May 2009 American Vogue editorial
Model: Karen Elson
Photographer: Norman Jean Roy
Stylist: Tabitha Simmons
Makeup: Mark Carrasquillo
Hair: Jimmy Paul
Thursday, April 30, 2009
May 2009 American Vogue: Karen Elson, Photo: Norman Jean Roy
Norman Jean Roy photographed Karen Elson for American Vogue on February 9, 2009 at Freemans Restaurant with stylist Tabitha Simmons.
May 2009 American Vogue editorial
Model: Karen Elson
Photographer: Norman Jean Roy
Stylist: Tabitha Simmons
Makeup: Mark Carrasquillo
Hair: Jimmy Paul
May 2009 American Vogue editorial
Model: Karen Elson
Photographer: Norman Jean Roy
Stylist: Tabitha Simmons
Makeup: Mark Carrasquillo
Hair: Jimmy Paul
Water-Powered Clock.
Aww. Cute.
How does it work? Magic mostly. And a little bit of science too. The internal converter simply extracts electrons from water (or other liquid) molecules and provides a steady stream of electrical current acting as a fuel cell to generate power to the clock.
ThinkGeek :: Water Powered Clock
How does it work? Magic mostly. And a little bit of science too. The internal converter simply extracts electrons from water (or other liquid) molecules and provides a steady stream of electrical current acting as a fuel cell to generate power to the clock.
ThinkGeek :: Water Powered Clock
Bea Arthur (1991), by John Currin
Bea Arthur inspired many people, including artist John Currin. In 1991 John Currin painted "Bea Arthur Nude". I saw this painting at his solo show at the Whitney Museum in 2003.
Bea Arthur Nude (1991) - cropped by myself
Did Bea Arthur ever see this painting? If so, what did Bea think of this portrait? Was she flattered?
What does it feel like to have someone you've never met paint you nude, from their imagination? And, what would it feel like to see your imaginary breasts exhibited for the world to see at the Whitney Museum?
There are many things I'd have liked to ask Bea Arthur.
John Currin (born 1962) is an American painter. He is best known for satirical figurative paintings which deal with provocative sexual and social themes in a technically skillful manner. His work shows a wide range of influences, including sources as diverse as the Renaissance, popular culture magazines, and contemporary fashion models. He often distorts or exaggerates the erotic forms of the female body.
Currin was born in Boulder, Colorado, and grew up in Connecticut, where he studied painting privately with a renowned traditionally trained artist from Odessa, Ukraine, Lev Meshberg. He went to Carnegie Mellon University in Pittsburgh, where he obtained a BFA in 1984, and received a MFA from Yale University in 1986.
In New York City in 1989 he exhibited a series of portraits of young girls derived from the photographs in a high school yearbook, and initiated his efforts to distill art from traditionally clichéd subjects. In the 1990s, when political themed art works were favored, Currin brazenly used bold depictions of busty young women, mustachioed men and asexual divorcee's, setting him apart from the rest. He used magazines like Cosmopolitan along with old issues of Playboy for inspiration for his paintings. When criticized for being sexist, Currin did not deny it, but did remark that he felt that "at that time [he] didn't feel like a man and [he] didn't feel like a woman." In 1992 a subsequent exhibition focused, less sympathetically, on well-to-do middle-aged women. Nonetheless, by the late 1990s Currin's ability to paint subjects of kitsch with technical facility met with critical and financial success, and by 2003 his paintings were selling "for prices in the high six figures".More recently, he has undertaken a series of figure paintings dealing with unabashedly pornographic themes.
He has had retrospective exhibitions at the Whitney Museum of American Art and the Museum of Contemporary Art, Chicago and is represented in the permanent collections of the Hirshhorn Museum and Sculpture Gardenand the Tate Gallery.
Currin is based in New York City, where he lives with his wife and fellow artist, Rachel Feinstein. John Currin and his wife, Rachel Feinstein, in the front row at Marc Jacobs Spring 2006 show:
from: New York Magazine
Influences: John Currin
By Karen Rosenberg
Published Nov 19, 2006
Karen Rosenberg:You famously painted a topless portrait of Bea Arthur. Were you a big fan?
John Currin:Bea Arthur painting is from Maude, which I used to watch as a kid. In the eighties, I didn’t have TV for, like, a whole decade. When I started watching again in the nineties, The Golden Girls was in syndication. When I had a loft with Sean and Kevin Landers, we’d always take a break in the afternoon and watch The Golden Girls. When I made the painting, I was living in Hoboken and still making abstract paintings, and I was very frustrated. I was walking back from the PATH train and this vision of Bea Arthur just came to me.
From ArtForum:
John Currin - Critical Essay
ArtForum , Sept, 2003 by David Rimanelli
Bea Arthur Naked, 1991, remains the most sensational of these pictures, and the best. The artist depicts the star of Maude, that '70s sitcom about an uppermiddle-class do-gooder, women's libber, and suburban wit--not Arthur's later incarnation in The Golden Girls. Naked, Arthur nevertheless remains composed and dignified, her smile and slightly peaked eyebrows conveying a sense of irony, even amusement. The portrait is too psychological for the everyday antifeminist caricature. And Currin's technique, stiff but more than adequate, dry but not fussy, betokens too much effort for the sake of mere snide laughter. Painted in the rapidly expanding '90s context of well-meaning art (the kind that Maude herself might collect were she part of the scene?), Bea Arthur Naked draws together multiple threads: the "incorrect" representation of women; the campy Pop aura of television sitcoms, perhaps a hang over from the '80s (think "Infotainment" and all those other group shows about a generation raised by the unwholesome light of the tube); and a commitment to figurative painting in the face of politicized art practices, the ever escalating fortunes of photography, and scatter and/or abject art. Perhaps Currin indulged in the last tendency somewhat, given his debased or pathetic subject matter and an impoverished or superannuated technique that savors more of the thrift-shop aesthetic than of the Old Masters.
Bea Arthur Nude (1991) - cropped by myself
Did Bea Arthur ever see this painting? If so, what did Bea think of this portrait? Was she flattered?
What does it feel like to have someone you've never met paint you nude, from their imagination? And, what would it feel like to see your imaginary breasts exhibited for the world to see at the Whitney Museum?
There are many things I'd have liked to ask Bea Arthur.
John Currin (born 1962) is an American painter. He is best known for satirical figurative paintings which deal with provocative sexual and social themes in a technically skillful manner. His work shows a wide range of influences, including sources as diverse as the Renaissance, popular culture magazines, and contemporary fashion models. He often distorts or exaggerates the erotic forms of the female body.
Currin was born in Boulder, Colorado, and grew up in Connecticut, where he studied painting privately with a renowned traditionally trained artist from Odessa, Ukraine, Lev Meshberg. He went to Carnegie Mellon University in Pittsburgh, where he obtained a BFA in 1984, and received a MFA from Yale University in 1986.
In New York City in 1989 he exhibited a series of portraits of young girls derived from the photographs in a high school yearbook, and initiated his efforts to distill art from traditionally clichéd subjects. In the 1990s, when political themed art works were favored, Currin brazenly used bold depictions of busty young women, mustachioed men and asexual divorcee's, setting him apart from the rest. He used magazines like Cosmopolitan along with old issues of Playboy for inspiration for his paintings. When criticized for being sexist, Currin did not deny it, but did remark that he felt that "at that time [he] didn't feel like a man and [he] didn't feel like a woman." In 1992 a subsequent exhibition focused, less sympathetically, on well-to-do middle-aged women. Nonetheless, by the late 1990s Currin's ability to paint subjects of kitsch with technical facility met with critical and financial success, and by 2003 his paintings were selling "for prices in the high six figures".More recently, he has undertaken a series of figure paintings dealing with unabashedly pornographic themes.
He has had retrospective exhibitions at the Whitney Museum of American Art and the Museum of Contemporary Art, Chicago and is represented in the permanent collections of the Hirshhorn Museum and Sculpture Gardenand the Tate Gallery.
Currin is based in New York City, where he lives with his wife and fellow artist, Rachel Feinstein. John Currin and his wife, Rachel Feinstein, in the front row at Marc Jacobs Spring 2006 show:
from: New York Magazine
Influences: John Currin
By Karen Rosenberg
Published Nov 19, 2006
Karen Rosenberg:You famously painted a topless portrait of Bea Arthur. Were you a big fan?
John Currin:Bea Arthur painting is from Maude, which I used to watch as a kid. In the eighties, I didn’t have TV for, like, a whole decade. When I started watching again in the nineties, The Golden Girls was in syndication. When I had a loft with Sean and Kevin Landers, we’d always take a break in the afternoon and watch The Golden Girls. When I made the painting, I was living in Hoboken and still making abstract paintings, and I was very frustrated. I was walking back from the PATH train and this vision of Bea Arthur just came to me.
From ArtForum:
John Currin - Critical Essay
ArtForum , Sept, 2003 by David Rimanelli
Bea Arthur Naked, 1991, remains the most sensational of these pictures, and the best. The artist depicts the star of Maude, that '70s sitcom about an uppermiddle-class do-gooder, women's libber, and suburban wit--not Arthur's later incarnation in The Golden Girls. Naked, Arthur nevertheless remains composed and dignified, her smile and slightly peaked eyebrows conveying a sense of irony, even amusement. The portrait is too psychological for the everyday antifeminist caricature. And Currin's technique, stiff but more than adequate, dry but not fussy, betokens too much effort for the sake of mere snide laughter. Painted in the rapidly expanding '90s context of well-meaning art (the kind that Maude herself might collect were she part of the scene?), Bea Arthur Naked draws together multiple threads: the "incorrect" representation of women; the campy Pop aura of television sitcoms, perhaps a hang over from the '80s (think "Infotainment" and all those other group shows about a generation raised by the unwholesome light of the tube); and a commitment to figurative painting in the face of politicized art practices, the ever escalating fortunes of photography, and scatter and/or abject art. Perhaps Currin indulged in the last tendency somewhat, given his debased or pathetic subject matter and an impoverished or superannuated technique that savors more of the thrift-shop aesthetic than of the Old Masters.
Wednesday, April 29, 2009
NYC Souvenir Pigeon Feather.
How cute is this?
Great gift for a bird enthusiast, displaced New Yorker or that person that has everything.
Handmade Housewares on Etsy - NYC Souvenir by BROOKLYNrehab
(via Etsy Finds)
Great gift for a bird enthusiast, displaced New Yorker or that person that has everything.
Handmade Housewares on Etsy - NYC Souvenir by BROOKLYNrehab
(via Etsy Finds)
Soft Furnishings: The Erotic House of Peter Saville - Mariacarla Boscono, Photo: Nick Knight
SHOWstudio bradcasted live to expose every intimate detail of Soft Furnishings, a fashion shoot with a difference sprung from the fertile imagination of graphic design legend Peter Saville and captured by Nick Knight for the July 2009 issue of Wallpaper* magazine. Inspired by the distinctly modish fetishisation of contemporary furniture design - and applying this to the sexualisation of an entire environment - Peter Saville has worked with set designer Gideon Ponte to construct an 'Erotic House' of Pop perversity, layering abstract and contrasting colours and textures inspired by Richard Hamilton's collages and Allen Jones' canvases. To people this post-modern dreamhome, Nick Knight and Peter Saville turned to stylist Francesca Burns, Italian model Mariacarla Boscono and Autumn/Winter 2009 fashion from the likes of Chanel, Prada, Yves Saint Laurent and Lanvin, accessorised by the less standard accoutrements of the sexual playroom.
Alongside all this will sit SHOWstudio's constant Twitter feed and frequent live updates delivered direct from each and every imaginary room of Saville's eroticised abode.
The entire process of creating and documenting Saville's 'Erotic House' can be seen real-time on SHOWstudio.com, with our broadcast streaming live from 13:00 GMT (times subject to change). Shoot highlights will be constantly available, just in case you miss anything, including interviews with mastermind Peter Saville, image-maker Nick Knight and key players Fran Burns, Gideon Ponte and Mariacarla. Alongside all this will sit SHOWstudio's constant Twitter feed and frequent live updates delivered direct from each and every imaginary room of Saville's eroticised abode.
SHOOT
Art Direction: Peter Saville
Photography: Nick Knight
Styling: Francesca Burns at Management + Artists
Set Design: Gideon Ponte
Models: Mariacarla Boscono at Women Management, Tony Bruce at Storm, David O'Donnell
Hair: Christian Wood
Make-up: Hannah Murray at Julian Watson
Nails: Marian Newman at Streeters
Casting: Sidonie Barton
Digital Capture: Joseph Colley
Photographic Assistance: Tristan Thomson, Andy Vowles and Adam Goodison
Styling Assistance: Helen McGuckin and Rosa Maria Bertoli
Set Design Assistance: Poppy Bartlett
Make-up Assistance: Lauren Parsons
Hair Assistance: Jess Furlan
Production: Gainsbury & Whiting
Production Assistance: Stefania Farah
NK Image Production: Charlotte Wheeler
Lighting: Kinetic
Post Production: Epilogue Imaging
Location: Park Royal Studios, London
SHOWstudio
Creative Direction: Paul Hetherington
Editorial Direction and Interviews: Alexander Fury
Editorial and Production Management: Laura Bradley
Technical Development: Ross Phillips and Dorian Moore
Front-End Web Design and Development: Francisco Salvado
Camera Operators: Rik Patel, Antonio Silva and Andy Vowles
Vision Mixing: Jez Tozer
Film Editing: Harry Hanrahan
Design Assistance: Kate Swingler
Editorial Assistance: Isabella Burley, Lauren Fried and Caroline Legrand
Alongside all this will sit SHOWstudio's constant Twitter feed and frequent live updates delivered direct from each and every imaginary room of Saville's eroticised abode.
The entire process of creating and documenting Saville's 'Erotic House' can be seen real-time on SHOWstudio.com, with our broadcast streaming live from 13:00 GMT (times subject to change). Shoot highlights will be constantly available, just in case you miss anything, including interviews with mastermind Peter Saville, image-maker Nick Knight and key players Fran Burns, Gideon Ponte and Mariacarla. Alongside all this will sit SHOWstudio's constant Twitter feed and frequent live updates delivered direct from each and every imaginary room of Saville's eroticised abode.
SHOOT
Art Direction: Peter Saville
Photography: Nick Knight
Styling: Francesca Burns at Management + Artists
Set Design: Gideon Ponte
Models: Mariacarla Boscono at Women Management, Tony Bruce at Storm, David O'Donnell
Hair: Christian Wood
Make-up: Hannah Murray at Julian Watson
Nails: Marian Newman at Streeters
Casting: Sidonie Barton
Digital Capture: Joseph Colley
Photographic Assistance: Tristan Thomson, Andy Vowles and Adam Goodison
Styling Assistance: Helen McGuckin and Rosa Maria Bertoli
Set Design Assistance: Poppy Bartlett
Make-up Assistance: Lauren Parsons
Hair Assistance: Jess Furlan
Production: Gainsbury & Whiting
Production Assistance: Stefania Farah
NK Image Production: Charlotte Wheeler
Lighting: Kinetic
Post Production: Epilogue Imaging
Location: Park Royal Studios, London
SHOWstudio
Creative Direction: Paul Hetherington
Editorial Direction and Interviews: Alexander Fury
Editorial and Production Management: Laura Bradley
Technical Development: Ross Phillips and Dorian Moore
Front-End Web Design and Development: Francisco Salvado
Camera Operators: Rik Patel, Antonio Silva and Andy Vowles
Vision Mixing: Jez Tozer
Film Editing: Harry Hanrahan
Design Assistance: Kate Swingler
Editorial Assistance: Isabella Burley, Lauren Fried and Caroline Legrand
Tuesday, April 28, 2009
Wood footprints.
As a fan of Buddhist monks, I find this interesting.
In a story straight out of Ripley’s Believe It Or Not, human footprints worn into a wooden floor mark the spot where a 70-year-old Buddhist monk named Hua Chi, has said his prayers in a temple in Tongren, China, for over twenty years.
Footprints in Wood Tell Story of Buddhist Monk’s Prayers
In a story straight out of Ripley’s Believe It Or Not, human footprints worn into a wooden floor mark the spot where a 70-year-old Buddhist monk named Hua Chi, has said his prayers in a temple in Tongren, China, for over twenty years.
Footprints in Wood Tell Story of Buddhist Monk’s Prayers
Tokion May 2009 Cover - Jamie Bochert, Ph: Samantha Rapp
Samanthan Rapp photographed Jamie Bochert for Tokion Magazine on March 21st, 2009 with stylist Christian Stroble.
Tokion May 2009 Cover
Model: Jamie Bochert
Photographer: Samantha Rapp
Stylist: Christian Stroble
Hair: Andre Gunn
Makeup: Osvaldo Salvatierra
Tokion May 2009 Cover
Model: Jamie Bochert
Photographer: Samantha Rapp
Stylist: Christian Stroble
Hair: Andre Gunn
Makeup: Osvaldo Salvatierra
Broadway to Dim Its Lights for Bea Arthur
From The New York Times:
Broadway to Dim Its Lights for Bea Arthur
By Dave Itzkoff
The marquees of Broadway theaters will be dimmed for one minute on Tuesday at 8:00pm in honor of Bea Arthur, who died on Saturday. She was 86.
In 1966, Ms. Arthur won a Tony Award for best featured actress in a musical for her performance as Vera Charles in the original Broadway production of “Mame.” Her other Broadway credits include “Plain and Fancy,” “Seventh Heaven” and “Nature’s Way;” she also played Yente the Matchmaker in the original 1964 production of “Fiddler on the Roof” and appeared in Woody Allen’s 1981 play “The Floating Lightbulb.” Her one-woman show “Bea Arthur on Broadway: Just Between Friends” was nominated for Tony in 2002.
Three Hundred and Seventeen and Counting
From the New York Times / T The Moment:
Fine Print ‘Three Hundred and Seventeen and Counting’
By David Sebbah
The photographer Steven Meisel has photographed every single cover of Italian Vogue for the last 20 years and nine months. From visual parodies of super models heading into rehab, to B-listers posing on the red carpet, to photographing the artist Elizabeth Peyton for the cover way back in 1998, Meisel has used his lens to tap into the zeitgeist. This week, the photographer’s third book, “Three Hundred and Seventeen and Counting,” will be published by Mallard/Janvier. For information about purchasing the book, write to mallard.janvier@gmail.com.
Fine Print ‘Three Hundred and Seventeen and Counting’
By David Sebbah
The photographer Steven Meisel has photographed every single cover of Italian Vogue for the last 20 years and nine months. From visual parodies of super models heading into rehab, to B-listers posing on the red carpet, to photographing the artist Elizabeth Peyton for the cover way back in 1998, Meisel has used his lens to tap into the zeitgeist. This week, the photographer’s third book, “Three Hundred and Seventeen and Counting,” will be published by Mallard/Janvier. For information about purchasing the book, write to mallard.janvier@gmail.com.
WWD Japan - The Model Issue
Every Season WWD Japan interviews the top runway models of the season - this season Reiko Suga of WWD Japan interviewed Nimue Smit, Yulia Kharlapanova, Natasha Poly, and Jourdan Dunn.
Nimue Smit:
Yulia Kharlapanova:
Natasha Poly:
Jourdan Dunn:
Nimue Smit:
Yulia Kharlapanova:
Natasha Poly:
Jourdan Dunn:
Monday, April 27, 2009
Very Hollywood Michael Kors fragrance campaign - Carmen Kass, Photo: Mario Testino
Mario Testino photographed Carmen Kass for Michael Kors Very Hollywood fragrance campaign on October 22, 2008 at the Santa Monica Airport, Hanger 8 with stylist Brana Wolf.
Michael Kors Very Hollywood fragrance campaign
Model: Carmen Kass
Photographer: Mario Testino
Stylist: Brana Wolf
Hair: Orlando Pita
Makeup: Tom Pecheux
Michael Kors’ success on the small screen with “Project Runway” has fueled an even more lofty goal: a fragrance franchise inspired by Tinseltown’s movie heritage.
“Hollywood glamour is the ultimate escape,” said the designer during an interview at his Manhattan showroom Tuesday. “It is an emotional pull, no matter what your age — which gave us the idea for this fragrance. Everyone needs a little escape these days.”
The scent, dubbed Very Hollywood Michael Kors, is slated to be launched in September and is the third primary fragrance franchise for Kors.
As for Very Hollywood, “this is the indulgence. This is the gold dress!” But, he hastens to add, it’s not necessarily a nighttime fragrance. “It’s more of a mood,” he said. “This is definitely not the customer’s sporty moment.”
Very Hollywood, concocted by Kors and the Estée Lauder Cos. Inc.’s Evelyn Lauder and Trudi Loren in cooperation with International Flavors & Fragrances, is a sophisticated floral. Top notes are of mandarin and iced bergamot; the heart is of wet jasmine, ylang-ylang, raspberry and gardenia, and the drydown is of Italian orris, creamy amber, soft white moss and vetiver. “This is the most glamorous, indulgent scent we’ve ever done,” said Kors, adding that he thinks the sunny Southern California landscape adds optimism to the mix.
The bottle is glass molded to suggest the flashbulbs of Fifties and Sixties photography. Outer packaging is a rich coral with a shagreen texture and a gold border; the Very Hollywood moniker (in a font inspired by the Beverly Hills Hotel) is also in gold. “I want women to have that boudoir moment,” he said. “The texture of the packaging, the bottle — they’re all very opulent and glam, with an architectural edge.”
Print and TV advertising are planned for Very Hollywood, both featuring models Carmen Kass and Noah Mills and with creative direction by Mario Testino. “Carmen has been my muse for quite some time,” said Kors. “She’s such a chameleon — we can shoot her in a guy’s T-shirt or dripping in Fred Leighton jewels, and she looks fantastic in both.” The print campaign is expected to break in October fashion, beauty, lifestyle and entertainment magazines. One version, a multipage concept for entertainment magazines only, is intended to look like a tabloid section, while fashion, beauty and lifestyle books will get more traditional single- and double-page spreads (some scented) featuring the couple. Sampling vehicles include scented ribbons with gold-toned, charm-sized replicas of the fragrance bottle, in addition to the traditional vials on card and scented strips. Upward of 60 million scented impressions are being targeted.
TV plans are still being determined, although the expectation is that the bulk of the ads will run in November and December for holiday sales.
Californian optimism and a fifties look characterises the floral fragrance featuring notes of mandarin, bergamot, jasmine, ylang-ylang and gardenia, with creamy amber and vetiver.
Michael Kors Very Hollywood will be available in 30, 50 and 100 ml Eau de Parfum and 30 ml Parfum; the bottle is meant to evoke old-fashioned flashbulbs. There will also be a ballpoint pen with scented ink, a cocktail ring with solid perfume, and a matching body lotion.
Michael Kors Very Hollywood fragrance campaign
Model: Carmen Kass
Photographer: Mario Testino
Stylist: Brana Wolf
Hair: Orlando Pita
Makeup: Tom Pecheux
Michael Kors’ success on the small screen with “Project Runway” has fueled an even more lofty goal: a fragrance franchise inspired by Tinseltown’s movie heritage.
“Hollywood glamour is the ultimate escape,” said the designer during an interview at his Manhattan showroom Tuesday. “It is an emotional pull, no matter what your age — which gave us the idea for this fragrance. Everyone needs a little escape these days.”
The scent, dubbed Very Hollywood Michael Kors, is slated to be launched in September and is the third primary fragrance franchise for Kors.
As for Very Hollywood, “this is the indulgence. This is the gold dress!” But, he hastens to add, it’s not necessarily a nighttime fragrance. “It’s more of a mood,” he said. “This is definitely not the customer’s sporty moment.”
Very Hollywood, concocted by Kors and the Estée Lauder Cos. Inc.’s Evelyn Lauder and Trudi Loren in cooperation with International Flavors & Fragrances, is a sophisticated floral. Top notes are of mandarin and iced bergamot; the heart is of wet jasmine, ylang-ylang, raspberry and gardenia, and the drydown is of Italian orris, creamy amber, soft white moss and vetiver. “This is the most glamorous, indulgent scent we’ve ever done,” said Kors, adding that he thinks the sunny Southern California landscape adds optimism to the mix.
The bottle is glass molded to suggest the flashbulbs of Fifties and Sixties photography. Outer packaging is a rich coral with a shagreen texture and a gold border; the Very Hollywood moniker (in a font inspired by the Beverly Hills Hotel) is also in gold. “I want women to have that boudoir moment,” he said. “The texture of the packaging, the bottle — they’re all very opulent and glam, with an architectural edge.”
Print and TV advertising are planned for Very Hollywood, both featuring models Carmen Kass and Noah Mills and with creative direction by Mario Testino. “Carmen has been my muse for quite some time,” said Kors. “She’s such a chameleon — we can shoot her in a guy’s T-shirt or dripping in Fred Leighton jewels, and she looks fantastic in both.” The print campaign is expected to break in October fashion, beauty, lifestyle and entertainment magazines. One version, a multipage concept for entertainment magazines only, is intended to look like a tabloid section, while fashion, beauty and lifestyle books will get more traditional single- and double-page spreads (some scented) featuring the couple. Sampling vehicles include scented ribbons with gold-toned, charm-sized replicas of the fragrance bottle, in addition to the traditional vials on card and scented strips. Upward of 60 million scented impressions are being targeted.
TV plans are still being determined, although the expectation is that the bulk of the ads will run in November and December for holiday sales.
Californian optimism and a fifties look characterises the floral fragrance featuring notes of mandarin, bergamot, jasmine, ylang-ylang and gardenia, with creamy amber and vetiver.
Michael Kors Very Hollywood will be available in 30, 50 and 100 ml Eau de Parfum and 30 ml Parfum; the bottle is meant to evoke old-fashioned flashbulbs. There will also be a ballpoint pen with scented ink, a cocktail ring with solid perfume, and a matching body lotion.
Baby Panda Dish.
Because I'm a pandadork, I wish all my dinnerware looked like this.
Baby Panda Dish-Mod Retro Indie Clothing & Vintage Clothes
Baby Panda Dish-Mod Retro Indie Clothing & Vintage Clothes
Valeria Dmitrienko - Photo: Joshua Jordan
Joshua Jordan photographed Valeria Dmitrienko for German Elle on November 18, 2008 at Splashlight Studios with stylist Kathrin Seidel.
German Elle May 2009 Editorial
Model: Valeria Dmitrienko
Photographer: Joshua Jordan
Stylist: Kathrin Seidel
Hair: Fred van de Bunt
Makeup: Paco Blancas
German Elle May 2009 Editorial
Model: Valeria Dmitrienko
Photographer: Joshua Jordan
Stylist: Kathrin Seidel
Hair: Fred van de Bunt
Makeup: Paco Blancas
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