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Shoboshoboshimasho

Shoboshoboshimasho
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for people who know everything cool already !! — this.hearts.on.fire. TEMPLE VENGEANCE The Towering Genius of Alexander McQueen Alexander McQueen’s extraordinary talent was not just limited to creating clothes: the man also knew how to put on a spectacular show, quite unlike any other. In this post I am going to look back on McQueen’s fashion career. Of course I will by no means be able to cover everything, and when I say ‘look back’ I don’t really mean it literally: I sadly never attended a single McQueen show, and I am ashamed to say it is only now that I have properly discovered some of his most amazing shows and collections, many of which took place long before I was really aware of fashion. Still, this will hopefully imbue the post with something of an optimism: not so much looking back, but rather looking into, and looking forwards at, the incredible legacy which Alexander McQueen leaves. Alexander McQueen and Isabella Blow in the early days (image from The Telegraph). McQueen and Isabella Blow pose for Vanity Fair (image from Vanity Fair). Alexander McQueen for Givenchy: (all images in this section from WWD)

GABBER ELEGANZA Captagon was the Belgian gabber scene’s drug of choice. No wonder: amphetamines were a minimum requirement to keep up with that sort of rhythm. Then again, the pill was also used to treat children with attention disorders; it was bound to have unexpected side effects sooner or later. A couple of decades past the gabber heyday, DJ Coquelin and MC Cloarec popped a couple of tabs, laid a scattershot but unmistakably demented beat, and started flipping the dial. JE M’EN TAPE was the aural register of such a journey, much more than the sound of an evening spent shaking your head out of its socket. The rush of clarity that the psychostimulant provided them blasted the duo through makina snippets, chopped-n-screwed Zeuhl, German hip-hop sketches, EBM relics, Italian tecnopop, and acid mixes of American pop hits, mapping the outskirts of the European electronic scene that trendy mags usually overlook. Listen side B here / Prr!

María Félix "Maria de los Angeles Felix" redirects here. For a telenovela, please see Maria de los Angeles. For the actress’ filmography, see María Félix filmography. María Félix (April 8, 1914 in Álamos, Sonora, Mexico – April 8, 2002 in Mexico City) was a Mexican film actress. She is considered one of the most important female figures of the so-called Golden Age of Mexican cinema. Early life[edit] Maria de los Angeles Felix Guereña was born in Álamos, Sonora on April 8, 1914. She spent her childhood in Alamos. Later, her family moved to Guadalajara. In Mexico, she got a job as a receptionist in a plastic surgeon's office, and lived in a guest house. Career[edit] First years (1942-1945)[edit] Maria Felix La Doña In the film El Peñón de las Ánimas, María alternated with actor and singer Jorge Negrete. After the filming of El Peñón de las Ánimas, her fame never stopped growing. Internationalization (1946-1948)[edit] Europe[edit] Last films (1955-1970)[edit] Failed projects in Hollywood[edit]

1 fanzine par jour Pimpf Mag n°8, collectif,A5, 64 pages, N&B, janvier 2006. Dans la sphère des fanzine, historiquement les magazines d’études étaient importants. En l’absence de critique officielle ou d’internet, les communautés se créaient en “clubs” pour dresser l’histoire de leur passion, échanger des infos, recueillir la parole d’auteurs et dresser des résumés et bibliographie. Pimpf était un de ces rares fanzines sur la bande dessinée dans les années 2000. Refusant l’analyse intellectuelle, Pimpf se veut factuel. Dans ce numéro, derrière une couverture de Nathaniel Legendre, on trouvait un gros dossier sur les liens entre Pif Gadget et les Petits Formats. Cette vision critique « à l’ancienne » n’existe plus en papier depuis la disparition de Pimpf, hormis des ouvrages précis.

Grace Coddington Early life and modeling career[edit] At the age of 26, she was in car accident that left her disfigured (she lost her eyelid). She later had plastic surgery to have it reconstructed. The September Issue[edit] Coddington came into the public eye in 2009 with the release of The September Issue, a fly-on-the-wall documentary about the making of the September 2007 issue of Vogue. Personal life[edit] She raised her nephew Tristan, since the age of 8, after the death of her sister Rosemary.[7] In 1986, she moved to New York to work for Calvin Klein.[4] She has since then lived with her partner, hair stylist Didier Malige, and several cats.[8] References[edit] Jump up ^ Grace Coddington, Didier Malige, Sally Singer, and Michael Roberts (2006).

Superstitious Numbers : Marie valette Superstitious numbers #22 – Marie Lécrivain & Jeff Caro Superstitious numbers #21 – Marie Valette Superstitious numbers #19 – Marie Valette Superstitious numbers #18 – Marie Valette Superstitious numbers #16 – Marie Valette Superstitious numbers #13 – Maire Valette Superstitious numbers #12 – Marie Valette Superstitious numbers #11 – Marie Valette

Fall Fashion Grace Coddington Perhaps that old adage about never working with animals and children didn'tmake it to the fashion world. Or perhaps the fashion world, typically willful, just chose to ignore it. Whatever the case, the creative director of Vogue, Grace Coddington, and photographer Arthur Elgort seem blissfully unworried as they corral four children under the age of 12 and one palomino into their remake of Annie Get Your Gun. Re-creating theWild West at an East Hampton horse farm, Vogue's version of the musical stars models Carmen Kass (as Annie Oakley) and Patrick Sullivan (as Frank Butler), a Buffalo Bill look-alike (whose method acting extends toturning up in an Annie Get Your Gun T-shirt, circa the Bernadette Peters years), and racks and racks of Ralph Lauren clothes. It's only eleven in the morning, but already the heat is fierce. The door of the location van swings open, and Carmen Kass swaggers out in afringed skirt, cowboy boots, and a ten-gallon hat.

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