29 outubro 2012

LIZ JONES FASHION THERAPY

Who'd have thought the sexiest dress ever made would be so demure?
This is the closest I’ll ever get to Marilyn Monroe. I am next to her shimmering, nude cocktail dress, made by the legendary John Orry-Kelly for Some Like It Hot — a costume expressly designed to showcase her breasts.
Marilyn wanted her dresses to be even more revealing, but the designer felt her character Sugar Kane was ‘the kind of girl who will go so far and no further’.
The shock, as I breathe in the gown’s smell, is that while in the film Monroe appears so voluptuous and meaty, seen up close the dress is tiny. It must have been her magic on screen that made it so sexy as to be almost obscene. 
Marilyn Monroe in 'The Seven Year Itch'
The dress worn by Marylin Monroe in the Seven Year Itch
Seven-Year Itch: Designed by William Travilla, Marilyn’s pleated dress was made with the express purpose of making her look ‘clean, talcum-powdered and adorable’.
Judy Garland in The Wizard of Oz
Dorothy's dress
The Wizard  of Oz: This is the first time Judy Garland’s ruby slippers have gone on display in Europe — and the first time ever that they have been reunited  with Dorothy’s gingham pinafore.
I’m at the V&A’s new blockbuster exhibition Hollywood Costume. It’s the most exciting exhibition to hit London since the Treasures Of Tutankhamun in the Seventies, especially for a cinephile like me. 
What could have been ‘dead dresses on dummies’, as the head of the Hollywood Costume Guild and the show’s curator Deborah Nadoolman Landis says, is a technically brilliant exploration of fashion.
In three dramatically-lit rooms with swelling soundtracks, each outfit is shown under a screen showing a moving image of the actor reciting the movie’s lines.
Alongside seminal outfits like Harrison Ford’s felt hat and leather jacket from Raiders Of The Lost Ark, are details of their fascinating back stories — for example his jacket was distressed using sandpaper and Ford’s own penknife.
Spider-Man, Catwoman and Christopher Reeve’s Superman costumes hover above our heads, while Nicole Kidman’s pink-feathered Moulin Rouge corset sits on a swing suspended from the ceiling.
Given that studios have only been preserving costumes for the past 20 years or so, it’s a miracle so many have survived, most of them rescued by collectors. 
Audrey Hepburn in Breakfast at Tiffany's
The dress worn by Audrey Hepburn in Breakfast at Tiffany's
Breakfast at Tiffany's: Perhaps the most famous LBD of all time was created by Hubert de Givenchy. Audrey Hepburn said of her favourite designer: ‘His are the only clothes in which I am myself.’
Cate Blanchett in Elizabeth:The Golden Age
The dress worn by Cate Blanchett in Elizabeth:The Golden Age

Elizabeth: The Golden Age: The most spectacular piece is Cate Blanchett’s gown by Alexandra Byrne, amid a royal court of costumes from The Virgin Queen, Marie Antoinette and Shakespeare  In Love.
I love Marilyn’s white halterneck from The Seven Year Itch, buffeted by hot air pumped from below.
Then there’s Scarlett O’Hara’s ‘curtain’ dress, slightly faded at the edges, Keira Knightley’s liquid-satin, backless dress from Atonement, Cate Blanchett’s amber gown from Elizabeth and Audrey Hepburn’s black Givenchy number from Breakfast At Tiffany’s.


Dorothy’s dress and red shoes from The Wizard Of Oz are here too for the first time, on loan from America’s Smithsonian Institution.
No wonder this exhibition of 131 costumes has been five years in the making, as museums, collectors and film studios have been cajoled into lending their prized possessions.
But my two favourite costume designers are the real stars here.
The first is Edith Head, whose green tweed suit worn by Tippi Hedren in The Birds is suspended as though in mid-flight. Edith was told by Alfred Hitchcock to use only green or blue, in the hope the audience would forget what Tippi was wearing and be engrossed in the action.
The second designer of note is Milena Canonero, whose Oscar-winning costumes for Out Of Africa, Marie Antoinette and Barry Lyndon are all here.
My favourite costumes, though, are from the late Thirties: here is Carole Lombard’s sheath of sequins from My Man Godfrey, created by Travis Banton — who found the star a ‘brassy blonde’ but transformed her into a classy beauty with his ‘less is more’ designs.
Katharine Hepburn’s Grecian dress from The Philadelphia Story is here, too, made by Adrian Greenberg,
The 1934 Hays Code — a censorship act meant to raise the ‘morality’ of what was shown in the cinema — meant every onscreen outfit had to pass a series of tests, including covering nipples and the navel.
Costume designers had to be sexy in an oblique, inventive way — witness the liquid bias cut and the use of satin and embroidery in Marilyn’s dress from Some Like It Hot. She looks almost naked in the film, which was entirely the point.
As I leave the exhibition, I spot the fur stole Marilyn wore for the final scene, when she runs along the jetty to join Tony Curtis — and Joe E. Brown delivers the immortal line: ‘Nobody’s perfect.’
This exhibition damn nearly is. The only let-down? I stood next to a virtual Daniel Craig as Bond, dressed impeccably in a suit designed by Lindy Hemming and made by Brioni Roma. In real life, he is worryingly short. Proof the camera does lie. But clothes never do …
Hollywood Costume, co-curated by Keith Lodwick and sponsored by Harry Winston, is at the V&A until January 27; vam.ac.uk, 020 7907 7073. Tickets £14, concessions available.


http://www.dailymail.co.uk/femail/article-2224486/LIZ-JONES-FASHION-THERAPY-Whod-thought-sexiest-dress-demure.html

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Take that Victoria's Secret! Kate Upton lands first ever Vogue cover, cementing her status as fashion's new 'It Girl'


Kate Upton has landed her very first Vogue cover, going from Sports Illustrated to the pinnacle of high fashion in less than a year.
Dismissed as a girl with 'the kind of face that anyone with enough money can go out and buy,' by Victoria's Secret earlier this year, the 20-year-old appears on this month's issue of Vogue Italia with the simple tagline 'Seductive'.
Wearing Fendi fur and a Patricia Field bustier, the voluptuous model was photographed by Steven Meisel for the 'Helmut Newton-style' November cover.
Scroll down for behind-the-scenes video
Model moment: Kate Upton, 20, appears on this month's issue of Vogue Italia shot by Steven Meisel
Model moment: Kate Upton, 20, stars on this month's issue of Vogue Italia shot by Steven Meisel, despite being dismissed as having 'the kind of face that anyone with enough money can go out and buy' earlier this year
After shooting to fame at the start of this year thanks to her Sports Illustrated Swimsuit Issue cover, Victoria's Secret famously dismissed the model as unworthy of its brand image.
But soon after her revealing GQ cover shot by Terry Richardson, Miss Upton landed her first profile in U.S. Vogue's June issue, and the magazine dissected her high fashion appeal - did she or did she not, have any?
 


    Now, with two inside shoots for U.S. Vogue under her belt, the most recent seeing her model classic sportswear in a crisp palette of red, black, white and blue for its own November issue, there is little doubt that the model is now a bona fide member of the high fashion set.
    Hailed as 'The New Girl' by American Vogue, Carine Roitfeld has also embraced her, shooting her as the cover girl for the first issue of her new fashion magazine CR Fashion Book. 
    New girl: Back in her swimsuit: The model also appeared in a seven-page inside spread for November issue of American Vogue, which hailed her as 'The New Girl'
    New girl: Back in her swimsuit: The model also appeared in a seven-page inside spread for November issue of American Vogue, which hailed her as 'The New Girl'
    New girl: Back in her swimsuit: The model also appeared in a seven-page inside spread for November issue of American Vogue, which hailed her as 'The New Girl'
    The French former Paris Vogue editor told The Daily Beast: 'I didn’t want a normal model. I wanted someone with a sensual body, someone who could be a mother for all these babies... I would not say she’s a controversial model, but she’s not a classic model. And I like that.'
    And the model says she has no plan to embrace the super-skinny high fashion look.
    'I don’t want to starve myself,' she told U.S. Vogue. 'I still want to hang out with my family and be a normal girl. You have to be confident, and that doesn’t mean starving yourself.'
    Sneak peek tweet: Kate Upton tweeted two photographs from the smouldering V Magazine shoot on Saturday, including one where she is practically busting out of her bra
    Sneak peek tweet: Miss Upton also tweeted two photographs from a smouldering V Magazine shoot 
    Just like Bardot: Make-up artist Jeanine Lobell gave the bikini model thick black eyebrows, thick false eyelashes, and partially-up tousled hair for the 1960's inspired shoot
    Just like Bardot: Make-up artist Jeanine Lobell gave the bikini model thick black eyebrows, thick false eyelashes, and partially-up tousled hair for the 1960's inspired shoot for V magazine
    'I think it’s important to look at magazines and think a healthy lifestyle is attainable,' she explains. 'Now that the fashion industry likes the idea of me, I’m happy if I can have an influence.'
    She says she is particularly comfortable in a swimsuit because she grew up near the beach in Florida, where it was 'no big deal'.
    'When I lived in Florida, the swimsuit was the key wardrobe piece,' she says. 'I lived ten minutes from the beach, but I never sat there and said, "I want to be every man’s fantasy."'

    VIDEO: Behind-the-scenes. Kate Upton for Vogue 




    http://www.dailymail.co.uk/femail/article-2224862/Kate-Upton-lands-Vogue-cover-cementing-status-fashions-new-It-Girl.html


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    Aprenda a fazer uma maquiagem com a cara da primavera

    Prepare a pele com primer, base e pó. Use solução para sobrancelhas para cobrir falhas e para deixar os pelos mais uniformes.:imagem 1

    Antes de começar a passar a sombra, use primer para olhos para segurar a cor por mais tempo. A sombra azul é passada em toda a pálpebra móvel. Escolha um tom mais claro para fazer o fundo.:imagem 2

    Para criar um contraste de claro e escuro, use um tom mais forte de azul no canto dos olhos, fazendo um pequeno V com a cor. :imagem 3

    O delineador azul dá ainda mais destaque aos olhos. Passe na raiz dos cílios, numa linha bem fina. :imagem 4

    O iluminador em gel dá um ar saudável à pele. Aplique uma gotinha no dorso da mão e aplique como se fizesse um C entre o alto da bochecha e o final das sobrancelhas.:imagem 5

    Aposte na moda dos blushes que oferecem, em uma mesma embalagem, tonalidades diferentes. Combinadas, elas dão um efeito bem mais natural.:imagem 6

    O batom de cor bem viva casa com o olho azul, deixando o visual de primavera completo. Neste passo a passo, todos os produtos usados foram da linha Make B Miami Sunset, de O Boticário.:imagem 7



    http://zerohora.clicrbs.com.br/rs/vida-e-estilo/donna/fotos/aprenda-a-fazer-uma-maquiagem-com-a-cara-da-primavera-33600.html




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    Passo a passo para fazer unhas de pelúcia

    Passo 1: pinte as unhas com esmalte na cor que desejar e limpe os cantinhos com o removedor.:imagem 1

    Passo 1: pinte as unhas com esmalte na cor que desejar e limpe os cantinhos com o removedor.:imagem 1

    Dica: para que o acabamento fique perfeito, não esqueça de comprar pó e esmalte em cores iguais ou bem parecidas.:imagem 3

    Passo 3: ao retirar o dedo do recipiente, aperte o pó de flocagem nas unhas para fixar bem.:imagem 4

    Passo 4: para retirar o excesso de pó você pode utilizar um pincel de maquiagem.:imagem 5

    Passo 5: caso fique pó grudado na sua pele, basta passar o removedor de esmalte com algodão para retirar. Está pronto!  :imagem 6

    http://zerohora.clicrbs.com.br/rs/vida-e-estilo/donna/fotos/passo-a-passo-para-fazer-unhas-de-pelucia-32502.html




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