2012年8月28日星期二

so as with many genuine Publishers. Always make an alternate source of online Income like

I am in the field of Computers from past 16 years and during this period I had learnt many things and from the beginning itself I was very fond of learning Computer Programming and at present I am developing Software programs for various Govt. Sectors. And regarding the Internet business, I started my internet career about 5 years ago and since then I have learnt a lot from this Internet thing.

Almost 80% of Internet users search for ‘How to make money online?‘ and so I decided to create a niche website to tell you about the most of earning money online.

make money online How to Make Money Online   A Stable Income Tip !

Make Money Online

Since, this is my first post describing this niche, I just wanted to tell you the ‘Basics of Internet Career’ and what is all about ‘Earning Money Online‘.

So guys, have you ever thought that how most of the publishers earn their living only with a few sites they develop. Most of them are under the free site providers like Blogger, WordPress.com, etc. The main success behind such Publishers is just their hard work and patience.

I have seen many publishers who are earning more than $144K per month, so how this happened? Actually, they are writing under a proper niche and that too continuously, within time the reputation of their site increases in search engines and they start earning regular income from their blogs/websites. For more information about finding your niche, refer to my article regardingList of High Paying Adsense Categories for your Niche Website.

Regarding Adsense, its a very big deal to make a good standing account with Adsense because Google won’t spare a single second to ban your account if you have made a single mistake in following Adsense TOS.

But, what if you haven’t done any mistake and Adsense disabled your account, so as with many genuine Publishers. Always make an alternate source of online Income like:

  1. Sell online products.
  2. Sell your own ebooks or products.
  3. Become Affiliate Marketer, through which many publishers are earning their livelihood.
  4. Always use Adsense Alternative Publisher accounts, don’t ever depend on a single firm as Adsense.

If you follow the above tips, you will always have a backup of your Income Source, and if something odd happens with Adsense account, you will gain a regular income from other sources.

But, I recommend making a good standing with your Adsense account as this is a Genuine Publishing network and pays the most share which comes form its advertisers.

Now, what about the Stable Income? Its a must have like problem for almost all of the Publishers who are beginners in this field. don’t worry guys, I will try to solve this problem also, rest depends on your work and writing capabilities.

The income which is coming regularly is called Stable Income, but when this income multiplies itself per month then its called a GOOD STABLE INCOME, so how to earn a good stable income, its very easy… just follow this tip:

HAVE PATIENCE AND UPDATE YOUR SITE DAILY WITH NICHE AND QUALITY CONTENT

DON’T FORGET TO FOLLOW THE ABOVE 4 POINTS AS A SOURCE OF SECONDARY INCOME

After a certain time, you will be getting a regular income, and please don’t blame me if you are not writing proper articles, not updating your blog regularly and expecting to get a good income.

Moreover, many of us think that Google Panda update has eaten my visitors, but my personal opinion about this blog and the visitors is that after recent Panda Update, every genuine publisher is getting targeted users, and I am watching my blog since the last update and I have seen a drastic increase in returning visitors and also new ones, that too targeted.

2012年8月23日星期四

With the Bobbi Brown Desert Twilight Collection, Bobbi Serves Brights for Dessert

With the Bobbi Brown Desert Twilight Collection, Bobbi Serves Brights for Dessert

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bobbi brown desert twilight fall 2012

It all started with a trip to the Grand Canyon…

No, no, that’s not right.

However it started, Bobbi Brown’s new fall 2012 collection is conjuring images in my mind of Vampire Edward skulking amongst the saguaro.

According to the friendly Bobbi Brown sales associate I spoke with at Nordstrom today, the new Desert Twilight collection was NOT inspired by vampires, contrary to the concoctions of my active imagination.

But can’t you see it? — Edward, with that familiar look of tortured malaise, his pale skin glistening in the late afternoon light as he fluffs his tousled hair and mutters in his moody way, “Bella…we should run away together. You, me and Renesmee, our half-human child who ages in dog years.”

The Bobbi Brown sales associate said that the 15-piece release for eyes, lips, cheeks and nails (yup, nails) was inspired by a photo shoot Bobbi had in the desert and represents a new direction for her, something outside of her comfort zone.

Along with the wearable neutrals we usually see from her, the release also features a bright turquoise cream shadow, a shimmery purple eyeliner, and two nail polishes, also in the same turquoise and purple, and all four of them are TO DIE. The gal from the YSL counter even walked over, and we gushed over them for a good 10 minutes.

The bright blue shadow and polish are so intense that they practically reached out and grabbed me by my eyes.

Oh, and the purple liner and polish? A complex blackened purple with tiny flecks of multicolored glitter. Very Chanel.

A couple of tiny black tubes also caught my eye… I thought they were black lip glosses or lip conditioners at first, but they were actually a combination cream product called the Cream Lip Colors for Lips & Cheeks.

They double as blushes and lip colors — like Becca Beach Tints, but thicker, with more pigment and a glossy finish.

Here are pics and swatches of the release. Let me know if something catches your eye. :)

bobbi brown desert twilight fall 2012

bobbi brown desert twilight fall 2012
Nail Polishes in Twilight (left) and Turquoise (right)

bobbi brown desert twilight fall 2012
Long-Wear Cream Shadow in Blue Moon (left) and Long-Wear Gel Eyeliner in Twilight Night Shimmer Ink (right)

bobbi brown desert twilight fall 2012
Bronzer/Blush Duo in Bahama Brown Shimmer Blush and Pink Peony Illuminating Bronzer

bobbi brown desert twilight fall 2012
Desert Twilight Eye Palette

bobbi brown desert twilight fall 2012
Lip Glosses from the white shade at the bottom to the top: Firefly, Bronzed Heather, Evening Rose, Pink Sunset, Honeysuckle and Twilight

bobbi brown desert twilight fall 2012
Brush Kit, $55

bobbi brown desert twilight fall 2012 swatches 1
1) Bronzer/Blush Duo in Bahama Brown Shimmer Blush and Pink Peony Illuminating Bronze; Glosses in 2) Firefly, 3) Bronzed Heather, 4) Evening Rose, 5) Pink Sunset, 6) Honeysuckle, and 7) Twilight; Nail Polishes in 8 ) Turquoise and 9) Twilight

bobbi brown desert twilight fall 2012 swatches 3
1) Long-Wear Cream Shadow in Blue Moon, 2) Long-Wear Gel Eyeliner in Twilight Night Shimmer Ink, Cream Lip Color for Lips & Cheeks in 3) Honeyed Tea and 4) Pink Truffle

bobbi brown desert twilight fall 2012 swatches 2
Desert Twilight Eye Palette

The Bobbi Brown Desert Twilight Collection includes…
  • Bronzer/Blush Duo in Bahama Brown Shimmer Blush and Pink Peony Illuminating Bronzer, $36
  • Glosses in Firefly, Bronzer Heather, Evening Rose, Pink Sunset, Honeysuckle and Twilight, $23 each
  • Cream Lip Color for Lips & Cheeks in Honeyed Tea and Pink Truffle, $20 each
  • Desert Twilight Eye Palette, $60
  • Long-Wear Cream Shadow in Blue Moon, $24
  • Long-Wear Gel Eyeliner in Twilight Night Shimmer Ink, $22
  • Nail Polishes in Turquoise and Twilight, $18
  • Mini Brush Kit, $55

Your friendly neighborhood beauty addict,

Karen

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Givenchy Gloss Interdit Lip Gloss- Pretty Plum Sha

Givenchy Gloss Interdit Lip Gloss: Pretty Plum Shades for Fall louis vuitton online

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givenchy gloss interdit review top
Three of the four Givenchy Gloss Interdit plum shades, from top to bottom: Velvet Purple Coach bags factory outlet store, Sensual Chocolate, Lilac Confession

Earlier today I spent some quality “me” time with the plummy shades from Givenchy’s new Gloss Interdit ($25) line of lip glosses.

  • Lilac Confession: a bright, cool-toned lilac with shimmer
  • Sensual Chocolate: a shimmery plum-brown
  • Velvet Purple: a shimmery berry
  • Rose Taboo (not shown): a rosy mauve

Don’t they just scream fall?

Based on the plums Louis Vuitton outlet online, Givenchy scored big with these 15 new glosses coach outlet, loading ‘em up with vibrant color, blinding shine and a smooth, non-sticky texture.

Givenchy also added hyaluronic acid microspheres, which are en vogue in a lot of beauty products now. They’re said to bind with water in the skin to, in this case, produce plumper, smoother lips with fewer deep wrinkles.

I don’t know if it’s more due to wishful thinking or microsphere technology, but I think I see a subtle difference in the size of my lips when I’m wearing these (although I can’t feel a difference).

In short — I think Interdit’s the Givenchy Gloss Interdit is packin' heat hotness, but let me know what you think. :)

givenchy gloss interdit review caps

givenchy gloss interdit review wands
From left to right: Lilac Confession, Sensual Chocolate, Velvet Purple

givenchy gloss interdit review velvet purple
Velvet Purple

givenchy gloss interdit review sensual chocolate
Sensual Chocolate

givenchy gloss interdit review lilac confession
Lilac Confession

Taste and texture

Dry lips don’t stand a chance against Gloss Interdit’s moisturizing formula. The stuff drenches lips in hydration.

There’s also a faint lipsticky scent and light fruity flavor, but neither one is strong, and the scent fades quickly.

Pricey, but comparable to Chanel/Dior

The $25 price is hella bootsy, but at least they don’t look or feel like a ripoff.

I put ‘em right up there with Chanel Aqualumieres and the Dior Creme de Glosses — the queen bees in my luxury lip gloss world. :)

So sleepy…

I was *really* dragging today, even after liters and liters of tea…

How was your day? Anything new to report?

I could use an hour of sofa time and some Laguna Beach: Season One before bed.

Your friendly neighborhood beauty addict Gucci,

Karen

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9 Things I Would Like to Try

9 Things I Would Like to Try

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1. A fancy honeymoon. El Hub and I just had our second anniversary. With our jobs and whatnot we never went on a fancy honeymoon. I can’t complain, but I’d sure love to go to Italy!

2. Guitar lessons! My lil’ brother got me this guitar for Christmas. It rarely sees any action. I can paw at it like a cave girl, but the sound it emits frightens the cat.

3. Making out with C. Bale. Just kidding! Kinda…

4. Blogging from Paris, Milan and Tokyo Fashion Weeks, all in one year!

5. Riding as a passenger in a smokin’ fast jet, like the kind the Blue Angles fly! Fast cars and motorcycles don’t do it for me, but there’s something about fast jets…

6. Sleeping in every morning for an entire month. I’m sooo not joking, yo.

7. Watercolor painting.

8. Not doing anything productive at all on the weekends.

9. Sipping a warm cup of coffee on a NY rooftop at the crack of dawn, looking out across the city as it comes to life.

Do you have a list of things you’d like to try? Please share them in the comments. :)

Your friendly neighborhood beauty addict,

Karen

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Holiday Party Makeup- The Holiday Cocktail Party o

Holiday Party Makeup: The Holiday Cocktail Party or Mixer

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holiday-party-makeup-tips-final-ud

Ah, ladies. Aren’t you glad it’s Friday? :) TGIF! Today Coach Outlet Store Online, since we’re getting down to the Christmas wire and the social season’s in full effect, I thought I’d try a makeup look with a little more pizazz than my earlier ideas for office parties and small get-togethers with friends.

It hit me while thumbing through the small look book that comes with Urban Decay’s Book of Shadows Volume II palette. There’s a shot of a sultry smokey eye that practically jumps right off the page Coach Outlet!

Urban Decay Book of Shadows Vol. II ideas 1

Admiring Studying the picture for a moment, what stood out to me were the blending and colorful shimmer.

Not wanting to spend too long on my makeup this morning, the version I tried requires a little less blending to do.

holiday party makeup tips urban decay book of shadows eye

Still wanting the eyes to be the focal points of the look, I went with a (subtler) shimmery golden peach cheek using NARS Orgasm Blush and a coral lip with MAC Cremestick Liner in Summerfruit, adding a layer of Benefit Silky Finish Lipstick in Sugar Cookie on top.

holiday party makeup tips urban decay book of shadows 2

I’m picturing myself wearing this to a holiday cocktail party with friends, maybe paired with something edgy (these Max Studio outfits sprang to mind).

max-studio-final

So where’s the party at, haaaay? If you’re heading to one this weekend louis vuitton shoes, can I come too? :)

Two weeks till Xmas!

Do you remember being a kid and feeling like the last few days before Christmas stretched on forever? Like they lasted decades? But for adults it’s like weeks pass in the blink of an eye… I swear it was just Halloween 20 minutes ago Coach Outlet Online, LOL Coach Factory Outlet Online!

What are your plans this weekend? El Hub and I might go to dinner, but Tabs/T-Woww plans to stay home and watch the new episode of Jersey Shore.

tabs-the-situation

He’s obsessed with that show. I caught him searching for tanning beds and hair gel on Google a few minutes ago…

Your friendly neighborhood beauty addict,

Karen

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2012年8月21日星期二

Charles LeDray “Mens Suits”

Charles LeDray “Mens Suits”

Mens Suits Charles LeDray
Charles LeDray, Mens Suits. Commissioned by Artangel Coach Handbags, 2009 Photo: Julian Abrams

I had meant to write a proper review of the exhibition of Charles LeDray, which is closing tomorrow at the Fire Station on Chiltern Street in London, but, unfortunately, have been unable to visit it in person. Organized by Artangel and titled “Mens Suits”, it exhibited new work by the artist made specifically for the show. Known for the painstaking re-creation of scaled-down objects and particularly garments, Le Dray’s work brings to mind the uncanny quality of the miniature alongside the equally uncanny feeling caused by empty garments in an exhibition space, which inevitably point to the absent body.

Many of LeDray’s works also contain signs of wear, as he tatters the fabric of his miniature suits. This interest in the decaying and “deconstructed” garments is reminiscent of Margiela’s work, who also played with scale in his 1990s collections for which he enlarged Barbie dolls clothes.

In a lyrical essay James Lingwood wrote about the exhibition, he describes LeDray’s work:

“All the clothing coach outlet online, as well as their shabby settings, suggests other, unknown lives. The clothes feel like they have been worn, then discarded for some reason or other—disinterest, rejection or death. They have had a life, dressing some body. Everything is mixed up and sorted in a different way, ordinary clothes brought together by a common fate. Handed over or retrieved, they are prepared for somebody else, waiting for another life. They are between states, between places, between bodies.”

You can also view Sam Blair’s film Like a Memory: Perspectives on Mens Suits commissioned by Artangel in conjunction with the exhibition to gain a remote yet comprehensive view of the show

Like a Memory: Perspectives on Mens Suits from Artangel on Vimeo.

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The Carnival of Trinidad and Tobago- An Interview

The Carnival of Trinidad and Tobago: An Interview with Albert Bailey

By Natalya Mills


“Beauty and Perpetuity” by wire bender Steven Derrek, a remake of a George Bailey classic in 2010 Kiddies Carnival.

The carnival of Trinidad and Tobago—one of the most renowned and celebrated carnivals worldwide—is known for its innovation, creativity, imagination and fanfare. During each carnival season, a great level of originality is generated by the mas-making [mask-making] community, which produces costumes worthy to be deemed the Couture of the Caribbean. These handmade, one of kind costumes often leave spectators and the masqueraders alike in awe. However, in recent years there has been a significant change in the quality of costumes that are being produced in Trinidad. Mass production of costumes and an increasing urge to make larger financial profits takes away from the distinctive cultural and creative aspects of mas. Wire Bending is at the heart of mas making, without which a large part of the singularity of the Trinidad carnival would be lost. These wire benders bring signature styles to the carnival and assist designers in bringing their ideas to life. Many of the wire-benders have no formal training, yet they create great engineering and mechanical feats. One of these craftsmen Mr. Albert Bailey continues to build elaborate costumes and teach the craft of bending wire. On my trip back home to Trinidad I had the pleasure of sitting with him to discuss the Trinidad carnival.

NB Wire Bending is the heart and backbone of Trinidad carnival costume making. Unlike carnivals in Brazil and New Orleans that consist predominately of large floats, Trinidad’s carnival costumes are carried by the masquerader. Wire bending is not a simple procedure and the costumes are not as heavy as they may seem. It takes a great amount of ingenuity and skill to create the frames of these grand costumes that you see on the streets of Trinidad, Brooklyn, Canada, London and other Caribbean islands during carnival season. There is a lot of precision needed to create these masterpieces made of wire and tape, alongside, bamboo and fiberglass. These frames are then decorated and paraded during carnival, but beneath the feathers, fabric, glitter and beading, are these great wire structures.

Natalya Mills: Tell me about yourself Mr. Bailey.

Albert Bailey: My name is Albert Windsor Bailey, brother of the great George Bailey. I was born on December 4th 1936. I was born on 12 Buller Street, Woodbrook, Trinidad and Tobago. I am 73 years old and I have been working with wire since 1946. I am the oldest wire bender in Trinidad and my skills are based on form. Since the time I started, carnival has changed: we have become more commercialized and we have faster operations. We make forms from plastic now, but thank goodness we still have some forms made in wire. There are a few of us that work exclusively in wire, people like Clyde Basker, Senor Gomez, Stephen Derek and myself that do form bending. We now have the Mas Academy of Trinidad were we teach form making. If we don’t save the art [of wire bending], the Trinidad carnival would loose its singularity and become like the one in Brazil with massive floats, as opposed to wire frames carried by an individual. We are the ones that are supposed to make sure that the art [of carnival] will be on our people and Brazil will keep their art on the floats. This sort of craft [of bending wire] is dying out slowly, but we are trying to hold on to it. With people like you seeking the information, I believe the craft will be in good shape and will be preserved. But I don’t only do wire, I do copper, I do papier-maché, I do form work, I do fiberglass work, which is now taking the place of the wire. I also do steel work.

NM: So you’re a well rounded with materials. How did you get involved in this type of carnival art/ craft?

AB: When George (my brother) started making mas in 1856, I was just peeping around and saw certain men doing certain works with wire and figured I can do it. I tried it and I became successful at wire. As a little child I tried it with traditional costumes: the wild Indians, the fancy Indians, as well as bringing improvement to the fireman costume. My first fireman had a big collar. Then I started to make sailor mas, and eventually I began making massive costumes.

NM: Did you only work with your brother?

AB: I worked with Peter Minshall [a very well-known carnival designer] for 12 years


TanTan and Saga Boy from the band Tantana 1990-Peter Minshall.

NM: And what was that experience like?

AB: That was is what I would call a classic experience. It was a continuation from George to Peter, which I enjoyed very much. I was part of the creation of TanTan for Peter Minshall’s band Tanana in 1990. I was involved in the creation of Lord of Flies (Santimanitay). I was responsible for scorpion. If a smaller band requested me to make something I would. The craft must go on Coach Factory Outlet Online, right now I am training my granddaughter to bend wire. She designs for a children’s band in Trinidad.

NM: So let’s say for example, when you did Santimanitay, what was the process? How did it start?

AB: Well it started with the idea of the designer Peter Minshall. When he showed me Santimanitay on paper, I studied it and gave him a prototype. If it was satisfactory he will give you the ok to proceed and start to construct the piece with wire.

NM: It is amazing to see TanTan in motion. The fact that she is so large and is carried by an individual is an engineering feat. Turning to the making of it: so you do the prototype, Minshall agrees to it and you go ahead and start. Looking at something like TanTan how do you know how much wire you need.

AB: You don’t know, you just keep going. You look at the footage, if it 30 feet then you start scaling. If the legs are 50 inches then the arms will be this much, the torso will be this much etc. And you keep putting the human body into focus until you get what you are looking for. It took about 480 wire rings to make Tan Tan mobile.

NM: So when you are using the wire are you using other materials as well and does that cause a problem?

AB: Well the matching of the materials will be done with paint or skin color or clothes. But that’s when the seamstress comes into play.

NM: Is the seamstress working alone or does she have help?

AB: If the seamstress decides to get the garments made by a factor or make them herself that’s up to her. All the wire benders do is get the measurements from the individual that will be carrying the costume and work from that. I have to build the costume off of the individual wearing it.

NM: Have you worked on King and Queen costumes that were being judged during the carnival?

AB: I worked on all kinds of mas, individuals, Kings, Queens, and kiddies. Children’s mas are my pride now.

NM: Do you use different wire gauges?

AB: I do, it depends. The kid’s costume I work with fiberglass and 12-gauge wire. With adults I use 8-9 gauge wire because it’s thicker and I use fiberglass jackets or aluminum jackets on the individual that is wearing the costume.


NM: When you say jacket you mean the piece that is worn under the costume that holds it up on the individual?

AB: Yes the brace is what they wear to hold the weight of the costume. It’s worn like a sort of backpack.

NM: So when you start with the brace, you already have someone to fit it? So before TanTan you already knew who was going to carry/perform her?

AB: Allyson Brown performed TanTan and Peter Samuel performed Saga Boy. The individual must come and be measured and fitted. Everything works from the base and then you build up as high as you want. Sometimes it gets heavy. But most of the time you working with the scale and the most you want the costume to weigh is 45 or 50 pounds, reasonable enough to wear for 7 minutes on the stage to be judged. If you are wearing the costume in the streets for carnival I will try to make it lighter or to get someone to help you carry it.


TanTan and Saga Boy in process

NM: Didn’t someone fall in there costume this year while on the stage being judged?

AB: Yes, there were two separate incidents. I believe it was caused by not properly constructed costumes. When you are bending wire you bend with strength and balance, if you don’t have balance, the costume would be beautiful but the wind will take it down and the wearer will not be able to control it.

NM: Some costumes have wheels to help support the person wearing it?

AB: Yes three wheels, sometimes more are attached to help make the costume move along easier on the stage or the street.

NM: TanTan was made without wheels, she was carried. Why is that?

AB: I don’t like wheels, but I have to use wheels now because of the competition.

NM: Is it mandatory to have wheels in the competition?

AB: If I don’t use wheels the designer that does use wheels can make a bigger costume. Without wheels you are restricted with size because the person has to carry all the weight. With wheels you can get a larger costume. But I believe in making a costume without wheels. The masquerader enjoys themselves more without the wheels.

NM: I would think it’s easier to carry a costume with wheels.

AB: It’s only easier to pull the costume. If you are in a costume with wheels and there is a very strong winds blowing, you will have a hard time pulling it against the wind and you will not be able to get out of the costume without help. A costume without wheels on the other hand is easier to maneuver and you can get out of it without help. If you have wheels and you try to move against the wind you will lose your balance.

NM: Looking at carnival currently, how do you feel about the emergence of the bikini, feathers and beads costumes? How do you feel about the change?

AB: It’s a hell of a big change. There were times, when you would go to a mas camp (where costumes are made) and you enjoyed being there along all the festivities that were taking place. There was always food, music and a feeling of community. You could actually see your costume being made in front of you. Now it has become commercialized and you have to order your costume behind a glass window with a representative.

NM: Do you feel like it has just become a job and has lost a lot of its passion?

AB: Yeah, it’s a job and that job is killing my spectacle of carnival, it’s killing it.


2010 Trinidad Carnival by Kenwyn Murray

NM: Do you think the art of bending wire is dying?

AB: Well not to me because I am still here and there are still a few real wire benders in Trinidad. There are still about six or eight of us left. When I say real wire benders I am not talking about the guys that put a piece of plastic and a feather and call it a head piece. I’m talking about people that can look at the Statue of Liberty and bend it out of wire free hand.

NM: Do you feel people like yourself are the last of a dying breed? Who is going to take over when you guys are no longer here? Will Trinidad loose this major part of their carnival culture?

AB: No, no, no Coach Bags Online! Don’t put it that way. There are some young children that are interested in wire bending.

NM: So there is hope for the wire bending craft?

AB: Yes there is hope for wire. Once there are children that are interested in learning to bend wire, to create great costumes carnival will be fine. The Mas Academy in Woodbrook will help with this endeavor. Also there are people like you that are involved in preserving the culture and teaching about Trinidad carnival. I am hopeful, I think we are in we are in good shape.

About the author
Growing up in Trinidad and Tobago, West Indies, Natalya Mills watched her grandmother create men suits for politicians; she played around in a Steel Pan-Yard while her uncle practiced his music. Her grandfather, a talented artist and musician, made her life-long love for art inevitable. After leaving Trinidad in her teen years to move to New York, she took her early influences with her. Natalya attended the Fashion Institute of Technology, where she studied Fashion Design, as well as Display and and Visual Arts Management. At present, she is completing her masters in Visual Culture: Costumes Studies at New York University. Natalya is also currently researching and working on a book about wire benders from Trinidad.

Brief History of Trinidad Carnival
Trinidad’s Carnival is one of the worlds most renowned carnivals and is deeply intertwined with the country’s history. In 1797, Trinidad was captured by the British and was made a crown colony. Prior to the British, the French began to settle in 1785, bringing their slaves, culture and customs to the island. In this era, the period between Christmas and Lent was marked as a time of merriment and feasting by both the French and the British. The French continued with their fancy balls, fetes champetres and making visits from house to house. Thecarnival celebration between 1783 and 1838 was dominated by the white elite. Africans and coloreds (persons of mixed race) were not allowed to partake in the festivities by law. Even though they were not permitted to publicly participate they continued to do so on their own compounds. This gave the Africans some measure of freedom to enjoy themselves and engage in the merriment. With the emancipation of the slaves in 1838 the door opened for the full participation of Africans in carnival. With this new freedom they were able to express themselves and make mockery of their former oppressors. Characters such as the Dame Lorriane, Pierrot Grenade began to emerge. Africans were involved in making masks, dancing, stick fighting, and re-enacting scenes of past enslavements.

After slavery Trinidad received an influx of different cultures, ranging from East Indian, Asian, Spanish, Lebanese, Syrians and Europeans, who came as indentured servants. They came on contracts to work on the suguar plantations and were able to stay for a few years. They were then free to return to their countries of origin. Many of these people decided to stay and build a life in Trinidad. Many were allotted land and they established small businesses. These other cultures have all played a major role in the structure of modern day Trinidad Carnival. Carnival has evolved greatly throughout the years and is continuing to do so. There are many different types of carnival costumes. There are Traditional Mas costumes, where you would see Fancy Indians, Dame Lorraine’s and Moko Jumbies. There are Sailor Mas costumes, which were developed as a consequence of the arrival of American, French and British ships in Trinidad in the 1880’s. In most recent years we also have what has been called “Pretty Mas” which consist of beads, bikinis and feathers.

For further information please see the national library

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The Discipline of Fashion between the Museum and C

The Discipline of Fashion between the Museum and Curating

by Francesca Granata

I am incredibly excited to having been invited to participate to the symposium “The Discipline of Fashion between the Museum and Curating,” which will take in place in Venice on March 10, and promises to be one of the most interesting and wide-ranging symposium to have ever been organized on the topic

The symposium coincides with the opening of the exhibition “Diana Vreeland After Diana Vreeland” curated by Judith Clark and Maria Luisa Frisa at Palazzo Fortuny, which will be on view from March 10 to June 25, 2012.

“Organized by the Università Iuav di Venezia and the London College of Fashion (University of the Arts London) in collaboration with the Centre for Fashion Studies (Stockholm University), the symposium aims to discuss the evolving discipline of fashion curating, and brings together prominent voices from the field. The conference will use Diana Vreeland’s exhibitions and experience as Special Consultant to The Costume Institute at The Metropolitan Museum of Art in New York (1972-1989) as a starting point from which articulate reflections on the relationships between fashion, exhibitions and museums.

Specialist panel sessions will focus on Diana Vreeland’s legacy and the principal themes brought forth by her work at the Costume Institute including: the display of fashion in museums; the definition of fashion exhibition and the relation between fashion curating and exhibition making; the relationship between the roles of fashion curator and fashion editor; the role of fashion curating in academia.”

Among the many notable speakers are Harold Koda, Akiko Fukai, Alexandra Palmer, Kaat Debo, Mario Lupano and Stefano Tonchi. My contribution will be to a panel titled “Fashion Curation & Academia: New Insights,” which is chaired by Louise Wallenberg, Director of the Centre for Fashion Studies, Stockholm University and Marco Pecorari also from the Centre for Fashion Studies.

For a full programme please visit their site

Below are some installation photos at Palazzo Fortuny. More to come…


Miniabito con dischi e frange in plastica gialla, Paco Rabanne, seconda metà anni sessanta; Soprabito in seta ricamata, Chanel, etichetta “Cannes-31 Rue Cambon-Paris-Biarritz”, n. 5046, anni venti (appartenuto a Eleonora Duse). Estate of Simone Valsecchi ARCHI-V-E


Abito ottomano in velluto blu con ricami oro, fine XIX secolo; Cappa da sera in taffetà di seta rossa, Biki, fine anni sessanta-primi anni settanta (appartenuta a Maria Callas); Semi-formal robe femminile in satin verde acqua con farfalle e fiori applicati, Cina Coach Factory Online, prima metà XIX secolo; Redingote in velluto nero foderata in taffetà nero Coach Outlet Online, Balenciaga, haute couture, n. 33191, circa 1948. Collezione Cecilia Matteucci Lavarini

Fotografie Francesco de Luca
Styling Francesco Casarotto
Manichini La Rosa Mannequins

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Gone Green Long Ago

Gone Green Long Ago

Left to right: Martin Margiela, jacket repurposed from vintage scarves, Spring 1992; Martin Margiela, socks, partially constructed sweater Coach Factory Outlet Online, and completed sweater, early 1990s; XULY.B?t, recycled ensemble, Fall 1994

All photos courtesy of the Museum at the Fashion Institute of Technology.

Fashion Projects is very pleased to present an interview with the curators of Eco-Fashion: Going Green, currently on view in the Fashion and Textile History Gallery of the Museum at the Fashion Institute of Technology. Jennifer Farley and Colleen Hill have thoughtfully, and at times provocatively, organized an enlightening and entertaining exhibition about eco-fashion, tracing the movement back over 200 years. The show is based around six themes: fiber origins, labor practices, the re-purposing and recycling of materials, quality of craftsmanship, textile dyeing and production, and the treatment of animals.

This exhibition importantly fulfills a gap in scholarship available about the eco-fashion movement. Recent exhibitions like the one that Francesca Granata and I co-curated at Pratt Manhattan Gallery, Ethics + Aesthetics = Sustainable Fashion, surveyed and tried to make sense of the movement as it exists today, seeking to suggest ways to balance aesthetic needs with environmental stability. However, Farley and Hill have taken a different course. They have used a tough mandate �C to chronologically tell the history of fashion over the past two centuries using only the MFIT collection �C and ingeniously exposed the ways in which sustainability and fashion have always been intertwined. There are some very special things in the exhibition – besides an arsenic-dyed dress, there is a rare cape made from exotic bird feathers, a man’s dressing coat made from a patch-work quilt, and an electric blue fringed cellophane cape from Parisian couturier Lucien Lelong. I wish there would have been some examples of 19th century aesthetic dress, like a robe Jane Morris might have worn, but given the tight constraints of the gallery and the six themes, such a garment doesn’t really fit in. For any fashion student or scholar who is interested in sustainability (which is hopefully all of you) this exhibition should be a requirement.

Farley and Hill graciously took a moment out of their day to answer the following questions for Fashion Projects:

Fashion Projects: As you mention in your essay for the exhibition, recently there seems to be a critical mass of exhibitions and writings on the current status of sustainable fashion, but relatively little on its history. What made you both decide to tackle this incredibly important gap in scholarship? Was there anything surprising that you learned?

Jennifer Farley and Colleen Hill: Our general interest in the topic started with the small selection of eco-fashion included in The Museum at FIT exhibition Fashion & Politics (July �C November 2009). We discovered that the approaches to eco-design are very diverse, and we began thinking that those varied points of view would be interesting to explore in a historical context. When we intensively researched contemporary eco-fashion, we were surprised to discover very little discussion of fashion��s impact on the environment prior to the 1960s and 1970s. We thought the Museum at FIT��s Fashion & Textile History Gallery, which traces the history of fashion from the 18th century to the present, would lend itself perfectly to an evaluation of the topic.

In researching this topic, we delved into topics ranging from the science of synthetics to mechanization of production to labor regulations. Researching these often very technical subjects helped us to look at fashion from another perspective. We learned that synthetics can have merit in terms of production (i.e. using less water) and recyclability.

We knew the dangers of chemicals, such as chromium used in leather production, but were surprised to discover that the use of large amounts of salt, a seemingly innocuous substance, can also be an environmental concern.

1920s actress Minnie Maddern Fiske’s anti-fur stance was also a bit of a revelation. Celebrity activism has become common, but it was amazing to find that such a well-known actress (in her day) had taken a public position more than 90 years ago.

Left: roller-printed cotton dress, circa 1821; right: jacquard-woven silk dress, circa 1830

The Fashion and Textile History Gallery is a wonderful idea in theory (to present fashion in a chronological order around a certain theme using MFIT collections), but seems like it would be very challenging in practice, particularly with its rigid structure and requirement that all objects be from your collections. What were some of the challenges you faced in trying to mount this exhibition?

The gallery can pose a curatorial challenge. In many cases, the 18th and 19th centuries are the more difficult time periods to cover. Surprisingly, in this case, it was significantly easier because of the range of subjects we explore in the exhibition �C industrialization, synthetic dyes, and innovative modes of repurposing textiles.

We also needed to acquire contemporary sustainable garments, which required careful consideration as to which pieces we��d like represented not only in the exhibition but also in the museum��s permanent collection. We are very pleased with the selected objects and are grateful to the designers for their positive responses and generosity.

Since all of the garments shown in the gallery must be from the Museum��s collection, I noticed that you acquired quite a number for this exhibition. How many did you acquire? What were your favorite acquisitions?

We acquired 25 new pieces �C 7 are accessories, the rest are costume. We are so pleased with everything we have acquired, it��s nearly impossible to choose a favorite. We have wanted to collect Natalie Chanin��s work for some time. We also learned so much from working directly with many of the designers, like John Patrick, who are very committed to sustainable fashion. We also love the Carlos Miele Fuxico gown.

We are pleased to have featured a number of local companies, like Bodkin, naturevsfuture, and Costello Tagliapietra. The museum’s Deputy Director Patricia Mears featured Costello Tagliapietra in her recent exhibition �C American Beauty: Aesthetics and Innovation in Fashion �C and we are thrilled to now have their work represented in our permanent collection.

Carlos Miele Coach Bags Online, Fuxico gown, Spring 2008

Of the six themes that you identified within the ecofashion movement, did any resonate personally with you? Did you split the choosing of objects by themes or type of objects, or did you choose everything together?

Repurposing. This theme has such deep roots in the history of fashion, and it was amazing to see the ingenuity with which people have reinvented extant pieces. It also was interesting to see the degree to which value is placed on textile objects throughout history and how consumption patterns have changed.

We conferred on every object chosen to ensure the most cohesive selection possible.

I noticed that you placed Stella McCartney��s garments prominently at the opening of the exhibition and that the theme ��treatment of animals�� was identified often throughout the Gallery. Your label copy also leaned towards an anti-cruelty stance. What are your thoughts on the contemporary use of fur, feathers and leather in fashion?

As curators, we try not to inject personal opinion into our exhibitions. We didn��t intend to pass judgment on those who wear fur, feathers, and leather, but we did want to make our visitors aware of how those materials might be sourced and produced. We hope that our exhibition provokes thought on the production of all types of materials, including various types of fabric. Overall, our aim is to make people think about the origins of all the clothing they wear.

In the contemporary fashion section, there are three examples of garments by British designers Ciel (Sarah Ratty), Enamore (Jennifer Ambrose), and Rebecca Early. You also mention the writings of Sandy Black, a professor at the London College of Fashion. Do you think there is a difference in the way that sustainable fashion is approached and understood in the UK and the USA?

The approach to or understanding of sustainable fashion in the UK and the US is quite similar �C these designers are all creative, compassionate people who strive to make a difference in some way. What we found most interesting in the selection of contemporary fashion overall �C regardless of nationality �C was the difference in approach to eco-friendly design. These differences are readily apparent among the three examples you cited: Sarah Ratty��s dress utilizes the increasingly popular eco-fabric lyocell, Jennifer Ambrose repurposes vintage fabric, and Rebecca Earley��s secondhand shirt is ��upcycled.�� We found the various approaches to sustainable design to be fascinating, and we tried to express to our visitors that there is no one way to be ��eco.��

You broach the idea of slow fashion through your theme ��quality of craftsmanship.�� Do you think that slow fashion as a movement will catch on? Were you tempted to acquire a fast fashion garment to use as a counterpoint to the quality of craftsmanship thread?

Slow fashion has many positive points. In some ways, the slow fashion movement is reintroducing high levels of craftsmanship and quality that the average consumer has rarely seen, simply because fast fashion is so much more prevalent. Slow fashion is often more expensive by necessity, but we hope that people will realize its benefit as an investment purchase �C something that could become an integral part of their wardrobe for many years. Since the average person is so familiar with fast fashion, we didn��t feel it necessary to include something to counterpoint good quality. We also don��t want anyone to feel bad about what they choose to wear �C we simply want to educate our viewers about the benefits of more thoughtful consumerism.

NOIR, multilayered evening gown, Illuminati II cotton and silver studded leather, Fall 2010, Denmark, gift of Noir/In Darkness All Colors Agree.

Now that you��ve explored the historic and current state of eco-fashion, where do you think the future of eco-fashion will lead us? Are you more hopeful or less after having gone through this experience?

We��ve received a very enthusiastic response to the exhibition from the contemporary designers who participated, from the media, and from our visitors, which makes us very hopeful about the future of eco-fashion. Since eco-fashion �C at least as we perceive it �C can be approached in so many ways, any designer or consumer who becomes more conscious of where their clothing comes from �C and acts on it �C can make an impact. Additionally, many of the designers we worked with emphasized that they want consumers to first see their clothing as chic and fashionable �C only later discovering that it is also sustainable. We feel that this ��fashion first�� attitude is important, and will help to move the eco-fashion movement forward.

The exhibition is open until November 13, 2010.

MFIT
Seventh Avenue at 27 Street
New York City 10001-5992
Information: 212 217.4558
Tues – Fri Noon – 8pm
Saturday 10am – 5pm
Closed Sundays, Mondays, and legal holidays.

Sarah Scaturro

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2012年8月20日星期一

Dressing for Your Body, Which Happens to Be Awesom

Dressing for Your Body, Which Happens to Be Awesome: Small Chest Edition

small-chest-awesome
Source

First of all, let me say I was blown away by the positive feedback for?this column’s first post. It seems like I’m not the only one who’s been craving body-positive fashion advice. Using a super-scientific metric of demand for various topics, I discovered that what most of you want to read about (or at least, a highly vocal minority) is how to dress when your bra cup doesn’t exactly runneth over. Your wish is my command Coach wallets!

Every era has its own associated “ideal body shape.” In the Victorian era, a?curvaceous hourglass figure was a hot commodity, whereas in the sixties, the age of Twiggy, women strove to look as flat and androgynous as possible.?So, for one thing, it’s weird that there are trends regarding the shape of a human being’s form, when you think about it. Also, though, it looks like small boobs are actually making a comeback right now. According to the New York Times, women who used to be reaching for the extra-padded bras are embracing their flatter figures (which is one small step for A-cups coach outlet online, one giant leap for body acceptance everywhere). If you know where to look, there are beautiful small bra options?galore.?(Although, for those of you who more resemble the Victorian ideal, I’ll have a post for you soon, I promise!)

Small boobs have all kinds of advantages. First of all, your undergarments can be more decorative than functional. This is way fun, or at least preferable to wearing a sports bra that resembles a straightjacket. Also, you can wear lower-cut shirts without displaying cleavage everywhere coach factory outlet store, making these low-cut items more appropriate for any occasion. You can even get away with going braless in a structured top or dress Coach Handbags, or wearing a bandeau as a bra under a sheer top. The small-chested population is one of the only groups that can rock this awesome look comfortably, so I say go for it.

Tips for Dressing Your Awesomely Small Chest: 1. Channel the Johnson Administration

The sixties were the golden age of flat-chested women, so look to their style for inspiration. The mod look and more relaxed flower child�Cinspired outfits will highlight and flatter your chest.

2. Utilize your Resources

There are things that only you can wear, and you have a duty to your country to wear them. You’re still feeling patriotic after the July 4th festivities have died down, right? Of course you are. Well, your country needs you to wear bandeaus and corset-tops. I can’t tell you why. It’s classified.

Outfit 1: Flower Child

Awesome Skirt Outfit for Small Chested People
Skirt – House of Fraser, Top – Topshop, Necklace – Edge of Urge, Bag – Chicwish, Shoes – Wholesale-Dress.net

You are so bohemian. You wear a corset, because you don’t have any bras, because you burned them all to protest the patriarchy or something. Now Coach Handbags Sale, you counterbalance the bareness of your top with a long flowy skirt, and add on fringed details (minimally, so as to avoid looking like you are in a halloween costume). Let your hair fall in its most natural position, and remind a friend to love Mother Earth today.

Outfit 2: Back to the Future

Awesome Shorts Outfit for Small Chested People
Sunglasses – Charlotte Russe, Bandeau – Eluxe.ca, Top – Mango, Shorts – Etsy, Shoes – Wallis Fashion

This look is very modern. I feel like if Skrillex held outdoor concerts in 90-degree heat, this is what the cool girls would be wearing. You can absolutely pull off a bright bandeau under a loose and sheer white tank, and you also happen to be reppin’ College Fashion’s favorite colors. Win win.

BONUS! Swimwear!

Since it’s summer, I thought I’d throw in some attractive bikini options for the small-chested. Bear in mind that stripes, ruffles, and patterns enhance the appearance of whatever?they cover, so if that’s what you’re looking for, these suits will suit you (#badpun).

Awesome Bikinis for Small Chested People
L-R: 1.?The Outnet, 2. Topshop (top and bottom), 3.?Miss Selfridge, 4.?JOY

What Do You Think?

What body feature should I tackle in the next installment? What do you wear to show off your small boobs? Do you think society is a little bit weird for picking a new “ideal body” every decade or so? Is anyone else put off by this? I’m a little put off by this. Tell us in the comments!

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