on his 2011 album, ‘‘Take Care,’’ which included versions of three songs Tesfaye says he had initially written for ‘‘House of Balloons.’’ Over the next nine months, Tesfaye released the second and third free Weeknd mixtapes, ‘‘Thursday’’ and ‘‘Echoes of Silence.’’

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A&R; representatives and label heads had been flying to Toronto to woo him since those first songs were posted, and Tesfaye’s reluctance proved advantageous again. In May 2012, still unsigned, he played the Fonda Theater in Los Angeles. Monte Lipman, the chief executive of Republic Records, a division of Universal Music Group, took Rick Rubin for added ammunition. ‘‘I look to my left, it’s the Interscope crew, the Atlantic crew, the Columbia crew,’’ Lipman says. ‘‘It was like the Five Families all in one room.’’

Three months later, Tesfaye entered into a partnership with Republic, and for his first act he remastered the three mixtapes and sold them in a small box set called ‘‘Trilogy.’’ This collection of music — already available free online — went platinum.

At the time, R.&B.; — the genre to which the Weeknd notionally belongs — had atrophied. Years of hybridization had left it a submissive sibling to hip-hop, a bland side dish. But as Tesfaye was emerging, so were similarly heretical soul singers like Frank Ocean and Miguel. They made R.&B.; laden with references to indie rock and psychedelia for a younger generation accustomed to unexpected juxtapositions. The Internet had made novelty stars, and it had made mash-ups. But with this class of singers, it began to make auteurs.

Tesfaye’s music was a miasma of sensual, slithering rock and soul, cut with melancholic samples of Siouxsie & the Banshees and Cocteau Twins. He also imported hip-hop’s low rumble and vulgar mind-set, molding them to his sound. He moved at a crawl, his sound a dark vortex. In part, this left-field approach was strategic — he has a beautifully rogue voice far from the full-bodied, gospel-influenced traditional soul bellow. Instead, it suggests curdled anxiety, savage recrimination, the strain of pleasure and collapse. There are flashes of Michael Jackson, Smokey Robinson, even Robert Plant. Tesfaye attributes some of his signature vocal gestures to the Ethiopian influences of his childhood. (He still speaks Amharic, which he learned from his mother and grandmother.) The way he softly reaches for a high note, then falls back, then buzzes around it for a bit — that’s an inheritance from Aster Aweke, a veteran Ethiopian pop star.

This avant-R.&B.; was a hit with critics, but it didn’t always translate into commercial appeal. Tesfaye’s first major-label album of original material, ‘‘Kiss Land,’’ came out in 2013. It was a Technicolor version of his mixtapes, full of long, fluid, semistructured, absorptive songs about desire and suspicion, but it sold only 268,000 copies, and none of the several singles the label pushed to radio took hold. His fervent fan base remained steady — when he toured, they filled arenas for him — but the Weeknd was a superstar act only inside his own universe.

Stymied, he turned to Wendy Goldstein, the head of urban A&R; at Republic, for advice. ‘‘The underperforming of that record in his own expectations of what it was supposed to do shook him to his core,’’ she says. ‘‘I said, ‘You wanna be the biggest in the world?’ He said, ‘I absolutely wanna be the biggest in the world.’ ’’ She and the newly malleable Tesfaye got to work. First, she arranged for him to record the duet he would perform with Ariana Grande at the A.M.A.s, ‘‘Love Me Harder.’’

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That track came from the studio of Max Martin, the Swedish producer whose influence on 2000s pop is matchless — his guiding hand firmly behind the careers of Britney Spears, Kelly Clarkson and Katy Perry. He works with a large team of writers and producers out of a sprawling residential compound in West Hollywood that was once home to Frank Sinatra. Martin’s hit-factory typically solicits little creative input from the talent, who show up when it’s time to sing. This process was alien to Tesfaye, who had always written his own lyrics and was unsure that he would be a good match for Grande’s good-girl gleam. When he saw the lyrics that were sent to him, he found them to be tepid. He rewrote his verse, recorded it and sent it back.

What could have been a contentious exchange was actually edifying for both parties: Martin liked Tesfaye’s changes and kept them; Tesfaye realized he could make sleek, accessible pop on his own terms. He asked Goldstein to secure Martin’s services for his next album. ‘‘If I’m gonna be the biggest in the world,’’ he told her, ‘‘I need a handful of songs like that.’’

When Tesfaye went to Martin’s complex last fall to begin work, he set up in a wing where Marilyn Monroe used to live. Martin’s team presented Tesfaye with a selection of prewritten material, and he rejected it all. They worked from scratch instead, and the first song they wrote was ‘‘In the Night,’’ the new album’s most electric moment, a homage to and an updating of peak-era Michael Jackson. Before going into the studio, Tesfaye was listening to ‘‘Copacabana,’’ the 1978 Barry Manilow disco jaunt about the showgirl Lola, the bartender Tony and the murder that took his life — and, in a sense, hers too. Its exuberant arrangement is a wide grin masking unspeakable pain.

‘‘In the Night’’ moves in similar horror-story fashion. ‘‘She was numb, and she was so codependent,’’ he sings, pulling back from the notes with a splash of Jackson’s vocal agility. The music suggests celestial escape. Later, Tesfaye reveals the wound: ‘‘She was young, and she was forced to be a woman.’’ Underneath its sunbeam-bright euphoria hides a tale of childhood sexual abuse. For Tesfaye, ‘‘In the Night’’ was the sort of compromise he was excited to make, a glistening surface salving the wounds that are his stock in trade. When he first played the song for Ron Perry, the president of Songs Music Publishing, which handles Tesfaye’s publishing, Perry couldn’t contain himself: ‘‘It’s ‘Billie Jean’! It’s ‘Billie [expletive] Jean’!’’Photo

In his dressing room before concerts, Tesfaye plays Jackson’s ‘‘Off the Wall’’ for energy. Musically, though, Tesfaye’s fixation with Jackson has often been obscured by foggy production and his reluctance to conform to conventional song structure. On his early recordings, he says, his producers ‘‘would always try to structure it, make it more into a song, and I was always a punk: ‘I hate major chords. I hate structure. I want this song to be eight minutes long.’ It would kill them.’’ Jackson’s lessons seeped in, though. ‘‘My head-space now is, I love choruses,’’ Tesfaye says. ‘‘A chorus is not easy.’’

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Jason Quenneville, who is known as DaHeala and is Tesfaye’s engineer and longtime musical collaborator, calls this album Tesfaye’s ‘‘O.K., fine, I’ll play ball’’ moment. ‘‘ ‘Kiss Land’ was, ‘O.K., let’s play baseball,’ but you’re swinging a plate of spaghetti,’’ he says. ‘‘Now it’s like, ‘Fine, I will apply myself, play ball with a ball and stick.’ ’’ Tesfaye has embraced pop’s soothing strictures. He speaks of songs in terms of major and minor keys, prehooks and hooks and bridges. ‘‘In that area, he’s even stronger than I thought,’’ says Jimmy Iovine, who tried to sign Tesfaye before leaving Interscope Records for Apple Music. ‘‘You would think he’d be breathing his own exhaust and shutting the world out, and he’s not doing that.’’

Instead, over the last six months, the Weeknd has become one of the most reliable hitmakers in pop. ‘‘Earned It,’’ a soothing ballad he wrote for the ‘‘50 Shades of Grey’’ soundtrack with, among others, Stephan Moccio, a songwriter who has worked with Celine Dion, went to No.3 on the Billboard Hot 100. By mid-July, Tesfaye had three songs in the Top 20 — ‘‘Earned It,’’ as well as the first two singles from the new album, ‘‘The Hills’’ and ‘‘Can’t Feel My Face.’’ Radio, so long hostile to his voice, had fully embraced him, yanking Tesfaye from the dark into the light.

But success means having fewer places to hide. One sticky night in early June, as Tesfaye left the Trump SoHo New York hotel, a couple of paparazzi lurked outside, braving spurts of rain. They asked him to stop for a picture — they certainly knew his name by now — but he didn’t, instead heading for one of four black S.U.V.s idling curbside, waiting to drive him and his crew uptown for a performance at the Museum of Modern Art. Moments later, the 18-year-old model Bella Hadid stepped out of the building, her black jacket draped over a sheer black top. She was asked to stop for one, too. She demurred, wordlessly ducking into one of the other trucks.

Tesfaye and Hadid have been the subject of tabloid attention and online speculation for most of the spring. There is at least one Instagram account dedicated to documenting every instance the two have shared space, be it physical or virtual. (If one of them liked the other’s Instagram photo, it’s captured here.) For an artist who thrived on emotional detachment, love poses a threat. ‘‘Probably my and my manager’s biggest fear is if this kid falls in love, we’re done, we’re finished,’’ Tesfaye had said in December.

Once the caravan arrived at MoMA, everyone spilled out of the S.U.V.s and surveyed the room. Hangers-on began clustering around Tesfaye, so he scurried to an elevator and the safety of his green room. Hadid gave him a quick kiss, then went with her friends to stand at the side of the stage.

A couple of weeks later, Tesfaye refused to talk about Hadid. Asked if he was in love, he replied: ‘‘I don’t know, to be honest with you. I don’t think so. Maybe. It’s no, it’s yes, it’s maybe.’’ He is telling a more complete story on the album: ‘‘It’s about me being who I am and stepping out of my comfort zone to try to feel something else besides what I’ve been feeling the past four years,’’ Tesfaye said last month in Los Angeles. ‘‘Ups and downs,’’ he said. ‘‘In my past albums, there were never ups.’’

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The closest recent analogue to ‘‘Beauty Behind the Madness’’ is probably ‘‘1989,’’ Taylor Swift’s pop coming-out party from last year, which also pulses with 1980s pomp, and which Martin had a heavy hand in, too. Like Tesfaye, Swift spent the early part of her career cultivating a finicky audience and then cut bait and re-established herself at the very center. But Swift had, in essence, been making pop music all along, in terms of subject matter and structural approach. Tesfaye’s transformation is a more precarious balancing act, reframing his past without abandoning it, teaching his hard-core fans not to mind when the new ones show up to cheerily sing along. So far, it seems to be working; when Swift played at MetLife Stadium in July, she invited Tesfaye out to duet with him on ‘‘Can’t Feel My Face.’’

As he sees it, he is walking in the footsteps of artists of previous eras who, from an R.&B.; foothold, rocketed into the stratosphere. So it didn’t come as a surprise when Tesfaye was visibly (and uncharacteristically) thrilled to relate the story of how he first met the legendary producer Quincy Jones. The two were at a club called Drai’s in Las Vegas, where Tesfaye performs frequently. The owner introduced him to Jones, 82 years old but still spry enough for the club. The two sat down next to each other. ‘‘He knew about me,’’ Tesfaye said, beaming. ‘‘You couldn’t wipe the smile off my face.’’

Tesfaye says that when he was working in the studio with Martin, he often thought of how Jones and Michael Jackson had pushed each other to greatness. Jones was there for the three seminal Jackson solo albums — ‘‘Off the Wall,’’ ‘‘Thriller’’ and ‘‘Bad’’ — and when Jones and Jackson first worked together, each was already well established. But in Jones’s hands, Jackson transcended race and style and spun pop gold out of the darkest subject matter.

Sitting next to Jones, Tesfaye said, he resisted the urge to badger him for old stories. Instead, he recalled, it was Jones who had a question for him: ‘‘What’s that one song, that more up-tempo song?’’ He was asking about ‘‘Can’t Feel My Face,’’ which Tesfaye had performed earlier in the night.

‘‘Yeah, I used to make music like that,’’ he told Tesfaye. ‘‘Sounds good.’’

Jon Caramanica is a pop-music critic for The Times. He profiled Justin Vernon of Bon Iver for the magazine in 2011.

A version of this article appears in print on August 2, 2015, on page MM40 of the Sunday Magazine with the headline: Don’t Stop ’Til You Get Enough. Today's Paper|Subscribe

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vidstudiosworld · 1 year

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Closet Chronicles: Unveiling the Fashion Choices of New Yorkers

Almost everyone knows that to blend in as a New Yorker, you must be dressed appropriately. How do you accomplish that? The closets of New Yorkers are filled with twists and turns. We will reveal the secrets behind their wardrobes including traditional white tops to classic white shirts. Versace Gianni Versace started his own label in 1978. He quickly became a fashion force. The house is renowned for its bold aesthetics, rock and roll glamour, as well as Medusa and Greca motifs. After his demise in 1997 sister Donatella Versace has kept the brand's body-conscious, sultry style. The newest collection of the Italian luxury house is continuing to showcase the bold, sexy style that earned the house its fame. Streamlined tailoring meets '90s nostalgia on statement-making ready-to-wear designs for women, men and children. The gilded embellishments adorned with the classic Versace logo and '90s-inspired footwear create a distinctly contemporary vision of Italian luxury. From a fresh perspective on the I 3 NY tee, from delicate dip-dye and high-end dad sneakers, these fashions taken from New York City prove that Versace's philosophy is still alive and alive in the Big Apple. Versace was one of the first fashion houses to use celebrity endorsements and front row seats in order to elevate fashion to the level of high-end fashion. Klein Klein was an expert narrative strategist in a city packed with famous people. Whether defining public protocols or pushing boundaries in advertising campaigns, his libidinal aspirational strength was translated into bold, bold gestures in black and gray. Photographically, Klein resembled his subjects as he captured the wild high-energy, hyperactive energy New York in rapid-fire asymmetrical images that resembled Robert Frank's infamous "The Americans." The evocative images of Christy Turlington echoed a similar viewpoint. Raf Simons and Pieter Mulier have continued Klein's vision. Simons's collections were influenced by diner uniforms and traditional suiting and his male fashions often featured a bizarre twist (see the rubber dress or Warhol knife prints). Mulier sought the pragmatism of American working-class attire in his designs for women. And he has built an impressive fan base for his brand, attracting large crowds, such as Lupita Nyong'o in front of Mahershala Ali, or Millie Bobby Brown laughing with Brooke Shields. Beene New Yorkers prefer to combine the two. They'll sport loose-fitting jeans with an elegant button-down, and then tuck it in just a bit, or they might pair an hoodie with a softly tailored cocoon coat. The key is to always add a nice accent piece, such as silk scarves or vibrantly-colored sneakers. New Yorkers are ditching skinny jeans in favor of classic straight-leg pants cargo pants, or other baggy trousers. These pants are comfy for trains, and can be dressed to wear out. Geoffrey's recent work has shown a gradual move towards a more sensual reductive. In this dress for evening, gray wool and black leather, two materials typically consigned to day- or sporty wear--combine to form an outline that evokes both bones and ribs-like shapes. Taking its cue from the architectural style of Santiago Calatrava, the design also recalls a shoulder holster through the trapezoidal design and strapping. One Dapper Street Marcel Floruss, a New York blogger, is the owner of One Dapper Street. This men's fashion blog is about street style and dapper outfits. The blog has a broad coverage, which includes Instagram as well as YouTube videos. He's also interviewed celebrities such as Grasie Mercedes, who's not your typical multi-hyphenated artist. Grasie is a performer, writer filmmaker, director, and podcaster. She's also a fashion and lifestyle influencer who has a distinct sense of fashion. She recently attended the Christian Siriano show dressed in an black sheer dress and was along with Clueless star Alicia Silverstone. Many people believe that fashion blogs are exclusively meant for women. But, there are many men who are fashion bloggers. Marcel Floruss is a German man who is a fan of menswear. One Dapper Street is his website that is aimed at changing the way people view fashion. His videos on TikTok are extremely popular and he has a large social media fan base. Credits to YouTube

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#Dress #Fashion #Street Wear #Style

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lauramichellehollins · 2 years

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Born Laura Michelle Hollins,[2] Deyn is from Littleborough, near Rochdale in Greater Manchester.[3] Deyn later moved to Failsworth near Oldham.[4][5] The second of three children, she moved to Rossendale, Lancashire, and attended All Saints Roman Catholic High School, as well as Bacup and Rawtenstall Grammar School and Sixth Form, Waterfoot.[citation needed]

Deyn's name was apparently coined to further her modelling career after she consulted her mother's friend, a numerology expert, who advised her of the most 'fortuitous' way to spell the name 'Agnes'.[6] It was reported that her mother Lorraine (a nurse), and her sister Emily both changed their surname to Deyn, while Lorraine has changed the I in her first name to Y.[7][8]

Deyn's working life started at a fish and chip shop in Stubbins, Rossendale, where she was a part-time server at the age of 13. Even at an early age she had an eye for style and by 17 she had already had her head shaved. "I've had short hair since I was 13, and when I was 17, I had a skinhead."[9] In 1999, she won the Rossendale Free Press "Face of '99" competition, aged just 16.[10]

She then moved to London, working in a fast-food restaurant during the day and a bar at night.[citation needed]

Career

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Modelling

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Deyn for Anna Sui in 2008

Deyn's biography claims that she was "spotted" while shopping with fashion designer Henry Holland in Kentish Town, London.[11] She then signed with SELECT Model Management.[12]

In May 2007, she was featured on the cover of American Vogue, alongside Doutzen Kroes, Caroline Trentini, Raquel Zimmermann, Sasha Pivovarova, Jessica Stam, Coco Rocha, Hilary Rhoda, Chanel Iman and Lily Donaldson as "The World's Next Top Models."[13] She has also been featured on the covers of: UK Vogue, the Observer Woman supplement, The Sunday Times Style, Pop, Grazia, Time, Style & Life, Vogue Italia and numerous other international publications.[14]

She has walked the runways for Chanel, Dolce & Gabbana, Burberry, Hermés, Dior, Lanvin, DKNY, Karl Lagerfeld, Moschino, Versace, Michael Kors, Zac Posen, Celine, Roberto Cavalli, Bottega Veneta, Proenza Schouler, Tommy Hilfiger, Stella McCartney, Viktor & Rolf, Max Mara, Oscar De La Renta, Ralph Lauren, Giles Deacon, Alexander Wang, Jean Paul Gaultier, Alberta Ferretti, Carolina Herrera, and Yves Saint Laurent.

Deyn has appeared in advertisements for Dior, Burberry, Emporio Armani, Calvin Klein, Moncler, Anna Sui, Giorgio Armani, John Galliano, Gianfranco Ferré, Blumarine, Vivienne Westwood, Cacharel, Doc Martens, Shiseido, Mulberry, Paul Smith, Adidas, and Reebok.

She has been the face of fragrance The Beat by Burberry, Gold by Giles Deacon at New Look replacing Drew Barrymore, Jean Paul Gaultier's fragrance Ma Dame, Shiseido (replacing Angelina Jolie), Rock Me! by Anna Sui, and childhood friend Henry Holland's label House of Holland. In 2009, Deyn landed a Uniqlo campaign and appeared in a commercial with Gabriel Aubry.[citation needed]

In May 2008, Deyn was guest editor of i-D magazine. The issue was devoted to her and includes articles written by and about Deyn, as well as interviews she conducted with fashion designers such as Vivienne Westwood. Deyn's was on one of the fourteen covers of V magazine autumn issue. Each cover employs a head shot of a famous model, either from new models or established supermodels; it was photographed by Inez van Lamsweerde and Vinoodh Matadin.[15]

In June 2009, the Daily Mirror reported that Deyn had quit modeling to spend more time with her then boyfriend, singer-songwriter Miles Kane. The newspaper quoted a source[who?] as saying that modeling had started to bore Deyn and that she had hired an acting agent to pursue an acting career in British independent films.[16]

Vogue Paris described her as one of the top 30 models of the 2000s.[17]

Deyn appeared in the May 2011 British Vogue editorial, photographed by Tim Walker.[18]

In October 2012, Deyn once again announced that she has retired from modeling in an interview with The Independent. She stated, "I suppose I have stopped modeling officially. I've not done any for a good long while now. I think it was about four years ago when my feelings were changing towards the industry. I didn't hate it, but I was yearning to do something different. I was on a gradient. It was a gradual thing." She intends to focus on her acting career.[19]

Music

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Deyn provides vocals for the single "Who" by Five O'Clock Heroes as well as featuring in the video. The single was poorly received by NME, who gave it only a 2/10.[20] The single charted at No. 109 in the UK.[21] Until recently she was a member of the now defunct group Lucky Knitwear.[22] Deyn's voice can be heard at the beginning of Rihanna's music video for "We Found Love".

Acting

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In the 2010 film Clash of the Titans, Deyn played Aphrodite, Greek goddess of beauty, love, and sex.

In March 2011, Deyn appeared as an owl-bearing warrior in Woodkid's debut music video, "Iron".[23]

In 2012, Deyn starred opposite Richard Coyle in Pusher, an English language remake of Nicolas Winding Refn's Danish film of the same name, where she played Flo, a strong-minded stripper.

On 28 February 2012, Deyn played her first role on the West End stage, as Paula in François Archambault's comedy, The Leisure Society.[24] After receiving excellent reviews[by whom?] for her role in that play, Deyn was cast to play the main female role, Chris Guthrie, in a film adaptation of the Scottish-set novel Sunset Song.[25]

In 2013, Deyn played the lead role in Electricity, a film adaptation of the novel by Ray Robinson, about the journey of a young woman with epilepsy.[26]

In 2015, she starred in fantasy-horror thriller film Patient Zero.[27]

In 2017, Deyn began filming Hard Sun, a pre-apocalyptic[clarification needed] crime drama for the BBC at Hanstead Park in Bricket Wood, Hertfordshire.

In 2018, Deyn appeared in the Netflix original movie The Titan as Dr. Freya.[28]

In 2019, Deyn starred in Alex Ross Perry's Her Smell as Marielle Hell, bassist for the fictional band Something She.

Design ventures

Edit

In 2010, Deyn collaborated with her younger sister Emily to create a line of T-shirts and tank tops for high street chain Uniqlo.[29]

In 2012, Deyn began a design partnership with Dr. Martens called Agyness Deyn for Dr. Martens,[30] a line of accessories, shoes, and clothing. In spring of 2014, she planned to release a third collaboration with the brand.[31]

She currently works with the agencies Elite New York City, Why Not Model Agency in Milan, and Oui Management in Paris.

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pallabbose-blog · 3 years

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Supermodel & Actress CANDICE SWANEPOEL

Meet Candice Susan Swanepoel, one of the sexiest models of the past decade or so. Born on 20 October, 1988, she is known for her work with Victoria’s Secret. In 2016, she was listed 8th on the Forbes top-earning models list.

She was born to Willem Swanepoel and Eileen Swanepoel (née Green) and raised in Mooi River, South Africa, in an Afrikaaner family. While growing up, Candice was a ballet dancer. She attended boarding school at St. Anne’s Diocesan College in the nearby town of Hilton. At age 15, she was spotted by a model scout in a Durban flea market.

She has appeared in fashion editorials in American, Italian, British, Spanish, German, Greek, Russian, Australian, Brazilian, Japanese, Korean, Chinese, and Mexican Vogue; Brazilian, British, German and South African Elle; British, South African, Romanian, Mexican and Chinese GQ; American, Spanish, Czech, Argentine, Turkish and Korean Harper’s Bazaar; V, Allure, W, and i-D.

Candice Swanepoel has walked the runway for Fendi, Chanel, Tommy Hilfiger, Dolce and Gabbana, Michael Kors, Donna Karan, Giambattista Valli, Jason Wu, Prabal Gurung, Rag & Bone, Oscar de la Renta, Elie Saab, Diane von Fürstenberg, Sportmax, Betsey Johnson, Stella McCartney, Viktor and Rolf, Givenchy, Versace, Jean Paul Gaultier, Christian Dior, Blumarine, Etro and Ralph Lauren.She has appeared in advertising campaigns for Tom Ford, Oscar De La Renta, Givenchy, Miu Miu, Tommy Hilfiger, Rag & Bone, Ralph Lauren, Shiatzy Chen, Michael Kors, Blumarine, Versace, Prabal Gurung, Diesel, Guess?, Swarovski, Agua Bendita, Colcci, True Religion, Nike, Juicy Couture, as well as for Victoria’s Secret since 2007. In addition to appearing in the lingerie brand’s commercials, she was a featured model in the 2010 “SWIM” catalog, along with Lindsay Ellingson, Rosie Huntington-Whiteley, Behati Prinsloo, and Erin Heatherton.

In 2010, Swanepoel became a Victoria’s Secret Angel. Swanepoel modeled for the Kardashians’ 2010 swimwear line. On 12 August 2010, Swanepoel officially opened the first Victoria’s Secret retail store in Canada, at West Edmonton Mall, Edmonton. In 2013, Swanepoel was named the cover model of the coveted Victoria’s Secret Swim Catalogue. Swanepoel was chosen to wear the “Fantasy Bra” in the 2013 Victoria’s Secret Fashion Show. The 10 million dollar bra, named the “Royal Fantasy Bra”, was created by Mouawad. The bra and its matching belt featured over 4,200 precious gems, including rubies, diamonds and yellow sapphires set in 18 carat gold with a 52-carat ruby at the center. In 2018, she launched her own swimwear collection Tropic of C. She won Launch of the Year award at the 5th Annual Daily Front Row Awards.Swanepoel was voted №61 in 2010, №62 in 2011, №75 in 2013, and №36 in 2015 in FHM’s annual “100 Sexiest Women in the World” poll[21] and №1 in 2014 Maxim’s “Hot 100 List”. In 2019, she was honored with Revolve’s Woman of the Year award.Swanepoel made her debut at №10 on Forbes’ “The World’s Top-Earning Models” list, with estimated earnings of $3 million between 2010 and 2011. She was ranked №9 in 2013 with estimated earnings of $3.3 million. In 2015, she was ranked No 8 with earnings of $5 million. In 2016, she was ranked No 8 with earnings of $7 million.

She is fluent in Afrikaans, English, and Portuguese, the last of which she learned from her longtime ex-boyfriend, Hermann Nicoli, a Brazilian model. They began dating after they met in Paris when she was 17 and he was 23. In August 2015, the couple announced their engagement. They have two sons together. The couple split in November 2018.

As of 2018, she reportedly splits her time between Brazil and New York City. Swanepoel is actively involved in mothers 2 mothers, a charity devoted to achieving an “HIV-free generation” of children and mothers in Africa. She has designed denims for it, and in May 2019, joined the charity as a patron and their global ambassador.

Visit www.ifdinternational.com

#ifda #nagpur

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candiceswanepoel-model-blog · 3 years

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Meet CANDICE SWANEPOEL- one of the world's highest paid and most gorgeous Supermodel

Meet Candice Susan Swanepoel, one of the sexiest models of the past decade or so. Born on 20 October, 1988, she is known for her work with Victoria's Secret. In 2016, she was listed 8th on the Forbes top-earning models list.

She was born to Willem Swanepoel and Eileen Swanepoel (née Green) and raised in Mooi River, South Africa, in an Afrikaaner family. While growing up, Candice was a ballet dancer. She attended boarding school at St. Anne's Diocesan College in the nearby town of Hilton. At age 15, she was spotted by a model scout in a Durban flea market.

Candice Swanepoel has walked the runway for Fendi, Chanel, Tommy Hilfiger, Dolce and Gabbana, Michael Kors, Donna Karan, Giambattista Valli, Jason Wu, Prabal Gurung, Rag & Bone, Oscar de la Renta, Elie Saab, Diane von Fürstenberg, Sportmax, Betsey Johnson, Stella McCartney, Viktor and Rolf, Givenchy, Versace, Jean Paul Gaultier, Christian Dior, Blumarine, Etro and Ralph Lauren.She has appeared in advertising campaigns for Tom Ford, Oscar De La Renta, Givenchy, Miu Miu, Tommy Hilfiger, Rag & Bone, Ralph Lauren, Shiatzy Chen, Michael Kors, Blumarine, Versace, Prabal Gurung, Diesel, Guess?, Swarovski, Agua Bendita, Colcci, True Religion, Nike, Juicy Couture, as well as for Victoria's Secret since 2007. In addition to appearing in the lingerie brand's commercials, she was a featured model in the 2010 "SWIM" catalog, along with Lindsay Ellingson, Rosie Huntington-Whiteley, Behati Prinsloo, and Erin Heatherton.

In 2010, Swanepoel became a Victoria's Secret Angel. Swanepoel modeled for the Kardashians' 2010 swimwear line. On 12 August 2010, Swanepoel officially opened the first Victoria's Secret retail store in Canada, at West Edmonton Mall, Edmonton. In 2013, Swanepoel was named the cover model of the coveted Victoria's Secret Swim Catalogue. Swanepoel was chosen to wear the "Fantasy Bra" in the 2013 Victoria's Secret Fashion Show. The 10 million dollar bra, named the "Royal Fantasy Bra", was created by Mouawad. The bra and its matching belt featured over 4,200 precious gems, including rubies, diamonds and yellow sapphires set in 18 carat gold with a 52-carat ruby at the center. In 2018, she launched her own swimwear collection Tropic of C. She won Launch of the Year award at the 5th Annual Daily Front Row Awards.Swanepoel was voted No. 61 in 2010, No. 62 in 2011, No. 75 in 2013, and No. 36 in 2015 in FHM's annual "100 Sexiest Women in the World" poll and No. 1 in 2014 Maxim's "Hot 100 List".

In 2019, she was honored with Revolve's Woman of the Year award.Swanepoel made her debut at No. 10 on Forbes' "The World's Top-Earning Models" list, with estimated earnings of $3 million between 2010 and 2011. She was ranked No. 9 in 2013 with estimated earnings of $3.3 million. In 2015, she was ranked No 8 with earnings of $5 million. In 2016, she was ranked No 8 with earnings of $7 million.

As of 2018, she reportedly splits her time between Brazil and New York City. Swanepoel is actively involved in mothers 2 mothers, a charity devoted to achieving an "HIV-free generation" of children and mothers in Africa. She has designed denims for it, and in May 2019, joined the charity as a patron and their global ambassador.

#candiceswanepoel #adrianalima #gigihadid #victoriassecret #vsfs #alessandraambrosio #taylorhill #elsahosk #bellahadid #kendalljenner #sarasampaio #barbarapalvin #behatiprinsloo #josephineskriver #romeestrijd #model #mirandakerr #stellamaxwell #jasminetookes #kyliejenner #angelcandices #lilyaldridge #like #laisribeiro #fashion #vsfashionshow #follow #giselebundchen #angel #bhfyp

Written By PALLAB BOSE

www.pallabbose.com

#Candice Swanepoel #gorgeous #beauty #supermodel #Model #shoot

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celebsmeasurements-blog · 3 years

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Catherine McNeil: Bio, Height, Weight, Age, Measurements

Catherine McNeil is an Australian fashion model who has appeared for several advertisements under leading brands such as D&G, Versace, Donna Karan, and Jean Paul Gaultier. She has appeared on the covers of major international magazines including French Vogue, Australian Vogue, V, and French Revue de Modes. She has also walked runway shows for Balenciaga, Christian Dior, Fendi, Roberto Cavalli,…

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modafactor · 4 years

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MOODS & MUSES: ANDY WARHOL AND MODERN FASHION

Kick-starting a brand new series on fashion and the fascinating inspirations and concepts that guide fashion creatives, Moda Factor brings to you “moods and muses” where we take a deeper look at iconic muses and themes that inspire and influence fashion-- season after season, time and again and the prominence that it holds in current times, and what it could mean tomorrow.

Author: Asmitha Shenoy

Andy Warhol is no stranger to many who are well-versed in fashion and art. The iconic Campbell Soup paper dress printed by Warhol in the 60s permanently enshrined him in the world of fashion, as his legacy continues to inspire designers even today.

A leading figure in the visual arts movement of Pop art, he began his career as a fashion Illustrator for Harper’s Bazaar, where he was reportedly called ‘Andy Paper bag’ by then-fashion editor Diana Vreeland because of the way he brought his illustrations into the office.

Entering the art scene with his first solo show in 1962, His use of imagery from popular and mass cultures such as cultural objects, celebrities, comic books, and advertising greatly influenced the fashion world, solidifying his prominence in the industry forever.

Fashion inspired by Warhol, initially featuring only in paper dresses called “Souper Dresses”, soon featured in high fashion runways of designers such as Jean Charles de Castelbajac, who included a dress shaped and printed like a Campbell’s soup can in his Spring/Summer 1984 collection.

This was followed by Versace in 1991, where they released a jewel-encrusted gown modelled by supermodel Linda Evangelista featuring Warhol’s iconic depiction of Marilyn Monroe.

Since then being a regular feature in the fashion world, one often sees high-fashion reproductions of Andy Warhol’s works featuring in t-shirts, accessories and clothing.

Warhol’s style and focus on consumerism and pop culture in his art continues to be a major influence on fashion designers even today, which can be seen in the work of Jeremy Scott, both in his eponymous label and his designs for Moschino, such as his sequined dress and top featuring a logo referencing the classic Coca-Cola symbol in his A/W 2011 line, and the Spring 2013 Moschino menswear collection that featured pieces with the Budweiser logo and that of a detergent company. And none can forget Moschino’s 2014 A/W Womenswear RTW collection that featured looks inspired by and featuring the McDonald’s logo, packaging of various food brands such as Fruit loops, and SpongeBob, giving a nod to the pop art movement that Warhol was part of.

The relevance of Warhol’s works and focus on using pop culture references and unexpected product packaging and graphic design prints and logos can even be seen today, with fast fashion brands emblazoning their clothing with playful and quite ironic logos of cereal brands, for example.

And it doesn’t end there. Vetements, for their spring 2020 menswear line converted Paris’ largest McDonalds outlet into a fashion runway featuring clothing with corporate logos as a sarcastic response to Capitalism. While not a direct pop art reference, the use of logos of consumer brands and mass culture, a feature of pop art, can be seen , and the growing focus on using brand logos as an aesthetic perhaps signifies the sign of the times: fast-paced globalization and a ‘culture’ shaped by mass production. In a time where the world is increasingly aiming to be ‘sustainable’, what significance would it hold in years to come? Is the trend of consumer-brand iconography as a fashion aesthetic an ironic satire of the times we live in? What appeal does it hold for us, as fashion consumers? An intrinsic and easily identifiable part of global culture, pop art in design seems to be a common design inspiration and the various connotations it could hold in changing times, in addition to the various meanings designers attach to it as a tool of expression in fashion collections, continues to be interesting to observe.

#fashioncrux #popart #fashion 2020 #fashion #fashionblog #jeremyscott #andywarhol #moschino #versace #vetements #fashiondesign #design #fashionblogger #fashionblogdaily #moodsandmuses #fashioninspiration #fashionhistory

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mikhaelasworld · 4 years

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SUPER MODEL PROFILE | GEORGIA MAY JAGGER

Georgia May Jagger is an English fashion model and designer. In 2008, Jagger signed with Independent Models,and is currently represented by TESS Model Management. She debuted at Chanel's Resort 2011 show, which she closed.

In 2009, Jagger was named Model of the Year at the Fashion Awards by the British Fashion Council. She was the face of Hudson Jeans from 2009 to 2013. In 2009, she began a contract with English cosmetics company Rimmel. She has appeared in advertisements for the Thierry Mugler fragrance, Angel.

She also has modeled for Tommy Hilfiger,Balmain, Vivienne Westwood, Miu Miu, Sonia Rykiel, Thierry Mugler, Marchesa, Versace, Fendi, Tom Ford, rag & bone, Isabel Marant, Louis Vuitton, Marc Jacobs, Just Cavalli, Mulberry, Hudson Jeans and among others.

And also graced the cover of Vogue, Harpers Bazar, Elle, L'officiel, ES, Sorbet, Remix, Bijoux, Madame Figaro and more.

Georgia has designed collections with Volcom and Mulberry. She also took part in the 2012 Summer Olympics closing ceremony with Kate Moss, Naomi Campbell and Lily Donaldson, representing British fashion.

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amphtaminedreams · 5 years

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Cannes Film Festival 2019: Best Dressed

Forget the Met Gala everyone, real ones know that the Cannes Film Festival is the fashion event of the year! In part because it lasts for 12 whole days so there’s more content to sit there in my pyjamas analysing but also because it’s way less hyped up and thus less likely to leave you disappointed, a fate I’ve now resigned myself to with the Met. For almost 2 weeks, the richest, most out of touch people in the world spend their days looking pretty on a red carpet and judging films; I should be grossed out, but it’s more a case of just wishing I was there. So I present to you a collection of my favourite looks!

Winnie Harlow (left), in Jean Paul Gaultier here, was one of my stand outs this year. Yes, I remember her from America’s Next Top Model and yes, I’m going to blame the edit, because LOOK AT THAT FUCKING STANCE. I’m in awe. This is my favourite look of hers this year (mostly because of this particular moment) but it’s the first of a few I’m going to bang on about. On the right is Priyanka Chopra in Georges Hobeika, complemented by the walking accessory that is Nick Jonas.

Priyanka and Nick’s daytime looks were beautiful too (left), and if you’re not paying attention to the Cannes daytime looks YOU SHOULD. Stefanie Giesinger (right)’s outfit is sleek and crisp and effortless and everything I want to emulate but also a lot more accessible than the average red carpet look.

Similarly, here we have Izabel Goulart (left), Caroline Daur (both of the middle looks), and Chloe Sevigny (right), out and about in Cannes all looking elegant (I mentally pronounced that RuPaul saying eloquent) as fuck. I imagine a lot of these pieces cost more individually than I will ever have collectively in my bank account at one time, but there you go. I imagine they could be replicated for a lot less.

But, let’s go back to the red carpet so we can talk about Winnie Harlow again, lmao. I desperately want to know who her stylist is because her Richard Quinn dress (far left) complements her skin tone perfectly AND the accessories are PERFECT, which I’m impressed by because I feel celebrity stylists often tend to go over the top in that regard. Winnie’s Ralph and Russo look (far right) also flawed me; @ mystery stylist, I bow down. Elsa Hosk reminded us all that gloves can be subtle and looked as ethereal as ever in a white, puff sleeved Redemption dress (second to right) and the things I would do for Maya Henry’s Ralph and Russo dress (second to left) are unholy.

Of course Georges Hobeika, Zuhair Murad and Gimabattista Valli (invented the phrase Holy Trinity) dresses made an appearance, and I internally weeped as saving photos of them to my phone is the closest I’ll probably ever get to owning one. Left to right here we have Ana Beatriz Barros in Hobeika, Valery Kaufman in Zuhair Murad, Bianca Brandolini d’Adda in Giambattista Valli x H&M (more on that in a minute), and Shanina Shaik in Georges Hobeika too.

See, it was a good day for the Giambattista Valli x H&M collaboration because Kendall Jenner (far left) wore one of the dresses too, and it was probably her most iconic Cannes moment, not counting those photos of her and Bella Hadid laughing in rich on that yacht. Ultimate Victoria’s Secret model (trash company but it has given us some goddesses, let’s be real) Adriana Lima also looked phenomenal in Ester Abner, and Natasha Poly (second to left) and Josephine Skriver (far right) were born to wear Atelier Versace and Alberta Ferretti, clearly. The shade of Josephine’s lipstick is a beautiful touch.

Honestly, these were my initial 3 favourite looks of the whole festival. I’m a simple girl, I’ll pretty much lay down my life for anything blue or tulle, so obviously, Alina Baikova in Zuhair Murad (left) is one of my favourites. For the same reason, minus the blue part, I adore Araya Hargate’s Ralph and Russo dress, and CAN WE TALK ABOUT ELLE FANNING (right)!? The poor girl feinted after one of her red carpets and we could have a whole conversation about how fucked up it is that a sample size was so tight on a very slim woman that it caused her to lose consciousness, but for now, I’m just going to commend her for her services to fashion because it’s almost 1am and I need to get some bloody sleep. Regardless, the finishing touch of the flowers in the hair make this my favourite of Elle’s Cannes looks, and the dress is by Valentino.

More red carpet stand outs were, from left to right, Pixie Lott (yes, I didn’t know she was still doing her thing either but power to her, despite the fact Mama Do plays approximately 73 times a day at my work) in Yanina Couture, Madison Headrick in Ashi Studio Spring 2019 Haute Couture, and Michelle Rodriguez in Rami Kadi.

Farhana Bodi’s (far left) was stunning in a cobalt Atelier Zuhra gown, as were Hina Khan in Ziad Nakad (second to left) and Chris Lee in Gucci (far right). I kind of live for witnessing a lavender pixie cut a la vegan, marxist twitter on a stuffy red carpet, and I will also take a reprieve from this breakneck speed to congratulate DJ Kiddy Smile (second from right) for doing what Harry Styles should’ve at the Met. This is spitting in the face of toxic masculinity, men, not wearing a sheer blouse; your endless supply of pink suits can’t save you from our criticisms forever (I like Harry Styles, this is a joke, please no one hurt me).

Next we have, from left to right, Diana Penty in Nedo by Nedret Taciroglu, Elle Fanning again stepping on all our necks in Dior, and on the far right, Eva Longoria in Alberta Ferretti. Now, 3 things: firstly, I stupidly saved the 3rd photo without including a note of who she is or who her dress is by and so if anybody happens to read this and knows, HELP A GIRL OUT. Secondly, I still stan Eva Longoria for playing Gabby Solis in Desperate Housewives which is the most slept on show amongst millennials and I wanted to use this opportunity to make a passionate PSA and say EVERYONE WATCH IT so references from it (”Rex cries when he ejaculates” anyone?) can become part of our cultural zeitgeist again. Finally, Elle fucking Fanning, can you let us breathe, please? This old Hollywood inspired Dior look is so simple but probably one of my favourite looks from the whole festival because who knew it was possible to simultaneously look so glamorous and yet also so soft? It’s timeless.

It shouldn’t be a surprise that Taylor Hill makes the best dressed list twice. Obviously, she could wear a bin bag and look beautiful, but her stylist knows just how to elevate the whole angelic, other worldly being thing she has going on, and she was stunning in Ines Di Santo (left) and Fendi (middle) at the Rocketman premiere. Bella Hadid brought the same divine energy in a white, tulle Dior dress (far right).

Another one of Elle Fanning’s flawless Cannes moments was courtesy of Gucci (far left). On its own, I don’t think this dress would catch my attention as much as it did BUT the cape detailing with the red lipstick and the hair pulled back makes this outfit a stand out for me. To Elle’s right are Natalia Vodianova in Atelier Versace (second from the left), and Lea Seydoux (second from right) and Stacy Martin (far right) both in Louis Vuitton.

I’m gonna take a small break from Elle Fanning to fangirl over Guan Xiao Tong in Atelier Versace (far left). The quality of the photo I saved wouldn’t be out of place on 13 year old me’s HTC phone but I also think nothing captures how beautiful the structure of Guan Xiao’s dress was better than a semi aerial shot, and the same goes for Sririta Jensen in Michael Cinco (far right). Now back to admiring Elle Fanning, in Ryan Lo (second from left) and Vivienne Westwood (second from right).

Her daytime looks are just as good. Elle wears Marc Jacobs on the left, Miu Miu on the far right, and I have no bloody idea on the middle. If you’re reading this and you know, HMU. I promise, it’s not me being lazy; Elle.com doesn’t know either.

To go back to red carpet looks, I loved Izabel Goulart in Valentino Couture (left) looking like she just killed her husband, Dracula, after a domestic that resulted from her draining the blood of his afternoon snacks (I’m coming for your gig, Stephenie Meyer). Coco Rocha looked incredible in Elie Saab (middle); I’m surprised this was the only one of her dresses that stood out to me this year because I really like her designs. God knows I have spent far too long imagining myself in one. Lastly in this photoset, there’s Leomie Anderson in Rami Kadi (right) and, like, WOW.

Now, I’m going to whizz through these last few photosets. First is Sara Sampaio in Armani, then Alina Baikova in Zuhair Murad, Charlotte Gainsbourg in Christian Dior Haute Couture, and finally Sui He on the far right. I’m not sure who she’s wearing and Harper’s Bazaar and reverse image search is giving me dust so as always, if you’re reading and you know, hmu.

From left to right here: Stella Maxwell in Atelier Versace, Martha Hunt in Monique L’Huillier, Gayle Rankin in Delpozo and Dua Lipa in Valentino.

L-R: Madison Beer in Georges Hobeika (STUNNING, and I just read on Twitter that there was a gun pulled out at one of her concerts which is insane, and how has it become so commonplace in the states that something like that doesn’t make headline news?), Chloe Sevigny (again, I stan) in Miu Miu, and Hailey Clauson in Ralph and Russo.

L-R: Elle Fanning in Reem Acra (another fucking beautiful cape!), Elsa Hosk in Alberta Ferretti (Cannes 2019 has been GREAT advertisement for Alberta and power to her, am I right?), Jasmine Tookes in Zuhair Murad (I have LOVED this dress ever since its runway debut and there are few human beings out there who would do it more justice than Jasmine), and finally Araya Hargate again in Atelier Versace.

To finish, Eva Longoria’s sleek all camel day look is more of Alberta Ferretti doing what she does best, high fashion Twitter darling Sasha Luss’s dress is couture Chanel, and so is Margot Robbie’s. It’s the delicate touch of the plaits that I love with Margot’s look and Eva looks radiant, and both are a final reminder NOT TO SLEEP ON CANNES’ DAYTIME FASHION.

All in all, Cannes produced just as many extortionately expensive fairy princess looks as ever and, as always, I lived for it. I love dark, grungy fashion but still, the little girl in me can’t beat feathers, satin and sequins; there’s no event better suited for vicariously living out my French vanilla fantasy.

It also brings together two of my favourite things in life: films and fashion. Call me a basic bitch, but I’m very excited for Once Upon a Time in Hollywood (though I am conflicted about whether to see it in cinemas considering I just found out Leonard DiCaprio has known his current girlfriend since SHE WAS 11, like, what the fuck?), Portrait of a Lady on Fire sounds incredible, and I plan on seeing Rocketman this week.

If you read all this post all the way to the end, I hope you enjoyed it!

Lauren x

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chrismalcolmhnd1d · 5 years

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Decade

Project: Decade. #Decade

In the mid-1820s, Nicéphore Niépce first managed to fix an image that was captured with a camera, but at least eight hours or even several days of exposure in the camera were required and the earliest results were very crude.

The First Cameras

“The basic concept of photography has been around since about the 5th century B.C.E. It wasn't until an Iraqi scientist developed something called the camera obscura in the 11th century that the art was born.

Even then, the camera did not actually record images, it simply projected them onto another surface. The images were also upside down, though they could be traced to create accurate drawings of real objects such as buildings.

The first camera obscura used a pinhole in a tent to project an image from outside the tent into the darkened area. It was not until the 17th century that the camera obscura became small enough to be portable. Basic lenses to focus the light were also introduced around this time.

The First Permanent Images

Photography, as we know it today, began in the late 1830s in France. Joseph Nicéphore Niépce used a portable camera obscura to expose a pewter plate coated with bitumen to light. This is the first recorded image that did not fade quickly.

Niépce's success led to a number of other experiments and photography progressed very rapidly. Daguerreotypes, emulsion plates, and wet plates were developed almost simultaneously in the mid- to late-1800s.”

Source: https://www.thesprucecrafts.com/brief-history-of-photography-2688527

Retouched version of the earliest surviving camera photograph, 1826 or 1827, known as View from the Window at Le Gras

Photography has long been influenced by painting and art.

“The relationship between painting and photography has extended the possibilities of image creation. When photography appeared on the scene, it was supposed to herald the democratization of portraiture (among other genres, like landscapes and still-lifes). Photography gave painting the freedom it needed to burst into the rich fountain of expression it is today. There are many classic and modern painters whom, thanks to their skills with lighting and conceptualization, can serve as valuable guides for today's photographers.”

Johannes Vermeer (1632 – 1675)

Source:https://www.lightstalking.com/8-painters-real-effect-todays-photography-photographers-influenced/

My Decade to research – the 1980’s

Timeline of 1980’s Events

Overview:

“The decade was great socioeconomic change due to advances in technology and a worldwide move away from planned economies and towards laissez-faire capitalism.

As economic deconstruction increased in the developed world, multiple multinational corporations associated with the manufacturing industry relocated into Thailand, Mexico, South Korea, Taiwan, and China. Japan and West Germany saw large economic growth during this decade. The AIDS epidemic became recognized in the 1980s and has since killed an estimated 39 million people (as of 2013).[1] Global warming became well known to the scientific and political community in the 1980s.

The United Kingdom and the United States moved closer to supply-side economic policies beginning a trend towards global instability of international trade that would pick up more steam in the following decade as the fall of the USSR made right wing economic policy more powerful.

The final decade of the Cold War opened with the US-Soviet confrontation continuing largely without any interruption. Superpower tensions escalated rapidly as President Reagan scrapped the policy of détente and adopted a new, much more aggressive stance on the Soviet Union. The world came perilously close to nuclear war for the first time since the Cuban Missile Crisis 20 years earlier, but the second half of the decade saw a dramatic easing of superpower tensions and ultimately the total collapse of Soviet communism.

Developing countries across the world faced economic and social difficulties as they suffered from multiple debt crises in the 1980s, requiring many of these countries to apply for financial assistance from the International Monetary Fund (IMF) and the World Bank. Ethiopia witnessed widespread famine in the mid-1980s during the corrupt rule of Mengistu Haile Mariam, resulting in the country having to depend on foreign aid to provide food to its population and worldwide efforts to address and raise money to help Ethiopians, such as the Live Aid concert in 1985.”

Source:https://en.wikipedia.org/wiki/1980s

Timeline of major events: (from a very American perspective)

Photography and photographers in the 1980’s

Equipment:

The 80s were a peak time in photography. 35mm cameras were just starting to shift from predominantly mechanical devices into slightly more advanced machines. Having micro-electronic systems at the heart of a camera became the new normal and that made photography easier; new features progressed from more accurate shutter control to program full auto-exposure, to multi-segment light metering systems, to automatic reading of ASA/ISO codes, to integrated motors for advancing and rewinding, and finally AutoFocus (although AF didn’t truly come into its own until the next decade). The dominant manufacturers at the time are sometimes referred to as the ‘Big Five’: Canon, Minolta, Nikon, Olympus, and Pentax. These brands produced the majority of 80s cameras and are now classic models.

CANON AE-1 PROGRAM

MINOLTA X-700

NIKON FA

Olympus OMG

Pentax P3

Source: https://www.keh.com/blog/thats-so-80s-cameras-from-the-1980s/

Photographers:

An American perspective of 80′s photography...

“In the ’80s, new wave and hip hop exploded, graffitied subway cars and gritty nightclubs colored New York City, and John Hughes’s tales of teenage angst like Sixteen Candles (1984) and The Breakfast Club (1985) seized the big screen. Meanwhile, an energized, punk-infused youth culture developed within the context of the ongoing sexual liberation that began in the ’60s, the AIDS epidemic, and the conservative leadership of President Ronald Reagan and British Prime Minister Margaret Thatcher. Below are eight photographers who captured the decade’s young people in all their vibrant individuality.”

Source: https://www.artsy.net/article/artsy-editorial-photographers-captured-rebellious-youth-80s

Richard Corman

Madonna, Polaroid 4, Milk Gallery

A very British perspective on 80′s street photography...

Rob Bremner, Liverpool

The 1980’s are widely regarded as Liverpool’s lowest ebb. A time when work in the city was scarce, alienation from the rest of the country was peaking, and newfangled drugs were tightening their grip on the city’s housing estates.

During this period Rob Bremner, 54 – then a shaggy-haired student from Wick, Scotland – was photographing the region’s inner-city wards, as they came to terms with a Conservative government whose policies appeared to deliberately degrade them.

Source: https://www.huckmag.com/art-and-culture/photography-2/back-in-the-day-photos-of-liverpool-in-the-80s/

The other end of the spectrum - high glamour fashion photography...

Stephanie,Cindy,Christy,Tatjana & Naomi photographed by Herb Ritts (1989)

“While some of the most creative fashion photography of the 1980s continued to be produced by 'old-timers' like Richard Avedon - see, for instance, his narrative advertising campaign "The Diors,"or his nude shot of Nastassja Kinski entwined with a snake - younger photographers also emerged into the limelight, including: Herb Ritts (1952-2002), best-known for his iconic shot of "Stephanie, Cindy, Christy, Tatjana, Naomi, Hollywood, 1989" which appeared in Rolling Stone Magazine; Bruce Weber (b.1946) who presented a new outlook on masculinity through his photo-shoots for Armani and Calvin Klein, as did Robert Mapplethorpe (1946-89) with his homoerotic shots; and Gian Paolo Barbieri (b.1938), noted for his work for fashion designers Armani, Versace, Dolce & Gabbana, Pomellato, and Giuseppe Zanotti. At the same time, women's independence was emphasized in various settings, by photographers like Denis Piel (b.1944) and Bert Stern (1929-2013).

Controversy, always a handy tool with which to boost flagging commercial fortunes, reared its head as a result of Benetton's fashion campaign, shot by Oliviero Toscani (b.1942). Images included one of a patient dying of AIDS in front of grieving relatives, while others incorporated references to racism, war, religion and the death penalty.

The leading supermodels of 1980s fashion photography included: Gia Marie Carangi, Ines de la Fressange, Cheryl Tiegs, Christie Brinkley, Paulina Porizkova, Brooke Shields, Heather Locklear, Carol Alt, and Elle Macpherson, among others. It was during this decade that supermodels stopped being seen as individuals and started to be regarded as images, just like movie stars. Witness the celebrity party shots taken by fashion photographer Roxanne Lowit (b.1965) of supermodels like Elle Macpherson, Naomi Campbell and others.”

Source: http://www.visual-arts-cork.com/photography/fashion.htm#eighties

Grace Jones, Jean-Paul Goude, New York (1981)

“I wanted to focus on Grace’s masculinity – to use what other people thought an embarrassment, and turn it around to her advantage. I wanted to create – with her, of course – a new character. It went beyond just a haircut, it was an attitude. It was new and strong and ambiguous. You didn’t know if it was a man trying to be a girl or a girl trying to be a man. It was a revolution. I remember the A&R guys at Island saying, “Are you fucking crazy? This is never going to work.” And of course it did.”

Source: https://www.theguardian.com/artanddesign/2018/aug/01/jean-paul-goude-best-photograph-grace-jones-nightclubbing

#decade

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fragranceforhim-blog · 5 years

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Top 10 Colognes for Men in 2019

The Top Ten Most Popular Colognes

From tasteful scents to in vogue fashioner names, the most prominent colognes depict singular identities. The decisions incorporate new scented or characteristic aromas, fiery fragrances, and wispy perfect or musky smells that suit a wide range of individual tastes.

Each style of cologne contains a one of a kind character that makes a satisfying response for certain individuals yet may appear to be repulsing to other people. The genuine test comes when the aroma is connected to check body science and assess the waiting impact of the cologne. Bundling and name acknowledgment additionally add to the unpredictability of picking the best men's cologne yet a couple of well known items keep on making the best ten rundown.

Numerous kinds of cologne have been underway for a considerable length of time and benefactors who buy these scents are regularly impervious to change. The mix of getting a charge out of the aroma and accepting supplements triggers the longing to keep on utilizing these exemplary aromas. Purchasers in this class will frequently pay more for the item on account of the enduring worth and steady quality.

The Top Classic Colognes

1. Water Di Gio by Armani has been an overall top vender since 1995. Thought about an easygoing aroma, the principle notes incorporate citrus, rosemary and jasmine. Any item by Armani bids to the sharp looking and fastidious purchaser.

2. Burberry Touch by Burberry, known for top notch dress and coats, pulls in purchasers who appreciate an observable yet great scent. The fragrance consolidates fiery notes like nutmeg and vanilla with an inconspicuous musky tone. Customers who appreciate this cologne lean toward an animating and enduring scent that is effectively perceived as a Burberry item.

3. Dolce and Gabbana for Homme won honors after its discharge in 1994 and still positions in the top selling classifications. Genuinely manly, the tones of this aroma incorporate woods, flavors and tobacco. This cologne makes a rich and modern intrigue and might be a mainstream decision for a dressy event.

The Top Celebrity Designer Colognes

It appears that most men's attire fashioners, when they achieve a dimension of distinction, frequently join their name to another sort of cologne. The promoting methods for mark aromas frequently make deals paying little respect to the fragrance due to the big name recognizable proof or bundling systems. To stay new, planners with demonstrated exemplary aromas include a slight variety in scent or another bundle and shading to the gathering. Customers who lean toward planner mark items may pay mid-run costs for the cologne and stay faithful to the scent.

4. Obsession by Calvin Klein takes male sexuality off the diagrams. This exemplary planner aroma set another standard in advertising and the general intrigue of the item keeps on flourishing. From the smooth round container to the implantation of exceptional fragrances, this cologne stinks of manliness. Musk, sandalwood, and patchouli make an intriguing mix with lighter mandarin and bergamot.

5. Polo Black by Ralph Lauren is another wind on the great Polo aromas mainstream amid the 1980s. The smooth dark container with a silver logo and top looks rich on any dresser or ledge. This aroma discharges a to some degree better and more serious outcome than other Polo aromas and holds tones of mango and patchouli.

6. Dior Homme by Christian Dior pursues the refined articulation of this mark originator. A mix of unordinary tones including cocoa and sage blend with a swoon flower clue to make this item engaging ladies searching for a man's blessing.

7. Bvlgari Black by the fashioner Bvlgari warrants universal intrigue and is a straightforward aroma to wear. The perfect tones of juniper, cedar and sandalwood offer a loosening up the aroma and the cool blue cologne is easygoing yet rich and hot.

Top Colognes for the Younger Crowd

More youthful purchasers will in general incline toward lighter or increasingly characteristic scents. Bundling systems, for example, brilliant hues, popular structures and well-known portrayal, for example, bikes, vehicles or sports exercises attracts thoughtfulness regarding the item and makes a more youthful perspective. Value contemplations in this gathering are regularly lower as a result of restricted spending plans. More youthful cologne purchasers might be to some degree whimsical and hop starting with one sort of aroma then onto the next. Luckily, new curves on understood items keep on making the cologne advertise intriguing for all age gatherings.

8. Blue Jeans by Versace. As the name infers, young fellows feel great wearing cologne that implies an easygoing and loosened up way of life. This moderate aroma conveys a fashioner picture so it is additionally a most loved with youthful experts for the end of the week wear.

9. Cool Water by Davidoff International is famous among open-air lovers who need a reviving aroma following multi-day in the forested areas or on the track. A blend of oaky fragrances matched with common smells, for example, sage and rosemary make a wonderful scent that interests to numerous men. The manly intrigue of bundling and the non-hostile aromas add to the fame of this item.

10. Holy messenger by Thierry Mugler functions admirably for easygoing wear and appears to speak to a wide scope of purchasers making it one of the top dealers. The scent extends a light and clean intrigue with mint, lavender and espresso, a fascinating expansion. The low estimating and wide accessibility additionally add to the notoriety of this item.

Instructions to Select the Best Cologne for You

Aroma: If the early introduction of the fragrance isn't satisfying, it's smarter to proceed onward to another item. Ordinarily, cologne changes fairly when connected yet the underlying and basic tones will dependably be available and may get ber. There are distinct contrasts between an easygoing, daytime scent and one that is heavier and ought to be worn on an extraordinary night. In the event that the cologne wearer utilizes an aroma consistently, a lighter fragrance is a superior decision especially for an office or lacking elbow room condition.

Bundling: If the cologne is expected to be shown, an alluring container will be valued. Men's colognes commonly are bundled in unpretentious shades of dark, silver, tan or tans however for a more youthful man, a fun structure in orange or red functions admirably. Cool hues, for example, blues and greens ordinarily claim to any age purchaser. Bright containers in vogue or exquisite shapes, for example, triangles or Hilter kilter geometrics get saw at the aroma shop and look incredible at home.

By and large Appeal: Colognes differ as per by and large tone and a few items reflect regular characteristics. A musky, heavier fragrance with woodsy tones is a decent wagered for winter while the recognition of an ocean breeze is refreshing amid the late spring months. Numerous items arrange with a female aroma and a few sorts of colognes are planned as unisex items.

Despite the fact that picking cologne turns into an individual inclination, there are three essential elements to consider for anybody purchasing for a companion or relative.

The primary need ought to dependably incorporate a "sniff" test pursued by an application if conceivable to perceive how the item concurs with body science.

Next in line is coordinating a style and configuration to suit singular taste.

The last thought, other than cost, spins around the general intrigue of the item including bundling.

With the determination of great aromas and the decision of new items landing available, each man may appreciate an interesting scent consummately appropriate for their way of life and individual taste.

#perfume #cologne #fragrance

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famoustyle · 5 years

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Fashion Trends

So what influences fashion trends?

In a nutshell, fashion trends are made by people for people and are a reflection of human nature and human activities. You wear something as an expression of who you are, what you believe in and where you come from, meaning you are representing a certain kind of fashion culture that you are either a part of or that you want to be a part of.

This is the culture of the "streets," of those considered out of the mainstream, such as the hip-hop, graffiti, rock and punk scenes or the surf and skateboard cultures. If classified simply, this is the more bohemian aspect of fashion, of individualistic and unique styles, like the low-slung, baggy jeans that were primarily connected with the hip-hop scene or graffiti art on sneakers associated with skateboarding.

The thing about subculture however is that it tends to turn into pop culture given enough time and attention. What influences fashion trends are the same things that keep these same trends constantly changing and that is something about fashion that will never go out of style.

High Culture

The idea of high culture is synonymous with luxury and a sense of exclusivity. These involve things like painting, sculpture, photography, architecture, literature and the like. What influences fashion trends can be seen in certain famous fashion houses, not only in their clothing lines but in their advertising campaigns too.

For example, Gianni Versace's logo is that of Medusa from Greek mythology, a stylized drawing on a golden, medallion-like background, which lends an air of bold artistry to his clothing line, along with a sense of high-end sophistication and glamorous seduction.

Pop Culture

Think the sixties and it's tie-dye and peace medallions, while the seventies was all about the bell bottoms and platform shoes. This is one of the key answers to what influences fashion trends. Pop culture is basically what the media and the press hype up every day you turn on the TV or go online. This is the culture of celebrities and famous personalities whom everyone else wants to look like, and of clothing produced for the masses.

For example, if a popular celebrity is photographed wearing a specific coat, sales on that coat are sure to skyrocket as certain popular celebrities are considered global fashion icons and role models. This is why many fashion labels turn to celebrities to endorse their clothing, accessories and footwear. Pop culture sells a certain lifestyle that people want to have and qualities that people want to possess.

Subculture

From gladiator sandals to skinny jeans to animal prints - Where do all of these ideas, some of them great and some downright bizarre, come from and how do they gain so much popularity, spreading like wildfire until practically everyone on the planet who can afford it is wearing a particular item.

Even if you're not particularly fond of following fashion trends, you have to admit that there's something to be said for a particular style of clothing that can move millions of people around the world to dress in it.

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Article Source: http://EzineArticles.com/6913353

#fashion style #trends

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bitraven29-blog · 5 years

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7 Best Developers That Transformed Fashion Industry

Custom Patches The fashion business has developed with time, as well as today it is a billion-dollar company. The amazing growth of this sector has the contribution of lots of people who glorified the art of dressing This post will have a look at a few of the best developers of the garment industry who formed this company. Right here they are: 1. Giorgio Armani Giorgio Armani is the poster youngster of the fashion industry. From working as a window cabinet to making a worldwide brand, Giorgio Armani treaded a long trip to end up being a home name in the fashion world. He got remarkable popularity during the 1980s for his guys's fit that included scratched lapels. From then on, he went on to branch out right into the different design of garments as well as accessories. By the 1990s, he was the most popular Italian designer that made clothes for every single size, gender, and also body type. Today, Armani is the 3rd largest Italian brand name in regards to profits. 2. Coco Chanel One of the most significant names in the fashion sector, Coco Chanel is attributed with transforming the females's apparel throughout the very early twentieth century. After a stopped working stint as a cabaret singer, she transformed couturier and also released her own garments line with the financing of her sweetheart. She sculpted her own particular niche with looser clothes which gave a refuge to the females from the form-fitting style of garments throughout the early 1900s age. She introduced her renowned product 'Chanel No. 5' in 1921, and also it became an instant hit amongst the females. Chanel has earned a distinct name in haute couture, and also it has set a brand-new benchmark in females's apparel. 3. Christian Dior The rich heritage of Christian Dior should deserve mention in this listing. After dabbling in the art area, he required some more purposeful work that might gratify him and after that he obtained an opportunity to open his garments store with assistance from Marcel Boussac. And also as they state, the remainder is background. Christian Dior changed the females apparel by making layouts that would emphasize the body of the females. His clothes line would certainly bring out the charm in a women body. This brand-new design of couture got the name 'Make over' by the media. His initial idea of garments resonated with both the elite as well as layman. He went on to produce an empire that produced apparels with custom-made spots of his brand name. It ended up being a fresh breath of air in the fashion industry. 4. Gianni Versace The unexpected death of Gianni Versace left the globe of fashion in grief. Yet his tradition remains to affect the style enthusiasts. Gianni Versace transformed the fashion fad throughout the 1980s and 1990s with his flamboyant closet that utilized vibrant colors and also abundant layouts. He highlighted the females sexuality with his bold cuts. Gianni Versace was exceptionally exceptional in marketing his brand name. He spearheaded the suggestion of using Hollywood celebs in the fashion shows. He presented numerous style designs and also made them an over night star. After his unfortunate death, business was taken control of by his bro Santo Versace that transformed it right into an international brand. 5. Calvin Klein After registering in the New york city Fashion Institute of Technology, Calvin Klein obtained an apprentice chance at a garments manufacturer. From there, he created layouts that charmed people of every ages. His layouts were straightforward as well as minimal. In 1968, he opened his shop of coats with his buddy Barry Schwartz. The good news is, he got his initial order in a snap when a customer ran into his shop by crash. He made $50,000 from that client. Since then, there was no looking back for him. He diversified his clothes line and included more variety with custom-made embroidered spots. His brand-new apparel line consisted of the leisurewear that became his signature attire. For the Americans, it was a much more practical as well as comfy choice than the sportswear from French brand names. Media called it 'The Calvin Klein Look'. Calvin Klein moneyed in the instant media attention he got from the leisurewear, and quickly he introduced an advertising project in which he used the cover girls to showcase his items. Among the commercials featured Brooke Guard which stirred conflict for its symptomatic web content. The success of Calvin Klein is the tale of arising fashion industry of America during the 1970s and 1980s, and also it is thought about the trailblazer in the sportswear in the American garment industry. 6. Levi Strauss Levi Strauss is the leader of blue jeans which is the iconic piece of clothes in the fashion business. He started the Levi Strauss & Co. in addition to his companion Jacob Davis in 1853 after they designed copper rivets that can strengthen the jeans. Jacob Davis patented the pants under his name and then started the age of rugged denim jeans. Heaven jeans became a favorite piece of clothes of the breeders who better promoted this brand-new thing of garments. It became a symbol of swaggers of the twentieth century. In 1873, they began creating the denims for the working course, and it became an everyday apparel product by the end of the 19th century. In 1923, the firm registered 'Levi's' as the hallmark of Levi Strauss & Co. At that time, it prevailed for the local producers to duplicate Levi's products and also a person must have informed Levi Strauss something like "why do not you make your very own spot?" Also after greater than a century, Levi's is the largest supplier of pants and also dominates the North American and European regions. The tale of Levi Strauss & Co. is a result of the ingenuity of Levi Strauss who gave a timeless piece of clothing to the globe in the kind of "jeans.". 7. Miuccia Prada. Miuccia Prada couldn't release her real potential until she took over the leather business of her grandfather in 1978. A doctorate of government and also comedian by occupation, Miuccia Prada knew that she has a common sense of aesthetics. Her sixth sense proved right when she acquired the business of her grandfather as well as transformed it into a billion-dollar firm. She obtained her very first substantial success in 1985 when she introduced nylon purses and backpacks which ended up being a craze and the sales of the business increased. Just as she made use of the custom patches for garments, she made use of the 'Prada' logo in the devices. In 1989, she released her very first off-the-rack garments that obtained the focus of the customers. She was commended for her use of brand-new materials and designs. These are one of the most popular developers who are recognized for their innovation items that were applauded for their creative styles, convenience, and style. Allow us learn about your point of view in the remark area.

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foldagerborg8 · 2 years

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How I Discovered My Classic Chanel Belt

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#chanel look alike belt #chanel belt women #cc belt #chanel cc belt #faux chanel chain belt #cheap chanel belt replica #chanel replica belt #knockoff cc belt #fake chanel belt

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