Thursday, September 30, 2010
Q. and A. With Carine Roitfeld
By Eric Wilson for The New York Times:
The 90th-anniversary issue of Vogue Paris hit newsstands here this week, just in time for the Paris collections and an elaborate masked ball that Carine Roitfeld, the editor, is planning on Thursday night in a hotel particulier. The theme of the party is “Eyes Wide Shut,” and Ms. Roitfeld expects everyone to look as good as her October cover model, Lara Stone, who appears in a lace mask by Philip Treacy.
Ms. Roitfeld’s new issue set a record for the publication with 620 pages, many of them advertisements created specially for the anniversary, like one by Chanel that consists of a sketch by Karl Lagerfeld that shows the designer standing just behind Coco Chanel herself, her hands stuffed in her skirt pockets. For the magazine’s feature well, Ms. Roitfeld opened each photo portfolio with an archival image, followed by a contemporary take on fashion inspired by the same story. For example, a Horst P. Horst image of a masked ball from 1934 leads into a an erotic fantasy of masked models by Mert Alas and Marcus Piggot. Mario Sorrenti, David Sims, Steven Klein and Hedi Slimane also contributed to the issue.
Perhaps the most controversial story will be Terry Richardson’s images of Crystal Renn, the (not quite) plus-size model who has become a vocal advocate for incorporating different sizes in fashion magazines. Here, she is shown gorging on an endless feast, about to stuff an entire squid into her mouth in one picture, gnawing on beef, sausage and poultry in others. It’s a statement.
Ms. Roitfeld, when I met her in her office, said the shoot was actually inspired by the 1973 movie “La Grande Bouffe,” the dark Marco Ferreri film about a group of men who retire to a villa to eat themselves to death. Ms. Roitfeld said she realized, while looking at the provocative — and sometimes shocking — imagery from Vogue’s past, that it is the job of fashion magazines to continue to push boundaries and provoke, even in the face of attacks on their judgment.
Here are some excerpts from our conversation:
How do you feel about the magazine at 90?
In 90 years, we haven’t changed the mood of the magazine. It’s still very audacious. It’s still about beauty. It’s still about excess. It’s still very avant-garde. When we started to do the research, we discovered the same mood in the past, so we are very happy to feel that we are still looking like the iconic Vogue of Newton and Guy Bourdin. We try to be sophisticated, while a little on the edge all the time. But what I can see is that now, the censoring is bigger than it was 20, 30 or 40 years ago. I think we have less freedom. Today some pictures would not even be publishable. It’s not just about the nudity, but when you talk about things politically, the military, kids, it would all be politically incorrect and not publishable today.
How does that make you feel as an editor?
That we have to fight to keep this un-politically correct attitude of French Vogue, but it’s more and more difficult to be able do that. You cannot smoke, you cannot show arms, you cannot show little girls, because everyone now is very anxious not to have problems with the law. Everything we do now is like walking in high heels on the ice, but we keep trying to do it.
When you explain your philosophy about fashion to anyone who wants to contribute to French Vogue, what is it that you tell them?
Vogue is a very specific world. You are Vogue, or not Vogue. There are some editors and writers who can be very good, and still not Vogue. How can I describe it? It is, first, having the sense of luxury. It’s a sense of craziness, a bit. It’s a sense of beauty, because the images we are printing, most of them are going to be in a museum. It has to be cultural, because I think the French woman is not just interested in fashion. She is interested in painting, reading, movies and art, so it is a lot of things, altogether, to be a Vogue photographer, writer or stylist. And a Vogue reader.
What are you most proud of that you have brought to this magazine in the last 10 years?
When I see this anniversary issue, I think it is the best coffee-table book. I think it is good when something can stay interesting for a long time. It’s not just a trend for one month. What we did in this issue, I hope, in 10 years, will not be démodé, because now everyone can see fashion on the Internet. You can go on Style.com and see everything, but not how to wear it. This is what we try to give to the readers of Vogue.
How do you remain personally engaged with fashion when everyone else can see it online?
It’s still exciting to me, because when I am going to a fashion show, I’m not just looking at the clothes. I’m looking at the mood, I’m listening to the music, so sometimes, I can be a bit disappointed in one, two or three shows, and then I see a great one and my energy goes up again. There were some big fashion moments last week in Italy, like when you go to Prada, and wonder what’s she going to do this time, or at Dolce & Gabbana, and you are almost ready to cry. Maybe I still like the clothes. I don’t see them just to wear them, I see them as a piece of art sometimes.
With all the new designers hoping to be discovered, how do you know when someone really has it?
It is difficult. First, we have to find a moment to look at these young stylists, because we are overbooked with shows, overbooked with appointments and work like everyone else. But we try to find the time, because they are the future of tomorrow. When you talk to them, you know almost instantly. It’s like an instinct when you see a young painter or photographer. Because we have a big power, we have to use it to give an opportunity to some young kids, designers, makeup artists, photographers and models. It’s good that Anna Wintour was the one who needed to kick our butt, in a way, to do something. She did a lot in America, but in Paris, we were a bit slow. Now we understand, and we’ve seen so much return that we are going to be more and more aware to help.
Who do you think among the younger generation has the potential to become big?
I am very surprised by someone like Alexander Wang. I am amazed how he is good with fashion, with business, with public relations himself, with an attitude in his clothes that is spoken immediately. And I think a young guy called Joseph Altuzarra, who went to New York, is the next one to be big. The clothes he makes are very beautiful, and they are very wearable.
What bothers you about fashion today?
Sometimes I think, Why do I have to go to a show? Half an hour driving, half an hour waiting, seeing the show, then half an hour back. And when I get back, I see the show on the Internet. Sometimes it goes too quick sometimes. I like the idea of what Tom Ford did in New York. No one saw one outfit, except the 100 people who were guests. It was smart, because it makes envy. It’s too easy that Prada makes a collection and two hours later its on the Net and everyone can copy it. It’s too quick now, but I don’t think we can do anything about that. It’s just the time.
What’s next for you?
I’m full of ideas, and I want to have more parties and shows for the public. I want to make fashion more festive in Paris. This week we have the Vogue bar at the Crillon, where we changed the décor, the cocktail list, the pictures on the wall. The drinks are named after people. My drink is a Testarossa. It’s Campari and vodka, to fly very high, very far, very quick. We have the dirty martini of Stephen Gan — it’s delicious — and the apple martini of Tom Ford. I have a new job now: bartender. That is my dream, and also to open a karaoke.
What would be your song?
“You’re So Vain.” I think in this business, it’s a good song. It’s dedicated to a lot of people.
The 90th-anniversary issue of Vogue Paris hit newsstands here this week, just in time for the Paris collections and an elaborate masked ball that Carine Roitfeld, the editor, is planning on Thursday night in a hotel particulier. The theme of the party is “Eyes Wide Shut,” and Ms. Roitfeld expects everyone to look as good as her October cover model, Lara Stone, who appears in a lace mask by Philip Treacy.
Ms. Roitfeld’s new issue set a record for the publication with 620 pages, many of them advertisements created specially for the anniversary, like one by Chanel that consists of a sketch by Karl Lagerfeld that shows the designer standing just behind Coco Chanel herself, her hands stuffed in her skirt pockets. For the magazine’s feature well, Ms. Roitfeld opened each photo portfolio with an archival image, followed by a contemporary take on fashion inspired by the same story. For example, a Horst P. Horst image of a masked ball from 1934 leads into a an erotic fantasy of masked models by Mert Alas and Marcus Piggot. Mario Sorrenti, David Sims, Steven Klein and Hedi Slimane also contributed to the issue.
Perhaps the most controversial story will be Terry Richardson’s images of Crystal Renn, the (not quite) plus-size model who has become a vocal advocate for incorporating different sizes in fashion magazines. Here, she is shown gorging on an endless feast, about to stuff an entire squid into her mouth in one picture, gnawing on beef, sausage and poultry in others. It’s a statement.
Ms. Roitfeld, when I met her in her office, said the shoot was actually inspired by the 1973 movie “La Grande Bouffe,” the dark Marco Ferreri film about a group of men who retire to a villa to eat themselves to death. Ms. Roitfeld said she realized, while looking at the provocative — and sometimes shocking — imagery from Vogue’s past, that it is the job of fashion magazines to continue to push boundaries and provoke, even in the face of attacks on their judgment.
Here are some excerpts from our conversation:
How do you feel about the magazine at 90?
In 90 years, we haven’t changed the mood of the magazine. It’s still very audacious. It’s still about beauty. It’s still about excess. It’s still very avant-garde. When we started to do the research, we discovered the same mood in the past, so we are very happy to feel that we are still looking like the iconic Vogue of Newton and Guy Bourdin. We try to be sophisticated, while a little on the edge all the time. But what I can see is that now, the censoring is bigger than it was 20, 30 or 40 years ago. I think we have less freedom. Today some pictures would not even be publishable. It’s not just about the nudity, but when you talk about things politically, the military, kids, it would all be politically incorrect and not publishable today.
How does that make you feel as an editor?
That we have to fight to keep this un-politically correct attitude of French Vogue, but it’s more and more difficult to be able do that. You cannot smoke, you cannot show arms, you cannot show little girls, because everyone now is very anxious not to have problems with the law. Everything we do now is like walking in high heels on the ice, but we keep trying to do it.
When you explain your philosophy about fashion to anyone who wants to contribute to French Vogue, what is it that you tell them?
Vogue is a very specific world. You are Vogue, or not Vogue. There are some editors and writers who can be very good, and still not Vogue. How can I describe it? It is, first, having the sense of luxury. It’s a sense of craziness, a bit. It’s a sense of beauty, because the images we are printing, most of them are going to be in a museum. It has to be cultural, because I think the French woman is not just interested in fashion. She is interested in painting, reading, movies and art, so it is a lot of things, altogether, to be a Vogue photographer, writer or stylist. And a Vogue reader.
What are you most proud of that you have brought to this magazine in the last 10 years?
When I see this anniversary issue, I think it is the best coffee-table book. I think it is good when something can stay interesting for a long time. It’s not just a trend for one month. What we did in this issue, I hope, in 10 years, will not be démodé, because now everyone can see fashion on the Internet. You can go on Style.com and see everything, but not how to wear it. This is what we try to give to the readers of Vogue.
How do you remain personally engaged with fashion when everyone else can see it online?
It’s still exciting to me, because when I am going to a fashion show, I’m not just looking at the clothes. I’m looking at the mood, I’m listening to the music, so sometimes, I can be a bit disappointed in one, two or three shows, and then I see a great one and my energy goes up again. There were some big fashion moments last week in Italy, like when you go to Prada, and wonder what’s she going to do this time, or at Dolce & Gabbana, and you are almost ready to cry. Maybe I still like the clothes. I don’t see them just to wear them, I see them as a piece of art sometimes.
With all the new designers hoping to be discovered, how do you know when someone really has it?
It is difficult. First, we have to find a moment to look at these young stylists, because we are overbooked with shows, overbooked with appointments and work like everyone else. But we try to find the time, because they are the future of tomorrow. When you talk to them, you know almost instantly. It’s like an instinct when you see a young painter or photographer. Because we have a big power, we have to use it to give an opportunity to some young kids, designers, makeup artists, photographers and models. It’s good that Anna Wintour was the one who needed to kick our butt, in a way, to do something. She did a lot in America, but in Paris, we were a bit slow. Now we understand, and we’ve seen so much return that we are going to be more and more aware to help.
Who do you think among the younger generation has the potential to become big?
I am very surprised by someone like Alexander Wang. I am amazed how he is good with fashion, with business, with public relations himself, with an attitude in his clothes that is spoken immediately. And I think a young guy called Joseph Altuzarra, who went to New York, is the next one to be big. The clothes he makes are very beautiful, and they are very wearable.
What bothers you about fashion today?
Sometimes I think, Why do I have to go to a show? Half an hour driving, half an hour waiting, seeing the show, then half an hour back. And when I get back, I see the show on the Internet. Sometimes it goes too quick sometimes. I like the idea of what Tom Ford did in New York. No one saw one outfit, except the 100 people who were guests. It was smart, because it makes envy. It’s too easy that Prada makes a collection and two hours later its on the Net and everyone can copy it. It’s too quick now, but I don’t think we can do anything about that. It’s just the time.
What’s next for you?
I’m full of ideas, and I want to have more parties and shows for the public. I want to make fashion more festive in Paris. This week we have the Vogue bar at the Crillon, where we changed the décor, the cocktail list, the pictures on the wall. The drinks are named after people. My drink is a Testarossa. It’s Campari and vodka, to fly very high, very far, very quick. We have the dirty martini of Stephen Gan — it’s delicious — and the apple martini of Tom Ford. I have a new job now: bartender. That is my dream, and also to open a karaoke.
What would be your song?
“You’re So Vain.” I think in this business, it’s a good song. It’s dedicated to a lot of people.
Q. and A. With Carine Roitfeld
By Eric Wilson for The New York Times:
The 90th-anniversary issue of Vogue Paris hit newsstands here this week, just in time for the Paris collections and an elaborate masked ball that Carine Roitfeld, the editor, is planning on Thursday night in a hotel particulier. The theme of the party is “Eyes Wide Shut,” and Ms. Roitfeld expects everyone to look as good as her October cover model, Lara Stone, who appears in a lace mask by Philip Treacy.
Ms. Roitfeld’s new issue set a record for the publication with 620 pages, many of them advertisements created specially for the anniversary, like one by Chanel that consists of a sketch by Karl Lagerfeld that shows the designer standing just behind Coco Chanel herself, her hands stuffed in her skirt pockets. For the magazine’s feature well, Ms. Roitfeld opened each photo portfolio with an archival image, followed by a contemporary take on fashion inspired by the same story. For example, a Horst P. Horst image of a masked ball from 1934 leads into a an erotic fantasy of masked models by Mert Alas and Marcus Piggot. Mario Sorrenti, David Sims, Steven Klein and Hedi Slimane also contributed to the issue.
Perhaps the most controversial story will be Terry Richardson’s images of Crystal Renn, the (not quite) plus-size model who has become a vocal advocate for incorporating different sizes in fashion magazines. Here, she is shown gorging on an endless feast, about to stuff an entire squid into her mouth in one picture, gnawing on beef, sausage and poultry in others. It’s a statement.
Ms. Roitfeld, when I met her in her office, said the shoot was actually inspired by the 1973 movie “La Grande Bouffe,” the dark Marco Ferreri film about a group of men who retire to a villa to eat themselves to death. Ms. Roitfeld said she realized, while looking at the provocative — and sometimes shocking — imagery from Vogue’s past, that it is the job of fashion magazines to continue to push boundaries and provoke, even in the face of attacks on their judgment.
Here are some excerpts from our conversation:
How do you feel about the magazine at 90?
In 90 years, we haven’t changed the mood of the magazine. It’s still very audacious. It’s still about beauty. It’s still about excess. It’s still very avant-garde. When we started to do the research, we discovered the same mood in the past, so we are very happy to feel that we are still looking like the iconic Vogue of Newton and Guy Bourdin. We try to be sophisticated, while a little on the edge all the time. But what I can see is that now, the censoring is bigger than it was 20, 30 or 40 years ago. I think we have less freedom. Today some pictures would not even be publishable. It’s not just about the nudity, but when you talk about things politically, the military, kids, it would all be politically incorrect and not publishable today.
How does that make you feel as an editor?
That we have to fight to keep this un-politically correct attitude of French Vogue, but it’s more and more difficult to be able do that. You cannot smoke, you cannot show arms, you cannot show little girls, because everyone now is very anxious not to have problems with the law. Everything we do now is like walking in high heels on the ice, but we keep trying to do it.
When you explain your philosophy about fashion to anyone who wants to contribute to French Vogue, what is it that you tell them?
Vogue is a very specific world. You are Vogue, or not Vogue. There are some editors and writers who can be very good, and still not Vogue. How can I describe it? It is, first, having the sense of luxury. It’s a sense of craziness, a bit. It’s a sense of beauty, because the images we are printing, most of them are going to be in a museum. It has to be cultural, because I think the French woman is not just interested in fashion. She is interested in painting, reading, movies and art, so it is a lot of things, altogether, to be a Vogue photographer, writer or stylist. And a Vogue reader.
What are you most proud of that you have brought to this magazine in the last 10 years?
When I see this anniversary issue, I think it is the best coffee-table book. I think it is good when something can stay interesting for a long time. It’s not just a trend for one month. What we did in this issue, I hope, in 10 years, will not be démodé, because now everyone can see fashion on the Internet. You can go on Style.com and see everything, but not how to wear it. This is what we try to give to the readers of Vogue.
How do you remain personally engaged with fashion when everyone else can see it online?
It’s still exciting to me, because when I am going to a fashion show, I’m not just looking at the clothes. I’m looking at the mood, I’m listening to the music, so sometimes, I can be a bit disappointed in one, two or three shows, and then I see a great one and my energy goes up again. There were some big fashion moments last week in Italy, like when you go to Prada, and wonder what’s she going to do this time, or at Dolce & Gabbana, and you are almost ready to cry. Maybe I still like the clothes. I don’t see them just to wear them, I see them as a piece of art sometimes.
With all the new designers hoping to be discovered, how do you know when someone really has it?
It is difficult. First, we have to find a moment to look at these young stylists, because we are overbooked with shows, overbooked with appointments and work like everyone else. But we try to find the time, because they are the future of tomorrow. When you talk to them, you know almost instantly. It’s like an instinct when you see a young painter or photographer. Because we have a big power, we have to use it to give an opportunity to some young kids, designers, makeup artists, photographers and models. It’s good that Anna Wintour was the one who needed to kick our butt, in a way, to do something. She did a lot in America, but in Paris, we were a bit slow. Now we understand, and we’ve seen so much return that we are going to be more and more aware to help.
Who do you think among the younger generation has the potential to become big?
I am very surprised by someone like Alexander Wang. I am amazed how he is good with fashion, with business, with public relations himself, with an attitude in his clothes that is spoken immediately. And I think a young guy called Joseph Altuzarra, who went to New York, is the next one to be big. The clothes he makes are very beautiful, and they are very wearable.
What bothers you about fashion today?
Sometimes I think, Why do I have to go to a show? Half an hour driving, half an hour waiting, seeing the show, then half an hour back. And when I get back, I see the show on the Internet. Sometimes it goes too quick sometimes. I like the idea of what Tom Ford did in New York. No one saw one outfit, except the 100 people who were guests. It was smart, because it makes envy. It’s too easy that Prada makes a collection and two hours later its on the Net and everyone can copy it. It’s too quick now, but I don’t think we can do anything about that. It’s just the time.
What’s next for you?
I’m full of ideas, and I want to have more parties and shows for the public. I want to make fashion more festive in Paris. This week we have the Vogue bar at the Crillon, where we changed the décor, the cocktail list, the pictures on the wall. The drinks are named after people. My drink is a Testarossa. It’s Campari and vodka, to fly very high, very far, very quick. We have the dirty martini of Stephen Gan — it’s delicious — and the apple martini of Tom Ford. I have a new job now: bartender. That is my dream, and also to open a karaoke.
What would be your song?
“You’re So Vain.” I think in this business, it’s a good song. It’s dedicated to a lot of people.
The 90th-anniversary issue of Vogue Paris hit newsstands here this week, just in time for the Paris collections and an elaborate masked ball that Carine Roitfeld, the editor, is planning on Thursday night in a hotel particulier. The theme of the party is “Eyes Wide Shut,” and Ms. Roitfeld expects everyone to look as good as her October cover model, Lara Stone, who appears in a lace mask by Philip Treacy.
Ms. Roitfeld’s new issue set a record for the publication with 620 pages, many of them advertisements created specially for the anniversary, like one by Chanel that consists of a sketch by Karl Lagerfeld that shows the designer standing just behind Coco Chanel herself, her hands stuffed in her skirt pockets. For the magazine’s feature well, Ms. Roitfeld opened each photo portfolio with an archival image, followed by a contemporary take on fashion inspired by the same story. For example, a Horst P. Horst image of a masked ball from 1934 leads into a an erotic fantasy of masked models by Mert Alas and Marcus Piggot. Mario Sorrenti, David Sims, Steven Klein and Hedi Slimane also contributed to the issue.
Perhaps the most controversial story will be Terry Richardson’s images of Crystal Renn, the (not quite) plus-size model who has become a vocal advocate for incorporating different sizes in fashion magazines. Here, she is shown gorging on an endless feast, about to stuff an entire squid into her mouth in one picture, gnawing on beef, sausage and poultry in others. It’s a statement.
Ms. Roitfeld, when I met her in her office, said the shoot was actually inspired by the 1973 movie “La Grande Bouffe,” the dark Marco Ferreri film about a group of men who retire to a villa to eat themselves to death. Ms. Roitfeld said she realized, while looking at the provocative — and sometimes shocking — imagery from Vogue’s past, that it is the job of fashion magazines to continue to push boundaries and provoke, even in the face of attacks on their judgment.
Here are some excerpts from our conversation:
How do you feel about the magazine at 90?
In 90 years, we haven’t changed the mood of the magazine. It’s still very audacious. It’s still about beauty. It’s still about excess. It’s still very avant-garde. When we started to do the research, we discovered the same mood in the past, so we are very happy to feel that we are still looking like the iconic Vogue of Newton and Guy Bourdin. We try to be sophisticated, while a little on the edge all the time. But what I can see is that now, the censoring is bigger than it was 20, 30 or 40 years ago. I think we have less freedom. Today some pictures would not even be publishable. It’s not just about the nudity, but when you talk about things politically, the military, kids, it would all be politically incorrect and not publishable today.
How does that make you feel as an editor?
That we have to fight to keep this un-politically correct attitude of French Vogue, but it’s more and more difficult to be able do that. You cannot smoke, you cannot show arms, you cannot show little girls, because everyone now is very anxious not to have problems with the law. Everything we do now is like walking in high heels on the ice, but we keep trying to do it.
When you explain your philosophy about fashion to anyone who wants to contribute to French Vogue, what is it that you tell them?
Vogue is a very specific world. You are Vogue, or not Vogue. There are some editors and writers who can be very good, and still not Vogue. How can I describe it? It is, first, having the sense of luxury. It’s a sense of craziness, a bit. It’s a sense of beauty, because the images we are printing, most of them are going to be in a museum. It has to be cultural, because I think the French woman is not just interested in fashion. She is interested in painting, reading, movies and art, so it is a lot of things, altogether, to be a Vogue photographer, writer or stylist. And a Vogue reader.
What are you most proud of that you have brought to this magazine in the last 10 years?
When I see this anniversary issue, I think it is the best coffee-table book. I think it is good when something can stay interesting for a long time. It’s not just a trend for one month. What we did in this issue, I hope, in 10 years, will not be démodé, because now everyone can see fashion on the Internet. You can go on Style.com and see everything, but not how to wear it. This is what we try to give to the readers of Vogue.
How do you remain personally engaged with fashion when everyone else can see it online?
It’s still exciting to me, because when I am going to a fashion show, I’m not just looking at the clothes. I’m looking at the mood, I’m listening to the music, so sometimes, I can be a bit disappointed in one, two or three shows, and then I see a great one and my energy goes up again. There were some big fashion moments last week in Italy, like when you go to Prada, and wonder what’s she going to do this time, or at Dolce & Gabbana, and you are almost ready to cry. Maybe I still like the clothes. I don’t see them just to wear them, I see them as a piece of art sometimes.
With all the new designers hoping to be discovered, how do you know when someone really has it?
It is difficult. First, we have to find a moment to look at these young stylists, because we are overbooked with shows, overbooked with appointments and work like everyone else. But we try to find the time, because they are the future of tomorrow. When you talk to them, you know almost instantly. It’s like an instinct when you see a young painter or photographer. Because we have a big power, we have to use it to give an opportunity to some young kids, designers, makeup artists, photographers and models. It’s good that Anna Wintour was the one who needed to kick our butt, in a way, to do something. She did a lot in America, but in Paris, we were a bit slow. Now we understand, and we’ve seen so much return that we are going to be more and more aware to help.
Who do you think among the younger generation has the potential to become big?
I am very surprised by someone like Alexander Wang. I am amazed how he is good with fashion, with business, with public relations himself, with an attitude in his clothes that is spoken immediately. And I think a young guy called Joseph Altuzarra, who went to New York, is the next one to be big. The clothes he makes are very beautiful, and they are very wearable.
What bothers you about fashion today?
Sometimes I think, Why do I have to go to a show? Half an hour driving, half an hour waiting, seeing the show, then half an hour back. And when I get back, I see the show on the Internet. Sometimes it goes too quick sometimes. I like the idea of what Tom Ford did in New York. No one saw one outfit, except the 100 people who were guests. It was smart, because it makes envy. It’s too easy that Prada makes a collection and two hours later its on the Net and everyone can copy it. It’s too quick now, but I don’t think we can do anything about that. It’s just the time.
What’s next for you?
I’m full of ideas, and I want to have more parties and shows for the public. I want to make fashion more festive in Paris. This week we have the Vogue bar at the Crillon, where we changed the décor, the cocktail list, the pictures on the wall. The drinks are named after people. My drink is a Testarossa. It’s Campari and vodka, to fly very high, very far, very quick. We have the dirty martini of Stephen Gan — it’s delicious — and the apple martini of Tom Ford. I have a new job now: bartender. That is my dream, and also to open a karaoke.
What would be your song?
“You’re So Vain.” I think in this business, it’s a good song. It’s dedicated to a lot of people.
Vogue.com: Beauty Moment: Britt Maren's Model Makeover
Written by Christina Han, for vogue.com:
Model Britt Maren’s first taste of her first Fashion Week was as the opener for Alexander Wang’s highly anticipated, celebrity-jammed spring show in New York—not bad for a beginner. A flurry of bookings for the Sweden-born, Texas-bred cat-walker followed—Fendi and Roberto Cavalli in Milan; Balmain, Lanvin, Givenchy, and Chanel in Paris—and this week, she was among a handful of faces chosen for a radical pre-Balenciaga transformation. “I didn’t know what they were going to do entirely; I knew that they were going to cut it short—but then there was the bleach,” Maren said backstage at Balmain, hours after debuting her new look at Balenciaga this morning. “Cut it short” is an understatement, though, with backstage guru Guido Palau chopping off nearly eight inches of Maren’s light brown hair and dying it Debbie Harry–platinum yesterday in the secret confines of the Balenciaga showroom. The finished look: eye-grazing and meant-to-be-mussed in the front, with a shorter-than-short shaved neck in the back. “It’s really different, but I like it!” Maren said. “It’s sexier and cooler, and when I wake up in the morning it’s kind of messy.”
Vogue.com: Beauty Moment: Britt Maren's Model Makeover
Written by Christina Han, for vogue.com:
Model Britt Maren’s first taste of her first Fashion Week was as the opener for Alexander Wang’s highly anticipated, celebrity-jammed spring show in New York—not bad for a beginner. A flurry of bookings for the Sweden-born, Texas-bred cat-walker followed—Fendi and Roberto Cavalli in Milan; Balmain, Lanvin, Givenchy, and Chanel in Paris—and this week, she was among a handful of faces chosen for a radical pre-Balenciaga transformation. “I didn’t know what they were going to do entirely; I knew that they were going to cut it short—but then there was the bleach,” Maren said backstage at Balmain, hours after debuting her new look at Balenciaga this morning. “Cut it short” is an understatement, though, with backstage guru Guido Palau chopping off nearly eight inches of Maren’s light brown hair and dying it Debbie Harry–platinum yesterday in the secret confines of the Balenciaga showroom. The finished look: eye-grazing and meant-to-be-mussed in the front, with a shorter-than-short shaved neck in the back. “It’s really different, but I like it!” Maren said. “It’s sexier and cooler, and when I wake up in the morning it’s kind of messy.”
Balenciaga Spring 2011 Show Video
Balenciaga Spring 2011 Show
Time: September 30, 2010 at 10:00 am
Designer: Nicolas Ghesquière
Casting Director: Ashley Brokaw
Stylist: Marie-Amélie Sauvé
Makeup: Pat McGrath
Hair: Guido Palau
Models: Eliza Cummings, Britt Maren, Jamie Bochert, Kasia Struss, Daria Strokous,and Mirte Maas
Show Video can also be seen at: Balenciaga.com
Time: September 30, 2010 at 10:00 am
Designer: Nicolas Ghesquière
Casting Director: Ashley Brokaw
Stylist: Marie-Amélie Sauvé
Makeup: Pat McGrath
Hair: Guido Palau
Models: Eliza Cummings, Britt Maren, Jamie Bochert, Kasia Struss, Daria Strokous,and Mirte Maas
Show Video can also be seen at: Balenciaga.com
Balenciaga Spring 2011 Show Video
Balenciaga Spring 2011 Show
Time: September 30, 2010 at 10:00 am
Designer: Nicolas Ghesquière
Casting Director: Ashley Brokaw
Stylist: Marie-Amélie Sauvé
Makeup: Pat McGrath
Hair: Guido Palau
Models: Eliza Cummings, Britt Maren, Jamie Bochert, Kasia Struss, Daria Strokous,and Mirte Maas
Show Video can also be seen at: Balenciaga.com
Time: September 30, 2010 at 10:00 am
Designer: Nicolas Ghesquière
Casting Director: Ashley Brokaw
Stylist: Marie-Amélie Sauvé
Makeup: Pat McGrath
Hair: Guido Palau
Models: Eliza Cummings, Britt Maren, Jamie Bochert, Kasia Struss, Daria Strokous,and Mirte Maas
Show Video can also be seen at: Balenciaga.com
October Italian Vogue editorial - Dorothea Barth Jorgensen, ph: Craig McDean, stylist: Edward Enninful
Craig McDean photographed Dorothea Barth Jorgensen for Italian Vogue in New York on June 6, 2010 with stylist Edward Enninful.
Italian Vogue October 2010 Issue
Model: Dorothea Barth Jorgensen
Photographer: Craig McDean
Stylist: Edward Enninful
Hair: Eugene Souleiman
Makeup: Diane Kendal
Italian Vogue October 2010 Issue
Model: Dorothea Barth Jorgensen
Photographer: Craig McDean
Stylist: Edward Enninful
Hair: Eugene Souleiman
Makeup: Diane Kendal
October Italian Vogue editorial - Dorothea Barth Jorgensen, ph: Craig McDean, stylist: Edward Enninful
Craig McDean photographed Dorothea Barth Jorgensen for Italian Vogue in New York on June 6, 2010 with stylist Edward Enninful.
Italian Vogue October 2010 Issue
Model: Dorothea Barth Jorgensen
Photographer: Craig McDean
Stylist: Edward Enninful
Hair: Eugene Souleiman
Makeup: Diane Kendal
Italian Vogue October 2010 Issue
Model: Dorothea Barth Jorgensen
Photographer: Craig McDean
Stylist: Edward Enninful
Hair: Eugene Souleiman
Makeup: Diane Kendal
Balenciaga Spring 2011 Show
Balenciaga Spring 2011 Show
Time: September 30, 2010 at 10:00 am
Designer: Nicolas Ghesquière
Casting Director: Ashley Brokaw
Stylist: Marie-Amélie Sauvé
Makeup: Pat McGrath
Hair: Guido Palau
Models: Eliza Cummings, Britt Maren, Jamie Bochert, Kasia Struss, Daria Strokous,and Mirte Maas
Show Video can be seen at: Balenciaga.com
Eliza Cummings
Britt Maren
Jamie Bochert
Kasia Struss
Daria Strokous
Mirte Maas
Time: September 30, 2010 at 10:00 am
Designer: Nicolas Ghesquière
Casting Director: Ashley Brokaw
Stylist: Marie-Amélie Sauvé
Makeup: Pat McGrath
Hair: Guido Palau
Models: Eliza Cummings, Britt Maren, Jamie Bochert, Kasia Struss, Daria Strokous,and Mirte Maas
Show Video can be seen at: Balenciaga.com
Eliza Cummings
Britt Maren
Jamie Bochert
Kasia Struss
Daria Strokous
Mirte Maas
Balenciaga Spring 2011 Show
Balenciaga Spring 2011 Show
Time: September 30, 2010 at 10:00 am
Designer: Nicolas Ghesquière
Casting Director: Ashley Brokaw
Stylist: Marie-Amélie Sauvé
Makeup: Pat McGrath
Hair: Guido Palau
Models: Eliza Cummings, Britt Maren, Jamie Bochert, Kasia Struss, Daria Strokous,and Mirte Maas
Show Video can be seen at: Balenciaga.com
Eliza Cummings
Britt Maren
Jamie Bochert
Kasia Struss
Daria Strokous
Mirte Maas
Time: September 30, 2010 at 10:00 am
Designer: Nicolas Ghesquière
Casting Director: Ashley Brokaw
Stylist: Marie-Amélie Sauvé
Makeup: Pat McGrath
Hair: Guido Palau
Models: Eliza Cummings, Britt Maren, Jamie Bochert, Kasia Struss, Daria Strokous,and Mirte Maas
Show Video can be seen at: Balenciaga.com
Eliza Cummings
Britt Maren
Jamie Bochert
Kasia Struss
Daria Strokous
Mirte Maas
Satria FU 150 Performance : High prices
How do I DDOCI members practice in the circuit in order to sentul kejurnas Ducati Superbike national and one make race? Practice using the Suzuki Satria FU 150 Go Karting circuit in Sentul. Why choose Suzuki Satria FU 150 as a means of exercise? In fact only three alasanya enough. Satria FU 150 Performance = high prices
As has been discussed many people, especially Username be at home on the benefits of Suzuki Satria FU than 150 other brands. Use Satria FU 150 Superbike Simulator as the mengokohkan that Satria FU indeed have compared the benefits of absolute motor motor circulating in the market of the country. In detail three reasons why this is precisely Satria FU chosen not Ninja RR (superior performance) or Bajaj which has large size.
As has been discussed many people, especially Username be at home on the benefits of Suzuki Satria FU than 150 other brands. Use Satria FU 150 Superbike Simulator as the mengokohkan that Satria FU indeed have compared the benefits of absolute motor motor circulating in the market of the country. In detail three reasons why this is precisely Satria FU chosen not Ninja RR (superior performance) or Bajaj which has large size.
Wednesday, September 29, 2010
Honda Blackbird 1100XX
Honda Blackbird 1100XX SuperBlackbird 1999-2002 manual de serviço
Líquido arrefecido, quatro tempos, quatro cilindros transversal, DOHC, 4 válvulas por cilindro.
Pro-Link único choque com pré-carga da mola e ajuste de amortecimento rebote, o curso da roda 120mm.
2011 Ducati Monster 796 Unveiled
2011 Ducati Monster 796 Action
2011 Ducati Monster 796 Front Side View
2011 Ducati Monster 796 Official Pictures
2011 Ducati Monster 796 Red
2011 Ducati Monster 796 Side View
2011 Ducati Monster 796 Orange
2011 Ducati Monster 796 Rear Side View
2011 Ducati Monster 796 Sport Bike
2011 Ducati Monster 796 Motorcycles
2011 Ducati Monster 796 Black Gold
2011 Ducati Monster 796 Photo
2011 Ducati Monster 796 Yellow
2011 Ducati Monster 796 Overhead
2011 Ducati Monster 796 Black Series
2011 Ducati Monster 796 Red White
2011 Ducati Monster 796 First Ride2011 Ducati Monster 796 Unveiled
2011 Ducati Monster 796 Action2011 Ducati Monster 796 Front Side View2011 Ducati Monster 796 Official Pictures2011 Ducati Monster 796 Red2011 Ducati Monster 796 Side View2011 Ducati Monster 796 Orange2011 Ducati Monster 796 Rear Side View2011 Ducati Monster 796 Sport Bike2011 Ducati Monster 796 Motorcycles2011 Ducati Monster 796 Black Gold2011 Ducati Monster 796 Photo2011 Ducati Monster 796 Yellow2011 Ducati Monster 796 Overhead2011 Ducati Monster 796 Black Series2011 Ducati Monster 796 Red White2011 Ducati Monster 796 First Ride
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