Tuesday, December 10, 2019

Story image for iconic gown from Wall Street Journal

Brand Anna

Wall Street Journal-Mar. 23, 2011
... shot of the model Dovima, dressed in a black Dior gown with flowing white sash, ... may be fashion's most iconic single image—perfectly posed and concerned ...
Story image for iconic gown from Daily Mail

Spy chic: Coleen Rooney unveils new sixties-inspired ...

Daily Mail-Jun. 21, 2011
She's usually swathed in designer labels and shod in her beloved Louboutins. But Coleen Rooney put her traditional guise to one side, modelling her new ...
Story image for iconic gown from Daily Mail


Daily Mail-Mar. 13, 2011
With her choice of Issa for the blue dress in which to announce her engagement, she's proved she enjoys patronising smaller labels. And there are two strong ...


Pearl Necklace said...

The question is, what is the discourse of performance and whether it can establish legitimacy. At first glance it seems, that this prevents the traditional distinction between force and right, power and wisdom, i.e., between a strong, fair and correct. About this vzaimosochetaemost we said before, in terms of the theory of language games, distinguishing between the denotative game, where the relevance of belongs true/false; prescriptive game that comes from a fair/unfair; technical game where the criterion of effective/ineffective. "Force" only appears in the last, technical, game. We exclude cases when it is used for terror.

Anonymous said...

First of all, it is a big downside
paintings depicted on the left, rather not negotiable and facial
side, as it shows in the FAS what is the position of this
canvas. Moreover, it is opposed to the window and highlights it. As
the window reflection is a common place for the picture, and for what
is outside of it. But the window function is a continuous light, reaching
right-to-left and connecting to the full attention of the characters to the artist , to
picture the sight that they behold. The mirror is in a strong,
instant and a sudden gust rushes outside of the picture in search of
the invisible subject of contemplation in order to make it visible on the verge
fictitious depth, visible, but immune to all the views. Power
the dotted line drawn between reflection and reflected, perpendicular to
pierces the side of the flowing stream of light. Finally -- and this is the third
function mirror -- it is near the door that
reveals, like him, in the back wall in the picture. The door also
cuts bright rectangle, dull light which does not penetrate into
room. It would just be a Golden plane, if not deepened
beyond this room with carved door, bending of the curtain and
several shaded steps. There is a corridor, but instead
to get lost in the darkness, he breaks into a yellow glow, where the light is not
penetrating the room, swirls and settles. On this light background
at the same time close and infinite, looms high silhouette
men. It is visible in profile; with one hand he holds a heavy
drapery; his feet placed on different steps; one of them is bent
in the knee. Maybe he'll enter the room, maybe only
will see to it that it is satisfied that it can quietly
something to peep. Like a mirror, he captures the back side
what is happening; he, like the mirror, not paying any attention.