Minggu, 25 September 2011

Sofía Vergara Best Actrees


Sofía Vergara Personal life

Vergara was married at the age of 18 to her childhood sweetheart, and she gave birth to her son Manolo Gonzalez-Ripoll Vergara on September 16, 1992, at the age of 20.
After her divorce, Vergara studied pre-dentistry at a university in Colombia for three years. Then, many opportunities arose to work in modeling and in show business, and Vergara decided to pursue these in Latin America, leaving two semesters shy of graduating from dental school.Soon she decided to move to Miami, Florida, to take advantage of opportunities and to move away from unrest in Colombia (her older brotherhad been murdered in 1998 during an attempt to kidnap him). She brought her son, mother and sister with her. Her sister, Sandra, is now a minor movie and television actress in the United States.
Sofia was diagnosed with thyroid cancer in 2000. She had followed the recommended treatment (surgeryiodine radiation) of her doctors and had a full recovery
Sofía Vergara

Sofía Vergara at the 2009 American Music Awards
BornSofía Margarita Vergara Vergara
July 10, 1972 (age 39)
BarranquillaAtlánticoColombia
Other namesLa Toti
OccupationActress, model, television host
Years active1995–present
SpouseJoe Gonzalez (1991–93; divorced; 1 child)



Rabu, 21 September 2011

PARIS couture week 2011


couture week: franck sorbier


(images via style bistro)
“You can buy tickets to concerts, to plays, to standup comedy acts, and really a fashion show is a kind of spectacle, too, with drama, emotion and beauty.  So I figured, why not sell tickets to my show, too?” franck sorbier told forbes, of his decision to to charge  31, or $44, online, to anyone wanting to come.


and like that, the industry was revolutionized and scandalized (what?!?  an outsider without the proper ysl archives in the closet or imdb credits to his/her name?!? SACRE BLEU!).  we’ve only seen a dash of mr. sorbier’s work before (s/s 2011 hc), but he’s not known for the mundane (and the industry paid him back in kind for his transgressions, the nyt sniping that the range was “rather repetitive.”  read: get back in line with the social hierarchy and celeb-worship, son.)


as for the collection itself, slate explained (trans.) “(i)n the theater of the Cirque d’Hiver foresty settings had been drawn up, wood, stumps, branches, moss…”, a setting for, as thenyt writes, “the story of a sleeping beauty (in the form of the French pop singer Shy’m) who dreamed of woodland nymphs and gnomes.”  the pieces, all hand-crafted, frequently appeared like the science experiments that happen when a tree falls over: mold, mushrooms, mildew, and moss sprouting up in a bevy of colours and textures.


“It’s the anti-couture couture show.  There are no sequins, no crystals, nothing that sparkles. Just pieces that required lots and lots of work,” the designer explained to forbes, the site then writing that “Sorbier says he personally did the lion’s share of the labor, hand-scrunching the silk georgette into the rumpled texture that has become the veteran designer’s trademark. All the material was then hand-dyed in the atelier sink.”


and though the show certainly didn’t have the sheen, the overwhelming commercial appeal of the valentino or armani privé collections, it did boast an eclectic charm and a quality that no other presentation could match.  after all, who can deny the artistic value of a piece like that below, with its slowly fading melange of colours, its almost organic appearance, its ability to transmit a physical texture through image alone?  we’re not all of us looking for a pretty dress to the oscars and mr. sorbier is smart enough to know it oughtn’t be the celebrities he courts.  i imagine the public, where his fans and customers will spring from, are now very pleased indeed.


PARIS FASHION 2011


August 8, 2011
August 3, 2011   1 note

couture week: jean paul gaultier


(images via style)
it’s finally time to draw opt’s ever-lingering reflections on fashion week to draw to a close, fall couture edition, so i thought it would be fitting to once again end on the note that represents a designer regularly offering some of the most spectacular creations known to the art form: jean paul gaultier (see his haute couture shows from s/s 2010, a/w 2010, s/s 2011).  thus, we can be a little sad and happy all at once.


as we moved into the scene, readying ourselves for whatever the designer might throw at our (somewhat) hapless selves this time, that (again?) soundtrack of the past year played, “actor Vincent Cassel winding up Natalie Portman about black swans and white swans,” asstyle puts it, informing us first that somewhere in the aesthetics of the show, we’d get yet another flash at that so-fashion-beloved theme of the dance.


anyway, as i perhaps should have expected, mr. gaultier is ever edgier than that, with more of an unexpected turn (as ever) than a simple re-hashing of an already done theme, and for his a/w 2011 couture show.  instead, as cathy horyn for the nyt writes, “Mr. Gaultier seemed more interested in the characters who populated that world, some of them Russian émigrés,” leading us through a dance of our own with the ghosts of a not-always-pretty balletic past, as much about the places rudolph nureyev sprang from as the costumes he might have sported onstage.


most critics seem to agree that this was a retrospective of sorts—based, suzy menkes of the iht argues, on “the magnificent retrospective of his work at the Montreal Fine Arts Museum”—detailing all the highlights of his some 35-year career (we’d rather recently seen another one for his rtw s/s 2007 show).  however, to pacify any ideas that this might have been a dull rifling through that which we’ve already seen, one might be best served to remember what mr. gaultier is known for: “plays on androgny and corsetry, winks to gypsies, boxers and sailors,” wwd enthuses.


of the clothes themselves; “Jean-Paul Gaultier did not depart from his usual antics this season, even for the haute couture,” t magazine assures us, but if there were these moments of storied eccentric-ism, the designer didn’t forget the lovely path he forged during his rtw a/w 2011 show, during which he offered up plenty of lovely, tailored, and wearable alternatives for the chic over- 30 crowd.


to be sure, the show played with dance-like proportions, ruffles, and feathers.  the latter drawing various raves, including an enthusiastic “Gaultier used feathers with great imagination throughout the collections—tufts of multicolored marabou simulating camouflage prints or an Icelandic sweater; a feathered cockerel embellishing the sleeve of a black evening coat; and the bands of iridescent pheasant plumes streaking a full tulle skirt—with a bodice elaborately embroidered to simulate those feathers,” from vogue 


but to be fair, his stately pinstripes and precisely-cut-and-tailored lines were still on display, cathy horyn commenting that “(h)e reworked the classic trench coat — and before you say “Again?,” some of them were tempting, notably a long draped trench dress in beige jersey,” and style noting that for all his ‘enfant terrible’ reputation, “the passage of time has taken the edge off such drollery,” allowing the designer to become something of a classicist that all the rest look up to something even…refined and elegant.


indeed, as suzy menkes seemingly concurs, “this show was also the nearest Mr. Gaultier has been to revealing the nonchalant elegance of his thoroughly modern couture. The classics might have a little fillip: tufts of fur or feathers on a trench, pleated at the back; or a leather and jersey coat named provocatively ‘Black Swan.’”


in the end, the show seemed to make for all the elements that would leave the couture season, customers and critics alike, thoroughly satisfied.  we saw plumes and ruffs, tutus and metallics, but also a strong statement on what one of the industry (and indeed, the art form)’s most storied designers stands for.  and in a season when some of those other pillars of the community (christian dior, chanel) seemed to vacillate on what they were representing, it was all the better to see mr. gaultier, as ever, firmly rooted in the past, but ever moving forward.

PARIS INSPIRATION STYLE


September 17, 2011   4 notes
inspirational salsa: edgar degas-blue dancers (c. 1890)inspirational salsa: edgar degas-blue dancers (c. 1890)
September 15, 2011   6 notes
inspirational salsa: gabrielle ‘coco’ chanel (c. 1910)inspirational salsa: gabrielle ‘coco’ chanel (c. 1910)
September 2, 2011
inspirational salsa: edouard manet-flowers in a crystal vase (c. 1882)inspirational salsa: edouard manet-flowers in a crystal vase (c. 1882)
August 15, 2011   1 note

Minggu, 18 September 2011

SCARLETT JOHANSSON ON THE STYLE

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