Style Icon Quotes

When you try too hard to have style, you look uncomfortable, like you're wearing a costume, like the clothes are entering the room before you do. If you're uptight, you won't be able to carry off even a seemingly perfect outfit. If that's happening, I say abandon the whole thing. It's better to be happy than well dressed.

Brutalist architecture was Modernism's angry underside, and was never, much as some would rather it were, a mere aesthetic style. It was a political aesthetic, an attitude, a weapon, dedicated to the precept that nothing was too good for ordinary people. Now, after decades of neglect, it's devided between 'eyesores' and 'icons'; fine for the Barbican's stockbrokers but unacceptable for the ordinary people who were always its intended clients.

I see things in windows and I say to myself that I want them. I want them because I want to belong. I want to be liked by more people, I want to be held in higher regard than others. I want to feel valued, so I say to myself to watch certain shows. I watch certain shows on the television so I can participate in dialogues and conversations and debates with people who want the same things I want. I want to dress a certain way so certain groups of people are forced to be attracted to me. I want to do my hair a certain way with certain styling products and particular combs and methods so that I can fit in with the In-Crowd. I want to spend hours upon hours at the gym, stuffing my body with what scientists are calling 'superfoods', so that I can be loved and envied by everyone around me. I want to become an icon on someone's mantle. I want to work meaningless jobs so that I can fill my wallet and parentally-advised bank accounts with monetary potential. I want to believe what's on the news so that I can feel normal along with the rest of forever. I want to listen to the Top Ten on Q102, and roll my windows down so others can hear it and see that I am listening to it, and enjoying it. I want to go to church every Sunday, and pray every other day. I want to believe that what I do is for the promise of a peaceful afterlife. I want rewards for my 'good' deeds. I want acknowledgment and praise. And I want people to know that I put out that fire. I want people to know that I support the war effort. I want people to know that I volunteer to save lives. I want to be seen and heard and pointed at with love. I want to read my name in the history books during a future full of clones exactly like me. The mirror, I've noticed, is almost always positioned above the sink. Though the sink offers more depth than a mirror, and mirror is only able to reflect, the sink is held in lower regard. Lower still is the toilet, and thought it offers even more depth than the sink, we piss and shit in it. I want these kind of architectural details to be paralleled in my every day life. I want to care more about my reflection, and less about my cleanliness. I want to be seen as someone who lives externally, and never internally, unless I am able to lock the door behind me. I want these things, because if I didn't, I would be dead in the mirrors of those around me. I would be nothing. I would be an example. Sunken, and easily washed away.

At the age of 79, Hugo has long been an icon of glamour and elegance. She is known for a personal style both sensual and restrained, and many of Hugo’s most famous looks are considered touchstones of the fashion and Hollywood archives.

by August I was the number one person on Vine, overtaking Harry Styles with 3.5 million followers. And while Harry will always be an icon and have a lower BMI than me, I hope to one day bring this up to him as I gaze at his perfect bone structure whilst his security has me removed.

A cowboy is someone who loves his work. Since the hours are long—ten to fifteen hours a day—and the pay is $30 he has to. What's required of him is an odd mixture of physical vigor and maternalism. His part of the beef-raising industry is to birth and nurture calves and take care of their mothers. For the most part his work is done on horseback and in a lifetime he sees and comes to know more animals than people. The iconic myth surrounding him is built on American notions of heroism: the index of a man's value as measured in physical courage. Such ideas have perverted manliness into a self-absorbed race for cheap thrills. In a rancher's world, courage has less to do with facing danger than with acting spontaneously—usually on behalf of an animal or another rider. If a cow is stuck in a bog hole he throws a loop around her neck, takes his dally (a half hitch around the saddle horn), and pulls her out with horsepower. If a calf is born sick, he may take her home, warm her in front of the kitchen fire, and massage her legs until dawn. One friend, whose favorite horse was trying to swim a lake with hobbles on, dove under water and cut her legs loose with a knife, then swam her to shore, his arm around her neck lifeguard-style, and saved her from drowning. Because these incidents are usually linked to someone or something outside himself, the westerner's courage is selfless, a form of compassion.

It seemed that Trump couldn’t spend fast enough. In 1988, he had paid $365 million to buy airplanes and routes from Eastern Airlines, which he turned into a Northeastern shuttle service. And he shelled out $407 million for the Plaza Hotel, the iconic château-style building across from Manhattan’s Central Park. In both cases, he borrowed most of the money, and analysts said he overpaid. The purchases loaded him up with debt at the same time he was ramping up his gambling empire by the boardwalk, and both moves would come to haunt him. To

When Kate Middleton stepped onto the stage, the landscape had changed beyond recognition from the genteel tradition of portraiture of centuries past. News was no longer reported day by day on the front pages of newspapers, but minute by minute via websites and social media. Anyone, anywhere in the world, could discover what Kate was wearing within an hour of her stepping out, with dozens of images capturing every outing from all imaginable angles. In this unique combination of circumstances, the scene was set for the future Duchess of Cambridge - a sporty, middle class 'normal' girl from Berkshire - to become a new kind of royal style icon. Kate's normality was essential to conjuring her own brand of majestic magic. Her marriage to William saw her living a fairytale that many young girls had dreamed of for generations before her. This was not another aristocratic Sloane Ranger, but a girl who had been born to a flight attendant and flight dispatcher and was now destined to be Queen Consort one day. A decade on and Kate's effect on fashion is impossible to understate - she has had dresses named after her, set trends, inspired superfans around the world and has been credited with boosting the British fashion industry by up to 1 billion in a single year.

As she looked in the full-length mirror in her dressing room, she added a few ropes of pearls, pinned a white silk camellia, and draped the Chantilly lace shawl. In that moment, Dana thought of fashion's most enduring icon who created this elegant and alluring style, and the happy personal life that eluded her. Mademoiselle Chanel died in 1971 at the age of eighty-eight while working on her spring collection, but her passion for work did not fill the void of marriage and children. Her success was costly, but clearly the choice of an uncompromising woman determined to achieve greatness on her own. She once said, "I never wanted to weigh more heavily on a man than a bird.

Even though the Internet provided a tool for virtual and distant collaborations, another lesson of digital-age innovation is that, now as in the past, physical proximity is beneficial. There is something special, as evidenced at Bell Labs, about meetings in the flesh, which cannot be replicated digitally. The founders of Intel created a sprawling, team-oriented open workspace where employees from Noyce on down all rubbed against one another. It was a model that became common in Silicon Valley. Predictions that digital tools would allow workers to telecommute were never fully realized. One of Marissa Mayer’s first acts as CEO of Yahoo! was to discourage the practice of working from home, rightly pointing out that “people are more collaborative and innovative when they’re together.” When Steve Jobs designed a new headquarters for Pixar, he obsessed over ways to structure the atrium, and even where to locate the bathrooms, so that serendipitous personal encounters would occur. Among his last creations was the plan for Apple’s new signature headquarters, a circle with rings of open workspaces surrounding a central courtyard. Throughout history the best leadership has come from teams that combined people with complementary styles. That was the case with the founding of the United States. The leaders included an icon of rectitude, George Washington; brilliant thinkers such as Thomas Jefferson and James Madison; men of vision and passion, including Samuel and John Adams; and a sage conciliator, Benjamin Franklin. Likewise, the founders of the ARPANET included visionaries such as Licklider, crisp decision-making engineers such as Larry Roberts, politically adroit people handlers such as Bob Taylor, and collaborative oarsmen such as Steve Crocker and Vint Cerf. Another key to fielding a great team is pairing visionaries, who can generate ideas, with operating managers, who can execute them. Visions without execution are hallucinations.31 Robert Noyce and Gordon Moore were both visionaries, which is why it was important that their first hire at Intel was Andy Grove, who knew how to impose crisp management procedures, force people to focus, and get things done. Visionaries who lack such teams around them often go down in history as merely footnotes.

As Japan recovered from the post-war depression, okonomiyaki became the cornerstone of Hiroshima's nascent restaurant culture. And with new variables- noodles, protein, fishy powders- added to the equation, it became an increasingly fungible concept. Half a century later it still defies easy description. Okonomi means "whatever you like," yaki means "grill," but smashed together they do little to paint a clear picture. Invariably, writers, cooks, and oko officials revert to analogies: some call it a cabbage crepe; others a savory pancake or an omelet. Guidebooks, unhelpfully, refer to it as Japanese pizza, though okonomiyaki looks and tastes nothing like pizza. Otafuku, for its part, does little to clarify the situation, comparing okonomiyaki in turn to Turkish pide, Indian chapati, and Mexican tacos. There are two overarching categories of okonomiyaki Hiroshima style, with a layer of noodles and a heavy cabbage presence, and Osaka or Kansai style, made with a base of eggs, flour, dashi, and grated nagaimo, sticky mountain yam. More than the ingredients themselves, the difference lies in the structure: whereas okonomiyaki in Hiroshima is carefully layered, a savory circle with five or six distinct layers, the ingredients in Osaka-style okonomiyaki are mixed together before cooking. The latter is so simple to cook that many restaurants let you do it yourself on table side teppans. Hiroshima-style okonomiyaki, on the other hand, is complicated enough that even the cooks who dedicate their lives to its construction still don't get it right most of the time. (Some people consider monjayaki, a runny mass of meat and vegetables popularized in Tokyo's Tsukishima district, to be part of the okonomiyaki family, but if so, it's no more than a distant cousin.) Otafuku entered the picture in 1938 as a rice vinegar manufacturer. Their original factory near Yokogawa Station burned down in the nuclear attack, but in 1946 they started making vinegar again. In 1950 Otafuku began production of Worcestershire sauce, but local cooks complained that it was too spicy and too thin, that it didn't cling to okonomiyaki, which was becoming the nutritional staple of Hiroshima life. So Otafuku used fruit- originally orange and peach, later Middle Eastern dates- to thicken and sweeten the sauce, and added the now-iconic Otafuku label with the six virtues that the chubby-cheeked lady of Otafuku, a traditional character from Japanese folklore, is supposed to represent, including a little nose for modesty, big ears for good listening, and a large forehead for wisdom.

As she looked in the full-length mirror in her dressing room, she added a few ropes of pearls, pinned a white silk camellia, and draped the Chantilly lace shawl. In that moment, Dana thought of fashion's most enduring icon who created this elegant and alluring style, and the happy personal life that eluded her. Mademoiselle Chanel died in 1971 at the age of eighty-eight while working on her spring collection, but her passion for work did not fill the void of marriage and children. Her success was costly, but clearly the choice of an uncompromising woman determined to achieve greatness on her own. Chanel once said, "I never wanted to weigh more heavily on a man than a bird." Quote from "A very Good Life.

As the social matrix becomes increasingly subject to rapid fluctuations, throwing out anchors into a collectivised past becomes more prominent than movement into a future. The desire to establish a core identity within the profusion of styles has led to image building becoming an industry in itself—as much reflected by the tactics of political groups and corporate bodies, as in the fetishistic scramble for designer labels and trendy occult symbols. Identity has, therefore, become another commodity to be traded in the marketplace. The gulf between objective icons and the Illusory has widened to such an extent that illusions have come to equal value.

We admire Sufism in the West for its tolerance, mysticism, and poetry, its ecstatic rituals, its music, even. But it’s also, especially in rural parts, a religion that bears more than a casual resemblance to late medieval Catholicism. It encourages the veneration of saint-like figures at special shrines and their celebration at festivities. It’s something the fundamentalist mullahs abhor. Just as the Protestants smashed icons, prohibited carnivals, and defaced cathedrals, the Wahhabists insist on a reformed style of Islam, purged of all that. Remember all the TV footage from 1996. When the Taliban took over in Afghanistan, their first task was stamping that stuff out.

Tim Graham Tim Graham has specialized in photographing the Royal Family for more than thirty years and is foremost in his chosen field. Recognition of his work over the years has led to invitations for private sessions with almost all the members of the British Royal Family, including, of course, Diana, Princess of Wales, and her children. Her “magic” was a combination of style and compassion. She instinctively knew what was right for every occasion. One of my favorite photographs is a shot I took in Angola in 1997 that shows her with a young land-mine victim who had lost a leg. This image of the Princess was chosen by the Red Cross to appear on a poster to publicize the tragic reality of land mines. It’s an important part of her legacy. It is difficult to capture such a remarkable person in just one photo, but I like this one a lot because it sums up her warmth and concern. Diana had one of those faces that would be very hard to photograph badly. Over the years, there were times when she was fed up or sad, and those emotions I captured, too. They were relevant at the time. I felt horrified by the news of her death and that she could die in such a terrible, simply tragic way. I couldn’t conceive of how her sons would be able to cope with such a loss. I was asked just before the funeral to photograph Prince Charles taking William and Harry out in public for the first time so they could meet the crowds gathered at Kensington Palace and see the floral tributes. It was the saddest of occasions. I had by then received an invitation to the funeral and was touched to have been the only press photographer asked. After much deliberation, I decided to turn down the chance to be a guest in Westminster Abbey. Having photographed Diana for seventeen years, from the day she appeared as Prince Charles’s intended, right through her public and, on occasion by invitation, her private life, I felt that I had to take the final picture. It was the end of an era. From my press position at the door of the abbey, I watched everyone arrive for the service, including my wife, who had also been invited. During my career, I have witnessed so many historic events from the other side of a camera that I felt compelled to take that last photograph of the Princess’s story. Life has moved on, and the public have found other subjects to fascinate them--not least the now grownup sons of this international icon--but everyone knows Diana was unique.

In their authoritative 1995 work, Voice and Equality, political scientists Sidney Verba, Kay Lehman Schlozman, and Henry E. Brady demonstrated that political activity varied by class. Their study found that 86 percent of high-income people reported having voted, but only 52 percent of low-income people said they voted. And 73 percent of high-income people were involved with a political organization, compared to 29 percent of low-income people. A 2012 sequel by the same authors showed a widening of these patterns, as institutions of working-class participation such as trade unions continued to decline, while the influence of the wealthy concentrated. The affluent go to meetings, are active members of groups concerned with public issues, and develop “civic skills” far more than the poor do—and that disparity has been widening. The iconic Norman Rockwell painting of an ordinary working fellow standing up to speak his mind at a town meeting, meant to depict one of FDR’s Four Freedoms, belongs to another era. And yet, in the Trump rebellion, regular working people who had little regard for civic norms abruptly recovered their voices in a fashion characteristic of mass society—disaffected people sharing not always rational rage with an irrational leader. They even formed new, Tocqueville-style associations, the Tea Parties. Voice and Equality concluded that lower-income people participate at lower rates for three reasons: “they can’t” (because they lack the time or money); “they don’t want to” (because they don’t believe that politics will make a positive difference in their lives); and “nobody asked them” (the political system has few avenues of recruitment for lower-income people). In a survey of why so many people avoided politics, one key reason was that politics felt irrelevant. This view, of course, was also correlated by social class. Nobody in large corporations believes that politics is irrelevant. Trust in government—and in all major institutions—has been falling for half a century. When the American National Election Study first asked the question in 1958, 73 percent of Americans said they trusted the federal government to do the right thing “just about always” or “most of the time.” That sense of trust peaked in 1964, at 78 percent, and has been steadily dropping ever since. By 2015, it was down to just 19 percent. The

Although a toned body was important in the 1980s, the nation was again distracted by even more ridiculous hair and clothing. I was at my thinnest at this point in time. Also, I’d gained four inches in bangs height. And yet, I squandered my small, perky ass on oversized khaki Bermuda shorts, loafers with argyle socks that I pulled up to my knees, and crewneck wool sweaters with tie-on lace collars. Comedian Karen Kilgariff, of My Favorite Murder, described the 1980s aptly as a time when young girls dressed like they were doing middle-aged secretary cosplay. Barbara had become my style icon.

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

Jack Welch. GE’s annual

Double Your Profits: In Six Months or Less, by Bob Fifer.

The Blasters proved to be the most prominent and popular of these acts by far. Originally a quartet, the band was bred in Downey, just down the freeway from East L.A. In their teens, brothers Phil and Dave Alvin were bitten by the blues bug; they became habitués of the L.A. club the Ash Grove, where many of the best-known folk and electric blues performers played, and they sought out the local musicians who could teach them their craft, learning firsthand from such icons as Big Joe Turner, T-Bone Walker, and Little Richard’s saxophonist Lee Allen (who would ultimately join the band in the ’80s). But the Blasters’ style was multidimensional: they could play R&B, they loved country music, and they were also dyed-in-the-wool rockabilly fans who were initially embraced by the music’s fervent L.A. cultists. Their debut album, 1980’s American Music, was recorded in a Van Nuys garage by the Milan, Italy–born rockabilly fanatic Rockin’ Ronnie Weiser, and released on his indie label Rollin’ Rock Records, which also issued LPs by such first-generation rockabilly elders as Gene Vincent, Mac Curtis, Jackie Waukeen Cochran, and Ray Campi. By virtue of Phil Alvin’s powerful, unmannered singing and Dave Alvin’s adept guitar playing and original songwriting, the Blasters swiftly rose to the top of a pack of greasy local bands that also included Levi and the Rockats (a unit fronted by English singer Levi Dexter) and the Rockabilly Rebels (who frequently backed Ray Campi). Los Lobos were early Blasters fans, and often listened to American Music in their van on the way to their own (still acoustic) gigs. Rosas says, “We loved their first record, man. We used to play the shit out of that record. Dave [Hidalgo] was the one who got a copy of it, and he put it on cassette.

Because of this mysterious virus from China, Broadway was closing.33 All of Broadway. Not just one theater or ten theaters, as in a free society in which business owners make choices based on individual risk. All of Broadway, in one iconic, sweeping, Soviet-style, top-down gesture.

I didn’t admit to my mom that I had no idea how to be a part of my community, because there seemed to be a whole second step after coming out, and that was finding your people. I mean, I had cis gay male friends, I did community theater growing up, but they didn’t really feel like my community. And Nova certainly hadn’t invited me into her community, and even if she had, I was pretty sure I didn’t want to be a part of it. But that night at Candace’s felt like I had inched closer to the thing that I wanted. They were just. So. Gay. Effortlessly so. Each with their own iconic style and vibe and fluent in a language that made my head spin. But unlike Nova’s elitist group of self-proclaimed Celesbians, I felt welcome here. Wanted. It was thrilling, and terrifying. It had been four months since that queer hang, and I finally looked forward to having weekend plans. Candace invited me everywhere, like Gay Bowling Tuesdays at the alley in town, and queer book club, and she binged all of Atypical with me in two nights. But even though we were close, there was still something that made me feel distant from everyone else. Like if I got too close, something terrible would happen.

The dog is named in honor of my other husband, the one and only Harry Styles, of course. Because like the icon, that pup makes me smile and moves to his own rhythm.

The film version of Chicago is a milestone in the still-being-written history of film musicals. It resurrected the genre, winning the Oscar for Best Picture, but its long-term impact remains unclear. Rob Marshall, who achieved such success as the co-director of the 1998 stage revival of Cabaret, began his career as a choreographer, and hence was well suited to direct as well as choreograph the dance-focused Chicago film. The screen version is indeed filled with dancing (in a style reminiscent of original choreographer Bob Fosse, with plenty of modern touches) and retains much of the music and the book of the stage version. But Marshall made several bold moves. First, he cast three movie stars – Catherine Zeta-Jones (former vaudeville star turned murderess Velma Kelly), Renée Zellweger (fame-hungry Roxie Hart), and Richard Gere (celebrity lawyer Billy Flynn) – rather than Broadway veterans. Of these, only Zeta-Jones had training as a singer and dancer. Zellweger’s character did not need to be an expert singer or dancer, she simply needed to want to be, and Zellweger’s own Hollywood persona of vulnerability and stardom blended in many critics’ minds with that of Roxie.8 Since the show is about celebrity, casting three Hollywood icons seemed appropriate, even if the show’s cynical tone and violent plotlines do not shed the best light on how stars achieve fame. Marshall’s boldest move, though, was in his conception of the film itself. Virtually every song in the film – with the exception of Amos’s ‘Mr Cellophane’ and a few on-stage numbers like Velma’s ‘All That Jazz’ – takes place inside Roxie’s mind. The heroine escapes from her grim reality by envisioning entire production numbers in her head. Some film critics and theatre scholars found this to be a cheap trick, a cop-out by a director afraid to let his characters burst into song during the course of their normal lives, but other critics – and movie-goers – embraced this technique as one that made the musical palatable for modern audiences not accustomed to musicals. Marshall also chose a rapid-cut editing style, filled with close-ups that never allow the viewer to see a group of dancers from a distance, nor often even an entire dancer’s body. Arms curve, legs extend, but only a few numbers such as ‘Razzle Dazzle’ and ‘Cell Block Tango’ are treated like fully staged group numbers that one can take in as a whole.

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.

IF W.I.T.C.H. IS an example of feminist politics borrowing from the realm of mythos, then it should come as no surprise that feminist spirituality began to get more civic-minded in turn. Though there is evidence that some American Pagan covens existed as early as the 1930s, and Gardnerian Wicca had reached the States by the 1960s, the 1970s brought about a new style of witchcraft that was intent on “combining political and spiritual concerns as if they were two streams of a single river,” as Margot Adler put it. It took the framework of Wicca but gave it a much fuller emphasis on worshipping goddesses and honoring the female body. It also more blatantly reclaimed the witch as an icon of resistance against the patriarchy, following the sentiments of earlier pro-witch thinkers like Matilda Joslyn Gage and Margaret Murray, and the writings of radical feminists like Mary Daly and Andrea Dworkin.

Brooklyn-born Grimaldi’s is one of New York’s most popular and iconic pizzerias, and there is usually a long line out the door at the flagship. It is famous for using coal-fired ovens, not typical for New York – style pizza, giving it a distinctive taste. Grimaldi’s has parlayed its successful original into a brand name known for both a particular style of pizza and excellence making it, and it has grown into a national chain, with nearly fifty restaurants in a dozen states. It’s not quite a McDonald’s or Chipotle in scope, but it is a significant food undertaking,

Embark on a delectable journey through the culinary wonders of Andhra Pradesh with the iconic Mysore Pak, presented in an authentic Andhra style that promises to tantalize your taste buds. Renowned for its rich history and diverse flavors, Mysore Pak Andhra Style is a sweet indulgence that captures the essence of the region's culinary finesse. Crafted with precision and passion, this traditional treat boasts a unique texture and an irresistible blend of ghee, gram flour, and sugar, creating a melt-in-your-mouth experience. Elevate your sweet tooth cravings and immerse yourself in the sweet symphony of Andhra Pradesh's culinary heritage by indulging in the irresistible charm of Mysore Pak, a delightful confection that transcends time and tradition.

Who wouldn’t want to live in Busytown, the setting of the iconic 1960s children’s books by the American illustrator Richard Scarry? His grocer cats and firefighting pigs are certainly busy; nobody in Busytown is idle—or if they are, they’re carefully hidden from view by the authorities, Pyongyang-style.

Our annual year-end bash was a tradition as sturdy as our conviction that socks and sandals were a fashion faux pas. From fashion outlaws, we became accepted as fashion forward style icons. -Kim Lee ‘The Big Apple Took a Bite Off Me’ Now on Amazon Books and Kindle

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iconic women travel the world charming others with their beauty their distinct personality leaves a mark on everyone who is around because a warm and genuine smile has a special kind of style

Individuals with the Love-Sexuality Survival Style are highly energetic, attractive, and successful. They are the doers and the winners of the world, the sports heroes, cheerleaders, top actors and actresses, the people who often become the icons of our collective consciousness.