DOCSLIB.ORG

Giorgio Armani

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Giorgio Armani ^£; GIORGIO ARMANI GIORGIO ARMAN GuggenheimMUSEur Published on the occasion of the exhibition Hardcover edition distributed by GIORGIO ARMANI Harry N. Abrams Organized by Germano Celant and Harold Koda 100 Fifth Avenue with Susan Cross and Karole Vail New York, New York 10011 Exhibition designed by Robert Wilson Hardcover edition distributed in German-speaking countries by Solomon R. Guggenheim Museum. New York Hatje Cantz Verlag October 20. 2000-January 17. 2001 Senefelderstrasse 12 D-73760 Ostfildern Guggenheim Museum Bilbao Germany March 12-August 26. 2001 Catalogue design: Takaaki Matsumoto. Matsumoto Incorporated, New York Giorgio Armani © 2000 The Solomon R Guggenheim Foundation. New York. Two different covers have been created for this catalogue. One of them features All rights reserved. photographs by Tom Munro. The other, a special edition, is covered with fabric chosen by All Giorgio Armani works © Giorgio Armani S.p.A. Giorgio Armani. Used by permission. All rights reserved. Frontispiece: Andy Warhol, Giorgio Armani, 1983 (detail) isbn 0-89207-235-0 (softcover) isbn 0-8109-6927-0 (hardcover. Abrams) Printed in Germany by Cantz isbn 3-7757-0979-9 (hardcover. Hatje) isbn 0-89207-236-9 (fabric edition) Guggenheim Museum Publications 1071 Fifth Avenue New York, New York 10128 CONTENTS viii Preface and Acknowledgments by Thomas Krens ARCHITECTURE/DESIGN of xiv Giorgio Armani: Toward the Mass Dandy by 200 The Elegance of the Everyday: The Interiors Germano Celant Giorgio Armani by Donald Albrecht 204 Armani by Design by Andrea Branzi PRIVATE AND PUBLIC Special Photography Projects by Thomas Schenk, Goldberg 2 Interview with Armani by Ingrid Sischy Guido Mocafico, Michel Comte. Nathaniel John Akehurst 20 Milan in the 1970s and 1980s by Natalia Aspesi Raymond Meier, and 26 The Armani Army by Marshall Blonsky with the collaboration of Edmundo Desnoes 209 Armani and Architecture by Lisa Panzera 224 Armani and Textiles by Catherine Perry Special Photography Projects by Walter Chin, Pamela 231 Selected Garments by Harold Koda Hanson, Patrick Demarchelier, and Herb Ritts 33 Armani and Hollywood by Hamish Bowles CINEMA and Fashion by Valerie Steele 59 Selected Garments by Harold Koda 246 Armani, Film, 252 Made in Milan: Notes for a Screenplay by Martin Scorsese and Jay Cocks GENDER Special Photography Projects by Miles Aldridge. 68 Liberty, Equality, Sobriety by Suzy Menkes Von Unwerth, Terry Richardson, and 74 On Womenswear by Franca Sozzani Ellen Enrique Badulescu 82 The Menswear Revolution by Patrick McCarthy 257 Advertising Stills by Karole Vail Special Photography Projects by Tom Munro, David Bailey, Costume: Creating Character by Sean Ellis 270 Armani and Film Aldo Fallai, Carter Smith, Peter Lindbergh, and Catherine Perry 280 Moving Images by Karole Vail 89 Androgyny: Undoing Gender by Susan Cross 292 Snapshots of Milan: Emporio Armani Billboards by 100 The Armani Look by Catherine Perry Alberto Abruzzese 116 Traditionalism: Redoing Gender by Susan Cross 315 Selected Garments by Harold Koda 126 Changing Roles by Susan Cross 135 Selected Garments by Harold Koda Koda 326 A Selection of Armani: Entries by Harold 1976-2000 WORLD CULTURE 344 Men's and Women's Collections. 358 Chronology by Karole Vail 156 The Sands of Time: Histoncism and Orientalism 368 Selected Bibliography by Maria Dupre in Armani's Designs for Women by Caroline Rennolds Milbank Special Photography Projects by Paolo Roversi, Steve Hiett, Albert Watson, Satoshi, and Frederik Lieberath 161 A Place in the Sun by Susan Cross 175 Selected Garments by Harold Koda This exhibition is made possible by InStyle' SPONSOR'S STATEMENT He is the man who got rid of the gray flannel suit. The stiff, heavy, gray flannel suit. The designer who showed women they could dress for the office without looking like men. The imagination that shaped a wardrobe so supple and seductive for Richard Gere in American Gigolo that menswear in this country was never the same again. The seer who foresaw that putting stars in his clothes could not only create an explosive synergy between Hollywood and fashion, but also inspire everyone to create a few opening nights in their own lives. glance in a mirror as you dress Even if you don't own a single A/X T-shirt, if you so much as each morning, Giorgio Armani has influenced your wardrobe. His passion (perhaps even obsession) by an industry every time it for simplicity in all forms of dressing has repeatedly been embraced his ceaseless desire to make clothes that needs to find its way back to reality. For twenty-five years replace fuss with facility and move with effortless elegance, radiate confidence and modernity, and ease has put anyone who cares about style forever in his debt. exhibition and applauds the Guggenheim Museum In Style is pleased to offer support for this for spotlighting Armani's extraordinary career. Martha J. Nelson Managing Editor, In Style Magazine PREFACE AND ACKNOWLEDGMENTS Thomas Krens The Solomon R. Guggenheim Museum is pleased to present Giorgio Armani, a survey of Giorgio Armani's unparalleled contribution to the world of design. Spanning his twenty-five-year career, this exhibition will demonstrate how Armani's radical innovations in the realm of clothing design have transformed the face of contemporary fashion and inspired an entire generation to rethink conventional, gender-specific modes of dress. The Armani look is synonymous with an androgynous a rigidly elegance that is at once classical and casual. His reconfiguration of the traditional suit from tailored garment to an unstructured, flowing form gave new emphasis to the male physique, which had long been suppressed in business attire. And his adaptation of the man's suit for women marked a liberating trend in womenswear. Many contemporary designers have been influenced by the visual arts, while numerous contemporary artists have appropriated fashion as a means of self-expression. This exchange has been deeply significant for both fields and is a hallmark of culture at the outset of the twenty-first century. The Italian Futurists were among the earliest Modern artists to underscore the inter- relationship between art and fashion. Giacomo Balla, for instance, advocated the idea of a totally designed environment, which would include not only art and architecture, but design and fashion in particular. Armani has inherited the mantle of his Italian forebears. His vision encompasses a completely choreographed aesthetic experience, from his fashion designs to his home collections. While design and objects of material culture have traditionally been considered secondary to the "high" arts, since the beginning of the twentieth century artists and designers have blurred those distinctions in their melding of aesthetics and function, of art and everyday life. The Guggenheim Museum has consistently investigated the central role that design has played in modern culture since 1991, when it expanded its vision to include architecture, design, and new media. Guggenheim exhibitions such as The Great Utopia: The Russian and Soviet Avant-Garde, 1915-1932 (1992-93), The Italian Metamorphosis, 1943-1968 (1994-95), Art/Fashion (1997), and The Art of the Motorcycle (1998) presented a range of artistic languages, including art. architecture, fashion, and design, demonstrating the fusion that has often occurred between them. Giorgio Armani has been realized by the efforts and support of many individuals and to the institutions too numerous to cite here. Nevertheless, we would like to express our thanks this project. incredible team of talented and devoted people who worked so diligently to bring about incomparable work We owe. of course, the greatest debt of gratitude to Giorgio Armani himself, whose Giorgio Armani S.p.A. who and vision we are celebrating. We are also grateful to the individuals at would not have been helped bring this exhibition to fruition. We recognize that this exhibition Celant. Senior Curator imaginable without the efforts and creative talents of its co-curators. Germano guest curator. Each has brought his of Contemporary Art. Guggenheim Museum; and Harold Koda. expertise and his unique sensibilities to bear upon this show. to work with distinguished artist and In addition, we are pleased to have had the chance of Change Performing Arts and designer Robert Wilson and to collaborate with Elisabetta di Mambro concept has transformed the museum, the rest of Wilson's team. Wilson's unique exhibition-design Armani's designs. Robert Wilson himself wishes to providing a dramatic and incomparable setting for World Sponsors who support his work through thank the Aventis Foundation and the following American Friends of the Paris Opera and Ballet. Giorgio contributions to the Byrd Hoffman Foundation: Pierre Berge, Bacardi USA. Inc.. Irving and Dianne Benson. Armani, Lily Auchincloss (in memoriam), memonam). The Edelman Companies, Christian Elaine Terner Cooper. Ethel de Cresset (In Christopher Henkel. Franck. Betty Freeman, Agnes Gund, Eisenbeiss. Marina Eliades, Eric and Martine de Pury, Katharine Rayner, Newman (In memoriam). Simon Gabriel Henkel. Donna Karan. Mrs. Barnett Foundation, Sarofim. The Juliet Lea Hillman Simonds Mark Rudkin, Gher, Sackler, Louisa Stude Robert W. Rowshanak Vakil, Robert Wilson Stiftung, Annaliese Soros. Darthea Speyer. Stanley Stairs, Wilson, and Yves Saint Laurent Parfums. On the occasion of for his elegant catalogue design. Takaaki Matsumoto Is to be commended has invited twenty-five feature of the catalogue, the Guggenheim the exhibition and as a special their ow and celebrate Armani's designs by creating prominent fashion photographers to interpret Haan must be Baron and Baron, Inc. w„h Amanda mages Fabien Baron and Lisa Atkin of of the best photographers effort in bringing on board a group acknowledged for their tremendous themselves: John Akehurst, M, es thanks go to the photographers Tor n today. Our deepest r Sea Chin. Michel Comte. Patrick Demarche Badulescu. David Bailey, Walter Iridge Enrique Peter Steve Hiett. Frederik Lieberath. Nathaniel Goldberg. Pamela Hanson. E A do Fa la,. Richardson. Herb Rltts, Paolo Rovers,.
Load more

Recommended publications
  • Enhancing the In-Store Experience
    Enhancing the in-store experience for female customers of Tommy Hilfiger Achieving more together Foreword The ‘Anton Dreesmann Leerstoel voor Retailmarketing’ Foundation - supported by a group of leading retailers in the Netherlands - has chosen Rabobank as its partner to host and co-organise its annual congress. The partnership started in 2011 and we have prolonged this successful collaboration until at least 2020. We appreciate the opportunity to share our knowledge and views on retail with key players and other stakeholders in the sector. The January 2017 congress, ‘Retailing Beyond Borders – Working on Transition’ took place in the Duisenberg Auditorium in Utrecht. During this congress the ‘Rabobank Anton Dreesmann Thesis Award´ was granted to Samira Darkaoui for her thesis entitled ‘Enhancing the in-store experience for female customers of Tommy Hilfiger´. Part of this award is the publication of the thesis as a book. The result of which is now in front of you. Capturing and embedding knowledge is important, both for Rabobank as a knowledge-driven financial organisation and for retailers. We therefore support the initiatives of the Foundation to combine scholarly knowledge with retail practice. The ´Rabobank Anton Dreesmann Thesis Award´ is one of these initiatives. The thesis of Samira Darkaoui, who graduated from the Delft University of Technology, discusses an actual and interesting case at Tommy Hilfiger, the well-known fashion player. The problem for Tommy Hilfiger is the lack of connection that women have with the brand. In order to address this issue, a systematic approach is followed. A wide number of topics is taken into account including brand identity, store interior and (female) consumer behaviour in order to understand the complete shopping experience.
    [Show full text]
  • 2018 YJA Convention Dress Code
    2018 YJA Convention Dress Code HIGH SCHOOL & COLLEGE JNF Laughing Yoga | Zumba | English Pratikraman Comfortable Casual Attire loose-fitting, comfortable clothing (t-shirts, sweatpants, etc.) Sessions | Keynotes Business Casual Attire knee-length dresses; slacks or knee-length skirts with blouses and/or sweaters, etc. khakis or dress pants with polos, button downs, etc. Daytime Events NO: tight clothing, shorts, denims, t-shirts, sleeveless tops (for gentlemen), spaghetti strap tops (for ladies), and gym shoes/attire Casual Attire non-ripped jeans, shorts, sweatpants, gym shorts, and t-shirts Rec Hour Thursday, July 5th: Opening Ceremony | Netflix & Skillz Please come dressed as you would for your age group’s post-talent show event as shown below! YJA Madness whadaYJAknow: Trivia Night Summer Casual Attire Summer Sports Attire knee-length dresses, non-ripped your favorite sports jersey! combine with jeans or non-gym shorts with polos, dresses with leggings, non-ripped jeans, appropriate t-shirts/tops button-downs, baseball caps, etc. Friday, July 6th: Garba in the Galaxy | Lassipalooza | All of the Lights Traditional Indian Raas/Garba Attire chanya cholis, salwar kameezes, sarees, or long dress, blouse and long skirt kurta pajama, sherwani, dhoti/kurta, or dress shirt and slacks Nighttime Events Saturday, July 7th: Windy Wonderland | Enchanted Garden American Formal Attire long formal/semi-formal or floor-length banquet dresses suits, dress shoes, ties/bowties, or dress shirts and pants, etc. PROHIBITED CLOTHING • All jeans (except as stated above) • Any provocative or disrespectful clothing • Any gang-affiliated attire and hats • All tube tops, spaghetti strap tops, halters, • No t-shirts and shorts (except as stated midriffs, low-cut tops, and short skirts above), no tight pants, no short shorts • Shorts must be finger-tip length • All ripped, torn, and overly-tight clothing • Skirts must be knee-length IMPORTANT If your clothing is unacceptable to a convention representative, you will be asked to change.
    [Show full text]
  • Legal Protection for Fashion Design Emily S
    NORTH CAROLINA LAW REVIEW Volume 86 | Number 1 Article 5 12-1-2007 Double-Edged Scissor': Legal Protection for Fashion Design Emily S. Day Follow this and additional works at: http://scholarship.law.unc.edu/nclr Part of the Law Commons Recommended Citation Emily S. Day, Double-Edged Scissor': Legal Protection for Fashion Design, 86 N.C. L. Rev. 237 (2007). Available at: http://scholarship.law.unc.edu/nclr/vol86/iss1/5 This Comments is brought to you for free and open access by Carolina Law Scholarship Repository. It has been accepted for inclusion in North Carolina Law Review by an authorized administrator of Carolina Law Scholarship Repository. For more information, please contact [email protected]. Double-Edged Scissor': Legal Protection for Fashion Design* INTRO DUCTION .......................................................................................... 237 1. CURRENT PROTECTION FOR FASHION DESIGN ............................... 245 A. Copyright of Decorative Elements Separablefrom Their Useful Function ....................................................................... 245 B. Elements of Designs: Fabric Patternsand Dress Designs..... 247 C. Trademark ............................................................................... 248 D . Trade Dress ............................................................................. 249 E . Design Patents......................................................................... 250 II. DESERT-BASED THEORY ................................................................ 252 III.
    [Show full text]
  • Narrativa Transmedia En El Discurso Del Videojuego De Ciencia Ficción
    NARRATIVA TRANSMEDIA EN EL DISCURSO DEL VIDEOJUEGO DE CIENCIA FICCIÓN: MASS EFFECT (2007-2013) COMO NARRACIÓN LÚDICA Y TRANSMEDIA * RODRÍGUEZ HERRADA , Diego [email protected] Fecha de recepción: 15 de abril de 2014 Fecha de aceptación: 3 de mayo de 2014 Resumen: Este trabajo consiste en un acercamiento a las narraciones transmedia a través de la contextualización y análisis de la estructura transmedia y potencialidad narrativa que soporta Mass Effect , franquicia de culto asentada en un universo de Ciencia Ficción. El presente estudio consta de tres partes: en la primera, observaremos la especial versatilidad de los videojuegos para convertirse en narraciones transmediales, más aún si éstos se desarrollan en un contexto de Ciencia Ficción. En la segunda parte nos centraremos en el caso concreto de Mass Effect, una producción transmedia de Ciencia Ficción cuyo centro es una trilogía de videojuegos, que tomaremos como paradigma de la emergencia de esta nueva «cultura de convergencia» por la cual fluyen las narraciones transmedia, analizando cómo se conforman su historia, personajes, etc. y explorando su profundidad temática (clave para su expansión narrativa) utilizando temas clásicos de la Ciencia Ficción. Además, analizaremos su estructura, partes de las que consta, cómo se relacionan éstas y qué funciones narrativas desempeñan, así como el entramado industrial que soporta a todas ellas. Para finalizar, en la tercera parte expondremos las conclusiones a las que hemos llegado con este estudio, poniendo de manifiesto la idoneidad de las narraciones transmediales para el futuro de las industrias dedicadas al entretenimiento. Palabras clave: Narrativa transmedia – crossmedia – videojuego – Ciencia Ficción – Mass Effect * Este trabajo forma parte del Trabajo Fin de Máster del Máster en Comunicación Social de la Universidad de Almería, que permite el acceso a los estudios de doctorado en Artes y Humanidades en la línea de investigación de Teoría de la Narrativa.
    [Show full text]
  • URBN Global Apparel Testing/Labeling Manual
    URBN INC. GLOBAL Fabric and Apparel Testing Manual Global URBN Fabric and Apparel Testing Manual 4.19.2019.docx IMPORTANT – PLEASE READ, PRINT AND SEND BACK A SIGNED COPY TO: MILLS – [email protected] VENDORS – [email protected] Or mail to: URBN |Building 543 | 5000 South Broad Street | Philadelphia | PA19112 | USA <ENTER> Supplier or /Mill Company Name <ENTER> Contact Person Name: I represent and agree that I read and fully understand the processes and regulations outlined in this document as required by URBN. On behalf of the <ENTER supplier or mill company name>, I agree that the Supplier/Mill will follow these processes and regulations, and that the Supplier/Mill will be responsible for any damages, including lost sales, related to the Supplier/Mill’s failure to comply with any of these requirements. Signed: Date: 2 Global URBN Fabric and Apparel Testing Manual 4.19.2019.docx Contents Section Subject Section 1 Care Symbols Section 2 Labelling Section 3 Fabric Manual and Testing Requirements Section 4 Garment Testing Requirements and Assessment Criteria Section 5 Regulatory Requirements Section 6 China Importing Requirements APPENDIX A CARE INSTRUCTIONS AND SYMBOLS APPENDIX B SGS GB APPROVED LABS 3 Global URBN Fabric and Apparel Testing Manual 4.19.2019.docx Section 1 Care Symbols 4 Global URBN Fabric and Apparel Testing Manual 4.19.2019.docx Care Symbols GB/T 8685 Standard All 5 symbols must display on the care label and in the below order. Please refer to the Appendix for a comprehensive list of all approved symbols. 5 Global URBN Fabric and Apparel Testing Manual 4.19.2019.docx Section 2 Labelling 6 Global URBN Fabric and Apparel Testing Manual 4.19.2019.docx Labelling Care Labels: • Care label wording and translations are available on the Vendor Website.
    [Show full text]
  • Dress and Cultural Difference in Early Modern Europe European History Yearbook Jahrbuch Für Europäische Geschichte
    Dress and Cultural Difference in Early Modern Europe European History Yearbook Jahrbuch für Europäische Geschichte Edited by Johannes Paulmann in cooperation with Markus Friedrich and Nick Stargardt Volume 20 Dress and Cultural Difference in Early Modern Europe Edited by Cornelia Aust, Denise Klein, and Thomas Weller Edited at Leibniz-Institut für Europäische Geschichte by Johannes Paulmann in cooperation with Markus Friedrich and Nick Stargardt Founding Editor: Heinz Duchhardt ISBN 978-3-11-063204-0 e-ISBN (PDF) 978-3-11-063594-2 e-ISBN (EPUB) 978-3-11-063238-5 ISSN 1616-6485 This work is licensed under a Creative Commons Attribution-NonCommercial-NoDerivatives 04. International License. For details go to http://creativecommons.org/licenses/by-nc-nd/4.0/. Library of Congress Control Number:2019944682 Bibliographic information published by the Deutsche Nationalbibliothek The Deutsche Nationalbibliothek lists this publication in the Deutsche Nationalbibliografie; detailed bibliographic data are available on the Internet at http://dnb.dnb.de. © 2019 Walter de Gruyter GmbH, Berlin/Boston The book is published in open access at www.degruyter.com. Typesetting: Integra Software Services Pvt. Ltd. Printing and Binding: CPI books GmbH, Leck Cover image: Eustaţie Altini: Portrait of a woman, 1813–1815 © National Museum of Art, Bucharest www.degruyter.com Contents Cornelia Aust, Denise Klein, and Thomas Weller Introduction 1 Gabriel Guarino “The Antipathy between French and Spaniards”: Dress, Gender, and Identity in the Court Society of Early Modern
    [Show full text]
  • Annual Report 2018 Contents 1St 86,000 Cosmetics Group Employees Prospects Worldwide(1) 02 Prospects by Jean-Paul Agon, Chairman & CEO
    Annual Report 2018 Contents 1st 86,000 cosmetics group employees Prospects worldwide(1) 02 Prospects by Jean-Paul Agon, Chairman & CEO Strategy 36 150 brands countries 06 Governance · The Board of Directors · The Executive Committee 10 Quality 12 Ethics 26.9 505 14 Responsibility · “Sharing Beauty With All” billion euros patents registered · Citizen Day of sales(2) in 2018 · The L’Oréal Corporate Foundation 18 Human Relations Performance Commitments for 2 4.92 1 Cosmetics Market 24 L’Oréal in figures billion euros in 2020 28 Worldwide advances operating profit “Sharing Beauty With All” 31 Strategic themes Brands 33 Brands overview (1) Source: WWD, Beauty Top 100,May 2018. (2) At 31 December 2018. 34 Consumer Products 38 L’Oréal Luxe 42 Professional Products More exclusive content 46 Active Cosmetics on the digital version Expertise lorealannualreport2018.com 52 Research & Innovation 54 Operations Discover and filter 56 Digital the Annual Report content 58 Administration and Finance Discover the strategic themes of the Annual Report. Use them to filter content and personalise your navigation to find content that matches your interests. The digital version also features more exclusive content, articles, infographics and many videos. Our mission Beauty for All Offering all women and men worldwide the best of cosmetics in terms of quality, efficacy and safety to satisfy all their beauty needs and desires, in their infinite diversity. Our strategy Universalisation L’Oréal has chosen a unique strategy: Universalisation. It means globalisation that captures, understands and respects differences. Differences in desires, needs and traditions. To offer tailor-made beauty, and meet the aspirations of consumers in every part of the world.
    [Show full text]
  • Directory – English
    SOUTHERN CALIFORNIA’S PREMIER SHOPPING DESTINATION SOUTH COAST PLAZA South Coast Plaza’s unparalleled collection of boutiques, department stores and award-winning restaurants, many of which are exclusive to California, attract visitors from around the world. South Coast Plaza’s reputation as one of the nation’s premier shopping destinations for fashion, design and dining grows stronger every year. Valentino ©2021 South Coast Plaza Considered one of Southern California’s most distinguished cultural, social and retail centers, South Coast Plaza is located within walking distance of the world-renowned Segerstrom Center for the Arts. NEW STORES & RESTAURANTS Baccarat 714.435.9600 CXI Currency Exchange International 714.957.5802 Dripp Coffee Bar 714.406.2118 Isabel Marant 714.708.2690 Louis Vuitton California Dream 866.884.8866 Loewe 714.464.7420 Monique Lhuillier 714.241.4432 Mulberry 949.508.2166 Orange County Museum of Art 714.780.2130 Psycho Bunny 714.462.4667 Reiss London 650.540.2054 Robin’s Jean 714.957.5799 Sunglass Hut 714.979.9139 Tag Heuer 714.435.2000 Tempur-Pedic 657.655.2703 Thom Browne 714.410.8485 Tiffany & Co. 714.540.5330 UNTUCKit 714.975.9250 Universal Appliance 949.284.1811 YellowKorner 714.435.2000 Zimmermann 949.274.7514 COMING SOON Audemars Piguet Fall 2021 Canada Goose Fall 2021 Pressed Juicery Fall 2021 Spring 2021 SOUTH COAST PLAZA AREA MAP The Bridge of Gardens The Bridge of Gardens crosses Bear Street, offering a spectacular view as it connects the two sides of South Coast Plaza. W MAGGIANO’S LITTLE ITALY PHILZ
    [Show full text]
  • Green, Lemon Bergamot, Apple. Middle: 5 Yes 200 Fierce Geranium Leaf, Lavender, Lily of the Valley, Ozonic
    This casual men's cologne has a tangy vibe and fresh Abercrombie & Fitch scent. Top: Green, Lemon Bergamot, Apple. Middle: 5 Yes 200 Fierce Geranium Leaf, Lavender, Lily of the Valley, Ozonic. Bottom: Tonka, Blond Woods, White Moss, Musky. A Masculine medley of Italian bergamot, French Abercrombie & Fitch Men Lavender, fresh jasmine and crisp leafy green with a 5 Yes 200 Type soothing dry down of sandalwood, patchouli and oakmoss. V.S. Type Top Notes Orange, Berry, Green, Amber Romance V.S. Type Middle Notes Floral, Rosewood, Jasmine, Violet, Bottom 5 Yes 200 Vanilla, Tonka Beans, Sandalwood, Creamy Musk This fragrance begins with a strong amaretto character which is supported by an anise note. The amaretto Amaretto 5 Yes 160 accord continues as the main theme and it is combined with a sweet coconut character . The fragrance dries down to a vanilla and Tonka bean base note A warm spicy fragrance with sweet vanilla hay notes and a baking peach pie character. Amish Quilt Top Note: Butter, Nutmeg, Cream 5 Yes >200 Mid Note: Cinnamon, Clove, Peach, Ginger Base Note: Vanilla, Tonka Bean, Sugar Sweetness of the Banana with the Apple Banana Cranberry sweet tartness of the Apple mixed with the tart 5 Yes 120 Cranberry. A true blend of apples with notes of berries. Apples & Berries 5 Yes 200 Never go wrong with this scent Macintosh Apple, Steam Milk, Pure Sugar, Caramel Apple Butter Caramel Candy, Toffee Pudding, Apple Butter, Fresh Nutmeg, 5 Yes 172 Vanilla Bean, Soft Musk A perfectly baked graham cracker crust is filled with warm, juicy tart Granny Smith apples and sprinkled with fresh Apple Crumb ground cinnamon sticks, nutmeg and clove.
    [Show full text]
  • Grazia International @ MILAN FASHION WEEK February 2012
    Grazia International @ MILAN FASHION WEEK February 2012 Celebrating Grazia SOUTH AFRICA and SLOVENIA Walking down the street WHITE fashion exhibition 1-Eureka Zandberg (Grazia South Africa ADV Sales Director), Danielle Weakley (Grazia SA Editor-in-chief), Erika Fantauzzi (Grazia SA Brand Manager), Liezl De Swardt (Grazia SA Publisher), Sandra Gotelli (International Publisher). 2-Liezl De Swardt and Carla Vanni (Grazia International Editor-in-chief) 1 2 Im fuga. Nequis dias dignam que WELCOME NEW EDITIONS sust quia sunt ut ...we’are 20! iumendant faciet Grazia International Network inaugurated the MFW with the launch party for its 2 future editions: Grazia South Africa and Grazia Slovenia reaching the goal of 20 editions worldwide. For the occasion Grazia International Network organized a cocktail party at the exclusive Armani Bamboo bar. The event had an overwhelming response from major advertising clients as well as from Grazia Family in town for fashion week. Easy chic, in Grazia style! 6 1-Jackie Ji (Grazia China Mktg Manager). 2-Lara Milanovic and Svetlana Preradovic (Grazia Serbia). 3-Mario Boselli(President 7 of Camera della Moda Italiana). 8 4-Aeffe team with 5 Mattia Mondani 1 (ADV International 2 Manager). 5-Tamu 3 McPherson (Head of Grazia.it). 4 6-Mattia Mondani, Patrizia Migliorini and Riccardo Sciutto (Tod’s Group).7- Vera MOntanari (Grazia Italy Editor-in- chief), Patrizia Migliorini and Ugo Tizzani (Who‘s Who). 8-Julia Chayko (Grazia Russia Fashion Editor), Dragana Andjic (Grazia Brand Manager), Amalia Mariotti (Sales Manager), Aliona Peneva (Grazia Russia Editor-in-chief). Conquering the streets at MFW STREET MARKETING DAY ONE Grazia International Network kick started the fashion week with a colourful “attack”! The lenses of the numerous photographers were all for our seven models who made their street runaway in front of the main Milanese catwalks, holding each a pink fluorescent letter composing Grazia International Network logo.
    [Show full text]
  • Pós-Graduação Em Letras-Inglês Social Critique in Scorsese's the Age of Innocence and Madden's Ethan Frome: Filmic Adaptat
    UNIVERSIDADE FEDERAL DE SANTA CATARINA PÓS-GRADUAÇÃO EM LETRAS-INGLÊS SOCIAL CRITIQUE IN SCORSESE'S THE AGE OF INNOCENCE AND MADDEN'S ETHAN FROME: FILMIC ADAPTATIONS OF TWO NOVELS BY EDITH WHARTON por HELEN MARIA LINDEN Dissertação submetida à Universidade Federal de Santa Catarina para obtenção do grau de MESTRE EM LETRAS FLORIANÓPOLIS Novembro, 1996 Esta Dissertação foi julgada adequada e aprovada em sua forma final pelo Programa de Pós-Graduação em Inglês para obtenção do grau de MESTRE EM LETRAS Opção Literatura Jos Roberto O'Shea OORDENÀDOR Anelise Reich Corseuil ORIENTADORA BANCA EXAMINADORA: Anelise Reich Corseuil Bernadete Pasold Florianópolis, 28 de novembro de 1996. Ill ACKNOWLEDGEMENTS I would like to thank the PROGRAMA DE PÓS-GRADUAÇÃO EM INGLÊS of the UNIVERSIDADE FEDERAL DE SANTA CATARINA, in special Dr. Anelise Reich Corseuil, my advisor, for the academic support and friendship. Besides the professors that have, in one way or another, enabled me to write this dissertation. Dr. Bernadete Pasold deserves special thanks for her interest in reading and discussing specific parts of my study. Dr. Sara Kozloff, from Vassar College, also devoted some time in reading part of my dissertation and providing interesting suggestions. I am grateful for her interest and contribuitions. I could not exclude Professor John Caughie, from Glasgow University, whose important insights for my research were given during his stay in Florianópolis. I would also like to thank CNPq for the financial support which enabled me to develop this research. I am very grateful to my friend and colleague Viviane Heberle whose invitation to enter the program was the starting point of my return to the academic life.
    [Show full text]
  • Fibers and Fabrics; TX335 .A1 U6 NO
    KitlQRr Bureau of Standards Reference book' no' to ygjgtv |Oi Admin. Bldg. taken from the library, gmp STATES Ite.WMENT OF COMMERCE PUBLICATION A11ID3 Db3SbD All103063560 Blandford, Josephlne/FIbers and fabrics; TX335 .A1 U6 NO. 1, 1970 C.1 NBS-PUB-R 1 ^TES ‘‘•‘‘'/I'ti'i'.1'1' 1: BBB8 MB A Consumer’s Guide from the Mational Bureau of Standards NBS CIS 1 IIIIShSs Fibers and Fabrics by Josephine M. Blandford and Lois M. Gurel INFORMATION ABOUT NATURAL AND MAN-MADE FIBERS AND FABRICS TO MEET YOUR PARTICULAR NEEDS. NBS CONSUMER INFORMATION SERIES 1 Editor: James E. Payne Issued November 1970 U.S. DEPARTMENT OF COMMERCE Maurice H. Stans, Secretary Rocco C. Siciliano, Under Secretary Myron Tribus, Assistant Secretary for Science and Technology NATIONAL BUREAU OF STANDARDS A Consumer’s Lewis M. Branscomb, Director GUIDE FROM THE) NATIONAL BUREAU OF STANDARDS For sale by the Superintendent of Documents, U.S. Government Printing Office, U.S. DEPARTMENT Washington, D.C. 20402. OF COMMERCE Price 65 cents. NATIONAL BUREAU OF STANDARDS APR 1 0 1971 FOREWORD Technology is changing not only the products you buy, but the marketplace as well. Unfortunately, this is not an unmixed blessing. Products are constantly being improved, but designs are complicated, quality is vari¬ able, and good advice is hard to get. Modern stores and merchandising bring you a wide variety of products; but the large number of choices and the lack of dependable infor¬ mation often make shopping a confusing and frustrating experience. A generation ago the merchant was likely to be a friend of the family.
    [Show full text]