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Saturday, November 21, 2009

Vintage Clothing and Shoes

If you love vintage clothing and you love shoes.

You must vist Jane Aldridge of Sea of Shoes.

Above: Jane wearing a Comme des Garcons Chiffon skirt, a vintage satin blouse, and a vintage Dolce and Gabanna belt and Miu Miu shoes from fall 2007.

Below: To die for Dolce and Gabanna surreal wedges.

Thursday, November 19, 2009

Clear, Cheery Colour for Lips and Nails

38 Years Ago....
From Vogue British November 1971

Bright red lips and's reds are fresher, clearer, sheerer, and to get the best of them, Charles Revson has created two great new reds in Ultima II Lipstick and nail enamel Soiree red, cool and clear; tres red, zingy with a torchy note. Lively, dramatic sure-fire on lips and nails. Wrap coat in red fox paw with red fox collar, Bill Blass for Revillon; Adolfo hat. Saks Fifth Avenue, New York.

Monday, November 16, 2009

Customer Appreciation Event - Now thru Dec 13, 2009

Here kitty, kitty, kitty

Just saw this fab pantera ring at,

I'm so in love with it.

Available at

Because, I'm all about bling, bling!

Thursday, November 12, 2009

A conversation with myself: She is the Goddess. She is the Sheba

She is the Goddess. She is the huntress of the forest. She is (the) Sheba. But, look she is the animal. She is the earth and forest among us. Born Vera von Lehndorff, she is known as Veruschka. She was the world’s first supermodel, a playmate of Hollywood stars and a pioneer in the art of body painting. Whose far out features dominated fashion magazines in the late ‘60s. With her bold statement. And thus she became what she is. Leaving a lasting impression in the fashion world.

"I dressed all in black and went to see all the top photographers, like Irving Penn, and said, 'I am Veruschka who comes from the border between Russia, Germany and Poland. I'd like to see what you can do with my face.'" "I was always being different types of women. I copied Ursula Andress, Brigitte Bardot, Greta Garbo. Then I got bored so I painted myself as an animal,"

This statement really makes me smile. Asked if she misses the glamour of modeling, she looks down her wide, flat nose unselfconsciously:
" No. I have my own drama and glamour anyhow. As long as I am here, it is not gone."

But what really states of whom she is this quote on her website

"...the desire to hide, to be camouflaged, to escape human appearance, to be an animal, an object, not a person, the desire to punish the self, to dissolve the self into the world, to be striped naked, to pertify the body, to become only matter.”

susan sontag (Fragment of an Aesthetic of Melanchalie)

Video of Veruschka in Africa with Peter Beard

Harper's Bazaar April 1965

This cover of Harpers Bazaar is a photograph of model Jean Shrimpton by photographer Richard Avedon. Art directors Ruth Ansel and Beatriz Feitler was responsible for this iconic Harper's Bazaar April 1965 cover. Jean Shrimpton is peering from behind a bright pink Day-Glo space helmet with the logo vibrating against it in acid green. It won the New York Art Director's Club medal and has been often reproduced as an emblem of the sixties.

The issue were produced with and without the lenticular blinking eye.
On October 17, 2005, the 40 greatest magazine covers of the last 40 years were unveiled at the 2005 American Magazine Conference (AMC) in Puerto Rico, by Mark Whitaker, Editor of Newsweek and President of American Society of Magazine Editors (ASME), and AMC Chairman Evan Smith, Editor of Texas Monthly. This issue placed #15 on the list.

In a 2005 Q&A with Bonnie Siegler, Ruth Ansel mentions the experience working on this issue:

"The outstanding experience for me working with Avedon was when he guest edited Bazaar’s April 1965 issue. It was an issue devoted to youth culture—Pop, Rock, and the Sexual Revolution. This issue was our attempt to create a magazine on the highest level. It was our way of conceptualizing a magazine from cover to cover with Dick [Avedon] acting as both the editor and
sole photographer. It flowed like a piece of music. It was
to tell everything that was current and future in art, fashion, science, and music.

We got permission from NASA to put model Jean Shrimpton in a space suit and photograph her on our cover and inside our issue as the first woman astronaut. It caused a sensation. That was well before its time, nobody believed a woman would become an astronaut, and of course we know differently now. We felt the magazine should reflect the sense of the contemporary scene at the time, so we asked rising talents like the sculptor George Segal, the painters Andy Warhol, Roy Lichtenstein, and Robert Rauschenberg to work with us. The issue was filled with the newest and most advanced young writers—Renata Adler, Bruce Jay Friedman, and so on. But the issue scared a lot of people at the top at Bazaar. They had started to become concerned with the economics of the market and turned their back on anything original or artistic. This signaled that the ship was beginning to sink. Shortly thereafter, Dick left for Vogue to follow Vreeland, and a creative door had clearly been shut forever."