Summer Classics

La Piscine (The Swimming Pool) is a 1969 Italian-French film directed by Jacques Deray.

Aesthetics

On Sundays we do it best..!

#1We need to go out for a walk, we need to look for the sun!
Through this baby blue candies,Sunglasses MiuMiu

#2 We need to free our hands from big bags and chains
A powderish leather backpack will be suitable, bag Mum & co

 #3 Have some fun, laugh, feel naturally high with your loved ones around
Emojis trend in Anya Hindermarch ss 2014 show

#4 Wear it solo. Wearing the one lobbed earring is the latest trend on parties and catwalks

ELe Karela NUT SINGLE EARRING (13cm)
(18K gold,diamondslapis,turquoise,rubies)

Edited by El
xx

Working out with Marilyn

Frankly, I’ve never considered my own figure so exceptional; until quite recently, I seldom gave it any thought at all. My biggest single concern used to be getting enough to eat. Now I have to worry about eating too much. I never used to bother with exercises. Now I spend at least 10 minutes each morning working out with small weights. I have evolved my own exercises, for the muscles I wish to keep firm, and I know they are right for me because I can feel them putting the proper muscles into play as I exercise.

She Doesn’t Like To Feel Regimented
EXERCISE. Each morning, after I brush my teeth, wash my face and shake off the first deep layer of sleep, I lie down on the floor beside my bed and begin my first exercise. It is a simple bust-firming routine which consists of lifting five-pound weights from a spread-eagle arm position to a point directly above my head. I do this 15 times, slowly. I repeat the exercise another 15 times from a position with my arms above my head. Then, with my arms at a 45-degree angle from the floor, I move my weights in circles until I’m tired. I don’t count rhythmically like the exercise people on the radio; I couldn’t stand exercise if I had to feel regimented about it.

How to Feel Blond All Over
SPORTS. I have never cared especially for outdoor sports, and have no desire to excel at tennis, swimming or golf. I’ll leave those things to the men. Despite its great vogue in California, I don’t think sun-tanned skin is any more attractive than white skin, or any healthier, for that matter. I’m personally opposed to a deep tan because I like to feel blond all over.
By nature, I suppose I have a languorous disposition. I hate to do things in a hurried, tense atmosphere, and it is virtually impossible for me to spring out of bed in the morning. On Sunday, which is my one day of total leisure, I sometimes take two hours to wake up, luxuriating in every last moment of drowsiness. Depending on my activities, I sleep between five and ten hours every night. I sleep in an extra-wide single bed, and I use only one heavy down comforter over me, summer or winter. I have never been able to wear pajamas or creepy nightgowns; they disturb my sleep.

A Set of Bizarre Eating Habits
BREAKFAST. I’ve been told that my eating habits are absolutely bizarre, but I don’t think so. Before I take my morning shower, I start warming a cup of milk on the hot plate I keep in my hotel room. When it’s hot, I break two raw eggs into the milk, whip them up with a fork, and drink them while I’m dressing. I supplement this with a multi-vitamin pill, and I doubt if any doctor could recommend a more nourishing breakfast for a working girl in a hurry.

DINNER. My dinners at home are startlingly simple. Every night I stop at the market near my hotel and pick up a steak, lamb chops or some liver, which I broil in the electric oven in my room. I usually eat four or five raw carrots with my meat, and that is all. I must be part rabbit; I never get bored with raw carrots.
P.S. It’s a good thing, I suppose, that I eat simply during the day, for in recent months I have developed the habit of stopping off at Wil Wright’s ice cream parlor for a hot fudge sundae on my way home from my evening drama classes. I’m sure that I couldn’t allow myself this indulgence were it not that my normal diet is composed almost totally of protein foods.

Via MessyNessyChic

Mom Jeans!

90s era

Cindy Crowford
Revealing the high waisted classic blue jeans 

 Vogue Turkey do it best!

Marilyn Monroe

The latest two months I am editing for InStyle magazine in Greece!
Sorry..!I have missed to mention that!
Here is an article for the ''Mom jeans'' trend!
Mom's The influences of the 90s this year have absolutely the honorary as part of the then flooding the catwalks of major designers. Among them , the stylish crop tops, the overalls , the trimmed denim jacket , the t-shirts with print , sweatshirts with the strong signals but also the classic high waisted blue jeans. Making a quick flashback to the magic of the '90s will remember as top model Cindy Crowford and Otis Celebs posing sexually in favor of properly wearing their jeans simply white undershirts . Also unchanged through time is left and the path of the classic 501 model of Levi "s worshiped by the disorderly drinker in the " heartbeats " but clothed unruly and joint appearances iconic couples of the era , such as Johnny Depp and Kate Moss. Events physically transformed a piece of cloth in lightning delirium but also as the most recognizable brand of brand.The terminology of fashion this year aptly named this piece «mom jean» · and who does not remember his mother in photographic stills wearing such jeans combined with chunky sweaters and rolled up sleeves for style.For the current data , hold the aura of '90s, wearing jeans with high stiletto heels , a little clumsily turn the cuffs Replaces rich sweater with a tight biker jacket, dressing a wonderful evening out .

ΤΟ ΠΑΝΤΕΛΟΝΙ ΤΗΣ ΜΑΜΑΣ

Οι επιρροές από τη δεκαετία του ’90 φέτος έχουν απόλυτα τη τιμητική τους καθώς κομμάτια του τότε κατακλύζουν τις πασαρέλες των μεγαλύτερων σχεδιαστών. Ανάμεσα τους, τα στυλάτα crop tops, οι σαλοπετες, τα στολισμένα τζιν μπουφάν, τα t-shirts με σταμπες, τα φούτερ με ηχηρά μηνύματα αλλά και τα κλασσικά ψηλομεσα μπλε jeans. Κάνοντας ένα γρήγορο flashback στη μαγεία των ’90ς θα θυμηθείτε τοπ μόντελ όπως Cindy Crowford και Καρέ Ότις να ποζάρουν υπέρ του δεόντως σεξουαλικά φορώντας τα jeans τους απλά με λευκά φανελάκια. Αναλλοίωτη επίσης μέσα στο χρόνο έχει μείνει και η πορεία του κλασικού 501 μοντέλου της Levi”s που λατρεύτηκε από την άτακτη στα παρέα στα “χτυποκάρδια” αλλά έντυσε ατίθασα και κοινές εμφανίσεις iconic ζευγαριών της εποχής, όπως του Johnny Depp και της Kate Moss. Γεγονότα που φυσικά μετέτρεψαν ένα κομμάτι ύφασμα σε αστραπιαίο delirium αλλά και ως το πιο αναγνωρίσιμο σήμα του brand.
Η ορολογία της μόδας φέτος ονόμασε εύστοχα αυτό το κομμάτι «mom jean»· και όντως ποιος δεν θυμάται τη μαμά του σε φωτογραφικό ενσταντανέ να φοράει ένα τέτοιο τζιν συνδυασμένο με ογκώδες πουλόβερ και σηκωμένα μανίκια για το στυλ;
Για τα σημερινά δεδομένα, κρατήστε την αύρα των ’90s, φορώντας το τζιν με ψηλές γόβες στιλέτο, γυρίστε λίγο άτσαλα το ρεβέρ και αντικαταστείτε το πλούσιο πουλόβερ με ένα στενό biker τζάκετ, ντύνοντας υπέροχα μια βραδινή σας έξοδο.

Via instyle.gr

Art of Perfection | Azzedine Alaïa

In the hands of Azzedine Alaïa, a dress is so much more than stitched fabric. It’s an exaltation of the female form. A technical masterpiece. A unique vision. Over lunch in Paris, fashion’s ultimate independent finally comes to terms with his singular legacy.
You never know who you might run into at Azzedine Alaïa’s headquarters in the Marais section of Paris. On a Friday in December, there’s the fashion photographer Jean-Baptiste Mondino, shopping for a navy A-line minidress as a gift for his wife. Azzedine “has a real sense of the woman’s body,” Mondino says. “And women know that.”
Alaïa walks into the ground-floor shop, as he often does, pleased to see his old friend. “Stay for lunch,” he insists.
Mondino demurs, “I have to work.”
Carla Sozzani, the founder of the 10 Corso Como gallery, boutique and hotel in Milan and Alaïa’s longtime friend and style consultant since 2000, is there too. So is the French photographer Sarah Moon, who recounts how she originally went to see Alaïa in 1977 at his first studio, on the rue de Bellechasse, because she’d heard he made Marlene Dietrich’s suits. “No, my dear, it was Garbo,” he corrects her. “I dressed Garbo.”

After much chatter and joke telling, everyone but Mondino moves into Alaïa’s large open kitchen for lunch. In fact, there are 22 around the immense old glass-topped garden table, including the painter Christophe von Weyhe, Alaïa’s retail manager and life partner of more than 30 years; several company assistants; and some friends of friends. “It’s always like this, lunch and dinner,” Alaïa says, as plates of roast chicken, puréed carrots and mashed potatoes are served.
Alaïa is fashion’s enigma. The Tunisian-born designer has officially been in business for nearly 35 years, and he’s been privately making clothes to order for chic women since the 1960s, yet he still has what would qualify as a cult following. His company remains small — about $63 million a year in an industry where many brands earn hundreds of millions in sales annually. Unlike most designers today, who carry the title of creative director and serve more as managers than couturiers, Alaïa cuts his own clothing patterns and sews the samples himself, each stitch exactly where and how it should be. Most important, through the wizardry of perfectly placed seams and stretch knits, Alaïa’s clothes nip, tuck and hoist to maximum effect. The top model Naomi Campbell, who has known Alaïa since she was 16 and calls him “papa,” describes his designs as “almost magical. No other dress can make a woman look and feel as good as an Alaïa dress because it cinches a woman’s body perfectly.”
Alaïa has always made the clothes he wants to make, at his rhythm, showing them when it pleases him, selling only to stores he likes and delivering them when he wants. Years ago, when he decided he’d had enough of the Paris show schedule, he simply opted to present his collection months after everyone else, and then soon after, stopped showing altogether. Alaïa simply plays by rules of his own making, rather than ones created by the fashion industry. And yet retailers can’t help but love him. His clothes appeal to a broad range of women, from “true collectors” to young customers “investing in pieces that will stay in their wardrobe forever but somehow always seems modern,” says Daniella Vitale, C.O.O. and executive vice president of Barneys New York, which has carried Alaïa since the early 1980s. Alaïa “has an uncanny ability to bridge all of it seamlessly. Very few designers have that capability.” His collection, she adds, “is one of the most successful brands we have in the store.”
Katie Grand, the influential stylist and editor in chief of Love magazine, had Alaïa make her wedding dress, a brown snakeskin number with a fitted bodice and short flared skirt, in 2009. “He tortured me for a few months,” she recalls with a laugh. “The first question he asked was, ‘What size are you going to be at your wedding?’ ” When she told him, he explained that the dress wasn’t the sort that could be altered at the last minute. “He said, ‘I want you to lose weight by the end of next week. Don’t eat anything, and stay on a running machine.’ I said O.K. The dress fit on the wedding day, and I was happy in it.”
Alaïa’s fierce independence was instilled by his grandmother, who, he remembers, “always said, ‘Children until 7 should remain free. No need to clutter their heads with religion and other things. They need to live freely as children.’ ” He’s carried on this philosophy throughout his life. “I am still free,” he insists.
Much of that may soon change. After a brief and relatively hands-off foray with the Prada Group in the early 2000s, during which he expanded into accessories, Alaïa sold his company to Richemont, the Swiss-based group that owns Cartier, Montblanc and Chloé, in 2007. With big money behind him, growth plans are afoot: Sozzani is in Paris in part to help oversee the construction of a new four-story Alaïa outpost on rue Marignan, due to open this year. A perfume — one of luxury fashion’s favorite cash cows — is in the works, as is global retail expansion.
With all of this, Alaïa remains his usual unassuming self: small (just over five foot two), soft-spoken and feisty, dressed in his habitual black Mandarin jacket and trousers, with three dogs — Anouar, a Maltese given to him by Campbell; another Maltese named Waka Waka, from the singer Shakira; and Didine, a St. Bernard — never far from his feet. At roughly 72 years old — he has never admitted his age — he is fine with what appears to be Richemont’s positioning of the brand for a long-term life after he is gone. “All can continue without me,” he says. “It must continue. One day, you say, ‘That’s it’ for yourself. But not for the house. You simply have to find the right replacement.”
Come September, the Paris fashion museum Musée Galliera is mounting an Alaïa retrospective for its reopening after a four-year renovation. Among the gems that will be on display: the immense French Tricolor gown that the designer made for the opera soprano Jessye Norman to wear as she sang at the French bicentennial concert in 1989 and the iconic spiral zipper dress that was inspired by a jacket Arletty wore in the French classic “Hôtel du Nord.” There is also an Alaïa Foundation in the works: a place where his personal design archives, as well as pieces from other designers he admires and collects, like Madame Grès, Madeleine Vionnet and Jacques Fath, will be on display. And in May, the Los Angeles Philharmonic will perform a new version of “The Marriage of Figaro,” the Mozart classic, at the Walt Disney Concert Hall with Alaïa-designed costumes and a Jean Nouvel set. Though busy, Alaïa remains tireless. Of his 75 employees , many under 30, he announces proudly, “But they are older than I am!” One, who is passing through the kitchen at that moment, laughs in agreement. “I am very curious,” Alaïa says. “Every day, I say: What am I going to learn today and whom am I going to meet?” No doubt some of them will be at lunch.

CREDITS AND PHOTOS FROM NEW YORK TIMES

chanel 5 the body mist

The scent, from wikipedia

[edit]Provenance of the "recipe"
The idea for the development of a distinctly modern fragrance had been on Chanel’s mind for some time when her lover, Grand Duke Dmitri Pavlovich, introduced her to Ernest Beaux on the French Riviera in early 1920. Beaux was the master perfumer at A. Rallet and Company, where he had been employed since 1898. The company was the official perfumer to the Russian royal family, and “the imperial palace at St. Petersburg was a famously perfumed court.”[22] The favorite scent of the Czarina Alexandra, composed specifically for her by Rallet in Moscow, had been an eau de cologne opulent with rose and jasmine named Rallet O-DE-KOLON No.1 Vesovoi.
In 1912, Beaux created a men’s eau de cologne, Le Bouquet de Napoleon, to commemorate the 100th anniversary of the Battle of Borodino, a decisive battle in the Napoleonic Wars. The success of this men’s fragrance inspired Beaux to create a feminine counterpart, whose jumping off point was the chemical composition of aldehydic multiflores in Hougibant’s immensely popular Quelques Fleurs (1912).[23]
He experimented and manipulated the aldehydes in Quelques Fleurs, resulting in a fragrance he christened Le Bouquet de Catherine. The scent was intended to inaugurate another celebration in 1913, the 300th anniversary of the Romanoff dynasty. The debut of this new perfume proved ill-timed. World War I was approaching, and the czarina and the perfume’s namesake, the Empress Catherine, had both been German-born. A marketing misfortune that invoked unpopular associations, combined with the fact that Le Bouquet de Catherine was enormously expensive, made it a commercial failure. An attempt to re-brand the perfume, as Rallet No. 1 was unsuccessful, and the outbreak of World War I in 1914 effectively prevented public acceptance of the brand.
Beaux, who had affiliated himself with the Allies and the White Russian army, had spent 1917-19 as a lieutenant stationed far north, in the last arctic outpost of the continent, Arkangelsk, at Mudyug Island Prison where he interrogated Bolshevik prisoners.[24] The polar ice, frigid seascape, and whiteness of the snowy terrain sparked his desire to capture the crisp fragrance of this landscape into a new perfume compound.
Beaux perfected what was to become Chanel No. 5 over several months in the late summer and autumn of 1920. He worked from the rose and jasmine base of Rallet No. 1. altering it to make it cleaner, more daring, reminiscent of the pristine polar freshness he had inhabited during his war years. He experimented with modern synthetics, adding his own invention “Rose E. B” and notes derived from a new jasmine source, a commercial ingredient called Jasophore. The revamped, complex formula also ramped up the quantities of orris-iris-root and natural musks.
The revolutionary key was Beaux’s use of aldehydes. Aldehydes are organic substances, carbon, oxygen and hydrogen. They are manipulated in the laboratory at crucial stages of chemical reaction whereby the process arrests and isolates the scent. When used creatively, aldehydes act as “seasonings,” an aroma booster. Beaux’s student, Constantin Weriguine, said the aldehyde Beaux used had the clean note of the arctic, “a melting winter note.” Legend has it that this wondrous concoction was the inadvertent result of a laboratory mishap. A laboratory assistant, mistaking a full strength mixture for a ten percent dilution, had jolted the compound with a dose of aldehyde in quantity never before used. Beaux prepared ten glass vials for Chanel’s inspection. Numbered 1-5 then 20-24, the gap presented the core May rose, jasmine and aldehydes in two complimentary series, each group a variation of the compound. “Number five. Yes,” Chanel said later, “that is what I was waiting for. A perfume like nothing else. A woman’s perfume, with the scent of a woman.”[25]
This was the defining moment in the creation of Chanel No. 5, a new perfume redolent of past places, a fragrance concordance of Chanel’s childhood years at Aubazine, Grand Duke Dmitri’s royal court in czarist Russia and Beaux’s snowy, icy arctic.

women for women

Harper;s Bazaar has partnered with Women for Women International to increase awareness of women facing severe hardships around the world. Iraqi-American writer and activist Zainab Salbi founded the organization in 1993 to 'help women survivors of war rebuild their lives' and has since drawn support from influential figures like Bill Clinton, and now Harper's Bazaar UK is lending its support. Editor, Lucy Yeomans, explains, "I had the pleasure of meeting Zainab at a dinner where she spoke of the work they do and I was so inspired." So much so that Yeomans asked a lineup of female designers, including Alice Temperley, Charlotte Dellal and Bella Freud to create a special T-shirt for the project. They will be sold exclusively at NET-A-PORTER.COM from March 8 (the 100th anniversary of International Women's

CHANEL SHOW AT GRAND PALAIS ..

PARIS, October 6, 2009

By Sarah Mower

Chanel was up at cockcrow for a gigantic fashion romp in the hay. A huge barn had been conjured up in the center of the Grand Palais, and the models emerged from it, wheat ears clinging to their tousled blond Bardot beehives, straw stuck to their clothes, and a little smirk and stagger in their step as if just caught out at you-know-what. Naughty, naughty! Between them, the Chanel country coquettes managed to flirt their way around every rustic reference in Karl Lagerfeld's extensive repertoire of craft-y couture skills, from hopsack to basket weave and cane work to aprons, dirndls, peasant-y poppy prints, and fantastic wooden double-C clogs. It was a bumper harvest of everything that is chicly tattered, beribboned, and gloriously made about Chanel, as well as the season's sole experience to make the anxiety and earnestness around fashion evaporate, to make it seem like fantastic fun again.

Never mind the hay, Lagerfeld was on a roll. Digging into a theme can sometimes throw up some embarrassing puns, and the effort to be youthful has occasionally had off-beam results at Chanel. But with this collection, Lagerfeld's summing up of the season's tendencies—beige, ivory, and black; rough textures; transparency and lace—was spun into a collection so masterfully balanced between classicism and current fashion affairs that the whole thing felt delightfully sure-footed. The knack was that he didn't rush it—just let the thing keep bouncing out in a sustained variation of caramels, taupes, and ecrus, all logically adapted to the house's nubby tweed suits, frothy blouses, and fluttery chiffons. The editing of everything to short lengths looked sweet without being chichi—the test being that every teenage girl looked naturally at home in the little thigh-split skirts (that's what has happened to the bottom half of the Chanel suit), as well as in the mini-crinis and ruffled dance dresses.

Prince and Rihanna were competing for attention in the front row; there was a surprise turn from Lily Allen, who rose out of the floor on a hoedown platform to belt out a saltily worded country number; and at the end, Freja Beha Erichsen, Lara Stone, and Lagerfeld's constant companion, Baptiste Giabiconi, were literally rolling around in the hay together. And yet, remarkably, the clothes never became a sideshow. In a season when celebrities, concepts, and a lot of forgettable mediocrity have got in the way of seeing why luxury fashion should merit the price, this was a Chanel triumph.