Tuesday, December 10, 2019

Story image for iconic gown from Vogue.com

Wedding Exclusive

Vogue.com-Jul. 4, 2011
GIORGIO ARMANI created the dress for the second-most-talked-about royal wedding of the year this weekend in Monaco, as Charlene Wittstock, former Olympic ...
Story image for iconic gown from Daily Mail

What a shocker! Man sues Playboy after he paid to get into ...

Daily Mail-Nov. 28, 2011
A guest at a recent Playboy mansion benefit was shocked to learn that the venue favours attractive women - and now he's suing for equal treatment. Steve Frye ...
Story image for iconic gown from New Yorker


New Yorker-Sep. 19, 2011
The gown had drapes and folds and looked impossibly complicated, but .... The clothes were sexy and witty, making use of iconic fashion motifs (toile, biker ...
Story image for iconic gown from Us Magazine

Slash's Wife Wears Original Wedding Gown at Vow Renewal

Us Magazine-Aug. 31, 2011
The former madam donned her original Richard Tyler wedding gown, though she had Brides by Liza shorten the dress to give it a more beachy vibe.


Pearl Necklace said...

In the United States the amount of Federal government investments in R& D in 1956 was equal to private contributions, but then they are ahead of her (OCDE, 1965).
But capitalism has brought his solution of scientific problems of crediting of the study: directly, through the financing of research units of enterprises, where the imperative of efficiency and recommercialisation primarily directs research at the "applied goal", or indirectly

Anonymous said...

Thus, there are two centers that can organize
picture depending on where here or there, is evident
fixed the viewer's attention. The Princess stands in the center as if andreevskogo
cross *1), rotating around the vortex of the court, a lady's maid,
animals and clowns. But it's a frozen rotation about a single axis. Frozen
thanks to the spectacle that would be absolutely invisible if those
same characters suddenly became motionless, and did not form at the same
<*1) the Order "Cross of St. Andrew" is of the form X.-the P R I m R e D.>
like the recess of the bowl, giving the opportunity to see in the depths of the mirror twice
unexpected object of their contemplation. In the direction of going in depth
the Princess combined with the mirror; in the direction of reaching in height,
with her face combined reflection in the mirror. But thanks
term they are in close proximity. But both of them
immutable projecting lines: one coming from the mirror
crosses all the space (and even more,
because the mirror breaks the back wall and creates behind it
another space)8 the other -- and in short, beginning in the eyes of the girls,
crosses only the foreground. These two sagittal lines converge at
very narrow angle, and the point of their meeting, beyond the borders of the canvas,
placed in front of him almost where we look at him.
Questionable, as invisible, this point is nevertheless
unavoidable and absolutely certain, so she prescribed both
main figures and, moreover, confirmed by other related
the dotted lines emanating from the picture and also beyond it