1/27/2011
1/26/2011
Inside-Out --- The Official Topshop Blog
Inside-Out---The official Topshop blog
Seems every brand has to develop their unique links to customers or potential customers results of more and more websites and feeback system built up.
Recently, Topshop has created their official blog to share their inspiraiton sources.
For many people who eran their lives on fashion business, the most difficult part should be finding something interesting or new ideas which can attract people's eyes came from every little thing in daily life.
An impressive photogragh, a colour printing or even the shape of architecture can be a new concept reflected on next season's collection.
Fashion, not just a shallow surface beauty but also be packed by artists' unlimited ideas, touchable advertisement and interactive social procedure, by which can bring billions business and opportunity.
I aapreciate Topshop is willing to share those resources to tell us what they think hand how they find different view of life.
Recently, Topshop has created their official blog to share their inspiraiton sources.
For many people who eran their lives on fashion business, the most difficult part should be finding something interesting or new ideas which can attract people's eyes came from every little thing in daily life.
An impressive photogragh, a colour printing or even the shape of architecture can be a new concept reflected on next season's collection.
Fashion, not just a shallow surface beauty but also be packed by artists' unlimited ideas, touchable advertisement and interactive social procedure, by which can bring billions business and opportunity.
I aapreciate Topshop is willing to share those resources to tell us what they think hand how they find different view of life.
2011 S/S from Chanel
2011 S/S From Chanel
But light is not only illumination; it's also a lack of heaviness. There was a precise, balletic grace to the shifts, the tops, the fitted jackets, and floating chiffons, all of them built on sequined leggings. And every model walked in a ballet flat. "Just the point of the shoe," Lagerfeld was quick to point out. It was bound to the ankle by transparent straps, and it completely changed the attitude of the show. All those teenage models who look like ball-breaking vixens in their face paint and vertiginous heels when they walk for other designers were suddenly turned back into pretty girls in flat soles and clothes the color of a dawn sky. "I was sick of all those Eiffel Towers, sick of all those violent colors," said Lagerfeld.
He dazzlingly wove his antidote to current fashion orthodoxy into the fabric of the house. Artist Marie Laurencin was his inspiration. In 1923, she designed Les Biches, a ballet commissioned by Diaghilev with a scenario by Cocteau. Chanel was designing Le Train Bleu for the ballet impresario at the same time. She asked Laurencin to paint her. The languor and sweetness of the portrait that came from the sitting weren't pleasing to Chanel, but Lagerfeld seized on those qualities to reinterpret her ethos in a way that was paradoxically provocative and modest. The pink bouclé suit, the drop-waist dress, the sugary, rough-edged tweeds were fragile where Chanel herself was steely.
Lagerfeld himself acknowledged the dichotomy when he paraded Stella Tennant like the Black Queen in a gown of sequined chevrons, but his heart clearly lay with the White Queen Freja, whose coat-dress looked like it had been stitched from ice crystals. Then, at show's end, he massed his models on the steps of a simulacrum of the iconic Rue Cambon salon. He has made Chanel's world his own. See all from Chanel ›
PARIS, January 25, 2011
By
Let there be light. No designer is as primed for that kind of heavenly decree as Karl Lagerfeld, and he heeded the call with a Chanel collection that was positively luminous in its delicacy and sparkle. Dresses that looked spun from gossamer ("morning dew on spiderwebs" was his cohort Amanda Harlech's more lyrical metaphor) weren't fabric; they were pieces of embroidery. Ten million beads were used in all. The result was literally a cloth of light.But light is not only illumination; it's also a lack of heaviness. There was a precise, balletic grace to the shifts, the tops, the fitted jackets, and floating chiffons, all of them built on sequined leggings. And every model walked in a ballet flat. "Just the point of the shoe," Lagerfeld was quick to point out. It was bound to the ankle by transparent straps, and it completely changed the attitude of the show. All those teenage models who look like ball-breaking vixens in their face paint and vertiginous heels when they walk for other designers were suddenly turned back into pretty girls in flat soles and clothes the color of a dawn sky. "I was sick of all those Eiffel Towers, sick of all those violent colors," said Lagerfeld.
He dazzlingly wove his antidote to current fashion orthodoxy into the fabric of the house. Artist Marie Laurencin was his inspiration. In 1923, she designed Les Biches, a ballet commissioned by Diaghilev with a scenario by Cocteau. Chanel was designing Le Train Bleu for the ballet impresario at the same time. She asked Laurencin to paint her. The languor and sweetness of the portrait that came from the sitting weren't pleasing to Chanel, but Lagerfeld seized on those qualities to reinterpret her ethos in a way that was paradoxically provocative and modest. The pink bouclé suit, the drop-waist dress, the sugary, rough-edged tweeds were fragile where Chanel herself was steely.
Lagerfeld himself acknowledged the dichotomy when he paraded Stella Tennant like the Black Queen in a gown of sequined chevrons, but his heart clearly lay with the White Queen Freja, whose coat-dress looked like it had been stitched from ice crystals. Then, at show's end, he massed his models on the steps of a simulacrum of the iconic Rue Cambon salon. He has made Chanel's world his own. See all from Chanel ›
1/19/2011
Articles about magazine
Teen Magazine Favorite Makes a 'Long Story Short'
Anonymous. Wall Street Journal (Online). New York, N.Y.: Oct 11, 2010.
Since releasing a cover of Jay-Z's "Empire State of Mind" in March, indie crooner Jackson Harris has been featured in every teen magazine and site you could think of. Teen Vogue, Seventeen, J-14 and his personal favorite Tiger Beat, which his mother, the prolific theater producer Dede Harris "used to read all the time when she was a kid," he said.
"It's kind of a trip being on the teen-magazine circuit because I'm older," said the 22-year-old on a jaunt last week to the High Line, which he considers his "spot." "It's OK though, because I still feel 17, and I think I'll feel that age forever."
Mr. Harris's first four-song EP, "Long Story Short" hits iTunes on Tuesday, but he's careful not to appeal to a singular audience.
"I try to make my music young, fun, catchy and hip, but not sugarcoated," he said. With influences like Billy Joel, One Republic and Adam Levine of Maroon 5, Mr. Harris, who had bit parts on Nickelodeon and was in a high school band named The Good Fight, calls his sound "honest pop rock with storytelling."
Asked if he felt nervous about his debut, Mr. Harris looked toward the New Jersey skyline and said, "Everything feels like a movie. All I know is that on Tuesday, I'm going to the Apple store and buying my EP. I don't know which store yet, maybe all of them. I've got to encourage other people to buy. too."
He credits his mother, who worked on "Hairspray" and "The History Boys," with his creative bent. "I had a great role model in her. She was always kicking butt and taking names. I went to Riverdale [Country School] and there were expectations of what you were supposed to do, but when I wanted to leave college and pursue music full time, she didn't lose it."
"My mom was never a stage mother," he added. "In fact she was the antistage mother. She never managed me, and still doesn't. I still remember when we were on our way to some audition when I was 8 or 9. I said very matter of factly, 'Can I go on a play date with Eric instead?' She said, 'OK.' It wasn't like 'Are you sure, are you really sure?' She got it then, and even more so now."
Priya Rao
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