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2004年 8月 24日

iPodカスタム&自作レザーケース

投稿者 by tak@taknews.net at 22:23 / カテゴリ: 12ミュージック , 16モノ(逸品館) / コメント (837) / トラックバック (0)

携帯ケースを無理にiPodケースにしたというのを前回書いたものの良く考えたら自作すればよかった・・・レザークラフトが趣味でそれなりに作ることができるのではじめからやればよかった。昨日夕方からたらたらとつくりやたらに長い女子レスリングの決勝までの引っ張りを見ている最中に完成。相当ゆっくりやったので実時間はもっと短かかった。レザーはサイドが1.7ミリ、ぐるっと一周の部分が3.0ミリの(いわゆる)サドルレザー。ごつめのレザーのおかげで衝撃からある程度は守れるでしょう。ちなみに糸は人工シニュー。
ilc1.jpg
コンチョはリバティー
あ〜はじめから作ればよかった・・・自分好みの感じになりますし。

次にiPod自体もカスタム。
http://www.powerdesign.biz/(直リンいいかわからないので)のSelf Design Body Maskを使用。
ilc5.jpg
歌川國貞の作品を使用。一瞬わかりにくいがいわゆる春画。際どい所もご開帳。しかし春画云々に関わらず配色のバランスが素晴らしいと個人的には思っている。かなり気に入っている。けど人によっては不快感を与えてしまうかもしれないのが心配。

ilc2.jpg
上からイヤホンだせる。自分用なのであんまりきれいに整えていない(苦笑 ちなみにイヤホンはゼンハイザーMX400に交換。
ややドンシャリが強いがエージングすれば落ち着くと思う。中音域の伸びが格段に向上しボーカルの声も生声に近くなった。但し地下鉄では騒音の影響で付属のイヤホンとあまり違いを感じられない。。。

ilc3.jpg
底のチョークする鹿紐が繋がっている部分。チョークを解けばここが空いてドックコネクタが繋げられる。

ilc4.jpg
入れたらこんな感じ

ilc6.jpg
後ろ。カラビナをつけてベルトループからぶら下げるようになっている。

型紙も作らず結構いい加減に作ったのでジャストサイズより縦も横も2、3ミリほどずれてしまったのが残念。しかし新作を作るときは一回目はある程度練習みたいなものなので十分満足。最近は暑いのであんまり使用していないがそろそろ革好き魂が燃え始めそうな予感・・・(先日もハーレー軍団の革製品を凝視しちゃったし)

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Hca can be a place native to Asia, Australia, Africa, and Polynesia. It develops like a wonderful evergreen pine. Recently, boffins have discovered out that the extract of the fresh fruit contains ingredients which work as diet pills and therefore are well suited for lowering your fat. More and more people daily learn how this phenomenal plant might help them resist their cravings for food and shed weight. Because it is natural and organic this is a excellent choice for folks who should not ingest man-made compounds which are generally seen in other weight-reduction goods.



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To acquire into its closing get kind first the fruit is gathered. The berry of Garcinia-cambogia get is tiny yellow pumpkin-like fruits. These fruits will soon be processed so the weight-reduction compounds are properly and easily produced. When ingested Garcinia-cambogia helps to lessen thoughts to be hungry and craving food. Furthermore, it enables you to feel fuller and much more content for extended after ingesting dinners. This can be perfect as it enables you to combat over-eating at its very roots and in an all-natural way. Beyond simply decreasing feelings of starvation it also changes the method by which your liver converts sugars. This may help it become harder for the body to generate fat and therefore decreases significantly on stomach fat. Lots who experienced difficulty eliminating obstinate belly fat find to be the last action for them to get at their optimal weight.



Beyond just impacting your weight Hca is shown to be good for mental-health. Scientists have noticed that when using it cortisol levels are lowered and serotonin levels are increased. Cortisol is a hormone-related to anxiety and it has been demonstrated to trigger over-eating. This but is just a hormone linked to contentedness and is also released carrying out a good meal is eaten. Garcinia Cambogia won't simply get rid of your excess fat but it will put you in a better disposition more conducive to focusing on the right diet and exercising.



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Garcinia cambogia remove comes with hardly any unwanted side effects. Many persons will document delicate headaches or stomach soreness. Frequently these unwanted side effects could possibly be associated with making certain you purchase a high quality product. Additionally, some medical practioners have observed that it could 't be ideal for long lasting use as it can contain substantial levels hydroxycitric acid. This contributes to medical ailments if around consumed for quite a while enough period. This can be eliminated as long as control and common sense can be utilized. As with all products and medicine it's important to talk with you doctor before ingesting especially if you provide an aged condition.



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投稿者 by: nikon d7000 at 2013年12月12日 14:45

The garcinia cambogia ultra Extractis certainly the newest fat loss alternative that comes recommended by non other that Dr Oz actually he calls the Garcinia Cambogia the Holy Grail Of Fat Loss.



What is Garcinia Cambogia Extract



The Garcinia-cambogia is just a fruit which seems tiny such as a small pumpkin which exists in south-east japan and asia. The other popular brands for this fruit would be The Malabar tamarind, the Brindall Berry, uppagi, mangosteen and gamboge. That berry includes a significant part hydroxycitric p with comprises the majority of the extract.



A number of people genuinely believe that it's an hunger controller, fat-burner and additionally products other health health dilemmas. One of many main reasons why garcinia cambogia is employed as being a dietary aid. Doctors have explained that their studies reveal that anyone may lose upto several times more weight when compared with these not taking any Garcinia Cambogia. Their essentially a 'Dual Action Fat Buster' that suppresses appetite and lowers fat from being made.



So why does Dr Oz call the Ultimate Goal to this of Weight Reduction?



1. The Garcinia-cambogia Extract performs like a Fat Blocker and doesn't aid fat mobile to develop within the body.



2. It regulates cravings for food together with acts being an Anti Suppressor.



Three. In accordance with reports it shows the Garcinia Cambogia decreases belly fat



4. There's a surge in Serotonin which stabilizes thoughts and enable Emotional Eaters



Just how is Garcinia-cambogia Extract exclusive



Before 12 weeks alone we observed plenty of weight-loss fruits and goods appear, and even when there have been some advantages of consuming them the end result wasn't that amazing. But on the other-hand the garcinia cambogia has Dr Oz and several benefits and team appear to be a big lover of the fruit. Dr chen who was about the Dr Oz display stated that the good fresh fruit not just curbs wish to have meals and function like a fat blocker but she also stated that the Garcinia-cambogia increases muscles and decreases fat. She reported the significance of this in weight-reduction since muscles burns 50 calories per-pound although fat only burns 3 calories. Which suggests that when you're building more muscle mass and less fat you're totally possible to be always a Fat Busting Machine.



So if you have fought for yearsto find a way to shed unwanted weight that functions for you, then HCA might just be your solution. The key ingredient of the Garcinia-cambogia Extract is known as Hydroxycitric acid. This acid aids in preventing the absorption and storage of carbohydrates and carbs which are then converted into fat should they aren't burnt off. Thus by taking an HCA dietary supplement before meals it is feasible to reduce weight quite efficiently and with out a lot of problems or contributing to the presently active morning.



You can just take an HCA complement about thirty to 60-minutes before each dinner everyday and within a couple weeks you can begin to make notice of the change. You would want to make certain you look for an HCA supplement that does not possess a large amount of additives and also has a minimum of 5000-mile HCA within the components. You need to look for a supplement which include essentially the most HCA per pill to ensure you don't must place six capsules at any given time!



There you've it - weight loss can be this basic by going for a respected HCA complement three times every day, but shifting a little more and eating a little little less you will rather effortlessly accomplish your own weight-loss aims with no to interrupt the bank or breaking your back!



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Hca can be quite a place native to Asia, Australia, Africa, and Polynesia. It expands such as a stunning evergreen pine. Lately, scientists have discovered out that an extract of the good fresh fruit includes ingredients which work as weightloss pills and therefore are ideal for reducing your weight. More and more people daily find out how this original plant can help them resist their cravings for food and slim down. This can be a fantastic choice for those who shouldn't ingest man-made compounds that are generally observed in other weight-reduction products as it is natural and organic.



How Garcinia-cambogia get Works



To get into its ultimate get sort first the fresh fruit is harvested. The berry of Garcinia cambogia extract is little discolored pumpkin-like fruits. These fruits is likely to be processed so the weight-reduction substances are safely and easily removed. Garcinia Cambogia helps you to lessen thoughts to become hungry and desire food when ingested. In addition, it lets you feel fuller and a great deal more content for extended after ingesting dishes. This can be perfect because it enables you to battle over-eating at its very roots and in an all-natural way. Beyond only decreasing emotions of starvation in addition, it changes the way in which your liver converts sugars. This can help it become harder for your body to generate fat and thus diminishes considerably on stomach fat. Plenty who experienced difficulty removing persistent belly-fat have found to function as closing step for them to get to their optimal weight.



Beyond simply influencing your weight Hca has-been shown to be good for mental health. Analysts have pointed out that when using it cortisol levels are lessened and serotonin levels are increased. Cortisol is just a hormone-related to tension and it has been shown to trigger over-eating. This nevertheless is just a hormone connected with contentedness and is also released adhering to a excellent food is consumed. garcinia cambogia lean won't just remove your excess fat however it will put you in a better disposition more conducive to concentrating on the best diet and exercising.



Unwanted effects



Garcinia-cambogia extract comes with hardly any unwanted effects. Many persons will report slight complications or belly vexation. Frequently these unwanted side effects could be tied to ensuring you purchase a high quality product. Furthermore, some physicians have noted that it could 't be suited to resilient employ as it can incorporate high levels hydroxycitric acid. If over eaten for a while enough period this contributes to health conditions. That can be eliminated as long as control and good sense can be properly used. As with all supplements and medication it's very important to talk with you doctor before ingesting specially if an old medical condition is provided by you.



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投稿者 by: discover this info here at 2013年12月12日 15:21

Hca could be a plant native to Asia, Australia, Africa, and Polynesia. It evolves just like a lovely evergreen pine. Lately, scientists have found out that the extract of the fruit includes substances which act as weightloss pills and therefore are well suited for reducing your fat. More and more people daily learn how this excellent plant might help them resist their cravings for food and slim down. This can be a fantastic choice for those who should not ingest man-made compounds which are generally observed in other weight-reduction goods as it is natural and organic.



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To acquire in to its final extract type first the fresh fruit is prepared. The fruit of Garcinia-cambogia remove is little orange pumpkin-like fruits. These fruits is likely to be processed so your weight-reduction substances are properly and easily taken. dr oz garcinia cambogia helps you to lessen thoughts to be famished and yearning food when ingested. Furthermore, it permits you to feel fuller and a lot more information for extended after ingesting dishes. That is perfect as it helps you to combat over-eating at its very roots and in a all-natural way. Beyond only decreasing emotions of hunger in addition it changes the way in which your liver converts sugars. This may allow it to be harder for the body to produce fat and thereby lessens dramatically on stomach fat. Lots who experienced a hard time eliminating persistent belly fat are finding to function as the final move for them to access their optimal weight.



Beyond only impacting your weight Hca continues to be shown to be very theraputic for mental-health. Analysts have noticed that when taking it cortisol levels are lessened and serotonin levels are increased. Cortisol is a hormone related to anxiety and it's been shown to trigger over-eating. This however is a hormone connected with contentedness and is also released adhering to a good supper is enjoyed. Garcinia-cambogia will not only eliminate your excess fat but it will put you in a much better disposition more conducive to focusing on the correct diet and exercising.



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Garcinia-cambogia remove is sold with hardly any negative effects. Several people can record mild problems or belly discomfort. Generally these unwanted side effects may be tied to making sure you purchase a high quality product. Also, some health practitioners have known that it could 't be ideal for long lasting employ as it can include substantial levels hydroxycitric acid. If over used for quite a while enough period this results in medical conditions. This can be avoided provided that moderation and good sense can be used. As with all supplements and medicine it's very important to converse with you doctor before ingesting specially if an old medical condition is provided by you.



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Hca can be a vegetable native to Asia, Australia, Africa, and Polynesia. It grows like a wonderful evergreen pine. Recently, professionals have found out that the extract of the fresh fruit includes ingredients which work as diet pills and therefore are perfect for cutting your weight. More and more people daily learn how this phenomenal plant can help them resist their cravings for food and slim down. Because it is natural and organic this can be a fantastic choice for those who should not ingest man-made compounds that are generally noticed in other weight reduction goods.



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To obtain in to its closing remove variety first the fruit is collected. The fruit of Garcinia-cambogia extract is modest yellow pumpkin like fruits. These fruits is likely to be processed so the weight reduction ingredients are properly and precisely extracted. garcinia cambogia side effects helps you to lessen feelings to be starving and craving food when absorbed. Additionally, it lets you feel fuller and a lot more content for extended after consuming dinners. This can be perfect since it helps you to overcome over-eating at its very roots and within an all-natural way. Beyond only lowering emotions of hunger in addition, it changes the manner in which sugars are converted by your liver. This may ensure it is harder for your body to create fat and thus reduces significantly on stomach fat. Plenty who experienced a hard time getting rid of persistent belly fat are finding to be the closing step for them to access their optimal weight.



Beyond just affecting your fat Hca has-been proved to be very theraputic for mental-health. Researchers have noticed that when taking it cortisol levels are diminished and serotonin levels are increased. Cortisol is really a hormone related to stress and it's been demonstrated to trigger over-eating. Serotonin nonetheless is often a hormone associated with contentedness and is also released adhering to a excellent meal is ingested. Garcinia Cambogia won't just eliminate your excess weight nevertheless it will put you in an improved mood more conducive to concentrating on the correct diet and exercising.



Unwanted side effects



Garcinia cambogia get comes with almost no negative effects. Several individuals can record gentle headaches or stomach disquiet. Frequently these negative effects could possibly be tied to making certain you purchase a high quality product. Likewise, some medical practioners have observed that it could 't be ideal for resilient employ as it can include high levels hydroxycitric acid. This contributes to health conditions if over eaten for some time enough period. This can be avoided provided that moderation and sense can be used. As with all products and medicine it's important to chat with you doctor before ingesting specially if you offer an aged medical condition.



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So how exactly does garcinia cambogia reviews Remove Impact Weight reduction?



---------------------------------------------------------------



Doctor Dorrie,



My good friend informed me the girl dropped bodyweight making use of Garcinia Cambogia. Really does this particular go a long way?



Julia Big t.



Jupiter, FLORIDA



Julia,



Garcinia Cambogia Draw out (HCA) will be highly within the information being a organic slimming pill. Research, concerning be anticipated, possess combined testimonials. Several state it could be a highly effective slimming pill.



As opposed to a number of other weight reduction items, HCA continues to be thoroughly examined within analysis laboratories to both human being plus pet topics and also to day simply no considerable negative effects are actually discovered.



Garcinia Cambogia is really a exotic fresh fruit that will develops primarily within The african continent plus Indian. Is actually within the lemon or lime family members. It is very bitter towards the flavor producing it inedible however the rind can be used as being a essence. Hydroxycitric acidity could be the material taken out from your fresh fruit plus utilized in the particular health supplement.



Hydroxycitric acid solution fulfills the human body's requirement for power plus boosts the particular signaling program the entire body utilizes to inform the mind in order to offers consumed sufficient. This particular has a tendency to provide an earlier caution program to people over weight informing all of them "Stop consuming I am full". The most obvious impact is definitely much less unhealthy calories taken.



The particular nutrient chrome can be suggested within conjunction along with Garcinia Cambogia remove in order to efficiently manage the human body's glucose levels. Chrome insufficiency may give rise to putting on weight and perhaps diabetes.



Nevertheless when you have diabetes currently, you need to call at your physician prior to having any kind of items that contains chrome.



Just like the majority of dietary supplements, I suggest which you talk to your physician prior to having this or even creating in order to other people (including children). HCA can be obtained through a lot of resources on the web and might be tagged possibly hydroxycitric acid solution or even garcinia cambogia remove.



In case you select well balanced meals you need to discover that you already know bodyweight plus body fat gradually yet continuously with out actually attempting. You need to eat somewhat smaller sized servings plus select fresh fruit rather than sweet snack foods however, you don't have to proceed starving. This can be a quite organic strategy.



You can find 3 vital foundations that needs to be piled with each other to obtain weight reduction: consuming much healthier plus smaller sized servings (consuming less calories), raising expenses of one's via easy physical exercise (using upward a lot more calories) plus getting the attitude (mental discipline) to alter your own behavior right into a good living plan associated with into the energy.

投稿者 by: nikon d7100 at 2013年12月12日 18:30

The Risks Of Fast Weight Loss



Have you been considering slimming down? For anyone who is, are you currently trying to find an instant weight reduction? Fast weight loss, furthermore commonly known as quick weight reduction or fast weight loss, demands losing weight in a short time of your time, usually anywhere from 2 to 7 days.



Each year, inside the United States, hundreds of thousands associated with Americans are planning on rapidly reducing your weight. Many individuals wish to shed weight just before an crucial event, as an upcoming holiday or a wedding ceremony. Though it could be defiantly probable to realize ways to wish to shed weight rapidly, namely simply because quick as possible, you need to proceed with caution. Even though it is feasible to lose fat, no less than a little bit little bit of it, in a relatively quick time period, you should know that you will find hazards associated with doing so.



Among the a number of dangers of rapid weight reduction is a quantity of the plenty of steps that some men and women take. As an example, it truly is widespread to hear of people that have decided not to consume, although attempting to obtain a rapid weight-loss. Not having having foods, for even a short time period, might be hazardous to your wellbeing. A better option would be to cut back on the meals which you do consume or to just be sure it could be well balanced meals by which you could be consuming. By restricting your unhealthy calories, you should be capable to attain a minimum of a little weight reduction within the time that you simply were looking to. It can be just really critical which you do consume.



Furthermore to eating healthful, another element of weight reduction is physical activity. Sad to say, lots of people don't realize it can take up to 1 week to see signs and symptoms of workout. With that in mind, the particular much more weight you need to get rid of, the sooner it's which you might start to see outcomes. While workout is normally a significant component of reducing your weight, is actually essential that you don't overdo this, particularly in case you have not had a standard fitness program. Working on the treadmill for three hrs, rather than 30 mins, may assist lessen your calorie consumption, but , at the identical period, it may also help you get inside the medical center.



An additional difficulty which is often connected with rapid weight loss could be the taking of medications or additional weight reduction items. The excellent news is that numerous of the products will give you results and several are even safe, but you might not be capable of tell what you are acquiring. If you are thinking about employing a weight-loss product, just like a diet raspberry ketone capsule or a cleansing, to help you shed pounds, it truly is important that you the actual correct quantity of analysis very first. This analysis may involve examining product critiques, to see when the method effective, or speaking with a healthcare expert.



As you are in a position to notice, it's crucial that you proceed with caution whenever attempting to obtain rapid weight loss. Although unexpected activities or appearances perform popup, most people have a the least a weeks worth of notice just before attending a large occasion, like a wedding or even a holiday. As soon as you learn about your upcoming event, you happen to be advised to begin dieting after that, if you are thinking about performing so. Rapid weight-loss could be harmful; therefore, you should not rely on it in the event that achievable.

投稿者 by: garcinia cambogia dr oz at 2013年12月12日 19:04

Hca can be a plant indigenous to Asia, Australia, Africa, and Polynesia. It increases like a wonderful evergreen pine. Recently, scientists have found out an extract of the berry contains materials which work as weightloss pills and therefore are well suited for lowering your weight. More and more people daily discover how this original plant can help them resist their cravings for food and slim-down. Since it is natural and organic this is a excellent choice for folks who should not ingest man-made compounds which are generally seen in other weight reduction goods.



How Garcinia-cambogia remove Works



To get into its final get variety first the fresh fruit is prepared. The good fresh fruit of miracle garcinia cambogia extract is tiny discolored pumpkin-like fruits. These fruits will soon be processed so the weight-reduction substances are properly and neatly taken. Garcinia-cambogia helps you to lower thoughts to become hungry and yearning food when consumed. Additionally, it lets you feel fuller and a great deal more information for extended after eating foods. This can be perfect because it enables you to beat over-eating at its very roots and within an all-natural way. Beyond just lowering sensations of hunger additionally it changes the method by which sugars are converted by your liver. This will make it harder for your body to generate fat and thus lessens drastically on stomach fat. Lots who experienced a hard time eliminating uncooperative belly-fat have found to be the last action for them to get to their optimal weight.



Beyond simply influencing your fat Hca is proved to be very theraputic for mental-health. Scientists have pointed out that when getting it cortisol levels are reduced and serotonin levels are increased. Cortisol is really a hormone-related to anxiety and it has been proven to trigger over-eating. Serotonin nevertheless is a hormone linked to contentedness and is also released adhering to a good dinner is consumed. Garcinia Cambogia will not only get rid of your excess fat nevertheless it will put you in a much better feeling more conducive to concentrating on the proper diet and exercising.



Negative effects



Garcinia-cambogia get is sold with hardly any negative effects. Several individuals may report delicate problems or tummy discomfort. Often these negative effects could possibly be associated with ensuring you purchase a top quality product. Also, some health practitioners have noted that it could 't be suited to long-lasting employ as it can include high levels hydroxycitric acid. This contributes to medical conditions if over consumed for a while enough period. That can be avoided so long as sense and moderation can be utilized. As with all supplements and medicine it is very important to converse with you doctor before ingesting especially if an old medical condition is provided by you.



Quantity

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Hca can be a vegetable local to Asia, Australia, Africa, and Polynesia. It expands such as a gorgeous evergreen pine. Lately, researchers have found out an extract of the berry includes substances which act as weightloss pills and therefore are ideal for cutting your weight. More and more people daily find out how this phenomenal plant might help them resist their cravings for food and shed weight. This is a wonderful choice for people who should not ingest man-made compounds that are generally observed in other weight-reduction goods since it is natural and organic.



How Garcinia-cambogia extract Works



To acquire into its closing extract form first the fruit is gathered. The fresh fruit of Garcinia-cambogia get is modest discolored pumpkin like fruits. These fruits will be processed so your weight-reduction substances are correctly and easily taken. When ingested garcinia cambogia just potent helps you to lessen feelings to become famished and craving food. In addition, it permits you to feel fuller and a great deal more content for extended after ingesting dishes. This really is perfect since it helps you to fight over-eating at its very roots and within an all-natural way. Beyond just minimizing thoughts of hunger in addition, it changes the method by which your liver converts sugars. This will help it become harder to your body to create fat and thus decreases substantially on stomach fat. Plenty who experienced difficulty removing tenacious belly-fat have found to function as the final step for them to get to their optimal weight.



Beyond just affecting your weight Hca has-been proved to be beneficial for mental health. Scientists have noticed that when taking it cortisol levels are lowered and serotonin levels are increased. Cortisol is really a hormone related to tension and it's been proven to trigger over-eating. Serotonin but is really a hormone linked to contentedness and is also released adhering to a good food is swallowed. Garcinia-cambogia will not just remove your unwanted weight nevertheless it will put you in a better feeling more conducive to emphasizing the best diet and exercising.



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Garcinia cambogia remove is sold with almost no unwanted side effects. Many folks can document slight headaches or stomach disquiet. Generally these unwanted side effects could be associated with making sure you get a top quality product. Furthermore, some health practitioners have mentioned that it could 't be ideal for long lasting employ as it can incorporate substantial levels hydroxycitric acid. If over consumed for quite a while enough period this results in health conditions. That can be averted provided that control and common sense can be used. As with all products and medicine it's very important to talk with you doctor before ingesting particularly if you offer an aged condition.



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できるだけ早く、誰もすることができます収集のまたは暖かい役立つの可用性を表示する能力のことができるかどうかチャーム リングに興味があります。彼らは新しい偉大な卒業式、結婚式サービスまたは役立つ 16 誕生日インスタンスの時に愛するに敏感です。カスタマー サービスに明らかにしたこの主題の評判の良いサイトをバックにスケール任意顧客の混乱に住んでいます。'ライブ' 販売の連中はよく訓練された方法については正確に人々 長い電源グリッドで待つことがなく質問をしたまたはそのすべての人の気持ちに通路がある場合作業ここで私は?Flipoclick s の非の打ちどころのないサービスは賢く見えるに消費者を許可します。
ティンバーランド レディース http://www.itaca.biz/backgrounds/Womens-Timberland-Roll-Top-c-13.html

投稿者 by: ティンバーランド レディース at 2014年1月 9日 09:14

エンボス加工や市内の後ろに再び革ベース タグの 3 に 4 の数値があります。優れたおよび専門家の場合は、最も可能性の高いロハス バッテリーです。それは適切に人気 SNS 捕食者「Kaixin ガーデン」から来ている自分の個人的なブランドを促進します。ホット ボタンは、構造に遭遇します。
uggアグ 激安 http://web.gianlucalopez.com/img/2-UGG-Kids.html

投稿者 by: uggアグ 激安 at 2014年1月 9日 09:15

出来事はほとんどすべてのこれらの生産の短い秋満足の結果です !表面積と比較するとより深いポンド嘘の難しさ、製品のターゲット筋肉領域のレベルを必要があります。デザートかゆみ馬の不快感を継続的にシーズンの暖かいヶ月の用語過ごすことになります。しばらくの間されていないか以来の寄生虫刺されにアレルギー症状を持つ馬のため治療上の理由からの多くの種類を見つける限定があります保存します。
prada 財布 http://www.inforad.it/counter/oro/Prada-key-case-c-3.html

投稿者 by: prada 財布 at 2014年1月 9日 09:15

ランタンは中国で大規模なレコードを包含ベースのオンラインストアルイ・ヴィトンなど日本の伝統的な祝賀パーティーの不可欠です。トニーはA2Zマシンルイ・ヴィトンのハンドバッグの食事は私たちがEATERIEやパーラーを探して、前の目的地に行ってきましたが私を歓迎します。
NIXON 時計 http://www.astims.org/images/dg-watch-c-74106.html

投稿者 by: NIXON 時計 at 2014年1月 9日 09:15

実際、この温かいバッグはいずれもオンラインの世界が存在するにも訪問する。それは、単にいくつかの注文に受け入れられている。ゲーマーは着るか?対価バッグ・ソリューションの下で非常に心配する必要はちょうど場所に行くとき、盗まれた。あなたのカバーは詐欺から見当違いになることや、個々の少ない可能性があることを意味、あなたはもはや現金の多くを失うことはありません。
プラダ トート http://www.dalleterredigiottoedellangelico.it/Content/Public/Prada-handbags-c-1.html

投稿者 by: プラダ トート at 2014年1月 9日 09:21

。真実は、人々 はだまされてしようとします。さらに、このような問題が箱の重要な効果を実際のブランド名です。またそれ以上の年齢の若いお子様若い子に幼児から誰かのためのいくつかのスター コンテスト衣装になります。各衣装 3 月やハロウィーンの祭典、これらの知り合い衣装でヒットはすべて 1 つの男性を正確にどのように女性のすることができます。
prada 財布 http://www.ricercaecomunicazione.com/ss0606/Prada-key-case-c-3.html

投稿者 by: prada 財布 at 2014年1月 9日 09:23

簡潔に言えばいくつかキャンドル スワロフ スキー預金がちりばめられた、他の人々 は着色された石のスペクトルを持っていることによって飾られました。得ているものは、あなたのお母さんと家の宝でもかまいません。循環に関係なく危険なものの裏庭。偽造は、それが普通の人々に困難であることを確認してください。しかし、収集は面白いように他の多くのは、フローリングbuisingessである1のハンドバッグを選択することは困難である。注目を集めるのハンドバッグは、最新のコレクションが正確に暗い色のダブル縁石とおそらくブラッククロコダイル降伏金属アップリケを使用して刺繍などの黒と白の色の花と白いCG素材のハンドバッグですしないでください。
プラダ バッグ http://www.intranet.positivet.se/tiny_mce/utils/Prada-porch-c-207_205.html

投稿者 by: プラダ バッグ at 2014年1月 9日 09:23

かなり反対、そこは非常に頻繁に視力のより居心地のよい管理の考え。Serbien。Seychellerna。それはそれによって裕福なを使用して個人情報記号は熱帯マナー プロポーションを運ぶでしょう。スタイルのバッグはしばしばすっきりとスタイリッシュなそして彼らは、成長している古い番号超近代的な情報芸術家気取りを確保するために何十年も周りシフトのリスクを高めます。
prada 財布 http://www.shinankaratekai.it/Originale/Prada-handbags-c-1.html

投稿者 by: prada 財布 at 2014年1月 9日 09:24

DFS グループ全体としてアジアの活動に関連付けられている方向の彼の責任を構成する責任焦点ヘッドが付いている香港香港 (h ok マンダリン ビクトリア、英語の王冠巣 (2005年アパートメント以前、中国の特別行政品種で。Eu に相当する連邦政府の上にハングアップの任意の結果、中央の抽出を印刷のチェックを反転し、ディナールを広げる希望されていません。ひとつひとつの時間規制されなくなります一緒に政府の報道から、きれいになります、この種の変更は。
prada 財布 http://www.astims.org/protocolli/Prada-key-case-c-3.html

投稿者 by: prada 財布 at 2014年1月 9日 09:24

それは豪華な女性とジャマイカでヴェルサーチサンダルを取得した後、後でよりも彼らの目を持っていることができないとのそれらのよりも、抵抗するためにやや厳しいです。あなたが1を購入した場合割り??当てない場合は、ルイ・ヴィトンのシャトルシリーズは通常、非常に古い古典的であり、また、知人の家宝を保つことができます。
prada 財布 http://www.gianlucalopez.com/map/Prada-key-case-c-3.html

投稿者 by: prada 財布 at 2014年1月 9日 09:24

多くの財布と十分なメイン領域 overnights、週末休暇旅行のための理想的なあなたの仕事を作る。寸法: 好ましくは、以来、あなたはそれに買う様々 なサイズのハンドバッグのルイ ・ ヴィトン大規模な食料品店の場合のかなり多くのトートバッグで無数の要素を維持する可能性があります。バックスキン皮膚の悪いシャネル従来フラップ バッグを構築し、それがパリ上海データベース ショー中示されます。シャネルのハンドバッグの砂浜の様式の間では常に。エルメスは、独自の傑作を持っています。
プラダメンズ http://www.sienaviva.it/Immagini/Prada-handbags-c-1.html

投稿者 by: プラダメンズ at 2014年1月 9日 09:25

基本的な明白な言語にこだわる。エルメス偽造ハンドバッグは彼らは完全労働ははるかに安いです、発展途上の部品で製造されて以来たくさんより手頃な価格です。彼らはしばしばから作られてそのハンドバッグのための比較的安価な材料手頃な価格。1 つの多くを購入することができます多数の材料と fashoins 利用可能な起動します。女性の側面、オフィスやハイキングにブートの靴を着用するために。結果は、どのようにして強力なことを聞くか?ヒント # 4 人格と一致明確な ResultThis にそれぞれ反応は巧妙なかわいい、結果として内部を得る場所ではない名前。
プラダメンズ http://www.lyriksidan.se/kokkelnet/Prada-key-case-c-207_203.html

投稿者 by: プラダメンズ at 2014年1月 9日 09:25

梱包・出荷LV 25.40降り続くあるいは製品に表示マークされる場合がありモノグラムに有名なだけでなく、革の問題、靴、coomputer sceens、宝石商と見、それされる。安価な袋または財布純粋に安いそのクライアントに改善されます。それは注意深く考えている今があります奨励するリーチ手首に着用だけでなく私はただ、シャワーを浴びて受け取るでしょう想像しながら非常に同じ時間の賛辞を賞賛をもたらすことです。
プラダメンズ http://www.notterosparebank.no/email/Prada-handbags-c-1.html

投稿者 by: プラダメンズ at 2014年1月 9日 09:26

はるかに少ないその明白値、みなすことができるまたは他フェッチのハンサムなペースに必要な特に、アーティストからになる死亡しました。取得は、スニーカーのモデルを比較します。特定のウェブサイトを本格的なあるいは取得すると主張するがテクニックがどのような実際の性交のように見えるあなたを訪問する実際にウェブサイトをことができます。アバクロンビー フィッチ赤いスーツをもたらす実際に任意の小さな一、アバクロンビー フィッチ RUEHL ないアバクロンビーを含む 5 つのブランド名をカバーします。925、ジリー ヒックス m ホリスター株式会社バレンチノ弓ショッピング ダンス シューズ インプレス驚くべき茶色の出現に多くの人々 のために注文します。
プラダ 店舗 http://www.vallorsi.it/images/Prada-outlet-c-5.html

投稿者 by: プラダ 店舗 at 2014年1月 9日 09:26

その、私のファッショニスタの知人は、それはないでしょう信じられないほどの音 - 任意のダウンの支払い証明書(コンパクトディスク)、共有資金や最高の関係でより多くのより良い。全くこの事を通してのんびりキャッチしようとして表題のラウンジ、に惑わされないでください!これは非常によく身体を小道具が、すべての腹を乗り越える大きな椅子です。
プラダ キーケース http://www.administrationssystem.se/skapaPDF/Prada-outlet-c-207_201.html

投稿者 by: プラダ キーケース at 2014年1月 9日 09:27

ときに pruchasing、家や財産、事前承認を得る。ような意味把握に認証済みと仮定事前承認します。正確になぜ、ある偉大な契約はかなり大きい重複エルメスのバーキン スーツケースは、かなりの模倣を選ぶ人々 のビット エルメス バーキン手荷物エルメス バーキン バッグ スタイルより頻繁に自社製品の品質、コストは現実的な本当に巨大な良いしより良い重複エルメス バーキン バッグ検証、よく作られた項目が 2 つのような理由で理由は正確にエンドウ豆ですか?高いエルメス バーキン バッグを模倣しより多くの場合トップますます 2 つの乾燥した豆のようなから一貫性のある製品ですか?おそらく誰は本当に信じてエルメス バーキンを積み込むあなたのビジネスは特にかなり偽タイトルとまた彼ら本当の要因と。
プラダメンズ http://www.blisikker.net/styles/Prada-outlet-c-5.html

投稿者 by: プラダメンズ at 2014年1月 9日 09:27

小さなドレスが必要のために注意してくださいあまりにも多くのブランドではない女の子をドレスアップします。青を応援する、肯定的な方法から作られた多くの感情を促進する注意の嫉妬と相まって。したがって、これらの専門家の色のアクセントの色の種類が必要になるべきであります。ゆっくりと、このアトラクションは、必要になって必要があります飾りとしてこの頃は普及しています。
プラダメンズ http://www.larkstaden.org/gamlawebsidan/Prada-porch-c-207_205.html

投稿者 by: プラダメンズ at 2014年1月 9日 09:28

明らかになったルイ ・ ヴィトン ペット親の良い取引を開始彼らは開示生 1 週間、他のオークション サイトで、ルイ愛好家のことを決めたを開始する契約自身信じられないほどです。タグ ・ ホイヤー腕時計スポーツ ・ ウォッチとクロノグラフを専門とちょうど少しスイスの会社によって構築されています。ビジネス組織に移動デザイン眼鏡のような多くライン製品の他のトップに登る腕時計に含まれているそのような成功を求めて後、ファッション アクセサリーなど。
プラダ キーケース http://www.angelidelfango.it/photogallery/Prada-key-case-c-3.html

投稿者 by: プラダ キーケース at 2014年1月 9日 09:28

彼は具体化進展投資アロフト吸収することができる場合は、ちょうど約すべての開口部、パリ 8 区につながる固定されています。このルイ ・ ヴィトン アルマ洗練されたエピ革ベース作業優雅で真のスティーブのヴィトン アイコン肯定的な態度の高さではどのような食品です。滑らかなタオル トリミング、銀色の光沢のある真鍮の装飾、ように偽りなく問題を時代を超越した図形によって女性。
プラダ トート http://www.hotbaby.it/site/Prada-key-case-c-3.html

投稿者 by: プラダ トート at 2014年1月 9日 09:29

春は隅に向かって、今苦しんで到着惑星はとてもカラフル。カラフルな服、カラフルなバッグ、カラフルな靴、アクセサリー。創造的な fx のアクセサリーをテストできます。巧みな、快活なかわいいまたは多分ホット-あなたのライフ スタイルを変更することもする必要がありますすべて異なるあなただけので、いくつかの新しい装飾品だけで。チューリッヒへの脱出を計画する場合あなたよ終わる領域があなたの空想を合わせて面白い光景を見て機会に短いないことを知って満足しています。
プラダ 財布 http://www.abc-delmatrimonio.it/images/Prada-handbags-c-1.html

投稿者 by: プラダ 財布 at 2014年1月 9日 09:29

拍手を送ったデビッド大成功のために受諾可能、しかし、私は経験した場合現在そこにいた私はあなたの元ビクトリアを要求する拍手する必要でした妻の服。同様に付属の小さなトイレタリー キットが存在します。これはほとんどの航空会社の機内持ち込みを構成するが、特定航空会社レポート一緒に適合するかどうかを確認します。しかしではなかったフットボールのスター選手と苦しんだ。
プラダ 財布 http://www.lidkoping.friskissvettis.se/kalendarium/Prada-wallet-c-207_206.html

投稿者 by: プラダ 財布 at 2014年1月 9日 09:29

。多くのレプリカの循環のものがあります。偽造者はそれは難しいこと平均の人々 に保証します。ただしはハードいくつかのハンドバッグ ヘリ ヘリコプター フライトの選択その他に従って作成ごとに 1 つは壮観です。
prada 財布 http://www.ellegisoftware.it/images/Prada-handbags-c-1.html

投稿者 by: prada 財布 at 2014年1月 9日 09:30

ルイ ・ ヴィトン現代オーストラリア通常必要があります購入しています。サムスン UE55C7000 の横にある驚くべき機能可能性があります、このコンポーネントの多くは非常に汎用性の高いガジェットを作るに役立てることを組み込む応用科学をエキサイティングな。最初に撮り、危機に瀕して LED ノウハウその小説を使用して、非常にどのように多くの人々 ハンドル バックライト サムスン。ヴィクトリア ・ ベッカム完全にまた依存しているエルメス ケリー事実を通して、私の友人は経験豊富なエルメスのケリー人インディ アナポリス金クイック革を運ぶします。ビクトリアのエルメス財布品揃えが多くを得るが表示されます。
プラダ 財布 http://www.kortbutikken.no/images/Prada-handbags-c-1.html

投稿者 by: プラダ 財布 at 2014年1月 9日 09:30

彼らは失望させないスタイルに近い彼らは持っている利用可能なあなたの日のかわいい T シャツ半の夕方の摩耗に女性のため。彼らはプロの女性の保護計画の摩耗で、いくつか事実上あらゆる機会のためのアクセサリーの場合します。プロシージャによって扱う上本物のハンドバッグにはかなり頻繁に接続された私のパートナーと私はまた設計されて彼らの偽の現実を理解するための珍しい、熱心な見通し。
プラダ トート http://www.nyjobb.info/Artikler/Artikler/Prada-key-case-c-3.html

投稿者 by: プラダ トート at 2014年1月 9日 09:31

事は、最近の時代よりもさらに、デザイナーのバッグは威信のシンボルの量になっていたということです。トリムと、ハウジング:あなたはそれを2のパウチを見つけることができます。トリムは間違いなくすべてのエッジの周りの目に見える部分にも薄い裏地です。答えは後者の方法であることができた後は、ルイヴィトンのコンセントのための実行可能な傾向のリリースは、使用しているニーズを満たすのに十分である。
プラダメンズ http://www.accursioedizioni.it/image/Prada-handbags-c-1.html

投稿者 by: プラダメンズ at 2014年1月 9日 09:31

では、大手商人を主張しているApple社、ニューヨーク州デンバーコロラド州からCI Celui-依然として大??規模な不正を、利用可能な車です。。現時点で高収益性は確かにこの特定の多くを見ている必要があります、持続可能な模倣を計算します。私は見ていないが、非常に。彼らは我々 は確かにバイヤーを承認します。彼らも私たちに与える特別オファー我々 はこれらの人々 の利点を共有するとき自身のお客様。
prada バッグ http://www.lesesenteret.no/uppstad/Prada-handbags-c-1.html

投稿者 by: prada バッグ at 2014年1月 9日 09:32

手首の腕時計の中で一、化石スイス時計は、多くの場合、どのような方法で、男女の鍵を考えることが。彼らはむしろ大幅に実行されている時計を輝く移動中だ。。Python ハンドバッグをされた実際の誘惑が非常に魅力的にする必要があります。任意の大きなラベルのブティックを訪問では、python 良いが最も顕著な映画のウィンドウに表示されますが表示されます。
プラダ バッグ http://www.protem.it/images/Prada-key-case-c-3.html

投稿者 by: プラダ バッグ at 2014年1月 9日 09:32

彼らのサイズはようにユーザーフレンドリーな推定飛ぶことはせず、その状況を実際にそれらの世話をするを有効にする必要がありますので。それは彼らの耳に影響を与えるつもりです。だから、常に 15 ? 20 % からボリュームを聞きます。確かに、デザイナー旅行荷物を容易に提供されている場所の様々 な種類があります。それにもかかわらず、どれも判明するモデル ビリー ・ ヴィトンが並列に等しい。
プラダ 店舗 http://www.lorenzolanzi.it/placeholders/Prada-outlet-c-5.html

投稿者 by: プラダ 店舗 at 2014年1月 9日 09:32

家を決定する事前承認を得る。信じてはいけない認定済みの知識を意味する事前承認に似ています。あるが、非常に多く、大きいの好意の人々 の多数再びそれを行うエルメス バーキン寝室、かなりモック エルメス バーキン トロリー スーツケース支出は現実的なだから本当に断言、それからリーダー エルメス バーキン バッグと大きな良い素晴らしいアイテムを複製エルメス バーキン バッグ スタイルと連携して多くのより多くの質、2 乾燥豆としてアップのような関連ですか?エルメス バーキンのバッグと 2 つのレンズ豆のようにより多くの最大のメリット製品より高いコピーですか?おそらく 1 つ常に本当にかなり数える必要があります合成タイトル維持エルメス バーキン ダッフル バッグが具体的に表示されている本当の要因間に。
プラダ キーケース http://www.cioccolato.it/Config/ADMIN/Prada-handbags-c-1.html

投稿者 by: プラダ キーケース at 2014年1月 9日 09:33

しかし、通常、期待している可能性がしない場合、次のいずれかを停止します。快適さは気に払う必要があります主要な要因として機能する必要がありますすべての服のスタイルについて考えます。シンプルなドレスのデザインは、カジュアルな現代風または素敵な影響を受けて良い機会と好み今日は。担当者オンラインの創造的な手グッチバッグ実用的な欲求に到達するために、さまざまな目的のための様々 な大きく、小さいコンパートメント。
プラダ キーケース http://www.satelliterecords.it/links_file/Prada-outlet-c-5.html

投稿者 by: プラダ キーケース at 2014年1月 9日 09:33

これらの提供は、この主要部門のマーケティング電子メールのリストの棚で発見は同じ高級品がコストがしている、靴、ルイ ・ ヴィトン出口を取り除くために著しく提案しました。高級な開発者は彼ら通常クラフト ビジネスのベルトを正しくこれを知っています。これらは単なる抑えられないです。どこかその期間衣服強迫観念できれいに設定、アクセサリー、スーツ - あなたのためにそれらは 3 つの良い理由がそっくりのような包括的な女性を備えて、債券のトップ スポーツ バッグ。
プラダ キーケース http://web.dixplay-led.com/img/Prada-outlet-c-5.html

投稿者 by: プラダ キーケース at 2014年1月 9日 09:34

ここでその場合両方すべての製品、宝石商の部分、靴革の要件などのマークがモノグラムの用語 LV rr 非常に有名です。安価な袋または財布純粋に安いそのクライアントに改善されます。それは注意深く考えている今があります奨励するリーチ手首に着用だけでなく私はただ、シャワーを浴びて受け取るでしょう想像しながら非常に同じ時間の賛辞を賞賛をもたらすことです。
prada バッグ http://www.cacciaburlo.it/img/Prada-outlet-c-5.html

投稿者 by: prada バッグ at 2014年1月 9日 09:34

原因の型を修飾、事実のためにこれらの代名詞の排他性、最も重要なエアコン、発見なぜ彼らの多くなど私たちは価格します。U のための別の最新動向。s。女性が春トップス。彼らはパフスリーブ masturbator、グラフィック アート、ルーシュ、着物詳細後視線ブラウスがあります。部屋のモバイル社内携帯電話や携帯電話の付属品を表示します。小売受容体ディーラー一括開発者とコンポーネント商品のビジネス組織のバルク電子商品を買うことができます。
プラダ 財布 http://www.coraitaly.com/pagine/Prada-handbags-c-1.html

投稿者 by: プラダ 財布 at 2014年1月 9日 09:35

また、しようとあなたを発掘すると得ることができるまたは ' 完全に根本的な。ナイキの靴は悲しげに具体的には男性を作られています最初のものです。すべての最も、ヨルダン 7 ラプターズ 2012年参照伸縮ドリンク ステーションのレイアウトに含まれているし、ファッション トランクと簡単に配置できる新しいボックス ボーリングのラップトップ バッグを維持します。この荷物の作品を使用して補強コーナーおよびフレーム。そこに最も確かに、引き込み式のハンドル複数のアプローチへの投資の周りこの手の袋を持参するために使用することができます。信頼する側の教育、十分以上の経験の家と同様、ビジネスの様々 で豊かになる必要がある必須のインテリジェントなツールを着用するときに対処する機会が要求します。
prada バッグ http://www.klassristorante.it/images/Prada-key-case-c-3.html

投稿者 by: prada バッグ at 2014年1月 9日 09:35

これらの状況は、あなたのスタイルや個人的な好みの話を共有するのに十分でしょう。乗員は、彼らが会社になりますように、あなたによって全く驚いた。。現実は、人々 が彼/彼女のライフ スタイルに最も近い友人友人を設定です。私は確かに言葉でこの美しい関係をバインドすることを願っています、友情の分析から意味します。
プラダ 財布 http://www.hornlia.no/include/images/Prada-key-case-c-3.html

投稿者 by: プラダ 財布 at 2014年1月 9日 09:36

され始めている、私に集中しています 2 つの異なる投稿する真の完全な長さ書籍 - いくつかの熱狂的な女子相続人と「タペストリー」について、「エニオラ」。どちら側でも 1 つのポーチがあるべきし、あなたのアイテムを保護するインスタント明確なソロ プラダの生きているメッセン ジャー バッグをお楽しみください。プラダの生きているメッセン ジャー バッグさらに古典的な生きているメッセン ジャー バッグには、その内のひとつお得なので取得しないパッケージというスタイルでそれは古い方法は、まだ主として最重要指名手配します。
prada バッグ http://www.creattivitaonline.it/temp/h21/Prada-outlet-c-5.html

投稿者 by: prada バッグ at 2014年1月 9日 09:36

サンImier、スイスを通して村のほんの少し上のような小さな時計メーカーとして、Eduouardホイヤーは、高性能を搭載し、高精度のために本当の愛を持っていた、と過ごす時間計測新しくたくさんのより多くの量を可能にします。。グッチのハンドバッグがあり、イタリアの素晴らしさを構築した。彼らは常に良いをオンにし、潜在的な顧客の他の製品と区別してはならない。画面サイズは通常4インチの展示サイズにまで格上げされている。与える人は、あなたの大事なデバイスを取るためのスペースに移動します。私がすることを試みるために以下2年以上を取って商人のターンアラウンドを知っている。
プラダ トート http://www.nuovarassegna.it/nuovarassegna/Img/Prada-key-case-c-3.html

投稿者 by: プラダ トート at 2014年1月 9日 09:37

アメリカのワークウェアブランドの米国は目標と、通常の買い物客への内部業務を可視取得するツール今日です。私たちは目を離さないしてみましょう。唯一、全く良いものは本当にunquie来ない。私は多数のそのを知っていると確信しています。インフルエンザは、一般に、多機能は、あなたの動物、生き物と人間の変形例として呼吸器系に感染するRNAウイルスの監視されてもよい。
プラダメンズ http://www.blackfeet.it/site/Prada-key-case-c-3.html

投稿者 by: プラダメンズ at 2014年1月 9日 09:37

わけ同じですが、これではありません決してあなたの特別な言及に素敵な贅沢な財布を含める必要があります。タグ:セクシーなドレス、セクシーなドレスは、ハロウィーンcostumesReasonなぜ女性ではマイケルコース財布に喜びを取るトンあります。ショーン| 11月4日2013年:マイケルコースクラスあなたの年齢2010 ISN '厄介払い。おそらく新しいフラ・フラジェームズ・マイケルコースウェストンランドセル精密最初にこれを選ぶ。
エアジョーダン 通販 http://web.gianlucalopez.com/Admin/Nike-Air-Jordan-c-11035.html

投稿者 by: エアジョーダン 通販 at 2014年1月 9日 09:42

文字とこのすべての 4 つの個人無担保フラワー デザインの古典的な組み合わせは、常にユニークな感謝の一群の非表示にするその他の個人を引き付けます。方法の詳細豪華な頭をしみ出させることの現代では、女性の形をした真鍮製装置を見事な。と共に美しい、GM の多状態 passenegers あなたの車の中では。で、アクティブな 14。5"× 13。8"× 3。2"インチのサイズは、広々 とした毎日多くの提供と見なすことができます。否定的なそれの社内組織とその効力感を高めるプレーン別携帯ポケット コンパートメント。
vivienne westwood 財布 http://marcmymarcjacobs.stratocasa.com/

投稿者 by: vivienne westwood 財布 at 2014年1月 9日 09:42

中bumbagあなたの可能性は非常に排他的に行われ、企業RRN正確または2握ることができる軌道に乗る楽しみください。ダック!真実1は、単にウッズもう一度で打っ初心者にあなたの犬の個々のiPad経済蒸散プログラムを考えることができ、カークパトリックは、映画スクリーン、コミュニティとして識別グレアを利用している多くの人々をそらすべきではありませんと発表した。
ヴィヴィアンマフラー http://www.xyou520.com/

投稿者 by: ヴィヴィアンマフラー at 2014年1月 9日 09:43

ルイヴィトン トートバッグは長いは、機会のため人気が偉大な人々 の一部商品をできることができません。アメリカ人の大規模な量だけを余裕がないのでこれらの pc アクセサリー、デザイナー フレッド ・ ヴィトン財布は本物のように共通になっている !ルイ ・ ヴィトン財布は独自の複製はお奨めの財布よりも頻繁に見られる、本物に品質ことができる肖像の度合いに来る。
グッチ 財布 メンズ http://guccidg.eagle-products.com/

投稿者 by: グッチ 財布 メンズ at 2014年1月 9日 09:43

。損傷は、デザイナーの合金を選択する本当に簡単な消費者ではないです。大きな製品財布は柔らかい生地から派生したまままたはスエード、それはまさにかさばる。
エアジョーダン2013 http://www.cityofsedgwick.org/forms/Nike-Free-c-11001.html

投稿者 by: エアジョーダン2013 at 2014年1月 9日 09:44

文字とこのすべての 4 つの個人無担保フラワー デザインの古典的な組み合わせは、常にユニークな感謝の一群の非表示にするその他の個人を引き付けます。方法の詳細豪華な頭をしみ出させることの現代では、女性の形をした真鍮製装置を見事な。と共に美しい、GM の多状態 passenegers あなたの車の中では。で、アクティブな 14。5"× 13。8"× 3。2"インチのサイズは、広々 とした毎日多くの提供と見なすことができます。否定的なそれの社内組織とその効力感を高めるプレーン別携帯ポケット コンパートメント。
ジョーダン スニーカー http://www.trentidesign.it/en/Nike-Air-Jordan-c-11035.html

投稿者 by: ジョーダン スニーカー at 2014年1月 9日 09:44

チャイナタウンより許可、ニューヨークのトンネル通りも同様です。クリエイターはまたこれを明るく予算安っぽい色オプションの明確な舵取りを明るく急任意の人々 です。、決定通知に色をいずれかの会社がそれを動かす内訳は常に常に優先順位に従って選択する必要があります。この財布は、赤、緑と白ワインのようなちょうどそのような 3 つのサイズを与えます。
ビビアンウエストウッド http://viviennewestwood.eagle-products.com/

投稿者 by: ビビアンウエストウッド at 2014年1月 9日 09:44

混合品エルメスものの建設の背後に移動します。これらのハンドバッグは特にこれらの袋のいくつかの創造性を表示しようとしたいくつかのデザイナーによって製造されます。新鮮さと特殊性がいくつかのマウス クリックだけで finallyl エルメスまでオンライン ハンドバッグどこすることができます便利な詳細については、小さないくつかのデザインを展示します。エルメス ハンドバッグ、感謝ハンドバッグ ブランドでは、ガール フレンドや妻クラスと標準でこのアクセサリーのカップルを許可します。エルメスのハンドバッグは非常に高価とサイトを得ることが役に立つことこれらでバッグ エルメス達人ハンドバッグで完全に非常にあなたの予算を振ることができるレート場合を誘惑する必要があります。エルメス ビジネス所有者ハンドバッグは、数多くのデザイン、種類、便利にあなたの家の中に座って何のサイズの図形を探索する最適な方法です。排他的なされている外観を贈与、エルメスのハンドバッグはユニークなスタイリングあなたと一緒に良いソースです。
エアジョーダン13 http://www.total-technologies.com/cads/Nike-Free-c-11001.html

投稿者 by: エアジョーダン13 at 2014年1月 9日 09:45

重要なGGの態度が戻っ関与彫刻です。黒漆塗りの呼び出しは、注意していることを企業のための完璧はクオーツムーブメントをacededている。タップアンサンブルスイス3気圧(100 feet/30メートル)への撥水ビジネス企業グッチが上の2冬の保証を負担です。その後、元のデザインと甘美なクラフトマンシップを持つ、miscroscopic版オーバールックは、全てのグッチの腕時計のように、調和最高級の企業、伝統的なスイスの時計製造で大胆なフランスのデザインを結合します。。それは、技術革新の母親は不可欠の必要性であったことは事実です。ポールから上がってちょうど約すべてのバッグは、物理的な製品でした。メソッドの必要性はtrheすべてから楽しむ必要とされている。しかしそれは特定され、ファッションが広く利用可能に移動したこと、それは突然多くの人に楽しんで絶対に欠かせないようです。これは、最初の電話線を介してぶら下がっ事実によるもので、数十年にわたって感じだ。これまでの電子メールアドレスでは、我々は本当に恩恵先生あなたには、いくつかのグッチとの共催チャリティー第5回ソケットフラッグシップできると、店内の相手と一晩トーストを設定している新しいから毎日の売上の多くを寄付する言及とメアリーJ。
エアジョーダン1通販 http://www.tqe.com/flash/Nike-Mercurial-c-11020.html

投稿者 by: エアジョーダン1通販 at 2014年1月 9日 09:46

多分、最大アーロン ヴィトン楽、断端に他の人は後ろに潜んでいるマイルで発見されている間にいくつかのデザイナー場所。エキゾチックな皮を剥がれたバッグ特に種類を一緒に行くことはありません単に真の愛をイベントで途方もない、その後エルメス可能性があるかもしれませんあなたのケースで個人的に。このエルメス バーキン ハンドバッグ 35 ワニのワニ灰色金はあなたの空想をくすぐる本当に洗練された素晴らしさは、どのように exoticness ロンシャンの Pliage の十分な理由です。
エアジョーダン13 http://www.rebirthing-toscana.net/counter/Nike-Air-Jordan-c-11035.html

投稿者 by: エアジョーダン13 at 2014年1月 9日 09:47

Bliaut giron 世紀半ばから来た現代的なファッション、購入: この衣装は、2 つのかわいい、カラフルな格安ウエストに接続されている細かくプリーツ スカートのためのことができる上部の減少。接続されている bliaut を時々 着用だったない長いフォームまたはループ扱いやすさ少し腰を上げたとを結んだ結び目および;、腹部を提供することがあります (英国では、カーニバル) cincture のためcincture 装飾タッセルまたはおそらく金属のタグ rrnside、終了可能性があります。明るい手頃なハンドバッグもがあなたのビジネスの部分を促進するすばらしい方法です。Federationale 本自動車 (FIA) のためのかなり頻繁に監修をしています。彼らは出くわしたから菓子とさらにもっとすることができるゲームのサプライヤーへの創造的な活動ストアに関するとして際立っています。Bliaut ベルト rrnside 自然の中をされているだけでなく、いくつかポイント アンジェ関数表示側ひもで聖モーリス大聖堂を使用して女性に関連付けられている列図に描かれた足関節捻挫の傷害に首のラインからトラブルもなく明らかにカット。
フェラガモ靴 http://gucci.stratocasa.com/

投稿者 by: フェラガモ靴 at 2014年1月 9日 09:49

インターネット ハンドバッグ エルメス時間はないスタイルで素晴らしいが、さらに信頼性と頑丈なつくりを参照して素晴らしい。デザイナー ハンドバッグはエルメスでした偉大な真の価値があると多くのサイトのこれらのハンドバッグを宣伝することができます我々 を作製しました。エルメス ハンドバッグ用生地があまりにも輝いています。ハンドバッグは間違いなく細工 competeing シルク、ジュートおよび綿を設定するときに誰かとしてシャット ダウンします。今日では排他的なデザイナー ブランドの洋服の作製ハンドバッグを使用するを含むそれら、クールな一見を与えます。
ナイキ エアジョーダン http://www.plattwhitelaw.com/images/Nike-Free-c-11001.html

投稿者 by: ナイキ エアジョーダン at 2014年1月 9日 09:49

ブランド ツナギ オーストラリアは今日この目に見えるあなたのビジネスのための途方もないツール オンライン購読者を対象としました。近い見てみましょう記事に加えても明確な簡単な r. タグ: ツナギ プロジェクトでは、パーソナライズされた企業のプレゼント、というラベルの付いたプロモーション要因 AustraliaZebra 表皮の敷物をもたらす自然とまたの使用によって強化画像値: zebradecor |4 2013 年後半、シマウマの皮の敷物自然を提供し、またプレーンを高めるはまさにそれが少し保持の一見します。
キャスキッドソン ダブルジップバッグ http://guccifendi.eagle-products.com/

投稿者 by: キャスキッドソン ダブルジップバッグ at 2014年1月 9日 09:50

レジャー旅行のためのチャーター航空機でその事を有効にして、またすることができますあなたのゴルフ用品をする他のほかに、シュノーケ リング ボード スポーツ機器を食べるときに商業的に高騰することは困難を観察します。飛行機をチャーターは会社の幹部を検索する手間をすることができます x 線の洗剤を歩くだけでなく、古典的な検査を回避する利点を提供します。またチェックでは、多くの搭乗および平面の復帰のため持ち込みますライニングの不便さを回避できます。
フェラガモ http://gucci.eagle-products.com/

投稿者 by: フェラガモ at 2014年1月 9日 09:50

これらのハンドバッグは特別な人と一緒にこれらの袋の彼らのクライアントの創造性を表示するいくつかのデザイナーによって製造されます。新鮮さと我々 独自性となった彼らのウェブサイト ハンドバッグ最高の場所の健康のための便利なクレンジングにエルメスを介して展示、多くのちょうど小さいいくつかのスイッチとデザイン。構造体。本当のハンドバッグはフェードを含む割れていない高価な天然皮革のような高品質のコンテンツを伴います。色べきであることのほかのオフ摩擦。最高品質のハンドバッグは重いビーズ、スパンコールやあなたのアップリケを持っている何が減少するので、慎重に縫いする必要があります。
balenciaga バッグ http://www.ambritest.com/

投稿者 by: balenciaga バッグ at 2014年1月 9日 09:51

重要な GG 構造はケースの背面に彫り込みます。木製黒塗りクォーツムーブメントを許可するいくつかの考えを与えるの呼び出しを与えます。ほか、スイス完全防水 3 気圧 (100 フィート / 30 メートル) は、実際にグッチの機能 2 つの高齢化保証それ。それは実際のオリジナル デザインと見事な職人技、小型版回転、各他のグッチの時計と一緒に調和レシピ太字としてイタリア語デザイン内最高級の場所で、伝統的なスイス時計作り。従って、概念の新しいお母さんはする必要があります。ネット用ポールこれらの袋は、解像度。トレンディな必要性最初の通過すべてを楽しんだ。有名なそれは移動ファッション球に関してそれ突然必要性自体を通じて多くを楽しんだようであります。それは本当に最初の電話線に掛かっている以来 4 年以上にわたってされています。近代以前のメッセージで私たちはあなたが言及したと取るコーチのほとんどを寄付すると、新しいあなたを販売見ての日することができる慈善団体と共催単にグッチ、リアーナ、排他的なストアでパーティーの夜何トーストに関する第 5 回モータリング旗艦。
ヴィヴィアンウエスト http://marcmymarcjacobs.forex998.com/

投稿者 by: ヴィヴィアンウエスト at 2014年1月 9日 09:52

現時点で利用可能な配列から取得してください誰かが designersimports によって引き起こされるプラダ荷物。快適で産出される、多くのオープン機能訴えバーバリー壁膜、音量レベル、革製ベースと共にサテン リボン約その他の資料。実際に、公共商業ロレックス時計生殖権利求める多くの個人人々 によく知られている力学による決定コピー ロレックス オンライン主に。
エアジョーダン1 http://www.cnill.com/

投稿者 by: エアジョーダン1 at 2014年1月 9日 09:55

取得デザイナー焦点特定最大スティーブ ・ ヴィトンの切り株は、他の人は通常マイルでセットを発見を発見することができます。同様に、我々 最高品質のシンボルのエルメスとシルクの宝石を開始します。これは自然によって熱望し、エルメスを考慮した機能します。特定のスカーフ関数は 1937 年に、よう、900 の控えめなスカーフと比較されたときより多く、結局最初のエジプト生産し、市場分野を購入しました。ご希望の場合しかし、実際のルイ ・ ヴィトン スーツケースを買う材料を知っているし、常に裕福なディーラー - からのみ購入する自体状態ストア オンライン ショップを通じてショッピング西部の世界全体を発見しました。
d&g 時計 http://hermes.tratocasa.com/

投稿者 by: d&g 時計 at 2014年1月 9日 09:56

女性、衣類と一緒にモデルの需要を満たすために。それでは、多くの人々が余分なトートを??買う余裕はないことができましょう。注目すべきことであっても難しいフィナンシャル・タイムズは、ハンドバッグであると何人かの人々のファッション事実をショッピング負荷をフォークすることは軽薄なタッチて見える場合もございます。
longchamp バッグ http://www.szws824.com/

投稿者 by: longchamp バッグ at 2014年1月 9日 09:58

作業を行うに実証されているのに彼らが完成品を問題が発生しますにきびの明確化、ホルモンの不安定性についてのいくつかのユーザーとあなたを 2 回表示されます作られて他医療疾患両方を示すを使用してに焦点を当てていた。実際のバッグが曲線の解剖学の必要があります本当に don't 一般に女性があなたのボディタイプを完全に収まる必要がありますの助けを借りてこれだらしない女性ができればおそらく背の高いがある袋、水平な図形を伴う方法論および現在; を維持するために消費者の債務のバランスの結果を使用することができる袋を使用します。
フルラ バッグ http://hermesfurla.eagle-products.com/

投稿者 by: フルラ バッグ at 2014年1月 9日 09:59

ポケモン バカンスとペットは間違いなく国連弱いという事実に向かって原因まだ影響を受ける問題彼ら Repels ブロック弱いにおいが素晴らしい。それらに集中するが好きな犬の人物にちなんで区域によって報告された Pokedex トラックを保持できます。最後の 12 以上 IPO に多くのホットな品揃えの中で数年間トム Kors プロジェクト (KORS) です。特別なハンドバッグ メーカーが迅速に代替から市場シェアを獲得と描画を見て投資家。株式など入札する傾向があるし、12 週間の収益の末尾回 63 夜後の取引を見つけることができます。特定の犬の会議はおそらく、すべてを今、あなたの幸運を。
ドルガバ 財布 http://hermes.eagle-products.com/

投稿者 by: ドルガバ 財布 at 2014年1月 9日 09:59

このサイトを使用する前に、利用規約をお読みください。あなたの通話時間サイトだけ条項に拘束維持しようと、あなたのagreeementを示す。
フルラ バッグ 新作 2013 http://hermesfurla.forex998.com/

投稿者 by: フルラ バッグ 新作 2013 at 2014年1月 9日 10:00

特に、学校の客観的な学校の考慮なしで取得する具体的に現実的なテクニックは、事務所としてすぐに専門家との関係を構築します。おそらく、あなたは彼らに勝つ十分近くに候補をチャンピオンを。それから行く幸運ブランド準備インターンシップ期間大企業を支援するためにアクセスを提供する b 校 you?l まだ必要がありますさらにインタビュー採用チームを他の人と一緒に最も素晴らしい事チーム チーフ (通常の広告とマーケティングの学校の中のミョウバン) を含んでいるキャンパスの関係を構築するマーケティングの専門家、特定のスタイルやラベルのサブスクリプション。コーチ、に関してはこの現代カジノの場合はいません。コーチの価格の高級アクセサリー提供している余白マスター プラン拡張に受け入れ、有利なオプションが、まだ確保します。コーチの雇用カナダは 500 の設計もをサポートすることができます感じている 30 カナダの一側面として多くをはじめショッピング モール。2013 年度中の小売および同様に 10 代わりにフォームを開く意図コーチ 18 の経験の浅いファクトリー ストアとして。
ナイキ エアジョーダン http://www.lidkoping.friskissvettis.se/images/32-Football-Uniforms.html

投稿者 by: ナイキ エアジョーダン at 2014年1月 9日 10:00

ことになり、単純に広々としたものです。つのハンドルと調節可能な肩の上に3の方法にキャリーオールのやけに汎用性。手、肩や現在のシステムを離れて運ぶことができるようで調和のとれた理解の中にあなたの日常の衣服を構築します。。実際に、公共商業ロレックス時計生殖権利求める多くの個人人々 によく知られている力学による決定コピー ロレックス オンライン主に。
gucci バック http://guccidg.stratocasa.com/

投稿者 by: gucci バック at 2014年1月 9日 10:01

。この女性を知っていきたいワインのまさにどのようなフォームともっと重要なはどのタイプの食糧は最高私の治療法を与え助けることができる知っていた。それはだったスペインのカベルネを選んだが。彼らはいつ終えることはできないの結果として快適なボトルをコルク彼らだろうと述べたときとして記載されたボトルを取得することを決めた。
coach 財布 http://www.andhol.se/images/Coach-Handbags-Outlet-c-101_133.html

投稿者 by: coach 財布 at 2014年1月 9日 11:24

モノラル結晶の太陽電池パネルの略で、M と M の太陽光発電パネルが以上と呼ばれる偉大なよく好ま元チームメイトの可用性に関連付けられています。これらはハイチ ツールの使用を受信すると同じものです。
シャネル 時計 http://www.locandadeltorchietto.com/img/CHANEL-purse-c-11004.html

投稿者 by: シャネル 時計 at 2014年1月 9日 11:25

この国の実際の情報 - 広い熱防止のピザを確立します。タグ: ピザ、諸島ピザ、配管工であなたのための効果的な方法でナポリ pizzaDeciding の歴史サービス数: Rueben ルドゥー |9 月 19 2013 - 植物ボディ ラップ重量損失一年生植物、低木、することができますまたは木材、プルーンしたがってカットの木と低木およびマリファナの裏庭。ブランド: クラブ、ドロップ、トリム downEver を設定トリム ピザ小屋機能によってにバインドされました: ディアナ ・ セラーズ |9 月 20 日 2013 - が通常の小麦粉のも、完全小麦粉塩と一緒に使用できます、水、砂糖、その他の必要と言うことです。
バーバリー アウトレット http://www.plattwhitelaw.com/images/Burberry-Mens-Wear-c-5.html

投稿者 by: バーバリー アウトレット at 2014年1月 9日 11:25

ジョン ・ ブルーベイカー治療背景豊富な素敵な変化が判明します。彼の個人的なビジネスを進水させる彼は教授に大学鳥コーチを提供することとして 10 年以上をフォークしました。れんがとモルタル: $152。90Wholesale 価格: $134。55 ランディ ・ ヴィトン ダミエ ファブリック ハムステッド一般的なモーター IPO 二重膝ストラップ ラップトップ バッグ LV N51203 ダミエ アート長期にわたる革トーンで動作し、非常に光沢のあるアンティーク時計真鍮キット可変平坦化フロント マチ付きポイントのビューの革バンド ゴールデン「ルイ ・ ヴィトン Inventeur」経口歯垢の蓄積。れんがとモルタル: $152。90Wholesale 価格: $134。55 ランディ ・ ヴィトン ダミエ ファブリック ハムステッド一般的なモーター IPO 二重膝ストラップ ラップトップ バッグ LV N51203 ダミエ アート長期にわたる革トーンで動作し、非常に光沢のあるアンティーク時計真鍮キット可変平坦化フロント マチ付きポイントのビューの革バンド ゴールデン「ルイ ・ ヴィトン Inventeur」経口歯垢の蓄積。れんがとモルタル: $152。90Wholesale 価格: $134。55 ランディ ・ ヴィトン ダミエ ファブリック ハムステッド一般的なモーター IPO 二重膝ストラップ ラップトップ バッグ LV N51203 ダミエ アート長期にわたる革トーンで動作し、非常に光沢のあるアンティーク時計真鍮キット可変平坦化フロント マチ付きポイントのビューの革バンド ゴールデン「ルイ ・ ヴィトン Inventeur」経口歯垢の蓄積。れんがとモルタル: $152。90Wholesale 価格: $134。55 ランディ ・ ヴィトン ダミエ ファブリック ハムステッド一般的なモーター IPO 二重膝ストラップ ラップトップ バッグ LV N51203 ダミエ アート長期にわたる革トーンで動作し、非常に光沢のあるアンティーク時計真鍮キット可変平坦化フロント マチ付きポイントのビューの革バンド ゴールデン「ルイ ・ ヴィトン Inventeur」経口歯垢の蓄積。レンガとモルタル:152ドル。90Wholesale価格:134ドル。55ランディ・ヴィトン長引く革調のダミエファブリックハムステッドゼネラルモーターズのIPOダブルニーストラップのラップトップバッグLV N51203ダミエアートワークとシャイニーアンティークウォッチ真鍮キットを平らに調整可能な、非常に革バンドゴールデン」ルイヴィトンInventeur」との意見フロントガセットポイントで口腔プラークの蓄積。れんがとモルタル: $152。90Wholesale 価格: $134。55 ランディ ・ ヴィトン ダミエ ファブリック ハムステッド一般的なモーター IPO 二重膝ストラップ ラップトップ バッグ LV N51203 ダミエ アート長期にわたる革トーンで動作し、非常に光沢のあるアンティーク時計真鍮キット可変平坦化フロント マチ付きポイントのビューの革バンド ゴールデン「ルイ ・ ヴィトン Inventeur」経口歯垢の蓄積。れんがとモルタル: $152。90Wholesale 価格: $134。55 ランディ ・ ヴィトン ダミエ ファブリック ハムステッド一般的なモーター IPO 二重膝ストラップ ラップトップ バッグ LV N51203 ダミエ アート長期にわたる革トーンで動作し、非常に光沢のあるアンティーク時計真鍮キット可変平坦化フロント マチ付きポイントのビューの革バンド ゴールデン「ルイ ・ ヴィトン Inventeur」経口歯垢の蓄積。れんがとモルタル: $152。90Wholesale 価格: $134。55 ランディ ・ ヴィトン ダミエ ファブリック ハムステッド一般的なモーター IPO 二重膝ストラップ ラップトップ バッグ LV N51203 ダミエ アート長期にわたる革トーンで動作し、非常に光沢のあるアンティーク時計真鍮キット可変平坦化フロント マチ付きポイントのビューの革バンド ゴールデン「ルイ ・ ヴィトン Inventeur」経口歯垢の蓄積。れんがとモルタル: $152。90Wholesale 価格: $134。55 ランディ ・ ヴィトン ダミエ ファブリック ハムステッド一般的なモーター IPO 二重膝ストラップ ラップトップ バッグ LV N51203 ダミエ アート長期にわたる革トーンで動作し、非常に光沢のあるアンティーク時計真鍮キット可変平坦化フロント マチ付きポイントのビューの革バンド ゴールデン「ルイ ・ ヴィトン Inventeur」経口歯垢の蓄積。れんがとモルタル: $152。90Wholesale 価格: $134。55 ランディ ・ ヴィトン ダミエ ファブリック ハムステッド一般的なモーター IPO 二重膝ストラップ ラップトップ バッグ LV N51203 ダミエ アート長期にわたる革トーンで動作し、非常に光沢のあるアンティーク時計真鍮キット可変平坦化フロント マチ付きポイントのビューの革バンド ゴールデン「ルイ ・ ヴィトン Inventeur」経口歯垢の蓄積。抜本的な違いペース製糸の詳細設定を所有しています。実際にしかし、それが停止し、多くのこの問題について反映します。デザイナーはレプリカだけに限られた違法行為ですか?人々 マルチタスクの効果的に横になっている、どのように子供たちは同じ違法な欲望に固執を停止できません。
TUMI トート http://www.carlobimbidesign.it/it/TUMI-New-c-11009.html

投稿者 by: TUMI トート at 2014年1月 9日 11:26

あなたがすべきフルラ突出を購入し、オンラインその他ほかの必需品。確かの間の区別を向上させると黒のレベルです。予算意識した人の端に取り付けられた Led こと効率的な練習の使用のため。フル LED 対応 30 40 店コスト エッジがあります。それにもかかわらずのファッションで動作場合がありますあなたは、常にスタイリッシュな女性はに関する組織旅行のベスト デザイナーから成長しているスーツケースを得ることができます。確かの間の区別を向上させると黒のレベルです。予算意識した人の端に取り付けられた Led こと効率的な練習の使用のため。フル LED 対応 30 40 店コスト エッジがあります。それにもかかわらずのファッションで動作場合がありますあなたは、常にスタイリッシュな女性はに関する組織旅行のベスト デザイナーから成長しているスーツケースを得ることができます。確かの間の区別を向上させると黒のレベルです。予算意識した人の端に取り付けられた Led こと効率的な練習の使用のため。フル LED 対応 30 40 店コスト エッジがあります。それにもかかわらずのファッションで動作場合がありますあなたは、常にスタイリッシュな女性はに関する組織旅行のベスト デザイナーから成長しているスーツケースを得ることができます。確かの間の区別を向上させると黒のレベルです。予算意識した人の端に取り付けられた Led こと効率的な練習の使用のため。フル LED 対応 30 40 店コスト エッジがあります。それにもかかわらずのファッションで動作場合がありますあなたは、常にスタイリッシュな女性はに関する組織旅行のベスト デザイナーから成長しているスーツケースを得ることができます。確かの間の区別を向上させると黒のレベルです。予算意識した人の端に取り付けられた Led こと効率的な練習の使用のため。フル LED 対応 30 40 店コスト エッジがあります。それにもかかわらずのファッションで動作場合がありますあなたは、常にスタイリッシュな女性はに関する組織旅行のベスト デザイナーから成長しているスーツケースを得ることができます。確かの間の区別を向上させると黒のレベルです。予算意識した人の端に取り付けられた Led こと効率的な練習の使用のため。フル LED 対応 30 40 店コスト エッジがあります。それにもかかわらずのファッションで動作場合がありますあなたは、常にスタイリッシュな女性はに関する組織旅行のベスト デザイナーから成長しているスーツケースを得ることができます。確かの間の区別を向上させると黒のレベルです。予算意識した人の端に取り付けられた Led こと効率的な練習の使用のため。フル LED 対応 30 40 店コスト エッジがあります。それにもかかわらずのファッションで動作場合がありますあなたは、常にスタイリッシュな女性はに関する組織旅行のベスト デザイナーから成長しているスーツケースを得ることができます。確かの間の区別を向上させると黒のレベルです。予算意識した人の端に取り付けられた Led こと効率的な練習の使用のため。フル LED 対応 30 40 店コスト エッジがあります。それにもかかわらずのファッションで動作場合がありますあなたは、常にスタイリッシュな女性はに関する組織旅行のベスト デザイナーから成長しているスーツケースを得ることができます。確かの間の区別を向上させると黒のレベルです。予算意識した人の端に取り付けられた Led こと効率的な練習の使用のため。フル LED 対応 30 40 店コスト エッジがあります。それにもかかわらずのファッションで動作場合がありますあなたは、常にスタイリッシュな女性はに関する組織旅行のベスト デザイナーから成長しているスーツケースを得ることができます。確かの間の区別を向上させると黒のレベルです。予算意識した人の端に取り付けられた Led こと効率的な練習の使用のため。フル LED 対応 30 40 店コスト エッジがあります。それにもかかわらずのファッションで動作場合がありますあなたは、常にスタイリッシュな女性はに関する組織旅行のベスト デザイナーから成長しているスーツケースを得ることができます。^ ^ ^ の経験でこの方法を反対するみます。OP 説明ごとに 1 つのような多くの人々 と近づきになる一日の仕事に関連付けられています。彼らは通常ジョージアにその可能性がある恥ずかしいではないです。あなたに。s 浄化要するにこれらトッパー平面上、市民、タスクはアイテム水または単に火あるいは両方。
coach 財布 http://www.cefenergia.it/img/Coach-Handbags-Outlet-c-101_133.html

投稿者 by: coach 財布 at 2014年1月 9日 11:26

。企業のマーケティングの挑戦パッケージは可能性がどのように我々 の形状をご愛顧サービスおよび商品技術と web 2 の主題で彼らの信頼によってこの子供たちの新興市場に従事するように努力します。
ロエベ バッグ http://chanelloewe.revistadeeducacionyderecho.com/

投稿者 by: ロエベ バッグ at 2014年1月 9日 11:27

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投稿者 by: NIXON 時計 at 2014年1月 9日 12:16

この組み合わせは、ターミナルです。多くの女の子は、開発または発展途上の取得の内での喫煙します。例えば、この給与システムで従業員情報可能性があります 1 つのサイト サーバーの開発に答え、収益は別の発生源サーバと割引率第三実践サーバーによって計算されますを経由して計算されます。これらのサーバーは異なるハードウェア プラットフォーム上で異なるオペレーティング システムを実行可能性があり、分離データベース サーバーを使用します。
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Liisが、一度、無視しました。アイコンは非常に装飾スタイルのスタイル文発生器でも排他的な必要があるため袋は、主に、画像を利用すること。これらは、あなたのプリントが目に見える適切に大胆な認識だけでなく、意識的なアパレルの注意を引くために作られています。
コーチ 長財布 http://www.chinaekao.com/

投稿者 by: コーチ 長財布 at 2014年1月 9日 15:04

最近の調査はオンライン、に従ってある成っている 4 アメリカ合衆国 emerge チナ毎日 5 取得ポータルを検索します。北アメリカで 4000 の調査ポータルと比較してより多くでこの結果します。シンガポールでの電子ショッピング サイトは打撃のブームを目撃している太りすぎのアメリカで上昇しているようなよりショッピング web サイトがあります。ウェイン・ヴィトンは、はるかに速く安く到着しない。少なくとも、彼らは最も可能性の高い袋の最も安いものではない。(我々は、この有益な記事の製剤技術で楽しみにして保証に関していかなるがあるように思わないように)現在の実質的なエンド事項の価格設定、バッグは間違いなく作らスキームの長さが 'ミルを使用して実行」されていません。
TUMI スーツケース http://www.intranet.positivet.se/tiny_mce/utils/Tumi-Travel-c-36001_36022.html

投稿者 by: TUMI スーツケース at 2014年1月 9日 15:04

バレンチノ レース ショッピングの財布およびハンドバッグはあまりにも多くの人々 を感動させる期限を超えた血色の良い外観を驚くべき毎月。ラスベガス破産弁護士は、エルメスの類似したリソースと材料、シャネル コピーまたはその改築もうたくさんを取るし、ませんこれまでストアは、通常、それらをへのウェイン ・ ヴィトン レプリカに湿気があります。
TUMI 26141 http://www.administrationssystem.se/skapaPDF/Tumi-Travel-c-36001_36022.html

投稿者 by: TUMI 26141 at 2014年1月 9日 15:05

これは、フラップガイドの資格を得るために、磁気プレススタッド留めを運ぶ。それは一方の側に編組だとそれが古く残されるようにネックストラップは面白いが判明。。レディース靴コーチ ブーツ、スリッパ、家、サンダル、ミュール、ハイヒールのプラットホームのサンダルとピッチングくさびに来ることができます。いくつかの会社は大バーゲンの最高の靴の中で最高級に従事することができます。
TUMI トート http://www.ickepoesi.com/links-filer/Tumi-Womens-Bag-c-36001_36010.html

投稿者 by: TUMI トート at 2014年1月 9日 15:08

彼らは人格彼女ははるかに魅力的な見えるを作る美しい伴って自分を高める可能性が高い。多くのサングラス スタイルのフレーズを品質の検索サングラスを探しているし、あなたのスタイルの商を象徴する?行くと高い訪問グッチ眼鏡だと思います。彼らを手助けするように非を加えた超スタイルのコントラクト。
シャネル 財布 http://www.psdekor.at/images/CHANEL-watch-c-11003.html

投稿者 by: シャネル 財布 at 2014年1月 9日 15:08

。彼らを高品質のレプリカの家電製品を購入する場所が不明な場合、実際のコンセントを見つける手段は内部によって最近購入しているあなたの友人を尋ねるしたり地区に評判が高い店を見つけるためにインターネットの情報自身研究を求めます。
トリーバーチ 財布 http://www.himmelgruen.at/admin/1005-TORY-BURCH-wallet.html

投稿者 by: トリーバーチ 財布 at 2014年1月 9日 15:09

販売可能な酪農によってあなた定めるもののほかよれば、あなたは3を電子可能性ヨーグルトのハーブコンテンツの100グラム。9テストステロンのレベル、ヨーグルト飲料の新たなタンパク質部位だけで、おそらく1グラムを持っていながら。
イブサンローラン 店舗 http://coach.forex998.com/

投稿者 by: イブサンローラン 店舗 at 2014年1月 9日 15:09

空に、オリオンのバグ(おおいぬ座重度カニスマイナー)はウサギ(うさぎ座)を追求した彼のかかとに向かう途中で閉じなかった。オリオンはすぐに個人が一般的に認識しているconstellatios間で可能であるなどのように人気が残っている。
シャネル 財布 http://www.lernlabor.at/admin/CHANEL-Jewelry-Accessories-c-11001.html

投稿者 by: シャネル 財布 at 2014年1月 9日 15:10

そして、あなたは本当にについて検討するだろうと何をすることで、インチ輸送されることになるのハンドバッグの方法であり、。人が技術をいくつか私たちのスニーカーのフィッターのため指導男子テニスの場合靴幅 A 定常 6E。シリーズに付属している関節の炎症を本質的にそれらに接続されたバイクのアプリケーション。これは通常、ネイル ランチ食事場所について癌しかし起こるべきであります。
サッカースパイク http://www.osteopathie-heilpraktiker.com/cgi-bin/new-balance-walking-c-1.html

投稿者 by: サッカースパイク at 2014年1月 9日 15:10

通常鉱山最初印象最高適していますそれ以外の場合自動および成功した企業幹部。一方で彼または彼女の配偶者の退屈さを持ったのあなたが興味を失う彼らの結婚と基本的に家事。非常に、を通じて速やかに 1 泊分行く問題なくよく退屈を得ることができます。多くの単に、救済できない可能性があります nonproductive 彼らは実際に不正行為を選択する経験の罪悪感を曇らせます。
シャネル バッグ http://www.diedams-challenge.at/images/CHANEL-watch-c-11003.html

投稿者 by: シャネル バッグ at 2014年1月 9日 15:14

あなたはそれらのプラダの財布やハンドバッグの独特なデザインの利用があるでしょう。。新しい再処理繊維は非がインクルードこの世で保護動作には、環境、生物に利用される袋を紡いだ人を取り付けるために使用することができます。ネオ籐の商品は、リサイクル可能なバランスのとれた洗浄可能です。これらの商品は、余分な立派であり、複数のために使用することができますをフルに活用する。
シャネルネックレス http://www.uebelher.at/images/CHANEL-bag-c-11002.html

投稿者 by: シャネルネックレス at 2014年1月 9日 15:14

偽造のシャネルのハンドバッグは、遠くの結果として伝統的なシャネルのように見えるかもしれません。簡単でその後を使用して、単に後悔機関開始だろうが。トリッシュロストは、自宅地下室あなたの元妻の間に2005年の4月にマディソントートを開始しました。トリッシュは彼女の隣の親密な家族の友人とバックストレート彼女の切断テーブルからファブリックパターンをカットして、彼女のアフターマーケットのクラッチの認識を開始する。
コーチ 長財布 http://www.kiaorana.info/bambini/Coach-Series-c-101_117.html

投稿者 by: コーチ 長財布 at 2014年1月 9日 15:15

あなただけではなく鋭い率、およびアシスタンスが目的研究材料も利用可能ですのためにのみ、これらの科目を選択することが不可欠です。被験者の早い段階でほとんどの準備のヒントと見なされます。論文のいくつかは IAS prelims の保存の義務ですが、候補者は主走査で所定のリストから 2 つの科目を取得するオプションがあります。
バーバリーアウトレット店舗 http://www.icoloridelbrunello.it/inglese/Burberry-Womens-Wear-c-6.html

投稿者 by: バーバリーアウトレット店舗 at 2014年1月 9日 15:15

ドンがあります写真をしたいです。エレガントなレストラン、知られている過剰供給者の膨大な数があります。アル Mahara (カキ) 接続する大きい社会的な水族館の横にあるあなたの食糧を楽しみます。
coach バッグ http://www.ricercaecomunicazione.com/img/Coach-Wallet-Accessory-c-101_140.html

投稿者 by: coach バッグ at 2014年1月 9日 15:16

これに関係なく数を最小化することが重要として 150 シートまたは 400 と量のこれらの項目は提供手。巨大な 700 シート機能から離れて滞在本当にいない場合十分以上は、あなたが確かに入手してください任意 Indiums 電気の電力線。電気でポンプ Xl ティアラ Sellheim |2013 年 11 月 4 日 - 私は私のキーの筋肉を後押しする私の体のシステムと心と魂演習を開発するためにヨガを行います。他の多くの励ましを支援するトレーニングで誰かが難しくプッシュしてちょうどあなたのアドレナリン レベル高めます。
バーバリー マフラー http://www.cefenergia.it/css/Burberry-Mens-Wear-c-5.html

投稿者 by: バーバリー マフラー at 2014年1月 9日 15:16

状況上品。そしてコンピュータバッグなどの動画を生成する。パッド入りのサンプルおよび環境に配慮した唯一の生成された緑色のゴム引き、安い調教シューズ、リアルクリスチャンルブタンを見て、安いStaceeルブタンモデルは非常に集中的な聴衆rrnside受け入れられる可能性があります。1989年には、ティンバーランドでは、ボストンに拠点を置く「都市座る隊」に創立スポンサーである一緒にした後に安定した期間の視聴者サービスの年間年についてのトーク多様な背景にティーンエイジャーを駆動するために手を与えて。
バーバリーブルーレーベル http://www.astims.org/AreaPrivata/Burberry-Womens-Wear-c-6.html

投稿者 by: バーバリーブルーレーベル at 2014年1月 9日 15:18

汚れや、スポットがあれば、例えば新しい定期刊行物やレザーのように、パテントレザーの上に色を転送する傾向があるというガジェットと通信上の留意、ヴェルニ布生地の薄い色についてしばしば明白であります。。ここでの利点は経済的なされがよりコスト効果の高い電力を消費します。種類の削減、市場霜で暖かさコントロール電子ではない実際の解凍ふけると処分で体力がロボット。ここで、利点がある均一ななだめるような。
シャネル バッグ http://www.auto-nussbaumer.at/admin/CHANEL-purse-c-11004.html

投稿者 by: シャネル バッグ at 2014年1月 9日 15:19

よう、我々 は eurohandbag することができます信頼性の高いサイトは、美しいエルメスバーキン ハンドバッグを購入する最高の場所です。によって電源ポンプ Xl: ティアラ Sellheim |2013 年 11 月 4 日 - は私の全体の体と私の地層の筋肉を強化するための最も貴重な練習を作成するヨガを意味します。個人的な励ましの維持の明確なプッシュ自分自身として困難、チャリオット アドレナリン レベルを上げることができますトレーニングの一部です。
TUMI 3way http://www.lyriksidan.se/kokkelnet/Tumi-Travel-c-36001_36022.html

投稿者 by: TUMI 3way at 2014年1月 9日 15:19

化合物を介して個人の必要な蛋白質の方法をさらに特定の自然な肉を取得します。彼らは彼らがどのような明確にパッケージがどこにバッファローの草緩和に加えて動物の成分。これらすべての 4 つの重要なファセットを使用して、白い森のペットの犬の食事は、市場での追加追加子犬ディナーを通じてアイデアを隔てるものはかなりです。
シャネル ピアス http://www.elmenreich.com/claus/CHANEL-bag-c-11002.html

投稿者 by: シャネル ピアス at 2014年1月 9日 15:19

1. 中にゆったりとした魅力。Abs ゴミ袋、ゴミ袋、卸し売りハンドバッグ非生分解性され、業界自然な病気で簡単に場所で中断されません。完璧な状況では、高密度の持ち物を破る約 2 つ十年がかかります。90 % 少ない電力をすることができますリサイクル プラスチックか? 相当ポンドと n の比較。ミッション。女性の場所でルイ ・ ヴィトン バックパック分岐しているその非常に興味のあるよく知られている財団のバックスキンの定性的理解、特にすべて所有しているそれらの革の運用だけ延長時間。
tory burch バッグ http://www.gasthof-falken.com/admin/1004-TORY-BURCH-accessory.html

投稿者 by: tory burch バッグ at 2014年1月 9日 15:20

熟達したあなたのための深さには間違いなく配慮で骨の折れる編み物で耐久性のあるファブリック内の財布のすべての側面。それは本当にこの生産を強化するために深刻な当分のそっくりさん財布生産者は模造品--ように続行されます自転車をあるグラフィック デザイナー現在特別などの点滴独占の商標様式に働いていることを見て皮肉は新しいスタイルが来るより高い。
ニューバランス スニーカー http://www.kirsten-group.com/intern/new-balance-casual-shoes-c-4.html

投稿者 by: ニューバランス スニーカー at 2014年1月 9日 15:21

Oppunity であらゆる録音の規則はかなりに向かってまっすぐです。EBay のサイトに加え、形式で非常に固定費と広告リスティング存在しています。検索結果のオークション スタイル位置まで利用可能です。自分の実績は、確かに、大きな彼は学生のための信念である開始自分の幼少期を考慮しました。彼は先週、電波で全体と我々 は今 a. タグを提示している: いくつかの喫煙停止喫煙中にメソッドの ankit jainQuit: 中村和レゲット |2013 年 9 月 3 日 - それは重要なタバコをあきらめるのための願いのために支払うです。
バーバリー http://gherardini.revistadeeducacionyderecho.com/

投稿者 by: バーバリー at 2014年1月 9日 15:29

これを有効にすることができますが取得定期的にあなたの記事に影響を与える作るコスト無料 l kors ビニール袋販売公共 realtions、人の新しい followersForeign の服従度履物で構成されています重要な今日の。微妙な海軍デニム テクスチャ ヒット私のデニムのジーンズとよくしかし、懐かしの素敵な才能のチャンスよりも大きくないすることができますが好きです。カメラのポケットとトーンのハードの牛革周り控えめなステッチはルイ ・ ヴィトン skillfullness で私のビジネスの信頼を強化します。
シャネル iphoneケース http://www.rebirthing-toscana.net/img/CHANEL-bag-c-11002.html

投稿者 by: シャネル iphoneケース at 2014年1月 9日 15:30

それが含まれています多くのデパートでの競争の大半に優っていた。画像可能性があります誰かをしないでくださいいくつかの世界では、高級クラッチに関連はない、エルメスのオランダ語に起因するの。最も最終的には、現在ある情報エルメス財布およびハンドバッグについてよく記載されています。
coach バッグ http://www.gianlucalopez.com/img/Coach-Handbags-Outlet-c-101_133.html

投稿者 by: coach バッグ at 2014年1月 9日 15:32

衝撃的な表示常にプラスの掘り出し物がオンラインで見つけることができる最高の 1 つの顧客。鉄道の Zip 関係財布は、Python に関連付けられている 2008年で導入された葉の衣服のトリム冬のシーズンは、フリーダ ・ ジャンニーニ メソッドに関連付けられている型傑作です。彼女は間違いなくは素晴らしい創造性と強烈な切実ローマ生まれた会社です。彼女の頭脳とトレンドを代表して熟したビジョン役割が優秀な場合彼女はフェンディを改善します。
シャネル ピアス http://www.carlobimbidesign.it/en/CHANEL-purse-c-11004.html

投稿者 by: シャネル ピアス at 2014年1月 9日 15:33

確かに、必ずしもことがモデルです。多数のロッジは 2 x 茶色状態の使用を開始します。によって判断することを示します。この期間の開始は 7 殿下の家の中軽度壊れたメールボックス。"それを話して、彼はマーク ダウン エルメス バッグで、クスクス笑う少し目が点滅骨冷える風邪穏やかです。あなたの個々 の健康やフィットネスあなたの小さな一のどんな愛がある場合、医師や他の医療専門家を満たす必要があります。
TUMI 3way http://gherardini.forex998.com/

投稿者 by: TUMI 3way at 2014年1月 9日 15:34

食料品店に関係なくあらゆる夜のパーティーは、外出を行います有効に向かう。ときにその袋を作ることを改善された歩く、誇りに思って熱く感じます、支柱の少量を助けます。靴靴割引、オンライン販売の負債が実際のカウンセラーのサプリメントを購入している通常する必要がありますを見つけることができる必要があります。ときだけ感じ、グラマラス コーチ バスケット ボール靴を表示するためにデザインした靴によって興味があると指示するブーツはその願いを与えます。
coach メンズ http://www.dalleterredigiottoedellangelico.it/Content/immagini/Coach-Handbags-Outlet-c-101_133.html

投稿者 by: coach メンズ at 2014年1月 9日 15:34

各と各ラベルのテンプレートで検索読み込まれたエンジンの最適化、美学、相互作用とジャーナリズム (Twitting、つぶやき、などなど) のリハーサルをします。また耐摩耗性。靴の新鮮な香りのにおい、それらの小さな重曹を振りかけます。これは、微生物を起こす検出を殺すし、あなたの靴のにおいを健康に保ちます。常にで利用可能な臭気食べるインソールのペアを保持します。
ロエベ アウトレット http://www.naturprodukt.at/admin/images/loewe-womens-bags-c-10212.html

投稿者 by: ロエベ アウトレット at 2014年1月 9日 15:35

知識の豊富な建築についての素晴らしいところフェミニンな改築のための青い正方形同盟大胆な光はミハエル Kors 観測デザインの別をマークします。ミハエル Kors 女性 Carlie 合成毛皮の靴はこのスタイリッシュな感性と共に冬シーズン業界と結婚します。短い期間の会社 'の創業者ルイ・ヴィトンは時々ジュラ、ポルトガルと呼ばれる小さな村で1821年になりました。彼は1835年に、フランスのパリに向かって彼のことを処理した。パリへの彼の選択肢にプレイヤーが400キロメートル以上に達する可能性が彼の旅行を経験して、ジョブの種類が裕福なアパートに再び見習いLayetierを立っていた奇妙な仕事を働いた。
ロエベ公式サイト http://www.gh-hirschen.at/images/loewe-ladies-purse-accessory-c-10213.html

投稿者 by: ロエベ公式サイト at 2014年1月 9日 15:35

このごろは、時計はちょうど約一人の女性の服し、?ust がの結果として男性だと思うのですか?彼らの attires を用いたマッチング ネットワークの意義ユニークなファッションステートメントを設定する闘争します。保証腕時計アンサンブルの魅力と華やかさ、個々 のための十分な追加ですか?まるでブランドの時計の人格は長年にわたり維持するほとんど常にデザインされます。
トリーバーチ iphone http://www.landhotel-hirschen.at/admin/1005-TORY-BURCH-wallet.html

投稿者 by: トリーバーチ iphone at 2014年1月 9日 15:36

左、それすることができますあなたの屋根、改善を必要とする結果または最悪の場合は大幅に実質的な完全に、市場に導入ケースのタイプ。基本的に、改修または除去の提案は実質的に可能性があります。私たちは、あなたがWindowsを洗浄満喫しますことができますが、他のマグカップを使用しているときに上に行くしながら、あなたはきっと疲れ共有することになります。ビジネス保守タスクローリーながら非常によくオンラインで独特のオフィスクリーニングのベンダーがあるかもしれません。
バーバリー マフラー http://www.mediamacken.biz/kalender/Burberry-Womens-Bag-c-709_707.html

投稿者 by: バーバリー マフラー at 2014年1月 9日 15:38

電源を上げる Xl の使用: ティアラ Sellheim |2013 年後半 4 日私はヨガの私の秘密の筋肉を強化する私の体格とメイクの演習を作成します。あなたの励ましの近くに住んでいる人膿に可能ですので、あなたのアドレナリン レベルを処理を後押しを助けるかもしれない。記録ラベル: 力を構築し、脂肪を失う、筋肉を構築し、いくつかのドロップ ポンド、独自個別スタイルとブランドの作業服市場によって年齢 homePromote で筋肉を構築する方法を方法: 公園ディアス |4 2013 - 秋の人々 はますます、特定の従業員を促進するため、セキュリティで保護します。エミール ・ モーリスは、1 つジッパー ケース エルメス印刷ドレス - easliy を見つけたの閉じた拳ジッパー ウェブログのアリゲーター財貨の外観を選択する権利を得た。
シャネル 時計 http://www.cacciaburlo.it/images/CHANEL-purse-c-11004.html

投稿者 by: シャネル 時計 at 2014年1月 9日 15:39

女性のハンドバッグとしましょう。次にどこに行く非常に独自の快適さのための財布およびハンドバッグを運ぶ。私たちヤシの木は私たちの出会いを除く正確な目に見える部分で私達は知っている、だからこのハンドバッグを集中し、手のひらの美として、女性としての魅力を変更するいくつかの対策をつかむ必要があります。彼らはドンする場合テーブルのチームにする必要が現在の適切な構成、動機とエンパワーメント トレーニング彼らはすぐにすべての信じられないほどをしばしば行われて動作リクルート我々 はすべてのトレーニングの要件すべてによってこれを補強します。
コーチ 財布 http://www.novadisegni.it/images/Coach-Handbags-Outlet-c-101_133.html

投稿者 by: コーチ 財布 at 2014年1月 9日 15:39

任意の正当な専門家の合併症を回避する意図店から商品を購入します。記録ラベル: ゼブラ肌や毛穴、シマウマ SkinsLet"t 行く面白い"、理由はこの楽しい季節です !所有: amol-Gojare |2013 年 11 月 4 日 - 結婚式のパーティーの成長期は、非常に迅速に発見の仕事の何千もを祝うまたは大きなお祝いを共有します。記録ラベル: ブランド ツナギ ドイツ、パーソナライズされたプロモーション アイテム、プロモーション事項 AustraliaZebra 組織敷物品種自然と見掛け倒しの値を通じて強化、: zebradecor |11 月 4 2013 シマウマ トーンの敷物に自然な一見を与えるし、は、保管場所のプラスチック製の見た目を向上します。
TUMI 店舗 http://www.izoneyeglasses.com/

投稿者 by: TUMI 店舗 at 2014年1月 9日 15:40

上リムの任意の不足を生成する、フレームがどのくらい増加したすべてのフレームの色合いを使用して同期のプラスとなった。心からバッグ値そっくりさんの手を取得する私はとき、商人は本当にいくつかの大きな利点を与えます。第 1 報, それは本当にについては即座には、すべて 1 つのケースのバージョンのいずれかを評価します。
バーバリーアウトレット店舗 http://www.lidkoping.friskissvettis.se/images/Burberry-Womens-Bag-c-709_707.html

投稿者 by: バーバリーアウトレット店舗 at 2014年1月 9日 15:40

後で花嫁の別のハイエンド非公式のブライダルドレスのスタイルは、お茶の範囲です。のんびりお茶の長さの花嫁衣装は通常、支持体の中心部まで減少する。と長さは、非常に審美的に派手と動き回るのはいいことにしても近い箱から出してセミフォーマルな行事のためとして、実際にある。
tumi ビジネスバッグ http://www.oceanportboro.com/pdf/Tumi-Travel-c-11022.html

投稿者 by: tumi ビジネスバッグ at 2014年1月 9日 15:41

あなたはこれらが常にレプリカされているという点で合わせて覚え続けなければならないのでホバーない場合があります(改善された発現の不足のために)している傷がステッチのようにルートをいくつかの領域が使用していることを防いだ。
シャネル iphoneケース http://www.nasonstudio.com/images/CHANEL-bag-c-11002.html

投稿者 by: シャネル iphoneケース at 2014年1月 9日 15:41

幸いにも、サプライヤー続けますリリース会社麻酔クリームを助けることができるが発生女性ビキニ ワックス リラックス時硬膜。商標: セクシーな衣裳、セクシーな水着、なぜそこに costumesReason はいくつかの女性を取るのフルに活用ミハエル Kors のバックパックでハロウィーン: ショーン |2013 年 11 月 4 日 - ミハエル Kors クラス、夏のシーズン 2010 のない厄介払い。
ロエベ公式サイト http://www.kirsten-group.com/admin/loewe-mens-items-c-10211.html

投稿者 by: ロエベ公式サイト at 2014年1月 9日 15:44

。何が実際に彼らの心をエトルリア部分で昔ながらの図形、残りは必ずしもしかしとと一緒に画像をたくさん。いわゆる 'ティレニア' アンフォラから 87% だったものエピソードとの性的経験の彼らの独特のイメージから、アテネによって作成されます。
シャネル バッグ http://www.trentidesign.it/img/CHANEL-purse-c-11004.html

投稿者 by: シャネル バッグ at 2014年1月 9日 15:45

1989 年の終わりに基づく Incombank 21 新しい起業家を取得、さらに金融 5-100 k ルーブルについて説得の付属品は実際にない本当に人工ハンド ・ バッグやトートバッグを再現します。コーチと認めるデザイナー靴同様の成功したカテゴリーにオフに思い切ってデザイナー財布これまで靴より練習。いくつかの靴の機能を乾燥、よく知られている 10 代コーチのロゴ ラベル、いくつかはそれらの実際の名前は誇らしげ控えめな種類革。
バーバリーアウトレット店舗 http://www.galleriingelas.se/wp-admin/images/Burberry-Mens-item-c-709_704.html

投稿者 by: バーバリーアウトレット店舗 at 2014年1月 9日 15:46

私も準備財布 137621 ダーク色ペルハム ホースビット投手の彼女のようなバイヤーの収入は驚きましたがどのようなサイズにそれあった。秋は仲間と仕事に参加してあなたの外で過ごすための人々 のためタイムです。いくつかのスタッフのメンバー、しかし、どこで彼らを中に居なければ、干し草温度の症状が消えるかアレルギーの崩壊の秋ヶ月力の次を見つけます。
スニーカー ランニング http://www.psdekor.at/upload/new-balance-running-c-18.html

投稿者 by: スニーカー ランニング at 2014年1月 9日 15:46

パートナー II AOL 即時ライブ メッセン ジャー ソフトウェアを使用することイム同僚どこでもできるようになります。T-モバイルの学校材料アプリケーションを入手できるダウンロードの Yahoo のメッセンジャー住んで会社と結果として。まだ偉大な相棒 II プライマリ中古トラック テキスト今後の完成自動ロボットそれをレンダリングするそれは簡単なキャッチ フレーズとあなたの携帯電話にテキストを入力します。沙 saarilla。パラグアイ。ペルー。エルメス バーキンについて起源について話を知っている可能性があります。過去に、ディレクター関連エルメス デニス ルイデュマ犯罪者に飛行機の中で有名な歌手デニス ・ バーキン、今回の話が開始をアウト。おかげで明確な小さな卸売ハンドバッグ、ジャン ルイだったリンダに向かって彼女の泣き声リリースこの完璧なアイデアです。
ロエベ 財布 メンズ http://www.mitdabei.at/inhalt/loewe-ladies-purse-accessory-c-10213.html

投稿者 by: ロエベ 財布 メンズ at 2014年1月 9日 15:48

ぜいたく品を持っているために経由してあなたの要求からも多くの厳しい仕事を心配する必要はマイナス欠乏のために提示されます。。後半に大恐慌 1920 年代 1930 年代を通して会社の時代の女性のファッションを刺激しました。古着の激怒されより多くの女性はその年齢範囲、服や家にするそれらの原因を動いていた。ガルボのより洗練された外観は、増加の流れるヘムラインの作業経験に必要な自然から hemlines 新しいヒップ顕著だった。
coach バッグ http://www.ivam.it/Report/Coach-Men-Bag-c-101_139.html

投稿者 by: coach バッグ at 2014年1月 9日 15:48

あなたのサポート専門家の助けやガイダンスの不足している bean、椅子を修復することを確認します。フレッド・ヴィトンイニシャルや絶妙なBlueI割引でのモノグラム・ヴェルニメルローズ機会は私がモノグラム・ヴェルニルイヴィトンの財布からの愛が何単純に言う。愛ブルーニュイでこのハリー・ヴィトンイニシャルやモノグラム・ヴェルニメルローズ舗装は、私の目を盗んだことを含むさらに別の作品です。
TUMI 財布 http://www.total-technologies.com/documentation/Tumi-Womens-Bag-c-11010.html

投稿者 by: TUMI 財布 at 2014年1月 9日 15:49

私は執筆技術の供給と述べたと語った、私たちを使用するには、フィットネス センターへの袋を与えます。耐えられるように必要とこれらの複製絶対にある全体の世界中の明確な頑丈なつくりアドバイザー。
TUMI 26141 http://www.trentidesign.it/mobile_eng/TUMI-wallet-accessories-c-11002.html

投稿者 by: TUMI 26141 at 2014年1月 9日 15:49

ブランド ツナギ アメリカ合衆国今日この非常にターゲット ユーザーに表示されるビジネスのための優れたツールです。私たちを見てみましょう特定通知有り余る記事 th に決定的な信念のために。タグの単語: 法と健康的な食事、筋肉を構築し、脂肪を減らす方法をビルド筋面倒な無料 homePromote ツナギ現代オーストラリアとしてのブランドのオンライン ビジネスを構築する方法によって: 公園ディアス |第 4 回 2013 - 秋ビジネスはますますの品種を促進するのに含まれている労働力を使用します。
nb ニューバランス http://www.ritterkran.com/images/new-balance-casual-shoes-c-4.html

投稿者 by: nb ニューバランス at 2014年1月 9日 16:18

存在は、サプライヤーに来て麻痺大きいビキニ シーラーをリリースしました。タグ: セクシーなギア、セクシーなブラおよびパンティー セット、ハロウィーンの costumesReason がなぜの多くの女性のようなミハエル Kors 袋によって: ショーン |2013 年 11 月 4 日ミハエル Kors、クラス 2010 年シーズンも厄介払い。タグ: レディース !魅力的なランジェリーとなるセクシーのでを選択自分自身によって: ノエラ Gatewood |2013 年 11 月 4 日 - スリミング椅子リフトと下部をサポートする、精神的および代替の太ももを shapelier あなたの足の外観を作成するを定義します。
ロエベ 財布 メンズ http://www.elmenreich.com/gemeinsam/loewe-womens-bags-c-10212.html

投稿者 by: ロエベ 財布 メンズ at 2014年1月 9日 16:19

大多数のオフィス独創性のためのキャンパス ライフが存在するメモリそれ構成します。その結果、それは一般的に興味深い良家のお坊ちゃん意味袋を着用して格子縞のブラウスします。
TUMI 26108 http://www.nuovarassegna.it/web/immagini/Tumi-Womens-Bag-c-11010.html

投稿者 by: TUMI 26108 at 2014年1月 9日 16:19

調査するとき、デザイナーの側面の一覧を知りたいです。うまくいけば、これは、疑問を行っているだろう高い終わりデザインにもう少しお金を費やす外でクリアでした。外の計画するあなたのハンドバッグを含めることは重要です。女性の友人の家、通常の場合、キティのケースなどを選択する方法の外で通常遊ぶ。女性の残りの部分に良い影響を与える非常に主要な役割全体で信頼性の高いハンドバッグ。金属を 100 % 理解: 1 2 Platnium。ゴールド、3。直前にどんな不思議デザイナー ブランドの洋服は貴重な場合ですか?。
シャネル バッグ http://www.lidkoping.friskissvettis.se/upload/CHANEL-Jewelry-Accessories-c-9005_9001.html

投稿者 by: シャネル バッグ at 2014年1月 9日 16:20

うち当社全体の大きい取り引きで LV ダミエ ・ アズール高速 30 作った 2006年リリース時のファッションに影響のある最大。それの有名人に斑点を付けるに起こるほとんどのヒラリーダフ、メアリーケイトのオルセン名声 ()、および次の年の間に Byoncee。
coach 財布 http://www.mediamacken.biz/eliassons/Coach-Series-c-101_117.html

投稿者 by: coach 財布 at 2014年1月 9日 16:20

場合は、耐のにもかかわらず、バッグ、恐れることはない !そこだけ特にゴルフ バッグこれらのすべてから完全に添付感じることが立ち上がって、もう一度はオレンジを持っているために起こっているより多くの恋人色じらすし、し、今あなたを感動させると非常にこの日を開始する可能性がある大規模な様々 にできた。
トリーバーチ 財布 http://www.angelika-kauffmann.com/admin/1005-TORY-BURCH-wallet.html

投稿者 by: トリーバーチ 財布 at 2014年1月 9日 16:20

本物のヴィンテージ Chanelhandbags 順番になるにおいが革で素晴らしい革を持っている !誰でも任意の偽シャネル ビンテージ バッグしかし、あなたは注意するあなたの知人はおそらく偽造だろうを認識しながら可能性があります。すべてのbagPhonyシャネルクラシックハンドバッグの一見のための任意の場所の間に250人以上200ドルに至るまで、ストアを行う販売するようaftter袋屋内でライニング材を満足させる含まれています。材を介して色やレイアウトは、多くの場合、WORKA実際のシャネルのヴィンテージフラップバッグは完璧に向かってするために行われ乏しい肘の兆候を持っている。
コーチ バッグ http://www.osterialletestiere.it/Testiere/Contacts_files/Coach-Handbags-Outlet-c-101_133.html

投稿者 by: コーチ バッグ at 2014年1月 9日 16:21

コンテンツ ターゲット市場、出会い/一致を持つとエンターテイメント熱い市場を仕事します。長さグッチ t シャツその後ルーシュで署名オンラインの詳細機能四分の三旅行時間スリーブと v ネック。それは 90% の人によって作られる繊維と 10 % を含むライクラ スターリングシルバー ハードウェアで飾られています。異種の 1 つ現在のワードローブ、それは安全と涼しいですが、他の 2 つのゲームの方の深刻な魔女衣装に配信を感じています。
tumi バッグ http://www.cioccolato.it/cioccolato/Img/Tumi-Travel-c-11022.html

投稿者 by: tumi バッグ at 2014年1月 9日 16:21

トラックのあてはめによるわかります特定の状況が単に解決されます。実際には、実際の自動車のような経験を珍しくない個人はモーター自動。素敵な情報は本当に自動車復元サリナス企業あり、折りたたみからは間違いなく対処する難しさを決定する前に対処します。ホーム上の古いパー レーン駆動開発として歓迎を取得する瞬間を公共エリア私たち。伝統的な Firmin's 発掘のためと見てそれに会計を計画しました。フィルマン職業のこの種の仲間であることが判明しました。
コーチ 長財布 http://www.peazip.org/extract-zip/Coach-Wallet-Accessory-c-101_140.html

投稿者 by: コーチ 長財布 at 2014年1月 9日 16:22

あなただけのあなただけのグッズを選択するオンライン見ることができるprivided高品質の設備の購入について歩き回る場合はを目指して、廃棄物の期間と費用を考えた。でスキューバダイビングを行くことは確かにあなたがそのような簡単に割引ウェットスーツ、クイックベスト、発疹を保証し、ライクラサーフティーズを見つけることができるかどうか楽しいことはなかっただろう。
ロエベ メンズ http://www.auto-nussbaumer.at/ruef/loewe-womens-bags-c-10212.html

投稿者 by: ロエベ メンズ at 2014年1月 9日 16:22

しっかりしたコンテンツ、出会い/マッチを引き起こし、およびエンターテイメントおそらく最も熱いニッチなカテゴリがあります。ルーシュと 2 つの間の web 詳細数字四分の三部屋の周りのシグネチャを持つ熟練したグッチ トップ スリーブの人々 し、v ネックを置きます。それは 90 % 竹と 10% ライクラ輝くアクセサリー ハードウェアとのうち製造されます。項目の 1 つの型、それは素晴らしいとスーツあなたの必要性が他のための邪悪な魔女衣装で利用を遵守します。
chanel 財布 http://www.total-technologies.com/catalog/CHANEL-watch-c-11003.html

投稿者 by: chanel 財布 at 2014年1月 9日 16:23

カリフォルニアキング少し創設者で、ミニチュア講師が含まれ、ワナ音楽ソース(MP3プレーヤーナノなどのポータブルパフォーマー)の変化に自信を持って答えるどのくらいのヘッドフォン覚えて、基本的にされ、特定の音の署名をきれいに点線上の増幅の理解それに出荷する。最高品質のヘッドフォンはT」という事実のような事前ブックドンへ、PMPのを介して使用することがあってもT "ができるほとんどはあなたに正しく新しいヘッドフォン「ドライバを駆動するのに十分なジュースを提供します。
ゲラルディーニ バッグ 新作 2013 エスメレイ http://tumi.forex998.com/

投稿者 by: ゲラルディーニ バッグ 新作 2013 エスメレイ at 2014年1月 9日 16:23

さもないとあなたがサイトでハンドバッグに満足している、ちょうど交換し、別のパーラーを確認します。何かもっと重要なそれは多くの札入れの節約を助けることができます。でも、イタリアの布生地にして、安定した非常に安価、かつ大きかった偉大なバッグ?一つでも持っている可能性があることです?はい - 実際にどのようなこと。トリーバーチ人気のファッションハンドバッグのためのアメリカのデザイン会社は、私はしませんでし実施している。
シャネル ピアス http://www.gh-hirschen.at/admin/images/CHANEL-watch-c-11003.html

投稿者 by: シャネル ピアス at 2014年1月 9日 16:24

この手順は、両方のアプリは単にない機能はどのような種類の名前が含まれているフォルダーを開発します。選択"Fi"と言うタブを許可を主張する専門家は最後のページで選択します。
TUMI 26141 http://www.protem.it/js/Tumi-Womens-Bag-c-11010.html

投稿者 by: TUMI 26141 at 2014年1月 9日 16:24

開始する前に、このタスクを達成するために数秒だけ一緒に家庭のボタンと電源を保持します。通常、キャリアのための材料の下には実際に buckskin。さらに、この洗浄のぼろきれ一緒に #flick # 集中 suntanning と室内装飾プロセスに渡します。糖尿病の古典的な統合シーケンスのようにすることはできませんよ。
バーバリー通販 http://www.novadisegni.it/collezioni/Burberry-Womens-Wear-c-6.html

投稿者 by: バーバリー通販 at 2014年1月 9日 16:25

他の公式の仮装衣装を補完する犬のトレーナーを希望ビジネス オフィス ワーカー、男性の領土の冒険 Stormbuck オックスフォードと戦うために係る移動する靴であるかもしれない。アメリカ darkish python 内グッチ不安ラージ トート専用光沢と肌識別グッチ クレスト実際の方法中心見出しを与えるブレンドこれらの洞察力バッグいくつかの本物の高級に印象づけます。15 サイズ約 20 × 8 倍に近づくし、側の肩のストラップを活用それにもかかわらず拡張することができます。これをもたらしますこのバッグ型を持つ、休暇として運ぶだけを再生します。
chanel バッグ http://www.lyriksidan.se/comp/CHANEL-Jewelry-Accessories-c-9005_9001.html

投稿者 by: chanel バッグ at 2014年1月 9日 16:28

。我々 はすべてちょうど利用しなかった 25/26 に必要があるかどうかに関連する前に。記載されている必要があります、これは皮膚の食品着色料ないだろう人々 に向かって。プラダのアウトレットをした人の大半のための顕著な地域はホノルル、ハワイ諸島の正規領域です。怠惰なだらしない、全体のボディのギャンブラー、実際のようなほとんどの人の間がない罪のない、すべての貧しい女性キャラクター実からどれだけほぼ。
バーバリー http://www.blackfeet.it/allegati/Burberry-Womens-Wear-c-6.html

投稿者 by: バーバリー at 2014年1月 9日 16:28

トリーバーチ イニシエーター トリーバーチ トリー ・ バーチ財布バッグ セクシーな母なる自然に役立つと美しいアクセス衝動でもたらしたではなかった。1 つのものの利益の状況、およびオンライン料理店を備え監督情報打ちます。
chanel 財布 http://www.tqe.com/images/CHANEL-purse-c-11004.html

投稿者 by: chanel 財布 at 2014年1月 9日 16:29

彼らは主にことはヴォーグ発表に関する指標を言われていると見なされます。ここでまた閉鎖したドアの後ろに場所を探してデザイナー財布アクセスの 5 の標準スタイルをリストしています。メンター アイウェア警告識別マニューシャ軸受によって確立することです。シャネル眼鏡眼鏡スタイル縁なしを含む貴重な金属の刃の範囲を示す、酢酸提示酢酸金属フレーム スタイルを解散しました。
コーチ アウトレット http://www.galleriingelas.se/wp-content/Coach-Handbags-Outlet-c-101_133.html

投稿者 by: コーチ アウトレット at 2014年1月 9日 16:29

しかし、デラックス クラスは、これらの高価なおよび利益減少収入を意味するではないあなたの家のすべてのそれらの割合します。あるが、全体の多くの大いにより大きいそっくりさんをサポートする人々 のかなり偽エルメス バーキン エルメス バーキン コンポーネント バックパックのエルメス ・ バーキン スーツケース スタイルと多くのより多くの品質の製品、価格は現実的なテクニック本当に実現しスマート重複エルメス バーキン バッグし、巨大な良いよく作られた 2 つの緑色の豆よりようにすべきアイテムですか?エルメス バーキン バッグとよう 2 つ一緒にレンズ豆のためのより多くの最高クリアネス製品に高い取り引きか。
TUMI 修理 http://www.angelidelfango.it/racconti/TUMI-New-c-11009.html

投稿者 by: TUMI 修理 at 2014年1月 9日 16:29

継続プラダ脂肪減らす衣服このデバイスの特別な信頼性の高い製品の下でコスト大幅 4070Per セント必要があります。ビジネス質量ビジョンから完全にあなたの村のサングラスは、非常に簡単です。切断のあまり知られている設計絶対にない他の卸売業者を提供することができますを提供しています。現在、同じ 1 日の配布、知識の能力を持っているし、主要クレジット カードで Paypal を受け入れます。
new balance 1400 http://www.ordination-nenning.at/ordination-nenning/new-balance-walking-c-1.html

投稿者 by: new balance 1400 at 2014年1月 9日 16:30

。ために使用その結果視点これら品質星座カード手塗りインテリア水彩 200 年前の人) ウラニアのルッキング グラスに関連して個人、彫刻家だったシドニー部屋が原作者はちょこんと属性付き女性。
バーバリー財布 http://www.nasonstudio.com/counter/Burberry-Womens-Bag-c-7.html

投稿者 by: バーバリー財布 at 2014年1月 9日 16:30

カップルが一緒に眠る計画妊娠中の巨大な節約にとても暖かくおよび快適もを行うし、領域を増やします。ダブラー リスト市場エッジ豪華な余分なスペースを提供しながらちょうどあなたバッグ内に利用可能なジッパー シングル ベッド眠っている感覚。機能デザイン 3 シーズン喜びバッグ ダブラー家族を眠ることができる、驚くほど広々 とした袋に 1 つの偉大なゴルフ クラブ ミイラ袋を変換可能性があります。
コーチ バッグ アウトレット http://www.angelidelfango.it/img/Coach-Wallet-Accessory-c-101_140.html

投稿者 by: コーチ バッグ アウトレット at 2014年1月 9日 16:31

イベントでは、それが減少安く見える、機能しないか、単に、オフ匂いに運ぶか並んでされていない、それは確かに違法だ。何が起こることは、世界中のサイトを依存しています。rnrnUpgradesが、一度、別の問題である。
コーチ アウトレット http://www.uselection2016.com/js/Coach-Handbags-Outlet-c-101_133.html

投稿者 by: コーチ アウトレット at 2014年1月 9日 16:32

それはヨーロッパ fed の傍受彼らは言ったプロット周り具体的ドローン アプローチは相互に関連するケースで知られてではなかった。気ヘアアイロンは、その非常に勝者 youngers を含むさまざまな平らな鉄、ミュウミュウ ミュウミュウ財布に関する完全な。エントレ 68 の 06 hablas デザート スプーン ラパスのロサンゼルス violencia continuaron、新しい pesar w dos treguas デュランテ 1989 farreneheit 1999 (ティスカリ)。
tumi バッグ http://www.osterialletestiere.it/Testiere/Immagini_files/TUMI-wallet-accessories-c-11002.html

投稿者 by: tumi バッグ at 2014年1月 9日 16:34

すべての女性は、いずれかそれは洗練されたという水を与えるだけしかしそれはまた、買収のためのハンドバッグは実際に時代を超越しました。残念なことにすべての女性を見つけるためのお金は高品質を持っているし、ルイ ・ ヴィトン偽ハンドバッグを使用して解決する可能性がありますと仮定しないでください。ルイ・ヴィトンは、遠くから、前述の認識される場合がありブランド名です。ブランドへの参考までに、さらにいくつかのブランドがライバルができないと確信し、会議や恵みを提供しています。これは、以下から上向きに見えたトータルブランドを使用した。
グッチ時計 http://www.trentidesign.it/it/Gucci-other-c-501.html

投稿者 by: グッチ時計 at 2014年1月 9日 16:36

ただし、これらの特定の意味発生 false。' 09、ハワイアナスは、さらに、会社任意の基本的なメンズ、女性のため子供のフリップフ ロップのサンダルを証明しました。ハワイアナス ビーチ サンダルの新しいカテゴリを販売サンパウロに開いた Espaco ハワイアナス提示ハワイアナス、かかと、バッグ、およびよりパーソナライズされました。
シャネル バッグ http://www.stocksport-vorarlberg.at/content/CHANEL-Jewelry-Accessories-c-11001.html

投稿者 by: シャネル バッグ at 2014年1月 9日 16:44

本質的には我々 ヤフー検索ツール; のような作品します。これらのファイルはない格納または提供によって私たちルーチン。記録ラベル:セクシーな衣装、セクシーな水着、ハロウィンcostumesReasonなぜ、女性リーチマイケルコースハンドバッグの種類:ショーン|インクルード古い2010年になるカテゴリがない厄介払いされていないマイケルコースとして11月4日2013のような高。初めに正確な信用度フラダンスMirielleコースウェストンリュックおそらく、そこから選ぶ..モデルを満たすためには、財政状態及び方法女性、ドレスの衣装が実装されているが求められています。
シャネル バッグ http://www.hagspiel-touristik.at/admin/CHANEL-purse-c-11004.html

投稿者 by: シャネル バッグ at 2014年1月 9日 16:45

エルメス バッグ環境善隣スーツケース セットの fanlike の品揃えを備えています。エルメスを思い付いた環境 couthy 必要ショッピング上でほったらかしのバックパックは法的スーパーエンプラ アイダホの場所いくつかのようです。市場成長ブロード バンド基盤がのタッチを揺るがした。鍵となることに同意するお金が買うことができるメーリング リストの俳優間の関係は、子供たちの改善: プロモーター、ツアー、チーム、連合、ラインをそれほぼ常にかもしれないより滑らかな、健康的な。市場は、ブロードバンドが成長すると、財団がROCKEDのタッチです。私はお金が買うことができるメーリングリストの俳優との関係でどのような子供たち改善の鍵になって同意のプロモーターは、ツアー、チーム、連盟は、ラインアップは、ほぼ常に滑らかで健康的である可能性があります。市場成長ブロード バンド基盤がのタッチを揺るがした。鍵となることに同意するお金が買うことができるメーリング リストの俳優間の関係は、子供たちの改善: プロモーター、ツアー、チーム、連合、ラインをそれほぼ常にかもしれないより滑らかな、健康的な。市場成長ブロード バンド基盤がのタッチを揺るがした。鍵となることに同意するお金が買うことができるメーリング リストの俳優間の関係は、子供たちの改善: プロモーター、ツアー、チーム、連合、ラインをそれほぼ常にかもしれないより滑らかな、健康的な。市場成長ブロード バンド基盤がのタッチを揺るがした。鍵となることに同意するお金が買うことができるメーリング リストの俳優間の関係は、子供たちの改善: プロモーター、ツアー、チーム、連合、ラインをそれほぼ常にかもしれないより滑らかな、健康的な。市場成長ブロード バンド基盤がのタッチを揺るがした。鍵となることに同意するお金が買うことができるメーリング リストの俳優間の関係は、子供たちの改善: プロモーター、ツアー、チーム、連合、ラインをそれほぼ常にかもしれないより滑らかな、健康的な。市場成長ブロード バンド基盤がのタッチを揺るがした。鍵となることに同意するお金が買うことができるメーリング リストの俳優間の関係は、子供たちの改善: プロモーター、ツアー、チーム、連合、ラインをそれほぼ常にかもしれないより滑らかな、健康的な。市場成長ブロード バンド基盤がのタッチを揺るがした。鍵となることに同意するお金が買うことができるメーリング リストの俳優間の関係は、子供たちの改善: プロモーター、ツアー、チーム、連合、ラインをそれほぼ常にかもしれないより滑らかな、健康的な。市場成長ブロード バンド基盤がのタッチを揺るがした。鍵となることに同意するお金が買うことができるメーリング リストの俳優間の関係は、子供たちの改善: プロモーター、ツアー、チーム、連合、ラインをそれほぼ常にかもしれないより滑らかな、健康的な。市場成長ブロード バンド基盤がのタッチを揺るがした。鍵となることに同意するお金が買うことができるメーリング リストの俳優間の関係は、子供たちの改善: プロモーター、ツアー、チーム、連合、ラインをそれほぼ常にかもしれないより滑らかな、健康的な。参加開始受けても他ヘンリー メルトン、ジュリアスペッパーズと穿刺ブリッグス実証済みボリューム上が低い可能性の上にグループを作成します。新しいの得るメル タッカーの目の修正理由理由です。
coach 財布 http://www.ickepoesi.com/familj/Coach-Handbags-Outlet-c-101_133.html

投稿者 by: coach 財布 at 2014年1月 9日 16:45

ここで私のWebサイトになることです。タグ:信じられないほど熱い衣装、信じられないほど熱いランジェリー、ハロウィーンcostumesReasonいくつかの女性がある理由により、マイケルコーストート喜びましょう:ショーンの| 11月4日2013年 - マイケルコースカテゴリ新シーズン2010を厄介払いされていません。
バーバリー アウトレット http://www.kiaorana.info/2006/Burberry-Womens-Bag-c-7.html

投稿者 by: バーバリー アウトレット at 2014年1月 9日 16:46

本物のエルメスの商品は熟練した建築業者を経由して手作りされています。いいえステッチできるよう袋は今まで過大になるだろうされていません。それが使用する筈は非常に革です似エルメスバーキン項目の材料には、すべての説得力があります。
シャネル iphoneケース http://www.himmelgruen.at/admin/CHANEL-purse-c-11004.html

投稿者 by: シャネル iphoneケース at 2014年1月 9日 16:46

購入していない、ルイ内の項目手頃なルイヴィトンのハンドバッグこれまで。重要なメール id として良い番号し、識別または出生日付については、その後永久的な協会としてサイトで登録を取得はそれらに小さな個人情報を提供します。
576 ニューバランス http://www.hagspiel-touristik.at/upload/new-balance-fitness-c-15.html

投稿者 by: 576 ニューバランス at 2014年1月 9日 16:47

ミニセミナーには、キーワードの音声、ラベルを入力し、URLのラッジ数十年のためにそれを採用するためのプラスポイントは、単純に1がウェブリンクを嗅ぐために、あります!私は、バックリンクのアプリケーションの範囲を採用し、私もすごい通常自分で年齢の継続時間を接続して実行した。
TUMI 26141 http://www.kortbutikken.no/julekort/Tumi-Womens-Bag-c-11010.html

投稿者 by: TUMI 26141 at 2014年1月 9日 16:47

彼らは金をまだしないされて銀から出それら材料の導入を汚すだけでなくに関していずれかのパラジウム メッキも。確かにそんな感じが外観上のすべて。あなたの浜をべきであるとは、限られた疑いシリコンナノエレクトロニクス義務 (もちろん) 彼に尋ねるポイント: 何トリーバーチ トリー ・ バーチ bagstory トリーバーチ ハンドバッグのですか?それぞれの人々 の確かにはむしろ洗っていないと分割部分屋根裏部屋に向かって/ワインセラーから貯蔵室に/いくつかの美しいビーチの場所のいずれかの砂の穀物他の中で開催する棚/生活の中で休憩します。確かにそんな感じが外観上のすべて。あなたの浜をべきであるとは、限られた疑いシリコンナノエレクトロニクス義務 (もちろん) 彼に尋ねるポイント: 何トリーバーチ トリー ・ バーチ bagstory トリーバーチ ハンドバッグのですか?それぞれの人々 の確かにはむしろ洗っていないと分割部分屋根裏部屋に向かって/ワインセラーから貯蔵室に/いくつかの美しいビーチの場所のいずれかの砂の穀物他の中で開催する棚/生活の中で休憩します。確かにそんな感じが外観上のすべて。あなたの浜をべきであるとは、限られた疑いシリコンナノエレクトロニクス義務 (もちろん) 彼に尋ねるポイント: 何トリーバーチ トリー ・ バーチ bagstory トリーバーチ ハンドバッグのですか?それぞれの人々 の確かにはむしろ洗っていないと分割部分屋根裏部屋に向かって/ワインセラーから貯蔵室に/いくつかの美しいビーチの場所のいずれかの砂の穀物他の中で開催する棚/生活の中で休憩します。確かにそんな感じが外観上のすべて。あなたの浜をべきであるとは、限られた疑いシリコンナノエレクトロニクス義務 (もちろん) 彼に尋ねるポイント: 何トリーバーチ トリー ・ バーチ bagstory トリーバーチ ハンドバッグのですか?それぞれの人々 の確かにはむしろ洗っていないと分割部分屋根裏部屋に向かって/ワインセラーから貯蔵室に/いくつかの美しいビーチの場所のいずれかの砂の穀物他の中で開催する棚/生活の中で休憩します。確かにそんな感じが外観上のすべて。あなたの浜をべきであるとは、限られた疑いシリコンナノエレクトロニクス義務 (もちろん) 彼に尋ねるポイント: 何トリーバーチ トリー ・ バーチ bagstory トリーバーチ ハンドバッグのですか?それぞれの人々 の確かにはむしろ洗っていないと分割部分屋根裏部屋に向かって/ワインセラーから貯蔵室に/いくつかの美しいビーチの場所のいずれかの砂の穀物他の中で開催する棚/生活の中で休憩します。確かにそんな感じが外観上のすべて。あなたの浜をべきであるとは、限られた疑いシリコンナノエレクトロニクス義務 (もちろん) 彼に尋ねるポイント: 何トリーバーチ トリー ・ バーチ bagstory トリーバーチ ハンドバッグのですか?それぞれの人々 の確かにはむしろ洗っていないと分割部分屋根裏部屋に向かって/ワインセラーから貯蔵室に/いくつかの美しいビーチの場所のいずれかの砂の穀物他の中で開催する棚/生活の中で休憩します。確かにそんな感じが外観上のすべて。あなたの浜をべきであるとは、限られた疑いシリコンナノエレクトロニクス義務 (もちろん) 彼に尋ねるポイント: 何トリーバーチ トリー ・ バーチ bagstory トリーバーチ ハンドバッグのですか?それぞれの人々 の確かにはむしろ洗っていないと分割部分屋根裏部屋に向かって/ワインセラーから貯蔵室に/いくつかの美しいビーチの場所のいずれかの砂の穀物他の中で開催する棚/生活の中で休憩します。確かにそんな感じが外観上のすべて。あなたの浜をべきであるとは、限られた疑いシリコンナノエレクトロニクス義務 (もちろん) 彼に尋ねるポイント: 何トリーバーチ トリー ・ バーチ bagstory トリーバーチ ハンドバッグのですか?それぞれの人々 の確かにはむしろ洗っていないと分割部分屋根裏部屋に向かって/ワインセラーから貯蔵室に/いくつかの美しいビーチの場所のいずれかの砂の穀物他の中で開催する棚/生活の中で休憩します。確かにそんな感じが外観上のすべて。あなたの浜をべきであるとは、限られた疑いシリコンナノエレクトロニクス義務 (もちろん) 彼に尋ねるポイント: 何トリーバーチ トリー ・ バーチ bagstory トリーバーチ ハンドバッグのですか?それぞれの人々 の確かにはむしろ洗っていないと分割部分屋根裏部屋に向かって/ワインセラーから貯蔵室に/いくつかの美しいビーチの場所のいずれかの砂の穀物他の中で開催する棚/生活の中で休憩します。確かにそんな感じが外観上のすべて。あなたの浜をべきであるとは、限られた疑いシリコンナノエレクトロニクス義務 (もちろん) 彼に尋ねるポイント: 何トリーバーチ トリー ・ バーチ bagstory トリーバーチ ハンドバッグのですか?それぞれの人々 の確かにはむしろ洗っていないと分割部分屋根裏部屋に向かって/ワインセラーから貯蔵室に/いくつかの美しいビーチの場所のいずれかの砂の穀物他の中で開催する棚/生活の中で休憩します。フリップ側では、アスペルガーの各自。彼は均等に回で冗長 (どこでも他のイベントで無口な) 彼の要素は、いくつかの単なると、この特定のうんざりするほど繰り返し。彼は (個人的にターンを介して通信できるようにするアプリケーション) の会話のルールとマナーを遵守する可能性があります。
マーキュリアルヴェイパー9 http://www.himmelgruen.at/shop/new-balance-running-c-18.html

投稿者 by: マーキュリアルヴェイパー9 at 2014年1月 9日 16:48

You will not go wrong utilizing this type of number of sunglasses, without doubt! For everybody who is out on your bike every single day of the week, you actually should have want to upgrade belonging to the cheap pair you taknews.net-blog: iPodカスタム&自作レザーケース probably have. Carry out some investigating prices on エアジョーダン the Internet and become a good deal.

投稿者 by: エアジョーダン at 2014年1月10日 16:47

アビレックス

投稿者 by: アークテリクス アクセサリー小物 at 2014年1月10日 18:25

これが発生しますそのエッセンシャル我々 はチャットそれについて最近、文化的背景のほとんどの私たちを思い出させるし、規範および芸術の強い感じ得る魅力のフルここ。ルイ ・ ヴィトン ガリエラ PM 感情的な色ができます。だけでなく、その特殊な猛攻撃切断は、ユーザと結合していることを確認、現代を受けて、持っている。ルイ・ヴィトンの金属は、最初の貴重なデータとして、それはガリエラの後ろ、最終的な設計の重要性を象徴し、イニシャルやモノグラムパターンを飾った。ガルリエーラの世帯員の1で、ルイ・ヴィトンガリエラPMがほとんどが私の配偶者を歓迎したと考えられている。
グッチ アウトレット http://www.peazip.org/free-rar/Gucci-wallet-accessory-c-503.html

投稿者 by: グッチ アウトレット at 2014年1月10日 18:40

The company has gone from strength to strength since and now enjoys an international reputation for the production of sports shoes high quality and other sports products. In fact, the most sought after baseball footwear is now a pair of Nike air baseball cleatsニューバランス 574 http://www.njd.jp/newbalance574-693.html but the image of the dress Nike dedicated fan from head to toe in its products. Nike also has a wonderful range of sports bags quality and like all creations of the range is always changing.

投稿者 by: ニューバランス 574 at 2014年1月11日 04:27

極地域と上とムーン -、スーパー ヒーローに、海の足を感じてから、熱帯地方にあまりにも多くのメッセージを。レプリカのメガネに依存はさておき、あなたは通常、古い流行の高いレベルで表皮とスカウアこれまでのみんなのためルイ ヴィトンの財布の両方を扱います。
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投稿者 by: monster beats studio at 2014年1月11日 05:48

ブータン。意味するとき現在の市場を通して、モンクレールの方向で最もかなりルイ ・ ヴィトン正しく巨大な等級を決定する認識を所有しているの大規模な数を決定するミュンヘン個人を考慮したときに多量のレプリカに関する数量を使用しておそらく偽物かもしれない。
ヴィトン 財布 http://www.cubicclassic.com/Cubic-Classic-Products_1/thumbnails/Louis-Vuitton-Multi-color-c-8016_8003.html

投稿者 by: ヴィトン 財布 at 2014年1月11日 06:08

それは、また同じ礼儀みんなに準拠する簡単なものに退行。非パブリックですか?人することを保証、キャンペーンものの単純なイメージを雇うよ?いるに関するエクスプレス来るべきない適切なゴルフコースを提供するために方法、非常に効果的な遅延の優秀な供給を示しています。
クロエ 財布 http://www.unikoporte.it/img/armoniko/Chloe-Accessories-c-2.html

投稿者 by: クロエ 財布 at 2014年1月11日 06:09

株式会社はフランス語水路周辺グラースで現在だった。ここでは、洗剤十分な可能性があります。タグ: エリー kors、場所、バッグ、スクラブ t シャツとしてエレガントな医療スクラブであなたのための handbagsGet レイアウト: マリック ジョシュア |2013 年 11 月 4 日 - 必要な非常に貴重な何人かの人々 見て選択する良いあなたと着ている何か素晴れらしい、それは快適な身に着けているので。しかしか持続可能なまたは自然が心配これはより多くのヒップ、上品な赤ちゃんのタイプを意味します。二度と思います。あなたの仲間の励ましが参考になりますので、アドレナリン層を高めます。企業はそのフランス運河のグラースのアセンブリだった。
ルイヴィトン http://www.innogen.com.sg/UploadeImg/CP_Logos/Louis-Vuitton-Monogram-c-8016_8008.html

投稿者 by: ルイヴィトン at 2014年1月11日 06:10

、何が指示されます瞬間来るアシスト保存ウォーレン ・ ワインスタイン滞在を開始以降、イングランド !任意途方もなく豊かな友人をある (オバマ プロモーター方法?) しかし、私はそれらに私をもたらすことができる !ベルギー、フランス語は様々 な Uccle 人間の人口の 10 分の 1 を使用します。エルメス kreditversicherung これとして知られている彼らはアパレル ナイン場合を確認するために取得するよりも利用可能な非常に敏感な詳細モデルのユーザ名、セキュリティ パスワード、社会犯罪エルメス コミュニティ合計を取得する必要の刑事偽の戦略銀行または充電要因あなた自身マスカレードの信頼できるエンティティ タッチで取得をお探しのいくつかの人口統計係であり、現在、それについての知識。エルメスは、これは非常に敏感な詳細モデルのユーザー名を取得する必要があるという刑事偽の戦略、セキュリティパスワード利用可能であるとして知られているkreditversicherung、社会の犯罪のエルメスのコミュニティ合計、銀行やチャージ要因あなた自身のいくつかの人口統計、検索でテイカーとして現在評判のエンティティであることマスカレード連絡を取るために、彼らも、アパレルの約それは知識かどうかを確認するためにナインを取得します。エルメス kreditversicherung これとして知られている彼らはアパレル ナイン場合を確認するために取得するよりも利用可能な非常に敏感な詳細モデルのユーザ名、セキュリティ パスワード、社会犯罪エルメス コミュニティ合計を取得する必要の刑事偽の戦略銀行または充電要因あなた自身マスカレードの信頼できるエンティティ タッチで取得をお探しのいくつかの人口統計係であり、現在、それについての知識。エルメス kreditversicherung 達することができる非常に敏感な詳細図ユーザー名、ユーザー名とパスワードを必要とする刑事偽操作ビデオ クリップ、社会保護するエルメス アクション金額、銀行やカードデ ビット カード要因人口統計学の受け手の頃の直接接触は、ブラウズしている間信頼できるエンティティのようなマスカレードから来ている彼らはおそらくそれは非常に参照してくださいにナイン アパレルより。エルメス kreditversicherung 達することができる非常に敏感な詳細図ユーザー名、ユーザー名とパスワードを必要とする刑事偽操作ビデオ クリップ、社会保護するエルメス アクション金額、銀行やカードデ ビット カード要因人口統計学の受け手の頃の直接接触は、ブラウズしている間信頼できるエンティティのようなマスカレードから来ている彼らはおそらくそれは非常に参照してくださいにナイン アパレルより。エルメス kreditversicherung 達することができる非常に敏感な詳細図ユーザー名、ユーザー名とパスワードを必要とする刑事偽操作ビデオ クリップ、社会保護するエルメス アクション金額、銀行やカードデ ビット カード要因人口統計学の受け手の頃の直接接触は、ブラウズしている間信頼できるエンティティのようなマスカレードから来ている彼らはおそらくそれは非常に参照してくださいにナイン アパレルより。エルメス kreditversicherung 達することができる非常に敏感な詳細図ユーザー名、ユーザー名とパスワードを必要とする刑事偽操作ビデオ クリップ、社会保護するエルメス アクション金額、銀行やカードデ ビット カード要因人口統計学の受け手の頃の直接接触は、ブラウズしている間信頼できるエンティティのようなマスカレードから来ている彼らはおそらくそれは非常に参照してくださいにナイン アパレルより。エルメス kreditversicherung 達することができる非常に敏感な詳細図ユーザー名、ユーザー名とパスワードを必要とする刑事偽操作ビデオ クリップ、社会保護するエルメス アクション金額、銀行やカードデ ビット カード要因人口統計学の受け手の頃の直接接触は、ブラウズしている間信頼できるエンティティのようなマスカレードから来ている彼らはおそらくそれは非常に参照してくださいにナイン アパレルより。エルメス kreditversicherung 達することができる非常に敏感な詳細図ユーザー名、ユーザー名とパスワードを必要とする刑事偽操作ビデオ クリップ、社会保護するエルメス アクション金額、銀行やカードデ ビット カード要因人口統計学の受け手の頃の直接接触は、ブラウズしている間信頼できるエンティティのようなマスカレードから来ている彼らはおそらくそれは非常に参照してくださいにナイン アパレルより。エルメス kreditversicherung 達することができる非常に敏感な詳細図ユーザー名、ユーザー名とパスワードを必要とする刑事偽操作ビデオ クリップ、社会保護するエルメス アクション金額、銀行やカードデ ビット カード要因人口統計学の受け手の頃の直接接触は、ブラウズしている間信頼できるエンティティのようなマスカレードから来ている彼らはおそらくそれは非常に参照してくださいにナイン アパレルより。エルメス kreditversicherung 達することができる非常に敏感な詳細図ユーザー名、ユーザー名とパスワードを必要とする刑事偽操作ビデオ クリップ、社会保護するエルメス アクション金額、銀行やカードデ ビット カード要因人口統計学の受け手の頃の直接接触は、ブラウズしている間信頼できるエンティティのようなマスカレードから来ている彼らはおそらくそれは非常に参照してくださいにナイン アパレルより。エルメス kreditversicherung これとして知られている彼らはアパレル ナイン場合を確認するために取得するよりも利用可能な非常に敏感な詳細モデルのユーザ名、セキュリティ パスワード、社会犯罪エルメス コミュニティ合計を取得する必要の刑事偽の戦略銀行または充電要因あなた自身マスカレードの信頼できるエンティティ タッチで取得をお探しのいくつかの人口統計係であり、現在、それについての知識。エルメス kreditversicherung 達することができる非常に敏感な詳細図ユーザー名、ユーザー名とパスワードを必要とする刑事偽操作ビデオ クリップ、社会保護するエルメス アクション金額、銀行やカードデ ビット カード要因人口統計学の受け手の頃の直接接触は、ブラウズしている間信頼できるエンティティのようなマスカレードから来ている彼らはおそらくそれは非常に参照してくださいにナイン アパレルより。エルメス kreditversicherung これとして知られている彼らはアパレル ナイン場合を確認するために取得するよりも利用可能な非常に敏感な詳細モデルのユーザ名、セキュリティ パスワード、社会犯罪エルメス コミュニティ合計を取得する必要の刑事偽の戦略銀行または充電要因あなた自身マスカレードの信頼できるエンティティ タッチで取得をお探しのいくつかの人口統計係であり、現在、それについての知識。エルメス kreditversicherung これとして知られている彼らはアパレル ナイン場合を確認するために取得するよりも利用可能な非常に敏感な詳細モデルのユーザ名、セキュリティ パスワード、社会犯罪エルメス コミュニティ合計を取得する必要の刑事偽の戦略銀行または充電要因あなた自身マスカレードの信頼できるエンティティ タッチで取得をお探しのいくつかの人口統計係であり、現在、それについての知識。エルメス kreditversicherung これとして知られている彼らはアパレル ナイン場合を確認するために取得するよりも利用可能な非常に敏感な詳細モデルのユーザ名、セキュリティ パスワード、社会犯罪エルメス コミュニティ合計を取得する必要の刑事偽の戦略銀行または充電要因あなた自身マスカレードの信頼できるエンティティ タッチで取得をお探しのいくつかの人口統計係であり、現在、それについての知識。エルメス kreditversicherung これとして知られている彼らはアパレル ナイン場合を確認するために取得するよりも利用可能な非常に敏感な詳細モデルのユーザ名、セキュリティ パスワード、社会犯罪エルメス コミュニティ合計を取得する必要の刑事偽の戦略銀行または充電要因あなた自身マスカレードの信頼できるエンティティ タッチで取得をお探しのいくつかの人口統計係であり、現在、それについての知識。エルメス kreditversicherung これとして知られている彼らはアパレル ナイン場合を確認するために取得するよりも利用可能な非常に敏感な詳細モデルのユーザ名、セキュリティ パスワード、社会犯罪エルメス コミュニティ合計を取得する必要の刑事偽の戦略銀行または充電要因あなた自身マスカレードの信頼できるエンティティ タッチで取得をお探しのいくつかの人口統計係であり、現在、それについての知識。エルメス kreditversicherung これとして知られている彼らはアパレル ナイン場合を確認するために取得するよりも利用可能な非常に敏感な詳細モデルのユーザ名、セキュリティ パスワード、社会犯罪エルメス コミュニティ合計を取得する必要の刑事偽の戦略銀行または充電要因あなた自身マスカレードの信頼できるエンティティ タッチで取得をお探しのいくつかの人口統計係であり、現在、それについての知識。エルメス kreditversicherung これとして知られている彼らはアパレル ナイン場合を確認するために取得するよりも利用可能な非常に敏感な詳細モデルのユーザ名、セキュリティ パスワード、社会犯罪エルメス コミュニティ合計を取得する必要の刑事偽の戦略銀行または充電要因あなた自身マスカレードの信頼できるエンティティ タッチで取得をお探しのいくつかの人口統計係であり、現在、それについての知識。ことができますがただ忘れてはいけないそれが店の件名に正確、信頼できる myspace から。しかし、それ wasn 特別協力脳規律の容量の機能回復を促進する方法。この本は、教育だけでなく、それらの人気のあるミックスの話です。
ポールスミスレディース http://www.konstivasteras.se/images/Paul-Smith-wallet-c-4.html

投稿者 by: ポールスミスレディース at 2014年1月11日 06:10

頻繁に関連付けられている偽の材料でんぷんや不一致が原因になります。それはすべての魅力的な付属、適切な色多分設計と材料また。場合は、メインを達成している結果として提供を可能性があります、それは簡単には行うことができる本物の Inform ハンドバッグ主な理由特定の詐欺の 1 つ。この女の子はバランスの取れた悩まされる非常に起こった。
ヴィトン モノグラム http://www.larsbillgren.se/html/Louis-Vuitton-Monogram-c-8016_8008.html

投稿者 by: ヴィトン モノグラム at 2014年1月11日 06:10

ファンは通常クーリング ・ オフを投資することができますで買物をするインベントリ暖かい夏の数ヶ月日場所を維持するあなたの日除けで発見されています。あなたは水曜日に内飛ぶことができる前に、私は先にあなたの時間の車を雇う提案します。典型的なサリーの浪費ルックスは、一般的に、すべての新しい銀drrcorで強化されています。裏にウェブサイトでは、母なる自然ロッジ、1900年代初めに全国の広い公園にファイルをモデルにしたディズニーの最も美しいリゾート地にspeadボートをキャッチすることができます。
Paul Smith jeans http://www.agnetahenerud.se/html/bild/Paul-Smith-watch-c-1.html

投稿者 by: Paul Smith jeans at 2014年1月11日 06:11

チャールズ ・ エミール ・領域を使用する彼およそ 1914年に沿って、フロアー リングの buisingess であなたの妻を引退し、実際の制御に関しては、会社に与えられた撮影に取り組んだ。素晴らしい投資と一緒に成功のアカウント: カンジダ タンクレーディ |2013 年 3 月 3 日: ゴールドジュ エリーは血液循環 - 多分にしようとする無数の年間大切でしょういくつかのことです !オーストラリアで使用されるアラスカに含まれているものと比較されたときより高い純度を提供します。
ルイヴィトン http://www.ladviksskogsbrukarklubb.se/ladvik/pic/Louis-Vuitton-Monogram-c-8016_8008.html

投稿者 by: ルイヴィトン at 2014年1月11日 06:11

使用して2012年の利益データ、そのあまりマイケルコース、ケイトシャベル、クリスチャンルブタンからコーチファズと呼ばれる袋に関する「独占」が好むこれらの後の完璧な販売の世界与える強度を購入します。
クロエ バッグ ショルダー http://www.graf-fio.com/admin/Chloe-Handbags-c-1.html

投稿者 by: クロエ バッグ ショルダー at 2014年1月11日 06:11

集中的な苦痛の単体の結果博士デザイナー エルメス ハンドバッグ アクセサリーを使用してもたらすの代わりの不気味な医者の刑務所に移動しながらほぼ致命的な脳震盪、21 を得るために急いで、インプレスとお金を停止を継続しながら。私たち自身の子供の忍耐と待ち続けました、あなたに注意する多数の祖父残念なことに私たちだったとの性的な親密性または本物エルメス バッグだろうし、少なくともないです。ルイ ・ ヴィトンは、複数のタイプの紫ハンドバッグから選択するべきであるおよび低電圧の象徴的なモノグラム内可能性があるマークがあります。
ヴィトン バッグ http://www.mim.sg/catalog/admin/Louis-Vuitton-Monogram-c-8016_8008.html

投稿者 by: ヴィトン バッグ at 2014年1月11日 06:14

それは人々 の感情を識別に販売: セッター、ファッションのではなく、単なる正しいフィット、したがってアーロン ・ ヴィトン vantages 時代を超越した利益。そうの購入ランディ ルイヴィトンのレプリカはトレンディな方法は、特に生地の多くを費やすことがなく、スタイルとクラスを披露するを選択します。ミュウミュウ ミュウミュウ キルト薄暗い革バック パック内にはキラリと光るバンドに関してキルト黒革トーンダウン ツール。形而上学的な親密な組合は間違いなく市場の縮図で利用可能な発生として聖油油; の吸収性の昇華の効果次のように: 1) エネルギーごとのより低いのと、心臓のチャクラより連合従って喉治療センター。
ルイヴィトン バッグ http://www.woodesoft.com/json/Louis-Vuitton-Wallet-c-8016.html

投稿者 by: ルイヴィトン バッグ at 2014年1月11日 06:14

トートと一緒に肘バッグは一般的なタイプである。すべてが理由だと価値がある?つまり、問題の解決を決定します。プライベート権限追加のプライベートエレベーターと映画館。それは、簡単に使用でき、これらの必要な支援があり、社会的ニーズにあなたのビジネスとの願いのために持っています。
ポールスミス 時計 http://www.vsu.se/Bilder/Paul-Smith-wallet-c-4.html

投稿者 by: ポールスミス 時計 at 2014年1月11日 06:14

定規がないために恐怖を与える良いが、悪を行う者に。企業で人は見事な払い戻し多くがあるときに時々、支援する人は、これらは通常、いずれにしても詐欺を送信するディスカッション掲示板での内部行くので。今まで、以前革銀行とベルト合成繊維で最高級アクセスでした。呼び出し Geb、または夕方/夜 (上昇) と 200 デカン空の物理的な上昇の段階だった 160 日は私たちを与えるな。
ポールスミス バッグ http://www.a-o.se/Sidor/Paul-Smith-Kike-c-3.html

投稿者 by: ポールスミス バッグ at 2014年1月11日 06:14

また、取得する可能性があります?タグを確認か?どれもアプローチを助けたとコンパートメントを使用して適切に (NWT) オブジェクト経験マントル袋とすべてのそれらの特異なタグ。1920 年代研究以上に女性の製品を復活し、含めるオメガ職場の女性が最も効果的です。
ヴィトン バッグ http://www.caesarcollection.se/htm/Louis-Vuitton-Multi-color-c-8016_8003.html

投稿者 by: ヴィトン バッグ at 2014年1月11日 06:15

低コストの交換の伝統の荷物を選択ご希望のサイトのウェブサイトの多くを発見するでしょう。運ぶ料金まださらに多くの追加のみんな、私たちの多くが購入しようとしています。通常、秋の時間の人々 つもりです徐々 に春を伝統的な代替を取り除くと夏のスタイルと完全にいくつかの秋の魅力を反映して季節要素に並べ替えを可能にします。タグ:広いふくらはぎbootsWatchのfaces-実行して、グラマー商を後押しジュエリー膨大なピース:SarahWholeSaleを| 3月3日2013年 - それが彼らの魅力の商に寄与するため、女性があまりにも同じくらい、現在美しい宝石と計り知れない魅力を持っています。
ポールスミス バッグ http://www.malmeken.se/images/Paul-Smith-watch-c-1.html

投稿者 by: ポールスミス バッグ at 2014年1月11日 06:15

個人的に私はそれの上に暗いにつまずいた私の状況のため、プロセスが intiguing。既にエルメスのバッグの価格をチェックする必要があります。有利子負債所得パティオ家具バイヤー値札制限と融資基準の選択を行うことの例を取得を通して心に来ることができる前に必要な各書類。
ヴィトン ダミエ http://www.carlascafe.se/fonts/Louis-Vuitton-Handbags-c-8016.html

投稿者 by: ヴィトン ダミエ at 2014年1月11日 06:15

私はどのように卓越した推測し、対話します。Rrn 要求明確な変更に対しての間に保持するために位置すべき議論から任意のアイデア、ちょうど内凍結環境を超えても。見てトウモロコシは (出入口としてアーチに最適)、麻バンドル、雨の中国のランタン パームス ミニひょうたん同様サイズ カボチャを完全することができます。電源ロケット科学者既に組織されたほぼ実際に高価な完璧主義者することができます。
chloe 財布 http://www.winsys.com.sg/aboutwinsys/images/Chloe-Handbags-c-1.html

投稿者 by: chloe 財布 at 2014年1月11日 06:16

機器のこの作品はフィット 2010 年にリリースする予定、その右の特徴はそれ以上の正常に解放された見る一度、不健康なに、ヴェルニ選択の成熟障害追加すべての多数の現代感覚の完全な袋のためにファッションに関するとだけ今日の社会にふさわしい 's が必要です。たとえそうだと彼らはまた確立の彼らのストレッチを膨脹させる新しい顧客を得るようなもの。Cile。記録ラベル: 広いふくらはぎ bootsWatch 顔-素敵な作品の小物が増加あなたのアリュール商を通して、: SarahWholeSale |2013 年 10 月 3 日 - すべての女性も宝石類のための巨大な情熱だけでなく、洗練されたスタイル商に貢献してもきれいになります。
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投稿者 by: Paul Smith jeans at 2014年1月11日 06:17

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Lady Griz hand Selvig 800th career win with 68 61 victory over PortlandGriz up to fifth in TSN poll, highest ranking of seasonBig Sky honors Sac State QB SafronNorth Dakota football coach firedSince 1897, the Cat Griz rivalry has captivated the stateFamily health: Prepare yourself and your vehicle for winter drivingFitness calendarBirths for Tuesday, November 19Angler with 4th place total takes Fall Mack Days fishing tournament titleWestern Montana hunters get help from fresh snow, rutIf the name Grace Coddington is familiar, you've probably seen the 2009 documentary film "The September Issue" about Vogue magazine's Editor in Chief Anna Wintour, the most feared and revered woman in fashion. Now Coddington, the longtime creative director of Vogue, has her own star vehicle, an engaging memoir titled "Grace," co written with Michael Roberts. For anyone with a passing interest in the fashion industry, it's worth a read for the name dropping alone.As became clear in the film, which chronicled the magazine's staff as they put together the 4 pound September 2007 issue, Coddington is not the Anna Wintour or Diana Vreeland type. You won't hear her barking orders at assistants or making dramatic pronouncements about pink.But she is equally passionate, a wild haired dreamer who thinks that fashion should be transporting, provocative and even intellectual, who bemoans the dominance of celebrities and digital hocus pocus in fashion photography and who isn't afraid to take on Wintour.The book is a window into how fashion has changed from a small, niche business into a global pop culture medium. It chronicles Coddington's 50 years in the industry, first as a model, then as a fashion editor for British Vogue and finally as creative director for American Vogue, with lots of juicy anecdotes about designers, photographers, celebrities and models.She compares the fashion world then and now and offers clues into her relationship with Wintour. She's also open about her private life, including details about failed marriages, the tragic death of her sister Rosemary and her 30 year romance with French hairstylist Didier Malige. She tells colorful stories behind many of the fashion shoots she has styled, but I do wish she had offered more insight into her role in the creative process.Coddington begins by painting a picture of her upbringing as romantic as any photo shoot. For her first 18 years, her home was the Trearddur Bay Hotel on the island of Anglesey off the coast of North Wales. "Although it was bleak, I saw beauty in the bleakness." When she wasn't outdoors, she amused herself by looking at picture books, reading fairy tales and, yes, studying the pages of Vogue magazine. As a teen, she went to a convent school and has vivid memories of the nuns roller skating on the rooftop, "flapping about surreally in their robes like crows on wheels."At 18, she moved to London to attend a modeling course advertised in Vogue. The fashion world was much different in 1959. Coddington had to learn how to apply her own makeup and style her own hair, because makeup artists and hairdressers specializing in photo shoots were nonexistent. A meeting with photographer Norman Parkinson led to her first modeling job running naked through the woods for an arty fashion catalog.Coddington became an overnight success. "I was a character, rather than a pretty model, and I suppose that's exactly what I look for in the girls I now select to put in American Vogue the ones who are quirky looking."She earned the nickname "The Cod" (to Jean Shrimpton's "The Shrimp"), danced the twist on Mary Quant's catwalk and became a muse to Vidal Sassoon, who created his famous five point cut on Coddington. Her modeling career was derailed for two years by a car accident, which scarred her left eyelid. But eventually things picked up again, and she settled into life in 1960s swinging London and Paris, hanging out with a fast crowd that included Michael Caine, Jane Birkin, the Beatles and the Rolling Stones.Her fashion editing career coincided with the beginning of her relationship with Michael Chow and the opening of his glamorous restaurant Mr. Chow, which attracted a starry crowd. "Naturally, we were forever being photographed at home, draped among our symbols of 'with it ness' as one of London's most happening couples; him, the cool young restaurateur, nonchalantly swinging in a hammock hung from the minstrel's gallery and me, the sophisticated style maker, perkily sitting cross legged atop a giant pop art version of a Campbell's soup can."At the height of the bohemian 1970s, she dyed her hair with henna and permed it (it would stay the same for much of the next 40 years), dressed almost exclusively in Yves Saint Laurent, had a fling with a Vietnamese photographer and spent her evenings at Club Sept in Paris. Coddington worked with the who's who of fashion. She shot Anjelica Huston with photographer David Bailey and Pat Cleveland with Helmut Newton.When Bea Miller, who had edited British Vogue for 22 years, retired, Coddington interviewed for the job but says she knew deep down she wasn't suited for it and thought that Wintour, then the creative director of American Vogue, should get it.Wintour did get it. Two days into her editorship, she invited Coddington to a screening of the racy film "Betty Blue." The two sat in dead silence through the opening sequence, a vivid five minute sex scene."Anna was rigid and unmoving. No sign of any emotion at all," Coddington writes. "I then realized how much significance Anna places on willpower trumping feelings."In 1988, when Wintour was appointed editor in chief at American Vogue, Coddington asked to join her. Coddington's narrative style fashion features and travelogues, a sampling of which appear in the book, became the heart and soul of the magazine, even as its pages became increasingly taken over by celebrities. Through her visual canvases, she interpreted the New Romantic period, grunge and the South Beach blinged out 1990s, and persuaded superstar designers Tom Ford, Marc Jacobs and others to play roles in a shoot based on "Alice in Wonderland."She sums up her creative process this way: "For me, one of the most important aspects of my work is to give people something to dream about, just as I used to dream all those years ago as a child looking at beautiful photographs."The book ends with a chapter on then and now. "Fashion has changed so much in my lifetime," Coddington writes. "Today, I find myself at the collections, asking, 'Who are all these people?' Sometimes I think I'm the last remaining person who comes to the shows for the pleasure of seeing the clothes."At 71, she seldom wears makeup and doesn't socialize much. But her attempt in the last 100 pages to distance herself from the term "fashionista" is a bit of a stretch. Clearly, Coddington has led a most charmed life. Otherwise, we wouldn't be reading about it.We provide this community forum for readers to exchange ideas and opinions on the news of the day. Passionate views, pointed criticism and critical thinking are welcome. Comments can only be submitted by registered users. By posting comments on our site, you are agreeing to the following terms:

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For anyone with a passing interest in the fashion industry, it's worth a read for the name dropping alone.As became clear in the film, which chronicled the magazine's staff as they put together the 4 pound September 2007 issue, Coddington is not the Anna Wintour or Diana Vreeland type. You won't hear her barking orders at assistants or making dramatic pronouncements about pink.But she is equally passionate, a wild haired dreamer who thinks that fashion should be transporting, provocative and even intellectual, who bemoans the dominance of celebrities and digital hocus pocus in fashion photography and who isn't afraid to take on Wintour.The book is a window into how fashion has changed from a small, niche business into a global pop culture medium. It chronicles Coddington's 50 years in the industry, first as a model, then as a fashion editor for British Vogue and finally as creative director for American Vogue, with lots of juicy anecdotes about designers, photographers, celebrities and models.She compares the fashion world then and now and offers clues into her relationship with Wintour. She's also open about her private life, including details about failed marriages, the tragic death of her sister Rosemary and her 30 year romance with French hairstylist Didier Malige. She tells colorful stories behind many of the fashion shoots she has styled, but I do wish she had offered more insight into her role in the creative process.Coddington begins by painting a picture of her upbringing as romantic as any photo shoot. For her first 18 years, her home was the Trearddur Bay Hotel on the island of Anglesey off the coast of North Wales. "Although it was bleak, I saw beauty in the bleakness." When she wasn't outdoors, she amused herself by looking at picture books, reading fairy tales and, yes, studying the pages of Vogue magazine. As a teen, she went to a convent school and has vivid memories of the nuns roller skating on the rooftop, "flapping about surreally in their robes like crows on wheels."At 18, she moved to London to attend a modeling course advertised in Vogue. The fashion world was much different in 1959. Coddington had to learn how to apply her own makeup and style her own hair, because makeup artists and hairdressers specializing in photo shoots were nonexistent. A meeting with photographer Norman Parkinson led to her first modeling job running naked through the woods for an arty fashion catalog.Coddington became an overnight success. "I was a character, rather than a pretty model, and I suppose that's exactly what I look for in the girls I now select to put in American Vogue the ones who are quirky looking."She earned the nickname "The Cod" (to Jean Shrimpton's "The Shrimp"), danced the twist on Mary Quant's catwalk and became a muse to Vidal Sassoon, who created his famous five point cut on Coddington. Her modeling career was derailed for two years by a car accident, which scarred her left eyelid. But eventually things picked up again, and she settled into life in 1960s swinging London and Paris, hanging out with a fast crowd that included Michael Caine, Jane Birkin, the Beatles and the Rolling Stones.Her fashion editing career coincided with the beginning of her relationship with Michael Chow and the opening of his glamorous restaurant Mr. Chow, which attracted a starry crowd. "Naturally, we were forever being photographed at home, draped among our symbols of 'with it ness' as one of London's most happening couples; him, the cool young restaurateur, nonchalantly swinging in a hammock hung from the minstrel's gallery and me, the sophisticated style maker, perkily sitting cross legged atop a giant pop art version of a Campbell's soup can."At the height of the bohemian 1970s, she dyed her hair with henna and permed it (it would stay the same for much of the next 40 years), dressed almost exclusively in Yves Saint Laurent, had a fling with a Vietnamese photographer and spent her evenings at Club Sept in Paris. Coddington worked with the who's who of fashion. She shot Anjelica Huston with photographer David Bailey and Pat Cleveland with Helmut Newton.When Bea Miller, who had edited British Vogue for 22 years, retired, Coddington interviewed for the job but says she knew deep down she wasn't suited for it and thought that Wintour, then the creative director of American Vogue, should get it.Wintour did get it. Two days into her editorship, she invited Coddington to a screening of the racy film "Betty Blue." The two sat in dead silence through the opening sequence, a vivid five minute sex scene."Anna was rigid and unmoving. No sign of any emotion at all," Coddington writes. "I then realized how much significance Anna places on willpower trumping feelings."In 1988, when Wintour was appointed editor in chief at American Vogue, Coddington asked to join her. Coddington's narrative style fashion features and travelogues, a sampling of which appear in the book, became the heart and soul of the magazine, even as its pages became increasingly taken over by celebrities. Through her visual canvases, she interpreted the New Romantic period, grunge and the South Beach blinged out 1990s, and persuaded superstar designers Tom Ford, Marc Jacobs and others to play roles in a shoot based on "Alice in Wonderland."She sums up her creative process this way: "For me, one of the most important aspects of my work is to give people something to dream about, just as I used to dream all those years ago as a child looking at beautiful photographs."The book ends with a chapter on then and now. "Fashion has changed so much in my lifetime," Coddington writes. "Today, I find myself at the collections, asking, 'Who are all these people?' Sometimes I think I'm the last remaining person who comes to the shows for the pleasure of seeing the clothes."At 71, she seldom wears makeup and doesn't socialize much. But her attempt in the last 100 pages to distance herself from the term "fashionista" is a bit of a stretch. Clearly, Coddington has led a most charmed life. Otherwise, we wouldn't be reading about it.We provide this community forum for readers to exchange ideas and opinions on the news of the day. Passionate views, pointed criticism and critical thinking are welcome. Comments can only be submitted by registered users. By posting comments on our site, you are agreeing to the following terms:

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For anyone with a passing interest in the fashion industry, it's worth a read for the name dropping alone.As became clear in the film, which chronicled the magazine's staff as they put together the 4 pound September 2007 issue, Coddington is not the Anna Wintour or Diana Vreeland type. You won't hear her barking orders at assistants or making dramatic pronouncements about pink.But she is equally passionate, a wild haired dreamer who thinks that fashion should be transporting, provocative and even intellectual, who bemoans the dominance of celebrities and digital hocus pocus in fashion photography and who isn't afraid to take on Wintour.The book is a window into how fashion has changed from a small, niche business into a global pop culture medium. It chronicles Coddington's 50 years in the industry, first as a model, then as a fashion editor for British Vogue and finally as creative director for American Vogue, with lots of juicy anecdotes about designers, photographers, celebrities and models.She compares the fashion world then and now and offers clues into her relationship with Wintour. She's also open about her private life, including details about failed marriages, the tragic death of her sister Rosemary and her 30 year romance with French hairstylist Didier Malige. She tells colorful stories behind many of the fashion shoots she has styled, but I do wish she had offered more insight into her role in the creative process.Coddington begins by painting a picture of her upbringing as romantic as any photo shoot. For her first 18 years, her home was the Trearddur Bay Hotel on the island of Anglesey off the coast of North Wales. "Although it was bleak, I saw beauty in the bleakness." When she wasn't outdoors, she amused herself by looking at picture books, reading fairy tales and, yes, studying the pages of Vogue magazine. As a teen, she went to a convent school and has vivid memories of the nuns roller skating on the rooftop, "flapping about surreally in their robes like crows on wheels."At 18, she moved to London to attend a modeling course advertised in Vogue. The fashion world was much different in 1959. Coddington had to learn how to apply her own makeup and style her own hair, because makeup artists and hairdressers specializing in photo shoots were nonexistent. A meeting with photographer Norman Parkinson led to her first modeling job running naked through the woods for an arty fashion catalog.Coddington became an overnight success. "I was a character, rather than a pretty model, and I suppose that's exactly what I look for in the girls I now select to put in American Vogue the ones who are quirky looking."She earned the nickname "The Cod" (to Jean Shrimpton's "The Shrimp"), danced the twist on Mary Quant's catwalk and became a muse to Vidal Sassoon, who created his famous five point cut on Coddington. Her modeling career was derailed for two years by a car accident, which scarred her left eyelid. But eventually things picked up again, and she settled into life in 1960s swinging London and Paris, hanging out with a fast crowd that included Michael Caine, Jane Birkin, the Beatles and the Rolling Stones.Her fashion editing career coincided with the beginning of her relationship with Michael Chow and the opening of his glamorous restaurant Mr. Chow, which attracted a starry crowd. "Naturally, we were forever being photographed at home, draped among our symbols of 'with it ness' as one of London's most happening couples; him, the cool young restaurateur, nonchalantly swinging in a hammock hung from the minstrel's gallery and me, the sophisticated style maker, perkily sitting cross legged atop a giant pop art version of a Campbell's soup can."At the height of the bohemian 1970s, she dyed her hair with henna and permed it (it would stay the same for much of the next 40 years), dressed almost exclusively in Yves Saint Laurent, had a fling with a Vietnamese photographer and spent her evenings at Club Sept in Paris. Coddington worked with the who's who of fashion. She shot Anjelica Huston with photographer David Bailey and Pat Cleveland with Helmut Newton.When Bea Miller, who had edited British Vogue for 22 years, retired, Coddington interviewed for the job but says she knew deep down she wasn't suited for it and thought that Wintour, then the creative director of American Vogue, should get it.Wintour did get it. Two days into her editorship, she invited Coddington to a screening of the racy film "Betty Blue." The two sat in dead silence through the opening sequence, a vivid five minute sex scene."Anna was rigid and unmoving. No sign of any emotion at all," Coddington writes. "I then realized how much significance Anna places on willpower trumping feelings."In 1988, when Wintour was appointed editor in chief at American Vogue, Coddington asked to join her. Coddington's narrative style fashion features and travelogues, a sampling of which appear in the book, became the heart and soul of the magazine, even as its pages became increasingly taken over by celebrities. Through her visual canvases, she interpreted the New Romantic period, grunge and the South Beach blinged out 1990s, and persuaded superstar designers Tom Ford, Marc Jacobs and others to play roles in a shoot based on "Alice in Wonderland."She sums up her creative process this way: "For me, one of the most important aspects of my work is to give people something to dream about, just as I used to dream all those years ago as a child looking at beautiful photographs."The book ends with a chapter on then and now. "Fashion has changed so much in my lifetime," Coddington writes. "Today, I find myself at the collections, asking, 'Who are all these people?' Sometimes I think I'm the last remaining person who comes to the shows for the pleasure of seeing the clothes."At 71, she seldom wears makeup and doesn't socialize much. But her attempt in the last 100 pages to distance herself from the term "fashionista" is a bit of a stretch. Clearly, Coddington has led a most charmed life. Otherwise, we wouldn't be reading about it.We provide this community forum for readers to exchange ideas and opinions on the news of the day. Passionate views, pointed criticism and critical thinking are welcome. Comments can only be submitted by registered users. By posting comments on our site, you are agreeing to the following terms:

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Lady Griz hand Selvig 800th career win with 68 61 victory over PortlandGriz up to fifth in TSN poll, highest ranking of seasonBig Sky honors Sac State QB SafronNorth Dakota football coach firedSince 1897, the Cat Griz rivalry has captivated the stateFamily health: Prepare yourself and your vehicle for winter drivingFitness calendarBirths for Tuesday, November 19Angler with 4th place total takes Fall Mack Days fishing tournament titleWestern Montana hunters get help from fresh snow, rutIf the name Grace Coddington is familiar, you've probably seen the 2009 documentary film "The September Issue" about Vogue magazine's Editor in Chief Anna Wintour, the most feared and revered woman in fashion. Now Coddington, the longtime creative director of Vogue, has her own star vehicle, an engaging memoir titled "Grace," co written with Michael Roberts. For anyone with a passing interest in the fashion industry, it's worth a read for the name dropping alone.As became clear in the film, which chronicled the magazine's staff as they put together the 4 pound September 2007 issue, Coddington is not the Anna Wintour or Diana Vreeland type. You won't hear her barking orders at assistants or making dramatic pronouncements about pink.But she is equally passionate, a wild haired dreamer who thinks that fashion should be transporting, provocative and even intellectual, who bemoans the dominance of celebrities and digital hocus pocus in fashion photography and who isn't afraid to take on Wintour.The book is a window into how fashion has changed from a small, niche business into a global pop culture medium. It chronicles Coddington's 50 years in the industry, first as a model, then as a fashion editor for British Vogue and finally as creative director for American Vogue, with lots of juicy anecdotes about designers, photographers, celebrities and models.She compares the fashion world then and now and offers clues into her relationship with Wintour. She's also open about her private life, including details about failed marriages, the tragic death of her sister Rosemary and her 30 year romance with French hairstylist Didier Malige. She tells colorful stories behind many of the fashion shoots she has styled, but I do wish she had offered more insight into her role in the creative process.Coddington begins by painting a picture of her upbringing as romantic as any photo shoot. For her first 18 years, her home was the Trearddur Bay Hotel on the island of Anglesey off the coast of North Wales. "Although it was bleak, I saw beauty in the bleakness." When she wasn't outdoors, she amused herself by looking at picture books, reading fairy tales and, yes, studying the pages of Vogue magazine. As a teen, she went to a convent school and has vivid memories of the nuns roller skating on the rooftop, "flapping about surreally in their robes like crows on wheels."At 18, she moved to London to attend a modeling course advertised in Vogue. The fashion world was much different in 1959. Coddington had to learn how to apply her own makeup and style her own hair, because makeup artists and hairdressers specializing in photo shoots were nonexistent. A meeting with photographer Norman Parkinson led to her first modeling job running naked through the woods for an arty fashion catalog.Coddington became an overnight success. "I was a character, rather than a pretty model, and I suppose that's exactly what I look for in the girls I now select to put in American Vogue the ones who are quirky looking."She earned the nickname "The Cod" (to Jean Shrimpton's "The Shrimp"), danced the twist on Mary Quant's catwalk and became a muse to Vidal Sassoon, who created his famous five point cut on Coddington. Her modeling career was derailed for two years by a car accident, which scarred her left eyelid. But eventually things picked up again, and she settled into life in 1960s swinging London and Paris, hanging out with a fast crowd that included Michael Caine, Jane Birkin, the Beatles and the Rolling Stones.Her fashion editing career coincided with the beginning of her relationship with Michael Chow and the opening of his glamorous restaurant Mr. Chow, which attracted a starry crowd. "Naturally, we were forever being photographed at home, draped among our symbols of 'with it ness' as one of London's most happening couples; him, the cool young restaurateur, nonchalantly swinging in a hammock hung from the minstrel's gallery and me, the sophisticated style maker, perkily sitting cross legged atop a giant pop art version of a Campbell's soup can."At the height of the bohemian 1970s, she dyed her hair with henna and permed it (it would stay the same for much of the next 40 years), dressed almost exclusively in Yves Saint Laurent, had a fling with a Vietnamese photographer and spent her evenings at Club Sept in Paris. Coddington worked with the who's who of fashion. She shot Anjelica Huston with photographer David Bailey and Pat Cleveland with Helmut Newton.When Bea Miller, who had edited British Vogue for 22 years, retired, Coddington interviewed for the job but says she knew deep down she wasn't suited for it and thought that Wintour, then the creative director of American Vogue, should get it.Wintour did get it. Two days into her editorship, she invited Coddington to a screening of the racy film "Betty Blue." The two sat in dead silence through the opening sequence, a vivid five minute sex scene."Anna was rigid and unmoving. No sign of any emotion at all," Coddington writes. "I then realized how much significance Anna places on willpower trumping feelings."In 1988, when Wintour was appointed editor in chief at American Vogue, Coddington asked to join her. Coddington's narrative style fashion features and travelogues, a sampling of which appear in the book, became the heart and soul of the magazine, even as its pages became increasingly taken over by celebrities. Through her visual canvases, she interpreted the New Romantic period, grunge and the South Beach blinged out 1990s, and persuaded superstar designers Tom Ford, Marc Jacobs and others to play roles in a shoot based on "Alice in Wonderland."She sums up her creative process this way: "For me, one of the most important aspects of my work is to give people something to dream about, just as I used to dream all those years ago as a child looking at beautiful photographs."The book ends with a chapter on then and now. "Fashion has changed so much in my lifetime," Coddington writes. "Today, I find myself at the collections, asking, 'Who are all these people?' Sometimes I think I'm the last remaining person who comes to the shows for the pleasure of seeing the clothes."At 71, she seldom wears makeup and doesn't socialize much. But her attempt in the last 100 pages to distance herself from the term "fashionista" is a bit of a stretch. Clearly, Coddington has led a most charmed life. Otherwise, we wouldn't be reading about it.We provide this community forum for readers to exchange ideas and opinions on the news of the day. Passionate views, pointed criticism and critical thinking are welcome. Comments can only be submitted by registered users. By posting comments on our site, you are agreeing to the following terms:

投稿者 by: nike Womens Mens Youth Jerseys at 2014年1月12日 17:27

a memoir of fashion dreamer's life in vogue

投稿者 by: nike Steelers authentic Franco Harris Green Black White elite limited game Jerseys Free Shipping at 2014年1月12日 17:28

Lady Griz hand Selvig 800th career win with 68 61 victory over PortlandGriz up to fifth in TSN poll, highest ranking of seasonBig Sky honors Sac State QB SafronNorth Dakota football coach firedSince 1897, the Cat Griz rivalry has captivated the stateFamily health: Prepare yourself and your vehicle for winter drivingFitness calendarBirths for Tuesday, November 19Angler with 4th place total takes Fall Mack Days fishing tournament titleWestern Montana hunters get help from fresh snow, rutIf the name Grace Coddington is familiar, you've probably seen the 2009 documentary film "The September Issue" about Vogue magazine's Editor in Chief Anna Wintour, the most feared and revered woman in fashion. Now Coddington, the longtime creative director of Vogue, has her own star vehicle, an engaging memoir titled "Grace," co written with Michael Roberts. For anyone with a passing interest in the fashion industry, it's worth a read for the name dropping alone.As became clear in the film, which chronicled the magazine's staff as they put together the 4 pound September 2007 issue, Coddington is not the Anna Wintour or Diana Vreeland type. You won't hear her barking orders at assistants or making dramatic pronouncements about pink.But she is equally passionate, a wild haired dreamer who thinks that fashion should be transporting, provocative and even intellectual, who bemoans the dominance of celebrities and digital hocus pocus in fashion photography and who isn't afraid to take on Wintour.The book is a window into how fashion has changed from a small, niche business into a global pop culture medium. It chronicles Coddington's 50 years in the industry, first as a model, then as a fashion editor for British Vogue and finally as creative director for American Vogue, with lots of juicy anecdotes about designers, photographers, celebrities and models.She compares the fashion world then and now and offers clues into her relationship with Wintour. She's also open about her private life, including details about failed marriages, the tragic death of her sister Rosemary and her 30 year romance with French hairstylist Didier Malige. She tells colorful stories behind many of the fashion shoots she has styled, but I do wish she had offered more insight into her role in the creative process.Coddington begins by painting a picture of her upbringing as romantic as any photo shoot. For her first 18 years, her home was the Trearddur Bay Hotel on the island of Anglesey off the coast of North Wales. "Although it was bleak, I saw beauty in the bleakness." When she wasn't outdoors, she amused herself by looking at picture books, reading fairy tales and, yes, studying the pages of Vogue magazine. As a teen, she went to a convent school and has vivid memories of the nuns roller skating on the rooftop, "flapping about surreally in their robes like crows on wheels."At 18, she moved to London to attend a modeling course advertised in Vogue. The fashion world was much different in 1959. Coddington had to learn how to apply her own makeup and style her own hair, because makeup artists and hairdressers specializing in photo shoots were nonexistent. A meeting with photographer Norman Parkinson led to her first modeling job running naked through the woods for an arty fashion catalog.Coddington became an overnight success. "I was a character, rather than a pretty model, and I suppose that's exactly what I look for in the girls I now select to put in American Vogue the ones who are quirky looking."She earned the nickname "The Cod" (to Jean Shrimpton's "The Shrimp"), danced the twist on Mary Quant's catwalk and became a muse to Vidal Sassoon, who created his famous five point cut on Coddington. Her modeling career was derailed for two years by a car accident, which scarred her left eyelid. But eventually things picked up again, and she settled into life in 1960s swinging London and Paris, hanging out with a fast crowd that included Michael Caine, Jane Birkin, the Beatles and the Rolling Stones.Her fashion editing career coincided with the beginning of her relationship with Michael Chow and the opening of his glamorous restaurant Mr. Chow, which attracted a starry crowd. "Naturally, we were forever being photographed at home, draped among our symbols of 'with it ness' as one of London's most happening couples; him, the cool young restaurateur, nonchalantly swinging in a hammock hung from the minstrel's gallery and me, the sophisticated style maker, perkily sitting cross legged atop a giant pop art version of a Campbell's soup can."At the height of the bohemian 1970s, she dyed her hair with henna and permed it (it would stay the same for much of the next 40 years), dressed almost exclusively in Yves Saint Laurent, had a fling with a Vietnamese photographer and spent her evenings at Club Sept in Paris. Coddington worked with the who's who of fashion. She shot Anjelica Huston with photographer David Bailey and Pat Cleveland with Helmut Newton.When Bea Miller, who had edited British Vogue for 22 years, retired, Coddington interviewed for the job but says she knew deep down she wasn't suited for it and thought that Wintour, then the creative director of American Vogue, should get it.Wintour did get it. Two days into her editorship, she invited Coddington to a screening of the racy film "Betty Blue." The two sat in dead silence through the opening sequence, a vivid five minute sex scene."Anna was rigid and unmoving. No sign of any emotion at all," Coddington writes. "I then realized how much significance Anna places on willpower trumping feelings."In 1988, when Wintour was appointed editor in chief at American Vogue, Coddington asked to join her. Coddington's narrative style fashion features and travelogues, a sampling of which appear in the book, became the heart and soul of the magazine, even as its pages became increasingly taken over by celebrities. Through her visual canvases, she interpreted the New Romantic period, grunge and the South Beach blinged out 1990s, and persuaded superstar designers Tom Ford, Marc Jacobs and others to play roles in a shoot based on "Alice in Wonderland."She sums up her creative process this way: "For me, one of the most important aspects of my work is to give people something to dream about, just as I used to dream all those years ago as a child looking at beautiful photographs."The book ends with a chapter on then and now. "Fashion has changed so much in my lifetime," Coddington writes. "Today, I find myself at the collections, asking, 'Who are all these people?' Sometimes I think I'm the last remaining person who comes to the shows for the pleasure of seeing the clothes."At 71, she seldom wears makeup and doesn't socialize much. But her attempt in the last 100 pages to distance herself from the term "fashionista" is a bit of a stretch. Clearly, Coddington has led a most charmed life. Otherwise, we wouldn't be reading about it.We provide this community forum for readers to exchange ideas and opinions on the news of the day. Passionate views, pointed criticism and critical thinking are welcome. Comments can only be submitted by registered users. By posting comments on our site, you are agreeing to the following terms:

投稿者 by: Jacoby Ford Green Navy White elite limited game Jerseys Free Shipping at 2014年1月12日 17:28

a memoir of fashion dreamer's life in vogue

投稿者 by: Jurrell Casey Jersey at 2014年1月12日 17:28

Lady Griz hand Selvig 800th career win with 68 61 victory over PortlandGriz up to fifth in TSN poll, highest ranking of seasonBig Sky honors Sac State QB SafronNorth Dakota football coach firedSince 1897, the Cat Griz rivalry has captivated the stateFamily health: Prepare yourself and your vehicle for winter drivingFitness calendarBirths for Tuesday, November 19Angler with 4th place total takes Fall Mack Days fishing tournament titleWestern Montana hunters get help from fresh snow, rutIf the name Grace Coddington is familiar, you've probably seen the 2009 documentary film "The September Issue" about Vogue magazine's Editor in Chief Anna Wintour, the most feared and revered woman in fashion. Now Coddington, the longtime creative director of Vogue, has her own star vehicle, an engaging memoir titled "Grace," co written with Michael Roberts. For anyone with a passing interest in the fashion industry, it's worth a read for the name dropping alone.As became clear in the film, which chronicled the magazine's staff as they put together the 4 pound September 2007 issue, Coddington is not the Anna Wintour or Diana Vreeland type. You won't hear her barking orders at assistants or making dramatic pronouncements about pink.But she is equally passionate, a wild haired dreamer who thinks that fashion should be transporting, provocative and even intellectual, who bemoans the dominance of celebrities and digital hocus pocus in fashion photography and who isn't afraid to take on Wintour.The book is a window into how fashion has changed from a small, niche business into a global pop culture medium. It chronicles Coddington's 50 years in the industry, first as a model, then as a fashion editor for British Vogue and finally as creative director for American Vogue, with lots of juicy anecdotes about designers, photographers, celebrities and models.She compares the fashion world then and now and offers clues into her relationship with Wintour. She's also open about her private life, including details about failed marriages, the tragic death of her sister Rosemary and her 30 year romance with French hairstylist Didier Malige. She tells colorful stories behind many of the fashion shoots she has styled, but I do wish she had offered more insight into her role in the creative process.Coddington begins by painting a picture of her upbringing as romantic as any photo shoot. For her first 18 years, her home was the Trearddur Bay Hotel on the island of Anglesey off the coast of North Wales. "Although it was bleak, I saw beauty in the bleakness." When she wasn't outdoors, she amused herself by looking at picture books, reading fairy tales and, yes, studying the pages of Vogue magazine. As a teen, she went to a convent school and has vivid memories of the nuns roller skating on the rooftop, "flapping about surreally in their robes like crows on wheels."At 18, she moved to London to attend a modeling course advertised in Vogue. The fashion world was much different in 1959. Coddington had to learn how to apply her own makeup and style her own hair, because makeup artists and hairdressers specializing in photo shoots were nonexistent. A meeting with photographer Norman Parkinson led to her first modeling job running naked through the woods for an arty fashion catalog.Coddington became an overnight success. "I was a character, rather than a pretty model, and I suppose that's exactly what I look for in the girls I now select to put in American Vogue the ones who are quirky looking."She earned the nickname "The Cod" (to Jean Shrimpton's "The Shrimp"), danced the twist on Mary Quant's catwalk and became a muse to Vidal Sassoon, who created his famous five point cut on Coddington. Her modeling career was derailed for two years by a car accident, which scarred her left eyelid. But eventually things picked up again, and she settled into life in 1960s swinging London and Paris, hanging out with a fast crowd that included Michael Caine, Jane Birkin, the Beatles and the Rolling Stones.Her fashion editing career coincided with the beginning of her relationship with Michael Chow and the opening of his glamorous restaurant Mr. Chow, which attracted a starry crowd. "Naturally, we were forever being photographed at home, draped among our symbols of 'with it ness' as one of London's most happening couples; him, the cool young restaurateur, nonchalantly swinging in a hammock hung from the minstrel's gallery and me, the sophisticated style maker, perkily sitting cross legged atop a giant pop art version of a Campbell's soup can."At the height of the bohemian 1970s, she dyed her hair with henna and permed it (it would stay the same for much of the next 40 years), dressed almost exclusively in Yves Saint Laurent, had a fling with a Vietnamese photographer and spent her evenings at Club Sept in Paris. Coddington worked with the who's who of fashion. She shot Anjelica Huston with photographer David Bailey and Pat Cleveland with Helmut Newton.When Bea Miller, who had edited British Vogue for 22 years, retired, Coddington interviewed for the job but says she knew deep down she wasn't suited for it and thought that Wintour, then the creative director of American Vogue, should get it.Wintour did get it. Two days into her editorship, she invited Coddington to a screening of the racy film "Betty Blue." The two sat in dead silence through the opening sequence, a vivid five minute sex scene."Anna was rigid and unmoving. No sign of any emotion at all," Coddington writes. "I then realized how much significance Anna places on willpower trumping feelings."In 1988, when Wintour was appointed editor in chief at American Vogue, Coddington asked to join her. Coddington's narrative style fashion features and travelogues, a sampling of which appear in the book, became the heart and soul of the magazine, even as its pages became increasingly taken over by celebrities. Through her visual canvases, she interpreted the New Romantic period, grunge and the South Beach blinged out 1990s, and persuaded superstar designers Tom Ford, Marc Jacobs and others to play roles in a shoot based on "Alice in Wonderland."She sums up her creative process this way: "For me, one of the most important aspects of my work is to give people something to dream about, just as I used to dream all those years ago as a child looking at beautiful photographs."The book ends with a chapter on then and now. "Fashion has changed so much in my lifetime," Coddington writes. "Today, I find myself at the collections, asking, 'Who are all these people?' Sometimes I think I'm the last remaining person who comes to the shows for the pleasure of seeing the clothes."At 71, she seldom wears makeup and doesn't socialize much. But her attempt in the last 100 pages to distance herself from the term "fashionista" is a bit of a stretch. Clearly, Coddington has led a most charmed life. Otherwise, we wouldn't be reading about it.We provide this community forum for readers to exchange ideas and opinions on the news of the day. Passionate views, pointed criticism and critical thinking are welcome. Comments can only be submitted by registered users. By posting comments on our site, you are agreeing to the following terms:

投稿者 by: nike Roy Miller Womens Jersey at 2014年1月12日 17:29

a memoir of fashion dreamer's life in vogue

投稿者 by: nike Womens Mens Youth Jerseys at 2014年1月12日 17:29

Lady Griz hand Selvig 800th career win with 68 61 victory over PortlandGriz up to fifth in TSN poll, highest ranking of seasonBig Sky honors Sac State QB SafronNorth Dakota football coach firedSince 1897, the Cat Griz rivalry has captivated the stateFamily health: Prepare yourself and your vehicle for winter drivingFitness calendarBirths for Tuesday, November 19Angler with 4th place total takes Fall Mack Days fishing tournament titleWestern Montana hunters get help from fresh snow, rutIf the name Grace Coddington is familiar, you've probably seen the 2009 documentary film "The September Issue" about Vogue magazine's Editor in Chief Anna Wintour, the most feared and revered woman in fashion. Now Coddington, the longtime creative director of Vogue, has her own star vehicle, an engaging memoir titled "Grace," co written with Michael Roberts. For anyone with a passing interest in the fashion industry, it's worth a read for the name dropping alone.As became clear in the film, which chronicled the magazine's staff as they put together the 4 pound September 2007 issue, Coddington is not the Anna Wintour or Diana Vreeland type. You won't hear her barking orders at assistants or making dramatic pronouncements about pink.But she is equally passionate, a wild haired dreamer who thinks that fashion should be transporting, provocative and even intellectual, who bemoans the dominance of celebrities and digital hocus pocus in fashion photography and who isn't afraid to take on Wintour.The book is a window into how fashion has changed from a small, niche business into a global pop culture medium. It chronicles Coddington's 50 years in the industry, first as a model, then as a fashion editor for British Vogue and finally as creative director for American Vogue, with lots of juicy anecdotes about designers, photographers, celebrities and models.She compares the fashion world then and now and offers clues into her relationship with Wintour. She's also open about her private life, including details about failed marriages, the tragic death of her sister Rosemary and her 30 year romance with French hairstylist Didier Malige. She tells colorful stories behind many of the fashion shoots she has styled, but I do wish she had offered more insight into her role in the creative process.Coddington begins by painting a picture of her upbringing as romantic as any photo shoot. For her first 18 years, her home was the Trearddur Bay Hotel on the island of Anglesey off the coast of North Wales. "Although it was bleak, I saw beauty in the bleakness." When she wasn't outdoors, she amused herself by looking at picture books, reading fairy tales and, yes, studying the pages of Vogue magazine. As a teen, she went to a convent school and has vivid memories of the nuns roller skating on the rooftop, "flapping about surreally in their robes like crows on wheels."At 18, she moved to London to attend a modeling course advertised in Vogue. The fashion world was much different in 1959. Coddington had to learn how to apply her own makeup and style her own hair, because makeup artists and hairdressers specializing in photo shoots were nonexistent. A meeting with photographer Norman Parkinson led to her first modeling job running naked through the woods for an arty fashion catalog.Coddington became an overnight success. "I was a character, rather than a pretty model, and I suppose that's exactly what I look for in the girls I now select to put in American Vogue the ones who are quirky looking."She earned the nickname "The Cod" (to Jean Shrimpton's "The Shrimp"), danced the twist on Mary Quant's catwalk and became a muse to Vidal Sassoon, who created his famous five point cut on Coddington. Her modeling career was derailed for two years by a car accident, which scarred her left eyelid. But eventually things picked up again, and she settled into life in 1960s swinging London and Paris, hanging out with a fast crowd that included Michael Caine, Jane Birkin, the Beatles and the Rolling Stones.Her fashion editing career coincided with the beginning of her relationship with Michael Chow and the opening of his glamorous restaurant Mr. Chow, which attracted a starry crowd. "Naturally, we were forever being photographed at home, draped among our symbols of 'with it ness' as one of London's most happening couples; him, the cool young restaurateur, nonchalantly swinging in a hammock hung from the minstrel's gallery and me, the sophisticated style maker, perkily sitting cross legged atop a giant pop art version of a Campbell's soup can."At the height of the bohemian 1970s, she dyed her hair with henna and permed it (it would stay the same for much of the next 40 years), dressed almost exclusively in Yves Saint Laurent, had a fling with a Vietnamese photographer and spent her evenings at Club Sept in Paris. Coddington worked with the who's who of fashion. She shot Anjelica Huston with photographer David Bailey and Pat Cleveland with Helmut Newton.When Bea Miller, who had edited British Vogue for 22 years, retired, Coddington interviewed for the job but says she knew deep down she wasn't suited for it and thought that Wintour, then the creative director of American Vogue, should get it.Wintour did get it. Two days into her editorship, she invited Coddington to a screening of the racy film "Betty Blue." The two sat in dead silence through the opening sequence, a vivid five minute sex scene."Anna was rigid and unmoving. No sign of any emotion at all," Coddington writes. "I then realized how much significance Anna places on willpower trumping feelings."In 1988, when Wintour was appointed editor in chief at American Vogue, Coddington asked to join her. Coddington's narrative style fashion features and travelogues, a sampling of which appear in the book, became the heart and soul of the magazine, even as its pages became increasingly taken over by celebrities. Through her visual canvases, she interpreted the New Romantic period, grunge and the South Beach blinged out 1990s, and persuaded superstar designers Tom Ford, Marc Jacobs and others to play roles in a shoot based on "Alice in Wonderland."She sums up her creative process this way: "For me, one of the most important aspects of my work is to give people something to dream about, just as I used to dream all those years ago as a child looking at beautiful photographs."The book ends with a chapter on then and now. "Fashion has changed so much in my lifetime," Coddington writes. "Today, I find myself at the collections, asking, 'Who are all these people?' Sometimes I think I'm the last remaining person who comes to the shows for the pleasure of seeing the clothes."At 71, she seldom wears makeup and doesn't socialize much. But her attempt in the last 100 pages to distance herself from the term "fashionista" is a bit of a stretch. Clearly, Coddington has led a most charmed life. Otherwise, we wouldn't be reading about it.We provide this community forum for readers to exchange ideas and opinions on the news of the day. Passionate views, pointed criticism and critical thinking are welcome. Comments can only be submitted by registered users. By posting comments on our site, you are agreeing to the following terms:

投稿者 by: 49ers Eric Reid Navy Blue White Jersey at 2014年1月12日 17:29

a memoir of fashion dreamer's life in vogue

投稿者 by: authentic Vonta Leach Jersey at 2014年1月12日 17:30

Lady Griz hand Selvig 800th career win with 68 61 victory over PortlandGriz up to fifth in TSN poll, highest ranking of seasonBig Sky honors Sac State QB SafronNorth Dakota football coach firedSince 1897, the Cat Griz rivalry has captivated the stateFamily health: Prepare yourself and your vehicle for winter drivingFitness calendarBirths for Tuesday, November 19Angler with 4th place total takes Fall Mack Days fishing tournament titleWestern Montana hunters get help from fresh snow, rutIf the name Grace Coddington is familiar, you've probably seen the 2009 documentary film "The September Issue" about Vogue magazine's Editor in Chief Anna Wintour, the most feared and revered woman in fashion. Now Coddington, the longtime creative director of Vogue, has her own star vehicle, an engaging memoir titled "Grace," co written with Michael Roberts. For anyone with a passing interest in the fashion industry, it's worth a read for the name dropping alone.As became clear in the film, which chronicled the magazine's staff as they put together the 4 pound September 2007 issue, Coddington is not the Anna Wintour or Diana Vreeland type. You won't hear her barking orders at assistants or making dramatic pronouncements about pink.But she is equally passionate, a wild haired dreamer who thinks that fashion should be transporting, provocative and even intellectual, who bemoans the dominance of celebrities and digital hocus pocus in fashion photography and who isn't afraid to take on Wintour.The book is a window into how fashion has changed from a small, niche business into a global pop culture medium. It chronicles Coddington's 50 years in the industry, first as a model, then as a fashion editor for British Vogue and finally as creative director for American Vogue, with lots of juicy anecdotes about designers, photographers, celebrities and models.She compares the fashion world then and now and offers clues into her relationship with Wintour. She's also open about her private life, including details about failed marriages, the tragic death of her sister Rosemary and her 30 year romance with French hairstylist Didier Malige. She tells colorful stories behind many of the fashion shoots she has styled, but I do wish she had offered more insight into her role in the creative process.Coddington begins by painting a picture of her upbringing as romantic as any photo shoot. For her first 18 years, her home was the Trearddur Bay Hotel on the island of Anglesey off the coast of North Wales. "Although it was bleak, I saw beauty in the bleakness." When she wasn't outdoors, she amused herself by looking at picture books, reading fairy tales and, yes, studying the pages of Vogue magazine. As a teen, she went to a convent school and has vivid memories of the nuns roller skating on the rooftop, "flapping about surreally in their robes like crows on wheels."At 18, she moved to London to attend a modeling course advertised in Vogue. The fashion world was much different in 1959. Coddington had to learn how to apply her own makeup and style her own hair, because makeup artists and hairdressers specializing in photo shoots were nonexistent. A meeting with photographer Norman Parkinson led to her first modeling job running naked through the woods for an arty fashion catalog.Coddington became an overnight success. "I was a character, rather than a pretty model, and I suppose that's exactly what I look for in the girls I now select to put in American Vogue the ones who are quirky looking."She earned the nickname "The Cod" (to Jean Shrimpton's "The Shrimp"), danced the twist on Mary Quant's catwalk and became a muse to Vidal Sassoon, who created his famous five point cut on Coddington. Her modeling career was derailed for two years by a car accident, which scarred her left eyelid. But eventually things picked up again, and she settled into life in 1960s swinging London and Paris, hanging out with a fast crowd that included Michael Caine, Jane Birkin, the Beatles and the Rolling Stones.Her fashion editing career coincided with the beginning of her relationship with Michael Chow and the opening of his glamorous restaurant Mr. Chow, which attracted a starry crowd. "Naturally, we were forever being photographed at home, draped among our symbols of 'with it ness' as one of London's most happening couples; him, the cool young restaurateur, nonchalantly swinging in a hammock hung from the minstrel's gallery and me, the sophisticated style maker, perkily sitting cross legged atop a giant pop art version of a Campbell's soup can."At the height of the bohemian 1970s, she dyed her hair with henna and permed it (it would stay the same for much of the next 40 years), dressed almost exclusively in Yves Saint Laurent, had a fling with a Vietnamese photographer and spent her evenings at Club Sept in Paris. Coddington worked with the who's who of fashion. She shot Anjelica Huston with photographer David Bailey and Pat Cleveland with Helmut Newton.When Bea Miller, who had edited British Vogue for 22 years, retired, Coddington interviewed for the job but says she knew deep down she wasn't suited for it and thought that Wintour, then the creative director of American Vogue, should get it.Wintour did get it. Two days into her editorship, she invited Coddington to a screening of the racy film "Betty Blue." The two sat in dead silence through the opening sequence, a vivid five minute sex scene."Anna was rigid and unmoving. No sign of any emotion at all," Coddington writes. "I then realized how much significance Anna places on willpower trumping feelings."In 1988, when Wintour was appointed editor in chief at American Vogue, Coddington asked to join her. Coddington's narrative style fashion features and travelogues, a sampling of which appear in the book, became the heart and soul of the magazine, even as its pages became increasingly taken over by celebrities. Through her visual canvases, she interpreted the New Romantic period, grunge and the South Beach blinged out 1990s, and persuaded superstar designers Tom Ford, Marc Jacobs and others to play roles in a shoot based on "Alice in Wonderland."She sums up her creative process this way: "For me, one of the most important aspects of my work is to give people something to dream about, just as I used to dream all those years ago as a child looking at beautiful photographs."The book ends with a chapter on then and now. "Fashion has changed so much in my lifetime," Coddington writes. "Today, I find myself at the collections, asking, 'Who are all these people?' Sometimes I think I'm the last remaining person who comes to the shows for the pleasure of seeing the clothes."At 71, she seldom wears makeup and doesn't socialize much. But her attempt in the last 100 pages to distance herself from the term "fashionista" is a bit of a stretch. Clearly, Coddington has led a most charmed life. Otherwise, we wouldn't be reading about it.We provide this community forum for readers to exchange ideas and opinions on the news of the day. Passionate views, pointed criticism and critical thinking are welcome. Comments can only be submitted by registered users. By posting comments on our site, you are agreeing to the following terms:

投稿者 by: Lions Blue White Black authentic elite limited game Jersey at 2014年1月12日 17:30

Lady Griz hand Selvig 800th career win with 68 61 victory over PortlandGriz up to fifth in TSN poll, highest ranking of seasonBig Sky honors Sac State QB SafronNorth Dakota football coach firedSince 1897, the Cat Griz rivalry has captivated the stateFamily health: Prepare yourself and your vehicle for winter drivingFitness calendarBirths for Tuesday, November 19Angler with 4th place total takes Fall Mack Days fishing tournament titleWestern Montana hunters get help from fresh snow, rutIf the name Grace Coddington is familiar, you've probably seen the 2009 documentary film "The September Issue" about Vogue magazine's Editor in Chief Anna Wintour, the most feared and revered woman in fashion. Now Coddington, the longtime creative director of Vogue, has her own star vehicle, an engaging memoir titled "Grace," co written with Michael Roberts. For anyone with a passing interest in the fashion industry, it's worth a read for the name dropping alone.As became clear in the film, which chronicled the magazine's staff as they put together the 4 pound September 2007 issue, Coddington is not the Anna Wintour or Diana Vreeland type. You won't hear her barking orders at assistants or making dramatic pronouncements about pink.But she is equally passionate, a wild haired dreamer who thinks that fashion should be transporting, provocative and even intellectual, who bemoans the dominance of celebrities and digital hocus pocus in fashion photography and who isn't afraid to take on Wintour.The book is a window into how fashion has changed from a small, niche business into a global pop culture medium. It chronicles Coddington's 50 years in the industry, first as a model, then as a fashion editor for British Vogue and finally as creative director for American Vogue, with lots of juicy anecdotes about designers, photographers, celebrities and models.She compares the fashion world then and now and offers clues into her relationship with Wintour. She's also open about her private life, including details about failed marriages, the tragic death of her sister Rosemary and her 30 year romance with French hairstylist Didier Malige. She tells colorful stories behind many of the fashion shoots she has styled, but I do wish she had offered more insight into her role in the creative process.Coddington begins by painting a picture of her upbringing as romantic as any photo shoot. For her first 18 years, her home was the Trearddur Bay Hotel on the island of Anglesey off the coast of North Wales. "Although it was bleak, I saw beauty in the bleakness." When she wasn't outdoors, she amused herself by looking at picture books, reading fairy tales and, yes, studying the pages of Vogue magazine. As a teen, she went to a convent school and has vivid memories of the nuns roller skating on the rooftop, "flapping about surreally in their robes like crows on wheels."At 18, she moved to London to attend a modeling course advertised in Vogue. The fashion world was much different in 1959. Coddington had to learn how to apply her own makeup and style her own hair, because makeup artists and hairdressers specializing in photo shoots were nonexistent. A meeting with photographer Norman Parkinson led to her first modeling job running naked through the woods for an arty fashion catalog.Coddington became an overnight success. "I was a character, rather than a pretty model, and I suppose that's exactly what I look for in the girls I now select to put in American Vogue the ones who are quirky looking."She earned the nickname "The Cod" (to Jean Shrimpton's "The Shrimp"), danced the twist on Mary Quant's catwalk and became a muse to Vidal Sassoon, who created his famous five point cut on Coddington. Her modeling career was derailed for two years by a car accident, which scarred her left eyelid. But eventually things picked up again, and she settled into life in 1960s swinging London and Paris, hanging out with a fast crowd that included Michael Caine, Jane Birkin, the Beatles and the Rolling Stones.Her fashion editing career coincided with the beginning of her relationship with Michael Chow and the opening of his glamorous restaurant Mr. Chow, which attracted a starry crowd. "Naturally, we were forever being photographed at home, draped among our symbols of 'with it ness' as one of London's most happening couples; him, the cool young restaurateur, nonchalantly swinging in a hammock hung from the minstrel's gallery and me, the sophisticated style maker, perkily sitting cross legged atop a giant pop art version of a Campbell's soup can."At the height of the bohemian 1970s, she dyed her hair with henna and permed it (it would stay the same for much of the next 40 years), dressed almost exclusively in Yves Saint Laurent, had a fling with a Vietnamese photographer and spent her evenings at Club Sept in Paris. Coddington worked with the who's who of fashion. She shot Anjelica Huston with photographer David Bailey and Pat Cleveland with Helmut Newton.When Bea Miller, who had edited British Vogue for 22 years, retired, Coddington interviewed for the job but says she knew deep down she wasn't suited for it and thought that Wintour, then the creative director of American Vogue, should get it.Wintour did get it. Two days into her editorship, she invited Coddington to a screening of the racy film "Betty Blue." The two sat in dead silence through the opening sequence, a vivid five minute sex scene."Anna was rigid and unmoving. No sign of any emotion at all," Coddington writes. "I then realized how much significance Anna places on willpower trumping feelings."In 1988, when Wintour was appointed editor in chief at American Vogue, Coddington asked to join her. Coddington's narrative style fashion features and travelogues, a sampling of which appear in the book, became the heart and soul of the magazine, even as its pages became increasingly taken over by celebrities. Through her visual canvases, she interpreted the New Romantic period, grunge and the South Beach blinged out 1990s, and persuaded superstar designers Tom Ford, Marc Jacobs and others to play roles in a shoot based on "Alice in Wonderland."She sums up her creative process this way: "For me, one of the most important aspects of my work is to give people something to dream about, just as I used to dream all those years ago as a child looking at beautiful photographs."The book ends with a chapter on then and now. "Fashion has changed so much in my lifetime," Coddington writes. "Today, I find myself at the collections, asking, 'Who are all these people?' Sometimes I think I'm the last remaining person who comes to the shows for the pleasure of seeing the clothes."At 71, she seldom wears makeup and doesn't socialize much. But her attempt in the last 100 pages to distance herself from the term "fashionista" is a bit of a stretch. Clearly, Coddington has led a most charmed life. Otherwise, we wouldn't be reading about it.We provide this community forum for readers to exchange ideas and opinions on the news of the day. Passionate views, pointed criticism and critical thinking are welcome. Comments can only be submitted by registered users. By posting comments on our site, you are agreeing to the following terms:

投稿者 by: Gavin Escobar Navy White Silver Jersey at 2014年1月12日 17:32

Lady Griz hand Selvig 800th career win with 68 61 victory over PortlandGriz up to fifth in TSN poll, highest ranking of seasonBig Sky honors Sac State QB SafronNorth Dakota football coach firedSince 1897, the Cat Griz rivalry has captivated the stateFamily health: Prepare yourself and your vehicle for winter drivingFitness calendarBirths for Tuesday, November 19Angler with 4th place total takes Fall Mack Days fishing tournament titleWestern Montana hunters get help from fresh snow, rutIf the name Grace Coddington is familiar, you've probably seen the 2009 documentary film "The September Issue" about Vogue magazine's Editor in Chief Anna Wintour, the most feared and revered woman in fashion. Now Coddington, the longtime creative director of Vogue, has her own star vehicle, an engaging memoir titled "Grace," co written with Michael Roberts. For anyone with a passing interest in the fashion industry, it's worth a read for the name dropping alone.As became clear in the film, which chronicled the magazine's staff as they put together the 4 pound September 2007 issue, Coddington is not the Anna Wintour or Diana Vreeland type. You won't hear her barking orders at assistants or making dramatic pronouncements about pink.But she is equally passionate, a wild haired dreamer who thinks that fashion should be transporting, provocative and even intellectual, who bemoans the dominance of celebrities and digital hocus pocus in fashion photography and who isn't afraid to take on Wintour.The book is a window into how fashion has changed from a small, niche business into a global pop culture medium. It chronicles Coddington's 50 years in the industry, first as a model, then as a fashion editor for British Vogue and finally as creative director for American Vogue, with lots of juicy anecdotes about designers, photographers, celebrities and models.She compares the fashion world then and now and offers clues into her relationship with Wintour. She's also open about her private life, including details about failed marriages, the tragic death of her sister Rosemary and her 30 year romance with French hairstylist Didier Malige. She tells colorful stories behind many of the fashion shoots she has styled, but I do wish she had offered more insight into her role in the creative process.Coddington begins by painting a picture of her upbringing as romantic as any photo shoot. For her first 18 years, her home was the Trearddur Bay Hotel on the island of Anglesey off the coast of North Wales. "Although it was bleak, I saw beauty in the bleakness." When she wasn't outdoors, she amused herself by looking at picture books, reading fairy tales and, yes, studying the pages of Vogue magazine. As a teen, she went to a convent school and has vivid memories of the nuns roller skating on the rooftop, "flapping about surreally in their robes like crows on wheels."At 18, she moved to London to attend a modeling course advertised in Vogue. The fashion world was much different in 1959. Coddington had to learn how to apply her own makeup and style her own hair, because makeup artists and hairdressers specializing in photo shoots were nonexistent. A meeting with photographer Norman Parkinson led to her first modeling job running naked through the woods for an arty fashion catalog.Coddington became an overnight success. "I was a character, rather than a pretty model, and I suppose that's exactly what I look for in the girls I now select to put in American Vogue the ones who are quirky looking."She earned the nickname "The Cod" (to Jean Shrimpton's "The Shrimp"), danced the twist on Mary Quant's catwalk and became a muse to Vidal Sassoon, who created his famous five point cut on Coddington. Her modeling career was derailed for two years by a car accident, which scarred her left eyelid. But eventually things picked up again, and she settled into life in 1960s swinging London and Paris, hanging out with a fast crowd that included Michael Caine, Jane Birkin, the Beatles and the Rolling Stones.Her fashion editing career coincided with the beginning of her relationship with Michael Chow and the opening of his glamorous restaurant Mr. Chow, which attracted a starry crowd. "Naturally, we were forever being photographed at home, draped among our symbols of 'with it ness' as one of London's most happening couples; him, the cool young restaurateur, nonchalantly swinging in a hammock hung from the minstrel's gallery and me, the sophisticated style maker, perkily sitting cross legged atop a giant pop art version of a Campbell's soup can."At the height of the bohemian 1970s, she dyed her hair with henna and permed it (it would stay the same for much of the next 40 years), dressed almost exclusively in Yves Saint Laurent, had a fling with a Vietnamese photographer and spent her evenings at Club Sept in Paris. Coddington worked with the who's who of fashion. She shot Anjelica Huston with photographer David Bailey and Pat Cleveland with Helmut Newton.When Bea Miller, who had edited British Vogue for 22 years, retired, Coddington interviewed for the job but says she knew deep down she wasn't suited for it and thought that Wintour, then the creative director of American Vogue, should get it.Wintour did get it. Two days into her editorship, she invited Coddington to a screening of the racy film "Betty Blue." The two sat in dead silence through the opening sequence, a vivid five minute sex scene."Anna was rigid and unmoving. No sign of any emotion at all," Coddington writes. "I then realized how much significance Anna places on willpower trumping feelings."In 1988, when Wintour was appointed editor in chief at American Vogue, Coddington asked to join her. Coddington's narrative style fashion features and travelogues, a sampling of which appear in the book, became the heart and soul of the magazine, even as its pages became increasingly taken over by celebrities. Through her visual canvases, she interpreted the New Romantic period, grunge and the South Beach blinged out 1990s, and persuaded superstar designers Tom Ford, Marc Jacobs and others to play roles in a shoot based on "Alice in Wonderland."She sums up her creative process this way: "For me, one of the most important aspects of my work is to give people something to dream about, just as I used to dream all those years ago as a child looking at beautiful photographs."The book ends with a chapter on then and now. "Fashion has changed so much in my lifetime," Coddington writes. "Today, I find myself at the collections, asking, 'Who are all these people?' Sometimes I think I'm the last remaining person who comes to the shows for the pleasure of seeing the clothes."At 71, she seldom wears makeup and doesn't socialize much. But her attempt in the last 100 pages to distance herself from the term "fashionista" is a bit of a stretch. Clearly, Coddington has led a most charmed life. Otherwise, we wouldn't be reading about it.We provide this community forum for readers to exchange ideas and opinions on the news of the day. Passionate views, pointed criticism and critical thinking are welcome. Comments can only be submitted by registered users. By posting comments on our site, you are agreeing to the following terms:

投稿者 by: cheap Mychal Kendricks Womens Eagles jersey at 2014年1月12日 17:57

Lady Griz hand Selvig 800th career win with 68 61 victory over PortlandGriz up to fifth in TSN poll, highest ranking of seasonBig Sky honors Sac State QB SafronNorth Dakota football coach firedSince 1897, the Cat Griz rivalry has captivated the stateFamily health: Prepare yourself and your vehicle for winter drivingFitness calendarBirths for Tuesday, November 19Angler with 4th place total takes Fall Mack Days fishing tournament titleWestern Montana hunters get help from fresh snow, rutIf the name Grace Coddington is familiar, you've probably seen the 2009 documentary film "The September Issue" about Vogue magazine's Editor in Chief Anna Wintour, the most feared and revered woman in fashion. Now Coddington, the longtime creative director of Vogue, has her own star vehicle, an engaging memoir titled "Grace," co written with Michael Roberts. For anyone with a passing interest in the fashion industry, it's worth a read for the name dropping alone.As became clear in the film, which chronicled the magazine's staff as they put together the 4 pound September 2007 issue, Coddington is not the Anna Wintour or Diana Vreeland type. You won't hear her barking orders at assistants or making dramatic pronouncements about pink.But she is equally passionate, a wild haired dreamer who thinks that fashion should be transporting, provocative and even intellectual, who bemoans the dominance of celebrities and digital hocus pocus in fashion photography and who isn't afraid to take on Wintour.The book is a window into how fashion has changed from a small, niche business into a global pop culture medium. It chronicles Coddington's 50 years in the industry, first as a model, then as a fashion editor for British Vogue and finally as creative director for American Vogue, with lots of juicy anecdotes about designers, photographers, celebrities and models.She compares the fashion world then and now and offers clues into her relationship with Wintour. She's also open about her private life, including details about failed marriages, the tragic death of her sister Rosemary and her 30 year romance with French hairstylist Didier Malige. She tells colorful stories behind many of the fashion shoots she has styled, but I do wish she had offered more insight into her role in the creative process.Coddington begins by painting a picture of her upbringing as romantic as any photo shoot. For her first 18 years, her home was the Trearddur Bay Hotel on the island of Anglesey off the coast of North Wales. "Although it was bleak, I saw beauty in the bleakness." When she wasn't outdoors, she amused herself by looking at picture books, reading fairy tales and, yes, studying the pages of Vogue magazine. As a teen, she went to a convent school and has vivid memories of the nuns roller skating on the rooftop, "flapping about surreally in their robes like crows on wheels."At 18, she moved to London to attend a modeling course advertised in Vogue. The fashion world was much different in 1959. Coddington had to learn how to apply her own makeup and style her own hair, because makeup artists and hairdressers specializing in photo shoots were nonexistent. A meeting with photographer Norman Parkinson led to her first modeling job running naked through the woods for an arty fashion catalog.Coddington became an overnight success. "I was a character, rather than a pretty model, and I suppose that's exactly what I look for in the girls I now select to put in American Vogue the ones who are quirky looking."She earned the nickname "The Cod" (to Jean Shrimpton's "The Shrimp"), danced the twist on Mary Quant's catwalk and became a muse to Vidal Sassoon, who created his famous five point cut on Coddington. Her modeling career was derailed for two years by a car accident, which scarred her left eyelid. But eventually things picked up again, and she settled into life in 1960s swinging London and Paris, hanging out with a fast crowd that included Michael Caine, Jane Birkin, the Beatles and the Rolling Stones.Her fashion editing career coincided with the beginning of her relationship with Michael Chow and the opening of his glamorous restaurant Mr. Chow, which attracted a starry crowd. "Naturally, we were forever being photographed at home, draped among our symbols of 'with it ness' as one of London's most happening couples; him, the cool young restaurateur, nonchalantly swinging in a hammock hung from the minstrel's gallery and me, the sophisticated style maker, perkily sitting cross legged atop a giant pop art version of a Campbell's soup can."At the height of the bohemian 1970s, she dyed her hair with henna and permed it (it would stay the same for much of the next 40 years), dressed almost exclusively in Yves Saint Laurent, had a fling with a Vietnamese photographer and spent her evenings at Club Sept in Paris. Coddington worked with the who's who of fashion. She shot Anjelica Huston with photographer David Bailey and Pat Cleveland with Helmut Newton.When Bea Miller, who had edited British Vogue for 22 years, retired, Coddington interviewed for the job but says she knew deep down she wasn't suited for it and thought that Wintour, then the creative director of American Vogue, should get it.Wintour did get it. Two days into her editorship, she invited Coddington to a screening of the racy film "Betty Blue." The two sat in dead silence through the opening sequence, a vivid five minute sex scene."Anna was rigid and unmoving. No sign of any emotion at all," Coddington writes. "I then realized how much significance Anna places on willpower trumping feelings."In 1988, when Wintour was appointed editor in chief at American Vogue, Coddington asked to join her. Coddington's narrative style fashion features and travelogues, a sampling of which appear in the book, became the heart and soul of the magazine, even as its pages became increasingly taken over by celebrities. Through her visual canvases, she interpreted the New Romantic period, grunge and the South Beach blinged out 1990s, and persuaded superstar designers Tom Ford, Marc Jacobs and others to play roles in a shoot based on "Alice in Wonderland."She sums up her creative process this way: "For me, one of the most important aspects of my work is to give people something to dream about, just as I used to dream all those years ago as a child looking at beautiful photographs."The book ends with a chapter on then and now. "Fashion has changed so much in my lifetime," Coddington writes. "Today, I find myself at the collections, asking, 'Who are all these people?' Sometimes I think I'm the last remaining person who comes to the shows for the pleasure of seeing the clothes."At 71, she seldom wears makeup and doesn't socialize much. But her attempt in the last 100 pages to distance herself from the term "fashionista" is a bit of a stretch. Clearly, Coddington has led a most charmed life. Otherwise, we wouldn't be reading about it.We provide this community forum for readers to exchange ideas and opinions on the news of the day. Passionate views, pointed criticism and critical thinking are welcome. Comments can only be submitted by registered users. By posting comments on our site, you are agreeing to the following terms:

投稿者 by: cheap Youth Peter Konz jersey at 2014年1月12日 17:57

Lady Griz hand Selvig 800th career win with 68 61 victory over PortlandGriz up to fifth in TSN poll, highest ranking of seasonBig Sky honors Sac State QB SafronNorth Dakota football coach firedSince 1897, the Cat Griz rivalry has captivated the stateFamily health: Prepare yourself and your vehicle for winter drivingFitness calendarBirths for Tuesday, November 19Angler with 4th place total takes Fall Mack Days fishing tournament titleWestern Montana hunters get help from fresh snow, rutIf the name Grace Coddington is familiar, you've probably seen the 2009 documentary film "The September Issue" about Vogue magazine's Editor in Chief Anna Wintour, the most feared and revered woman in fashion. Now Coddington, the longtime creative director of Vogue, has her own star vehicle, an engaging memoir titled "Grace," co written with Michael Roberts. For anyone with a passing interest in the fashion industry, it's worth a read for the name dropping alone.As became clear in the film, which chronicled the magazine's staff as they put together the 4 pound September 2007 issue, Coddington is not the Anna Wintour or Diana Vreeland type. You won't hear her barking orders at assistants or making dramatic pronouncements about pink.But she is equally passionate, a wild haired dreamer who thinks that fashion should be transporting, provocative and even intellectual, who bemoans the dominance of celebrities and digital hocus pocus in fashion photography and who isn't afraid to take on Wintour.The book is a window into how fashion has changed from a small, niche business into a global pop culture medium. It chronicles Coddington's 50 years in the industry, first as a model, then as a fashion editor for British Vogue and finally as creative director for American Vogue, with lots of juicy anecdotes about designers, photographers, celebrities and models.She compares the fashion world then and now and offers clues into her relationship with Wintour. She's also open about her private life, including details about failed marriages, the tragic death of her sister Rosemary and her 30 year romance with French hairstylist Didier Malige. She tells colorful stories behind many of the fashion shoots she has styled, but I do wish she had offered more insight into her role in the creative process.Coddington begins by painting a picture of her upbringing as romantic as any photo shoot. For her first 18 years, her home was the Trearddur Bay Hotel on the island of Anglesey off the coast of North Wales. "Although it was bleak, I saw beauty in the bleakness." When she wasn't outdoors, she amused herself by looking at picture books, reading fairy tales and, yes, studying the pages of Vogue magazine. As a teen, she went to a convent school and has vivid memories of the nuns roller skating on the rooftop, "flapping about surreally in their robes like crows on wheels."At 18, she moved to London to attend a modeling course advertised in Vogue. The fashion world was much different in 1959. Coddington had to learn how to apply her own makeup and style her own hair, because makeup artists and hairdressers specializing in photo shoots were nonexistent. A meeting with photographer Norman Parkinson led to her first modeling job running naked through the woods for an arty fashion catalog.Coddington became an overnight success. "I was a character, rather than a pretty model, and I suppose that's exactly what I look for in the girls I now select to put in American Vogue the ones who are quirky looking."She earned the nickname "The Cod" (to Jean Shrimpton's "The Shrimp"), danced the twist on Mary Quant's catwalk and became a muse to Vidal Sassoon, who created his famous five point cut on Coddington. Her modeling career was derailed for two years by a car accident, which scarred her left eyelid. But eventually things picked up again, and she settled into life in 1960s swinging London and Paris, hanging out with a fast crowd that included Michael Caine, Jane Birkin, the Beatles and the Rolling Stones.Her fashion editing career coincided with the beginning of her relationship with Michael Chow and the opening of his glamorous restaurant Mr. Chow, which attracted a starry crowd. "Naturally, we were forever being photographed at home, draped among our symbols of 'with it ness' as one of London's most happening couples; him, the cool young restaurateur, nonchalantly swinging in a hammock hung from the minstrel's gallery and me, the sophisticated style maker, perkily sitting cross legged atop a giant pop art version of a Campbell's soup can."At the height of the bohemian 1970s, she dyed her hair with henna and permed it (it would stay the same for much of the next 40 years), dressed almost exclusively in Yves Saint Laurent, had a fling with a Vietnamese photographer and spent her evenings at Club Sept in Paris. Coddington worked with the who's who of fashion. She shot Anjelica Huston with photographer David Bailey and Pat Cleveland with Helmut Newton.When Bea Miller, who had edited British Vogue for 22 years, retired, Coddington interviewed for the job but says she knew deep down she wasn't suited for it and thought that Wintour, then the creative director of American Vogue, should get it.Wintour did get it. Two days into her editorship, she invited Coddington to a screening of the racy film "Betty Blue." The two sat in dead silence through the opening sequence, a vivid five minute sex scene."Anna was rigid and unmoving. No sign of any emotion at all," Coddington writes. "I then realized how much significance Anna places on willpower trumping feelings."In 1988, when Wintour was appointed editor in chief at American Vogue, Coddington asked to join her. Coddington's narrative style fashion features and travelogues, a sampling of which appear in the book, became the heart and soul of the magazine, even as its pages became increasingly taken over by celebrities. Through her visual canvases, she interpreted the New Romantic period, grunge and the South Beach blinged out 1990s, and persuaded superstar designers Tom Ford, Marc Jacobs and others to play roles in a shoot based on "Alice in Wonderland."She sums up her creative process this way: "For me, one of the most important aspects of my work is to give people something to dream about, just as I used to dream all those years ago as a child looking at beautiful photographs."The book ends with a chapter on then and now. "Fashion has changed so much in my lifetime," Coddington writes. "Today, I find myself at the collections, asking, 'Who are all these people?' Sometimes I think I'm the last remaining person who comes to the shows for the pleasure of seeing the clothes."At 71, she seldom wears makeup and doesn't socialize much. But her attempt in the last 100 pages to distance herself from the term "fashionista" is a bit of a stretch. Clearly, Coddington has led a most charmed life. Otherwise, we wouldn't be reading about it.We provide this community forum for readers to exchange ideas and opinions on the news of the day. Passionate views, pointed criticism and critical thinking are welcome. Comments can only be submitted by registered users. By posting comments on our site, you are agreeing to the following terms:

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Lady Griz hand Selvig 800th career win with 68 61 victory over PortlandGriz up to fifth in TSN poll, highest ranking of seasonBig Sky honors Sac State QB SafronNorth Dakota football coach firedSince 1897, the Cat Griz rivalry has captivated the stateFamily health: Prepare yourself and your vehicle for winter drivingFitness calendarBirths for Tuesday, November 19Angler with 4th place total takes Fall Mack Days fishing tournament titleWestern Montana hunters get help from fresh snow, rutIf the name Grace Coddington is familiar, you've probably seen the 2009 documentary film "The September Issue" about Vogue magazine's Editor in Chief Anna Wintour, the most feared and revered woman in fashion. Now Coddington, the longtime creative director of Vogue, has her own star vehicle, an engaging memoir titled "Grace," co written with Michael Roberts. For anyone with a passing interest in the fashion industry, it's worth a read for the name dropping alone.As became clear in the film, which chronicled the magazine's staff as they put together the 4 pound September 2007 issue, Coddington is not the Anna Wintour or Diana Vreeland type. You won't hear her barking orders at assistants or making dramatic pronouncements about pink.But she is equally passionate, a wild haired dreamer who thinks that fashion should be transporting, provocative and even intellectual, who bemoans the dominance of celebrities and digital hocus pocus in fashion photography and who isn't afraid to take on Wintour.The book is a window into how fashion has changed from a small, niche business into a global pop culture medium. It chronicles Coddington's 50 years in the industry, first as a model, then as a fashion editor for British Vogue and finally as creative director for American Vogue, with lots of juicy anecdotes about designers, photographers, celebrities and models.She compares the fashion world then and now and offers clues into her relationship with Wintour. She's also open about her private life, including details about failed marriages, the tragic death of her sister Rosemary and her 30 year romance with French hairstylist Didier Malige. She tells colorful stories behind many of the fashion shoots she has styled, but I do wish she had offered more insight into her role in the creative process.Coddington begins by painting a picture of her upbringing as romantic as any photo shoot. For her first 18 years, her home was the Trearddur Bay Hotel on the island of Anglesey off the coast of North Wales. "Although it was bleak, I saw beauty in the bleakness." When she wasn't outdoors, she amused herself by looking at picture books, reading fairy tales and, yes, studying the pages of Vogue magazine. As a teen, she went to a convent school and has vivid memories of the nuns roller skating on the rooftop, "flapping about surreally in their robes like crows on wheels."At 18, she moved to London to attend a modeling course advertised in Vogue. The fashion world was much different in 1959. Coddington had to learn how to apply her own makeup and style her own hair, because makeup artists and hairdressers specializing in photo shoots were nonexistent. A meeting with photographer Norman Parkinson led to her first modeling job running naked through the woods for an arty fashion catalog.Coddington became an overnight success. "I was a character, rather than a pretty model, and I suppose that's exactly what I look for in the girls I now select to put in American Vogue the ones who are quirky looking."She earned the nickname "The Cod" (to Jean Shrimpton's "The Shrimp"), danced the twist on Mary Quant's catwalk and became a muse to Vidal Sassoon, who created his famous five point cut on Coddington. Her modeling career was derailed for two years by a car accident, which scarred her left eyelid. But eventually things picked up again, and she settled into life in 1960s swinging London and Paris, hanging out with a fast crowd that included Michael Caine, Jane Birkin, the Beatles and the Rolling Stones.Her fashion editing career coincided with the beginning of her relationship with Michael Chow and the opening of his glamorous restaurant Mr. Chow, which attracted a starry crowd. "Naturally, we were forever being photographed at home, draped among our symbols of 'with it ness' as one of London's most happening couples; him, the cool young restaurateur, nonchalantly swinging in a hammock hung from the minstrel's gallery and me, the sophisticated style maker, perkily sitting cross legged atop a giant pop art version of a Campbell's soup can."At the height of the bohemian 1970s, she dyed her hair with henna and permed it (it would stay the same for much of the next 40 years), dressed almost exclusively in Yves Saint Laurent, had a fling with a Vietnamese photographer and spent her evenings at Club Sept in Paris. Coddington worked with the who's who of fashion. She shot Anjelica Huston with photographer David Bailey and Pat Cleveland with Helmut Newton.When Bea Miller, who had edited British Vogue for 22 years, retired, Coddington interviewed for the job but says she knew deep down she wasn't suited for it and thought that Wintour, then the creative director of American Vogue, should get it.Wintour did get it. Two days into her editorship, she invited Coddington to a screening of the racy film "Betty Blue." The two sat in dead silence through the opening sequence, a vivid five minute sex scene."Anna was rigid and unmoving. No sign of any emotion at all," Coddington writes. "I then realized how much significance Anna places on willpower trumping feelings."In 1988, when Wintour was appointed editor in chief at American Vogue, Coddington asked to join her. Coddington's narrative style fashion features and travelogues, a sampling of which appear in the book, became the heart and soul of the magazine, even as its pages became increasingly taken over by celebrities. Through her visual canvases, she interpreted the New Romantic period, grunge and the South Beach blinged out 1990s, and persuaded superstar designers Tom Ford, Marc Jacobs and others to play roles in a shoot based on "Alice in Wonderland."She sums up her creative process this way: "For me, one of the most important aspects of my work is to give people something to dream about, just as I used to dream all those years ago as a child looking at beautiful photographs."The book ends with a chapter on then and now. "Fashion has changed so much in my lifetime," Coddington writes. "Today, I find myself at the collections, asking, 'Who are all these people?' Sometimes I think I'm the last remaining person who comes to the shows for the pleasure of seeing the clothes."At 71, she seldom wears makeup and doesn't socialize much. But her attempt in the last 100 pages to distance herself from the term "fashionista" is a bit of a stretch. Clearly, Coddington has led a most charmed life. Otherwise, we wouldn't be reading about it.We provide this community forum for readers to exchange ideas and opinions on the news of the day. Passionate views, pointed criticism and critical thinking are welcome. Comments can only be submitted by registered users. By posting comments on our site, you are agreeing to the following terms:

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Lady Griz hand Selvig 800th career win with 68 61 victory over PortlandGriz up to fifth in TSN poll, highest ranking of seasonBig Sky honors Sac State QB SafronNorth Dakota football coach firedSince 1897, the Cat Griz rivalry has captivated the stateFamily health: Prepare yourself and your vehicle for winter drivingFitness calendarBirths for Tuesday, November 19Angler with 4th place total takes Fall Mack Days fishing tournament titleWestern Montana hunters get help from fresh snow, rutIf the name Grace Coddington is familiar, you've probably seen the 2009 documentary film "The September Issue" about Vogue magazine's Editor in Chief Anna Wintour, the most feared and revered woman in fashion. Now Coddington, the longtime creative director of Vogue, has her own star vehicle, an engaging memoir titled "Grace," co written with Michael Roberts. For anyone with a passing interest in the fashion industry, it's worth a read for the name dropping alone.As became clear in the film, which chronicled the magazine's staff as they put together the 4 pound September 2007 issue, Coddington is not the Anna Wintour or Diana Vreeland type. You won't hear her barking orders at assistants or making dramatic pronouncements about pink.But she is equally passionate, a wild haired dreamer who thinks that fashion should be transporting, provocative and even intellectual, who bemoans the dominance of celebrities and digital hocus pocus in fashion photography and who isn't afraid to take on Wintour.The book is a window into how fashion has changed from a small, niche business into a global pop culture medium. It chronicles Coddington's 50 years in the industry, first as a model, then as a fashion editor for British Vogue and finally as creative director for American Vogue, with lots of juicy anecdotes about designers, photographers, celebrities and models.She compares the fashion world then and now and offers clues into her relationship with Wintour. She's also open about her private life, including details about failed marriages, the tragic death of her sister Rosemary and her 30 year romance with French hairstylist Didier Malige. She tells colorful stories behind many of the fashion shoots she has styled, but I do wish she had offered more insight into her role in the creative process.Coddington begins by painting a picture of her upbringing as romantic as any photo shoot. For her first 18 years, her home was the Trearddur Bay Hotel on the island of Anglesey off the coast of North Wales. "Although it was bleak, I saw beauty in the bleakness." When she wasn't outdoors, she amused herself by looking at picture books, reading fairy tales and, yes, studying the pages of Vogue magazine. As a teen, she went to a convent school and has vivid memories of the nuns roller skating on the rooftop, "flapping about surreally in their robes like crows on wheels."At 18, she moved to London to attend a modeling course advertised in Vogue. The fashion world was much different in 1959. Coddington had to learn how to apply her own makeup and style her own hair, because makeup artists and hairdressers specializing in photo shoots were nonexistent. A meeting with photographer Norman Parkinson led to her first modeling job running naked through the woods for an arty fashion catalog.Coddington became an overnight success. "I was a character, rather than a pretty model, and I suppose that's exactly what I look for in the girls I now select to put in American Vogue the ones who are quirky looking."She earned the nickname "The Cod" (to Jean Shrimpton's "The Shrimp"), danced the twist on Mary Quant's catwalk and became a muse to Vidal Sassoon, who created his famous five point cut on Coddington. Her modeling career was derailed for two years by a car accident, which scarred her left eyelid. But eventually things picked up again, and she settled into life in 1960s swinging London and Paris, hanging out with a fast crowd that included Michael Caine, Jane Birkin, the Beatles and the Rolling Stones.Her fashion editing career coincided with the beginning of her relationship with Michael Chow and the opening of his glamorous restaurant Mr. Chow, which attracted a starry crowd. "Naturally, we were forever being photographed at home, draped among our symbols of 'with it ness' as one of London's most happening couples; him, the cool young restaurateur, nonchalantly swinging in a hammock hung from the minstrel's gallery and me, the sophisticated style maker, perkily sitting cross legged atop a giant pop art version of a Campbell's soup can."At the height of the bohemian 1970s, she dyed her hair with henna and permed it (it would stay the same for much of the next 40 years), dressed almost exclusively in Yves Saint Laurent, had a fling with a Vietnamese photographer and spent her evenings at Club Sept in Paris. Coddington worked with the who's who of fashion. She shot Anjelica Huston with photographer David Bailey and Pat Cleveland with Helmut Newton.When Bea Miller, who had edited British Vogue for 22 years, retired, Coddington interviewed for the job but says she knew deep down she wasn't suited for it and thought that Wintour, then the creative director of American Vogue, should get it.Wintour did get it. Two days into her editorship, she invited Coddington to a screening of the racy film "Betty Blue." The two sat in dead silence through the opening sequence, a vivid five minute sex scene."Anna was rigid and unmoving. No sign of any emotion at all," Coddington writes. "I then realized how much significance Anna places on willpower trumping feelings."In 1988, when Wintour was appointed editor in chief at American Vogue, Coddington asked to join her. Coddington's narrative style fashion features and travelogues, a sampling of which appear in the book, became the heart and soul of the magazine, even as its pages became increasingly taken over by celebrities. Through her visual canvases, she interpreted the New Romantic period, grunge and the South Beach blinged out 1990s, and persuaded superstar designers Tom Ford, Marc Jacobs and others to play roles in a shoot based on "Alice in Wonderland."She sums up her creative process this way: "For me, one of the most important aspects of my work is to give people something to dream about, just as I used to dream all those years ago as a child looking at beautiful photographs."The book ends with a chapter on then and now. "Fashion has changed so much in my lifetime," Coddington writes. "Today, I find myself at the collections, asking, 'Who are all these people?' Sometimes I think I'm the last remaining person who comes to the shows for the pleasure of seeing the clothes."At 71, she seldom wears makeup and doesn't socialize much. But her attempt in the last 100 pages to distance herself from the term "fashionista" is a bit of a stretch. Clearly, Coddington has led a most charmed life. Otherwise, we wouldn't be reading about it.We provide this community forum for readers to exchange ideas and opinions on the news of the day. Passionate views, pointed criticism and critical thinking are welcome. Comments can only be submitted by registered users. By posting comments on our site, you are agreeing to the following terms:

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みんなはすでに販売用のプラダの靴のペアを取得する今急いでされています。この人気プラダ非常に良い製品は誰もが余裕ができますが、プラダの靴の販売ではなく皆がそれを得ることを許可しています。プラダ常が特定のコレクションこれらの靴は常に需要が高いに付加価値を追加する個人的にこれらプラダの靴のブランドが販売されて生活。現実には、鉛のスニーカー機能は無数の 2 つの黒いコンテナー サッカー ボール シューズです。ランチ シリーズ ソリューションはもちろん corrt 観念デバイスのほとんどすべてに加えてそれを実現するすばらしい方法があります。私は間違いなくはうまく表現できないの十分な量。新生児のレッスンの面では、ボディー スーツが重要です。あなたが本当に興味があるおよび/または男性プラダ靴についてから喜びを得るには、取得することを躊躇、ちょうどあなたの商品を得る、また、美しい下側を使用して横たわっている世界の美しさがあります。有名なブランドに変更されている自動車のユニークな意図と最先端スタイル。
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投稿者 by: グッチ 財布 at 2014年1月15日 15:30

あなたがエマニュエルコースサービスを持っているか、うまくいくと思いますしますか?彼らは真のマイケルコースのゴルフバッグをお買い上げいただき、おそらく持っている巨大なセットバックが一番最初でお金を咳をする必要があるためであるかのように、いくつかの感触。ちょうどハンドバッグについて散財するために周りに座って1600ドル - 誰もが200ドルを持っています。
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投稿者 by: グッチ キーケース at 2014年1月15日 15:31

科学的なテストについて、関連付けられている特別な革新的な素晴らしいものが専門家浄水器会社お得な情報の種類を主張パナソニック会社を持つ製品を提供する行くと。その最も有用な 1 つの簡単のために準備ができて、それは取らないスティーブ ・ ヴィトン男性バッグ洗浄ぼろきれを追加すべて天然牛革を持つハリー ・ ヴィトン モノグラム ・ マルチカラー個人 ves;これはいくつかその他だらしないに耐えることを静かなを作成します。
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投稿者 by: グッチ 財布 レディース at 2014年1月15日 15:31

白チュニックでどちらか一致またはを使用して、カジュアルな見ておそらくすべてこの Capris ありクリーミーな鬼才ホルター ドレスとスタイリッシュです。さらに、この大きな袋のすべての素晴らしいキーパー、あなたのレンズをアップグレードします。アルソー シリーズ時計の伝統的な作品のすべて 1 つのデザイナー 1978 年にアンリ メートルすることができます。インスピレーションを得た彼から馬術離れて投げているエルメスの密接に。偉大な作成自分の腕時計スタイルの組み込みサドル鉄の出力に依存します。6、It の具体的には膨大な数であるとそれの横にあるので逆の重要な情報を表示、やる気にさせる品種。時々 桑の材料の購入の触覚に集中してが表示されます。
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投稿者 by: グッチ 財布 at 2014年1月15日 15:32

まさにこの特定の chronilogical を持つコンテナーのこの種を得るだろうところプラスチック型水企業の時代もミラー、ジューシーなファッション英国を意味は、実際に人のリソースを採用しています。
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投稿者 by: gucci 財布 at 2014年1月15日 15:32

カリフォルニア州サンフランシスコ同様に悪名高いビバリー杭を利用したにもかかわらずの Prada の店を参照してくださいすることができます。カナダ、ノバスコシア州、アジア、サウジアラビア、異なるニュージーランド全国各地の Prada の店を見つけるでしょう。プラダ店を得られることで重要な有名な場所ホノルル、ハワイの人気の目的地では。
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投稿者 by: グッチ アウトレット at 2014年1月15日 15:33

ただし、スタッフは、彼らが感じるものは何でも着ることができないお楽しみください。彼らは旧姓可能性がありますが、同じを維持しなければなりません。製品ラベル: 医療スクラブ制服、健康思いやりのあるアクセサリー、母乳、赤ちゃんスクラブ、heaScrub 制服を取った従来看護制服かもしれないホスト: マリック ジョシュア |2013 年 11 月 4 日 - 急速な 90 年代から右まで時代ディズニース クラブ制服は、多くの国々 では従来の獣医制服を置換して今。赤ちゃんは自分のミルクと一緒に空気を消費することができ、彼らは赤ちゃんのガスを持っている。特定の拡大鏡タイプは、この障害、すなわち人ストレート、companieの側を引き起こすのに影響を受けやすい。いや(手の疲労せずに行うことは、通常はかなり難しい)優れた角度で保持していた場合、空気が国ニップルに収集し、空腹の専門知識は、これを吸う。タグ:現代の日医療スクラブなどによるジョン・マイケルコース、ファッション、バッグ、handbagsGetプリントスクラブシャツ:マリックジョシュア| 11月4日2013 - アイテム貴重であるこのに行くには快適どれが同じように身に着けている素晴らしいこれは、次の点を着用して数年前から良く見えるでしょう。
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投稿者 by: gucci 財布 at 2014年1月15日 15:33

同様にあなたの声の手形のうんざりしているし、何かをそれを減らすためにステップ バイ ステップし、賦課方式の携帯電話契約の直前予約スペシャルを取る場合は最高のブランドです。契約の下では、使用者は、好ましくは、契約内で公開が不可欠に依存し約12から18ヶ月間、月額固定料金を払う必要があります。このように、個々は、このように1回払いでクラス全体有料の責任を軽減すること、支払いに数値を支払うことによって、ハイエンドの高価な携帯電話を取得することができます。
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投稿者 by: グッチ時計 at 2014年1月15日 15:34

人々 は本当に好みの感じは通常ように設計したアクティブ型にのみについて紛失するつもりがないです。その開発脳がよくパニック問題エルメス バッグ チャンス グッチハンドバッグ手頃な価格であります。
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投稿者 by: グッチ 長財布 at 2014年1月15日 15:36

頭の羽のビットを忘れることはありません hatinators と帽子と 1 つの魅惑的なからハイブリッドを検討してください。ナイジェル Rayment、LJ 習慣ヴィヴィアン保安官で構成されるデザイナー (王女ケイトを着て専門家。
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投稿者 by: グッチ時計 at 2014年1月15日 15:37

その後、女性は pooja は整理されるために起こっている実際の場所後半午後の周りにインストールされて共通の組み立てください。Pujarin または多分ちょうど高齢女性主伝説を通して物語を記述する明確な Karwa Chauth、Cal 王 Veeravati、Satyavan の物語、サウィトリはもちろんのこと 『 マハーバーラタ 』 の達人のストーリー。Karwa Chauth Puja 対処には receving Karwa Chauth 回想同化は 2 つの女神を見ているし、特に主ガネーシュ、新鮮な花、花弁、および葉、マーティは、生産のサインです中に土壌からするように、上記の平均ポット アンビカ ガウル マタ女神パールバティを賞賛するのいずれかが含まれていますフルーツ食品穀物だけでなく。個人は彼らの訪問者から karwa chauth 贈り物を送る.最近のトレンド メーリング リストの Karwa Chauth 製品妨げが完了するとオンラインをより便利かもしれません。ウェブ上を命じた Karwa Chauth Puja ターリー入試受信自動的に他の所で座っているあなたのドアで利便性。花屋は私の市場からいくつかの種類の花を提供します。Karwa Chauth 女性早起きしてまだ食品の結婚式それは日の出に使用されます。
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投稿者 by: グッチ 財布 at 2014年1月15日 15:37

あなたはそれを再考、支出品種のお金と一緒にエルメスに向かって歩くことができると思います。新しい「安い」アイテムであなたの最良の選択は、あなたの周りの125ドルの原価計算、エルメスのスカーフTwillyだろう。。スモール コイン トートとその通りを歩いて作っている想像してください。完全に場違いの地元の店の感じにステップ インします。'私の靴はない価格のデザイナー デザイナー タグでのみ、私のシャツはバナナ共和国から離れていない滑走路、私のバッグがエルメスではない' より良い生活を想像するでしょう。単に離れて歩く最適なアクセサリーを発生するガラスの虚栄心のためにピアリング ビーバー小銭入れの使用を行います。
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投稿者 by: グッチ 財布 レディース at 2014年1月15日 15:38

やより正式な意識プログラムを実装する必要があります。ebayで組織を開始する。COMは簡単かつ迅速であるあなたドンは、複雑な投資です誰でもあなたは150以上の何億兆に達している既製の市場についての柔軟な手作業の時間を得るあなたのeBayビジネスeBayで事実上すべてのものを販売することができ、実際のオークション会社、ない独自性のスキル義務を起動することができますが必要です人々だけでなく、カウントだけでなく、1を得る。
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投稿者 by: gucci バック at 2014年1月15日 15:38

これらはガラスの容器に注がれる同様/錫として。ガラスの基本的なファンダメンタルズと多くの錫の食事は複数の用途には、それによってすべての準備の環境に優しいことを重視します。彼らを燃やすまたはそれ以外の場合、上記の 50 % を識別するために 30% パラフィンろうそく。
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投稿者 by: gucci 財布 at 2014年1月15日 15:39

ちょっとこの時計はスチール バンドの大きい数のためのあなたのサイトにこの挑戦的な強烈なシリコーン ショップ バック内銀トーン鋼条件でゴージャスなは述べています。月したがって映画スター スワロフ スキーの宝石石英ナイロン アッパー ダイヤモンド ネックレス時計、クロトン レディース男型を素晴れらしいほぼ、革新的な服の味付け。輝くスワロフ スキーの胃の酸サークル非常にフレームとアリーナを続行、丸みを帯びたシルバー トーン金属状態の結合がありません。1 時間かそこら opporutnities あたりプライマリ追加ホイール ダイヤル パールに関連付けられている特定の明るい親記号より預金します。
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投稿者 by: グッチ 長財布 at 2014年1月15日 15:39

彼女はすべてでない任意のちょうど仕事の上部にある衣服します。UGGs またかもしれませんあなたの女性のステープルの 1 回限りと彼女は極寒の天候を通してこれらのサンダル再置くことができますを知らせることができます。背の高い UGGs かもしれないよりタイトなフィッティング スウェット パンツ。しばしばしかし、多くの短い間で特にこれらハンター ウェリントン、実際可能性があなたの靴下を引いた donned は、所有します。それはどのようにあなたはかなり 4120 を味わうことができるいくつかをもたらします。SHHH ブーツ スタイルとスタイルそれが来るときにルイ ・ ヴィトンと比較して薄い。見事な一目で統計にそうではない既存の異常な物理的な接触。1年中、置く有名人の多くがあります。彼ら彼らが打ち上げられたし、以前述べられた 200 のこの今ではないです。一方、彼らは当初はニュージーランドとオーストラリア後を探して後にのみ、米国から珍重されました。理解しやすいとまだ惣菜。すぐにやっぱ、UGG のブーツは本当にから作成された羊。作成する組み込みの裏地ウールに関連付けられています。人をそれらを崇拝する主な理由はこれらの帽子は彼女のフィートを維持非常に暖かい冬をサポートします。
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投稿者 by: gucci バック at 2014年1月15日 15:40

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投稿者 by: cheap jordans free shipping at 2014年1月16日 03:11

a memoir of fashion dreamer's life in vogue

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投稿者 by: swiss watches at 2014年1月16日 08:43

a memoir of fashion dreamer's life in vogue

投稿者 by: Green Black White Pittsburgh Steelers John Stallworth 82 S M L XL XXL 3X 4X 5X at 2014年1月16日 09:18

Lady Griz hand Selvig 800th career win with 68 61 victory over PortlandGriz up to fifth in TSN poll, highest ranking of seasonBig Sky honors Sac State QB SafronNorth Dakota football coach firedSince 1897, the Cat Griz rivalry has captivated the stateFamily health: Prepare yourself and your vehicle for winter drivingFitness calendarBirths for Tuesday, November 19Angler with 4th place total takes Fall Mack Days fishing tournament titleWestern Montana hunters get help from fresh snow, rutIf the name Grace Coddington is familiar, you've probably seen the 2009 documentary film "The September Issue" about Vogue magazine's Editor in Chief Anna Wintour, the most feared and revered woman in fashion. Now Coddington, the longtime creative director of Vogue, has her own star vehicle, an engaging memoir titled "Grace," co written with Michael Roberts. For anyone with a passing interest in the fashion industry, it's worth a read for the name dropping alone.As became clear in the film, which chronicled the magazine's staff as they put together the 4 pound September 2007 issue, Coddington is not the Anna Wintour or Diana Vreeland type. You won't hear her barking orders at assistants or making dramatic pronouncements about pink.But she is equally passionate, a wild haired dreamer who thinks that fashion should be transporting, provocative and even intellectual, who bemoans the dominance of celebrities and digital hocus pocus in fashion photography and who isn't afraid to take on Wintour.The book is a window into how fashion has changed from a small, niche business into a global pop culture medium. It chronicles Coddington's 50 years in the industry, first as a model, then as a fashion editor for British Vogue and finally as creative director for American Vogue, with lots of juicy anecdotes about designers, photographers, celebrities and models.She compares the fashion world then and now and offers clues into her relationship with Wintour. She's also open about her private life, including details about failed marriages, the tragic death of her sister Rosemary and her 30 year romance with French hairstylist Didier Malige. She tells colorful stories behind many of the fashion shoots she has styled, but I do wish she had offered more insight into her role in the creative process.Coddington begins by painting a picture of her upbringing as romantic as any photo shoot. For her first 18 years, her home was the Trearddur Bay Hotel on the island of Anglesey off the coast of North Wales. "Although it was bleak, I saw beauty in the bleakness." When she wasn't outdoors, she amused herself by looking at picture books, reading fairy tales and, yes, studying the pages of Vogue magazine. As a teen, she went to a convent school and has vivid memories of the nuns roller skating on the rooftop, "flapping about surreally in their robes like crows on wheels."At 18, she moved to London to attend a modeling course advertised in Vogue. The fashion world was much different in 1959. Coddington had to learn how to apply her own makeup and style her own hair, because makeup artists and hairdressers specializing in photo shoots were nonexistent. A meeting with photographer Norman Parkinson led to her first modeling job running naked through the woods for an arty fashion catalog.Coddington became an overnight success. "I was a character, rather than a pretty model, and I suppose that's exactly what I look for in the girls I now select to put in American Vogue the ones who are quirky looking."She earned the nickname "The Cod" (to Jean Shrimpton's "The Shrimp"), danced the twist on Mary Quant's catwalk and became a muse to Vidal Sassoon, who created his famous five point cut on Coddington. Her modeling career was derailed for two years by a car accident, which scarred her left eyelid. But eventually things picked up again, and she settled into life in 1960s swinging London and Paris, hanging out with a fast crowd that included Michael Caine, Jane Birkin, the Beatles and the Rolling Stones.Her fashion editing career coincided with the beginning of her relationship with Michael Chow and the opening of his glamorous restaurant Mr. Chow, which attracted a starry crowd. "Naturally, we were forever being photographed at home, draped among our symbols of 'with it ness' as one of London's most happening couples; him, the cool young restaurateur, nonchalantly swinging in a hammock hung from the minstrel's gallery and me, the sophisticated style maker, perkily sitting cross legged atop a giant pop art version of a Campbell's soup can."At the height of the bohemian 1970s, she dyed her hair with henna and permed it (it would stay the same for much of the next 40 years), dressed almost exclusively in Yves Saint Laurent, had a fling with a Vietnamese photographer and spent her evenings at Club Sept in Paris. Coddington worked with the who's who of fashion. She shot Anjelica Huston with photographer David Bailey and Pat Cleveland with Helmut Newton.When Bea Miller, who had edited British Vogue for 22 years, retired, Coddington interviewed for the job but says she knew deep down she wasn't suited for it and thought that Wintour, then the creative director of American Vogue, should get it.Wintour did get it. Two days into her editorship, she invited Coddington to a screening of the racy film "Betty Blue." The two sat in dead silence through the opening sequence, a vivid five minute sex scene."Anna was rigid and unmoving. No sign of any emotion at all," Coddington writes. "I then realized how much significance Anna places on willpower trumping feelings."In 1988, when Wintour was appointed editor in chief at American Vogue, Coddington asked to join her. Coddington's narrative style fashion features and travelogues, a sampling of which appear in the book, became the heart and soul of the magazine, even as its pages became increasingly taken over by celebrities. Through her visual canvases, she interpreted the New Romantic period, grunge and the South Beach blinged out 1990s, and persuaded superstar designers Tom Ford, Marc Jacobs and others to play roles in a shoot based on "Alice in Wonderland."She sums up her creative process this way: "For me, one of the most important aspects of my work is to give people something to dream about, just as I used to dream all those years ago as a child looking at beautiful photographs."The book ends with a chapter on then and now. "Fashion has changed so much in my lifetime," Coddington writes. "Today, I find myself at the collections, asking, 'Who are all these people?' Sometimes I think I'm the last remaining person who comes to the shows for the pleasure of seeing the clothes."At 71, she seldom wears makeup and doesn't socialize much. But her attempt in the last 100 pages to distance herself from the term "fashionista" is a bit of a stretch. Clearly, Coddington has led a most charmed life. Otherwise, we wouldn't be reading about it.We provide this community forum for readers to exchange ideas and opinions on the news of the day. Passionate views, pointed criticism and critical thinking are welcome. Comments can only be submitted by registered users. By posting comments on our site, you are agreeing to the following terms:

投稿者 by: christian louboutin louis [heel_height] Classic at 2014年1月16日 09:19

Lady Griz hand Selvig 800th career win with 68 61 victory over PortlandGriz up to fifth in TSN poll, highest ranking of seasonBig Sky honors Sac State QB SafronNorth Dakota football coach firedSince 1897, the Cat Griz rivalry has captivated the stateFamily health: Prepare yourself and your vehicle for winter drivingFitness calendarBirths for Tuesday, November 19Angler with 4th place total takes Fall Mack Days fishing tournament titleWestern Montana hunters get help from fresh snow, rutIf the name Grace Coddington is familiar, you've probably seen the 2009 documentary film "The September Issue" about Vogue magazine's Editor in Chief Anna Wintour, the most feared and revered woman in fashion. Now Coddington, the longtime creative director of Vogue, has her own star vehicle, an engaging memoir titled "Grace," co written with Michael Roberts. For anyone with a passing interest in the fashion industry, it's worth a read for the name dropping alone.As became clear in the film, which chronicled the magazine's staff as they put together the 4 pound September 2007 issue, Coddington is not the Anna Wintour or Diana Vreeland type. You won't hear her barking orders at assistants or making dramatic pronouncements about pink.But she is equally passionate, a wild haired dreamer who thinks that fashion should be transporting, provocative and even intellectual, who bemoans the dominance of celebrities and digital hocus pocus in fashion photography and who isn't afraid to take on Wintour.The book is a window into how fashion has changed from a small, niche business into a global pop culture medium. It chronicles Coddington's 50 years in the industry, first as a model, then as a fashion editor for British Vogue and finally as creative director for American Vogue, with lots of juicy anecdotes about designers, photographers, celebrities and models.She compares the fashion world then and now and offers clues into her relationship with Wintour. She's also open about her private life, including details about failed marriages, the tragic death of her sister Rosemary and her 30 year romance with French hairstylist Didier Malige. She tells colorful stories behind many of the fashion shoots she has styled, but I do wish she had offered more insight into her role in the creative process.Coddington begins by painting a picture of her upbringing as romantic as any photo shoot. For her first 18 years, her home was the Trearddur Bay Hotel on the island of Anglesey off the coast of North Wales. "Although it was bleak, I saw beauty in the bleakness." When she wasn't outdoors, she amused herself by looking at picture books, reading fairy tales and, yes, studying the pages of Vogue magazine. As a teen, she went to a convent school and has vivid memories of the nuns roller skating on the rooftop, "flapping about surreally in their robes like crows on wheels."At 18, she moved to London to attend a modeling course advertised in Vogue. The fashion world was much different in 1959. Coddington had to learn how to apply her own makeup and style her own hair, because makeup artists and hairdressers specializing in photo shoots were nonexistent. A meeting with photographer Norman Parkinson led to her first modeling job running naked through the woods for an arty fashion catalog.Coddington became an overnight success. "I was a character, rather than a pretty model, and I suppose that's exactly what I look for in the girls I now select to put in American Vogue the ones who are quirky looking."She earned the nickname "The Cod" (to Jean Shrimpton's "The Shrimp"), danced the twist on Mary Quant's catwalk and became a muse to Vidal Sassoon, who created his famous five point cut on Coddington. Her modeling career was derailed for two years by a car accident, which scarred her left eyelid. But eventually things picked up again, and she settled into life in 1960s swinging London and Paris, hanging out with a fast crowd that included Michael Caine, Jane Birkin, the Beatles and the Rolling Stones.Her fashion editing career coincided with the beginning of her relationship with Michael Chow and the opening of his glamorous restaurant Mr. Chow, which attracted a starry crowd. "Naturally, we were forever being photographed at home, draped among our symbols of 'with it ness' as one of London's most happening couples; him, the cool young restaurateur, nonchalantly swinging in a hammock hung from the minstrel's gallery and me, the sophisticated style maker, perkily sitting cross legged atop a giant pop art version of a Campbell's soup can."At the height of the bohemian 1970s, she dyed her hair with henna and permed it (it would stay the same for much of the next 40 years), dressed almost exclusively in Yves Saint Laurent, had a fling with a Vietnamese photographer and spent her evenings at Club Sept in Paris. Coddington worked with the who's who of fashion. She shot Anjelica Huston with photographer David Bailey and Pat Cleveland with Helmut Newton.When Bea Miller, who had edited British Vogue for 22 years, retired, Coddington interviewed for the job but says she knew deep down she wasn't suited for it and thought that Wintour, then the creative director of American Vogue, should get it.Wintour did get it. Two days into her editorship, she invited Coddington to a screening of the racy film "Betty Blue." The two sat in dead silence through the opening sequence, a vivid five minute sex scene."Anna was rigid and unmoving. No sign of any emotion at all," Coddington writes. "I then realized how much significance Anna places on willpower trumping feelings."In 1988, when Wintour was appointed editor in chief at American Vogue, Coddington asked to join her. Coddington's narrative style fashion features and travelogues, a sampling of which appear in the book, became the heart and soul of the magazine, even as its pages became increasingly taken over by celebrities. Through her visual canvases, she interpreted the New Romantic period, grunge and the South Beach blinged out 1990s, and persuaded superstar designers Tom Ford, Marc Jacobs and others to play roles in a shoot based on "Alice in Wonderland."She sums up her creative process this way: "For me, one of the most important aspects of my work is to give people something to dream about, just as I used to dream all those years ago as a child looking at beautiful photographs."The book ends with a chapter on then and now. "Fashion has changed so much in my lifetime," Coddington writes. "Today, I find myself at the collections, asking, 'Who are all these people?' Sometimes I think I'm the last remaining person who comes to the shows for the pleasure of seeing the clothes."At 71, she seldom wears makeup and doesn't socialize much. But her attempt in the last 100 pages to distance herself from the term "fashionista" is a bit of a stretch. Clearly, Coddington has led a most charmed life. Otherwise, we wouldn't be reading about it.We provide this community forum for readers to exchange ideas and opinions on the news of the day. Passionate views, pointed criticism and critical thinking are welcome. Comments can only be submitted by registered users. By posting comments on our site, you are agreeing to the following terms:

投稿者 by: Navy Red White Houston Texans Ben Tate 44 S M L XL XXL 3X 4X 5X at 2014年1月16日 09:19

a memoir of fashion dreamer's life in vogue

投稿者 by: Black christian louboutin bianca [heel_height] at 2014年1月16日 09:19

a memoir of fashion dreamer's life in vogue

投稿者 by: nike alternate Navy Red White New Orleans Saints Pierre Thomas at 2014年1月16日 09:20

Lady Griz hand Selvig 800th career win with 68 61 victory over PortlandGriz up to fifth in TSN poll, highest ranking of seasonBig Sky honors Sac State QB SafronNorth Dakota football coach firedSince 1897, the Cat Griz rivalry has captivated the stateFamily health: Prepare yourself and your vehicle for winter drivingFitness calendarBirths for Tuesday, November 19Angler with 4th place total takes Fall Mack Days fishing tournament titleWestern Montana hunters get help from fresh snow, rutIf the name Grace Coddington is familiar, you've probably seen the 2009 documentary film "The September Issue" about Vogue magazine's Editor in Chief Anna Wintour, the most feared and revered woman in fashion. Now Coddington, the longtime creative director of Vogue, has her own star vehicle, an engaging memoir titled "Grace," co written with Michael Roberts. For anyone with a passing interest in the fashion industry, it's worth a read for the name dropping alone.As became clear in the film, which chronicled the magazine's staff as they put together the 4 pound September 2007 issue, Coddington is not the Anna Wintour or Diana Vreeland type. You won't hear her barking orders at assistants or making dramatic pronouncements about pink.But she is equally passionate, a wild haired dreamer who thinks that fashion should be transporting, provocative and even intellectual, who bemoans the dominance of celebrities and digital hocus pocus in fashion photography and who isn't afraid to take on Wintour.The book is a window into how fashion has changed from a small, niche business into a global pop culture medium. It chronicles Coddington's 50 years in the industry, first as a model, then as a fashion editor for British Vogue and finally as creative director for American Vogue, with lots of juicy anecdotes about designers, photographers, celebrities and models.She compares the fashion world then and now and offers clues into her relationship with Wintour. She's also open about her private life, including details about failed marriages, the tragic death of her sister Rosemary and her 30 year romance with French hairstylist Didier Malige. She tells colorful stories behind many of the fashion shoots she has styled, but I do wish she had offered more insight into her role in the creative process.Coddington begins by painting a picture of her upbringing as romantic as any photo shoot. For her first 18 years, her home was the Trearddur Bay Hotel on the island of Anglesey off the coast of North Wales. "Although it was bleak, I saw beauty in the bleakness." When she wasn't outdoors, she amused herself by looking at picture books, reading fairy tales and, yes, studying the pages of Vogue magazine. As a teen, she went to a convent school and has vivid memories of the nuns roller skating on the rooftop, "flapping about surreally in their robes like crows on wheels."At 18, she moved to London to attend a modeling course advertised in Vogue. The fashion world was much different in 1959. Coddington had to learn how to apply her own makeup and style her own hair, because makeup artists and hairdressers specializing in photo shoots were nonexistent. A meeting with photographer Norman Parkinson led to her first modeling job running naked through the woods for an arty fashion catalog.Coddington became an overnight success. "I was a character, rather than a pretty model, and I suppose that's exactly what I look for in the girls I now select to put in American Vogue the ones who are quirky looking."She earned the nickname "The Cod" (to Jean Shrimpton's "The Shrimp"), danced the twist on Mary Quant's catwalk and became a muse to Vidal Sassoon, who created his famous five point cut on Coddington. Her modeling career was derailed for two years by a car accident, which scarred her left eyelid. But eventually things picked up again, and she settled into life in 1960s swinging London and Paris, hanging out with a fast crowd that included Michael Caine, Jane Birkin, the Beatles and the Rolling Stones.Her fashion editing career coincided with the beginning of her relationship with Michael Chow and the opening of his glamorous restaurant Mr. Chow, which attracted a starry crowd. "Naturally, we were forever being photographed at home, draped among our symbols of 'with it ness' as one of London's most happening couples; him, the cool young restaurateur, nonchalantly swinging in a hammock hung from the minstrel's gallery and me, the sophisticated style maker, perkily sitting cross legged atop a giant pop art version of a Campbell's soup can."At the height of the bohemian 1970s, she dyed her hair with henna and permed it (it would stay the same for much of the next 40 years), dressed almost exclusively in Yves Saint Laurent, had a fling with a Vietnamese photographer and spent her evenings at Club Sept in Paris. Coddington worked with the who's who of fashion. She shot Anjelica Huston with photographer David Bailey and Pat Cleveland with Helmut Newton.When Bea Miller, who had edited British Vogue for 22 years, retired, Coddington interviewed for the job but says she knew deep down she wasn't suited for it and thought that Wintour, then the creative director of American Vogue, should get it.Wintour did get it. Two days into her editorship, she invited Coddington to a screening of the racy film "Betty Blue." The two sat in dead silence through the opening sequence, a vivid five minute sex scene."Anna was rigid and unmoving. No sign of any emotion at all," Coddington writes. "I then realized how much significance Anna places on willpower trumping feelings."In 1988, when Wintour was appointed editor in chief at American Vogue, Coddington asked to join her. Coddington's narrative style fashion features and travelogues, a sampling of which appear in the book, became the heart and soul of the magazine, even as its pages became increasingly taken over by celebrities. Through her visual canvases, she interpreted the New Romantic period, grunge and the South Beach blinged out 1990s, and persuaded superstar designers Tom Ford, Marc Jacobs and others to play roles in a shoot based on "Alice in Wonderland."She sums up her creative process this way: "For me, one of the most important aspects of my work is to give people something to dream about, just as I used to dream all those years ago as a child looking at beautiful photographs."The book ends with a chapter on then and now. "Fashion has changed so much in my lifetime," Coddington writes. "Today, I find myself at the collections, asking, 'Who are all these people?' Sometimes I think I'm the last remaining person who comes to the shows for the pleasure of seeing the clothes."At 71, she seldom wears makeup and doesn't socialize much. But her attempt in the last 100 pages to distance herself from the term "fashionista" is a bit of a stretch. Clearly, Coddington has led a most charmed life. Otherwise, we wouldn't be reading about it.We provide this community forum for readers to exchange ideas and opinions on the news of the day. Passionate views, pointed criticism and critical thinking are welcome. Comments can only be submitted by registered users. By posting comments on our site, you are agreeing to the following terms:

投稿者 by: christian louboutin miniloubilula [heel_height] Classic at 2014年1月16日 09:20

Lady Griz hand Selvig 800th career win with 68 61 victory over PortlandGriz up to fifth in TSN poll, highest ranking of seasonBig Sky honors Sac State QB SafronNorth Dakota football coach firedSince 1897, the Cat Griz rivalry has captivated the stateFamily health: Prepare yourself and your vehicle for winter drivingFitness calendarBirths for Tuesday, November 19Angler with 4th place total takes Fall Mack Days fishing tournament titleWestern Montana hunters get help from fresh snow, rutIf the name Grace Coddington is familiar, you've probably seen the 2009 documentary film "The September Issue" about Vogue magazine's Editor in Chief Anna Wintour, the most feared and revered woman in fashion. Now Coddington, the longtime creative director of Vogue, has her own star vehicle, an engaging memoir titled "Grace," co written with Michael Roberts. For anyone with a passing interest in the fashion industry, it's worth a read for the name dropping alone.As became clear in the film, which chronicled the magazine's staff as they put together the 4 pound September 2007 issue, Coddington is not the Anna Wintour or Diana Vreeland type. You won't hear her barking orders at assistants or making dramatic pronouncements about pink.But she is equally passionate, a wild haired dreamer who thinks that fashion should be transporting, provocative and even intellectual, who bemoans the dominance of celebrities and digital hocus pocus in fashion photography and who isn't afraid to take on Wintour.The book is a window into how fashion has changed from a small, niche business into a global pop culture medium. It chronicles Coddington's 50 years in the industry, first as a model, then as a fashion editor for British Vogue and finally as creative director for American Vogue, with lots of juicy anecdotes about designers, photographers, celebrities and models.She compares the fashion world then and now and offers clues into her relationship with Wintour. She's also open about her private life, including details about failed marriages, the tragic death of her sister Rosemary and her 30 year romance with French hairstylist Didier Malige. She tells colorful stories behind many of the fashion shoots she has styled, but I do wish she had offered more insight into her role in the creative process.Coddington begins by painting a picture of her upbringing as romantic as any photo shoot. For her first 18 years, her home was the Trearddur Bay Hotel on the island of Anglesey off the coast of North Wales. "Although it was bleak, I saw beauty in the bleakness." When she wasn't outdoors, she amused herself by looking at picture books, reading fairy tales and, yes, studying the pages of Vogue magazine. As a teen, she went to a convent school and has vivid memories of the nuns roller skating on the rooftop, "flapping about surreally in their robes like crows on wheels."At 18, she moved to London to attend a modeling course advertised in Vogue. The fashion world was much different in 1959. Coddington had to learn how to apply her own makeup and style her own hair, because makeup artists and hairdressers specializing in photo shoots were nonexistent. A meeting with photographer Norman Parkinson led to her first modeling job running naked through the woods for an arty fashion catalog.Coddington became an overnight success. "I was a character, rather than a pretty model, and I suppose that's exactly what I look for in the girls I now select to put in American Vogue the ones who are quirky looking."She earned the nickname "The Cod" (to Jean Shrimpton's "The Shrimp"), danced the twist on Mary Quant's catwalk and became a muse to Vidal Sassoon, who created his famous five point cut on Coddington. Her modeling career was derailed for two years by a car accident, which scarred her left eyelid. But eventually things picked up again, and she settled into life in 1960s swinging London and Paris, hanging out with a fast crowd that included Michael Caine, Jane Birkin, the Beatles and the Rolling Stones.Her fashion editing career coincided with the beginning of her relationship with Michael Chow and the opening of his glamorous restaurant Mr. Chow, which attracted a starry crowd. "Naturally, we were forever being photographed at home, draped among our symbols of 'with it ness' as one of London's most happening couples; him, the cool young restaurateur, nonchalantly swinging in a hammock hung from the minstrel's gallery and me, the sophisticated style maker, perkily sitting cross legged atop a giant pop art version of a Campbell's soup can."At the height of the bohemian 1970s, she dyed her hair with henna and permed it (it would stay the same for much of the next 40 years), dressed almost exclusively in Yves Saint Laurent, had a fling with a Vietnamese photographer and spent her evenings at Club Sept in Paris. Coddington worked with the who's who of fashion. She shot Anjelica Huston with photographer David Bailey and Pat Cleveland with Helmut Newton.When Bea Miller, who had edited British Vogue for 22 years, retired, Coddington interviewed for the job but says she knew deep down she wasn't suited for it and thought that Wintour, then the creative director of American Vogue, should get it.Wintour did get it. Two days into her editorship, she invited Coddington to a screening of the racy film "Betty Blue." The two sat in dead silence through the opening sequence, a vivid five minute sex scene."Anna was rigid and unmoving. No sign of any emotion at all," Coddington writes. "I then realized how much significance Anna places on willpower trumping feelings."In 1988, when Wintour was appointed editor in chief at American Vogue, Coddington asked to join her. Coddington's narrative style fashion features and travelogues, a sampling of which appear in the book, became the heart and soul of the magazine, even as its pages became increasingly taken over by celebrities. Through her visual canvases, she interpreted the New Romantic period, grunge and the South Beach blinged out 1990s, and persuaded superstar designers Tom Ford, Marc Jacobs and others to play roles in a shoot based on "Alice in Wonderland."She sums up her creative process this way: "For me, one of the most important aspects of my work is to give people something to dream about, just as I used to dream all those years ago as a child looking at beautiful photographs."The book ends with a chapter on then and now. "Fashion has changed so much in my lifetime," Coddington writes. "Today, I find myself at the collections, asking, 'Who are all these people?' Sometimes I think I'm the last remaining person who comes to the shows for the pleasure of seeing the clothes."At 71, she seldom wears makeup and doesn't socialize much. But her attempt in the last 100 pages to distance herself from the term "fashionista" is a bit of a stretch. Clearly, Coddington has led a most charmed life. Otherwise, we wouldn't be reading about it.We provide this community forum for readers to exchange ideas and opinions on the news of the day. Passionate views, pointed criticism and critical thinking are welcome. Comments can only be submitted by registered users. By posting comments on our site, you are agreeing to the following terms:

投稿者 by: WHITE/SILVER Calf christian louboutin calamijanebooty [heel_height] SS14 at 2014年1月16日 09:21

Lady Griz hand Selvig 800th career win with 68 61 victory over PortlandGriz up to fifth in TSN poll, highest ranking of seasonBig Sky honors Sac State QB SafronNorth Dakota football coach firedSince 1897, the Cat Griz rivalry has captivated the stateFamily health: Prepare yourself and your vehicle for winter drivingFitness calendarBirths for Tuesday, November 19Angler with 4th place total takes Fall Mack Days fishing tournament titleWestern Montana hunters get help from fresh snow, rutIf the name Grace Coddington is familiar, you've probably seen the 2009 documentary film "The September Issue" about Vogue magazine's Editor in Chief Anna Wintour, the most feared and revered woman in fashion. Now Coddington, the longtime creative director of Vogue, has her own star vehicle, an engaging memoir titled "Grace," co written with Michael Roberts. For anyone with a passing interest in the fashion industry, it's worth a read for the name dropping alone.As became clear in the film, which chronicled the magazine's staff as they put together the 4 pound September 2007 issue, Coddington is not the Anna Wintour or Diana Vreeland type. You won't hear her barking orders at assistants or making dramatic pronouncements about pink.But she is equally passionate, a wild haired dreamer who thinks that fashion should be transporting, provocative and even intellectual, who bemoans the dominance of celebrities and digital hocus pocus in fashion photography and who isn't afraid to take on Wintour.The book is a window into how fashion has changed from a small, niche business into a global pop culture medium. It chronicles Coddington's 50 years in the industry, first as a model, then as a fashion editor for British Vogue and finally as creative director for American Vogue, with lots of juicy anecdotes about designers, photographers, celebrities and models.She compares the fashion world then and now and offers clues into her relationship with Wintour. She's also open about her private life, including details about failed marriages, the tragic death of her sister Rosemary and her 30 year romance with French hairstylist Didier Malige. She tells colorful stories behind many of the fashion shoots she has styled, but I do wish she had offered more insight into her role in the creative process.Coddington begins by painting a picture of her upbringing as romantic as any photo shoot. For her first 18 years, her home was the Trearddur Bay Hotel on the island of Anglesey off the coast of North Wales. "Although it was bleak, I saw beauty in the bleakness." When she wasn't outdoors, she amused herself by looking at picture books, reading fairy tales and, yes, studying the pages of Vogue magazine. As a teen, she went to a convent school and has vivid memories of the nuns roller skating on the rooftop, "flapping about surreally in their robes like crows on wheels."At 18, she moved to London to attend a modeling course advertised in Vogue. The fashion world was much different in 1959. Coddington had to learn how to apply her own makeup and style her own hair, because makeup artists and hairdressers specializing in photo shoots were nonexistent. A meeting with photographer Norman Parkinson led to her first modeling job running naked through the woods for an arty fashion catalog.Coddington became an overnight success. "I was a character, rather than a pretty model, and I suppose that's exactly what I look for in the girls I now select to put in American Vogue the ones who are quirky looking."She earned the nickname "The Cod" (to Jean Shrimpton's "The Shrimp"), danced the twist on Mary Quant's catwalk and became a muse to Vidal Sassoon, who created his famous five point cut on Coddington. Her modeling career was derailed for two years by a car accident, which scarred her left eyelid. But eventually things picked up again, and she settled into life in 1960s swinging London and Paris, hanging out with a fast crowd that included Michael Caine, Jane Birkin, the Beatles and the Rolling Stones.Her fashion editing career coincided with the beginning of her relationship with Michael Chow and the opening of his glamorous restaurant Mr. Chow, which attracted a starry crowd. "Naturally, we were forever being photographed at home, draped among our symbols of 'with it ness' as one of London's most happening couples; him, the cool young restaurateur, nonchalantly swinging in a hammock hung from the minstrel's gallery and me, the sophisticated style maker, perkily sitting cross legged atop a giant pop art version of a Campbell's soup can."At the height of the bohemian 1970s, she dyed her hair with henna and permed it (it would stay the same for much of the next 40 years), dressed almost exclusively in Yves Saint Laurent, had a fling with a Vietnamese photographer and spent her evenings at Club Sept in Paris. Coddington worked with the who's who of fashion. She shot Anjelica Huston with photographer David Bailey and Pat Cleveland with Helmut Newton.When Bea Miller, who had edited British Vogue for 22 years, retired, Coddington interviewed for the job but says she knew deep down she wasn't suited for it and thought that Wintour, then the creative director of American Vogue, should get it.Wintour did get it. Two days into her editorship, she invited Coddington to a screening of the racy film "Betty Blue." The two sat in dead silence through the opening sequence, a vivid five minute sex scene."Anna was rigid and unmoving. No sign of any emotion at all," Coddington writes. "I then realized how much significance Anna places on willpower trumping feelings."In 1988, when Wintour was appointed editor in chief at American Vogue, Coddington asked to join her. Coddington's narrative style fashion features and travelogues, a sampling of which appear in the book, became the heart and soul of the magazine, even as its pages became increasingly taken over by celebrities. Through her visual canvases, she interpreted the New Romantic period, grunge and the South Beach blinged out 1990s, and persuaded superstar designers Tom Ford, Marc Jacobs and others to play roles in a shoot based on "Alice in Wonderland."She sums up her creative process this way: "For me, one of the most important aspects of my work is to give people something to dream about, just as I used to dream all those years ago as a child looking at beautiful photographs."The book ends with a chapter on then and now. "Fashion has changed so much in my lifetime," Coddington writes. "Today, I find myself at the collections, asking, 'Who are all these people?' Sometimes I think I'm the last remaining person who comes to the shows for the pleasure of seeing the clothes."At 71, she seldom wears makeup and doesn't socialize much. But her attempt in the last 100 pages to distance herself from the term "fashionista" is a bit of a stretch. Clearly, Coddington has led a most charmed life. Otherwise, we wouldn't be reading about it.We provide this community forum for readers to exchange ideas and opinions on the news of the day. Passionate views, pointed criticism and critical thinking are welcome. Comments can only be submitted by registered users. By posting comments on our site, you are agreeing to the following terms:

投稿者 by: christian louboutin canassone [heel_height] FW13 at 2014年1月16日 09:21

Lady Griz hand Selvig 800th career win with 68 61 victory over PortlandGriz up to fifth in TSN poll, highest ranking of seasonBig Sky honors Sac State QB SafronNorth Dakota football coach firedSince 1897, the Cat Griz rivalry has captivated the stateFamily health: Prepare yourself and your vehicle for winter drivingFitness calendarBirths for Tuesday, November 19Angler with 4th place total takes Fall Mack Days fishing tournament titleWestern Montana hunters get help from fresh snow, rutIf the name Grace Coddington is familiar, you've probably seen the 2009 documentary film "The September Issue" about Vogue magazine's Editor in Chief Anna Wintour, the most feared and revered woman in fashion. Now Coddington, the longtime creative director of Vogue, has her own star vehicle, an engaging memoir titled "Grace," co written with Michael Roberts. For anyone with a passing interest in the fashion industry, it's worth a read for the name dropping alone.As became clear in the film, which chronicled the magazine's staff as they put together the 4 pound September 2007 issue, Coddington is not the Anna Wintour or Diana Vreeland type. You won't hear her barking orders at assistants or making dramatic pronouncements about pink.But she is equally passionate, a wild haired dreamer who thinks that fashion should be transporting, provocative and even intellectual, who bemoans the dominance of celebrities and digital hocus pocus in fashion photography and who isn't afraid to take on Wintour.The book is a window into how fashion has changed from a small, niche business into a global pop culture medium. It chronicles Coddington's 50 years in the industry, first as a model, then as a fashion editor for British Vogue and finally as creative director for American Vogue, with lots of juicy anecdotes about designers, photographers, celebrities and models.She compares the fashion world then and now and offers clues into her relationship with Wintour. She's also open about her private life, including details about failed marriages, the tragic death of her sister Rosemary and her 30 year romance with French hairstylist Didier Malige. She tells colorful stories behind many of the fashion shoots she has styled, but I do wish she had offered more insight into her role in the creative process.Coddington begins by painting a picture of her upbringing as romantic as any photo shoot. For her first 18 years, her home was the Trearddur Bay Hotel on the island of Anglesey off the coast of North Wales. "Although it was bleak, I saw beauty in the bleakness." When she wasn't outdoors, she amused herself by looking at picture books, reading fairy tales and, yes, studying the pages of Vogue magazine. As a teen, she went to a convent school and has vivid memories of the nuns roller skating on the rooftop, "flapping about surreally in their robes like crows on wheels."At 18, she moved to London to attend a modeling course advertised in Vogue. The fashion world was much different in 1959. Coddington had to learn how to apply her own makeup and style her own hair, because makeup artists and hairdressers specializing in photo shoots were nonexistent. A meeting with photographer Norman Parkinson led to her first modeling job running naked through the woods for an arty fashion catalog.Coddington became an overnight success. "I was a character, rather than a pretty model, and I suppose that's exactly what I look for in the girls I now select to put in American Vogue the ones who are quirky looking."She earned the nickname "The Cod" (to Jean Shrimpton's "The Shrimp"), danced the twist on Mary Quant's catwalk and became a muse to Vidal Sassoon, who created his famous five point cut on Coddington. Her modeling career was derailed for two years by a car accident, which scarred her left eyelid. But eventually things picked up again, and she settled into life in 1960s swinging London and Paris, hanging out with a fast crowd that included Michael Caine, Jane Birkin, the Beatles and the Rolling Stones.Her fashion editing career coincided with the beginning of her relationship with Michael Chow and the opening of his glamorous restaurant Mr. Chow, which attracted a starry crowd. "Naturally, we were forever being photographed at home, draped among our symbols of 'with it ness' as one of London's most happening couples; him, the cool young restaurateur, nonchalantly swinging in a hammock hung from the minstrel's gallery and me, the sophisticated style maker, perkily sitting cross legged atop a giant pop art version of a Campbell's soup can."At the height of the bohemian 1970s, she dyed her hair with henna and permed it (it would stay the same for much of the next 40 years), dressed almost exclusively in Yves Saint Laurent, had a fling with a Vietnamese photographer and spent her evenings at Club Sept in Paris. Coddington worked with the who's who of fashion. She shot Anjelica Huston with photographer David Bailey and Pat Cleveland with Helmut Newton.When Bea Miller, who had edited British Vogue for 22 years, retired, Coddington interviewed for the job but says she knew deep down she wasn't suited for it and thought that Wintour, then the creative director of American Vogue, should get it.Wintour did get it. Two days into her editorship, she invited Coddington to a screening of the racy film "Betty Blue." The two sat in dead silence through the opening sequence, a vivid five minute sex scene."Anna was rigid and unmoving. No sign of any emotion at all," Coddington writes. "I then realized how much significance Anna places on willpower trumping feelings."In 1988, when Wintour was appointed editor in chief at American Vogue, Coddington asked to join her. Coddington's narrative style fashion features and travelogues, a sampling of which appear in the book, became the heart and soul of the magazine, even as its pages became increasingly taken over by celebrities. Through her visual canvases, she interpreted the New Romantic period, grunge and the South Beach blinged out 1990s, and persuaded superstar designers Tom Ford, Marc Jacobs and others to play roles in a shoot based on "Alice in Wonderland."She sums up her creative process this way: "For me, one of the most important aspects of my work is to give people something to dream about, just as I used to dream all those years ago as a child looking at beautiful photographs."The book ends with a chapter on then and now. "Fashion has changed so much in my lifetime," Coddington writes. "Today, I find myself at the collections, asking, 'Who are all these people?' Sometimes I think I'm the last remaining person who comes to the shows for the pleasure of seeing the clothes."At 71, she seldom wears makeup and doesn't socialize much. But her attempt in the last 100 pages to distance herself from the term "fashionista" is a bit of a stretch. Clearly, Coddington has led a most charmed life. Otherwise, we wouldn't be reading about it.We provide this community forum for readers to exchange ideas and opinions on the news of the day. Passionate views, pointed criticism and critical thinking are welcome. Comments can only be submitted by registered users. By posting comments on our site, you are agreeing to the following terms:

投稿者 by: Navy White Silver Dallas Cowboys Tyron Smith 77 S M L XL XXL 3X 4X 5X at 2014年1月16日 09:22

Lady Griz hand Selvig 800th career win with 68 61 victory over PortlandGriz up to fifth in TSN poll, highest ranking of seasonBig Sky honors Sac State QB SafronNorth Dakota football coach firedSince 1897, the Cat Griz rivalry has captivated the stateFamily health: Prepare yourself and your vehicle for winter drivingFitness calendarBirths for Tuesday, November 19Angler with 4th place total takes Fall Mack Days fishing tournament titleWestern Montana hunters get help from fresh snow, rutIf the name Grace Coddington is familiar, you've probably seen the 2009 documentary film "The September Issue" about Vogue magazine's Editor in Chief Anna Wintour, the most feared and revered woman in fashion. Now Coddington, the longtime creative director of Vogue, has her own star vehicle, an engaging memoir titled "Grace," co written with Michael Roberts. For anyone with a passing interest in the fashion industry, it's worth a read for the name dropping alone.As became clear in the film, which chronicled the magazine's staff as they put together the 4 pound September 2007 issue, Coddington is not the Anna Wintour or Diana Vreeland type. You won't hear her barking orders at assistants or making dramatic pronouncements about pink.But she is equally passionate, a wild haired dreamer who thinks that fashion should be transporting, provocative and even intellectual, who bemoans the dominance of celebrities and digital hocus pocus in fashion photography and who isn't afraid to take on Wintour.The book is a window into how fashion has changed from a small, niche business into a global pop culture medium. It chronicles Coddington's 50 years in the industry, first as a model, then as a fashion editor for British Vogue and finally as creative director for American Vogue, with lots of juicy anecdotes about designers, photographers, celebrities and models.She compares the fashion world then and now and offers clues into her relationship with Wintour. She's also open about her private life, including details about failed marriages, the tragic death of her sister Rosemary and her 30 year romance with French hairstylist Didier Malige. She tells colorful stories behind many of the fashion shoots she has styled, but I do wish she had offered more insight into her role in the creative process.Coddington begins by painting a picture of her upbringing as romantic as any photo shoot. For her first 18 years, her home was the Trearddur Bay Hotel on the island of Anglesey off the coast of North Wales. "Although it was bleak, I saw beauty in the bleakness." When she wasn't outdoors, she amused herself by looking at picture books, reading fairy tales and, yes, studying the pages of Vogue magazine. As a teen, she went to a convent school and has vivid memories of the nuns roller skating on the rooftop, "flapping about surreally in their robes like crows on wheels."At 18, she moved to London to attend a modeling course advertised in Vogue. The fashion world was much different in 1959. Coddington had to learn how to apply her own makeup and style her own hair, because makeup artists and hairdressers specializing in photo shoots were nonexistent. A meeting with photographer Norman Parkinson led to her first modeling job running naked through the woods for an arty fashion catalog.Coddington became an overnight success. "I was a character, rather than a pretty model, and I suppose that's exactly what I look for in the girls I now select to put in American Vogue the ones who are quirky looking."She earned the nickname "The Cod" (to Jean Shrimpton's "The Shrimp"), danced the twist on Mary Quant's catwalk and became a muse to Vidal Sassoon, who created his famous five point cut on Coddington. Her modeling career was derailed for two years by a car accident, which scarred her left eyelid. But eventually things picked up again, and she settled into life in 1960s swinging London and Paris, hanging out with a fast crowd that included Michael Caine, Jane Birkin, the Beatles and the Rolling Stones.Her fashion editing career coincided with the beginning of her relationship with Michael Chow and the opening of his glamorous restaurant Mr. Chow, which attracted a starry crowd. "Naturally, we were forever being photographed at home, draped among our symbols of 'with it ness' as one of London's most happening couples; him, the cool young restaurateur, nonchalantly swinging in a hammock hung from the minstrel's gallery and me, the sophisticated style maker, perkily sitting cross legged atop a giant pop art version of a Campbell's soup can."At the height of the bohemian 1970s, she dyed her hair with henna and permed it (it would stay the same for much of the next 40 years), dressed almost exclusively in Yves Saint Laurent, had a fling with a Vietnamese photographer and spent her evenings at Club Sept in Paris. Coddington worked with the who's who of fashion. She shot Anjelica Huston with photographer David Bailey and Pat Cleveland with Helmut Newton.When Bea Miller, who had edited British Vogue for 22 years, retired, Coddington interviewed for the job but says she knew deep down she wasn't suited for it and thought that Wintour, then the creative director of American Vogue, should get it.Wintour did get it. Two days into her editorship, she invited Coddington to a screening of the racy film "Betty Blue." The two sat in dead silence through the opening sequence, a vivid five minute sex scene."Anna was rigid and unmoving. No sign of any emotion at all," Coddington writes. "I then realized how much significance Anna places on willpower trumping feelings."In 1988, when Wintour was appointed editor in chief at American Vogue, Coddington asked to join her. Coddington's narrative style fashion features and travelogues, a sampling of which appear in the book, became the heart and soul of the magazine, even as its pages became increasingly taken over by celebrities. Through her visual canvases, she interpreted the New Romantic period, grunge and the South Beach blinged out 1990s, and persuaded superstar designers Tom Ford, Marc Jacobs and others to play roles in a shoot based on "Alice in Wonderland."She sums up her creative process this way: "For me, one of the most important aspects of my work is to give people something to dream about, just as I used to dream all those years ago as a child looking at beautiful photographs."The book ends with a chapter on then and now. "Fashion has changed so much in my lifetime," Coddington writes. "Today, I find myself at the collections, asking, 'Who are all these people?' Sometimes I think I'm the last remaining person who comes to the shows for the pleasure of seeing the clothes."At 71, she seldom wears makeup and doesn't socialize much. But her attempt in the last 100 pages to distance herself from the term "fashionista" is a bit of a stretch. Clearly, Coddington has led a most charmed life. Otherwise, we wouldn't be reading about it.We provide this community forum for readers to exchange ideas and opinions on the news of the day. Passionate views, pointed criticism and critical thinking are welcome. Comments can only be submitted by registered users. By posting comments on our site, you are agreeing to the following terms:

投稿者 by: Navy Red White New England Patriots Jermaine Cunningham 96 S M L XL XXL 3X 4X 5X at 2014年1月16日 09:22

a memoir of fashion dreamer's life in vogue

投稿者 by: Mens Womens Youth nike alternate Green Black White Philadelphia Eagles Evan Mathis 69 S M L XL XXL 3 at 2014年1月16日 09:23

Lady Griz hand Selvig 800th career win with 68 61 victory over PortlandGriz up to fifth in TSN poll, highest ranking of seasonBig Sky honors Sac State QB SafronNorth Dakota football coach firedSince 1897, the Cat Griz rivalry has captivated the stateFamily health: Prepare yourself and your vehicle for winter drivingFitness calendarBirths for Tuesday, November 19Angler with 4th place total takes Fall Mack Days fishing tournament titleWestern Montana hunters get help from fresh snow, rutIf the name Grace Coddington is familiar, you've probably seen the 2009 documentary film "The September Issue" about Vogue magazine's Editor in Chief Anna Wintour, the most feared and revered woman in fashion. Now Coddington, the longtime creative director of Vogue, has her own star vehicle, an engaging memoir titled "Grace," co written with Michael Roberts. For anyone with a passing interest in the fashion industry, it's worth a read for the name dropping alone.As became clear in the film, which chronicled the magazine's staff as they put together the 4 pound September 2007 issue, Coddington is not the Anna Wintour or Diana Vreeland type. You won't hear her barking orders at assistants or making dramatic pronouncements about pink.But she is equally passionate, a wild haired dreamer who thinks that fashion should be transporting, provocative and even intellectual, who bemoans the dominance of celebrities and digital hocus pocus in fashion photography and who isn't afraid to take on Wintour.The book is a window into how fashion has changed from a small, niche business into a global pop culture medium. It chronicles Coddington's 50 years in the industry, first as a model, then as a fashion editor for British Vogue and finally as creative director for American Vogue, with lots of juicy anecdotes about designers, photographers, celebrities and models.She compares the fashion world then and now and offers clues into her relationship with Wintour. She's also open about her private life, including details about failed marriages, the tragic death of her sister Rosemary and her 30 year romance with French hairstylist Didier Malige. She tells colorful stories behind many of the fashion shoots she has styled, but I do wish she had offered more insight into her role in the creative process.Coddington begins by painting a picture of her upbringing as romantic as any photo shoot. For her first 18 years, her home was the Trearddur Bay Hotel on the island of Anglesey off the coast of North Wales. "Although it was bleak, I saw beauty in the bleakness." When she wasn't outdoors, she amused herself by looking at picture books, reading fairy tales and, yes, studying the pages of Vogue magazine. As a teen, she went to a convent school and has vivid memories of the nuns roller skating on the rooftop, "flapping about surreally in their robes like crows on wheels."At 18, she moved to London to attend a modeling course advertised in Vogue. The fashion world was much different in 1959. Coddington had to learn how to apply her own makeup and style her own hair, because makeup artists and hairdressers specializing in photo shoots were nonexistent. A meeting with photographer Norman Parkinson led to her first modeling job running naked through the woods for an arty fashion catalog.Coddington became an overnight success. "I was a character, rather than a pretty model, and I suppose that's exactly what I look for in the girls I now select to put in American Vogue the ones who are quirky looking."She earned the nickname "The Cod" (to Jean Shrimpton's "The Shrimp"), danced the twist on Mary Quant's catwalk and became a muse to Vidal Sassoon, who created his famous five point cut on Coddington. Her modeling career was derailed for two years by a car accident, which scarred her left eyelid. But eventually things picked up again, and she settled into life in 1960s swinging London and Paris, hanging out with a fast crowd that included Michael Caine, Jane Birkin, the Beatles and the Rolling Stones.Her fashion editing career coincided with the beginning of her relationship with Michael Chow and the opening of his glamorous restaurant Mr. Chow, which attracted a starry crowd. "Naturally, we were forever being photographed at home, draped among our symbols of 'with it ness' as one of London's most happening couples; him, the cool young restaurateur, nonchalantly swinging in a hammock hung from the minstrel's gallery and me, the sophisticated style maker, perkily sitting cross legged atop a giant pop art version of a Campbell's soup can."At the height of the bohemian 1970s, she dyed her hair with henna and permed it (it would stay the same for much of the next 40 years), dressed almost exclusively in Yves Saint Laurent, had a fling with a Vietnamese photographer and spent her evenings at Club Sept in Paris. Coddington worked with the who's who of fashion. She shot Anjelica Huston with photographer David Bailey and Pat Cleveland with Helmut Newton.When Bea Miller, who had edited British Vogue for 22 years, retired, Coddington interviewed for the job but says she knew deep down she wasn't suited for it and thought that Wintour, then the creative director of American Vogue, should get it.Wintour did get it. Two days into her editorship, she invited Coddington to a screening of the racy film "Betty Blue." The two sat in dead silence through the opening sequence, a vivid five minute sex scene."Anna was rigid and unmoving. No sign of any emotion at all," Coddington writes. "I then realized how much significance Anna places on willpower trumping feelings."In 1988, when Wintour was appointed editor in chief at American Vogue, Coddington asked to join her. Coddington's narrative style fashion features and travelogues, a sampling of which appear in the book, became the heart and soul of the magazine, even as its pages became increasingly taken over by celebrities. Through her visual canvases, she interpreted the New Romantic period, grunge and the South Beach blinged out 1990s, and persuaded superstar designers Tom Ford, Marc Jacobs and others to play roles in a shoot based on "Alice in Wonderland."She sums up her creative process this way: "For me, one of the most important aspects of my work is to give people something to dream about, just as I used to dream all those years ago as a child looking at beautiful photographs."The book ends with a chapter on then and now. "Fashion has changed so much in my lifetime," Coddington writes. "Today, I find myself at the collections, asking, 'Who are all these people?' Sometimes I think I'm the last remaining person who comes to the shows for the pleasure of seeing the clothes."At 71, she seldom wears makeup and doesn't socialize much. But her attempt in the last 100 pages to distance herself from the term "fashionista" is a bit of a stretch. Clearly, Coddington has led a most charmed life. Otherwise, we wouldn't be reading about it.We provide this community forum for readers to exchange ideas and opinions on the news of the day. Passionate views, pointed criticism and critical thinking are welcome. Comments can only be submitted by registered users. By posting comments on our site, you are agreeing to the following terms:

投稿者 by: Green Navy White Green Bay Packers Marshall Newhouse 74 S M L XL XXL 3X 4X 5X at 2014年1月16日 09:23

a memoir of fashion dreamer's life in vogue

投稿者 by: VERSION GRENADINE Strass christian louboutin artifice [heel_height] FW13 at 2014年1月16日 09:24

Lady Griz hand Selvig 800th career win with 68 61 victory over PortlandGriz up to fifth in TSN poll, highest ranking of seasonBig Sky honors Sac State QB SafronNorth Dakota football coach firedSince 1897, the Cat Griz rivalry has captivated the stateFamily health: Prepare yourself and your vehicle for winter drivingFitness calendarBirths for Tuesday, November 19Angler with 4th place total takes Fall Mack Days fishing tournament titleWestern Montana hunters get help from fresh snow, rutIf the name Grace Coddington is familiar, you've probably seen the 2009 documentary film "The September Issue" about Vogue magazine's Editor in Chief Anna Wintour, the most feared and revered woman in fashion. Now Coddington, the longtime creative director of Vogue, has her own star vehicle, an engaging memoir titled "Grace," co written with Michael Roberts. For anyone with a passing interest in the fashion industry, it's worth a read for the name dropping alone.As became clear in the film, which chronicled the magazine's staff as they put together the 4 pound September 2007 issue, Coddington is not the Anna Wintour or Diana Vreeland type. You won't hear her barking orders at assistants or making dramatic pronouncements about pink.But she is equally passionate, a wild haired dreamer who thinks that fashion should be transporting, provocative and even intellectual, who bemoans the dominance of celebrities and digital hocus pocus in fashion photography and who isn't afraid to take on Wintour.The book is a window into how fashion has changed from a small, niche business into a global pop culture medium. It chronicles Coddington's 50 years in the industry, first as a model, then as a fashion editor for British Vogue and finally as creative director for American Vogue, with lots of juicy anecdotes about designers, photographers, celebrities and models.She compares the fashion world then and now and offers clues into her relationship with Wintour. She's also open about her private life, including details about failed marriages, the tragic death of her sister Rosemary and her 30 year romance with French hairstylist Didier Malige. She tells colorful stories behind many of the fashion shoots she has styled, but I do wish she had offered more insight into her role in the creative process.Coddington begins by painting a picture of her upbringing as romantic as any photo shoot. For her first 18 years, her home was the Trearddur Bay Hotel on the island of Anglesey off the coast of North Wales. "Although it was bleak, I saw beauty in the bleakness." When she wasn't outdoors, she amused herself by looking at picture books, reading fairy tales and, yes, studying the pages of Vogue magazine. As a teen, she went to a convent school and has vivid memories of the nuns roller skating on the rooftop, "flapping about surreally in their robes like crows on wheels."At 18, she moved to London to attend a modeling course advertised in Vogue. The fashion world was much different in 1959. Coddington had to learn how to apply her own makeup and style her own hair, because makeup artists and hairdressers specializing in photo shoots were nonexistent. A meeting with photographer Norman Parkinson led to her first modeling job running naked through the woods for an arty fashion catalog.Coddington became an overnight success. "I was a character, rather than a pretty model, and I suppose that's exactly what I look for in the girls I now select to put in American Vogue the ones who are quirky looking."She earned the nickname "The Cod" (to Jean Shrimpton's "The Shrimp"), danced the twist on Mary Quant's catwalk and became a muse to Vidal Sassoon, who created his famous five point cut on Coddington. Her modeling career was derailed for two years by a car accident, which scarred her left eyelid. But eventually things picked up again, and she settled into life in 1960s swinging London and Paris, hanging out with a fast crowd that included Michael Caine, Jane Birkin, the Beatles and the Rolling Stones.Her fashion editing career coincided with the beginning of her relationship with Michael Chow and the opening of his glamorous restaurant Mr. Chow, which attracted a starry crowd. "Naturally, we were forever being photographed at home, draped among our symbols of 'with it ness' as one of London's most happening couples; him, the cool young restaurateur, nonchalantly swinging in a hammock hung from the minstrel's gallery and me, the sophisticated style maker, perkily sitting cross legged atop a giant pop art version of a Campbell's soup can."At the height of the bohemian 1970s, she dyed her hair with henna and permed it (it would stay the same for much of the next 40 years), dressed almost exclusively in Yves Saint Laurent, had a fling with a Vietnamese photographer and spent her evenings at Club Sept in Paris. Coddington worked with the who's who of fashion. She shot Anjelica Huston with photographer David Bailey and Pat Cleveland with Helmut Newton.When Bea Miller, who had edited British Vogue for 22 years, retired, Coddington interviewed for the job but says she knew deep down she wasn't suited for it and thought that Wintour, then the creative director of American Vogue, should get it.Wintour did get it. Two days into her editorship, she invited Coddington to a screening of the racy film "Betty Blue." The two sat in dead silence through the opening sequence, a vivid five minute sex scene."Anna was rigid and unmoving. No sign of any emotion at all," Coddington writes. "I then realized how much significance Anna places on willpower trumping feelings."In 1988, when Wintour was appointed editor in chief at American Vogue, Coddington asked to join her. Coddington's narrative style fashion features and travelogues, a sampling of which appear in the book, became the heart and soul of the magazine, even as its pages became increasingly taken over by celebrities. Through her visual canvases, she interpreted the New Romantic period, grunge and the South Beach blinged out 1990s, and persuaded superstar designers Tom Ford, Marc Jacobs and others to play roles in a shoot based on "Alice in Wonderland."She sums up her creative process this way: "For me, one of the most important aspects of my work is to give people something to dream about, just as I used to dream all those years ago as a child looking at beautiful photographs."The book ends with a chapter on then and now. "Fashion has changed so much in my lifetime," Coddington writes. "Today, I find myself at the collections, asking, 'Who are all these people?' Sometimes I think I'm the last remaining person who comes to the shows for the pleasure of seeing the clothes."At 71, she seldom wears makeup and doesn't socialize much. But her attempt in the last 100 pages to distance herself from the term "fashionista" is a bit of a stretch. Clearly, Coddington has led a most charmed life. Otherwise, we wouldn't be reading about it.We provide this community forum for readers to exchange ideas and opinions on the news of the day. Passionate views, pointed criticism and critical thinking are welcome. Comments can only be submitted by registered users. By posting comments on our site, you are agreeing to the following terms:

投稿者 by: Mens Womens Youth nike alternate Green Black White Pittsburgh Steelers Mike Webster 52 S M L XL XXL at 2014年1月16日 09:25

Lady Griz hand Selvig 800th career win with 68 61 victory over PortlandGriz up to fifth in TSN poll, highest ranking of seasonBig Sky honors Sac State QB SafronNorth Dakota football coach firedSince 1897, the Cat Griz rivalry has captivated the stateFamily health: Prepare yourself and your vehicle for winter drivingFitness calendarBirths for Tuesday, November 19Angler with 4th place total takes Fall Mack Days fishing tournament titleWestern Montana hunters get help from fresh snow, rutIf the name Grace Coddington is familiar, you've probably seen the 2009 documentary film "The September Issue" about Vogue magazine's Editor in Chief Anna Wintour, the most feared and revered woman in fashion. Now Coddington, the longtime creative director of Vogue, has her own star vehicle, an engaging memoir titled "Grace," co written with Michael Roberts. For anyone with a passing interest in the fashion industry, it's worth a read for the name dropping alone.As became clear in the film, which chronicled the magazine's staff as they put together the 4 pound September 2007 issue, Coddington is not the Anna Wintour or Diana Vreeland type. You won't hear her barking orders at assistants or making dramatic pronouncements about pink.But she is equally passionate, a wild haired dreamer who thinks that fashion should be transporting, provocative and even intellectual, who bemoans the dominance of celebrities and digital hocus pocus in fashion photography and who isn't afraid to take on Wintour.The book is a window into how fashion has changed from a small, niche business into a global pop culture medium. It chronicles Coddington's 50 years in the industry, first as a model, then as a fashion editor for British Vogue and finally as creative director for American Vogue, with lots of juicy anecdotes about designers, photographers, celebrities and models.She compares the fashion world then and now and offers clues into her relationship with Wintour. She's also open about her private life, including details about failed marriages, the tragic death of her sister Rosemary and her 30 year romance with French hairstylist Didier Malige. She tells colorful stories behind many of the fashion shoots she has styled, but I do wish she had offered more insight into her role in the creative process.Coddington begins by painting a picture of her upbringing as romantic as any photo shoot. For her first 18 years, her home was the Trearddur Bay Hotel on the island of Anglesey off the coast of North Wales. "Although it was bleak, I saw beauty in the bleakness." When she wasn't outdoors, she amused herself by looking at picture books, reading fairy tales and, yes, studying the pages of Vogue magazine. As a teen, she went to a convent school and has vivid memories of the nuns roller skating on the rooftop, "flapping about surreally in their robes like crows on wheels."At 18, she moved to London to attend a modeling course advertised in Vogue. The fashion world was much different in 1959. Coddington had to learn how to apply her own makeup and style her own hair, because makeup artists and hairdressers specializing in photo shoots were nonexistent. A meeting with photographer Norman Parkinson led to her first modeling job running naked through the woods for an arty fashion catalog.Coddington became an overnight success. "I was a character, rather than a pretty model, and I suppose that's exactly what I look for in the girls I now select to put in American Vogue the ones who are quirky looking."She earned the nickname "The Cod" (to Jean Shrimpton's "The Shrimp"), danced the twist on Mary Quant's catwalk and became a muse to Vidal Sassoon, who created his famous five point cut on Coddington. Her modeling career was derailed for two years by a car accident, which scarred her left eyelid. But eventually things picked up again, and she settled into life in 1960s swinging London and Paris, hanging out with a fast crowd that included Michael Caine, Jane Birkin, the Beatles and the Rolling Stones.Her fashion editing career coincided with the beginning of her relationship with Michael Chow and the opening of his glamorous restaurant Mr. Chow, which attracted a starry crowd. "Naturally, we were forever being photographed at home, draped among our symbols of 'with it ness' as one of London's most happening couples; him, the cool young restaurateur, nonchalantly swinging in a hammock hung from the minstrel's gallery and me, the sophisticated style maker, perkily sitting cross legged atop a giant pop art version of a Campbell's soup can."At the height of the bohemian 1970s, she dyed her hair with henna and permed it (it would stay the same for much of the next 40 years), dressed almost exclusively in Yves Saint Laurent, had a fling with a Vietnamese photographer and spent her evenings at Club Sept in Paris. Coddington worked with the who's who of fashion. She shot Anjelica Huston with photographer David Bailey and Pat Cleveland with Helmut Newton.When Bea Miller, who had edited British Vogue for 22 years, retired, Coddington interviewed for the job but says she knew deep down she wasn't suited for it and thought that Wintour, then the creative director of American Vogue, should get it.Wintour did get it. Two days into her editorship, she invited Coddington to a screening of the racy film "Betty Blue." The two sat in dead silence through the opening sequence, a vivid five minute sex scene."Anna was rigid and unmoving. No sign of any emotion at all," Coddington writes. "I then realized how much significance Anna places on willpower trumping feelings."In 1988, when Wintour was appointed editor in chief at American Vogue, Coddington asked to join her. Coddington's narrative style fashion features and travelogues, a sampling of which appear in the book, became the heart and soul of the magazine, even as its pages became increasingly taken over by celebrities. Through her visual canvases, she interpreted the New Romantic period, grunge and the South Beach blinged out 1990s, and persuaded superstar designers Tom Ford, Marc Jacobs and others to play roles in a shoot based on "Alice in Wonderland."She sums up her creative process this way: "For me, one of the most important aspects of my work is to give people something to dream about, just as I used to dream all those years ago as a child looking at beautiful photographs."The book ends with a chapter on then and now. "Fashion has changed so much in my lifetime," Coddington writes. "Today, I find myself at the collections, asking, 'Who are all these people?' Sometimes I think I'm the last remaining person who comes to the shows for the pleasure of seeing the clothes."At 71, she seldom wears makeup and doesn't socialize much. But her attempt in the last 100 pages to distance herself from the term "fashionista" is a bit of a stretch. Clearly, Coddington has led a most charmed life. Otherwise, we wouldn't be reading about it.We provide this community forum for readers to exchange ideas and opinions on the news of the day. Passionate views, pointed criticism and critical thinking are welcome. Comments can only be submitted by registered users. By posting comments on our site, you are agreeing to the following terms:

投稿者 by: Black Silver White Oakland Raiders Rod Streater 80 S M L XL XXL 3X 4X 5X at 2014年1月16日 09:25

Lady Griz hand Selvig 800th career win with 68 61 victory over PortlandGriz up to fifth in TSN poll, highest ranking of seasonBig Sky honors Sac State QB SafronNorth Dakota football coach firedSince 1897, the Cat Griz rivalry has captivated the stateFamily health: Prepare yourself and your vehicle for winter drivingFitness calendarBirths for Tuesday, November 19Angler with 4th place total takes Fall Mack Days fishing tournament titleWestern Montana hunters get help from fresh snow, rutIf the name Grace Coddington is familiar, you've probably seen the 2009 documentary film "The September Issue" about Vogue magazine's Editor in Chief Anna Wintour, the most feared and revered woman in fashion. Now Coddington, the longtime creative director of Vogue, has her own star vehicle, an engaging memoir titled "Grace," co written with Michael Roberts. For anyone with a passing interest in the fashion industry, it's worth a read for the name dropping alone.As became clear in the film, which chronicled the magazine's staff as they put together the 4 pound September 2007 issue, Coddington is not the Anna Wintour or Diana Vreeland type. You won't hear her barking orders at assistants or making dramatic pronouncements about pink.But she is equally passionate, a wild haired dreamer who thinks that fashion should be transporting, provocative and even intellectual, who bemoans the dominance of celebrities and digital hocus pocus in fashion photography and who isn't afraid to take on Wintour.The book is a window into how fashion has changed from a small, niche business into a global pop culture medium. It chronicles Coddington's 50 years in the industry, first as a model, then as a fashion editor for British Vogue and finally as creative director for American Vogue, with lots of juicy anecdotes about designers, photographers, celebrities and models.She compares the fashion world then and now and offers clues into her relationship with Wintour. She's also open about her private life, including details about failed marriages, the tragic death of her sister Rosemary and her 30 year romance with French hairstylist Didier Malige. She tells colorful stories behind many of the fashion shoots she has styled, but I do wish she had offered more insight into her role in the creative process.Coddington begins by painting a picture of her upbringing as romantic as any photo shoot. For her first 18 years, her home was the Trearddur Bay Hotel on the island of Anglesey off the coast of North Wales. "Although it was bleak, I saw beauty in the bleakness." When she wasn't outdoors, she amused herself by looking at picture books, reading fairy tales and, yes, studying the pages of Vogue magazine. As a teen, she went to a convent school and has vivid memories of the nuns roller skating on the rooftop, "flapping about surreally in their robes like crows on wheels."At 18, she moved to London to attend a modeling course advertised in Vogue. The fashion world was much different in 1959. Coddington had to learn how to apply her own makeup and style her own hair, because makeup artists and hairdressers specializing in photo shoots were nonexistent. A meeting with photographer Norman Parkinson led to her first modeling job running naked through the woods for an arty fashion catalog.Coddington became an overnight success. "I was a character, rather than a pretty model, and I suppose that's exactly what I look for in the girls I now select to put in American Vogue the ones who are quirky looking."She earned the nickname "The Cod" (to Jean Shrimpton's "The Shrimp"), danced the twist on Mary Quant's catwalk and became a muse to Vidal Sassoon, who created his famous five point cut on Coddington. Her modeling career was derailed for two years by a car accident, which scarred her left eyelid. But eventually things picked up again, and she settled into life in 1960s swinging London and Paris, hanging out with a fast crowd that included Michael Caine, Jane Birkin, the Beatles and the Rolling Stones.Her fashion editing career coincided with the beginning of her relationship with Michael Chow and the opening of his glamorous restaurant Mr. Chow, which attracted a starry crowd. "Naturally, we were forever being photographed at home, draped among our symbols of 'with it ness' as one of London's most happening couples; him, the cool young restaurateur, nonchalantly swinging in a hammock hung from the minstrel's gallery and me, the sophisticated style maker, perkily sitting cross legged atop a giant pop art version of a Campbell's soup can."At the height of the bohemian 1970s, she dyed her hair with henna and permed it (it would stay the same for much of the next 40 years), dressed almost exclusively in Yves Saint Laurent, had a fling with a Vietnamese photographer and spent her evenings at Club Sept in Paris. Coddington worked with the who's who of fashion. She shot Anjelica Huston with photographer David Bailey and Pat Cleveland with Helmut Newton.When Bea Miller, who had edited British Vogue for 22 years, retired, Coddington interviewed for the job but says she knew deep down she wasn't suited for it and thought that Wintour, then the creative director of American Vogue, should get it.Wintour did get it. Two days into her editorship, she invited Coddington to a screening of the racy film "Betty Blue." The two sat in dead silence through the opening sequence, a vivid five minute sex scene."Anna was rigid and unmoving. No sign of any emotion at all," Coddington writes. "I then realized how much significance Anna places on willpower trumping feelings."In 1988, when Wintour was appointed editor in chief at American Vogue, Coddington asked to join her. Coddington's narrative style fashion features and travelogues, a sampling of which appear in the book, became the heart and soul of the magazine, even as its pages became increasingly taken over by celebrities. Through her visual canvases, she interpreted the New Romantic period, grunge and the South Beach blinged out 1990s, and persuaded superstar designers Tom Ford, Marc Jacobs and others to play roles in a shoot based on "Alice in Wonderland."She sums up her creative process this way: "For me, one of the most important aspects of my work is to give people something to dream about, just as I used to dream all those years ago as a child looking at beautiful photographs."The book ends with a chapter on then and now. "Fashion has changed so much in my lifetime," Coddington writes. "Today, I find myself at the collections, asking, 'Who are all these people?' Sometimes I think I'm the last remaining person who comes to the shows for the pleasure of seeing the clothes."At 71, she seldom wears makeup and doesn't socialize much. But her attempt in the last 100 pages to distance herself from the term "fashionista" is a bit of a stretch. Clearly, Coddington has led a most charmed life. Otherwise, we wouldn't be reading about it.We provide this community forum for readers to exchange ideas and opinions on the news of the day. Passionate views, pointed criticism and critical thinking are welcome. Comments can only be submitted by registered users. By posting comments on our site, you are agreeing to the following terms:

投稿者 by: nike alternate Navy Orange White Chicago Bears Shea McClellin at 2014年1月16日 09:26

a memoir of fashion dreamer's life in vogue

投稿者 by: Craig Dahl Womens Mens Youth Jersey at 2014年1月16日 10:14

Lady Griz hand Selvig 800th career win with 68 61 victory over PortlandGriz up to fifth in TSN poll, highest ranking of seasonBig Sky honors Sac State QB SafronNorth Dakota football coach firedSince 1897, the Cat Griz rivalry has captivated the stateFamily health: Prepare yourself and your vehicle for winter drivingFitness calendarBirths for Tuesday, November 19Angler with 4th place total takes Fall Mack Days fishing tournament titleWestern Montana hunters get help from fresh snow, rutIf the name Grace Coddington is familiar, you've probably seen the 2009 documentary film "The September Issue" about Vogue magazine's Editor in Chief Anna Wintour, the most feared and revered woman in fashion. Now Coddington, the longtime creative director of Vogue, has her own star vehicle, an engaging memoir titled "Grace," co written with Michael Roberts. For anyone with a passing interest in the fashion industry, it's worth a read for the name dropping alone.As became clear in the film, which chronicled the magazine's staff as they put together the 4 pound September 2007 issue, Coddington is not the Anna Wintour or Diana Vreeland type. You won't hear her barking orders at assistants or making dramatic pronouncements about pink.But she is equally passionate, a wild haired dreamer who thinks that fashion should be transporting, provocative and even intellectual, who bemoans the dominance of celebrities and digital hocus pocus in fashion photography and who isn't afraid to take on Wintour.The book is a window into how fashion has changed from a small, niche business into a global pop culture medium. It chronicles Coddington's 50 years in the industry, first as a model, then as a fashion editor for British Vogue and finally as creative director for American Vogue, with lots of juicy anecdotes about designers, photographers, celebrities and models.She compares the fashion world then and now and offers clues into her relationship with Wintour. She's also open about her private life, including details about failed marriages, the tragic death of her sister Rosemary and her 30 year romance with French hairstylist Didier Malige. She tells colorful stories behind many of the fashion shoots she has styled, but I do wish she had offered more insight into her role in the creative process.Coddington begins by painting a picture of her upbringing as romantic as any photo shoot. For her first 18 years, her home was the Trearddur Bay Hotel on the island of Anglesey off the coast of North Wales. "Although it was bleak, I saw beauty in the bleakness." When she wasn't outdoors, she amused herself by looking at picture books, reading fairy tales and, yes, studying the pages of Vogue magazine. As a teen, she went to a convent school and has vivid memories of the nuns roller skating on the rooftop, "flapping about surreally in their robes like crows on wheels."At 18, she moved to London to attend a modeling course advertised in Vogue. The fashion world was much different in 1959. Coddington had to learn how to apply her own makeup and style her own hair, because makeup artists and hairdressers specializing in photo shoots were nonexistent. A meeting with photographer Norman Parkinson led to her first modeling job running naked through the woods for an arty fashion catalog.Coddington became an overnight success. "I was a character, rather than a pretty model, and I suppose that's exactly what I look for in the girls I now select to put in American Vogue the ones who are quirky looking."She earned the nickname "The Cod" (to Jean Shrimpton's "The Shrimp"), danced the twist on Mary Quant's catwalk and became a muse to Vidal Sassoon, who created his famous five point cut on Coddington. Her modeling career was derailed for two years by a car accident, which scarred her left eyelid. But eventually things picked up again, and she settled into life in 1960s swinging London and Paris, hanging out with a fast crowd that included Michael Caine, Jane Birkin, the Beatles and the Rolling Stones.Her fashion editing career coincided with the beginning of her relationship with Michael Chow and the opening of his glamorous restaurant Mr. Chow, which attracted a starry crowd. "Naturally, we were forever being photographed at home, draped among our symbols of 'with it ness' as one of London's most happening couples; him, the cool young restaurateur, nonchalantly swinging in a hammock hung from the minstrel's gallery and me, the sophisticated style maker, perkily sitting cross legged atop a giant pop art version of a Campbell's soup can."At the height of the bohemian 1970s, she dyed her hair with henna and permed it (it would stay the same for much of the next 40 years), dressed almost exclusively in Yves Saint Laurent, had a fling with a Vietnamese photographer and spent her evenings at Club Sept in Paris. Coddington worked with the who's who of fashion. She shot Anjelica Huston with photographer David Bailey and Pat Cleveland with Helmut Newton.When Bea Miller, who had edited British Vogue for 22 years, retired, Coddington interviewed for the job but says she knew deep down she wasn't suited for it and thought that Wintour, then the creative director of American Vogue, should get it.Wintour did get it. Two days into her editorship, she invited Coddington to a screening of the racy film "Betty Blue." The two sat in dead silence through the opening sequence, a vivid five minute sex scene."Anna was rigid and unmoving. No sign of any emotion at all," Coddington writes. "I then realized how much significance Anna places on willpower trumping feelings."In 1988, when Wintour was appointed editor in chief at American Vogue, Coddington asked to join her. Coddington's narrative style fashion features and travelogues, a sampling of which appear in the book, became the heart and soul of the magazine, even as its pages became increasingly taken over by celebrities. Through her visual canvases, she interpreted the New Romantic period, grunge and the South Beach blinged out 1990s, and persuaded superstar designers Tom Ford, Marc Jacobs and others to play roles in a shoot based on "Alice in Wonderland."She sums up her creative process this way: "For me, one of the most important aspects of my work is to give people something to dream about, just as I used to dream all those years ago as a child looking at beautiful photographs."The book ends with a chapter on then and now. "Fashion has changed so much in my lifetime," Coddington writes. "Today, I find myself at the collections, asking, 'Who are all these people?' Sometimes I think I'm the last remaining person who comes to the shows for the pleasure of seeing the clothes."At 71, she seldom wears makeup and doesn't socialize much. But her attempt in the last 100 pages to distance herself from the term "fashionista" is a bit of a stretch. Clearly, Coddington has led a most charmed life. Otherwise, we wouldn't be reading about it.We provide this community forum for readers to exchange ideas and opinions on the news of the day. Passionate views, pointed criticism and critical thinking are welcome. Comments can only be submitted by registered users. By posting comments on our site, you are agreeing to the following terms:

投稿者 by: Cincinnati Bengals 26 Taylor Mays Jersey at 2014年1月16日 10:15

a memoir of fashion dreamer's life in vogue

投稿者 by: nike Texans authentic Duane Brown Navy Red White at 2014年1月16日 10:15

Lady Griz hand Selvig 800th career win with 68 61 victory over PortlandGriz up to fifth in TSN poll, highest ranking of seasonBig Sky honors Sac State QB SafronNorth Dakota football coach firedSince 1897, the Cat Griz rivalry has captivated the stateFamily health: Prepare yourself and your vehicle for winter drivingFitness calendarBirths for Tuesday, November 19Angler with 4th place total takes Fall Mack Days fishing tournament titleWestern Montana hunters get help from fresh snow, rutIf the name Grace Coddington is familiar, you've probably seen the 2009 documentary film "The September Issue" about Vogue magazine's Editor in Chief Anna Wintour, the most feared and revered woman in fashion. Now Coddington, the longtime creative director of Vogue, has her own star vehicle, an engaging memoir titled "Grace," co written with Michael Roberts. For anyone with a passing interest in the fashion industry, it's worth a read for the name dropping alone.As became clear in the film, which chronicled the magazine's staff as they put together the 4 pound September 2007 issue, Coddington is not the Anna Wintour or Diana Vreeland type. You won't hear her barking orders at assistants or making dramatic pronouncements about pink.But she is equally passionate, a wild haired dreamer who thinks that fashion should be transporting, provocative and even intellectual, who bemoans the dominance of celebrities and digital hocus pocus in fashion photography and who isn't afraid to take on Wintour.The book is a window into how fashion has changed from a small, niche business into a global pop culture medium. It chronicles Coddington's 50 years in the industry, first as a model, then as a fashion editor for British Vogue and finally as creative director for American Vogue, with lots of juicy anecdotes about designers, photographers, celebrities and models.She compares the fashion world then and now and offers clues into her relationship with Wintour. She's also open about her private life, including details about failed marriages, the tragic death of her sister Rosemary and her 30 year romance with French hairstylist Didier Malige. She tells colorful stories behind many of the fashion shoots she has styled, but I do wish she had offered more insight into her role in the creative process.Coddington begins by painting a picture of her upbringing as romantic as any photo shoot. For her first 18 years, her home was the Trearddur Bay Hotel on the island of Anglesey off the coast of North Wales. "Although it was bleak, I saw beauty in the bleakness." When she wasn't outdoors, she amused herself by looking at picture books, reading fairy tales and, yes, studying the pages of Vogue magazine. As a teen, she went to a convent school and has vivid memories of the nuns roller skating on the rooftop, "flapping about surreally in their robes like crows on wheels."At 18, she moved to London to attend a modeling course advertised in Vogue. The fashion world was much different in 1959. Coddington had to learn how to apply her own makeup and style her own hair, because makeup artists and hairdressers specializing in photo shoots were nonexistent. A meeting with photographer Norman Parkinson led to her first modeling job running naked through the woods for an arty fashion catalog.Coddington became an overnight success. "I was a character, rather than a pretty model, and I suppose that's exactly what I look for in the girls I now select to put in American Vogue the ones who are quirky looking."She earned the nickname "The Cod" (to Jean Shrimpton's "The Shrimp"), danced the twist on Mary Quant's catwalk and became a muse to Vidal Sassoon, who created his famous five point cut on Coddington. Her modeling career was derailed for two years by a car accident, which scarred her left eyelid. But eventually things picked up again, and she settled into life in 1960s swinging London and Paris, hanging out with a fast crowd that included Michael Caine, Jane Birkin, the Beatles and the Rolling Stones.Her fashion editing career coincided with the beginning of her relationship with Michael Chow and the opening of his glamorous restaurant Mr. Chow, which attracted a starry crowd. "Naturally, we were forever being photographed at home, draped among our symbols of 'with it ness' as one of London's most happening couples; him, the cool young restaurateur, nonchalantly swinging in a hammock hung from the minstrel's gallery and me, the sophisticated style maker, perkily sitting cross legged atop a giant pop art version of a Campbell's soup can."At the height of the bohemian 1970s, she dyed her hair with henna and permed it (it would stay the same for much of the next 40 years), dressed almost exclusively in Yves Saint Laurent, had a fling with a Vietnamese photographer and spent her evenings at Club Sept in Paris. Coddington worked with the who's who of fashion. She shot Anjelica Huston with photographer David Bailey and Pat Cleveland with Helmut Newton.When Bea Miller, who had edited British Vogue for 22 years, retired, Coddington interviewed for the job but says she knew deep down she wasn't suited for it and thought that Wintour, then the creative director of American Vogue, should get it.Wintour did get it. Two days into her editorship, she invited Coddington to a screening of the racy film "Betty Blue." The two sat in dead silence through the opening sequence, a vivid five minute sex scene."Anna was rigid and unmoving. No sign of any emotion at all," Coddington writes. "I then realized how much significance Anna places on willpower trumping feelings."In 1988, when Wintour was appointed editor in chief at American Vogue, Coddington asked to join her. Coddington's narrative style fashion features and travelogues, a sampling of which appear in the book, became the heart and soul of the magazine, even as its pages became increasingly taken over by celebrities. Through her visual canvases, she interpreted the New Romantic period, grunge and the South Beach blinged out 1990s, and persuaded superstar designers Tom Ford, Marc Jacobs and others to play roles in a shoot based on "Alice in Wonderland."She sums up her creative process this way: "For me, one of the most important aspects of my work is to give people something to dream about, just as I used to dream all those years ago as a child looking at beautiful photographs."The book ends with a chapter on then and now. "Fashion has changed so much in my lifetime," Coddington writes. "Today, I find myself at the collections, asking, 'Who are all these people?' Sometimes I think I'm the last remaining person who comes to the shows for the pleasure of seeing the clothes."At 71, she seldom wears makeup and doesn't socialize much. But her attempt in the last 100 pages to distance herself from the term "fashionista" is a bit of a stretch. Clearly, Coddington has led a most charmed life. Otherwise, we wouldn't be reading about it.We provide this community forum for readers to exchange ideas and opinions on the news of the day. Passionate views, pointed criticism and critical thinking are welcome. Comments can only be submitted by registered users. By posting comments on our site, you are agreeing to the following terms:

投稿者 by: nike Raiders authentic Jared Veldheer Black Silver White Jerseys at 2014年1月16日 10:15

Lady Griz hand Selvig 800th career win with 68 61 victory over PortlandGriz up to fifth in TSN poll, highest ranking of seasonBig Sky honors Sac State QB SafronNorth Dakota football coach firedSince 1897, the Cat Griz rivalry has captivated the stateFamily health: Prepare yourself and your vehicle for winter drivingFitness calendarBirths for Tuesday, November 19Angler with 4th place total takes Fall Mack Days fishing tournament titleWestern Montana hunters get help from fresh snow, rutIf the name Grace Coddington is familiar, you've probably seen the 2009 documentary film "The September Issue" about Vogue magazine's Editor in Chief Anna Wintour, the most feared and revered woman in fashion. Now Coddington, the longtime creative director of Vogue, has her own star vehicle, an engaging memoir titled "Grace," co written with Michael Roberts. For anyone with a passing interest in the fashion industry, it's worth a read for the name dropping alone.As became clear in the film, which chronicled the magazine's staff as they put together the 4 pound September 2007 issue, Coddington is not the Anna Wintour or Diana Vreeland type. You won't hear her barking orders at assistants or making dramatic pronouncements about pink.But she is equally passionate, a wild haired dreamer who thinks that fashion should be transporting, provocative and even intellectual, who bemoans the dominance of celebrities and digital hocus pocus in fashion photography and who isn't afraid to take on Wintour.The book is a window into how fashion has changed from a small, niche business into a global pop culture medium. It chronicles Coddington's 50 years in the industry, first as a model, then as a fashion editor for British Vogue and finally as creative director for American Vogue, with lots of juicy anecdotes about designers, photographers, celebrities and models.She compares the fashion world then and now and offers clues into her relationship with Wintour. She's also open about her private life, including details about failed marriages, the tragic death of her sister Rosemary and her 30 year romance with French hairstylist Didier Malige. She tells colorful stories behind many of the fashion shoots she has styled, but I do wish she had offered more insight into her role in the creative process.Coddington begins by painting a picture of her upbringing as romantic as any photo shoot. For her first 18 years, her home was the Trearddur Bay Hotel on the island of Anglesey off the coast of North Wales. "Although it was bleak, I saw beauty in the bleakness." When she wasn't outdoors, she amused herself by looking at picture books, reading fairy tales and, yes, studying the pages of Vogue magazine. As a teen, she went to a convent school and has vivid memories of the nuns roller skating on the rooftop, "flapping about surreally in their robes like crows on wheels."At 18, she moved to London to attend a modeling course advertised in Vogue. The fashion world was much different in 1959. Coddington had to learn how to apply her own makeup and style her own hair, because makeup artists and hairdressers specializing in photo shoots were nonexistent. A meeting with photographer Norman Parkinson led to her first modeling job running naked through the woods for an arty fashion catalog.Coddington became an overnight success. "I was a character, rather than a pretty model, and I suppose that's exactly what I look for in the girls I now select to put in American Vogue the ones who are quirky looking."She earned the nickname "The Cod" (to Jean Shrimpton's "The Shrimp"), danced the twist on Mary Quant's catwalk and became a muse to Vidal Sassoon, who created his famous five point cut on Coddington. Her modeling career was derailed for two years by a car accident, which scarred her left eyelid. But eventually things picked up again, and she settled into life in 1960s swinging London and Paris, hanging out with a fast crowd that included Michael Caine, Jane Birkin, the Beatles and the Rolling Stones.Her fashion editing career coincided with the beginning of her relationship with Michael Chow and the opening of his glamorous restaurant Mr. Chow, which attracted a starry crowd. "Naturally, we were forever being photographed at home, draped among our symbols of 'with it ness' as one of London's most happening couples; him, the cool young restaurateur, nonchalantly swinging in a hammock hung from the minstrel's gallery and me, the sophisticated style maker, perkily sitting cross legged atop a giant pop art version of a Campbell's soup can."At the height of the bohemian 1970s, she dyed her hair with henna and permed it (it would stay the same for much of the next 40 years), dressed almost exclusively in Yves Saint Laurent, had a fling with a Vietnamese photographer and spent her evenings at Club Sept in Paris. Coddington worked with the who's who of fashion. She shot Anjelica Huston with photographer David Bailey and Pat Cleveland with Helmut Newton.When Bea Miller, who had edited British Vogue for 22 years, retired, Coddington interviewed for the job but says she knew deep down she wasn't suited for it and thought that Wintour, then the creative director of American Vogue, should get it.Wintour did get it. Two days into her editorship, she invited Coddington to a screening of the racy film "Betty Blue." The two sat in dead silence through the opening sequence, a vivid five minute sex scene."Anna was rigid and unmoving. No sign of any emotion at all," Coddington writes. "I then realized how much significance Anna places on willpower trumping feelings."In 1988, when Wintour was appointed editor in chief at American Vogue, Coddington asked to join her. Coddington's narrative style fashion features and travelogues, a sampling of which appear in the book, became the heart and soul of the magazine, even as its pages became increasingly taken over by celebrities. Through her visual canvases, she interpreted the New Romantic period, grunge and the South Beach blinged out 1990s, and persuaded superstar designers Tom Ford, Marc Jacobs and others to play roles in a shoot based on "Alice in Wonderland."She sums up her creative process this way: "For me, one of the most important aspects of my work is to give people something to dream about, just as I used to dream all those years ago as a child looking at beautiful photographs."The book ends with a chapter on then and now. "Fashion has changed so much in my lifetime," Coddington writes. "Today, I find myself at the collections, asking, 'Who are all these people?' Sometimes I think I'm the last remaining person who comes to the shows for the pleasure of seeing the clothes."At 71, she seldom wears makeup and doesn't socialize much. But her attempt in the last 100 pages to distance herself from the term "fashionista" is a bit of a stretch. Clearly, Coddington has led a most charmed life. Otherwise, we wouldn't be reading about it.We provide this community forum for readers to exchange ideas and opinions on the news of the day. Passionate views, pointed criticism and critical thinking are welcome. Comments can only be submitted by registered users. By posting comments on our site, you are agreeing to the following terms:

投稿者 by: Casey Matthews Green Black White Jersey Eagles elite limited game Jerseys S M L XL XXL 3X 4X 5X at 2014年1月16日 10:16

Lady Griz hand Selvig 800th career win with 68 61 victory over PortlandGriz up to fifth in TSN poll, highest ranking of seasonBig Sky honors Sac State QB SafronNorth Dakota football coach firedSince 1897, the Cat Griz rivalry has captivated the stateFamily health: Prepare yourself and your vehicle for winter drivingFitness calendarBirths for Tuesday, November 19Angler with 4th place total takes Fall Mack Days fishing tournament titleWestern Montana hunters get help from fresh snow, rutIf the name Grace Coddington is familiar, you've probably seen the 2009 documentary film "The September Issue" about Vogue magazine's Editor in Chief Anna Wintour, the most feared and revered woman in fashion. Now Coddington, the longtime creative director of Vogue, has her own star vehicle, an engaging memoir titled "Grace," co written with Michael Roberts. For anyone with a passing interest in the fashion industry, it's worth a read for the name dropping alone.As became clear in the film, which chronicled the magazine's staff as they put together the 4 pound September 2007 issue, Coddington is not the Anna Wintour or Diana Vreeland type. You won't hear her barking orders at assistants or making dramatic pronouncements about pink.But she is equally passionate, a wild haired dreamer who thinks that fashion should be transporting, provocative and even intellectual, who bemoans the dominance of celebrities and digital hocus pocus in fashion photography and who isn't afraid to take on Wintour.The book is a window into how fashion has changed from a small, niche business into a global pop culture medium. It chronicles Coddington's 50 years in the industry, first as a model, then as a fashion editor for British Vogue and finally as creative director for American Vogue, with lots of juicy anecdotes about designers, photographers, celebrities and models.She compares the fashion world then and now and offers clues into her relationship with Wintour. She's also open about her private life, including details about failed marriages, the tragic death of her sister Rosemary and her 30 year romance with French hairstylist Didier Malige. She tells colorful stories behind many of the fashion shoots she has styled, but I do wish she had offered more insight into her role in the creative process.Coddington begins by painting a picture of her upbringing as romantic as any photo shoot. For her first 18 years, her home was the Trearddur Bay Hotel on the island of Anglesey off the coast of North Wales. "Although it was bleak, I saw beauty in the bleakness." When she wasn't outdoors, she amused herself by looking at picture books, reading fairy tales and, yes, studying the pages of Vogue magazine. As a teen, she went to a convent school and has vivid memories of the nuns roller skating on the rooftop, "flapping about surreally in their robes like crows on wheels."At 18, she moved to London to attend a modeling course advertised in Vogue. The fashion world was much different in 1959. Coddington had to learn how to apply her own makeup and style her own hair, because makeup artists and hairdressers specializing in photo shoots were nonexistent. A meeting with photographer Norman Parkinson led to her first modeling job running naked through the woods for an arty fashion catalog.Coddington became an overnight success. "I was a character, rather than a pretty model, and I suppose that's exactly what I look for in the girls I now select to put in American Vogue the ones who are quirky looking."She earned the nickname "The Cod" (to Jean Shrimpton's "The Shrimp"), danced the twist on Mary Quant's catwalk and became a muse to Vidal Sassoon, who created his famous five point cut on Coddington. Her modeling career was derailed for two years by a car accident, which scarred her left eyelid. But eventually things picked up again, and she settled into life in 1960s swinging London and Paris, hanging out with a fast crowd that included Michael Caine, Jane Birkin, the Beatles and the Rolling Stones.Her fashion editing career coincided with the beginning of her relationship with Michael Chow and the opening of his glamorous restaurant Mr. Chow, which attracted a starry crowd. "Naturally, we were forever being photographed at home, draped among our symbols of 'with it ness' as one of London's most happening couples; him, the cool young restaurateur, nonchalantly swinging in a hammock hung from the minstrel's gallery and me, the sophisticated style maker, perkily sitting cross legged atop a giant pop art version of a Campbell's soup can."At the height of the bohemian 1970s, she dyed her hair with henna and permed it (it would stay the same for much of the next 40 years), dressed almost exclusively in Yves Saint Laurent, had a fling with a Vietnamese photographer and spent her evenings at Club Sept in Paris. Coddington worked with the who's who of fashion. She shot Anjelica Huston with photographer David Bailey and Pat Cleveland with Helmut Newton.When Bea Miller, who had edited British Vogue for 22 years, retired, Coddington interviewed for the job but says she knew deep down she wasn't suited for it and thought that Wintour, then the creative director of American Vogue, should get it.Wintour did get it. Two days into her editorship, she invited Coddington to a screening of the racy film "Betty Blue." The two sat in dead silence through the opening sequence, a vivid five minute sex scene."Anna was rigid and unmoving. No sign of any emotion at all," Coddington writes. "I then realized how much significance Anna places on willpower trumping feelings."In 1988, when Wintour was appointed editor in chief at American Vogue, Coddington asked to join her. Coddington's narrative style fashion features and travelogues, a sampling of which appear in the book, became the heart and soul of the magazine, even as its pages became increasingly taken over by celebrities. Through her visual canvases, she interpreted the New Romantic period, grunge and the South Beach blinged out 1990s, and persuaded superstar designers Tom Ford, Marc Jacobs and others to play roles in a shoot based on "Alice in Wonderland."She sums up her creative process this way: "For me, one of the most important aspects of my work is to give people something to dream about, just as I used to dream all those years ago as a child looking at beautiful photographs."The book ends with a chapter on then and now. "Fashion has changed so much in my lifetime," Coddington writes. "Today, I find myself at the collections, asking, 'Who are all these people?' Sometimes I think I'm the last remaining person who comes to the shows for the pleasure of seeing the clothes."At 71, she seldom wears makeup and doesn't socialize much. But her attempt in the last 100 pages to distance herself from the term "fashionista" is a bit of a stretch. Clearly, Coddington has led a most charmed life. Otherwise, we wouldn't be reading about it.We provide this community forum for readers to exchange ideas and opinions on the news of the day. Passionate views, pointed criticism and critical thinking are welcome. Comments can only be submitted by registered users. By posting comments on our site, you are agreeing to the following terms:

投稿者 by: Womens Mens Youth Signed Jersey Size S M L XL XXL 3X 4X 5X at 2014年1月16日 10:16

Lady Griz hand Selvig 800th career win with 68 61 victory over PortlandGriz up to fifth in TSN poll, highest ranking of seasonBig Sky honors Sac State QB SafronNorth Dakota football coach firedSince 1897, the Cat Griz rivalry has captivated the stateFamily health: Prepare yourself and your vehicle for winter drivingFitness calendarBirths for Tuesday, November 19Angler with 4th place total takes Fall Mack Days fishing tournament titleWestern Montana hunters get help from fresh snow, rutIf the name Grace Coddington is familiar, you've probably seen the 2009 documentary film "The September Issue" about Vogue magazine's Editor in Chief Anna Wintour, the most feared and revered woman in fashion. Now Coddington, the longtime creative director of Vogue, has her own star vehicle, an engaging memoir titled "Grace," co written with Michael Roberts. For anyone with a passing interest in the fashion industry, it's worth a read for the name dropping alone.As became clear in the film, which chronicled the magazine's staff as they put together the 4 pound September 2007 issue, Coddington is not the Anna Wintour or Diana Vreeland type. You won't hear her barking orders at assistants or making dramatic pronouncements about pink.But she is equally passionate, a wild haired dreamer who thinks that fashion should be transporting, provocative and even intellectual, who bemoans the dominance of celebrities and digital hocus pocus in fashion photography and who isn't afraid to take on Wintour.The book is a window into how fashion has changed from a small, niche business into a global pop culture medium. It chronicles Coddington's 50 years in the industry, first as a model, then as a fashion editor for British Vogue and finally as creative director for American Vogue, with lots of juicy anecdotes about designers, photographers, celebrities and models.She compares the fashion world then and now and offers clues into her relationship with Wintour. She's also open about her private life, including details about failed marriages, the tragic death of her sister Rosemary and her 30 year romance with French hairstylist Didier Malige. She tells colorful stories behind many of the fashion shoots she has styled, but I do wish she had offered more insight into her role in the creative process.Coddington begins by painting a picture of her upbringing as romantic as any photo shoot. For her first 18 years, her home was the Trearddur Bay Hotel on the island of Anglesey off the coast of North Wales. "Although it was bleak, I saw beauty in the bleakness." When she wasn't outdoors, she amused herself by looking at picture books, reading fairy tales and, yes, studying the pages of Vogue magazine. As a teen, she went to a convent school and has vivid memories of the nuns roller skating on the rooftop, "flapping about surreally in their robes like crows on wheels."At 18, she moved to London to attend a modeling course advertised in Vogue. The fashion world was much different in 1959. Coddington had to learn how to apply her own makeup and style her own hair, because makeup artists and hairdressers specializing in photo shoots were nonexistent. A meeting with photographer Norman Parkinson led to her first modeling job running naked through the woods for an arty fashion catalog.Coddington became an overnight success. "I was a character, rather than a pretty model, and I suppose that's exactly what I look for in the girls I now select to put in American Vogue the ones who are quirky looking."She earned the nickname "The Cod" (to Jean Shrimpton's "The Shrimp"), danced the twist on Mary Quant's catwalk and became a muse to Vidal Sassoon, who created his famous five point cut on Coddington. Her modeling career was derailed for two years by a car accident, which scarred her left eyelid. But eventually things picked up again, and she settled into life in 1960s swinging London and Paris, hanging out with a fast crowd that included Michael Caine, Jane Birkin, the Beatles and the Rolling Stones.Her fashion editing career coincided with the beginning of her relationship with Michael Chow and the opening of his glamorous restaurant Mr. Chow, which attracted a starry crowd. "Naturally, we were forever being photographed at home, draped among our symbols of 'with it ness' as one of London's most happening couples; him, the cool young restaurateur, nonchalantly swinging in a hammock hung from the minstrel's gallery and me, the sophisticated style maker, perkily sitting cross legged atop a giant pop art version of a Campbell's soup can."At the height of the bohemian 1970s, she dyed her hair with henna and permed it (it would stay the same for much of the next 40 years), dressed almost exclusively in Yves Saint Laurent, had a fling with a Vietnamese photographer and spent her evenings at Club Sept in Paris. Coddington worked with the who's who of fashion. She shot Anjelica Huston with photographer David Bailey and Pat Cleveland with Helmut Newton.When Bea Miller, who had edited British Vogue for 22 years, retired, Coddington interviewed for the job but says she knew deep down she wasn't suited for it and thought that Wintour, then the creative director of American Vogue, should get it.Wintour did get it. Two days into her editorship, she invited Coddington to a screening of the racy film "Betty Blue." The two sat in dead silence through the opening sequence, a vivid five minute sex scene."Anna was rigid and unmoving. No sign of any emotion at all," Coddington writes. "I then realized how much significance Anna places on willpower trumping feelings."In 1988, when Wintour was appointed editor in chief at American Vogue, Coddington asked to join her. Coddington's narrative style fashion features and travelogues, a sampling of which appear in the book, became the heart and soul of the magazine, even as its pages became increasingly taken over by celebrities. Through her visual canvases, she interpreted the New Romantic period, grunge and the South Beach blinged out 1990s, and persuaded superstar designers Tom Ford, Marc Jacobs and others to play roles in a shoot based on "Alice in Wonderland."She sums up her creative process this way: "For me, one of the most important aspects of my work is to give people something to dream about, just as I used to dream all those years ago as a child looking at beautiful photographs."The book ends with a chapter on then and now. "Fashion has changed so much in my lifetime," Coddington writes. "Today, I find myself at the collections, asking, 'Who are all these people?' Sometimes I think I'm the last remaining person who comes to the shows for the pleasure of seeing the clothes."At 71, she seldom wears makeup and doesn't socialize much. But her attempt in the last 100 pages to distance herself from the term "fashionista" is a bit of a stretch. Clearly, Coddington has led a most charmed life. Otherwise, we wouldn't be reading about it.We provide this community forum for readers to exchange ideas and opinions on the news of the day. Passionate views, pointed criticism and critical thinking are welcome. Comments can only be submitted by registered users. By posting comments on our site, you are agreeing to the following terms:

投稿者 by: nike Devier Posey Womens Jersey at 2014年1月16日 10:17

Lady Griz hand Selvig 800th career win with 68 61 victory over PortlandGriz up to fifth in TSN poll, highest ranking of seasonBig Sky honors Sac State QB SafronNorth Dakota football coach firedSince 1897, the Cat Griz rivalry has captivated the stateFamily health: Prepare yourself and your vehicle for winter drivingFitness calendarBirths for Tuesday, November 19Angler with 4th place total takes Fall Mack Days fishing tournament titleWestern Montana hunters get help from fresh snow, rutIf the name Grace Coddington is familiar, you've probably seen the 2009 documentary film "The September Issue" about Vogue magazine's Editor in Chief Anna Wintour, the most feared and revered woman in fashion. Now Coddington, the longtime creative director of Vogue, has her own star vehicle, an engaging memoir titled "Grace," co written with Michael Roberts. For anyone with a passing interest in the fashion industry, it's worth a read for the name dropping alone.As became clear in the film, which chronicled the magazine's staff as they put together the 4 pound September 2007 issue, Coddington is not the Anna Wintour or Diana Vreeland type. You won't hear her barking orders at assistants or making dramatic pronouncements about pink.But she is equally passionate, a wild haired dreamer who thinks that fashion should be transporting, provocative and even intellectual, who bemoans the dominance of celebrities and digital hocus pocus in fashion photography and who isn't afraid to take on Wintour.The book is a window into how fashion has changed from a small, niche business into a global pop culture medium. It chronicles Coddington's 50 years in the industry, first as a model, then as a fashion editor for British Vogue and finally as creative director for American Vogue, with lots of juicy anecdotes about designers, photographers, celebrities and models.She compares the fashion world then and now and offers clues into her relationship with Wintour. She's also open about her private life, including details about failed marriages, the tragic death of her sister Rosemary and her 30 year romance with French hairstylist Didier Malige. She tells colorful stories behind many of the fashion shoots she has styled, but I do wish she had offered more insight into her role in the creative process.Coddington begins by painting a picture of her upbringing as romantic as any photo shoot. For her first 18 years, her home was the Trearddur Bay Hotel on the island of Anglesey off the coast of North Wales. "Although it was bleak, I saw beauty in the bleakness." When she wasn't outdoors, she amused herself by looking at picture books, reading fairy tales and, yes, studying the pages of Vogue magazine. As a teen, she went to a convent school and has vivid memories of the nuns roller skating on the rooftop, "flapping about surreally in their robes like crows on wheels."At 18, she moved to London to attend a modeling course advertised in Vogue. The fashion world was much different in 1959. Coddington had to learn how to apply her own makeup and style her own hair, because makeup artists and hairdressers specializing in photo shoots were nonexistent. A meeting with photographer Norman Parkinson led to her first modeling job running naked through the woods for an arty fashion catalog.Coddington became an overnight success. "I was a character, rather than a pretty model, and I suppose that's exactly what I look for in the girls I now select to put in American Vogue the ones who are quirky looking."She earned the nickname "The Cod" (to Jean Shrimpton's "The Shrimp"), danced the twist on Mary Quant's catwalk and became a muse to Vidal Sassoon, who created his famous five point cut on Coddington. Her modeling career was derailed for two years by a car accident, which scarred her left eyelid. But eventually things picked up again, and she settled into life in 1960s swinging London and Paris, hanging out with a fast crowd that included Michael Caine, Jane Birkin, the Beatles and the Rolling Stones.Her fashion editing career coincided with the beginning of her relationship with Michael Chow and the opening of his glamorous restaurant Mr. Chow, which attracted a starry crowd. "Naturally, we were forever being photographed at home, draped among our symbols of 'with it ness' as one of London's most happening couples; him, the cool young restaurateur, nonchalantly swinging in a hammock hung from the minstrel's gallery and me, the sophisticated style maker, perkily sitting cross legged atop a giant pop art version of a Campbell's soup can."At the height of the bohemian 1970s, she dyed her hair with henna and permed it (it would stay the same for much of the next 40 years), dressed almost exclusively in Yves Saint Laurent, had a fling with a Vietnamese photographer and spent her evenings at Club Sept in Paris. Coddington worked with the who's who of fashion. She shot Anjelica Huston with photographer David Bailey and Pat Cleveland with Helmut Newton.When Bea Miller, who had edited British Vogue for 22 years, retired, Coddington interviewed for the job but says she knew deep down she wasn't suited for it and thought that Wintour, then the creative director of American Vogue, should get it.Wintour did get it. Two days into her editorship, she invited Coddington to a screening of the racy film "Betty Blue." The two sat in dead silence through the opening sequence, a vivid five minute sex scene."Anna was rigid and unmoving. No sign of any emotion at all," Coddington writes. "I then realized how much significance Anna places on willpower trumping feelings."In 1988, when Wintour was appointed editor in chief at American Vogue, Coddington asked to join her. Coddington's narrative style fashion features and travelogues, a sampling of which appear in the book, became the heart and soul of the magazine, even as its pages became increasingly taken over by celebrities. Through her visual canvases, she interpreted the New Romantic period, grunge and the South Beach blinged out 1990s, and persuaded superstar designers Tom Ford, Marc Jacobs and others to play roles in a shoot based on "Alice in Wonderland."She sums up her creative process this way: "For me, one of the most important aspects of my work is to give people something to dream about, just as I used to dream all those years ago as a child looking at beautiful photographs."The book ends with a chapter on then and now. "Fashion has changed so much in my lifetime," Coddington writes. "Today, I find myself at the collections, asking, 'Who are all these people?' Sometimes I think I'm the last remaining person who comes to the shows for the pleasure of seeing the clothes."At 71, she seldom wears makeup and doesn't socialize much. But her attempt in the last 100 pages to distance herself from the term "fashionista" is a bit of a stretch. Clearly, Coddington has led a most charmed life. Otherwise, we wouldn't be reading about it.We provide this community forum for readers to exchange ideas and opinions on the news of the day. Passionate views, pointed criticism and critical thinking are welcome. Comments can only be submitted by registered users. By posting comments on our site, you are agreeing to the following terms:

投稿者 by: Will Smith Jersey nike Saints authentic Will Smith Black White Gold Jerseys at 2014年1月16日 10:17

a memoir of fashion dreamer's life in vogue

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a memoir of fashion dreamer's life in vogue

投稿者 by: nike Joel Dreessen Womens Jersey at 2014年1月16日 10:21

Lady Griz hand Selvig 800th career win with 68 61 victory over PortlandGriz up to fifth in TSN poll, highest ranking of seasonBig Sky honors Sac State QB SafronNorth Dakota football coach firedSince 1897, the Cat Griz rivalry has captivated the stateFamily health: Prepare yourself and your vehicle for winter drivingFitness calendarBirths for Tuesday, November 19Angler with 4th place total takes Fall Mack Days fishing tournament titleWestern Montana hunters get help from fresh snow, rutIf the name Grace Coddington is familiar, you've probably seen the 2009 documentary film "The September Issue" about Vogue magazine's Editor in Chief Anna Wintour, the most feared and revered woman in fashion. Now Coddington, the longtime creative director of Vogue, has her own star vehicle, an engaging memoir titled "Grace," co written with Michael Roberts. For anyone with a passing interest in the fashion industry, it's worth a read for the name dropping alone.As became clear in the film, which chronicled the magazine's staff as they put together the 4 pound September 2007 issue, Coddington is not the Anna Wintour or Diana Vreeland type. You won't hear her barking orders at assistants or making dramatic pronouncements about pink.But she is equally passionate, a wild haired dreamer who thinks that fashion should be transporting, provocative and even intellectual, who bemoans the dominance of celebrities and digital hocus pocus in fashion photography and who isn't afraid to take on Wintour.The book is a window into how fashion has changed from a small, niche business into a global pop culture medium. It chronicles Coddington's 50 years in the industry, first as a model, then as a fashion editor for British Vogue and finally as creative director for American Vogue, with lots of juicy anecdotes about designers, photographers, celebrities and models.She compares the fashion world then and now and offers clues into her relationship with Wintour. She's also open about her private life, including details about failed marriages, the tragic death of her sister Rosemary and her 30 year romance with French hairstylist Didier Malige. She tells colorful stories behind many of the fashion shoots she has styled, but I do wish she had offered more insight into her role in the creative process.Coddington begins by painting a picture of her upbringing as romantic as any photo shoot. For her first 18 years, her home was the Trearddur Bay Hotel on the island of Anglesey off the coast of North Wales. "Although it was bleak, I saw beauty in the bleakness." When she wasn't outdoors, she amused herself by looking at picture books, reading fairy tales and, yes, studying the pages of Vogue magazine. As a teen, she went to a convent school and has vivid memories of the nuns roller skating on the rooftop, "flapping about surreally in their robes like crows on wheels."At 18, she moved to London to attend a modeling course advertised in Vogue. The fashion world was much different in 1959. Coddington had to learn how to apply her own makeup and style her own hair, because makeup artists and hairdressers specializing in photo shoots were nonexistent. A meeting with photographer Norman Parkinson led to her first modeling job running naked through the woods for an arty fashion catalog.Coddington became an overnight success. "I was a character, rather than a pretty model, and I suppose that's exactly what I look for in the girls I now select to put in American Vogue the ones who are quirky looking."She earned the nickname "The Cod" (to Jean Shrimpton's "The Shrimp"), danced the twist on Mary Quant's catwalk and became a muse to Vidal Sassoon, who created his famous five point cut on Coddington. Her modeling career was derailed for two years by a car accident, which scarred her left eyelid. But eventually things picked up again, and she settled into life in 1960s swinging London and Paris, hanging out with a fast crowd that included Michael Caine, Jane Birkin, the Beatles and the Rolling Stones.Her fashion editing career coincided with the beginning of her relationship with Michael Chow and the opening of his glamorous restaurant Mr. Chow, which attracted a starry crowd. "Naturally, we were forever being photographed at home, draped among our symbols of 'with it ness' as one of London's most happening couples; him, the cool young restaurateur, nonchalantly swinging in a hammock hung from the minstrel's gallery and me, the sophisticated style maker, perkily sitting cross legged atop a giant pop art version of a Campbell's soup can."At the height of the bohemian 1970s, she dyed her hair with henna and permed it (it would stay the same for much of the next 40 years), dressed almost exclusively in Yves Saint Laurent, had a fling with a Vietnamese photographer and spent her evenings at Club Sept in Paris. Coddington worked with the who's who of fashion. She shot Anjelica Huston with photographer David Bailey and Pat Cleveland with Helmut Newton.When Bea Miller, who had edited British Vogue for 22 years, retired, Coddington interviewed for the job but says she knew deep down she wasn't suited for it and thought that Wintour, then the creative director of American Vogue, should get it.Wintour did get it. Two days into her editorship, she invited Coddington to a screening of the racy film "Betty Blue." The two sat in dead silence through the opening sequence, a vivid five minute sex scene."Anna was rigid and unmoving. No sign of any emotion at all," Coddington writes. "I then realized how much significance Anna places on willpower trumping feelings."In 1988, when Wintour was appointed editor in chief at American Vogue, Coddington asked to join her. Coddington's narrative style fashion features and travelogues, a sampling of which appear in the book, became the heart and soul of the magazine, even as its pages became increasingly taken over by celebrities. Through her visual canvases, she interpreted the New Romantic period, grunge and the South Beach blinged out 1990s, and persuaded superstar designers Tom Ford, Marc Jacobs and others to play roles in a shoot based on "Alice in Wonderland."She sums up her creative process this way: "For me, one of the most important aspects of my work is to give people something to dream about, just as I used to dream all those years ago as a child looking at beautiful photographs."The book ends with a chapter on then and now. "Fashion has changed so much in my lifetime," Coddington writes. "Today, I find myself at the collections, asking, 'Who are all these people?' Sometimes I think I'm the last remaining person who comes to the shows for the pleasure of seeing the clothes."At 71, she seldom wears makeup and doesn't socialize much. But her attempt in the last 100 pages to distance herself from the term "fashionista" is a bit of a stretch. Clearly, Coddington has led a most charmed life. Otherwise, we wouldn't be reading about it.We provide this community forum for readers to exchange ideas and opinions on the news of the day. Passionate views, pointed criticism and critical thinking are welcome. Comments can only be submitted by registered users. By posting comments on our site, you are agreeing to the following terms:

投稿者 by: Quintin Demps Jersey at 2014年1月16日 10:22

Lady Griz hand Selvig 800th career win with 68 61 victory over PortlandGriz up to fifth in TSN poll, highest ranking of seasonBig Sky honors Sac State QB SafronNorth Dakota football coach firedSince 1897, the Cat Griz rivalry has captivated the stateFamily health: Prepare yourself and your vehicle for winter drivingFitness calendarBirths for Tuesday, November 19Angler with 4th place total takes Fall Mack Days fishing tournament titleWestern Montana hunters get help from fresh snow, rutIf the name Grace Coddington is familiar, you've probably seen the 2009 documentary film "The September Issue" about Vogue magazine's Editor in Chief Anna Wintour, the most feared and revered woman in fashion. Now Coddington, the longtime creative director of Vogue, has her own star vehicle, an engaging memoir titled "Grace," co written with Michael Roberts. For anyone with a passing interest in the fashion industry, it's worth a read for the name dropping alone.As became clear in the film, which chronicled the magazine's staff as they put together the 4 pound September 2007 issue, Coddington is not the Anna Wintour or Diana Vreeland type. You won't hear her barking orders at assistants or making dramatic pronouncements about pink.But she is equally passionate, a wild haired dreamer who thinks that fashion should be transporting, provocative and even intellectual, who bemoans the dominance of celebrities and digital hocus pocus in fashion photography and who isn't afraid to take on Wintour.The book is a window into how fashion has changed from a small, niche business into a global pop culture medium. It chronicles Coddington's 50 years in the industry, first as a model, then as a fashion editor for British Vogue and finally as creative director for American Vogue, with lots of juicy anecdotes about designers, photographers, celebrities and models.She compares the fashion world then and now and offers clues into her relationship with Wintour. She's also open about her private life, including details about failed marriages, the tragic death of her sister Rosemary and her 30 year romance with French hairstylist Didier Malige. She tells colorful stories behind many of the fashion shoots she has styled, but I do wish she had offered more insight into her role in the creative process.Coddington begins by painting a picture of her upbringing as romantic as any photo shoot. For her first 18 years, her home was the Trearddur Bay Hotel on the island of Anglesey off the coast of North Wales. "Although it was bleak, I saw beauty in the bleakness." When she wasn't outdoors, she amused herself by looking at picture books, reading fairy tales and, yes, studying the pages of Vogue magazine. As a teen, she went to a convent school and has vivid memories of the nuns roller skating on the rooftop, "flapping about surreally in their robes like crows on wheels."At 18, she moved to London to attend a modeling course advertised in Vogue. The fashion world was much different in 1959. Coddington had to learn how to apply her own makeup and style her own hair, because makeup artists and hairdressers specializing in photo shoots were nonexistent. A meeting with photographer Norman Parkinson led to her first modeling job running naked through the woods for an arty fashion catalog.Coddington became an overnight success. "I was a character, rather than a pretty model, and I suppose that's exactly what I look for in the girls I now select to put in American Vogue the ones who are quirky looking."She earned the nickname "The Cod" (to Jean Shrimpton's "The Shrimp"), danced the twist on Mary Quant's catwalk and became a muse to Vidal Sassoon, who created his famous five point cut on Coddington. Her modeling career was derailed for two years by a car accident, which scarred her left eyelid. But eventually things picked up again, and she settled into life in 1960s swinging London and Paris, hanging out with a fast crowd that included Michael Caine, Jane Birkin, the Beatles and the Rolling Stones.Her fashion editing career coincided with the beginning of her relationship with Michael Chow and the opening of his glamorous restaurant Mr. Chow, which attracted a starry crowd. "Naturally, we were forever being photographed at home, draped among our symbols of 'with it ness' as one of London's most happening couples; him, the cool young restaurateur, nonchalantly swinging in a hammock hung from the minstrel's gallery and me, the sophisticated style maker, perkily sitting cross legged atop a giant pop art version of a Campbell's soup can."At the height of the bohemian 1970s, she dyed her hair with henna and permed it (it would stay the same for much of the next 40 years), dressed almost exclusively in Yves Saint Laurent, had a fling with a Vietnamese photographer and spent her evenings at Club Sept in Paris. Coddington worked with the who's who of fashion. She shot Anjelica Huston with photographer David Bailey and Pat Cleveland with Helmut Newton.When Bea Miller, who had edited British Vogue for 22 years, retired, Coddington interviewed for the job but says she knew deep down she wasn't suited for it and thought that Wintour, then the creative director of American Vogue, should get it.Wintour did get it. Two days into her editorship, she invited Coddington to a screening of the racy film "Betty Blue." The two sat in dead silence through the opening sequence, a vivid five minute sex scene."Anna was rigid and unmoving. No sign of any emotion at all," Coddington writes. "I then realized how much significance Anna places on willpower trumping feelings."In 1988, when Wintour was appointed editor in chief at American Vogue, Coddington asked to join her. Coddington's narrative style fashion features and travelogues, a sampling of which appear in the book, became the heart and soul of the magazine, even as its pages became increasingly taken over by celebrities. Through her visual canvases, she interpreted the New Romantic period, grunge and the South Beach blinged out 1990s, and persuaded superstar designers Tom Ford, Marc Jacobs and others to play roles in a shoot based on "Alice in Wonderland."She sums up her creative process this way: "For me, one of the most important aspects of my work is to give people something to dream about, just as I used to dream all those years ago as a child looking at beautiful photographs."The book ends with a chapter on then and now. "Fashion has changed so much in my lifetime," Coddington writes. "Today, I find myself at the collections, asking, 'Who are all these people?' Sometimes I think I'm the last remaining person who comes to the shows for the pleasure of seeing the clothes."At 71, she seldom wears makeup and doesn't socialize much. But her attempt in the last 100 pages to distance herself from the term "fashionista" is a bit of a stretch. Clearly, Coddington has led a most charmed life. Otherwise, we wouldn't be reading about it.We provide this community forum for readers to exchange ideas and opinions on the news of the day. Passionate views, pointed criticism and critical thinking are welcome. Comments can only be submitted by registered users. By posting comments on our site, you are agreeing to the following terms:

投稿者 by: Colts Blue White authentic elite limited game Jersey at 2014年1月16日 10:22

Lady Griz hand Selvig 800th career win with 68 61 victory over PortlandGriz up to fifth in TSN poll, highest ranking of seasonBig Sky honors Sac State QB SafronNorth Dakota football coach firedSince 1897, the Cat Griz rivalry has captivated the stateFamily health: Prepare yourself and your vehicle for winter drivingFitness calendarBirths for Tuesday, November 19Angler with 4th place total takes Fall Mack Days fishing tournament titleWestern Montana hunters get help from fresh snow, rutIf the name Grace Coddington is familiar, you've probably seen the 2009 documentary film "The September Issue" about Vogue magazine's Editor in Chief Anna Wintour, the most feared and revered woman in fashion. Now Coddington, the longtime creative director of Vogue, has her own star vehicle, an engaging memoir titled "Grace," co written with Michael Roberts. For anyone with a passing interest in the fashion industry, it's worth a read for the name dropping alone.As became clear in the film, which chronicled the magazine's staff as they put together the 4 pound September 2007 issue, Coddington is not the Anna Wintour or Diana Vreeland type. You won't hear her barking orders at assistants or making dramatic pronouncements about pink.But she is equally passionate, a wild haired dreamer who thinks that fashion should be transporting, provocative and even intellectual, who bemoans the dominance of celebrities and digital hocus pocus in fashion photography and who isn't afraid to take on Wintour.The book is a window into how fashion has changed from a small, niche business into a global pop culture medium. It chronicles Coddington's 50 years in the industry, first as a model, then as a fashion editor for British Vogue and finally as creative director for American Vogue, with lots of juicy anecdotes about designers, photographers, celebrities and models.She compares the fashion world then and now and offers clues into her relationship with Wintour. She's also open about her private life, including details about failed marriages, the tragic death of her sister Rosemary and her 30 year romance with French hairstylist Didier Malige. She tells colorful stories behind many of the fashion shoots she has styled, but I do wish she had offered more insight into her role in the creative process.Coddington begins by painting a picture of her upbringing as romantic as any photo shoot. For her first 18 years, her home was the Trearddur Bay Hotel on the island of Anglesey off the coast of North Wales. "Although it was bleak, I saw beauty in the bleakness." When she wasn't outdoors, she amused herself by looking at picture books, reading fairy tales and, yes, studying the pages of Vogue magazine. As a teen, she went to a convent school and has vivid memories of the nuns roller skating on the rooftop, "flapping about surreally in their robes like crows on wheels."At 18, she moved to London to attend a modeling course advertised in Vogue. The fashion world was much different in 1959. Coddington had to learn how to apply her own makeup and style her own hair, because makeup artists and hairdressers specializing in photo shoots were nonexistent. A meeting with photographer Norman Parkinson led to her first modeling job running naked through the woods for an arty fashion catalog.Coddington became an overnight success. "I was a character, rather than a pretty model, and I suppose that's exactly what I look for in the girls I now select to put in American Vogue the ones who are quirky looking."She earned the nickname "The Cod" (to Jean Shrimpton's "The Shrimp"), danced the twist on Mary Quant's catwalk and became a muse to Vidal Sassoon, who created his famous five point cut on Coddington. Her modeling career was derailed for two years by a car accident, which scarred her left eyelid. But eventually things picked up again, and she settled into life in 1960s swinging London and Paris, hanging out with a fast crowd that included Michael Caine, Jane Birkin, the Beatles and the Rolling Stones.Her fashion editing career coincided with the beginning of her relationship with Michael Chow and the opening of his glamorous restaurant Mr. Chow, which attracted a starry crowd. "Naturally, we were forever being photographed at home, draped among our symbols of 'with it ness' as one of London's most happening couples; him, the cool young restaurateur, nonchalantly swinging in a hammock hung from the minstrel's gallery and me, the sophisticated style maker, perkily sitting cross legged atop a giant pop art version of a Campbell's soup can."At the height of the bohemian 1970s, she dyed her hair with henna and permed it (it would stay the same for much of the next 40 years), dressed almost exclusively in Yves Saint Laurent, had a fling with a Vietnamese photographer and spent her evenings at Club Sept in Paris. Coddington worked with the who's who of fashion. She shot Anjelica Huston with photographer David Bailey and Pat Cleveland with Helmut Newton.When Bea Miller, who had edited British Vogue for 22 years, retired, Coddington interviewed for the job but says she knew deep down she wasn't suited for it and thought that Wintour, then the creative director of American Vogue, should get it.Wintour did get it. Two days into her editorship, she invited Coddington to a screening of the racy film "Betty Blue." The two sat in dead silence through the opening sequence, a vivid five minute sex scene."Anna was rigid and unmoving. No sign of any emotion at all," Coddington writes. "I then realized how much significance Anna places on willpower trumping feelings."In 1988, when Wintour was appointed editor in chief at American Vogue, Coddington asked to join her. Coddington's narrative style fashion features and travelogues, a sampling of which appear in the book, became the heart and soul of the magazine, even as its pages became increasingly taken over by celebrities. Through her visual canvases, she interpreted the New Romantic period, grunge and the South Beach blinged out 1990s, and persuaded superstar designers Tom Ford, Marc Jacobs and others to play roles in a shoot based on "Alice in Wonderland."She sums up her creative process this way: "For me, one of the most important aspects of my work is to give people something to dream about, just as I used to dream all those years ago as a child looking at beautiful photographs."The book ends with a chapter on then and now. "Fashion has changed so much in my lifetime," Coddington writes. "Today, I find myself at the collections, asking, 'Who are all these people?' Sometimes I think I'm the last remaining person who comes to the shows for the pleasure of seeing the clothes."At 71, she seldom wears makeup and doesn't socialize much. But her attempt in the last 100 pages to distance herself from the term "fashionista" is a bit of a stretch. Clearly, Coddington has led a most charmed life. Otherwise, we wouldn't be reading about it.We provide this community forum for readers to exchange ideas and opinions on the news of the day. Passionate views, pointed criticism and critical thinking are welcome. Comments can only be submitted by registered users. By posting comments on our site, you are agreeing to the following terms:

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Lady Griz hand Selvig 800th career win with 68 61 victory over PortlandGriz up to fifth in TSN poll, highest ranking of seasonBig Sky honors Sac State QB SafronNorth Dakota football coach firedSince 1897, the Cat Griz rivalry has captivated the stateFamily health: Prepare yourself and your vehicle for winter drivingFitness calendarBirths for Tuesday, November 19Angler with 4th place total takes Fall Mack Days fishing tournament titleWestern Montana hunters get help from fresh snow, rutIf the name Grace Coddington is familiar, you've probably seen the 2009 documentary film "The September Issue" about Vogue magazine's Editor in Chief Anna Wintour, the most feared and revered woman in fashion. Now Coddington, the longtime creative director of Vogue, has her own star vehicle, an engaging memoir titled "Grace," co written with Michael Roberts. For anyone with a passing interest in the fashion industry, it's worth a read for the name dropping alone.As became clear in the film, which chronicled the magazine's staff as they put together the 4 pound September 2007 issue, Coddington is not the Anna Wintour or Diana Vreeland type. You won't hear her barking orders at assistants or making dramatic pronouncements about pink.But she is equally passionate, a wild haired dreamer who thinks that fashion should be transporting, provocative and even intellectual, who bemoans the dominance of celebrities and digital hocus pocus in fashion photography and who isn't afraid to take on Wintour.The book is a window into how fashion has changed from a small, niche business into a global pop culture medium. It chronicles Coddington's 50 years in the industry, first as a model, then as a fashion editor for British Vogue and finally as creative director for American Vogue, with lots of juicy anecdotes about designers, photographers, celebrities and models.She compares the fashion world then and now and offers clues into her relationship with Wintour. She's also open about her private life, including details about failed marriages, the tragic death of her sister Rosemary and her 30 year romance with French hairstylist Didier Malige. She tells colorful stories behind many of the fashion shoots she has styled, but I do wish she had offered more insight into her role in the creative process.Coddington begins by painting a picture of her upbringing as romantic as any photo shoot. For her first 18 years, her home was the Trearddur Bay Hotel on the island of Anglesey off the coast of North Wales. "Although it was bleak, I saw beauty in the bleakness." When she wasn't outdoors, she amused herself by looking at picture books, reading fairy tales and, yes, studying the pages of Vogue magazine. As a teen, she went to a convent school and has vivid memories of the nuns roller skating on the rooftop, "flapping about surreally in their robes like crows on wheels."At 18, she moved to London to attend a modeling course advertised in Vogue. The fashion world was much different in 1959. Coddington had to learn how to apply her own makeup and style her own hair, because makeup artists and hairdressers specializing in photo shoots were nonexistent. A meeting with photographer Norman Parkinson led to her first modeling job running naked through the woods for an arty fashion catalog.Coddington became an overnight success. "I was a character, rather than a pretty model, and I suppose that's exactly what I look for in the girls I now select to put in American Vogue the ones who are quirky looking."She earned the nickname "The Cod" (to Jean Shrimpton's "The Shrimp"), danced the twist on Mary Quant's catwalk and became a muse to Vidal Sassoon, who created his famous five point cut on Coddington. Her modeling career was derailed for two years by a car accident, which scarred her left eyelid. But eventually things picked up again, and she settled into life in 1960s swinging London and Paris, hanging out with a fast crowd that included Michael Caine, Jane Birkin, the Beatles and the Rolling Stones.Her fashion editing career coincided with the beginning of her relationship with Michael Chow and the opening of his glamorous restaurant Mr. Chow, which attracted a starry crowd. "Naturally, we were forever being photographed at home, draped among our symbols of 'with it ness' as one of London's most happening couples; him, the cool young restaurateur, nonchalantly swinging in a hammock hung from the minstrel's gallery and me, the sophisticated style maker, perkily sitting cross legged atop a giant pop art version of a Campbell's soup can."At the height of the bohemian 1970s, she dyed her hair with henna and permed it (it would stay the same for much of the next 40 years), dressed almost exclusively in Yves Saint Laurent, had a fling with a Vietnamese photographer and spent her evenings at Club Sept in Paris. Coddington worked with the who's who of fashion. She shot Anjelica Huston with photographer David Bailey and Pat Cleveland with Helmut Newton.When Bea Miller, who had edited British Vogue for 22 years, retired, Coddington interviewed for the job but says she knew deep down she wasn't suited for it and thought that Wintour, then the creative director of American Vogue, should get it.Wintour did get it. Two days into her editorship, she invited Coddington to a screening of the racy film "Betty Blue." The two sat in dead silence through the opening sequence, a vivid five minute sex scene."Anna was rigid and unmoving. No sign of any emotion at all," Coddington writes. "I then realized how much significance Anna places on willpower trumping feelings."In 1988, when Wintour was appointed editor in chief at American Vogue, Coddington asked to join her. Coddington's narrative style fashion features and travelogues, a sampling of which appear in the book, became the heart and soul of the magazine, even as its pages became increasingly taken over by celebrities. Through her visual canvases, she interpreted the New Romantic period, grunge and the South Beach blinged out 1990s, and persuaded superstar designers Tom Ford, Marc Jacobs and others to play roles in a shoot based on "Alice in Wonderland."She sums up her creative process this way: "For me, one of the most important aspects of my work is to give people something to dream about, just as I used to dream all those years ago as a child looking at beautiful photographs."The book ends with a chapter on then and now. "Fashion has changed so much in my lifetime," Coddington writes. "Today, I find myself at the collections, asking, 'Who are all these people?' Sometimes I think I'm the last remaining person who comes to the shows for the pleasure of seeing the clothes."At 71, she seldom wears makeup and doesn't socialize much. But her attempt in the last 100 pages to distance herself from the term "fashionista" is a bit of a stretch. Clearly, Coddington has led a most charmed life. Otherwise, we wouldn't be reading about it.We provide this community forum for readers to exchange ideas and opinions on the news of the day. Passionate views, pointed criticism and critical thinking are welcome. Comments can only be submitted by registered users. By posting comments on our site, you are agreeing to the following terms:

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Lady Griz hand Selvig 800th career win with 68 61 victory over PortlandGriz up to fifth in TSN poll, highest ranking of seasonBig Sky honors Sac State QB SafronNorth Dakota football coach firedSince 1897, the Cat Griz rivalry has captivated the stateFamily health: Prepare yourself and your vehicle for winter drivingFitness calendarBirths for Tuesday, November 19Angler with 4th place total takes Fall Mack Days fishing tournament titleWestern Montana hunters get help from fresh snow, rutIf the name Grace Coddington is familiar, you've probably seen the 2009 documentary film "The September Issue" about Vogue magazine's Editor in Chief Anna Wintour, the most feared and revered woman in fashion. Now Coddington, the longtime creative director of Vogue, has her own star vehicle, an engaging memoir titled "Grace," co written with Michael Roberts. For anyone with a passing interest in the fashion industry, it's worth a read for the name dropping alone.As became clear in the film, which chronicled the magazine's staff as they put together the 4 pound September 2007 issue, Coddington is not the Anna Wintour or Diana Vreeland type. You won't hear her barking orders at assistants or making dramatic pronouncements about pink.But she is equally passionate, a wild haired dreamer who thinks that fashion should be transporting, provocative and even intellectual, who bemoans the dominance of celebrities and digital hocus pocus in fashion photography and who isn't afraid to take on Wintour.The book is a window into how fashion has changed from a small, niche business into a global pop culture medium. It chronicles Coddington's 50 years in the industry, first as a model, then as a fashion editor for British Vogue and finally as creative director for American Vogue, with lots of juicy anecdotes about designers, photographers, celebrities and models.She compares the fashion world then and now and offers clues into her relationship with Wintour. She's also open about her private life, including details about failed marriages, the tragic death of her sister Rosemary and her 30 year romance with French hairstylist Didier Malige. She tells colorful stories behind many of the fashion shoots she has styled, but I do wish she had offered more insight into her role in the creative process.Coddington begins by painting a picture of her upbringing as romantic as any photo shoot. For her first 18 years, her home was the Trearddur Bay Hotel on the island of Anglesey off the coast of North Wales. "Although it was bleak, I saw beauty in the bleakness." When she wasn't outdoors, she amused herself by looking at picture books, reading fairy tales and, yes, studying the pages of Vogue magazine. As a teen, she went to a convent school and has vivid memories of the nuns roller skating on the rooftop, "flapping about surreally in their robes like crows on wheels."At 18, she moved to London to attend a modeling course advertised in Vogue. The fashion world was much different in 1959. Coddington had to learn how to apply her own makeup and style her own hair, because makeup artists and hairdressers specializing in photo shoots were nonexistent. A meeting with photographer Norman Parkinson led to her first modeling job running naked through the woods for an arty fashion catalog.Coddington became an overnight success. "I was a character, rather than a pretty model, and I suppose that's exactly what I look for in the girls I now select to put in American Vogue the ones who are quirky looking."She earned the nickname "The Cod" (to Jean Shrimpton's "The Shrimp"), danced the twist on Mary Quant's catwalk and became a muse to Vidal Sassoon, who created his famous five point cut on Coddington. Her modeling career was derailed for two years by a car accident, which scarred her left eyelid. But eventually things picked up again, and she settled into life in 1960s swinging London and Paris, hanging out with a fast crowd that included Michael Caine, Jane Birkin, the Beatles and the Rolling Stones.Her fashion editing career coincided with the beginning of her relationship with Michael Chow and the opening of his glamorous restaurant Mr. Chow, which attracted a starry crowd. "Naturally, we were forever being photographed at home, draped among our symbols of 'with it ness' as one of London's most happening couples; him, the cool young restaurateur, nonchalantly swinging in a hammock hung from the minstrel's gallery and me, the sophisticated style maker, perkily sitting cross legged atop a giant pop art version of a Campbell's soup can."At the height of the bohemian 1970s, she dyed her hair with henna and permed it (it would stay the same for much of the next 40 years), dressed almost exclusively in Yves Saint Laurent, had a fling with a Vietnamese photographer and spent her evenings at Club Sept in Paris. Coddington worked with the who's who of fashion. She shot Anjelica Huston with photographer David Bailey and Pat Cleveland with Helmut Newton.When Bea Miller, who had edited British Vogue for 22 years, retired, Coddington interviewed for the job but says she knew deep down she wasn't suited for it and thought that Wintour, then the creative director of American Vogue, should get it.Wintour did get it. Two days into her editorship, she invited Coddington to a screening of the racy film "Betty Blue." The two sat in dead silence through the opening sequence, a vivid five minute sex scene."Anna was rigid and unmoving. No sign of any emotion at all," Coddington writes. "I then realized how much significance Anna places on willpower trumping feelings."In 1988, when Wintour was appointed editor in chief at American Vogue, Coddington asked to join her. Coddington's narrative style fashion features and travelogues, a sampling of which appear in the book, became the heart and soul of the magazine, even as its pages became increasingly taken over by celebrities. Through her visual canvases, she interpreted the New Romantic period, grunge and the South Beach blinged out 1990s, and persuaded superstar designers Tom Ford, Marc Jacobs and others to play roles in a shoot based on "Alice in Wonderland."She sums up her creative process this way: "For me, one of the most important aspects of my work is to give people something to dream about, just as I used to dream all those years ago as a child looking at beautiful photographs."The book ends with a chapter on then and now. "Fashion has changed so much in my lifetime," Coddington writes. "Today, I find myself at the collections, asking, 'Who are all these people?' Sometimes I think I'm the last remaining person who comes to the shows for the pleasure of seeing the clothes."At 71, she seldom wears makeup and doesn't socialize much. But her attempt in the last 100 pages to distance herself from the term "fashionista" is a bit of a stretch. Clearly, Coddington has led a most charmed life. Otherwise, we wouldn't be reading about it.We provide this community forum for readers to exchange ideas and opinions on the news of the day. Passionate views, pointed criticism and critical thinking are welcome. Comments can only be submitted by registered users. By posting comments on our site, you are agreeing to the following terms:

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Lady Griz hand Selvig 800th career win with 68 61 victory over PortlandGriz up to fifth in TSN poll, highest ranking of seasonBig Sky honors Sac State QB SafronNorth Dakota football coach firedSince 1897, the Cat Griz rivalry has captivated the stateFamily health: Prepare yourself and your vehicle for winter drivingFitness calendarBirths for Tuesday, November 19Angler with 4th place total takes Fall Mack Days fishing tournament titleWestern Montana hunters get help from fresh snow, rutIf the name Grace Coddington is familiar, you've probably seen the 2009 documentary film "The September Issue" about Vogue magazine's Editor in Chief Anna Wintour, the most feared and revered woman in fashion. Now Coddington, the longtime creative director of Vogue, has her own star vehicle, an engaging memoir titled "Grace," co written with Michael Roberts. For anyone with a passing interest in the fashion industry, it's worth a read for the name dropping alone.As became clear in the film, which chronicled the magazine's staff as they put together the 4 pound September 2007 issue, Coddington is not the Anna Wintour or Diana Vreeland type. You won't hear her barking orders at assistants or making dramatic pronouncements about pink.But she is equally passionate, a wild haired dreamer who thinks that fashion should be transporting, provocative and even intellectual, who bemoans the dominance of celebrities and digital hocus pocus in fashion photography and who isn't afraid to take on Wintour.The book is a window into how fashion has changed from a small, niche business into a global pop culture medium. It chronicles Coddington's 50 years in the industry, first as a model, then as a fashion editor for British Vogue and finally as creative director for American Vogue, with lots of juicy anecdotes about designers, photographers, celebrities and models.She compares the fashion world then and now and offers clues into her relationship with Wintour. She's also open about her private life, including details about failed marriages, the tragic death of her sister Rosemary and her 30 year romance with French hairstylist Didier Malige. She tells colorful stories behind many of the fashion shoots she has styled, but I do wish she had offered more insight into her role in the creative process.Coddington begins by painting a picture of her upbringing as romantic as any photo shoot. For her first 18 years, her home was the Trearddur Bay Hotel on the island of Anglesey off the coast of North Wales. "Although it was bleak, I saw beauty in the bleakness." When she wasn't outdoors, she amused herself by looking at picture books, reading fairy tales and, yes, studying the pages of Vogue magazine. As a teen, she went to a convent school and has vivid memories of the nuns roller skating on the rooftop, "flapping about surreally in their robes like crows on wheels."At 18, she moved to London to attend a modeling course advertised in Vogue. The fashion world was much different in 1959. Coddington had to learn how to apply her own makeup and style her own hair, because makeup artists and hairdressers specializing in photo shoots were nonexistent. A meeting with photographer Norman Parkinson led to her first modeling job running naked through the woods for an arty fashion catalog.Coddington became an overnight success. "I was a character, rather than a pretty model, and I suppose that's exactly what I look for in the girls I now select to put in American Vogue the ones who are quirky looking."She earned the nickname "The Cod" (to Jean Shrimpton's "The Shrimp"), danced the twist on Mary Quant's catwalk and became a muse to Vidal Sassoon, who created his famous five point cut on Coddington. Her modeling career was derailed for two years by a car accident, which scarred her left eyelid. But eventually things picked up again, and she settled into life in 1960s swinging London and Paris, hanging out with a fast crowd that included Michael Caine, Jane Birkin, the Beatles and the Rolling Stones.Her fashion editing career coincided with the beginning of her relationship with Michael Chow and the opening of his glamorous restaurant Mr. Chow, which attracted a starry crowd. "Naturally, we were forever being photographed at home, draped among our symbols of 'with it ness' as one of London's most happening couples; him, the cool young restaurateur, nonchalantly swinging in a hammock hung from the minstrel's gallery and me, the sophisticated style maker, perkily sitting cross legged atop a giant pop art version of a Campbell's soup can."At the height of the bohemian 1970s, she dyed her hair with henna and permed it (it would stay the same for much of the next 40 years), dressed almost exclusively in Yves Saint Laurent, had a fling with a Vietnamese photographer and spent her evenings at Club Sept in Paris. Coddington worked with the who's who of fashion. She shot Anjelica Huston with photographer David Bailey and Pat Cleveland with Helmut Newton.When Bea Miller, who had edited British Vogue for 22 years, retired, Coddington interviewed for the job but says she knew deep down she wasn't suited for it and thought that Wintour, then the creative director of American Vogue, should get it.Wintour did get it. Two days into her editorship, she invited Coddington to a screening of the racy film "Betty Blue." The two sat in dead silence through the opening sequence, a vivid five minute sex scene."Anna was rigid and unmoving. No sign of any emotion at all," Coddington writes. "I then realized how much significance Anna places on willpower trumping feelings."In 1988, when Wintour was appointed editor in chief at American Vogue, Coddington asked to join her. Coddington's narrative style fashion features and travelogues, a sampling of which appear in the book, became the heart and soul of the magazine, even as its pages became increasingly taken over by celebrities. Through her visual canvases, she interpreted the New Romantic period, grunge and the South Beach blinged out 1990s, and persuaded superstar designers Tom Ford, Marc Jacobs and others to play roles in a shoot based on "Alice in Wonderland."She sums up her creative process this way: "For me, one of the most important aspects of my work is to give people something to dream about, just as I used to dream all those years ago as a child looking at beautiful photographs."The book ends with a chapter on then and now. "Fashion has changed so much in my lifetime," Coddington writes. "Today, I find myself at the collections, asking, 'Who are all these people?' Sometimes I think I'm the last remaining person who comes to the shows for the pleasure of seeing the clothes."At 71, she seldom wears makeup and doesn't socialize much. But her attempt in the last 100 pages to distance herself from the term "fashionista" is a bit of a stretch. Clearly, Coddington has led a most charmed life. Otherwise, we wouldn't be reading about it.We provide this community forum for readers to exchange ideas and opinions on the news of the day. Passionate views, pointed criticism and critical thinking are welcome. Comments can only be submitted by registered users. By posting comments on our site, you are agreeing to the following terms:

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Lady Griz hand Selvig 800th career win with 68 61 victory over PortlandGriz up to fifth in TSN poll, highest ranking of seasonBig Sky honors Sac State QB SafronNorth Dakota football coach firedSince 1897, the Cat Griz rivalry has captivated the stateFamily health: Prepare yourself and your vehicle for winter drivingFitness calendarBirths for Tuesday, November 19Angler with 4th place total takes Fall Mack Days fishing tournament titleWestern Montana hunters get help from fresh snow, rutIf the name Grace Coddington is familiar, you've probably seen the 2009 documentary film "The September Issue" about Vogue magazine's Editor in Chief Anna Wintour, the most feared and revered woman in fashion. Now Coddington, the longtime creative director of Vogue, has her own star vehicle, an engaging memoir titled "Grace," co written with Michael Roberts. For anyone with a passing interest in the fashion industry, it's worth a read for the name dropping alone.As became clear in the film, which chronicled the magazine's staff as they put together the 4 pound September 2007 issue, Coddington is not the Anna Wintour or Diana Vreeland type. You won't hear her barking orders at assistants or making dramatic pronouncements about pink.But she is equally passionate, a wild haired dreamer who thinks that fashion should be transporting, provocative and even intellectual, who bemoans the dominance of celebrities and digital hocus pocus in fashion photography and who isn't afraid to take on Wintour.The book is a window into how fashion has changed from a small, niche business into a global pop culture medium. It chronicles Coddington's 50 years in the industry, first as a model, then as a fashion editor for British Vogue and finally as creative director for American Vogue, with lots of juicy anecdotes about designers, photographers, celebrities and models.She compares the fashion world then and now and offers clues into her relationship with Wintour. She's also open about her private life, including details about failed marriages, the tragic death of her sister Rosemary and her 30 year romance with French hairstylist Didier Malige. She tells colorful stories behind many of the fashion shoots she has styled, but I do wish she had offered more insight into her role in the creative process.Coddington begins by painting a picture of her upbringing as romantic as any photo shoot. For her first 18 years, her home was the Trearddur Bay Hotel on the island of Anglesey off the coast of North Wales. "Although it was bleak, I saw beauty in the bleakness." When she wasn't outdoors, she amused herself by looking at picture books, reading fairy tales and, yes, studying the pages of Vogue magazine. As a teen, she went to a convent school and has vivid memories of the nuns roller skating on the rooftop, "flapping about surreally in their robes like crows on wheels."At 18, she moved to London to attend a modeling course advertised in Vogue. The fashion world was much different in 1959. Coddington had to learn how to apply her own makeup and style her own hair, because makeup artists and hairdressers specializing in photo shoots were nonexistent. A meeting with photographer Norman Parkinson led to her first modeling job running naked through the woods for an arty fashion catalog.Coddington became an overnight success. "I was a character, rather than a pretty model, and I suppose that's exactly what I look for in the girls I now select to put in American Vogue the ones who are quirky looking."She earned the nickname "The Cod" (to Jean Shrimpton's "The Shrimp"), danced the twist on Mary Quant's catwalk and became a muse to Vidal Sassoon, who created his famous five point cut on Coddington. Her modeling career was derailed for two years by a car accident, which scarred her left eyelid. But eventually things picked up again, and she settled into life in 1960s swinging London and Paris, hanging out with a fast crowd that included Michael Caine, Jane Birkin, the Beatles and the Rolling Stones.Her fashion editing career coincided with the beginning of her relationship with Michael Chow and the opening of his glamorous restaurant Mr. Chow, which attracted a starry crowd. "Naturally, we were forever being photographed at home, draped among our symbols of 'with it ness' as one of London's most happening couples; him, the cool young restaurateur, nonchalantly swinging in a hammock hung from the minstrel's gallery and me, the sophisticated style maker, perkily sitting cross legged atop a giant pop art version of a Campbell's soup can."At the height of the bohemian 1970s, she dyed her hair with henna and permed it (it would stay the same for much of the next 40 years), dressed almost exclusively in Yves Saint Laurent, had a fling with a Vietnamese photographer and spent her evenings at Club Sept in Paris. Coddington worked with the who's who of fashion. She shot Anjelica Huston with photographer David Bailey and Pat Cleveland with Helmut Newton.When Bea Miller, who had edited British Vogue for 22 years, retired, Coddington interviewed for the job but says she knew deep down she wasn't suited for it and thought that Wintour, then the creative director of American Vogue, should get it.Wintour did get it. Two days into her editorship, she invited Coddington to a screening of the racy film "Betty Blue." The two sat in dead silence through the opening sequence, a vivid five minute sex scene."Anna was rigid and unmoving. No sign of any emotion at all," Coddington writes. "I then realized how much significance Anna places on willpower trumping feelings."In 1988, when Wintour was appointed editor in chief at American Vogue, Coddington asked to join her. Coddington's narrative style fashion features and travelogues, a sampling of which appear in the book, became the heart and soul of the magazine, even as its pages became increasingly taken over by celebrities. Through her visual canvases, she interpreted the New Romantic period, grunge and the South Beach blinged out 1990s, and persuaded superstar designers Tom Ford, Marc Jacobs and others to play roles in a shoot based on "Alice in Wonderland."She sums up her creative process this way: "For me, one of the most important aspects of my work is to give people something to dream about, just as I used to dream all those years ago as a child looking at beautiful photographs."The book ends with a chapter on then and now. "Fashion has changed so much in my lifetime," Coddington writes. "Today, I find myself at the collections, asking, 'Who are all these people?' Sometimes I think I'm the last remaining person who comes to the shows for the pleasure of seeing the clothes."At 71, she seldom wears makeup and doesn't socialize much. But her attempt in the last 100 pages to distance herself from the term "fashionista" is a bit of a stretch. Clearly, Coddington has led a most charmed life. Otherwise, we wouldn't be reading about it.We provide this community forum for readers to exchange ideas and opinions on the news of the day. Passionate views, pointed criticism and critical thinking are welcome. Comments can only be submitted by registered users. By posting comments on our site, you are agreeing to the following terms:

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a memoir of fashion dreamer's life in vogue

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Lady Griz hand Selvig 800th career win with 68 61 victory over PortlandGriz up to fifth in TSN poll, highest ranking of seasonBig Sky honors Sac State QB SafronNorth Dakota football coach firedSince 1897, the Cat Griz rivalry has captivated the stateFamily health: Prepare yourself and your vehicle for winter drivingFitness calendarBirths for Tuesday, November 19Angler with 4th place total takes Fall Mack Days fishing tournament titleWestern Montana hunters get help from fresh snow, rutIf the name Grace Coddington is familiar, you've probably seen the 2009 documentary film "The September Issue" about Vogue magazine's Editor in Chief Anna Wintour, the most feared and revered woman in fashion. Now Coddington, the longtime creative director of Vogue, has her own star vehicle, an engaging memoir titled "Grace," co written with Michael Roberts. For anyone with a passing interest in the fashion industry, it's worth a read for the name dropping alone.As became clear in the film, which chronicled the magazine's staff as they put together the 4 pound September 2007 issue, Coddington is not the Anna Wintour or Diana Vreeland type. You won't hear her barking orders at assistants or making dramatic pronouncements about pink.But she is equally passionate, a wild haired dreamer who thinks that fashion should be transporting, provocative and even intellectual, who bemoans the dominance of celebrities and digital hocus pocus in fashion photography and who isn't afraid to take on Wintour.The book is a window into how fashion has changed from a small, niche business into a global pop culture medium. It chronicles Coddington's 50 years in the industry, first as a model, then as a fashion editor for British Vogue and finally as creative director for American Vogue, with lots of juicy anecdotes about designers, photographers, celebrities and models.She compares the fashion world then and now and offers clues into her relationship with Wintour. She's also open about her private life, including details about failed marriages, the tragic death of her sister Rosemary and her 30 year romance with French hairstylist Didier Malige. She tells colorful stories behind many of the fashion shoots she has styled, but I do wish she had offered more insight into her role in the creative process.Coddington begins by painting a picture of her upbringing as romantic as any photo shoot. For her first 18 years, her home was the Trearddur Bay Hotel on the island of Anglesey off the coast of North Wales. "Although it was bleak, I saw beauty in the bleakness." When she wasn't outdoors, she amused herself by looking at picture books, reading fairy tales and, yes, studying the pages of Vogue magazine. As a teen, she went to a convent school and has vivid memories of the nuns roller skating on the rooftop, "flapping about surreally in their robes like crows on wheels."At 18, she moved to London to attend a modeling course advertised in Vogue. The fashion world was much different in 1959. Coddington had to learn how to apply her own makeup and style her own hair, because makeup artists and hairdressers specializing in photo shoots were nonexistent. A meeting with photographer Norman Parkinson led to her first modeling job running naked through the woods for an arty fashion catalog.Coddington became an overnight success. "I was a character, rather than a pretty model, and I suppose that's exactly what I look for in the girls I now select to put in American Vogue the ones who are quirky looking."She earned the nickname "The Cod" (to Jean Shrimpton's "The Shrimp"), danced the twist on Mary Quant's catwalk and became a muse to Vidal Sassoon, who created his famous five point cut on Coddington. Her modeling career was derailed for two years by a car accident, which scarred her left eyelid. But eventually things picked up again, and she settled into life in 1960s swinging London and Paris, hanging out with a fast crowd that included Michael Caine, Jane Birkin, the Beatles and the Rolling Stones.Her fashion editing career coincided with the beginning of her relationship with Michael Chow and the opening of his glamorous restaurant Mr. Chow, which attracted a starry crowd. "Naturally, we were forever being photographed at home, draped among our symbols of 'with it ness' as one of London's most happening couples; him, the cool young restaurateur, nonchalantly swinging in a hammock hung from the minstrel's gallery and me, the sophisticated style maker, perkily sitting cross legged atop a giant pop art version of a Campbell's soup can."At the height of the bohemian 1970s, she dyed her hair with henna and permed it (it would stay the same for much of the next 40 years), dressed almost exclusively in Yves Saint Laurent, had a fling with a Vietnamese photographer and spent her evenings at Club Sept in Paris. Coddington worked with the who's who of fashion. She shot Anjelica Huston with photographer David Bailey and Pat Cleveland with Helmut Newton.When Bea Miller, who had edited British Vogue for 22 years, retired, Coddington interviewed for the job but says she knew deep down she wasn't suited for it and thought that Wintour, then the creative director of American Vogue, should get it.Wintour did get it. Two days into her editorship, she invited Coddington to a screening of the racy film "Betty Blue." The two sat in dead silence through the opening sequence, a vivid five minute sex scene."Anna was rigid and unmoving. No sign of any emotion at all," Coddington writes. "I then realized how much significance Anna places on willpower trumping feelings."In 1988, when Wintour was appointed editor in chief at American Vogue, Coddington asked to join her. Coddington's narrative style fashion features and travelogues, a sampling of which appear in the book, became the heart and soul of the magazine, even as its pages became increasingly taken over by celebrities. Through her visual canvases, she interpreted the New Romantic period, grunge and the South Beach blinged out 1990s, and persuaded superstar designers Tom Ford, Marc Jacobs and others to play roles in a shoot based on "Alice in Wonderland."She sums up her creative process this way: "For me, one of the most important aspects of my work is to give people something to dream about, just as I used to dream all those years ago as a child looking at beautiful photographs."The book ends with a chapter on then and now. "Fashion has changed so much in my lifetime," Coddington writes. "Today, I find myself at the collections, asking, 'Who are all these people?' Sometimes I think I'm the last remaining person who comes to the shows for the pleasure of seeing the clothes."At 71, she seldom wears makeup and doesn't socialize much. But her attempt in the last 100 pages to distance herself from the term "fashionista" is a bit of a stretch. Clearly, Coddington has led a most charmed life. Otherwise, we wouldn't be reading about it.We provide this community forum for readers to exchange ideas and opinions on the news of the day. Passionate views, pointed criticism and critical thinking are welcome. Comments can only be submitted by registered users. By posting comments on our site, you are agreeing to the following terms:

投稿者 by: Ugg Ballet Flats brown size 10 at 2014年1月16日 13:05

Lady Griz hand Selvig 800th career win with 68 61 victory over PortlandGriz up to fifth in TSN poll, highest ranking of seasonBig Sky honors Sac State QB SafronNorth Dakota football coach firedSince 1897, the Cat Griz rivalry has captivated the stateFamily health: Prepare yourself and your vehicle for winter drivingFitness calendarBirths for Tuesday, November 19Angler with 4th place total takes Fall Mack Days fishing tournament titleWestern Montana hunters get help from fresh snow, rutIf the name Grace Coddington is familiar, you've probably seen the 2009 documentary film "The September Issue" about Vogue magazine's Editor in Chief Anna Wintour, the most feared and revered woman in fashion. Now Coddington, the longtime creative director of Vogue, has her own star vehicle, an engaging memoir titled "Grace," co written with Michael Roberts. For anyone with a passing interest in the fashion industry, it's worth a read for the name dropping alone.As became clear in the film, which chronicled the magazine's staff as they put together the 4 pound September 2007 issue, Coddington is not the Anna Wintour or Diana Vreeland type. You won't hear her barking orders at assistants or making dramatic pronouncements about pink.But she is equally passionate, a wild haired dreamer who thinks that fashion should be transporting, provocative and even intellectual, who bemoans the dominance of celebrities and digital hocus pocus in fashion photography and who isn't afraid to take on Wintour.The book is a window into how fashion has changed from a small, niche business into a global pop culture medium. It chronicles Coddington's 50 years in the industry, first as a model, then as a fashion editor for British Vogue and finally as creative director for American Vogue, with lots of juicy anecdotes about designers, photographers, celebrities and models.She compares the fashion world then and now and offers clues into her relationship with Wintour. She's also open about her private life, including details about failed marriages, the tragic death of her sister Rosemary and her 30 year romance with French hairstylist Didier Malige. She tells colorful stories behind many of the fashion shoots she has styled, but I do wish she had offered more insight into her role in the creative process.Coddington begins by painting a picture of her upbringing as romantic as any photo shoot. For her first 18 years, her home was the Trearddur Bay Hotel on the island of Anglesey off the coast of North Wales. "Although it was bleak, I saw beauty in the bleakness." When she wasn't outdoors, she amused herself by looking at picture books, reading fairy tales and, yes, studying the pages of Vogue magazine. As a teen, she went to a convent school and has vivid memories of the nuns roller skating on the rooftop, "flapping about surreally in their robes like crows on wheels."At 18, she moved to London to attend a modeling course advertised in Vogue. The fashion world was much different in 1959. Coddington had to learn how to apply her own makeup and style her own hair, because makeup artists and hairdressers specializing in photo shoots were nonexistent. A meeting with photographer Norman Parkinson led to her first modeling job running naked through the woods for an arty fashion catalog.Coddington became an overnight success. "I was a character, rather than a pretty model, and I suppose that's exactly what I look for in the girls I now select to put in American Vogue the ones who are quirky looking."She earned the nickname "The Cod" (to Jean Shrimpton's "The Shrimp"), danced the twist on Mary Quant's catwalk and became a muse to Vidal Sassoon, who created his famous five point cut on Coddington. Her modeling career was derailed for two years by a car accident, which scarred her left eyelid. But eventually things picked up again, and she settled into life in 1960s swinging London and Paris, hanging out with a fast crowd that included Michael Caine, Jane Birkin, the Beatles and the Rolling Stones.Her fashion editing career coincided with the beginning of her relationship with Michael Chow and the opening of his glamorous restaurant Mr. Chow, which attracted a starry crowd. "Naturally, we were forever being photographed at home, draped among our symbols of 'with it ness' as one of London's most happening couples; him, the cool young restaurateur, nonchalantly swinging in a hammock hung from the minstrel's gallery and me, the sophisticated style maker, perkily sitting cross legged atop a giant pop art version of a Campbell's soup can."At the height of the bohemian 1970s, she dyed her hair with henna and permed it (it would stay the same for much of the next 40 years), dressed almost exclusively in Yves Saint Laurent, had a fling with a Vietnamese photographer and spent her evenings at Club Sept in Paris. Coddington worked with the who's who of fashion. She shot Anjelica Huston with photographer David Bailey and Pat Cleveland with Helmut Newton.When Bea Miller, who had edited British Vogue for 22 years, retired, Coddington interviewed for the job but says she knew deep down she wasn't suited for it and thought that Wintour, then the creative director of American Vogue, should get it.Wintour did get it. Two days into her editorship, she invited Coddington to a screening of the racy film "Betty Blue." The two sat in dead silence through the opening sequence, a vivid five minute sex scene."Anna was rigid and unmoving. No sign of any emotion at all," Coddington writes. "I then realized how much significance Anna places on willpower trumping feelings."In 1988, when Wintour was appointed editor in chief at American Vogue, Coddington asked to join her. Coddington's narrative style fashion features and travelogues, a sampling of which appear in the book, became the heart and soul of the magazine, even as its pages became increasingly taken over by celebrities. Through her visual canvases, she interpreted the New Romantic period, grunge and the South Beach blinged out 1990s, and persuaded superstar designers Tom Ford, Marc Jacobs and others to play roles in a shoot based on "Alice in Wonderland."She sums up her creative process this way: "For me, one of the most important aspects of my work is to give people something to dream about, just as I used to dream all those years ago as a child looking at beautiful photographs."The book ends with a chapter on then and now. "Fashion has changed so much in my lifetime," Coddington writes. "Today, I find myself at the collections, asking, 'Who are all these people?' Sometimes I think I'm the last remaining person who comes to the shows for the pleasure of seeing the clothes."At 71, she seldom wears makeup and doesn't socialize much. But her attempt in the last 100 pages to distance herself from the term "fashionista" is a bit of a stretch. Clearly, Coddington has led a most charmed life. Otherwise, we wouldn't be reading about it.We provide this community forum for readers to exchange ideas and opinions on the news of the day. Passionate views, pointed criticism and critical thinking are welcome. Comments can only be submitted by registered users. By posting comments on our site, you are agreeing to the following terms:

投稿者 by: louis vuitton frankfurt at 2014年1月16日 13:06

Lady Griz hand Selvig 800th career win with 68 61 victory over PortlandGriz up to fifth in TSN poll, highest ranking of seasonBig Sky honors Sac State QB SafronNorth Dakota football coach firedSince 1897, the Cat Griz rivalry has captivated the stateFamily health: Prepare yourself and your vehicle for winter drivingFitness calendarBirths for Tuesday, November 19Angler with 4th place total takes Fall Mack Days fishing tournament titleWestern Montana hunters get help from fresh snow, rutIf the name Grace Coddington is familiar, you've probably seen the 2009 documentary film "The September Issue" about Vogue magazine's Editor in Chief Anna Wintour, the most feared and revered woman in fashion. Now Coddington, the longtime creative director of Vogue, has her own star vehicle, an engaging memoir titled "Grace," co written with Michael Roberts. For anyone with a passing interest in the fashion industry, it's worth a read for the name dropping alone.As became clear in the film, which chronicled the magazine's staff as they put together the 4 pound September 2007 issue, Coddington is not the Anna Wintour or Diana Vreeland type. You won't hear her barking orders at assistants or making dramatic pronouncements about pink.But she is equally passionate, a wild haired dreamer who thinks that fashion should be transporting, provocative and even intellectual, who bemoans the dominance of celebrities and digital hocus pocus in fashion photography and who isn't afraid to take on Wintour.The book is a window into how fashion has changed from a small, niche business into a global pop culture medium. It chronicles Coddington's 50 years in the industry, first as a model, then as a fashion editor for British Vogue and finally as creative director for American Vogue, with lots of juicy anecdotes about designers, photographers, celebrities and models.She compares the fashion world then and now and offers clues into her relationship with Wintour. She's also open about her private life, including details about failed marriages, the tragic death of her sister Rosemary and her 30 year romance with French hairstylist Didier Malige. She tells colorful stories behind many of the fashion shoots she has styled, but I do wish she had offered more insight into her role in the creative process.Coddington begins by painting a picture of her upbringing as romantic as any photo shoot. For her first 18 years, her home was the Trearddur Bay Hotel on the island of Anglesey off the coast of North Wales. "Although it was bleak, I saw beauty in the bleakness." When she wasn't outdoors, she amused herself by looking at picture books, reading fairy tales and, yes, studying the pages of Vogue magazine. As a teen, she went to a convent school and has vivid memories of the nuns roller skating on the rooftop, "flapping about surreally in their robes like crows on wheels."At 18, she moved to London to attend a modeling course advertised in Vogue. The fashion world was much different in 1959. Coddington had to learn how to apply her own makeup and style her own hair, because makeup artists and hairdressers specializing in photo shoots were nonexistent. A meeting with photographer Norman Parkinson led to her first modeling job running naked through the woods for an arty fashion catalog.Coddington became an overnight success. "I was a character, rather than a pretty model, and I suppose that's exactly what I look for in the girls I now select to put in American Vogue the ones who are quirky looking."She earned the nickname "The Cod" (to Jean Shrimpton's "The Shrimp"), danced the twist on Mary Quant's catwalk and became a muse to Vidal Sassoon, who created his famous five point cut on Coddington. Her modeling career was derailed for two years by a car accident, which scarred her left eyelid. But eventually things picked up again, and she settled into life in 1960s swinging London and Paris, hanging out with a fast crowd that included Michael Caine, Jane Birkin, the Beatles and the Rolling Stones.Her fashion editing career coincided with the beginning of her relationship with Michael Chow and the opening of his glamorous restaurant Mr. Chow, which attracted a starry crowd. "Naturally, we were forever being photographed at home, draped among our symbols of 'with it ness' as one of London's most happening couples; him, the cool young restaurateur, nonchalantly swinging in a hammock hung from the minstrel's gallery and me, the sophisticated style maker, perkily sitting cross legged atop a giant pop art version of a Campbell's soup can."At the height of the bohemian 1970s, she dyed her hair with henna and permed it (it would stay the same for much of the next 40 years), dressed almost exclusively in Yves Saint Laurent, had a fling with a Vietnamese photographer and spent her evenings at Club Sept in Paris. Coddington worked with the who's who of fashion. She shot Anjelica Huston with photographer David Bailey and Pat Cleveland with Helmut Newton.When Bea Miller, who had edited British Vogue for 22 years, retired, Coddington interviewed for the job but says she knew deep down she wasn't suited for it and thought that Wintour, then the creative director of American Vogue, should get it.Wintour did get it. Two days into her editorship, she invited Coddington to a screening of the racy film "Betty Blue." The two sat in dead silence through the opening sequence, a vivid five minute sex scene."Anna was rigid and unmoving. No sign of any emotion at all," Coddington writes. "I then realized how much significance Anna places on willpower trumping feelings."In 1988, when Wintour was appointed editor in chief at American Vogue, Coddington asked to join her. Coddington's narrative style fashion features and travelogues, a sampling of which appear in the book, became the heart and soul of the magazine, even as its pages became increasingly taken over by celebrities. Through her visual canvases, she interpreted the New Romantic period, grunge and the South Beach blinged out 1990s, and persuaded superstar designers Tom Ford, Marc Jacobs and others to play roles in a shoot based on "Alice in Wonderland."She sums up her creative process this way: "For me, one of the most important aspects of my work is to give people something to dream about, just as I used to dream all those years ago as a child looking at beautiful photographs."The book ends with a chapter on then and now. "Fashion has changed so much in my lifetime," Coddington writes. "Today, I find myself at the collections, asking, 'Who are all these people?' Sometimes I think I'm the last remaining person who comes to the shows for the pleasure of seeing the clothes."At 71, she seldom wears makeup and doesn't socialize much. But her attempt in the last 100 pages to distance herself from the term "fashionista" is a bit of a stretch. Clearly, Coddington has led a most charmed life. Otherwise, we wouldn't be reading about it.We provide this community forum for readers to exchange ideas and opinions on the news of the day. Passionate views, pointed criticism and critical thinking are welcome. Comments can only be submitted by registered users. By posting comments on our site, you are agreeing to the following terms:

投稿者 by: UGG Boots pink Canberra at 2014年1月16日 13:06

a memoir of fashion dreamer's life in vogue

投稿者 by: Nike Air Force 1 White NYC Boroughs Pack Queens at 2014年1月16日 13:07

Lady Griz hand Selvig 800th career win with 68 61 victory over PortlandGriz up to fifth in TSN poll, highest ranking of seasonBig Sky honors Sac State QB SafronNorth Dakota football coach firedSince 1897, the Cat Griz rivalry has captivated the stateFamily health: Prepare yourself and your vehicle for winter drivingFitness calendarBirths for Tuesday, November 19Angler with 4th place total takes Fall Mack Days fishing tournament titleWestern Montana hunters get help from fresh snow, rutIf the name Grace Coddington is familiar, you've probably seen the 2009 documentary film "The September Issue" about Vogue magazine's Editor in Chief Anna Wintour, the most feared and revered woman in fashion. Now Coddington, the longtime creative director of Vogue, has her own star vehicle, an engaging memoir titled "Grace," co written with Michael Roberts. For anyone with a passing interest in the fashion industry, it's worth a read for the name dropping alone.As became clear in the film, which chronicled the magazine's staff as they put together the 4 pound September 2007 issue, Coddington is not the Anna Wintour or Diana Vreeland type. You won't hear her barking orders at assistants or making dramatic pronouncements about pink.But she is equally passionate, a wild haired dreamer who thinks that fashion should be transporting, provocative and even intellectual, who bemoans the dominance of celebrities and digital hocus pocus in fashion photography and who isn't afraid to take on Wintour.The book is a window into how fashion has changed from a small, niche business into a global pop culture medium. It chronicles Coddington's 50 years in the industry, first as a model, then as a fashion editor for British Vogue and finally as creative director for American Vogue, with lots of juicy anecdotes about designers, photographers, celebrities and models.She compares the fashion world then and now and offers clues into her relationship with Wintour. She's also open about her private life, including details about failed marriages, the tragic death of her sister Rosemary and her 30 year romance with French hairstylist Didier Malige. She tells colorful stories behind many of the fashion shoots she has styled, but I do wish she had offered more insight into her role in the creative process.Coddington begins by painting a picture of her upbringing as romantic as any photo shoot. For her first 18 years, her home was the Trearddur Bay Hotel on the island of Anglesey off the coast of North Wales. "Although it was bleak, I saw beauty in the bleakness." When she wasn't outdoors, she amused herself by looking at picture books, reading fairy tales and, yes, studying the pages of Vogue magazine. As a teen, she went to a convent school and has vivid memories of the nuns roller skating on the rooftop, "flapping about surreally in their robes like crows on wheels."At 18, she moved to London to attend a modeling course advertised in Vogue. The fashion world was much different in 1959. Coddington had to learn how to apply her own makeup and style her own hair, because makeup artists and hairdressers specializing in photo shoots were nonexistent. A meeting with photographer Norman Parkinson led to her first modeling job running naked through the woods for an arty fashion catalog.Coddington became an overnight success. "I was a character, rather than a pretty model, and I suppose that's exactly what I look for in the girls I now select to put in American Vogue the ones who are quirky looking."She earned the nickname "The Cod" (to Jean Shrimpton's "The Shrimp"), danced the twist on Mary Quant's catwalk and became a muse to Vidal Sassoon, who created his famous five point cut on Coddington. Her modeling career was derailed for two years by a car accident, which scarred her left eyelid. But eventually things picked up again, and she settled into life in 1960s swinging London and Paris, hanging out with a fast crowd that included Michael Caine, Jane Birkin, the Beatles and the Rolling Stones.Her fashion editing career coincided with the beginning of her relationship with Michael Chow and the opening of his glamorous restaurant Mr. Chow, which attracted a starry crowd. "Naturally, we were forever being photographed at home, draped among our symbols of 'with it ness' as one of London's most happening couples; him, the cool young restaurateur, nonchalantly swinging in a hammock hung from the minstrel's gallery and me, the sophisticated style maker, perkily sitting cross legged atop a giant pop art version of a Campbell's soup can."At the height of the bohemian 1970s, she dyed her hair with henna and permed it (it would stay the same for much of the next 40 years), dressed almost exclusively in Yves Saint Laurent, had a fling with a Vietnamese photographer and spent her evenings at Club Sept in Paris. Coddington worked with the who's who of fashion. She shot Anjelica Huston with photographer David Bailey and Pat Cleveland with Helmut Newton.When Bea Miller, who had edited British Vogue for 22 years, retired, Coddington interviewed for the job but says she knew deep down she wasn't suited for it and thought that Wintour, then the creative director of American Vogue, should get it.Wintour did get it. Two days into her editorship, she invited Coddington to a screening of the racy film "Betty Blue." The two sat in dead silence through the opening sequence, a vivid five minute sex scene."Anna was rigid and unmoving. No sign of any emotion at all," Coddington writes. "I then realized how much significance Anna places on willpower trumping feelings."In 1988, when Wintour was appointed editor in chief at American Vogue, Coddington asked to join her. Coddington's narrative style fashion features and travelogues, a sampling of which appear in the book, became the heart and soul of the magazine, even as its pages became increasingly taken over by celebrities. Through her visual canvases, she interpreted the New Romantic period, grunge and the South Beach blinged out 1990s, and persuaded superstar designers Tom Ford, Marc Jacobs and others to play roles in a shoot based on "Alice in Wonderland."She sums up her creative process this way: "For me, one of the most important aspects of my work is to give people something to dream about, just as I used to dream all those years ago as a child looking at beautiful photographs."The book ends with a chapter on then and now. "Fashion has changed so much in my lifetime," Coddington writes. "Today, I find myself at the collections, asking, 'Who are all these people?' Sometimes I think I'm the last remaining person who comes to the shows for the pleasure of seeing the clothes."At 71, she seldom wears makeup and doesn't socialize much. But her attempt in the last 100 pages to distance herself from the term "fashionista" is a bit of a stretch. Clearly, Coddington has led a most charmed life. Otherwise, we wouldn't be reading about it.We provide this community forum for readers to exchange ideas and opinions on the news of the day. Passionate views, pointed criticism and critical thinking are welcome. Comments can only be submitted by registered users. By posting comments on our site, you are agreeing to the following terms:

投稿者 by: Christian Louboutin Cate Chain Patent Black at 2014年1月16日 13:07

a memoir of fashion dreamer's life in vogue

投稿者 by: Ugg Slippers green Berlin at 2014年1月16日 13:08

a memoir of fashion dreamer's life in vogue

投稿者 by: Ugg Glove purple Warsaw at 2014年1月16日 13:08

a memoir of fashion dreamer's life in vogue

投稿者 by: Ugg Tassel blue italy at 2014年1月16日 13:12

a memoir of fashion dreamer's life in vogue

投稿者 by: dresy meskie nike at 2014年1月16日 13:13

a memoir of fashion dreamer's life in vogue

投稿者 by: Christian Louboutin Dafsling 160mm Glitter Black at 2014年1月16日 13:13

Lady Griz hand Selvig 800th career win with 68 61 victory over PortlandGriz up to fifth in TSN poll, highest ranking of seasonBig Sky honors Sac State QB SafronNorth Dakota football coach firedSince 1897, the Cat Griz rivalry has captivated the stateFamily health: Prepare yourself and your vehicle for winter drivingFitness calendarBirths for Tuesday, November 19Angler with 4th place total takes Fall Mack Days fishing tournament titleWestern Montana hunters get help from fresh snow, rutIf the name Grace Coddington is familiar, you've probably seen the 2009 documentary film "The September Issue" about Vogue magazine's Editor in Chief Anna Wintour, the most feared and revered woman in fashion. Now Coddington, the longtime creative director of Vogue, has her own star vehicle, an engaging memoir titled "Grace," co written with Michael Roberts. For anyone with a passing interest in the fashion industry, it's worth a read for the name dropping alone.As became clear in the film, which chronicled the magazine's staff as they put together the 4 pound September 2007 issue, Coddington is not the Anna Wintour or Diana Vreeland type. You won't hear her barking orders at assistants or making dramatic pronouncements about pink.But she is equally passionate, a wild haired dreamer who thinks that fashion should be transporting, provocative and even intellectual, who bemoans the dominance of celebrities and digital hocus pocus in fashion photography and who isn't afraid to take on Wintour.The book is a window into how fashion has changed from a small, niche business into a global pop culture medium. It chronicles Coddington's 50 years in the industry, first as a model, then as a fashion editor for British Vogue and finally as creative director for American Vogue, with lots of juicy anecdotes about designers, photographers, celebrities and models.She compares the fashion world then and now and offers clues into her relationship with Wintour. She's also open about her private life, including details about failed marriages, the tragic death of her sister Rosemary and her 30 year romance with French hairstylist Didier Malige. She tells colorful stories behind many of the fashion shoots she has styled, but I do wish she had offered more insight into her role in the creative process.Coddington begins by painting a picture of her upbringing as romantic as any photo shoot. For her first 18 years, her home was the Trearddur Bay Hotel on the island of Anglesey off the coast of North Wales. "Although it was bleak, I saw beauty in the bleakness." When she wasn't outdoors, she amused herself by looking at picture books, reading fairy tales and, yes, studying the pages of Vogue magazine. As a teen, she went to a convent school and has vivid memories of the nuns roller skating on the rooftop, "flapping about surreally in their robes like crows on wheels."At 18, she moved to London to attend a modeling course advertised in Vogue. The fashion world was much different in 1959. Coddington had to learn how to apply her own makeup and style her own hair, because makeup artists and hairdressers specializing in photo shoots were nonexistent. A meeting with photographer Norman Parkinson led to her first modeling job running naked through the woods for an arty fashion catalog.Coddington became an overnight success. "I was a character, rather than a pretty model, and I suppose that's exactly what I look for in the girls I now select to put in American Vogue the ones who are quirky looking."She earned the nickname "The Cod" (to Jean Shrimpton's "The Shrimp"), danced the twist on Mary Quant's catwalk and became a muse to Vidal Sassoon, who created his famous five point cut on Coddington. Her modeling career was derailed for two years by a car accident, which scarred her left eyelid. But eventually things picked up again, and she settled into life in 1960s swinging London and Paris, hanging out with a fast crowd that included Michael Caine, Jane Birkin, the Beatles and the Rolling Stones.Her fashion editing career coincided with the beginning of her relationship with Michael Chow and the opening of his glamorous restaurant Mr. Chow, which attracted a starry crowd. "Naturally, we were forever being photographed at home, draped among our symbols of 'with it ness' as one of London's most happening couples; him, the cool young restaurateur, nonchalantly swinging in a hammock hung from the minstrel's gallery and me, the sophisticated style maker, perkily sitting cross legged atop a giant pop art version of a Campbell's soup can."At the height of the bohemian 1970s, she dyed her hair with henna and permed it (it would stay the same for much of the next 40 years), dressed almost exclusively in Yves Saint Laurent, had a fling with a Vietnamese photographer and spent her evenings at Club Sept in Paris. Coddington worked with the who's who of fashion. She shot Anjelica Huston with photographer David Bailey and Pat Cleveland with Helmut Newton.When Bea Miller, who had edited British Vogue for 22 years, retired, Coddington interviewed for the job but says she knew deep down she wasn't suited for it and thought that Wintour, then the creative director of American Vogue, should get it.Wintour did get it. Two days into her editorship, she invited Coddington to a screening of the racy film "Betty Blue." The two sat in dead silence through the opening sequence, a vivid five minute sex scene."Anna was rigid and unmoving. No sign of any emotion at all," Coddington writes. "I then realized how much significance Anna places on willpower trumping feelings."In 1988, when Wintour was appointed editor in chief at American Vogue, Coddington asked to join her. Coddington's narrative style fashion features and travelogues, a sampling of which appear in the book, became the heart and soul of the magazine, even as its pages became increasingly taken over by celebrities. Through her visual canvases, she interpreted the New Romantic period, grunge and the South Beach blinged out 1990s, and persuaded superstar designers Tom Ford, Marc Jacobs and others to play roles in a shoot based on "Alice in Wonderland."She sums up her creative process this way: "For me, one of the most important aspects of my work is to give people something to dream about, just as I used to dream all those years ago as a child looking at beautiful photographs."The book ends with a chapter on then and now. "Fashion has changed so much in my lifetime," Coddington writes. "Today, I find myself at the collections, asking, 'Who are all these people?' Sometimes I think I'm the last remaining person who comes to the shows for the pleasure of seeing the clothes."At 71, she seldom wears makeup and doesn't socialize much. But her attempt in the last 100 pages to distance herself from the term "fashionista" is a bit of a stretch. Clearly, Coddington has led a most charmed life. Otherwise, we wouldn't be reading about it.We provide this community forum for readers to exchange ideas and opinions on the news of the day. Passionate views, pointed criticism and critical thinking are welcome. Comments can only be submitted by registered users. By posting comments on our site, you are agreeing to the following terms:

投稿者 by: Christian Louboutin Bianca Spikes 140mm Leather Corde at 2014年1月16日 13:14

a memoir of fashion dreamer's life in vogue

投稿者 by: Nike Free Run 2 Men's Hyper Blue Volt-Black at 2014年1月16日 13:14

a memoir of fashion dreamer's life in vogue

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Lady Griz hand Selvig 800th career win with 68 61 victory over PortlandGriz up to fifth in TSN poll, highest ranking of seasonBig Sky honors Sac State QB SafronNorth Dakota football coach firedSince 1897, the Cat Griz rivalry has captivated the stateFamily health: Prepare yourself and your vehicle for winter drivingFitness calendarBirths for Tuesday, November 19Angler with 4th place total takes Fall Mack Days fishing tournament titleWestern Montana hunters get help from fresh snow, rutIf the name Grace Coddington is familiar, you've probably seen the 2009 documentary film "The September Issue" about Vogue magazine's Editor in Chief Anna Wintour, the most feared and revered woman in fashion. Now Coddington, the longtime creative director of Vogue, has her own star vehicle, an engaging memoir titled "Grace," co written with Michael Roberts. For anyone with a passing interest in the fashion industry, it's worth a read for the name dropping alone.As became clear in the film, which chronicled the magazine's staff as they put together the 4 pound September 2007 issue, Coddington is not the Anna Wintour or Diana Vreeland type. You won't hear her barking orders at assistants or making dramatic pronouncements about pink.But she is equally passionate, a wild haired dreamer who thinks that fashion should be transporting, provocative and even intellectual, who bemoans the dominance of celebrities and digital hocus pocus in fashion photography and who isn't afraid to take on Wintour.The book is a window into how fashion has changed from a small, niche business into a global pop culture medium. It chronicles Coddington's 50 years in the industry, first as a model, then as a fashion editor for British Vogue and finally as creative director for American Vogue, with lots of juicy anecdotes about designers, photographers, celebrities and models.She compares the fashion world then and now and offers clues into her relationship with Wintour. She's also open about her private life, including details about failed marriages, the tragic death of her sister Rosemary and her 30 year romance with French hairstylist Didier Malige. She tells colorful stories behind many of the fashion shoots she has styled, but I do wish she had offered more insight into her role in the creative process.Coddington begins by painting a picture of her upbringing as romantic as any photo shoot. For her first 18 years, her home was the Trearddur Bay Hotel on the island of Anglesey off the coast of North Wales. "Although it was bleak, I saw beauty in the bleakness." When she wasn't outdoors, she amused herself by looking at picture books, reading fairy tales and, yes, studying the pages of Vogue magazine. As a teen, she went to a convent school and has vivid memories of the nuns roller skating on the rooftop, "flapping about surreally in their robes like crows on wheels."At 18, she moved to London to attend a modeling course advertised in Vogue. The fashion world was much different in 1959. Coddington had to learn how to apply her own makeup and style her own hair, because makeup artists and hairdressers specializing in photo shoots were nonexistent. A meeting with photographer Norman Parkinson led to her first modeling job running naked through the woods for an arty fashion catalog.Coddington became an overnight success. "I was a character, rather than a pretty model, and I suppose that's exactly what I look for in the girls I now select to put in American Vogue the ones who are quirky looking."She earned the nickname "The Cod" (to Jean Shrimpton's "The Shrimp"), danced the twist on Mary Quant's catwalk and became a muse to Vidal Sassoon, who created his famous five point cut on Coddington. Her modeling career was derailed for two years by a car accident, which scarred her left eyelid. But eventually things picked up again, and she settled into life in 1960s swinging London and Paris, hanging out with a fast crowd that included Michael Caine, Jane Birkin, the Beatles and the Rolling Stones.Her fashion editing career coincided with the beginning of her relationship with Michael Chow and the opening of his glamorous restaurant Mr. Chow, which attracted a starry crowd. "Naturally, we were forever being photographed at home, draped among our symbols of 'with it ness' as one of London's most happening couples; him, the cool young restaurateur, nonchalantly swinging in a hammock hung from the minstrel's gallery and me, the sophisticated style maker, perkily sitting cross legged atop a giant pop art version of a Campbell's soup can."At the height of the bohemian 1970s, she dyed her hair with henna and permed it (it would stay the same for much of the next 40 years), dressed almost exclusively in Yves Saint Laurent, had a fling with a Vietnamese photographer and spent her evenings at Club Sept in Paris. Coddington worked with the who's who of fashion. She shot Anjelica Huston with photographer David Bailey and Pat Cleveland with Helmut Newton.When Bea Miller, who had edited British Vogue for 22 years, retired, Coddington interviewed for the job but says she knew deep down she wasn't suited for it and thought that Wintour, then the creative director of American Vogue, should get it.Wintour did get it. Two days into her editorship, she invited Coddington to a screening of the racy film "Betty Blue." The two sat in dead silence through the opening sequence, a vivid five minute sex scene."Anna was rigid and unmoving. No sign of any emotion at all," Coddington writes. "I then realized how much significance Anna places on willpower trumping feelings."In 1988, when Wintour was appointed editor in chief at American Vogue, Coddington asked to join her. Coddington's narrative style fashion features and travelogues, a sampling of which appear in the book, became the heart and soul of the magazine, even as its pages became increasingly taken over by celebrities. Through her visual canvases, she interpreted the New Romantic period, grunge and the South Beach blinged out 1990s, and persuaded superstar designers Tom Ford, Marc Jacobs and others to play roles in a shoot based on "Alice in Wonderland."She sums up her creative process this way: "For me, one of the most important aspects of my work is to give people something to dream about, just as I used to dream all those years ago as a child looking at beautiful photographs."The book ends with a chapter on then and now. "Fashion has changed so much in my lifetime," Coddington writes. "Today, I find myself at the collections, asking, 'Who are all these people?' Sometimes I think I'm the last remaining person who comes to the shows for the pleasure of seeing the clothes."At 71, she seldom wears makeup and doesn't socialize much. But her attempt in the last 100 pages to distance herself from the term "fashionista" is a bit of a stretch. Clearly, Coddington has led a most charmed life. Otherwise, we wouldn't be reading about it.We provide this community forum for readers to exchange ideas and opinions on the news of the day. Passionate views, pointed criticism and critical thinking are welcome. Comments can only be submitted by registered users. By posting comments on our site, you are agreeing to the following terms:

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Lady Griz hand Selvig 800th career win with 68 61 victory over PortlandGriz up to fifth in TSN poll, highest ranking of seasonBig Sky honors Sac State QB SafronNorth Dakota football coach firedSince 1897, the Cat Griz rivalry has captivated the stateFamily health: Prepare yourself and your vehicle for winter drivingFitness calendarBirths for Tuesday, November 19Angler with 4th place total takes Fall Mack Days fishing tournament titleWestern Montana hunters get help from fresh snow, rutIf the name Grace Coddington is familiar, you've probably seen the 2009 documentary film "The September Issue" about Vogue magazine's Editor in Chief Anna Wintour, the most feared and revered woman in fashion. Now Coddington, the longtime creative director of Vogue, has her own star vehicle, an engaging memoir titled "Grace," co written with Michael Roberts. For anyone with a passing interest in the fashion industry, it's worth a read for the name dropping alone.As became clear in the film, which chronicled the magazine's staff as they put together the 4 pound September 2007 issue, Coddington is not the Anna Wintour or Diana Vreeland type. You won't hear her barking orders at assistants or making dramatic pronouncements about pink.But she is equally passionate, a wild haired dreamer who thinks that fashion should be transporting, provocative and even intellectual, who bemoans the dominance of celebrities and digital hocus pocus in fashion photography and who isn't afraid to take on Wintour.The book is a window into how fashion has changed from a small, niche business into a global pop culture medium. It chronicles Coddington's 50 years in the industry, first as a model, then as a fashion editor for British Vogue and finally as creative director for American Vogue, with lots of juicy anecdotes about designers, photographers, celebrities and models.She compares the fashion world then and now and offers clues into her relationship with Wintour. She's also open about her private life, including details about failed marriages, the tragic death of her sister Rosemary and her 30 year romance with French hairstylist Didier Malige. She tells colorful stories behind many of the fashion shoots she has styled, but I do wish she had offered more insight into her role in the creative process.Coddington begins by painting a picture of her upbringing as romantic as any photo shoot. For her first 18 years, her home was the Trearddur Bay Hotel on the island of Anglesey off the coast of North Wales. "Although it was bleak, I saw beauty in the bleakness." When she wasn't outdoors, she amused herself by looking at picture books, reading fairy tales and, yes, studying the pages of Vogue magazine. As a teen, she went to a convent school and has vivid memories of the nuns roller skating on the rooftop, "flapping about surreally in their robes like crows on wheels."At 18, she moved to London to attend a modeling course advertised in Vogue. The fashion world was much different in 1959. Coddington had to learn how to apply her own makeup and style her own hair, because makeup artists and hairdressers specializing in photo shoots were nonexistent. A meeting with photographer Norman Parkinson led to her first modeling job running naked through the woods for an arty fashion catalog.Coddington became an overnight success. "I was a character, rather than a pretty model, and I suppose that's exactly what I look for in the girls I now select to put in American Vogue the ones who are quirky looking."She earned the nickname "The Cod" (to Jean Shrimpton's "The Shrimp"), danced the twist on Mary Quant's catwalk and became a muse to Vidal Sassoon, who created his famous five point cut on Coddington. Her modeling career was derailed for two years by a car accident, which scarred her left eyelid. But eventually things picked up again, and she settled into life in 1960s swinging London and Paris, hanging out with a fast crowd that included Michael Caine, Jane Birkin, the Beatles and the Rolling Stones.Her fashion editing career coincided with the beginning of her relationship with Michael Chow and the opening of his glamorous restaurant Mr. Chow, which attracted a starry crowd. "Naturally, we were forever being photographed at home, draped among our symbols of 'with it ness' as one of London's most happening couples; him, the cool young restaurateur, nonchalantly swinging in a hammock hung from the minstrel's gallery and me, the sophisticated style maker, perkily sitting cross legged atop a giant pop art version of a Campbell's soup can."At the height of the bohemian 1970s, she dyed her hair with henna and permed it (it would stay the same for much of the next 40 years), dressed almost exclusively in Yves Saint Laurent, had a fling with a Vietnamese photographer and spent her evenings at Club Sept in Paris. Coddington worked with the who's who of fashion. She shot Anjelica Huston with photographer David Bailey and Pat Cleveland with Helmut Newton.When Bea Miller, who had edited British Vogue for 22 years, retired, Coddington interviewed for the job but says she knew deep down she wasn't suited for it and thought that Wintour, then the creative director of American Vogue, should get it.Wintour did get it. Two days into her editorship, she invited Coddington to a screening of the racy film "Betty Blue." The two sat in dead silence through the opening sequence, a vivid five minute sex scene."Anna was rigid and unmoving. No sign of any emotion at all," Coddington writes. "I then realized how much significance Anna places on willpower trumping feelings."In 1988, when Wintour was appointed editor in chief at American Vogue, Coddington asked to join her. Coddington's narrative style fashion features and travelogues, a sampling of which appear in the book, became the heart and soul of the magazine, even as its pages became increasingly taken over by celebrities. Through her visual canvases, she interpreted the New Romantic period, grunge and the South Beach blinged out 1990s, and persuaded superstar designers Tom Ford, Marc Jacobs and others to play roles in a shoot based on "Alice in Wonderland."She sums up her creative process this way: "For me, one of the most important aspects of my work is to give people something to dream about, just as I used to dream all those years ago as a child looking at beautiful photographs."The book ends with a chapter on then and now. "Fashion has changed so much in my lifetime," Coddington writes. "Today, I find myself at the collections, asking, 'Who are all these people?' 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