Jeans Style Quotes

Never use the word “cheap”. Today everybody can look chic in inexpensive clothes (the rich buy them too). There is good clothing design on every level today. You can be the chicest thing in the world in a T-shirt and jeans — it’s up to you.

And you still have to sqeeze into your jeans, but you're perfect to me..

Very well, I promise. So, what did you get for me?" Angeline paused for a beat. "Jeans." "What?" croaked Artemis. "And a T-shirt" ...Artemis took several breaths. "Does the T-shirt have any writing on it?" A rustling of paper crackled through the phone's speakers. "Yes, it's so cool. There's a picture of a boy who for some reason has no neck and only three fingers on each hand, and behind him in this sort of graffiti style is the words RANDOMOSIY. I don't know what that means but it sounds really current." Randomosity though Artemis, and he felt like weeping.

You hand fits in mine like its made to be but bear this in mind it was meant to be and im joining up the dots with the freckles on you cheeks and it all makes sense to me. I know you've never loved the crinkles by your eyes when you smile you've never loved your stomach or your thighs and the dimples in your back at the bottom of your spine but I love them endlessly.I won't let these little things slip out of my mouth but if i do its you oh its you they add up to and Im in love with you and all your little thing. You can't go to bed without a cup of tea and maybe thats the reason that you talk in you sleep and all those conversations are the secrets that I keep though it makes no sense to me. I know you've never loved the sound of your voice on tape you never want to know how much you weigh you still have to squeeze into to your jeans but you're perfect to me. I won't let these little things slip out of my mouth but if its true its you its these they add up to and Im in love with you and all you little things. You'll never love yourself half as much as I love you and you'll never treat yourself right darlin' but I want you to if I let you know I'm here for you then maybe you'll love yourself like I love you ohhhhh. And I've just let these little things slip out of my mouth cause its you oh its you its you they add up to and Im in love with you and all your little things I wont let these little things slip out of my mouth but if its true its you its you they add up to and im in love with you and all your little things. <3

I know you've never loved the sound of your voice on tape You never want to know how much you weigh, you still have to squeeze into your jeans But you're perfect to me I won't let these little things Slip out of my mouth But if it's true It's you It's you They add up to I'm in love with you And all these little things

Style is a simple way of saying complicated things.

He was not a tall man, but he was wide. His face was the color and texture of old leather boots, and he was completely bald except for a gray walrus mustache that would have made Hulk Hogan jealous. He was wearing jeans and a T-shirt, even though it was chilly and wet. His arms were densely tattooed in style I didn’t recognize.

Perhaps you like to torture yourself by trying on some jeans from a few years ago to see if you can button them. Clothes do not exist to humiliate their owners. Please do not force garments into performing psychological tasks for which they were not designed.

You're in trouble. Do you expect me to just walk away?" "I wouldn't hold it against you if you did." "In know you wouldn't. That's only one of the reasons I'm crazy about you. I've got a million more." "Just a million?" "Okay, a million plus one—your cat." She giggled. "You're bonding with Saladin?" "Somebody has to protect that cat from your cousin Ian. And I feed him. The cat. Not Ian. He's on his own. Anyway, if that doesn't get me Perfect Boyfriend status, I don't know what will." "Emptying the litter box?" "Hey. I have my limits." Amy laughed. She had the phone pressed to her ear so tightly it burned. She closed her eyes, picturing his face... Ian's crisp voice broke in. "All right, lovebirds, let's move on. No offense, but I believe Amy and Dan might need a short course in style and class." "Is this the nonoffensive part?" Dan asked. "I can't wait until you really insult us." "Let's deal with reality, shall we? You don't just walk into an auction house in your jeans and backpacks. You have to blend in. And that's going to be hard." Ian sniffed. "Considering that you're Americans." "What are you talking about, dude?" Dan asked. "This is my best SpongeBob T-shirt.

What is style? Saying complicated things in a simple way.

You have to try everything, for consumerist man is haunted by the fear of 'missing' something, some form of enjoyment or other. You never know whether a particular encounter, a particular experience (Christmas in the Canaries, eel in whisky, the Prado, LSD, Japanese-style love-making) will not elicit some 'sensation'. It is no longer desire, or even 'taste', or a specific inclination that are at stake, but a generalized curiosity, driven by a vague sense of unease - it is the 'fun morality' or the imperative to enjoy oneself, to exploit to the full one's potential for thrills pleasure or gratification.

Cherry blossom lipstick applied to full, pouty lips to perfection, check. Smoky eyes, check. The hazel color does throw off the smoke effect, but they still look pretty darn good. Black curls flowing down white fleece in a flirty style, check. Kid with the hole in her head, check. Skinny jeans… hole in her head?!

He's wearing black jeans and an amazingly hot black biker jacket over a white T-shirt.His normally casual bedhead is not perfectly styled bedhead. He also has light blue skin, but his tattoo are understated, just dots in a straight line that go ear from ear, crossing the bridge of his nose. He props himself against the doorway, and my head goes blank. "I like the viney things you have going on there." I clear my throat because it has suddenly gone dry. "Thanks. You look very..." I trail off because i almost said elf-a-licious

His jean shorts started at his thighs and ended at his ankles. She had no idea why thugs liked this style of clothing, but it worked for her. It was hard to run with your pants falling down.

Hey. Do you want a cracker?" a velvet voice asked me. I didn't look up, I wasn't sure if he was even talking to me. Why would an attractive senior be talking to me? "Hey, I'm talking to you," he said, a chuckle in his voice. I slowly lifted my head peering at him from under my long lashes. His dark brown hair swept across his forehead, and his deep blue eyes made me gasp. He wore the ultimate laid back style, a white t-shirt and jeans. All he needed was a black leather jacket, and he would be the bad boy from my book. The smile on his face was breathtaking and I found myself unable to speak.

Included in the Presqueville is the Cathedrale St.-Jean, a church built during medieval times, including both Romanesque and Gothic styles; its nave, with its flying buttresses flinging out their support as the walls sweep toward the heavens

After so many years of fighting to pour herself into skintight, low-rise jeans and binding pencil skirts and slacks that always felt like a vise around her waist, she found leggings were God’s apology to women everywhere. For the first time, something that was in style actually flattered her figure perfectly by hiding her less-than-stellar mid- and rear section while accentuating her reasonably shapely legs. Every day she pulled a pair on she offered a silent thank-you to their inventor and a quiet prayer that they’d remain in fashion just a little bit longer.

of the year. Ripped jeans, short sleeved black tee, tattooed upper arms, and pierced eyebrow. Then again, that had been Jett’s style, minus

Excluded by my birth and tastes from the social order, I was not aware of its diversity. Nothing in the world was irrelevant: the stars on a general's sleeve, the stock-market quotations, the olive harvest, the style of the judiciary, the wheat exchange, flower-beds. Nothing. This order, fearful and feared, whose details were all inter-related, had a meaning: my exile.

Excluded by my birth and tastes from the social order, I was not aware of its diversity. Nothing in the world was irrelevant: the stars on a general's sleeve, the stock-market quotations, the olive harvest, the style of the judiciary, the wheat exchange, flower-beds. Nothing. This order, fearful and feared, whose details were all inter-related, had a meaning: my exile.

Piercings in his ears, nose and lip revealed his edgy nature. He was casual in faded blue jeans and a black t-shirt that hugged his well-muscled chest in all of the right places. His eyes were a deep, drowning blue. His hair was slightly spiky and bedroom messy with just a hint of the early Elvis style. To say that I found him attractive would be putting it lightly. He was absolutely gorgeous.

Seventies macho was both a look – moustache, jeans, leather jacket – and an attitude – cool, heartless, virile – that were reactions against the old-style homosexuality of too much art and too much emotion.

the others he wore simple work clothes—flannels and jeans with work boots. He was tall and handsome, with blue eyes and dirty-blond hair and a Donegal-style beard running along his broad jaw. He was athletically built with a charismatic, compelling look—like some rustic fashion model. And he had a vaguely familiar appearance. Grady felt certain he’d seen him somewhere before. Grady eyed the man warily. “Are you the foreman

The community knows that the fundamental questions of life can only be looked at in a spirit of peace and inner freedom. Nobody can force anyone else to love and to walk to freedom. Militants for a cause will tend to be organized for a struggle which they hope to win; they will seek to impose their way aggressively. Frequently they seek outward change more than inward change. . . . As long as there are fears and prejudices in the human heart, there will be war and bitter injustice. It is only when hearts are healed, and become loving and open, that the great political problems will be solved. . . . As fears and prejudices diminish, and trust in God and others grows, the community can radiate and witness to a style and quality of life which will bring a solution to the troubles of our world. The response to war is to live like brothers and sisters. The response to injustice is to share. The response to despair is a limitless trust and hope. The response to prejudice and hatred is forgiveness. To work for community is to work for humanity. To work for peace in community, through acceptance of others as they are, and through constant forgiveness, is to work for peace in the world and for true political solutions; it is to work for the Kingdom of God.

Mr. Wonderful was probably taking his sweet time, right?” “No, it was actually my fault this morning. I was busy with…paperwork.” “Oh. Well, that’s alright. Don’t worry about it. What kind of paperwork?” He smiled. “Nothing important.” Mr. Kadam held the door for me, and we walked out into an empty hallway. I was just starting to relax at the elevator doors when I heard a hotel room door close. Ren walked down the hall toward us. He’d purchased new clothes. Of course, he looked wonderful. I took a step back from the elevator and tried to avoid eye contact. Ren wore a brand new pair of dark-indigo, purposely faded, urban-destruction designer jeans. His shirt was long-sleeved, buttoned-down, crisp, oxford-style and was obviously of high quality. It was blue with thin white stripes that matched is eyes perfectly. He’d rolled up the sleeves and left his shirt untucked and open at the collar. It was also an athletic cut, so it fit tightly to his muscular torso, which made me suck in an involuntary breath in appreciation of his male splendor. He looks like a runway model. How in the world am I going to be able to reject that? The world is so unfair. Seriously, it’s like turning Brad Pitt down for a date. The girl who could actually do it should win an award for idiot of the century. I again quickly ran through my list of reasons for not being with Ren and said a few “He’s not for me’s.” The good thing about seeing his mouthwatering self and watching him walk around like a regular person was that it tightened my resolve. Yes. It would be hard because he was so unbelievably gorgeous, but it was now even more obvious to me that we didn’t belong together. As he joined us at the elevator, I shook my head and muttered under my breath, “Figures. The guy is a tiger for three hundred and fifty years and emerges from his curse with expensive taste and keen fashion sense too. Incredible!” Mr. Kadam asked, “What was that, Miss Kelsey?” “Nothing.” Ren raised an eyebrow and smirked. He probably heard me. Stupid tiger hearing. The elevator doors opened. I stepped in and moved to the corner hoping to keep Mr. Kadam between the two of us, but unfortunately, Mr. Kadam wasn’t receiving the silent thoughts I was projecting furiously toward him and remained by the elevator buttons. Ren moved next to me and stood too close. He looked me up and down slowly and gave me a knowing smile. We rode down the elevator in silence. When the doors opened, he stopped me, took the backpack off my shoulder, and threw it over his, leaving me with nothing to carry. He walked ahead next to Mr. Kadam while I trialed along slowly behind, keeping distance between us and a wary eye on his tall frame.

Sam had dark curly hair that he wore parted in the middle and bluntly cut, just above his shoulders. He wore cheap John Lennon–style wire-rimmed glasses and one of those rough hemp striped parkas that are sold in Mexico. His blue jeans were holey and faded to almost white, and he paired his Teva sandals with thick white athletic socks.

Nothing moves forward in a story except through conflict. Writers who cannot grasp this truth, the truth of conflict, writers who have been misled by the counterfeit comforts of modern life into believing that life is easy once you know how to play the game. These writers give conflict a false inflection. The scripts they write fail for one of two reasons, either a glut of banal conflict or a lack of meaningful conflict. The former are exercises in turbo special effects written by those who follow textbook imperatives to create conflict but because they're disinterested in or insensitive to the honest struggles of life, devise overwrought excuses for mayhem. The latter are tedious portraits written in reaction against conflict itself, these writers take the pollyanna view, that life would really be nice if it weren't for conflict. What writers at these extremes fail to realize is that while the quality of conflict in life changes as it shifts from level to level, the quantity of conflict is constant. When we remove conflict from one level of life, it amplifies ten times over on another level. When, for example, we don't have to work from dawn to dark to put bread on the table, we now have time to reflect on the great conflict within our mind and heart or we may become aware of the terrible tyrannies and suffering in the world at large. As Jean-Paul Sartre expressed it, "The essence of reality is scarcity. There isn't enough love in the world, enough food, enough justice, enough time in life. To gain any sense of satisfaction in our life we must go in to heady conflict with the forces of scarcity. To be alive is to be in perpetual conflict at one or all three levels of our lives.

In May, just before the cereal had hit the fan, he sent Vic and Roger a postcard showing a Boston T-bus going away. On the back were four lovely ladies, bent over to show their fannies, which were encased in designer jeans. Written on the back of the card, tabloid style, was this message: IMAGE-EYE LANDS CONTRACT TO DO BUTTS FOR BOSTON BUSES; BILLS BIG BUCKS. Funny then. Not such a hoot now.

Style” comes on and we all go crazy, screaming in each other’s faces and jumping up and down. Peter goes craziest of all. He keeps asking me if I’m having fun. He only asks out loud once, but with his eyes he asks me again and again. They are bright and hopeful, alight with expectation. With my eyes I tell him, Yes yes yes I am having fun. We’re starting to get the hang of slow dancing, too. Maybe we should take a ballroom-dancing class when I get to UVA so we can actually get good at it. I tell him this, and fondly he says, “You always want to take things to the next level. Next-level chocolate chip cookies.” “I gave up on those.” “Next-level Halloween costumes.” “I like for things to feel special.” At this, Peter smiles down at me and I say, “It’s just too bad we’ll never dance cheek to cheek.” “Maybe we could order you some dancing stilts.” “Oh, you mean high heels?” He snickers. “I don’t think there’s such a thing as ten-inch heels.” I ignore him. “And it’s too bad your noodle arms aren’t strong enough to pick me up.” Peter lets out a roar like an injured lion and swoops me up and swings me around, just like I knew he would. It’s a rare thing, to know someone so well, whether they’ll pivot left or right. Outside of my family, I think he might be the person I know best of all.

So let’s get this straight right now. Have you ever seen a teen movie or TV show with a big, raging party scene? Get that out of your mind. This is high school, not college, and it’s Texas. In Texas, we do bonfires on the ranch…not mansions and hotel rooms. We do daisy dukes, backward baseball caps and faded blue jeans…not sparkling cocktail dresses or fancy button ups. I love Texas. I love the laid-back, country style of my hometown and my people.

There’s our homecoming picture. Last Halloween, when I dressed up as Mulan and Peter wore a dragon costume. There’s a receipt from Tart and Tangy. One of his notes to me, from before. If you make Josh’s dumb white-chocolate cranberry cookies and not my fruitcake ones, it’s over. Pictures of us from Senior Week. Prom. Dried rose petals from my corsage. The Sixteen Candles picture. There are some things I didn’t include, like the ticket stub from our first real date, the note he wrote me that said, I like you in blue. Those things are tucked away in my hatbox. I’ll never let those go. But the really special thing I’ve included is my letter, the one I wrote to him so long ago, the one that brought us together. I wanted to keep it, but something felt right about Peter having it. One day all of this will be proof, proof that we were here, proof that we loved each other. It’s the guarantee that no matter what happens to us in the future, this time was ours. When he gets to that page, Peter stops. “I thought you wanted to keep this,” he said. “I wanted to, but then I felt like you should have it. Just promise you’ll keep it forever.” He turns the page. It’s a picture from when we took my grandma to karaoke. I sang “You’re So Vain” and dedicated it to Peter. Peter got up and sang “Style” by Taylor Swift. Then he dueted “Unchained Melody” with my grandma, and after, she made us both promise to take a Korean language class at UVA. She and Peter took a ton of selfies together that night. She made one her home screen on her phone. Her friends at her apartment complex said he looked like a movie star. I made the mistake of telling Peter, and he crowed about it for days after. He stays on that page for a while. When he doesn’t say anything, I say, helpfully, “It’s something to remember us by.” He snaps the book shut. “Thanks,” he says, flashing me a quick smile. “This is awesome.

And this is apparently not without merit. Because in our countries for some time now a great hurricane of subversion has arisen, pushed forward by I do not know what vicious demons—and doubtless in accord with the life-style that we have made our own, unfortunately. This hurricane tries to reverse our traditional order of values, to throw out all that we put forward as being unselfish, gracious and open to the world, open to things and to others, all that is active in dilating our minds and our hearts. It wants to replace it by the single, brutal, arithmetic, and inhuman motivation of profit. Henceforth, all that counts, all that is to be considered and preserved, is what brings profit. The truly ideal aspects of knowledge will not be more valuable than those of interest rates and of financial laws. The only sciences that are to be encouraged are those that teach us how to exploit the earth and the people. Besides that, everything is useless.

I headed to the church at five-thirty, wearing jeans, flip-flops, and brick red lipstick. My mom, calm and cool as a mountain lake, carried my white dress--plain and romantic, with a bodice that laced up corset-style in the back and delicate sheer sleeves. I carted in my shoes…my earrings…my makeup…and my exfoliating scrub, in case my face decided to pull a last-minute sloughing. I wasn’t about to roll over and take a last-minute sloughing without a fight. Not on my wedding day.

It is a sort of quasi-monastic diabolical vision. In a landscape populated with larvae - flowing and undulating larvae called forth like a cascade of leeches by tolling bells - three female figures rise up phantasmally, enshrouded with gauze like Spanish madonnas. They are the 'three brides': the bride of Heaven, the bride of the Earth and the bride of Hell... The bride of Hell, with her two serpents writhing about her temples to hold her veil in place, has the most attractive mask: the most profound eyes, the most vertiginous smile that one could ever see. If she existed, how I would love that woman! I feel that if that smile and those eyes were in my life they would be all the cure I need! I could never tire of the study and contemplation of that hallucinatory visage. "The Three Brides" is very peculiar in its detail and composition. It is the whimsy of a dream rendered with astonishing fastidiousness: the delusion of an opium-smoker composed in the style of Holbein.

At heart, what disgusts me is having been so sublime last evening. When I was twenty I used to get drunk and then explain that I was a fellow in the style of Descartes. I knew I was inflating myself with heroism, but I let myself go, it pleased me. After that, the next morning I felt as sick as if I had awakened in a bed full of vomit. I never vomit when I’m drunk but that would really be better. Yesterday I didn’t even have the excuse of drunkenness. I got excited like an imbecile. I must wash myself clean with abstract thoughts, transparent as water.

I am a psychological and historical structure. Along with existence, I received a way of existing, or a style. All of my actions and thoughts are related to this structure, and even a philosopher’s thought is merely a way of making explicit his hold upon the world, which is all he is. And yet, I am free, not in spite of or beneath these motivations, but rather by their means. For that meaningful life, that particular signification of nature and history that I am, does not restrict my access to the world; it is rather my means of communication with it. This

I seem to have contracted a style, yet I'm not quite sure what that style is - except that it won't let me write certain things on Facebook. I have contracted a name too it seems. And a face. And a body. And forty seven different flavors of who am I. I have a mother. I have a father. A sister. And a brother. Friends. Three dogs. A knife. A spoon. Dental Floss and a pair of fancy tight jeans. Is the world waiting for me to save it? What is this thing called World anyway and who was it told me it was false but that I should work like hell to save it? Purifying forty seven flavors of who am I. I've no idea what this means or even if it's allowed on Facebook. Mother, sister, father, brother, friends, dogs - a small sharp knife with a bent point that refuses to fit in the slot. Did God come to tell me She is real? The world false? Did Buddha? It's just an ordinary Wednesday night and I seem to have contracted a style - and a name - and a body - but when I look for the one who did, I can't seem to find him anywhere. Yet here came all these words. Good night, my friends. Sleep. Sleep like you've never slept before.

You can wear a variety of clothing. But you should have one designer you favor. I suggest Amano." "Ooh," Noriko hums. "I love him." Ichiko taps out something on her tablet and hands me photographs of his latest runway show. "I see it now. You are a small-town girl who supports the local artist. An up-and-comer like you. That's your brand." She winks at me. "Amano's pieces are flattering with a nod to classical elements, but with a certain modern flair." Women strut down a white runway. One wears a black silk furisode with flowing kimono sleeves and a lotus flower motif. Another sports a red evening gown with a matching capelet. Another, a turquoise fitted dress with a square neckline and beaded belt. All so pretty. I like.

It was late afternoon, and only six men were left loitering about the depot. My brother, Sam, was one of them. He wore overalls and a plaid shirt. His hair was cut in the high-right and low-left style that most of the young men wore. He was neither the tallest nor the shortest man on the platform. What set him apart from the others was his light complexion and the sandy-brown color of his hair. He looked like, and was often mistaken for, a white man, although everybody in Pakersfield knew he was Negro. Probably the only person who did not know he was colored was our mother. She took pleasure in categorizing her children by race. Mushy, Harvey, Sam, and Martha Jean were her white children. Tarabelle, Wallace, and Laura were Indians - Cherokee, no less. Edna and I were Negroes.

Thus every individual category is subject to contamination, substitution is possible between any sphere and any other: there is a total confusion of types. Sex is no longer located in sex itself, but elsewhere - everywhere else, in fact. Politics is no longer restricted to the political sphere, but infects every sphere economics, science, art, sport ... Sport itself, meanwhile, is no longer located in sport as such, but instead in business, in sex, in politics, in the general style of performance. All these domains are affected by sport's criteria of 'excellence', effort and record-breaking, as by its childish notion of self-transcendence. Each category thus passes through a phase transition during which its essence is diluted in homeopathic doses, infinitesimal relative to the total solution, until it finally disappears, leaving a trace so small as to be indiscernible, like the 'memory of water' .

The girl enters the room wearing work boots, torn jeans, and a gray long-sleeved T-shirt bearing the word PRINCETON. She is waif-thin, with a long neck, prominent cheekbones, and narrow eyes spread apart in a way that suggests eastern Europe. Her hair is in one of those styles I’ve never understood, the right side of her head shaved in a military buzz cut with  longer hair hanging over it, down to her bony shoulders. A cross between a Calvin Klein model and a Eurotrash punk rocker. She scans the room, but not the way most people who enter the Oval Office do. First-time visitors soak it all in, eagerly devour all the portraits and knickknacks, marvel at the presidential seal, the Resolute desk. Not her. What I see in her eyes, behind the impenetrable wall of her face, is pure loathing. Hatred of me, this office, everything it stands for. But she’s tense, too, on alert—wondering if someone will jump her, handcuff her, throw a hood over her head.

It was during this period of work that Varda began to conceive a more theoretical approach to her art. She says, “[My work] deals with this question, ‘What is cinema?’ through how I found specific cinematic ways of telling what I was telling. I could have told you the same things that are in the film by just talking to you for six hours. But instead I found shapes” (Warwick). To give a name to her very particular and personal search for a cinematic language, Varda coined the term cinécriture. As she explains to Jean Decock: “When you write a musical score, someone else can play it, it’s a sign. When an architect draws up a detailed floor plan, anyone can build his house. But for me, there’s no way I could write a scenario that someone else could shoot, since the scenario doesn’t represent the writing of the film.” Later she would clarify, “The cutting, the movement, the points-of-view, the rhythm of filming and editing have been felt and considered in the way a writer chooses the depth of meaning of sentences, the type of words, number of adverbs, paragraphs, asides, chapters which advance the story or break its flow, etc. In writing its called style. In the cinema, style is cinécriture.” (Varda par Agnès [1994], 14).

The next day we booked a three-hundred pound sow for a most unusual photoshoot. She was chauffeured to Hollywood from a farm in Central Valley, and arrived in style at the soundstage bright and early, ready for her close-up. She was a perfect pig, straight from the animal equivalent of Central casting: pink, with gray spots and a sweet disposition. Like Wilbur from Charlotte's Web, but all grown up. I called her "Rhonda." In a pristine studio with white walls and a white floor, I watched as Rhonda was coaxed up a ramp that led to the top of a white pedestal, four feet off the ground. Once she was situated, the ramp was removed, and I took my place beside her. It was a simple setup. Standing next to Rhonda, I would look into the camera and riff about the unsung heroes of Dirty Jobs. I'd conclude with a pointed question: "So, what's on your pedestal?" It was a play on that credit card campaign: "What's in your wallet?" I nailed it on the first take, in front of a roomful of nervous executives. Unfortunately, Rhonda nailed it, too. Just as I asked, "What's on your pedestal?" she crapped all over hers. It was an enormous dump, delivered with impeccable timing. During the second take, Rhonda did it again, right on cue. This time, with a frightful spray of diarrhea that filled the studio with a sulfurous funk, blackening the white walls of the pristine set, and transforming my blue jeans into something browner. I could only marvel at the stench, while the horrified executives backed into a corner - a huddled mass, if you will, yearning to breath free. But Rhonda wasn't done. She crapped on every subsequent take. And when she could crap no more, she began to pee. She peed on my cameraman, She peed on her handler. She peed on me. Finally, when her bladder was empty, we got the take the network could use, along with a commercial that won several awards for "Excellence in Promos." (Yes, they have trophies for such things.) Interestingly, the footage that went viral was not the footage that aired, but the footage Mary encouraged me to release on YouTube after the fact. The outtakes of Rhonda at her incontinent finest. Those were hysterical, and viewed more times than the actual commercial. Go figure. Looking back, putting a pig on a pedestal was maybe the smartest thing I ever did. Not only did it make Rhonda famous, it established me as the nontraditional host of a nontraditional show. One whose primary job was to appear more like a guest, and less like a host. And, whenever possible, not at all like an asshole.

In this sense, therefore, inasmuch as we have access to neither the beautiful nor the ugly, and are incapable of judging, we are condemned to indifference. Beyond this indifference, however, another kind of fascination emerges, a fascination which replaces aesthetic pleasure. For, once liberated from their respective constraints, the beautiful and the ugly, in a sense, multiply: they become more beautiful than beautiful, more ugly than ugly. Thus painting currently cultivates, if not ugliness exactly - which remains an aesthetic value - then the uglier-than-ugly (the 'bad', the 'worse', kitsch), an ugliness raised to the second power because it is liberated from any relationship with its opposite. Once freed from the 'true' Mondrian, we are at liberty to 'out-Mondrian Mondrian'; freed from the true naifs, we can paint in a way that is 'more naif than naif', and so on. And once freed from reality, we can produce the 'realer than real' - hyperrealism. It was in fact with hyperrealism and pop art that everything began, that everyday life was raised to the ironic power of photographic realism. Today this escalation has caught up every form of art, every style; and all, without discrimination, have entered the transaesthetic world of simulation. There is a parallel to this escalation in the art market itself. Here too, because an end has been put to any deference to the law of value, to the logic of commodities, everything has become 'more expensive than expensive' - expensive, as it were, squared. Prices are exorbitant - the bidding has gone through the roof. Just as the abandonment of all aesthetic ground rules provokes a kind of brush fire of aesthetic values, so the loss of all reference to the laws of exchange means that the market hurtles into unrestrained speculation. The frenzy, the folly, the sheer excess are the same. The promotional ignition of art is directly linked to the impossibility of all aesthetic evaluation. In the absence of value judgements, value goes up in flames. And it goes up in a sort of ecstasy. There are two art markets today. One is still regulated by a hierarchy of values, even if these are already of a speculative kind. The other resembles nothing so much as floating and uncontrollable capital in the financial market: it is pure speculation, movement for movement's sake, with no apparent purpose other than to defy the law of value. This second art market has much in common with poker or potlatch - it is a kind of space opera in the hyperspace of value. Should we be scandalized? No. There is nothing immoral here. Just as present-day art is beyond beautiful and ugly, the market, for its part, is beyond good and evil.

Sept ans plus tôt, elle m’avait expliqué qu’elle n’avait jamais ressenti un tel sentiment avec personne, une telle émotion, une telle vague de douce et chaude mélancolie qui l’avait envahie en me voyant faire ce geste si simple, si apparemment anodin, de rapprocher très lentement mon verre à pied du sien pendant le repas, très prudemment, et de façon tout à fait incongrue en même temps pour deux personnes qui ne se connaissaient pas encore très bien, qui ne s’étaient rencontrées qu’une seule fois auparavant, de rapprocher mon verre à pied du sien pour aller caresser le galbe de son verre, l’incliner pour le heurter délicatement dans un simulacre de trinquer sitôt entamé qu’interrompu, il était impossible d’être à la fois plus entreprenant, plus délicat et plus explicite, m’avait-elle expliqué, un concentré d’intelligence, de douceur et de style. Elle m’avait souri, elle m’avait avoué par la suite qu’elle était tombée amoureuse de moi dès cet instant. Ce n’était donc pas par des mots que j’étais parvenu à lui communiquer ce sentiment de beauté de la vie et d’adéquation au monde qu’elle ressentait si intensément en ma présence, non plus par mes regards ou par mes actes, mais par l’élégance de ce simple geste de la main qui s’était lentement dirigée vers elle avec une telle délicatesse métaphorique qu’elle s’était sentie soudain étroitement en accord avec le monde jusqu’à me dire quelques heures plus tard, avec la même audace, la même spontanéité naïve et culottée, que la vie était belle, mon amour.

There are different styles and levels of pleasure. Of course there is the pleasure of the separate self, with its need for recognition. This ego thrives on seduction, but its type of pleasure is constantly under threat. There will always be people who are not attracted to you, and there is bound to come a time—whether from fatigue, illness, or age—when your power of seduction fades. For those who know only this level of pleasure, growing old is a dreadful drama. They stand to lose their power of seduction, upon which their entire sense of identity is built. Only then do they begin to see that their narcissistic image is an illusion. But we have the capacity to awaken to a state of consciousness and being where pleasure is no longer dependent on this ego. I would not describe it as any sort of nonpleasure but a different pleasure, a different quality of relationship. The old “I” has tremendous difficulty in accepting and understanding this pleasure. Nevertheless, there are certain privileged moments in our existence when we are given a taste of this other pleasure, and the ability to appreciate it, and to understand that the old pleasures, the ones to which we are often most attached, are not the only ones. Sometimes we must undergo hardships, breakups, and narcissistic wounds, which shatter the flattering image that we had of ourselves, in order to discover two truths: that we are not who we thought we were; and that the loss of a cherished pleasure is not necessarily the loss of true happiness and well-being.

Early in a career that began in 1912 when he was 19 years old, Romain de Tirtoff, the Russian-born artists who called himself Erté after the french pronunciation of his initials, was regarded as a 'miraculous magician,' whose spectacular fashions transformed the ordinary into the outstanding, whose period costumes made the present vanish mystically into the past, and whose décors converted bare stages into sparkling wonderlands of fun and fancy. When his career ended with his death in 1990, Erté was considered as 'one of the twentieth-century's single most important influences on fashion,' 'a mirror of fashion for 75 years,' and the unchallenged 'prince of the music hall,' who had been accorded the most significant international honors in the field of design and whose work was represented in major museums and private collections throughout the world. It is not surprising that Erté's imaginative designs for fashion, theater, opera, ballet, music hall, film and commerce achieved such renown, for they are as crisp and innovative in their color and design as they are elegant and extravagant in character, and redolent of the romance of the pre- and post-Great War era, the period when Erté's hand became mature, fully developed and representative of its time. Art historians and scholars define Ertés unique style as transitional Art Deco, because it bridges the visual gab between fin-de-siècle schools of Symbolism, with its ethereal quality, Art Nouveau, with its high ornament, and the mid-1920s movement of Art Deco, with its inspirational sources and concise execution.

What does one wear to a ranch early in the morning? I wondered. I was stumped. I had enough good sense, thank God, to know my spiked black boots--the same boots I’d worn on basically every date with Marlboro Man thus far--were out of the question. I wouldn’t want them to get dirty, and besides that, people might look at me funny. I had a good selection of jeans, yes, but would I go for the dark, straight-leg Anne Kleins? Or the faded, boot-cut Gaps with contrast stitching? And what on earth would I wear on top? This could get dicey. I had a couple of nice, wholesome sweater sets, but the weather was turning warmer and the style didn’t exactly scream “ranch” to me. Then there was the long, flax-colored linen tunic from Banana Republic--one I loved to pair with a chunky turquoise necklace and sandals. But that was more Texas Evening Barbecue than Oklahoma Early-Morning Cattle Gathering. Then there were the myriad wild prints with sparkles and stones and other obnoxious adornments. But the last thing I wanted to do was spook the cattle and cause a stampede. I’d seen it happen in City Slickers when Billy Crystal fired up his cordless coffee grinder, and the results weren’t the least bit pretty. I considered cancelling. I had absolutely nothing to wear. Every pair of shoes I owned was black, except for a bright yellow pair of pumps I’d bought on a whim in Westwood one California day. Those wouldn’t exactly work, either. And I didn’t own a single shirt that wouldn’t loudly broadcast *CLUELESS CITY GIRL!* *CLUELESS CITY GIRL!* *CLUELESS CITY GIRL!* I wanted to crawl under my covers and hide.

The passion for truth and justice often gives those who experience it a start. Those who experience it? But surely to desire truth and justice is the same thing as to be a man, to be human. However unequally distributed such a passion may be, it marks the extent to which each man is human – to which human dignity is due to him. Marcel Proust wrote in Jean Santeuil: It is always with a joyful and positive emotion that we hear those bold statements made by men of science who, for a mere question of professional honour, come to tell the truth – a truth which only interests them because it is true, and which they have to cherish in their art without hesitating to displease those who see it in a very different light and who regard it as part of a mass of considerations which interest them very little.1 The style and the content of this passage are very different from A la Recherche du temps perdu. Yet, in the same book, the style changes, but not the thought: What moves us so much in Phaedo is that, as we follow Socrates’ arguments, we suddenly have the extraordinary feeling that we are listening to an argument whose purity is unaltered by any personal desire. We feel as if truth were superior to everything, because we realise that the conclusion that Socrates is going to draw is that he must die.2 Marcel Proust wrote about the Dreyfus case around 1900. His dreyfusard sympathies are known to us all, but after A la Recherche du temps perdu, written ten years later, he lost his ingenuous aggressiveness. We ourselves have also lost that simplicity. The same passion may occasionally arouse us, but, on the whole, we are too tired, too indifferent. A Dreyfus case in our day would probably cause little stir …

To speak evil' is to speak this fateful, paradoxical situation that is the reversible concatenation of good and evil. That is to say that the irresistible pursuit of good, the movement of Integral Reality - for this is what good is: it is the movement towards integrality, towards an integral order of the world - is immoral. The eschatological perspective of a better world is in itself immoral. For the reason that our technical mastery of the world, our technical approach to good, having become an automatic and irresistible mechanism, none of this is any longer of the order of morality or of any kind of finality. Nor is to speak and read evil the same thing as vulgar nihilism, the nihilism of a denunciation of all values, that of the prophets of doom. To denounce the reality contract or the reality 'conspiracy' is not at all nihilistic. It is not in any sense to deny an obvious fact, in the style of 'All is sign, nothing is real - nothing is true, everything is simulacrum' - an absurd proposition since it is also a realist one! It is one thing to note the vanishing of the real into the Virtual, another to deny it so as to pass beyond the real and the Virtual. It is one thing to reject morality in the name of a vulgar immoralism, another to do so, like Nietzsche so as to pass beyond good and evil. To be 'nihilistic' is to deny things at their greatest degree of intensity, not in their lowest versions. Now, existence and self-evidence have always been the lowest forms. If there is nihilism, then, it is not a nihilism of value, but a nihilism of form. It is to speak the world in its radicality, in its dual, reversible form, and this has never meant banking on catastrophe, any more than on violence. No finality, either positive or negative, is ever the last word in the story. And the Apocalypse itself is a facile solution.

Construction finally began that winter, and by early 1974 Syncrude’s Mildred Lake site bustled with 1,500 construction workers. But the deal remained tentative as cost estimates grew beyond the initial $1.5 billion to $2 billion or more and the federal government’s new budget arrived with punitive new taxes for oil and gas exports. Then, in the first week of December, one of the Syncrude partners, Atlantic Richfield, summarily quit the consortium, leaving a 30 percent hole in its financing. A mad scramble ensued in search of a solution. Phone calls pinged back and forth between government officials in Edmonton and Ottawa. Finally, on the morning of February 3, 1975, executives from the Syn-crude partner companies and cabinet ministers from the Alberta, Ontario and federal governments met without fanfare and outside the media’s brightest spotlights at an airport hotel in Winnipeg to negotiate a deal to save the project. Lougheed and Ontario premier Bill Davis both attended, along with their energy ministers. Federal mines minister Donald Macdonald represented Pierre Trudeau’s government, accompanied by Trudeau’s ambitious Treasury Board president, Jean Chrétien. Macdonald and Davis, both Upper Canadian patricians in the classic mould, were put off by Lougheed’s blunt style. By midday, the Albertans were convinced Macdonald would not be willing to compromise enough to reach a deal. Rumours in Lougheed’s camp after the fact had it that over lunch, Chrétien persuaded the mines minister to accept the offer on the table. Two days later, Chrétien rose in the House of Commons to announce that the federal government would be taking a 15 percent equity stake in the Syn-crude project, with Alberta owning 10 percent and Ontario the remaining 5 percent. In the coming years, it would be Lougheed, with his steadfast support and multimillion-dollar investments in SAGD, who would be seen as the Patch’s great public sector champion. But it was Chrétien, “the little guy from Shawinigan,” whose backroom deal-making skills had saved Syncrude

The population, who are, ultimately, indifferent to public affairs and even to their own interests, negotiate this indifference with an equally spectral partner and one that is similarly indifferent to its own will: the government [Ie pouvoir] . This game between zombies may stabilize in the long term. The Year 2000 will not take place in that an era of indifference to time itself - and therefore to the symbolic term of the millennium - will be ushered in by negotiation. Nowadays, you have to go straight from money to money, telegraphically so to speak, by direct transfer (that is the viral side of the matter). A viral revolution, then, more akin to the Glass Bead Game than to the steam engine, and admirably personified in Bernard Tapie's playboy face. For the look of money is reflected in faces. Gone are the hideous old capitalists, the old-style industrial barons wearing the masks of the suffering they have inflicted. Now there are only dashing playboys, sporty and sexual, true knights of industry, wearing the mask of the happiness they spread all around themselves. The world put on a show of despair after 1968. It's been putting on a big show of hope since 1980. No more tears, alright? Reaganite optimism, the pump ing up of the dollar. Fabius's glossy new look. Patriotic conviviality. Reluctance prohibited. The old pessimism was produced by the idea that things were getting worse and worse. The new pessimism is produced by the fact that everything is getting better and better. Supercooled euphoria. Controlled anaesthesia. I should like to see the equivalent of Bernard Tapie in the world of business emerge in the world of concepts. Buying up failing concepts, swallowing them up, dusting them off (firing all the deadbeats who are in the way), putting them back into circulation with a dynamic virginity, sending them shooting up on the Stock Exchange and then abandoning them afterwards like dogs. Some people do this very well. It is perhaps better to save tired concepts by maintaining them in a super cooled state like unemployed labour, or locking them away in interactive data banks kept alive on a respirator.

You okay?” Marlboro Man called out. I didn’t answer. I just kept on walking, determined to get the hell out of Dodge. It took him about five seconds to catch up with me; I wasn’t a very fast walker. “Hey,” he said, grabbing me around the waist and whipping me around so I was facing him. “Aww, it’s okay. It happens.” I didn’t want to talk about it. I didn’t want to hear it. I wanted him to let go of me and I wanted to keep on walking. I wanted to walk back down the hillside, start my car, and get out of there. I didn’t know where I’d go, I just knew I wanted to go. I wanted away from all of it--riding horses, saddles, reins, bridles--I didn’t want it anymore. I hated everything on that ranch. It was all stupid, dumb…and stupid. Wriggling loose of his consoling embrace, I squealed, “I seriously can’t do this!” My hands trembled wildly and my voice quivered. The tip of my nose began to sting, and tears welled up in my eyes. It wasn’t like me to display such hysteria in the presence of a man. But being driven to the brink of death had brought me to this place. I felt like a wild animal. I was powerless to restrain myself. “I don’t want to do this for the rest of my life!” I cried. I turned to leave again but decided instead to give up, choosing to sit down on the ground and slump over in defeat. It was all so humiliating--not just my rigid, freakish riding style or my near collision with the ground, but also my crazy, emotional reaction after the fact. This wasn’t me. I was a strong, confident woman, for Lord’s sake; I don’t slump on the ground in the middle of a pasture and cry. What was I doing in a pasture, anyway? Knowing my luck, I was probably sitting on a pile of manure. But I couldn’t even walk anymore; my knees were even trembling by now, and I’d lost all feeling in my fingertips. My heart pounded in my cheeks. If Marlboro Man had any sense, he would have taken the horses and gotten the hell out of there, leaving me, the hysterical female, sobbing on the ground by myself. She’s obviously in the throes of some hormonal fit, he probably thought. There’s nothing you can say to her when she gets like this. I don’t have time for this crap. She’s just gonna have to learn to deal with it if she’s going to marry me. But he didn’t get the hell out of there. He didn’t leave me sobbing on the ground by myself. Instead he joined me on the grass, sitting beside me and putting his hand on my leg, reassuring me that this kind of thing happens, and there wasn’t anything I did wrong, even though he was probably lying. “Now, did you really mean that about not wanting to do this the rest of your life?” he asked. That familiar, playful grin appeared in the corner of his mouth. I blinked a couple of times and took a deep breath, smiling back at him and reassuring him with my eyes that no, I hadn’t meant it, but I did hate his horse. Then I took a deep breath, stood up, and dusted off my Anne Klein straight-leg jeans. “Hey, we don’t have to do this now,” Marlboro Man said, standing back up. “I’ll just do it later.” “No, I’m fine,” I answered, walking back toward my horse with newfound resolve.

Alice James Books is a nonprofit cooperative poetry press, founded in 1973 by five women and two men: Patricia Cumming, Marjorie Fletcher, Jean Pedrick, Lee Rudolph, Ron Schreiber, Betsy Sholl and Cornelia Veenendaal. Their objectives were to give women access to publishing and to involve authors in the publishing process. The press remains true to that mission and to publishing a diversity of poets including both beginning and established poets, and a diversity of poetic styles. The press is named for Alice James—the sister of novelist Henry James and philosopher William James—whose fine journal and gift for writing were unrecognized during her lifetime. Since 1994, the press has been affiliated with the University of Maine at Farmington. The press educates up to 14 interns per year through individual writing apprenticeships. Alice James Books also serves to train and advise the on-campus, bi-annual literary journal, The Sandy River Review. Alice James Books is one of the original and few presses in the country that is run collectively. Our cooperative selects manuscripts for publication through both regional and national annual competitions. The cooperative offers two book competitions a year: the Kinereth Gensler Award and the Beatrice Hawley Award. The winners of the Kinereth Gensler Award competition become active members of Alice James Books and act as the editorial board after their manuscripts are selected for publication. The winner of the Beatrice Hawley Award is exempt from the cooperative work commitment. Alice James Books recently established two new book series: the AJB Translation Series and The Kundiman Poetry Prize. The press partners with Kundiman, a nonprofit organization devoted to the promotion and preservation on Asian American poetry, to present The Kundiman Poetry Prize, a book-length manuscript competition open to all Asian American poets with any number of published books. The inaugural competition took place in 2010.

Glancing at Danika, I notice she isn't wearing her normal 'look at me, all proper' style. Instead she has on jeans, a red t-shirt with the image of a smiling mushroom on it, and a pair of tennis shoes. "Wow, you look...different." She cast a peek down at her clothes. "This was always my preferred style, but I thought I had to dress prim and proper to be taken seriously. But you know what I realized when I met you?" "What?" She takes a step forward, placing her hand over my heart. "It's not about appearances, it's about heart.

Now that everyone can afford status items like designer jeans, conspicuous consumption gives way to conspicuous exertion. Sheer exhilarating length becomes a value in itself. And the triathlon comes to represent, to quote a winner of the Hawaiian Ironman race, "the ultimate expression of the Southern California life-style." Which is why, outside a cluster of easeful lands, the recreational ordeal is not wildly popular. In America, people run for fun. In Beirut, they run for their lives. People there listen not for the starter's gun, but for the sniper's. In some parts of the world, when a man runs 26 miles it's because he's come from Marathon and he's strictly on business.

Grandpa Joe sat up in the recliner, lowering the leg rest, and jumping to his feet in one motion.  Grandma Pearl sat her cake down before she pretended to faint.  Grandpa tried to get Pearlie Jean off the floor while at the same time, grabbing at his heart, Fred Sanford style, bellowing, “we are being invaded by the Japanese again, Pearlie Jean!” The

May 19: At 2:00 p.m., Marilyn arrives at Madison Square Garden for a brief rehearsal. She departs to have her hair styled by Kenneth Battelle at a cost of $150. Then she returns to her New York apartment for a $125 makeup session with Marie Irvine. Finally, her maid, Hazel Washington, helps hook Marilyn into her Jean Louis gown, and she arrives at Madison Square Garden approximately three hours before she is to perform. Introduced to an audience of fifteen thousand as the “late Marilyn Monroe” after she delays her entrance (all part of the carefully rehearsed show), Marilyn performs flawlessly as the last of twenty-three entertainers and is clearly the highlight of the evening. Columnist Dorothy Kilgallen describes Marilyn as “making love to the president of the United States.” Marilyn also attends a party at the home of Arthur Krim, president of United Artists. She is photographed in a group of Kennedy supporters watching Diahann Carroll sing. To her right is Maria Callas and Arthur Miller’s father, Isidore. She is also photographed with both Robert and John Kennedy, as well as presidential advisor Arthur Schlesinger Jr. Schlesinger and Robert Kennedy playfully compete to dance with Marilyn. Contrary to sensationalistic reports, Marilyn spends the rest of the evening in her New York apartment with her friend Ralph Roberts and James Haspiel, one of her devoted fans.

Luxo Jr. was the breakthrough,” Steve told me many years later. If Steve ever was starstruck, it was by Lasseter, whose artistry seemed to be irrefutable evidence of what Steve believed to be the most important attribute of computers: that they were tools that could unleash and enhance human creativity. Despite his boyish ways (his office is stuffed with so many toys it could double as a Pixar museum, and his wardrobe consists exclusively of blue jeans and hundreds of loud, Hawaiian-style print shirts), Lasseter was a confident grown-up, and not persnickety in any way. While he never looked to Steve for creative advice on his short features, he calmly listened to his boss’s opinions, before going ahead with his own plans anyway. But he made compromises when needed, too, rather than insisting on perfection: when he couldn’t prepare a polished version of a short called Tin Toy in time for SIGGRAPH, he simply showed what he could and filled in the rest with line drawings. Lasseter

In Belgium, the magistrate has the dignity of a prince but by Bacchus, it is true that the brewer is king.

Thank you, Ponchos, for making it acceptable to wear a blanket around in public and call it style. I’d like to also thank your little partner, Leggings, for helping me be cute and comfy in my poncho without any annoying chub-rub on my upper thighs. You make comfortable “fashion” possible whilst going for thirds in the buffet line. (I’d also like to thank Autocorrect for turning jeggings into jogging, reminding me that if I did jog, I might be able to button actual jeans.)

Certes, René Guénon, assis en tailleur devant moi, en train de manger avec précautions un pigeon frit qu'il tient entre ses doigts, n'a jamais prétendu à la direction spirituelle, moins encore à la sainteté. Mais jamais je n'ai eu à tel point le sentiment du coup de gomme du sacré sur un visage. L'homme, dans son effacement, était en-deçà ou au-delà de l'individuel, et ceci jusque dans le détail le plus banal. Comment le nommer en parlant de lui avec sa famille ? Est-ce M. Guénon ou bien le cheik Abd el-Wahid, le père de Leila et Khadija, les fillettes qui courent dans le jardin ? J'en suis encore à me demander si sa femme, la fille du cheik Mohammed Ibrahim, était consciente de l'existence de M. René Guenon, fils de Jean-Baptiste Guénon, architecte à Blois, et de Madame née Jolly. « Béni soit Celui qui efface les noms, prénoms et surnoms.» Tout résidu psychique ou mental était aboli, il ne restait plus qu'une âme d'une transparence totale. Mais rien de l'ascèse ni de l'extase. La pureté était sans apprêt, familière même, presque terre à terre. En toute simplicité, René Guenon était diaphane. Sa conversation était souvent banale, sans effets de style. Dire ce qui est. Les seuls ornements étaient les citations, à la manière orientale, de proverbes édifiants ou de versets pieux : « Tout passe, sauf le Visage de Dieu. » Pour René Guénon, ce qui est, c'est le Visage de Dieu. Dire ce qui est, c'est décrire les reflets de ce Visage dans les Védas ou le Tao Te King, la Kabbale ou l'ésotérisme musulman, les mythologies ou bien les symboles de l'art chrétien médiéval. L'homme disparaissait derrière la doctrine traditionnelle.

The Beetle’s body, whether it be a ’49 split or a ’73 Jeans Bug, or an ‘03 Mexican, was originally conceived in the mid 1930’s. This is evident in it’s body styling which aside from it’s rear engine layout and absence of front radiator (or radiator!) grille, is very similar to other cars of the same period. Believe it or not, in those days streamlining was a hot new concept, kind of like how wireless networking is today with computing. The only problem was, in the beginning they didn’t seem to realize that streamlining ought to be applied sideways as well as longitudinally!

Who's Vanessa?" "I don't believe you. She's only the most popular girl in the whole school." She pointed a finger at the girl in the middle of the three who were still watching Tianna closely. "Everyone knows Vanessa." Vanessa had perfect skin, large blue eyes, and luxurious blond hair that curled over her shoulders. "Are those extensions?" Tianna asked. "All hers." Corrine sighed. Vanessa was dressed in a funky white coat of fake fur that went down to her brown suede boots; underneath was a low-hanging party-girl skirt with two gold belts draped around her tan waist. "Where'd she get the clothes? They're so cool." Tianna glanced self-consciously at her own jeans. The knees were soiled, and there was a long black mark on the side, as if she had skidded in dirt or oil. "Her mom's a costume designer for the movies," Corrine confided. Tianna felt a pang of jealousy- not for the clothes, but from the mention of Vanessa's mother. She wondered where hers was. Why hadn't she been with her this morning?

Who's that other girl with Vanessa?" Tianna asked. "The one with the teardrops tattooed under her eye?" "That's Jimena." Corrine spoke in a lower voice. "Don't mess with her. Everyone says she's been in a camp twice." "Camp?" Tianna asked. "Youth authority," Corrine muttered, as if Tianna ought to know. "I can't believe you didn't hear. It's all over school. She used to be in a gang." "And the one staring daggers at me?" "The one with the cello case is Serena," Corrine answered wistfully. "You should hear her play. I'm so jealous of her talent. She'll be famous someday." Serena wore a fedora and a tie-dyed shirt with studded jeans. She had a beautiful face and compelling eyes. "She can also tell your fortune with her tarot cards," Corrine whispered. "She read mine once, and it was spooky, everything she knew. I never went back for a second reading.

Wow," she whispered. The clothes definitely looked like something she would wear. Scoop-neck tops and slinky skirts, hipster flare jeans and a leopard camisole. Even the shoes were perfect. Mary Janes with thick, chunky soles, bungee sneakers, and boots. She slipped off her leather jacket, tore off the tag on a fuzzy hooded sweater, and pulled it over her head. She liked the way the sleeves came down to the tips of her fingers. Automatically she poked her thumbs through the weave and smiled.

When I arrived in San Francisco, there was no way to find the Castro on any map. People were forever calling the bookstore for directions to the neighborhood. In my group there was the sense that we were a wave arriving on the West Coast from the East: postcollegiate youngsters seeking and finding a paradise of cheap apartments and thrift stores bursting with the old athletic T-shirts and jeans and flannel shirts we all prixed. I remember when I put the empty clothes together with the empty apartments, on an ordinary sunny afternoon walking down the sidewalk to work: there on a blanket stood a pari of black leather steel-toed boots, twelve-hole lace-ups. They gleamed, freshly polished, in the light of the morning. As I approached them, feeling the pull of the hill, I drew up short to examine the rest of the sidewalk sale. Some old albums, Queen and Sylvester; three pairs of jeans; two leather wristbands; a box of old T-shirts; a worn watch, the hands still moving; a pressed-leather belt, west style; and cowboy boots, the same size as the steel-toes. I tried the steel-toes on and took a long look at the salesman as I stood up, feelign that they were exactly my size. This man was thin, thin in a way that was immediately familiar. Hollowing from the inside out. His skin reddened, and his brown eyes looked over me as if lighting might fall on me out of that clear afternoon sky. And I knew then, as I paid twenty dollars for the boots, that they'd been recently emptied. That he was watching me walk off in the shoes of the newly dead. And that all of this had been happening for some time now.

We are merely epigones. The events, the discoveries, the visions are those from the period between 1910 and 1940. We live on like weary commentators on that frenzied period in which the whole invention of modernity (and the lucid presentiment of its end) occurred in a language which still bore the brilliance of style. The highest level of intensity lies behind us. The lowest level of passion and intellectual illumination lies ahead of us. There is something like a general entropic movement in the century, the initial energy dissipating slowly in the sophisticated ramifications of the structural, pictural, ideological, linguistic and psychoanalytic revolutions - the final configuration, that of 'postmodernity' marking the most degraded, most factitious and most eclectic phase, the shattered fetishism of all the idols and the purer signs that have preceded it. Even the great burst of light in the years 1960-80, seen with some critical distance, will merely have been an episode in the involutive course of the century, in terms of powerful new ideas. But a portent all the same. Might a new event produce some surprise? We can say nothing of this, since archives and analysis are twilight tools.

And yet what are the writings of Barthes, Lacan, Foucault (and even Althusser) but a philosophy of disappearance? The obliteration of the human, of ideology. The absent structure, the death of the subject, lack, aphanisis. They have died of these things and their deaths bear the characteristics of this inhuman configuration. They bear the mark of a Great Withdrawal, of a defection, of a calculated failure of will, of a calculated weakening of desire. They all became shrouded in silence towards the end, in their various ways, and words fell away one by one. One can see no rosy future for their philosophies. They are even in danger, to the great despair of their disciples, of having no consequences at all. Because theirs are subtle modes of thought and ones therefore which subtilize their own traces and which have never, when all is said and done, produced constructive effects (at least that's not the best of what they have done). Those thinkers whose minds were rooted in a humanist configuration, whether liberal or libertine (Levi-Strauss, Lefebvre, Aron - and Sartre too) survive better. Whether or not they are still alive, they have not ' disappeared' in the same way; they have not been infected with the virus; their works perpetuate them and they bear the glory of those works without weakening. A whole generation, by contrast, will have disappeared in a manner wholly coherent with what it described, what it sensed, of the inhuman. It is ironic signs they have left behind, and the whole labour that is left for those whom they have sumptuously disappointed will be to make positive monuments out of those signs, monuments worthy of memory, of a juicy, intellectual memory, with no regard for the elegance and style of their disappearance.

As the Italian diplomat Giovanni Battista Primi Visconti concluded after a lengthy sojourn at the court of Versailles: “He [Louis XIV] knew how to play the king perfectly on all occasions.” During the final decades of his reign, he became a sort of one-man stylistic police, obsessively checking to make sure everything around him constantly lived up to his aesthetic standards. When all was just right, he took great pleasure in the conspicuous display of gorgeousness. For example, on December 7, 1697, the King—he was then fifty-nine—hosted some of the grandest festivities of the age to celebrate the marriage of his eldest grandson, the Duc de Bourgogne. For one evening reception, Versailles’ Hall of Mirrors was lit with four thousand candles, transforming it into a vast arcade of flickering light.

France’s national image was the product of a collaboration between a king with a vision and some of the most brilliant artists, artisans, and craftspeople of all time—men and women who were the founding geniuses in domains as disparate as wine making, fashion accessorizing, jewelry design, cabinetry, codification of culinary technique, and hairstyling. There was a second collaboration: between Louis XIV and a series of brilliant inventors, the creators of everything from a revolutionary technology for glassmaking to a visionary pair of boots. Each of these areas seems modest enough in and of itself. All together, however, they added up to an amazingly powerful new entity. Thanks to Louis XIV, France had acquired a reputation as the country that had written the book on elegant living.

More and more, people have begun to chant the economic mantras of Louis XIV’s France. A successful restaurant has to do more than serve good food at a good price: it has to create an environment. It’s not enough to offer customers a good product: you have to make them feel special by providing a hefty dose of emotion and drama along with the merchandise.

Was it all worth it? The King might have said that without his extravagant spending, the luxurious experiences for which his country is still celebrated would not have come into existence. The businessman might have added that without it, tourism would not be France’s number-one industry today.

Jean-Jacques Rousseau drew up the definitive balance sheet of civilization and barbarism for the late Enlightenment. Originally a native of republican Geneva and a self-styled lover of political liberty (in 1762 he published The Social Contract), Rousseau attacked virtually every “progressive” aspect of his own century. Everything his predecessors had praised about the civilizing process Rousseau subjected to a harsh and critical analysis. Refinement in the arts and sciences, politeness in social relations, commerce and modern government were not improving men’s morals, Rousseau proclaimed, but making them infinitely worse. Luxury, greed, vanity, self-love, self-interest were all civilization’s egregious by-products. “Man is born free,” he wrote in the first sentence of The Social Contract, “and is everywhere in chains”—the chains imposed by civil society.

Melrose Avenue, Santa Monica - Dialogue on a terrace. SHE: You are jealous ? Are you jealous ? You are fucking jealous! . . . Let me say . . . You 're twenty and I am forty-two, and I'll give my fucking ass to fucking anybody . . . Do you know that? * He gets up, crosses Melrose for no reason, comes back, kneels down in front of her (younger, but as theatrical). HE: Do you love me? Do you love me? SHE: Yes . . . Yes, I love you . . . The Italian kneads his meatballs. An Indian is playing a video game and its shrill soundtrack provides a backing to the conversation. The woman herself speaks in a shrill, hysterical voice. It is pleasant in Los Angeles in November, on the Melrose terrace, around the middle of the night. Everyone is smiling somewhere. No passion. A scene American-style. The waiter takes the car keys and drags off the woman, who shows off her black-stockinged legs and pretends to be mad. A black man gets up and, as he passes, says to me: ' Too much love! ' Gliding along the road that runs beside the coast in a black Porsche is like penetrating slowly into the inside of your own body.

Harry's favorite lyric to sing is “You still have to squeeze into your jeans, but you're perfect to me.” From the song Little Things

The massive wardrobe, decorated with stickers and posters of Jack’s favourite bands, stood in the corner. I went to it and opened both the doors – then stepped back in amazement.   It was like something out of a fashion spread. Footwear was aligned in two perfectly straight lines along the bottom of the wardrobe, with boots at the back and shoes at the front. Each pair was polished and had a pair of socks folded up in the left shoe or boot. Above the shoes, Jack’s clothes were hung up on fancy padded hangers, organized by colour going from black through grey, white, pale pink, dark pink, purple and then blue. One quarter of the wardrobe was taken up with closet shelves, where every item, from T-shirts to jeans to scarves, was folded into a perfect geometric square that I wouldn’t have been able to achieve with two helpers, a ruler, and sticky tape.   I turned my head and looked at the chaos of the room. Then I looked back at the wardrobe.   No wonder she never let me see inside before.   “Jack, you big fat fake.” I let out a laugh that was half sob. “Look at this. Look! She’s the worst neat freak of them all, and I never even knew. I never even knew…”   Trying not to mess anything up too much, I searched through the neat piles of T-shirts until I found what seemed to be a plain, scoop-necked white top with short sleeves. I pulled it out, but when I unfolded it, there turned out to be a tattoo-style design on the front: a skull sitting on a bed of gleaming emeralds, with a green snake poking out of one eyehole. In Gothic lettering underneath, it read WELCOME TO MALFOY MANOR.   Typical Jack, I thought, hugging the shirt to my chest for a second. Pretending to be cool Slytherin when she’s actually swotty Ravenclaw through and through.

Hey,” he replied. “You look beautiful today.” I glanced down and laughed. Along with my limited wardrobe, I was also discovering that not doing laundry decreased my clothing options even further. I was in jeans and a plain black T-shirt today, and my hair had been lucky to get a quick brushing, let alone any real styling. I’d overslept and figured beachcombing didn’t require much primping anyway. “Liar,” I said. “I practically rolled out of bed this morning.” “You forget that I’ve seen you in just about every state imaginable. You don’t have to have every detail primped and perfect. You’re beautiful even when you’re disheveled. Sometimes more so.

Back then, when the culture was still building, people were loyal to stores, brands, and the cause. The style was retro-nineties, loud colors, vector or photographic driven, skinny jeans, selvage denim, lots of Japanese brands, and hip-hop/street culture content. There was also a political aspect to streetwear. Speaking for myself, I was sick of rocking logos for people. What people started printing their own shirts on AAA or American Apparel blanks, we got to rep the culture through the clothing. In the post-9/11 era, a lot of the more powerful messages about individuality, free speech, and what it was to be American manifested themselves in streetwear. (215)

Appearance Like it or not, appearance counts, especially in the workplace. Dressing appropriately and professionally is a minimum requirement when applying for a job. Do whatever you can do to make a favorable impression. Dressing appropriately is a way to say that you care about the interview, that it is important to you, and that you take it seriously. It also says you will make an effort to behave professionally once you are with the company. Keep in mind that you are owed nothing when you go on an interview. But behaving professionally by following appropriate business etiquette will nearly always gain you the courtesy of professional treatment in return. The following ideas will help you be prepared to make the best impression possible. In previous exercises, you have examined your self-image. Now, look at yourself and get feedback from others on your overall appearance. Not only must you look neat and well groomed for a job interview, but your overall image should be appropriate to the job, the company, and the industry you are hoping to enter. You can determine the appropriate image by observing the appearance and attitude of those currently in the area you are looking into. But even where casual attire is appropriate for those already in the workplace, clean, pressed clothes and a neat appearance will be appreciated. One young photographer I know of inquired about the style of dress at the newspaper he was interviewing with; informed that most people wore casual clothes, he chose to do the same. At the interview, the editor gently teased him about wearing jeans (she herself was in khaki pants and a sports shirt). “I guess your suit is at the cleaners,” she said, chuckling. But her point was made. Making the effort shows that you take the interview seriously. Second, you should carry yourself as though you are confident and self-assured. Use self-help techniques such as internal coaching to tell yourself you can do it. Focus on your past successes, and hold your body as if you were unstoppable. Breathe deeply, with an abundance of self-confidence. Your goal is to convey an image of being comfortable with yourself in order to make the other person feel comfortable with you.

She said she first grew her hair long to keep warm in the war years; Beauvoir said the same thing about her own habit of wearing a turban. Existentialists wore cast-off shirts and raincoats; some of them sported what sounds like a proto-punk style. One youth went around with ‘a completely shredded and tattered shirt on his back’, according to a journalist’s report. They eventually adopted the most iconic existentialist garment of all: the black woollen turtleneck. In

Jana Ann Bridal Couture Simple Wedding Dress A simple wedding dress is perfect for the minimalistic bride. If you’re someone whose style would be best described as unfussy, a simple wedding dress is a perfect fit. You know who you are, you’re drawn to white t-shirts…even though you own 5. You search far and wide for the perfect cut of blue jeans with no rips or embellishments, and you stick with the classic patterns of stripes and polka dots. A floral print might be considered a little “wild” for you. You’re the simple bride, and you know what you like. We don’t want to stand in the way of your dream. Find your simple wedding dress in our San Diego location. Jana Ana Bridal Couture is a wedding boutique that doesn’t put you in a box. There’s nothing wrong with choosing a simple wedding dress. Not everyone shares the philosophy of going big or going home when it comes to wedding dresses. If you want a dress that is beautiful yet not overwhelming, Jana Ana Bridal Couture can help. Loving what you’re wearing and feeling comfortable in your wedding dress is half the battle in feeling great on your wedding day. Besides, with a simple wedding dress, you won’t distract your guests from your hair, makeup, and that bride-to-be glow. Let your personality shine with a simple wedding dress from Jana Ana Bridal Couture San Diego. Call us: (619) 649-2439 #San_Diego_Wedding_Dresses #Bridal_Shops_San_Diego #San_Diego_Bridal_Boutique #Custom_Wedding_Dresses_San Diego #Plus_Size_Wedding_Dresses_San_Diego #Beach_Wedding_Dresses_San_Diego #Bridal_Stores_San_Diego #Simple Wedding_Dresses_San_Diego #Wedding_Shops_San_Diego #San_Diego_Bridal_Shops

Il n'y a qu'une chose qui puisse arrêter le cheminement d'un peintre et c'est le succès. Van Gogh a vu cela bien avant moi. La peinture est un cheminement dans l'espace - et non dans le temps. Le peintre cherche en permanence la couleur et le style. S'il rencontre le succès, il bloque son style, il le fige. Pourquoi ? Simplement parce que l'acheteur - le marchand - demande uniquement le style qui se vend, le style qui a du succès. Voyez Pablo Picasso, Salvador Dali ou Bernard Buffet...etc, etc. L'artiste connu et reconnu est condamné, à vie, à se copier lui-même ; à copier un moment de son cheminement. Alphonse Daudet disait que le succès (la gloire), c'était la même chose que de fumer un cigare par l'autre bout. Le bout de la braise; donc. Et il avait raison. Mais comme personne n'a le choix - s'agissant du destin - on se situe ici par-delà le bien et le mal et tout jugement moral n'a ici aucune portée *** There is only one thing that can stop the pathway of an artist and this thing is called : success. Van Gogh wrote it long before me. Painting is a pathway through space - and not through time. The painter is constantly looking for new color and new style. If he meets success, he blocks his style, he freezes it. Why ? Simply because the buyer - the merchant - asks only for the style that can be sold, the style that is successful. See Pablo Picasso, Salvador Dali, Bernard Buffet ... etc, etc. The successful artist is therefore condemned, for life, to copy himself; to copy a moment of his pathway. Alphonse Daudet said that success (glory) was the same as smoking a cigar on the other side. The side of the embers. And he was right. But since no one has the choice - when it comes about fate - we are here beyond good and evil and any moral judgment has no value.

conservative clothes, dark, buttoned up, old-fashioned if anything. Her hair was always pinned in a style more suited

He’s wearing ripped skinny jeans, a white band tee with his leather jacket, and all black Converse. His hair is styled in an effortless way, with curly ringlets sitting in a perfect mess on his head.

Nowadays there are jeans in the most varied styles and cuts. What really matters is what kind of look you want and what will suit your frame best. The shape and cut of jeans is called a fit and there are many different fits. There are four main names to note and, luckily, the various fit names are pretty self-explanatory: A snug fit that's snug against the leg and tapers at the ankle. A little stretch is often added to jeans for comfort. Works best with a slim frame. Still tight but not too tight, this cut wraps around the thighs, knees and calves and is less constricting around the ankle. This is a tight cut that is great for a slender to normal figure. Sometimes referred to as Regular, this is a traditional style of denim that is cut straight from the waist to the hem. Some variations can be narrow at the ankle. Fits normal to athletic physique. Nothing better than good jeans for women, right? It is such a versatile fabric that it only improves with age and wear. We owe the French jeans. Denim is a strong and durable material for all women in their old age. Denim made from 100% cotton. Traditionally, so true denim fabrics have different colors on both sides (for true fabric fanatics, if your denim is the same color on both sides , it's actually denim, not denim! ) We recently started stocking denim, you can see our collection here and we stock a wide range of weights and colors. We also have stretch jeans, which are great for clothing brands. When I look at my jeans options in my closet, I see a lot of dark skinny jeans. While I still think this style of denim always has a place in my closet, I really enjoy seeing the more relaxed, lighter washes for spring. I found a great pair of Target straight leg jeans that I wore a few times. You get the right amount of stress without looking overly casual. I like to wear a chic top with pointy heels to balance the casual character with jeans. But they are also a great “weekend”, a pair of blankets that match a shirt and sneakers. Here are some of my favorite straight leg women's jeans, from chic dark ankle-length jeans to more casual washes in lighter colors with a worn look. Mouse over the image and click on the product to buy the items. I wore my jeans many times this spring. I love the wash and texture of the jeans, and they have good stretch too! Navy makes a really nice straight leg jeans and comes in a classic dark wash. The jeans I'm wearing in the photos above are Universal Thread High-Rise Distressed Straight Cropped Jeans. I would never have bought these based on the image on the internet, but personally they are a great cropped option. I have curves and am wearing a size 7. cut my leg in half. These were just the right length and the skyscraper is also a nice addition. They are comfortable and casual, but I would like them to be a little tighter as they are lighter.

de tout un chacun, la poésie est une science exacte, la peinture un métier et la littérature un style ! Comme éditeur j'ai eu l'occasion de lire de nombreux

Clayton shot her a quick glance, one eyebrow lifted. But then went back to staring at Mitch. His easy stance never changed; his white Stetson was tipped in a relaxed style, his jeans and white T making him look completely approachable, like he was out having a friendly chat with a neighbor. But there was an aura of restrained violence surrounding him. That aura of violence wasn’t just for show. Clayton had spent time in prison. He knew how to protect himself. Mitch had better be careful.

Tunics are one of the most popular and versatile garments in fashion. They can be worn in a variety of ways to create different looks. Here are some tips on how to wear a tunic: Pair tunic tops for women with leggings or skinny jeans for a comfortable and stylish look. Wear a belt around your waist to define your figure and create an hourglass shape. Layer long tunics for women over a collared shirt or turtleneck for a chic and polished look. Add interest to your outfit with accessories such as statement necklaces, scarves, or belts. For a more casual look, pair a tunic with shorts or Capri pants. To dress up your outfit, wear heels or wedges with your tunic. How to Style a Tunic ? Tunics are a versatile and comfortable item of clothing that can be worn in a variety of ways. They are perfect for both casual and formal occasions, and can be styled to suit any taste. Here are some tips on how to style a tunic: -Pair your designer tunics online with leggings or skinny jeans for a casual look. -Wear it over a dress or skirt for a more formal outfit. -Layer it under a jacket or cardigan for extra warmth. Tunics For Women Fashion: A Guide to Using This All-Time Favorite Tunic Fashion is an all-time favorite for many women. Wearing one makes you feel light and confident all at once – the perfect combination! Tunics come in a variety of patterns, lengths, and sleeves, so there’s something for every woman no matter what your personal style might be. Tunic Lengths Tunic fashion is all about comfort and style. This all-time favorite can be dressed up or down, making it a versatile piece in your wardrobe. The key to finding the right tunic length is to know your body type and what looks best on you. Petite women should look for tunics that hit at the hip or above. This will prevent the tunic from overwhelming your small frame. If you’re tall, you can get away with long tunics for women length. Just make sure it doesn’t drag on the ground – no one wants to deal with that! If you’re pear-shaped, look for tunics that cinch at the waist to flatter your figure. A-line tunics are also a good option for this body type. And if you have an hourglass figure, show off your curves with a fitted tunic top. No matter what your body type, there’s a tunic length out there that will look great on you! What to Wear with a Tunic ? Assuming you want a guide on how to wear a tunic: Tunics for women are one of the most versatile, easy-to-wear items in any woman’s wardrobe. Whether you’re looking for something to wear to the office or on a casual weekend, a tunic can be dressed up or down to suit any occasion. But with so many different styles and silhouettes out there, it can be hard to know what to pair with your tunic. Here are a few tips on what to wear with a tunic dress for women, no matter what the occasion: For work: To give your tunic a more polished look for work, try pairing it with tailored trousers or a pencil skirt. Add a blazer for extra warmth and style points. And don’t forget the accessories! A great pair of earrings or a statement necklace can really elevate your look. For weekends: On weekends, you can afford to dress your girls tunic tops down a bit. Try pairing it with jeans or leggings for a comfortable, casual look. Slip on some flats or sneakers and you’re good to go! For evenings out: To dress up your tunic for an evening out, try pairing it with slim-fit pants or a skirt in a rich fabric like velvet or satin. Add heels and some sparkling jewelry to really make your outfit shine. How to Wear a Tunic ? -Accessorize with jewelry, scarves, or belts to personalize your look. What Types of Tunics are Available? Ladies tunic dresses come in a wide range of styles, from fitted to loose and flowing. They can be made from a variety of fabrics, including cotton, linen, Silk, and wool. You can find tunics in solid colors, patterns, and prints.

Le mot "haïkaï" compte parmi les rares termes littéraires japonais en Occident. Mais le mot est compris comme désignant une forme (un poème de 17 syllabes articulé en trois vers 5-7-5), alors qu'il désigne en fait un "style".

Tunics For Women Fashion: A Guide to Using This All-Time Favorite Tunic Fashion is an all-time favorite for many women. Wearing one makes you feel light and confident all at once – the perfect combination! Tunics come in a variety of patterns, lengths, and sleeves, so there’s something for every woman no matter what your personal style might be. Tunic Lengths Tunic fashion is all about comfort and style. This all-time favorite can be dressed up or down, making it a versatile piece in your wardrobe. The key to finding the right tunic length is to know your body type and what looks best on you. Petite women should look for tunics that hit at the hip or above. This will prevent the tunic from overwhelming your small frame. If you’re tall, you can get away with long tunics for women length. Just make sure it doesn’t drag on the ground – no one wants to deal with that! If you’re pear-shaped, look for tunics that cinch at the waist to flatter your figure. A-line tunics are also a good option for this body type. And if you have an hourglass figure, show off your curves with a fitted tunic top. No matter what your body type, there’s a tunic length out there that will look great on you! What to Wear with a Tunic ? Assuming you want a guide on how to wear a tunic: Tunics for women are one of the most versatile, easy-to-wear items in any woman’s wardrobe. Whether you’re looking for something to wear to the office or on a casual weekend, a tunic can be dressed up or down to suit any occasion. But with so many different styles and silhouettes out there, it can be hard to know what to pair with your tunic. Here are a few tips on what to wear with a tunic dress for women, no matter what the occasion: For work: To give your tunic a more polished look for work, try pairing it with tailored trousers or a pencil skirt. Add a blazer for extra warmth and style points. And don’t forget the accessories! A great pair of earrings or a statement necklace can really elevate your look. For weekends: On weekends, you can afford to dress your girls tunic tops down a bit. Try pairing it with jeans or leggings for a comfortable, casual look. Slip on some flats or sneakers and you’re good to go! For evenings out: To dress up your tunic for an evening out, try pairing it with slim-fit pants or a skirt in a rich fabric like velvet or satin. Add heels and some sparkling jewelry to really make your outfit shine. How to Wear a Tunic ? -Accessorize with jewelry, scarves, or belts to personalize your look.

And what’s even worse, when I actually walk through the door and look toward the kitchen, I’m devastated to see that there isn’t a man spread across my kitchen counter with an erection pointing at the ceiling with my name on it. Instead, he’s leaning on the counter, looking at his phone . . . dressed. Sure . . . he looks great and all in his light blue sweater and dark jeans with his hair styled to the side that says, I’m meeting the parents tonight. There is nothing about him screaming, “suck my cock, bitch,” and it’s incredibly disappointing.

Everything that Paris still represents in terms of style is founded on a concept of value already evident in all the luxury commerce that flourished under Louis XIV's patronage. Value was not primarily about price and performance but was determined by intangible factors: it was a matter of aesthetics and elegance. It's not enough to offer customers a good product: you have to make them feel special by providing a hefty dose of emotion and drama along with the merchandise. The accessory initially rose to prominence as the most evident way of convincing women to want superfluous things and to change simply for the sake of change. Emma Bovary's precursors, women stuck in the provinces and dreaming of becoming as chic as that creature who became mythic just as soon as couture came into existence, the Parisienne. First, high fashion must advertise. Without advertising, la mode simply cannot exist. Without advertising, who would think to buy a Rolex rather than an ordinary watch? Only advertising can guarantee band recognition on a scale large enough to support an industry. Second, in the case of high fashion, the familiar adage is worth a thousand words is certainly true. And finally, nothing sells fashion more effectively than that heady mixture: sex and celebrity. Ads must create a lifestyle; consumers are looking for a brand that suggests the universe to which they aspire. Any truly innovative concept is only as good as its marketing campaign. In Paris you spend your money with so much more pleasure and contentment than in cities where you live almost in complete solitude, surrounded by your wealth but deprived of all amusement.

When a young employee gasped at his blue language, Simons flashed a grin. “I know—that is an impressive rate!” A few times a week, Marilyn came by to visit, usually with their baby, Nicholas. Other times, Barbara checked in on her ex-husband. Other employees’ spouses and children also wandered around the office. Each afternoon, the team met for tea in the library, where Simons, Baum, and others discussed the latest news and debated the direction of the economy. Simons also hosted staffers on his yacht, The Lord Jim, docked in nearby Port Jefferson. Most days, Simons sat in his office, wearing jeans and a golf shirt, staring at his computer screen, developing new trades—reading the news and predicting where markets were going, like most everyone else. When he was especially engrossed in thought, Simons would hold a cigarette in one hand and chew on his cheek. Baum, in a smaller, nearby office, trading his own account, favored raggedy sweaters, wrinkled trousers, and worn Hush Puppies shoes. To compensate for his worsening eyesight, he hunched close to his computer, trying to ignore the smoke wafting through the office from Simons’s cigarettes. Their traditional trading approach was going so well that, when the boutique next door closed, Simons rented the space and punched through the adjoining wall. The new space was filled with offices for new hires, including an economist and others who provided expert intelligence and made their own trades, helping to boost returns. At the same time, Simons was developing a new passion: backing promising technology companies, including an electronic dictionary company called Franklin Electronic Publishers, which developed the first hand-held computer. In 1982, Simons changed Monemetrics’ name to Renaissance Technologies Corporation, reflecting his developing interest in these upstart companies. Simons came to see himself as a venture capitalist as much as a trader. He spent much of the week working in an office in New York City, where he interacted with his hedge fund’s investors while also dealing with his tech companies. Simons also took time to care for his children, one of whom needed extra attention. Paul, Simons’s second child with Barbara, had been born with a rare hereditary condition called ectodermal dysplasia. Paul’s skin, hair, and sweat glands didn’t develop properly, he was short for his age, and his teeth were few and misshapen. To cope with the resulting insecurities, Paul asked his parents to buy him stylish and popular clothing in the hopes of fitting in with his grade-school peers. Paul’s challenges weighed on Simons, who sometimes drove Paul to Trenton, New Jersey, where a pediatric dentist made cosmetic improvements to Paul’s teeth. Later, a New York dentist fitted Paul with a complete set of implants, improving his self-esteem. Baum was fine with Simons working from the New York office, dealing with his outside investments, and tending to family matters. Baum didn’t need much help. He was making so much money trading various currencies using intuition and instinct that pursuing a systematic, “quantitative” style of trading seemed a waste of

One day Sid turns up in the peg trousers and they're in ribbons. He'd sliced them up with a razor blade because he hated them so much but he couldn't find his jeans so when he wanted to go out he had to stick them back together. He joined the rips with loads of safety pins, all the way down his legs, hundreds of them. That’s how the ‘loads of safety pins’ thing started amongst people in clubs: they copied it, but he only did it because he couldn’t be bothered to sew his trousers up.

Chloe’s mom opened the door for Kim, then stared at her. She wore a black felt hat pulled tightly down to cover her ears and loose black jeans with a frumpy black sweater, like she was trying to disguise her whole body, not just her head. Round Lennon-style sunglasses with thick red lenses hid her slitted eyes. She stuck a gloved hand out and presented Anna King with a bouquet of flowers. “Here. I hope this is an acceptable hostess gift. Thank you for inviting me to the party. I’ve never been to one before.

Writing for J. Crew a few years ago, Alice shared her decision to simplify her wardrobe to one specific style that she would wear every day—a black long-sleeve shirt and fashionable jeans. She called it her “uniform.” But uniform isn’t the word that got me. Amid her reasons for dressing like this, she stated that having a simple outfit you are known for wearing is “iconic, it’s a cheap and easy way to feel famous.” Iconic. That’s it. Minimalist clothing can convey a classic and memorable sense of personal identity. Alice argues that wearing a similar outfit every day is a way of asserting your status as a protagonist in life. “This is the reason why characters in picture books never change their clothes: Children—like adults, if they’d only admit it—crave continuity.” So along with the ease of no longer having to create a new look every day, you have the comfort of feeling like yourself all the time.

As a woman, I found that there were six different styles of jean, from “boot cut” to “reverse,” and that the sizes bore no relation to any known system of measure.

Blue high heels, a timeless and enchanting accessory, have long held a special place in fashion. These stunning footwear pieces effortlessly blend sophistication with a dash of whimsy, making them a coveted addition to any fashion-conscious individual's wardrobe. In all its shades, the color blue has always been associated with a sense of calm, serenity, and depth. When translated into high heels, this color takes on a whole new dimension, turning a pair of shoes into a fashion statement that exudes confidence and charm. One of the most remarkable aspects of blue high heels is their versatility. Whether you opt for a classic navy, a vibrant royal blue, or an ethereal pastel shade, there's a blue heel to suit every occasion. Navy blue heels, for example, are an excellent choice for corporate settings, exuding professionalism and power. On the other hand, a pair of electric blue stilettos can add a playful pop of color to your evening ensemble, making you the center of attention at any event. Blue high heels also beautifully complement a wide range of outfits. They can elevate a simple jeans-and-blouse combo, add a touch of elegance to a cocktail dress, or provide a striking contrast to an all-black ensemble. Their ability to effortlessly blend into various styles and settings is a testament to their timeless appeal. In addition to their aesthetic charm, blue high heels offer the wearer a sense of empowerment. The elevation they provide not only increases height but also boosts confidence. Walking in heels requires poise and balance, qualities that further enhance one's self-assurance. Blue high heels are a must-have for anyone looking to infuse their wardrobe with elegance and style. These captivating footwear pieces offer versatility, empowerment, and a touch of sophistication, making them an indispensable accessory for fashion enthusiasts. Whether stepping into the boardroom, hitting the town, or simply looking to turn heads, blue high heels will always rise to the occasion, leaving a lasting impression wherever you go.

For previous generations, progress in life so far would have meant going through the motions prescribed by caste and class: together, the imperatives of education (inevitably vocational), marriage (nearly always arranged, with love regarded as a folly of callow youth), parenthood and professional career (with the government) imposed order, without too many troubling questions about their purpose and meaning. Regional and caste background dictated culinary and sartorial habits: kurta-pyjamas and saris or shalwar-kameezes at home, drab Western-style clothes outside; an unchanging menu of dal, vegetables, rotis and rice leavened in some households with non-alcoholic drinks (Aseem’s first publication in the IIT literary magazine was Neruda-style odes to Rooh Afza and Kissan’s orange squash, Complan, Ovaltine and Elaichi Horlicks). We belonged to a relatively daring generation whose members took on the responsibility of crafting their own lives: working in private jobs, marrying for love, eating pasta, pizza and chow mein as well as parathas, and drinking cola and beer, at home, taking beach vacations rather than going on pilgrimages, and wearing jeans and T-shirts rather than the safari suits that had come to denote style to the preceding generation of middle-class Indians. Our choices were expanded far beyond what my parents or Aseem’s could even imagine.