Prada

proljeće 2007

proljeće2008

proljeće 2009

jesen 2009

proljeće 2010

Miuccia Bianchi Prada

Miuccia Bianchi Prada (born Maria Bianchi in May 10, 1949 is an Italian fashion designer. In 1978, she inherited the Prada SpA business from her mother, and she and her husband Patrizio Bertelli led the company's expansion into ready-to-wear apparell. The youngest granddaughter of Prada founder Mario Prada, she has a Ph.D. in Political Science.
Prada has long been a financial supporter of art. She recently organized a traveling, art-gallery style display of many skirts she has designed. The exhibition was called "Waist Down". Prada built her family's modest luggage brand into a company worth billions. She is the younger daughter of Luigi "Gino" Bianchi and his wife, the former Luisia Prada. She was adopted in the 1980s by her mother's sister, an act which changed her surname to Prada.[2] Her maternal. grandfather, Mario Prada, and his brother, Martino, founded the family luxury leather goods company in Milan in 1913; called Fratelli Prada, it was originally a small luxury goods and accessories shop. In 1978, a reluctant Miuccia assumed the reins from her mother, after completing a PhD in Political Science.




She was an unlikely successor, having spent the last five years studying and performing mime at Milan's Teatro Piccolo, being a paid-up member of the Communist party and champion of women's rights in seventies' Milan. But she soon proved her worth. In 1985, she designed a new line of black, unlabelled, hard-wearing, but finely-woven nylon handbags that immediately became must-haves for the fashion cognoscenti, seen hanging off the arm of the likes of Jerry Hall and Marie Helvin. With retail prices starting at around £250, a bootlegging industry quickly sprang up, making the authentic articles even more desirable. More importantly, Prada bags were established as the accessory of choice for supermodels and fashion editors the world over.
Prada launched her eponymous ready-to-wear collection for autumn/winter 1989 to critical acclaim. The plain, almost austere lines of her designs provided a stark contrast to the overtly sensual designs of other labels of the time and one admiring fashion journalist described Prada's clothes as "uniforms for the slightly disenfranchised". In 1992, she debuted the less expensive bridge line Miu Miu (Miuccia's nickname), inspired by her personal wardrobe of earthier, hippyish garments in natural fabrics and colours. Clean and stylish designs, fine materials and exquisite craftsmanship conspired to win Prada a Council of Fashion Designers of America International Award in 1993. A year later, she showed in New York for the first time and opened her London boutique. She now shows for Prada and Miu Miu twice a year in Milan.
Miuccia met her husband and business partner Patrizio Bertelli at the same time she took the helm of the family company. "If I hadn't met him, I probably would have given up - or at least not been able to do what I have done," she once said. It was under Bertelli's sway that the design house started making moves towards becoming an international conglomerate to rival LVMH in 1999/2000, adding such top flight labels as Fendi, Helmut Lang, Jil Sander and Azzedine Alaia to its portfolio of brands.

Wonderful Water World II

Wonderful Water World I

Marc Jacobs u provokativnoj kampanji za svoj prvi muški parfem

Pod geslom 'sam svoj majstor', 47-godišnji dizajner doslovno je dao sve od sebe u reklamnoj kampanji kojom promovira svoj novi muški miris Bang. Totalna sinestezija.

Što se tiče samog parfema Bang, na njemu je radila jedna od najcjenjenijih firmi u području razvoja mirisa i okusa, Givaudan, u suradnji s Ann Gottlieb, a predviđen je za starije od 25, nikako ne za dječarce koji svojim trčkaranjem na plaži pokušavaju privući pozornost. Osim što i sam naziv sadrži (seksualne) konotacije, i dizajn bočice je poprilično bombastičan pa izgleda kao da ju je netko slomio ili kao da ju je pogodio metak.

Grička vještica - knjiga moje mladosti

Marija Jurić Zagorka

U životu autorice Gričke vještice, Gordane i drugih popularnih djela Marije Jurić Zagorke, prve hrvatske novinarke i književnice, mnogo je toga dvojbeno. Čak i datum rođenja. Ipak, najčešće se spominje 1. siječnja 1873. Rodila se u selu Negovec kraj Vrbovca u imućnoj obitelji upravitelja velikog imanja baruna Raucha. Iako dobrog imovnog stanja, obitelj u kojoj je bilo četvero djece, živjela je, kako to sama Zagorka svjedoči, prilično nesretno. Pučku je školu, u kojoj se isticala inteligencijom i nadarenošću, polazila u Varaždinu i Zagrebu. Nakon šest godina školovanja u zagrebačkom Samostanu milosrdnica, Zagorka odlazi iz Zagreba. Konačno će se vratiti tek nakon sedam godina, da bi tu doživjela duboku starost i umrla 30. studenoga 1957.

Novinarska karijera Marije Jurić Zagorke počinje s anonimnim tekstom „Jedan časak” u zagrebačkom Obzoru, nakon čega je na preporuku biskupa Josipa Jurja Strossmayera, postala članica uredništva toga cijenjenog i utjecajnog lista. Od predstavnika tiskare Zagorka je pak čula vrlo nepovoljnu reakciju: „Novinarsko je zvanje isključivo muško, a Vi baš ni po čemu nemate sposobnosti za to. Tko hoće pisati u Obzoru mora biti netko.” Zagorka se cijeloga života žestoko borila da dokaže kako ona jest netko. Izvještavala je o političkim zbivanjima, iz Parlamenta, bila dopisnica iz Budimpešte i Beča. Aktivno je sudjelovala u političkim borbama, bila glasna i oštra protivnica mađarizacije i germaniza-cije. Za vrijeme utamničenja dvojice urednika Obzora 1896. sama je uređivala list pokazavši zadivljujuću energiju i inteligenciju. Potaknula je i uređivala prvi list u Hrvatskoj namijenjen isključivo ženama, i tako nazvan - Ženski list od 1925. do 1938., zatim Hrvaticu. Unatoč tome stalno je bila izložena podsmijehu i poniženju.

Kod čitateljstva, pak, Zagorka je bila veoma popularna. Možda baš zbog toga nisu joj bile sklone neke tadašnje književne veličine, primjerice Đalski, koji je njezina književna ostvarenja nazivao šundliteraturom za kravarice. A zamjerke je nalazio i njezinu novinarskom radu. Svoje romane, u kojima je pokazala iznimnu vještinu fabuliranja, koji su je učinili prvim hrvatskim autorom literature za mnoštvo, počela je pisati, baš kao i novinarske tekstove, na poticaj biskupa Strossmayera. On se, naime, žalio što hrvatski čitatelj odrasta na njemačkom jeziku, a Zagorka je to shvatila kao poziv.

Ispreplićući intrigantne, uglavnom ljubavne zaplete, i nacionalne teme ostvarila je niz feljtonskih romana koji su objavljivani uglavnom kao podlistak Obzora. Čitatelji su željno iščekivali svaki nastavak Gričke vještice, Plamenih inkvizitora, Gordane, Jadranke, Kćeri Lotršćaka, Kneginje iz Petrinjske ulice i drugih Zagorkinih opsežnih romana u kojima je stvorila veliku galeriju romanesknih likova. Možda su bili tako omiljeni upravo zbog trajne čežnje za srećom ili zbog divovske borbe protiv zla. Čitatelje je manje brinula patetična melodramatičnost dijaloga, naivnost arhetipskih struktura ponašanja ili stilska jednostavnost Zagorkinih romana. Oni su ih jednostavno voljeli kao i komedije te satiričke tekstove poput Jalnuševčana ili povijesnih drama.

Kritika je nije cijenila, a čak ni sama Zagorka nije baš pohvalno mislila o svojoj literaturi. Tek u novije vrijeme može se govoriti o primjerenijoj pozornosti koja se daje njezinu djelu. Možda je svijest o Zagorkinoj vrijednosti ponajbolje izrazio književnik Pavao Pavličić koji u Pismima slavnim ženama kaže: „Vi ste uranili u svemu, i možda bi tek ovo bilo pravo vrijeme za Vas.”

Bila je prva profesionalna novinarka i najčitanija hrvatska književnica. Djelovala i jedno vrijeme uređivala Obzor. Pokrenula je i uređivala Ženski list, prvi hrvatski časopis za žene, i Hrvaticu. Borila se protiv društvene diskriminacije, mađarizacije i germanizacije te za prava žena. Potpora u književnosti i novinarskom radu bio joj je Josip Juraj Strossmayer, koji je nagovara na pisanje romana. Pisala je romane namijenjene široj publici u kojima isprepliće ljubavne priče s elementima nacionalne povijesti. Neka su njezina prozna djela dramatizirana i ekranizirana.

Ako je dakle riječ o "krivnji", onda je Zagorka "kriva", što je u toku svog života - jednostavno rečeno - svašta preturila i prepatila. I to je razlog, najjači, ako ne glavni, da fenomenu zvanom Marija Jurić Zagorka pristupimo ozbiljno, s dužnim poštovanjem, ne bojeći se aure smiješnosti koja za života, pa i nakon smrti, prati ovu tragičnu pojavu, pisca koji je tolike čitaoce gledaoce zabavio, potresao i podučio, priveo literaturi, priveo kazalištu.

Radila je na brzu ruku (jer je morala),
učila je historiju pišući povijesne romane, pa je usprkos svojim mentorima (Strossmayer, Smičiklas, Bojničić i drugi) ponekad ganutljivo naivna. No bila je pošteni književni aktivist u doba kada ta riječ nije postojala, i feminist u doba kada je taj pojam bio smiješan. Najveće priznanje (da joj novinari izdaju sabrana djela) nije doživjela, ali je doživjela priznanje najvećeg hrvatskog novinara početkom ovog stoljeća - "Zagorčice, vi ste muž na mjestu" - pisao je Fran Supilo, a to nisu prazne riječi.

Ivo Hergešić
Josip Horvat; Josip Torbarina; Ivo Hergešić
Izabrana djela
(Pet stoljeća hrvatske književnosti)
Zagreb, NZMH, 1983.

Treba mi.........

malo ovoga.................
ili možda malo ovoga
ali definitivno mi treba mnogo ovoga


treba mi ODMOR!!!!!!!!!
odmah!!!!!!!!!!!

Something sweet

The Kiss

Robert Doisneau
Kiss by the Hotel de Ville 1958

Factory Girl Fascination

This stunningly beautiful American actress and model from the 60s is the inspiration for this summer's 'nonchalant' hair and make-up.

Although she only knew Andy Warhol for a short time, just under a year in the mid 60s, one cannot hear the name of the artist without thinking of his prized “Factory Girl”, Edie Sedgwick. Suffering from mental illness and drug addiction, the well-to-do society girl found a little niche for herself in 1960s Manhattan artist scene, modeling and starring in some of Warhol’s underground film works.

Before meeting Warhol, by only one month, Edie found herself next to music sensation Bob Dylan. Their sorted affair which ended with Dylan marrying someone else, much to the surprise of Edie, who probably never got over the devastation. Dylan’s Blond on Blond is supposedly about Edie.

The fascination with Edie Sedgwick rocks on.

“Edie was born to die young,” says one article.

“She arrived in NY in 1964 with a trust fund, spending it quickly going though $80,000 in 6 months. She was a society girl, a trustafarian drawn to the margins of Bohemia. In January 1965, she met Warhol at a party. Few socialites graced The Factory, [Warhol's Manhattan hide-out where he produced films among other things]. Once he met Edie, the two were practically inseparable. Edie became like an accessory Andy Warhol wore everywhere he went.

Edie transformed herself in the process, cutting her hair and dying it silver blond. She often wore tights from her dance classes everywhere, creating a signature 60s look: Black tights, long t-shirts, her chandelier earings, dark eye-makeup and pale lips.

Drugs were her downfall. She says she was first introduced to really hard drugs at the Factory, where she became an underground film star, featured in Warhol’s voyeuristic films.

She died at age 28, five years after leaving the Factory.

Being in and out of institutions to treat her mental illness, a trait that ran through her family and tragically took the lives of two of her brothers, Edie finally had given up drug use and was married. However, she was prescribed medication for a physical injury and after a night at a party, at which she drank heavily, her husband gave her the prescribed amount of her prescription and the two went to bed.

In the morning, Edie Sedgwick was dead. Her death was recorded as overdose/suicide. (Wonder about the “suicide” – it sounded more like an accidental overdose. Makes me wonder how drunk her husband was, and if it was worded this way to protect his involvement.)

Her story in tragic, yet glamourous, and, of course, sad as well. She was a great beauty that few got to know, and too few of the world got to see. She may have had an outstanding career hadn’t her addictions taken over her life.

Naturally that is why we are so intrigued.

We Are Beautiful In The Eyes Of Mother Nature 2