Marc Jacobs Fall 2011 Show
Time: February 14, 2011 at 8:00pm
Location: The Armory, Lexington Avenue at 26th Street
Stylist: Venetia Scott
Hair: Guido Palau
Makeup: Francois Nars
Casting Director: Michelle Lee/KCD
Models: Britt Maren, Bruna Tenorio, Christina Kruse, Daria Strokous, Fei Fei Sun, Ginta Lapina, Iselin Steiro, Jamie Bochert, Jourdan Dunn, Kasia Struss, and Mirte Maas.
Showing posts with label Marilyn Monroe. Show all posts
Showing posts with label Marilyn Monroe. Show all posts
Tuesday, February 15, 2011
Marc Jacobs Fall 2011 Show Video
Marc Jacobs Fall 2011 Show
Time: February 14, 2011 at 8:00pm
Location: The Armory, Lexington Avenue at 26th Street
Stylist: Venetia Scott
Hair: Guido Palau
Makeup: Francois Nars
Casting Director: Michelle Lee/KCD
Models: Britt Maren, Bruna Tenorio, Christina Kruse, Daria Strokous, Fei Fei Sun, Ginta Lapina, Iselin Steiro, Jamie Bochert, Jourdan Dunn, Kasia Struss, and Mirte Maas.
Time: February 14, 2011 at 8:00pm
Location: The Armory, Lexington Avenue at 26th Street
Stylist: Venetia Scott
Hair: Guido Palau
Makeup: Francois Nars
Casting Director: Michelle Lee/KCD
Models: Britt Maren, Bruna Tenorio, Christina Kruse, Daria Strokous, Fei Fei Sun, Ginta Lapina, Iselin Steiro, Jamie Bochert, Jourdan Dunn, Kasia Struss, and Mirte Maas.
Monday, June 1, 2009
Just what the truth is I can't say anymore
Nights in white satin,
Never reaching the end,
Letters I've written,
Never meaning to send.
Beauty I'd always missed
With these eyes before,
Just what the truth is
I cant say anymore.
cause I love you,
Yes, I love you,
Oh, how, I love you.
Gazing at people,
Some hand in hand,
Just what I'm going thru
They can understand.
Some try to tell me
Thoughts they cannot defend,
Just what you want to be
You will be in the end,
And I love you,
Yes, I love you,
Oh, how, I love you.
Oh, how, I love you.
Nights in white satin,
Never reaching the end,
Letters I've written,
Never meaning to send.
Beauty I'd always missed
With these eyes before,
Just what the truth is
I cant say anymore.
cause I love you,
Yes, I love you,
Oh, how, I love you.
Oh, how, I love you.
cause I love you,
Yes, I love you,
Oh, how, I love you.
Oh, how, I love you.
Marilyn Monroe
Marilyn Monroe was born on this day in 1926.
Marilyn Monroe, photographed by Marilyn Monroe for American Vogue, 1962
From the book The Last Sitting:
"Everybody was working: Kenneth combing Marilyn's hair, Babs arranging a string of pearls around her neck. I was way up there in the dark, looking down on her lying there with her hair spread out.
Marilyn was a little pensive, and I wanted her laughing, alive. So I said, "Could someone turn her on, please?" Babs offered her some champagne.
"No, no," I called down. "She can't move out of that position. Talk to her. Pat, talk to her."
Pat said to Marilyn, "What about those two loves in your life?" Marilyn started to giggle.
I didn't know who Marilyn's lovers were but she obviously enjoyed thinking about them. She was laughing, looking over at Pat, and I said, "That's great! But look up here, at the camera." And to draw her attention to me, I said, "How about those two men..."
She was on, and the strobes were clicking, and the light was bouncing around, tinkling down, Kenneth came over with a handful of sparkle and scattered it in her hair. The pearls were around her neck, and she was laughing, free. And I whispered to myself, "Boy...how far out..." I really had her. The light was just right. Everything began to move a little faster.
It was coming - the moment I was looking for.
A lot of pictures I take are not the real picture. They're the picture before the picture, the picture leading up to the picture --and then I get the picture. I see it through the lens as I'm shooting and I know it's the one. Exactly how I see it depends on the camera. On the Nikon and the Hasselblad you're looking right through the lens, so the shutter goes black when the actual picture is taken. On those cameras I don't see the picture itself. I keep shooting right up to that instant when I feel, I know, it's about to happen. Then I push the button and on that black space I project the picture. The Rolleiflex doesn't do that, because it has a twin lens. But then you don't see the actual picture either, because you're seeing through the upper lens, and the angle's slightly different.
Either way, you never see the picture that you're taking. At that perfect moment you just have to close your eyes and jump. And when that moment comes, it's a zillionth of a second. It will never be repeated again, it could take all eternity to get it back. You have to grab it.
Looking down at Marilyn, I could see it happening. I was entering that space where everything is silent but the clicking of the strobes. She was tossing her head, laughing, and her arm was up, like waving goodbye.
I saw what I wanted, I pressed the button, and she was mine.
It was the last picture."
Marilyn Monroe, photographed by Marilyn Monroe for American Vogue, 1962
From the book The Last Sitting:
"Everybody was working: Kenneth combing Marilyn's hair, Babs arranging a string of pearls around her neck. I was way up there in the dark, looking down on her lying there with her hair spread out.
Marilyn was a little pensive, and I wanted her laughing, alive. So I said, "Could someone turn her on, please?" Babs offered her some champagne.
"No, no," I called down. "She can't move out of that position. Talk to her. Pat, talk to her."
Pat said to Marilyn, "What about those two loves in your life?" Marilyn started to giggle.
I didn't know who Marilyn's lovers were but she obviously enjoyed thinking about them. She was laughing, looking over at Pat, and I said, "That's great! But look up here, at the camera." And to draw her attention to me, I said, "How about those two men..."
She was on, and the strobes were clicking, and the light was bouncing around, tinkling down, Kenneth came over with a handful of sparkle and scattered it in her hair. The pearls were around her neck, and she was laughing, free. And I whispered to myself, "Boy...how far out..." I really had her. The light was just right. Everything began to move a little faster.
It was coming - the moment I was looking for.
A lot of pictures I take are not the real picture. They're the picture before the picture, the picture leading up to the picture --and then I get the picture. I see it through the lens as I'm shooting and I know it's the one. Exactly how I see it depends on the camera. On the Nikon and the Hasselblad you're looking right through the lens, so the shutter goes black when the actual picture is taken. On those cameras I don't see the picture itself. I keep shooting right up to that instant when I feel, I know, it's about to happen. Then I push the button and on that black space I project the picture. The Rolleiflex doesn't do that, because it has a twin lens. But then you don't see the actual picture either, because you're seeing through the upper lens, and the angle's slightly different.
Either way, you never see the picture that you're taking. At that perfect moment you just have to close your eyes and jump. And when that moment comes, it's a zillionth of a second. It will never be repeated again, it could take all eternity to get it back. You have to grab it.
Looking down at Marilyn, I could see it happening. I was entering that space where everything is silent but the clicking of the strobes. She was tossing her head, laughing, and her arm was up, like waving goodbye.
I saw what I wanted, I pressed the button, and she was mine.
It was the last picture."
Thursday, October 23, 2008
Diana Dors
Diana Dors on the cover of The Smiths 1995 compilation album, Singles:
Diana Dors in the 1956 film Yield to the Night:
Diana Dors in the 1956 film Yield to the Night:
Diana Dors was born on this day in 1931.
Diana Dors (October 23, 1931 – May 4, 1984) was an English actress and sex symbol. She was born Diana Mary Fluck in Swindon, England. She was considered the English equivalent of the blonde bombshells of Hollywood. She also had significant acting ability, which was destined never to be fully utilised (most of her later work is made up of sex-themed comedies that featured scenes near to soft-core pornography). Her success was such that, aged 20, she was the youngest registered owner of a Rolls Royce in the UK. Her best work as an actress may have been when she played a murderess in the 1956 film Yield to the Night.
Dors left a mark on popular culture; the "50s blonde bombshell look" popularized by Dors and, in the US, by "The Three 'Ms'" Jayne Mansfield, Mamie Van Doren and Marilyn Monroe.
A year or two before The Smiths catalogue was sold to Warner Brothers, a still of Diana Dors from the film Yield to the Night (1956) was considered by Morrissey for a Smiths 'greatest hits' compilation then being prepared by their record label at the time, Rough Trade.
That greatest-hits album never materialized because the rights to The Smiths catalogue were sold to Warner Brothers Records. Using Morrissey's concept, Warner Brothers used the Diana Dors image one year later as the cover of the final Smiths reissue.
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