SLEEPING BEAUTY


Behind The Scenes look at Swedish beauty Frida Gustavsson as she wears sparkling Neo-Tokyo Odyssey lashes and a 60’s white eyeliner swish to create a spellbinding doll-like effect expertly done by professional makeup artist Lisa Eldridge ready for the editorial ‘Seeing Stars’ photographed by Lachlan Bailey for Vogue UK December 2010


I’m back in England and as soon as I walked into my bedroom I burst into tears. I can’t believe I’m not with my family anymore, I’m truly overwhelmed with sadness and I don’t know what to do with myself. My family are my world and I feel lost without them. Im so lucky to live with my grandma and step grandpa and to have my best friend live two minutes away.


Hollywood’s Forgotten Fairytale: Glinda the Good (Billie Burke) and Dorothy Gale (Judy Garland) wear dresses of pastel shades in one of the first and forever best technicolour scenes of movie history in ‘The Wizard Of Oz’. The fashion choices of this magical movie are often overlooked, but with Glinda’s billowing cotton candy pink embellished organza gown along with Dorothy’s simple sky blue gingham country girl overdress (and not to forget those ruby red slippers, not pictured) this conscious effort to portray each character down to the bows in braids, wicker picnic basket on arms, and shimmering stars on layers of fabric makes for a meticulously planned perfect image. You know the character before they say a word all through the outfits; this paints a truly powerful picture - one proving that fashion can often speak louder than words.

Hollywood’s Forgotten Fairytale: Glinda the Good (Billie Burke) and Dorothy Gale (Judy Garland) wear dresses of pastel shades in one of the first and forever best technicolour scenes of movie history in ‘The Wizard Of Oz’. The fashion choices of this magical movie are often overlooked, but with Glinda’s billowing cotton candy pink embellished organza gown along with Dorothy’s simple sky blue gingham country girl overdress (and not to forget those ruby red slippers, not pictured) this conscious effort to portray each character down to the bows in braids, wicker picnic basket on arms, and shimmering stars on layers of fabric makes for a meticulously planned perfect image. You know the character before they say a word all through the outfits; this paints a truly powerful picture - one proving that fashion can often speak louder than words.


Currently on my travels back to England, super nervous about waiting in the airport and being on such a long flight (especially after these plane incidences) so please pray for me and wish me well thoughts. Thank you all !


"Beauty is a great mystery, impossible to describe with words."
As told by Paolo Roversi to Vogue after photographing intense beauty Tilda Swinton.

Designer Diner: Kate Moss wears a silk crepe dress by Emporio Armani as she sits in a vintage diner style shot complete with ice cream float in the editorial ‘The City Of Angels’ which was shot by photographer Lance Staedler for Glamour France April 1992

Designer Diner: Kate Moss wears a silk crepe dress by Emporio Armani as she sits in a vintage diner style shot complete with ice cream float in the editorial ‘The City Of Angels’ which was shot by photographer Lance Staedler for Glamour France April 1992


deprincessed:

I told myself I’d eat healthy today but my family is having a drinks and desserts party, so far I’ve had two bowls of pecan tart ice cream, two caramel cheesecake pops, and a piece of apple sugar cake. We only began half an hour ago though so there’s more to come meaning I may die from a sugar induced coma.

Someone just brought my favourite chocolate and macadamia toffee cookies, so I’m going to make my cousin eat them all with me so I won’t be the only morbidly obese person here.


Baby Blues: A young Guinevere Van Seenus serves a blasé pose in a delicate yet gloomy shot for the editorial ‘Cult Of Personality’ photographed by iconic photographer Steven Meisel for Vogue US January 1997
For his Spring/Summer 1997 RTW collection master John Galliano created a wispy, bias-cut china blue gown made from sheer chiffon which was infused with cultural influences of nomadic European travellers by use of free flowing ruffles and detailed floral patterns, which is seen here on Guinevere. Stylist for the shoot Grace Coddington added a mosaic hat made from minute pieces of porcelain dishes also from the show, giving a perfect finishing touch to this melancholic photograph. image via.

Baby Blues: A young Guinevere Van Seenus serves a blasé pose in a delicate yet gloomy shot for the editorial ‘Cult Of Personality’ photographed by iconic photographer Steven Meisel for Vogue US January 1997

For his Spring/Summer 1997 RTW collection master John Galliano created a wispy, bias-cut china blue gown made from sheer chiffon which was infused with cultural influences of nomadic European travellers by use of free flowing ruffles and detailed floral patterns, which is seen here on Guinevere. Stylist for the shoot Grace Coddington added a mosaic hat made from minute pieces of porcelain dishes also from the show, giving a perfect finishing touch to this melancholic photograph. image via.


It’s so confusing to me when people point out the fact that certain characters in the fashion industry used their connections to get to their position because 1- if possible you would surely all take advantage of these connections if you could. And 2- why are you acting as if this simple nepotism in the workplace is new and somehow exclusive to fashion only? You see it in most if not all trades eg law, medical etc. people’s reasoning on this website can be ridiculous at the best of times.


last night my 7 year old cousin asked how babies are made so in the midst of explaining to him he saw a picture of a baby in the womb and pointed at the umbilical cord and said ”that is a LONG penis!” with a bewildered look on his face

ST
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