sierra, bianca, slpeen, tez e ben.
quem não foi perdeu. lindo de morrer.


fashion intelligence (FI)

"You know what emotional intelligence is — having a feel for what’s right, as distinct from a razor-sharp intellect. Fashion intelligence (FI) is the style equivalent: it’s a flair for putting together clothes that exists independent of money or looks, or even trying.

At its root, FI is about understanding fashion — being able to see beyond trends to the clothes that count, then putting them together in an original way. Having high FI doesn’t mean letting your stylist do all your thinking for you (we mean you, Mischa Barton). Nor does it mean wearing all your free gifts at once (hands up, Sienna, you’ve been rumbled). And just because you’ve got a great body, that doesn’t mean you can wear whatever you like. Madonna is guilty of this. Her recent outing in a satin disco tracksuit, tucked into spike-heeled boots and accompanied with stiff hair flicks, was more why-con than icon.

Real FI is also a kind of physical gift. People with high fashion intelligence have a knack for wearing clothes. They hang right on them, crease in the right way; if they roll up a sleeve, undo a button or add a belt, some chemical reaction takes place and you have perfect rightness. It’s the reason Sofia Coppola wears Marc Jacobs better than anyone else. It’s also the reason designers with radically different styles will do almost anything to get Kate Moss fronting their campaigns. Forget her face, they are paying for the FI factor: the way she’ll twist a collar, knot the front of a shirt, make the clothes work for her, conjure the magic that gets us reaching for our chequebooks, regardless of what’s on sale."

legal né? escrita pela claudia croft (sim, ela é bem vestida - cheguei a trabalhar com ela quando morava em lá), saiu no sunday times.


found magazine

revista que eu adoro faz tempo, tá lançando um livro só de polas que deve ser a coisa mais linda. e o site é bem legal.


férias # 3

morgues, suíça

"kirsten rules!"

acabei de ver o filminho/ making-of do editorial da vogue com a kirsten dunst. vale a pena ver. filmado em versailles, fotografado pela annie leibowitz, com trilha do new order. bem mais legal que o editorial.

para ler/ ver

revista bem legal de berlin. chama 032c. hypada e com contribuidores incríveis, tem um site que não da pra ver mta coisa... pena.

dai tem uma nova de londres, a issue one. fiquei com um pouco de preguiça... mta pretensão, mas vamos ver no que dá. o mais legal é um editorial masculino chamado "high rental".



hedi na boite, festa misShapes em ny.
site com fotos incríveis!

dica bacana

(cover, dask, eurowoman, he & s)

acabou de sair uma matéria super legal no style dando dicas da dinamarca, especialmente de copenhagen. vários links legais de revistas de lá. uma pena que algumas que não tem tradução, mas vale mesmo assim:
cover: irmã mais nova da dask, com site com cara de blog
dansk parece ser bonita, mas não da pra ver mta coisa
eurowoman: a mais antigona e tradicional
he: o hedi slimane é contribudor e tem bem a cara dele: muitos meninos bonitos
s: novíssima, mistura moda e erotismo. tem uma diagramação bonita
vs: dessas tipo pop, another magazine. pena que não da pra ver nada no site

e tem tmb o trabalho de uma menina chamada jo riis-hansen (parente distante?) que faz acessórios lindíssimos, inspirados em tatuagens old school



(a primeira edição e uma das últimas)

fiquei sabendo que a duetto editorial vai lançar uma versão brasiliera da revista l'officiel. a original é francesa de 1921, irmã mais velha da jalouse (que eu acho bem mais bacana). não diz nada em nenhum dos dois sites. será que é verdade?

ah, e tem a nova da joyce pascowitch. sai em outubro e chama glamurama.

férias # 2

livraria rössligass, cerveja feldschlösschen, emblemas da cidade, máquina de bilhetes e gaiola dos elefantes, basel, suíça.
site incrível em alemão, outro ok em inglês


férias # 1

palácio da pena, sintra, portugal


"Versace meant whatever you wanted, whenever you wanted it.

“It starts as a celebration,” says Donatella. “You don’t do drugs because they aren’t fun. They’re a lot of fun. But the celebration gets too often celebrated.”

Rumor has hardened into accepted wisdom in the fashion world that Gianni arranged Donatella’s marriage to the male model Paul Beck because he wanted an heir for his throne. It is also widely believed that Gianni’s feelings for his sister’s husband were more than platonic. It is certain, at least, that Gianni had a role far more powerful than uncle in the life of Donatella and Beck’s children, particularly for their daughter, Allegra, whom Gianni called “Little Princess” and to whom he left the majority share of his company.

After the regicide of Gianni Versace in July 1997, Donatella was catapulted into the throne. At the Metropolitan Museum’s Costume Institute gala a few months later, at which an exhibition of Gianni’s work premiered, guests counted the number of times Donatella ran to the bathroom with Kate Moss. “I don’t want to act like a victim, because I hate women who acts like a victim, but I had a lot of responsibility when my brother died,” Donatella says.

Donatella likes to see people eat, she likes things familial, she likes to be intimate with the people who work for her. “Dinner was always in her suite, she tells you where to sit, she makes sure everybody eats,” says Jason Weisenfeld wistfully. “We were always very well taken care of.”

She says she never planned to have such an operatic life—some have greatness thrust upon them. “I knew I was going to work in fashion; I really didn’t think of nothing else,” she says, because her parents were tailors. “But I always thought it was Gianni who would live a grand life, not me. Because I really was not interested. Really I was … when I was at university, that was the happiest time of my life.”

To look around at the fashionable elite in Manhattan, you might think the Versace aesthetic passé. All the fashion girls have been in flowy, flowery, deconstructed Marni things that look like they were made out of fabulous old pillowcases. Otherwise, they’re wearing sleek, Frenchy bits of elegance designed by Alber Elbaz for Lanvin. Come fall, they will switch to skirts called poufs and bubbles from Balenciaga. In all these cases, the sexuality and the luxury of the clothes are understated, almost evasive. (Your eyes have to swim laps around a Marni top to locate a breast. A simple, shiny Lanvin skirt with a bit of pin-­tucking costs thousands and will be recognized as a status symbol only by the most educated of fashion consumers.)

But in Southern California, as in Southern Italy, louche never went out. And the luxury market is rapidly expanding in places like China and India, where the concept of decadence requires little postmodern reinterpretation. Here in Manhattan—as in ­Milan—Donatella has also toned things down: The full-on gilt and Medusa, buckles and baroque of the Gianni era is no more. The flagship boutiques on Fifth Avenue and Via ­Monte Napoleone have been redone in black and white, marble and glass. And this men’s collection was more Santa Monica than Palermo. “I think Versace missed that softness—I always told to Gianni that, but you know, he was a big designer,” says Donatella. Her fall looks for women have been hailed as among the most wearable in the company’s history: clean pantsuits and mini-coats in camel and midnight blue, soft wool and softer Astrakhan, a simple pair of $620 jeans with rhinestone V’s on the ass."

entrevista na integra aqui!