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It okay Indiana Pacers, with a 96 91 victory over the Nets and a now historic start for the franchise, I got your back. I catching up on the DVR from the beginning of the second half to take some notes in retro diary form (with 100% of the idea credit going to Grantland Bill Simmons of course) to see how we in fact got to this point. To start the third quarter, Brooklyn would be leading the way 46 44, with the only difference between the two teams seemingly being the fact that Brooklyn bench outscored the Pacers bench 16 6. And we start NOW!
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:38 Mark that down as a Down 94 91, Joe Johnson literally found Kevin Garnett inside the restricted circle and two feet away from the hoop. As Garnett caught the ball, Roy Hibbert came over from the help side and went straight up, forcing Garnett to push up a floater over Hibbert extended arm. The outcome? Complete air ball, the rock eventually lands out of bounds, and Pacers get the ball. Game effectively over Or not, because Paul George just turned the ball over. This is probably why I not an NBA coach.
It okay Indiana Pacers, with a 96 91 victory over the Nets and a now historic start for the franchise, I got your back. I catching up on the DVR from the beginning of the second half to take some notes in retro diary form (with 100% of the idea credit going to Grantland Bill Simmons of course) to see how we in fact got to this point. To start the third quarter, Brooklyn would be leading the way 46 44, with the only difference between the two teams seemingly being the fact that Brooklyn bench outscored the Pacers bench 16 6. And we start NOW!
6:00 Paul Pierce is doing everything he can to keep this Brooklyn team in the game, but his teammates can help him out a lick. I would feel bad, but this is the same guy who tore up the Lakers in the NBA Finals after looking like this:
How do the Pacers respond? They keep on winning of course! Friday night the Pacers tied a franchise record best 6 0 start, dropping the Toronto Raptors by the final of 91 84 at Bankers Life Fieldhouse. Perhaps would they get everyone focus and attention at that point? Well, perhaps they would if the National Football League wasn so popular that one irrelevant player on an irrelevant team bullied another irrelevant player thus making that irrelevant player leave the irrelevant team, and this irrelevancy is the biggest topic of the Monday Friday news cycle.
11:15 I told myself I was going to pace myself to only write something every three minutes But Luis Scola just got Garnett with his patented defender goes by, dribble a once or twice and then shoot play that I absolutely fallen in love with. Frank Vogel said it best after the victory against the Bulls, when he mentioned have one of the best international players ever coming off of our bench I think Pacers fans finally 100% realized what they now have in Scola when they booed Tyler Hansbrough during his first appearance with the Toronto Raptors on Friday night.
5:06 Nets center Andre Blatche hits a jumper to make the score 62 57, and Pacers announcer Chris Denari mentions that like in Boston, Kevin Garnett has to come out early in the first and third quarters. This reminded me of the Pacers pregame show I was listening too on 1070 The Fan when Austin Croshere mentioned that he doesn fully buy in to this Brooklyn squad to be a top seeded team. Basically Croshere believes that with the years of basketball mileage on their body, Garnett and Pierce could perhaps reach their full potential if they played once every three games. Throw in the fact that Pierce, Garnett, and Jason Terry combined for 8 23 from the field, 21 points, and nine turnovers, I now wonder how Sports Illustrated picked this squad to be the number three seed over the course of an 82 game season.
Personally, I just interested to see what whacky event will happen on the national sports scene to continue covering up this great Pacers start if they were to come away with the victory.
:9.5 Joe Johnson misses the great look for a three, David West gets the rebound ices the game with free throws, and now the game is over. Pacers fans, you are 7 0 for the first time in team history, go crazy!
:9.5 Joe Johnson misses the great look for a three, David West gets the rebound ices the game with free throws, and now the game is over. Pacers fans, you are 7 0 for the first time in team history, go crazy!
Personally, I just interested to see what whacky event will happen on the national sports scene to continue covering up this great Pacers start if they were to come away with the victory.
3:12 Brooklyn starts to come back, and with the Nets down 90 87, George Hill dribbles the ball from 20 seconds on the clock down to 13 and follows this up with a running floater through the lane. If it goes in, Hill looks like a genius, but since he missed, I should point out that Brooklyn is fighting their way back into this game and Paul George hasn shot the ball since the 7:26 mark in the quarter.
9:11 I don feel bad making fun of Deron Williams because: 1. Despite the fact he incredibly good, I not a big fan and 2. Roy Hibbert just scared the living daylights out of him as he drove towards the lane, causing him to stop and settle for an awkward floater instead of challenging number 55. I think my favorite thing about the uber Roy Hibbert defense this year is trying to keep count of how many shots are missed not because he gets a hand on them, but rather how many shots he forces to be thrown up wildly just because he happens to be in the area. This leads to David West finding Lance Stephenson cutting through down low for an and one that causes Chris Denari to reach high decibels on Pacers now up 55 49.
5:06 Nets center Andre Blatche hits a jumper to make the score 62 57, and Pacers announcer Chris Denari mentions that like in Boston, Kevin Garnett has to come out early in the first and third quarters. This reminded me of the Pacers pregame show I was listening too on 1070 The Fan when Austin Croshere mentioned that he doesn fully buy in to this Brooklyn squad to be a top seeded team. Basically Croshere believes that with the years of basketball mileage on their body, Garnett and Pierce could perhaps reach their full potential if they played once every three games. Throw in the fact that Pierce, Garnett, and Jason Terry combined for 8 23 from the field, 21 points, and nine turnovers, I now wonder how Sports Illustrated picked this squad to be the number three seed over the course of an 82 game season.
Final thoughts are this game is much more impressive when you take in account the Pacers played four games in five nights and won them all. This Brooklyn team is full of veterans and a win against Indiana would have given answered some of the doubters about what their franchise is doing this season, and you could sense the urgency in the second half pouring from them. Still, this Indiana squad responded, and now they head into Monday night home game against Memphis with a shot to go 8 0.
Personally, I just interested to see what whacky event will happen on the national sports scene to continue covering up this great Pacers start if they were to come away with the victory.
:9.5 Joe Johnson misses the great look for a three, David West gets the rebound ices the game with free throws, and now the game is over. Pacers fans, you are 7 0 for the first time in team history, go crazy!
6:00 Paul Pierce is doing everything he can to keep this Brooklyn team in the game, but his teammates can help him out a lick. I would feel bad, but this is the same guy who tore up the Lakers in the NBA Finals after looking like this:
11:47 As David West breaks out to the right corner of the free throw line thanks to a Roy Hibbert pick on Kevin Garnett that would make the Colts O Line proud, I already can help but think to myself how weird it seems watching Garnett/Pierce these Nets uniforms. However, as a Lakers fan myself, am I happy to see two former Celtics end their careers in such fashion? Absolutely! ANNNNYYYYTTTHHHHIIIINNNGGGG IIIISSSSS POSSSSSIIIIBBBBBLLLLLLLEEEEEE!!!! West hits the jumper to tie the game 46 46, because David West is just flat out a bad man.
Funny things seem to always happen to take away the focus from the Indiana Pacers. After the first week of the season, the numbers that Paul George and Lance Stephenson put up should have made them absolute shoe ins to win the Eastern Conference Player of the Week Award. What happens? The Philadelphia 76ers defeat the Miami Heat, the Washington Wizards, and the Chicago Bulls, and rookie Michael Carter Williams ends up sneaking away with the award.
Final thoughts are this game is much more impressive when you take in account the Pacers played four games in five nights and won them all. This Brooklyn team is full of veterans and a win against Indiana would have given answered some of the doubters about what their franchise is doing this season, and you could sense the urgency in the second half pouring from them. Still, this Indiana squad responded, and now they head into Monday night home game against Memphis with a shot to go 8 0.
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:38 Mark that down as a Down 94 91, Joe Johnson literally found Kevin Garnett inside the restricted circle and two feet away from the hoop. As Garnett caught the ball, Roy Hibbert came over from the help side and went straight up, forcing Garnett to push up a floater over Hibbert extended arm. The outcome? Complete air ball, the rock eventually lands out of bounds, and Pacers get the ball. Game effectively over Or not, because Paul George just turned the ball over. This is probably why I not an NBA coach.
The Pacers had had leading contributors all the way down their starting line up to go along with Paul George 24 points Lance Stephenson finished with 15 points, seven assists David West finished with 18 points and eight rebounds Roy Hibbert had 15 points, 11 rebounds, and two blocks.
2:31 Paul George uses a Roy Hibbert pick on Paul Pierce to create some extra space, he runs to his right, and throws up a shot falling away from the basket that was much longer than the 15 feet the shot chart says. Does it go in? Of course it does, and George finishes the night with 24 points on 8 14 shooting with six rebounds and two assists. This Pacers team has enough depth that Paul George doesn have to absolutely demand the ball in the fourth quarter (like perhaps Kobe would), but it definitely doesn hurt the team when he gives it a shot.
:9.5 Joe Johnson misses the great look for a three, David West gets the rebound ices the game with free throws, and now the game is over. Pacers fans, you are 7 0 for the first time in team history, go crazy!
9:11 I don feel bad making fun of Deron Williams because: 1. Despite the fact he incredibly good, I not a big fan and 2. Roy Hibbert just scared the living daylights out of him as he drove towards the lane, causing him to stop and settle for an awkward floater instead of challenging number 55. I think my favorite thing about the uber Roy Hibbert defense this year is trying to keep count of how many shots are missed not because he gets a hand on them, but rather how many shots he forces to be thrown up wildly just because he happens to be in the area. This leads to David West finding Lance Stephenson cutting through down low for an and one that causes Chris Denari to reach high decibels on Pacers now up 55 49.
11:15 I told myself I was going to pace myself to only write something every three minutes But Luis Scola just got Garnett with his patented defender goes by, dribble a once or twice and then shoot play that I absolutely fallen in love with. Frank Vogel said it best after the victory against the Bulls, when he mentioned have one of the best international players ever coming off of our bench I think Pacers fans finally 100% realized what they now have in Scola when they booed Tyler Hansbrough during his first appearance with the Toronto Raptors on Friday night.
But how about Saturday night, with the team getting the chance to travel to Brooklyn to improve to 7 0 with a victory? This would be the case, if a little Brad Stevens magic (or BradMagic as one Jeremiah Johnson likes to call it) didn take place in Miami, with the Boston Celtics dropping the Heat 111 110 on an impossible game winning shot from Jeff Green. The cover of ESPN NBA page as follows:
Funny things seem to always happen to take away the focus from the Indiana Pacers. After the first week of the season, the numbers that Paul George and Lance Stephenson put up should have made them absolute shoe ins to win the Eastern Conference Player of the Week Award. What happens? The Philadelphia 76ers defeat the Miami Heat, the Washington Wizards, and the Chicago Bulls, and rookie Michael Carter Williams ends up sneaking away with the award.
5:06 Nets center Andre Blatche hits a jumper to make the score 62 57, and Pacers announcer Chris Denari mentions that like in Boston, Kevin Garnett has to come out early in the first and third quarters. This reminded me of the Pacers pregame show I was listening too on 1070 The Fan when Austin Croshere mentioned that he doesn fully buy in to this Brooklyn squad to be a top seeded team. Basically Croshere believes that with the years of basketball mileage on their body, Garnett and Pierce could perhaps reach their full potential if they played once every three games. Throw in the fact that Pierce, Garnett, and Jason Terry combined for 8 23 from the field, 21 points, and nine turnovers, I now wonder how Sports Illustrated picked this squad to be the number three seed over the course of an 82 game season.
8:06 I said this in my last post, but for me the signature play of the Pacers undefeated start to the season is the killer Paul George three that sucks the life out of the opposition, and then he slowly moves down the court with full out swag that only a 23 year old soon to be superstar could possess. With three seconds left on the shot clock off an in bounds play, George found Luis Scola cutting to the baseline. George then faked a cut pass the hoop, and instead wrapped around Scola (who placement set a pick on defender Paul Pierce) while George made his way beyond the arc. George hit the three, turned, tapped himself on the head with three fingers up, and made his way down the court slowly as the Pacers lead 82 73. If that isn cool, I not sure what is.
Final thoughts are this game is much more impressive when you take in account the Pacers played four games in five nights and won them all. This Brooklyn team is full of veterans and a win against Indiana would have given answered some of the doubters about what their franchise is doing this season, and you could sense the urgency in the second half pouring from them. Still, this Indiana squad responded, and now they head into Monday night home game against Memphis with a shot to go 8 0.
Funny things seem to always happen to take away the focus from the Indiana Pacers. After the first week of the season, the numbers that Paul George and Lance Stephenson put up should have made them absolute shoe ins to win the Eastern Conference Player of the Week Award. What happens? The Philadelphia 76ers defeat the Miami Heat, the Washington Wizards, and the Chicago Bulls, and rookie Michael Carter Williams ends up sneaking away with the award.
So all eyes would be on the Pacers when they host the Chicago Bulls on national television, right? Well, despite the 97 80 victory over a team many believe could be the best in the Eastern Conference, the talking heads the following day decided to spend their time talking about what a point guard who had missed the entire season before was doing wrong just four games in.
:38 Mark that down as a Down 94 91, Joe Johnson literally found Kevin Garnett inside the restricted circle and two feet away from the hoop. As Garnett caught the ball, Roy Hibbert came over from the help side and went straight up, forcing Garnett to push up a floater over Hibbert extended arm. The outcome? Complete air ball, the rock eventually lands out of bounds, and Pacers get the ball. Game effectively over Or not, because Paul George just turned the ball over. This is probably why I not an NBA coach.
5:47 A graphic just flashed that Paul George is the first Indiana Pacer to start the season with seven straight 20 plus point games since Clark Kellogg in the 1985 86 season. I would be very interested to know what the odds are of him winning an MVP award before Andrew Luck does with the Colts.
6:00 Paul Pierce is doing everything he can to keep this Brooklyn team in the game, but his teammates can help him out a lick. I would feel bad, but this is the same guy who tore up the Lakers in the NBA Finals after looking like this:
It okay Indiana Pacers, with a 96 91 victory over the Nets and a now historic start for the franchise, I got your back. I catching up on the DVR from the beginning of the second half to take some notes in retro diary form (with 100% of the idea credit going to Grantland Bill Simmons of course) to see how we in fact got to this point. To start the third quarter, Brooklyn would be leading the way 46 44, with the only difference between the two teams seemingly being the fact that Brooklyn bench outscored the Pacers bench 16 6. And we start NOW!
5:47 A graphic just flashed that Paul George is the first Indiana Pacer to start the season with seven straight 20 plus point games since Clark Kellogg in the 1985 86 season. I would be very interested to know what the odds are of him winning an MVP award before Andrew Luck does with the Colts.
The Pacers had had leading contributors all the way down their starting line up to go along with Paul George 24 points Lance Stephenson finished with 15 points, seven assists David West finished with 18 points and eight rebounds Roy Hibbert had 15 points, 11 rebounds, and two blocks.
9:11 I don feel bad making fun of Deron Williams because: 1. Despite the fact he incredibly good, I not a big fan and 2. Roy Hibbert just scared the living daylights out of him as he drove towards the lane, causing him to stop and settle for an awkward floater instead of challenging number 55. I think my favorite thing about the uber Roy Hibbert defense this year is trying to keep count of how many shots are missed not because he gets a hand on them, but rather how many shots he forces to be thrown up wildly just because he happens to be in the area. This leads to David West finding Lance Stephenson cutting through down low for an and one that causes Chris Denari to reach high decibels on Pacers now up 55 49.
So all eyes would be on the Pacers when they host the Chicago Bulls on national television, right? Well, despite the 97 80 victory over a team many believe could be the best in the Eastern Conference, the talking heads the following day decided to spend their time talking about what a point guard who had missed the entire season before was doing wrong just four games in.
Personally, I just interested to see what whacky event will happen on the national sports scene to continue covering up this great Pacers start if they were to come away with the victory.
6:00 Paul Pierce is doing everything he can to keep this Brooklyn team in the game, but his teammates can help him out a lick. I would feel bad, but this is the same guy who tore up the Lakers in the NBA Finals after looking like this:
:9.5 Joe Johnson misses the great look for a three, David West gets the rebound ices the game with free throws, and now the game is over. Pacers fans, you are 7 0 for the first time in team history, go crazy!
6:00 Paul Pierce is doing everything he can to keep this Brooklyn team in the game, but his teammates can help him out a lick. I would feel bad, but this is the same guy who tore up the Lakers in the NBA Finals after looking like this:
5:06 Nets center Andre Blatche hits a jumper to make the score 62 57, and Pacers announcer Chris Denari mentions that like in Boston, Kevin Garnett has to come out early in the first and third quarters. This reminded me of the Pacers pregame show I was listening too on 1070 The Fan when Austin Croshere mentioned that he doesn fully buy in to this Brooklyn squad to be a top seeded team. Basically Croshere believes that with the years of basketball mileage on their body, Garnett and Pierce could perhaps reach their full potential if they played once every three games. Throw in the fact that Pierce, Garnett, and Jason Terry combined for 8 23 from the field, 21 points, and nine turnovers, I now wonder how Sports Illustrated picked this squad to be the number three seed over the course of an 82 game season.
But how about Saturday night, with the team getting the chance to travel to Brooklyn to improve to 7 0 with a victory? This would be the case, if a little Brad Stevens magic (or BradMagic as one Jeremiah Johnson likes to call it) didn take place in Miami, with the Boston Celtics dropping the Heat 111 110 on an impossible game winning shot from Jeff Green. The cover of ESPN NBA page as follows:
The Pacers had had leading contributors all the way down their starting line up to go along with Paul George 24 points Lance Stephenson finished with 15 points, seven assists David West finished with 18 points and eight rebounds Roy Hibbert had 15 points, 11 rebounds, and two blocks.
Funny things seem to always happen to take away the focus from the Indiana Pacers. After the first week of the season, the numbers that Paul George and Lance Stephenson put up should have made them absolute shoe ins to win the Eastern Conference Player of the Week Award. What happens? The Philadelphia 76ers defeat the Miami Heat, the Washington Wizards, and the Chicago Bulls, and rookie Michael Carter Williams ends up sneaking away with the award.
How do the Pacers respond? They keep on winning of course! Friday night the Pacers tied a franchise record best 6 0 start, dropping the Toronto Raptors by the final of 91 84 at Bankers Life Fieldhouse. Perhaps would they get everyone focus and attention at that point? Well, perhaps they would if the National Football League wasn so popular that one irrelevant player on an irrelevant team bullied another irrelevant player thus making that irrelevant player leave the irrelevant team, and this irrelevancy is the biggest topic of the Monday Friday news cycle.
3:12 Brooklyn starts to come back, and with the Nets down 90 87, George Hill dribbles the ball from 20 seconds on the clock down to 13 and follows this up with a running floater through the lane. If it goes in, Hill looks like a genius, but since he missed, I should point out that Brooklyn is fighting their way back into this game and Paul George hasn shot the ball since the 7:26 mark in the quarter.
5:47 A graphic just flashed that Paul George is the first Indiana Pacer to start the season with seven straight 20 plus point games since Clark Kellogg in the 1985 86 season. I would be very interested to know what the odds are of him winning an MVP award before Andrew Luck does with the Colts.
The Pacers had had leading contributors all the way down their starting line up to go along with Paul George 24 points Lance Stephenson finished with 15 points, seven assists David West finished with 18 points and eight rebounds Roy Hibbert had 15 points, 11 rebounds, and two blocks.
Personally, I just interested to see what whacky event will happen on the national sports scene to continue covering up this great Pacers start if they were to come away with the victory.
:9.5 Joe Johnson misses the great look for a three, David West gets the rebound ices the game with free throws, and now the game is over. Pacers fans, you are 7 0 for the first time in team history, go crazy!
11:15 I told myself I was going to pace myself to only write something every three minutes But Luis Scola just got Garnett with his patented defender goes by, dribble a once or twice and then shoot play that I absolutely fallen in love with. Frank Vogel said it best after the victory against the Bulls, when he mentioned have one of the best international players ever coming off of our bench I think Pacers fans finally 100% realized what they now have in Scola when they booed Tyler Hansbrough during his first appearance with the Toronto Raptors on Friday night.
6:00 I just going to call the Roy Hibbert stat I referenced above as Hibbert just forced one on Brook Lopez, who tried to take Hibbert base line and swing the ball up from under the hoop with his dribbling hand, but Hibbert forced Lopez to throw up a bad shot that went over the rim. I all in on the stat, Pacers lead 60 53.
8:06 I said this in my last post, but for me the signature play of the Pacers undefeated start to the season is the killer Paul George three that sucks the life out of the opposition, and then he slowly moves down the court with full out swag that only a 23 year old soon to be superstar could possess. With three seconds left on the shot clock off an in bounds play, George found Luis Scola cutting to the baseline. George then faked a cut pass the hoop, and instead wrapped around Scola (who placement set a pick on defender Paul Pierce) while George made his way beyond the arc. George hit the three, turned, tapped himself on the head with three fingers up, and made his way down the court slowly as the Pacers lead 82 73. If that isn cool, I not sure what is.
9:11 I don feel bad making fun of Deron Williams because: 1. Despite the fact he incredibly good, I not a big fan and 2. Roy Hibbert just scared the living daylights out of him as he drove towards the lane, causing him to stop and settle for an awkward floater instead of challenging number 55. I think my favorite thing about the uber Roy Hibbert defense this year is trying to keep count of how many shots are missed not because he gets a hand on them, but rather how many shots he forces to be thrown up wildly just because he happens to be in the area. This leads to David West finding Lance Stephenson cutting through down low for an and one that causes Chris Denari to reach high decibels on Pacers now up 55 49.
11:40, 4th Luis Scola moves to the top of the key to help on Nets guard Shaun Livingston, leaving Garnett completely open to grab the rebound in the air and slam it down for a dunk that shakes the Barclays Center. Maybe Garnett still has some life in those legs after all, 72 69 Pacers up.
6:00 I just going to call the Roy Hibbert stat I referenced above as Hibbert just forced one on Brook Lopez, who tried to take Hibbert base line and swing the ball up from under the hoop with his dribbling hand, but Hibbert forced Lopez to throw up a bad shot that went over the rim. I all in on the stat, Pacers lead 60 53.
:9.5 Joe Johnson misses the great look for a three, David West gets the rebound ices the game with free throws, and now the game is over. Pacers fans, you are 7 0 for the first time in team history, go crazy!
Personally, I just interested to see what whacky event will happen on the national sports scene to continue covering up this great Pacers start if they were to come away with the victory.
2:31 Paul George uses a Roy Hibbert pick on Paul Pierce to create some extra space, he runs to his right, and throws up a shot falling away from the basket that was much longer than the 15 feet the shot chart says. Does it go in? Of course it does, and George finishes the night with 24 points on 8 14 shooting with six rebounds and two assists. This Pacers team has enough depth that Paul George doesn have to absolutely demand the ball in the fourth quarter (like perhaps Kobe would), but it definitely doesn hurt the team when he gives it a shot.
8:06 I said this in my last post, but for me the signature play of the Pacers undefeated start to the season is the killer Paul George three that sucks the life out of the opposition, and then he slowly moves down the court with full out swag that only a 23 year old soon to be superstar could possess. With three seconds left on the shot clock off an in bounds play, George found Luis Scola cutting to the baseline. George then faked a cut pass the hoop, and instead wrapped around Scola (who placement set a pick on defender Paul Pierce) while George made his way beyond the arc. George hit the three, turned, tapped himself on the head with three fingers up, and made his way down the court slowly as the Pacers lead 82 73. If that isn cool, I not sure what is.
11:40, 4th Luis Scola moves to the top of the key to help on Nets guard Shaun Livingston, leaving Garnett completely open to grab the rebound in the air and slam it down for a dunk that shakes the Barclays Center. Maybe Garnett still has some life in those legs after all, 72 69 Pacers up.
Lady Griz hand Selvig 800th career win with 68 61 victory over PortlandGriz up to fifth in TSN poll, highest ranking of seasonBig Sky honors Sac State QB SafronNorth Dakota football coach firedSince 1897, the Cat Griz rivalry has captivated the stateFamily health: Prepare yourself and your vehicle for winter drivingFitness calendarBirths for Tuesday, November 19Angler with 4th place total takes Fall Mack Days fishing tournament titleWestern Montana hunters get help from fresh snow, rutIf the name Grace Coddington is familiar, you've probably seen the 2009 documentary film "The September Issue" about Vogue magazine's Editor in Chief Anna Wintour, the most feared and revered woman in fashion. Now Coddington, the longtime creative director of Vogue, has her own star vehicle, an engaging memoir titled "Grace," co written with Michael Roberts. For anyone with a passing interest in the fashion industry, it's worth a read for the name dropping alone.As became clear in the film, which chronicled the magazine's staff as they put together the 4 pound September 2007 issue, Coddington is not the Anna Wintour or Diana Vreeland type. You won't hear her barking orders at assistants or making dramatic pronouncements about pink.But she is equally passionate, a wild haired dreamer who thinks that fashion should be transporting, provocative and even intellectual, who bemoans the dominance of celebrities and digital hocus pocus in fashion photography and who isn't afraid to take on Wintour.The book is a window into how fashion has changed from a small, niche business into a global pop culture medium. It chronicles Coddington's 50 years in the industry, first as a model, then as a fashion editor for British Vogue and finally as creative director for American Vogue, with lots of juicy anecdotes about designers, photographers, celebrities and models.She compares the fashion world then and now and offers clues into her relationship with Wintour. She's also open about her private life, including details about failed marriages, the tragic death of her sister Rosemary and her 30 year romance with French hairstylist Didier Malige. She tells colorful stories behind many of the fashion shoots she has styled, but I do wish she had offered more insight into her role in the creative process.Coddington begins by painting a picture of her upbringing as romantic as any photo shoot. For her first 18 years, her home was the Trearddur Bay Hotel on the island of Anglesey off the coast of North Wales. "Although it was bleak, I saw beauty in the bleakness." When she wasn't outdoors, she amused herself by looking at picture books, reading fairy tales and, yes, studying the pages of Vogue magazine. As a teen, she went to a convent school and has vivid memories of the nuns roller skating on the rooftop, "flapping about surreally in their robes like crows on wheels."At 18, she moved to London to attend a modeling course advertised in Vogue. The fashion world was much different in 1959. Coddington had to learn how to apply her own makeup and style her own hair, because makeup artists and hairdressers specializing in photo shoots were nonexistent. A meeting with photographer Norman Parkinson led to her first modeling job running naked through the woods for an arty fashion catalog.Coddington became an overnight success. "I was a character, rather than a pretty model, and I suppose that's exactly what I look for in the girls I now select to put in American Vogue the ones who are quirky looking."She earned the nickname "The Cod" (to Jean Shrimpton's "The Shrimp"), danced the twist on Mary Quant's catwalk and became a muse to Vidal Sassoon, who created his famous five point cut on Coddington. Her modeling career was derailed for two years by a car accident, which scarred her left eyelid. But eventually things picked up again, and she settled into life in 1960s swinging London and Paris, hanging out with a fast crowd that included Michael Caine, Jane Birkin, the Beatles and the Rolling Stones.Her fashion editing career coincided with the beginning of her relationship with Michael Chow and the opening of his glamorous restaurant Mr. Chow, which attracted a starry crowd. "Naturally, we were forever being photographed at home, draped among our symbols of 'with it ness' as one of London's most happening couples; him, the cool young restaurateur, nonchalantly swinging in a hammock hung from the minstrel's gallery and me, the sophisticated style maker, perkily sitting cross legged atop a giant pop art version of a Campbell's soup can."At the height of the bohemian 1970s, she dyed her hair with henna and permed it (it would stay the same for much of the next 40 years), dressed almost exclusively in Yves Saint Laurent, had a fling with a Vietnamese photographer and spent her evenings at Club Sept in Paris. Coddington worked with the who's who of fashion. She shot Anjelica Huston with photographer David Bailey and Pat Cleveland with Helmut Newton.When Bea Miller, who had edited British Vogue for 22 years, retired, Coddington interviewed for the job but says she knew deep down she wasn't suited for it and thought that Wintour, then the creative director of American Vogue, should get it.Wintour did get it. Two days into her editorship, she invited Coddington to a screening of the racy film "Betty Blue." The two sat in dead silence through the opening sequence, a vivid five minute sex scene."Anna was rigid and unmoving. No sign of any emotion at all," Coddington writes. "I then realized how much significance Anna places on willpower trumping feelings."In 1988, when Wintour was appointed editor in chief at American Vogue, Coddington asked to join her. Coddington's narrative style fashion features and travelogues, a sampling of which appear in the book, became the heart and soul of the magazine, even as its pages became increasingly taken over by celebrities. Through her visual canvases, she interpreted the New Romantic period, grunge and the South Beach blinged out 1990s, and persuaded superstar designers Tom Ford, Marc Jacobs and others to play roles in a shoot based on "Alice in Wonderland."She sums up her creative process this way: "For me, one of the most important aspects of my work is to give people something to dream about, just as I used to dream all those years ago as a child looking at beautiful photographs."The book ends with a chapter on then and now. "Fashion has changed so much in my lifetime," Coddington writes. "Today, I find myself at the collections, asking, 'Who are all these people?' Sometimes I think I'm the last remaining person who comes to the shows for the pleasure of seeing the clothes."At 71, she seldom wears makeup and doesn't socialize much. But her attempt in the last 100 pages to distance herself from the term "fashionista" is a bit of a stretch. Clearly, Coddington has led a most charmed life. Otherwise, we wouldn't be reading about it.We provide this community forum for readers to exchange ideas and opinions on the news of the day. Passionate views, pointed criticism and critical thinking are welcome. Comments can only be submitted by registered users. By posting comments on our site, you are agreeing to the following terms:
Lady Griz hand Selvig 800th career win with 68 61 victory over PortlandGriz up to fifth in TSN poll, highest ranking of seasonBig Sky honors Sac State QB SafronNorth Dakota football coach firedSince 1897, the Cat Griz rivalry has captivated the stateFamily health: Prepare yourself and your vehicle for winter drivingFitness calendarBirths for Tuesday, November 19Angler with 4th place total takes Fall Mack Days fishing tournament titleWestern Montana hunters get help from fresh snow, rutIf the name Grace Coddington is familiar, you've probably seen the 2009 documentary film "The September Issue" about Vogue magazine's Editor in Chief Anna Wintour, the most feared and revered woman in fashion. Now Coddington, the longtime creative director of Vogue, has her own star vehicle, an engaging memoir titled "Grace," co written with Michael Roberts. For anyone with a passing interest in the fashion industry, it's worth a read for the name dropping alone.As became clear in the film, which chronicled the magazine's staff as they put together the 4 pound September 2007 issue, Coddington is not the Anna Wintour or Diana Vreeland type. You won't hear her barking orders at assistants or making dramatic pronouncements about pink.But she is equally passionate, a wild haired dreamer who thinks that fashion should be transporting, provocative and even intellectual, who bemoans the dominance of celebrities and digital hocus pocus in fashion photography and who isn't afraid to take on Wintour.The book is a window into how fashion has changed from a small, niche business into a global pop culture medium. It chronicles Coddington's 50 years in the industry, first as a model, then as a fashion editor for British Vogue and finally as creative director for American Vogue, with lots of juicy anecdotes about designers, photographers, celebrities and models.She compares the fashion world then and now and offers clues into her relationship with Wintour. She's also open about her private life, including details about failed marriages, the tragic death of her sister Rosemary and her 30 year romance with French hairstylist Didier Malige. She tells colorful stories behind many of the fashion shoots she has styled, but I do wish she had offered more insight into her role in the creative process.Coddington begins by painting a picture of her upbringing as romantic as any photo shoot. For her first 18 years, her home was the Trearddur Bay Hotel on the island of Anglesey off the coast of North Wales. "Although it was bleak, I saw beauty in the bleakness." When she wasn't outdoors, she amused herself by looking at picture books, reading fairy tales and, yes, studying the pages of Vogue magazine. As a teen, she went to a convent school and has vivid memories of the nuns roller skating on the rooftop, "flapping about surreally in their robes like crows on wheels."At 18, she moved to London to attend a modeling course advertised in Vogue. The fashion world was much different in 1959. Coddington had to learn how to apply her own makeup and style her own hair, because makeup artists and hairdressers specializing in photo shoots were nonexistent. A meeting with photographer Norman Parkinson led to her first modeling job running naked through the woods for an arty fashion catalog.Coddington became an overnight success. "I was a character, rather than a pretty model, and I suppose that's exactly what I look for in the girls I now select to put in American Vogue the ones who are quirky looking."She earned the nickname "The Cod" (to Jean Shrimpton's "The Shrimp"), danced the twist on Mary Quant's catwalk and became a muse to Vidal Sassoon, who created his famous five point cut on Coddington. Her modeling career was derailed for two years by a car accident, which scarred her left eyelid. But eventually things picked up again, and she settled into life in 1960s swinging London and Paris, hanging out with a fast crowd that included Michael Caine, Jane Birkin, the Beatles and the Rolling Stones.Her fashion editing career coincided with the beginning of her relationship with Michael Chow and the opening of his glamorous restaurant Mr. Chow, which attracted a starry crowd. "Naturally, we were forever being photographed at home, draped among our symbols of 'with it ness' as one of London's most happening couples; him, the cool young restaurateur, nonchalantly swinging in a hammock hung from the minstrel's gallery and me, the sophisticated style maker, perkily sitting cross legged atop a giant pop art version of a Campbell's soup can."At the height of the bohemian 1970s, she dyed her hair with henna and permed it (it would stay the same for much of the next 40 years), dressed almost exclusively in Yves Saint Laurent, had a fling with a Vietnamese photographer and spent her evenings at Club Sept in Paris. Coddington worked with the who's who of fashion. She shot Anjelica Huston with photographer David Bailey and Pat Cleveland with Helmut Newton.When Bea Miller, who had edited British Vogue for 22 years, retired, Coddington interviewed for the job but says she knew deep down she wasn't suited for it and thought that Wintour, then the creative director of American Vogue, should get it.Wintour did get it. Two days into her editorship, she invited Coddington to a screening of the racy film "Betty Blue." The two sat in dead silence through the opening sequence, a vivid five minute sex scene."Anna was rigid and unmoving. No sign of any emotion at all," Coddington writes. "I then realized how much significance Anna places on willpower trumping feelings."In 1988, when Wintour was appointed editor in chief at American Vogue, Coddington asked to join her. Coddington's narrative style fashion features and travelogues, a sampling of which appear in the book, became the heart and soul of the magazine, even as its pages became increasingly taken over by celebrities. Through her visual canvases, she interpreted the New Romantic period, grunge and the South Beach blinged out 1990s, and persuaded superstar designers Tom Ford, Marc Jacobs and others to play roles in a shoot based on "Alice in Wonderland."She sums up her creative process this way: "For me, one of the most important aspects of my work is to give people something to dream about, just as I used to dream all those years ago as a child looking at beautiful photographs."The book ends with a chapter on then and now. "Fashion has changed so much in my lifetime," Coddington writes. "Today, I find myself at the collections, asking, 'Who are all these people?' Sometimes I think I'm the last remaining person who comes to the shows for the pleasure of seeing the clothes."At 71, she seldom wears makeup and doesn't socialize much. But her attempt in the last 100 pages to distance herself from the term "fashionista" is a bit of a stretch. Clearly, Coddington has led a most charmed life. Otherwise, we wouldn't be reading about it.We provide this community forum for readers to exchange ideas and opinions on the news of the day. Passionate views, pointed criticism and critical thinking are welcome. Comments can only be submitted by registered users. By posting comments on our site, you are agreeing to the following terms:
Lady Griz hand Selvig 800th career win with 68 61 victory over PortlandGriz up to fifth in TSN poll, highest ranking of seasonBig Sky honors Sac State QB SafronNorth Dakota football coach firedSince 1897, the Cat Griz rivalry has captivated the stateFamily health: Prepare yourself and your vehicle for winter drivingFitness calendarBirths for Tuesday, November 19Angler with 4th place total takes Fall Mack Days fishing tournament titleWestern Montana hunters get help from fresh snow, rutIf the name Grace Coddington is familiar, you've probably seen the 2009 documentary film "The September Issue" about Vogue magazine's Editor in Chief Anna Wintour, the most feared and revered woman in fashion. Now Coddington, the longtime creative director of Vogue, has her own star vehicle, an engaging memoir titled "Grace," co written with Michael Roberts. For anyone with a passing interest in the fashion industry, it's worth a read for the name dropping alone.As became clear in the film, which chronicled the magazine's staff as they put together the 4 pound September 2007 issue, Coddington is not the Anna Wintour or Diana Vreeland type. You won't hear her barking orders at assistants or making dramatic pronouncements about pink.But she is equally passionate, a wild haired dreamer who thinks that fashion should be transporting, provocative and even intellectual, who bemoans the dominance of celebrities and digital hocus pocus in fashion photography and who isn't afraid to take on Wintour.The book is a window into how fashion has changed from a small, niche business into a global pop culture medium. It chronicles Coddington's 50 years in the industry, first as a model, then as a fashion editor for British Vogue and finally as creative director for American Vogue, with lots of juicy anecdotes about designers, photographers, celebrities and models.She compares the fashion world then and now and offers clues into her relationship with Wintour. She's also open about her private life, including details about failed marriages, the tragic death of her sister Rosemary and her 30 year romance with French hairstylist Didier Malige. She tells colorful stories behind many of the fashion shoots she has styled, but I do wish she had offered more insight into her role in the creative process.Coddington begins by painting a picture of her upbringing as romantic as any photo shoot. For her first 18 years, her home was the Trearddur Bay Hotel on the island of Anglesey off the coast of North Wales. "Although it was bleak, I saw beauty in the bleakness." When she wasn't outdoors, she amused herself by looking at picture books, reading fairy tales and, yes, studying the pages of Vogue magazine. As a teen, she went to a convent school and has vivid memories of the nuns roller skating on the rooftop, "flapping about surreally in their robes like crows on wheels."At 18, she moved to London to attend a modeling course advertised in Vogue. The fashion world was much different in 1959. Coddington had to learn how to apply her own makeup and style her own hair, because makeup artists and hairdressers specializing in photo shoots were nonexistent. A meeting with photographer Norman Parkinson led to her first modeling job running naked through the woods for an arty fashion catalog.Coddington became an overnight success. "I was a character, rather than a pretty model, and I suppose that's exactly what I look for in the girls I now select to put in American Vogue the ones who are quirky looking."She earned the nickname "The Cod" (to Jean Shrimpton's "The Shrimp"), danced the twist on Mary Quant's catwalk and became a muse to Vidal Sassoon, who created his famous five point cut on Coddington. Her modeling career was derailed for two years by a car accident, which scarred her left eyelid. But eventually things picked up again, and she settled into life in 1960s swinging London and Paris, hanging out with a fast crowd that included Michael Caine, Jane Birkin, the Beatles and the Rolling Stones.Her fashion editing career coincided with the beginning of her relationship with Michael Chow and the opening of his glamorous restaurant Mr. Chow, which attracted a starry crowd. "Naturally, we were forever being photographed at home, draped among our symbols of 'with it ness' as one of London's most happening couples; him, the cool young restaurateur, nonchalantly swinging in a hammock hung from the minstrel's gallery and me, the sophisticated style maker, perkily sitting cross legged atop a giant pop art version of a Campbell's soup can."At the height of the bohemian 1970s, she dyed her hair with henna and permed it (it would stay the same for much of the next 40 years), dressed almost exclusively in Yves Saint Laurent, had a fling with a Vietnamese photographer and spent her evenings at Club Sept in Paris. Coddington worked with the who's who of fashion. She shot Anjelica Huston with photographer David Bailey and Pat Cleveland with Helmut Newton.When Bea Miller, who had edited British Vogue for 22 years, retired, Coddington interviewed for the job but says she knew deep down she wasn't suited for it and thought that Wintour, then the creative director of American Vogue, should get it.Wintour did get it. Two days into her editorship, she invited Coddington to a screening of the racy film "Betty Blue." The two sat in dead silence through the opening sequence, a vivid five minute sex scene."Anna was rigid and unmoving. No sign of any emotion at all," Coddington writes. "I then realized how much significance Anna places on willpower trumping feelings."In 1988, when Wintour was appointed editor in chief at American Vogue, Coddington asked to join her. Coddington's narrative style fashion features and travelogues, a sampling of which appear in the book, became the heart and soul of the magazine, even as its pages became increasingly taken over by celebrities. Through her visual canvases, she interpreted the New Romantic period, grunge and the South Beach blinged out 1990s, and persuaded superstar designers Tom Ford, Marc Jacobs and others to play roles in a shoot based on "Alice in Wonderland."She sums up her creative process this way: "For me, one of the most important aspects of my work is to give people something to dream about, just as I used to dream all those years ago as a child looking at beautiful photographs."The book ends with a chapter on then and now. "Fashion has changed so much in my lifetime," Coddington writes. "Today, I find myself at the collections, asking, 'Who are all these people?' Sometimes I think I'm the last remaining person who comes to the shows for the pleasure of seeing the clothes."At 71, she seldom wears makeup and doesn't socialize much. But her attempt in the last 100 pages to distance herself from the term "fashionista" is a bit of a stretch. Clearly, Coddington has led a most charmed life. Otherwise, we wouldn't be reading about it.We provide this community forum for readers to exchange ideas and opinions on the news of the day. Passionate views, pointed criticism and critical thinking are welcome. Comments can only be submitted by registered users. By posting comments on our site, you are agreeing to the following terms:
Lady Griz hand Selvig 800th career win with 68 61 victory over PortlandGriz up to fifth in TSN poll, highest ranking of seasonBig Sky honors Sac State QB SafronNorth Dakota football coach firedSince 1897, the Cat Griz rivalry has captivated the stateFamily health: Prepare yourself and your vehicle for winter drivingFitness calendarBirths for Tuesday, November 19Angler with 4th place total takes Fall Mack Days fishing tournament titleWestern Montana hunters get help from fresh snow, rutIf the name Grace Coddington is familiar, you've probably seen the 2009 documentary film "The September Issue" about Vogue magazine's Editor in Chief Anna Wintour, the most feared and revered woman in fashion. Now Coddington, the longtime creative director of Vogue, has her own star vehicle, an engaging memoir titled "Grace," co written with Michael Roberts. For anyone with a passing interest in the fashion industry, it's worth a read for the name dropping alone.As became clear in the film, which chronicled the magazine's staff as they put together the 4 pound September 2007 issue, Coddington is not the Anna Wintour or Diana Vreeland type. You won't hear her barking orders at assistants or making dramatic pronouncements about pink.But she is equally passionate, a wild haired dreamer who thinks that fashion should be transporting, provocative and even intellectual, who bemoans the dominance of celebrities and digital hocus pocus in fashion photography and who isn't afraid to take on Wintour.The book is a window into how fashion has changed from a small, niche business into a global pop culture medium. It chronicles Coddington's 50 years in the industry, first as a model, then as a fashion editor for British Vogue and finally as creative director for American Vogue, with lots of juicy anecdotes about designers, photographers, celebrities and models.She compares the fashion world then and now and offers clues into her relationship with Wintour. She's also open about her private life, including details about failed marriages, the tragic death of her sister Rosemary and her 30 year romance with French hairstylist Didier Malige. She tells colorful stories behind many of the fashion shoots she has styled, but I do wish she had offered more insight into her role in the creative process.Coddington begins by painting a picture of her upbringing as romantic as any photo shoot. For her first 18 years, her home was the Trearddur Bay Hotel on the island of Anglesey off the coast of North Wales. "Although it was bleak, I saw beauty in the bleakness." When she wasn't outdoors, she amused herself by looking at picture books, reading fairy tales and, yes, studying the pages of Vogue magazine. As a teen, she went to a convent school and has vivid memories of the nuns roller skating on the rooftop, "flapping about surreally in their robes like crows on wheels."At 18, she moved to London to attend a modeling course advertised in Vogue. The fashion world was much different in 1959. Coddington had to learn how to apply her own makeup and style her own hair, because makeup artists and hairdressers specializing in photo shoots were nonexistent. A meeting with photographer Norman Parkinson led to her first modeling job running naked through the woods for an arty fashion catalog.Coddington became an overnight success. "I was a character, rather than a pretty model, and I suppose that's exactly what I look for in the girls I now select to put in American Vogue the ones who are quirky looking."She earned the nickname "The Cod" (to Jean Shrimpton's "The Shrimp"), danced the twist on Mary Quant's catwalk and became a muse to Vidal Sassoon, who created his famous five point cut on Coddington. Her modeling career was derailed for two years by a car accident, which scarred her left eyelid. But eventually things picked up again, and she settled into life in 1960s swinging London and Paris, hanging out with a fast crowd that included Michael Caine, Jane Birkin, the Beatles and the Rolling Stones.Her fashion editing career coincided with the beginning of her relationship with Michael Chow and the opening of his glamorous restaurant Mr. Chow, which attracted a starry crowd. "Naturally, we were forever being photographed at home, draped among our symbols of 'with it ness' as one of London's most happening couples; him, the cool young restaurateur, nonchalantly swinging in a hammock hung from the minstrel's gallery and me, the sophisticated style maker, perkily sitting cross legged atop a giant pop art version of a Campbell's soup can."At the height of the bohemian 1970s, she dyed her hair with henna and permed it (it would stay the same for much of the next 40 years), dressed almost exclusively in Yves Saint Laurent, had a fling with a Vietnamese photographer and spent her evenings at Club Sept in Paris. Coddington worked with the who's who of fashion. She shot Anjelica Huston with photographer David Bailey and Pat Cleveland with Helmut Newton.When Bea Miller, who had edited British Vogue for 22 years, retired, Coddington interviewed for the job but says she knew deep down she wasn't suited for it and thought that Wintour, then the creative director of American Vogue, should get it.Wintour did get it. Two days into her editorship, she invited Coddington to a screening of the racy film "Betty Blue." The two sat in dead silence through the opening sequence, a vivid five minute sex scene."Anna was rigid and unmoving. No sign of any emotion at all," Coddington writes. "I then realized how much significance Anna places on willpower trumping feelings."In 1988, when Wintour was appointed editor in chief at American Vogue, Coddington asked to join her. Coddington's narrative style fashion features and travelogues, a sampling of which appear in the book, became the heart and soul of the magazine, even as its pages became increasingly taken over by celebrities. Through her visual canvases, she interpreted the New Romantic period, grunge and the South Beach blinged out 1990s, and persuaded superstar designers Tom Ford, Marc Jacobs and others to play roles in a shoot based on "Alice in Wonderland."She sums up her creative process this way: "For me, one of the most important aspects of my work is to give people something to dream about, just as I used to dream all those years ago as a child looking at beautiful photographs."The book ends with a chapter on then and now. "Fashion has changed so much in my lifetime," Coddington writes. "Today, I find myself at the collections, asking, 'Who are all these people?' Sometimes I think I'm the last remaining person who comes to the shows for the pleasure of seeing the clothes."At 71, she seldom wears makeup and doesn't socialize much. But her attempt in the last 100 pages to distance herself from the term "fashionista" is a bit of a stretch. Clearly, Coddington has led a most charmed life. Otherwise, we wouldn't be reading about it.We provide this community forum for readers to exchange ideas and opinions on the news of the day. Passionate views, pointed criticism and critical thinking are welcome. Comments can only be submitted by registered users. By posting comments on our site, you are agreeing to the following terms:
Lady Griz hand Selvig 800th career win with 68 61 victory over PortlandGriz up to fifth in TSN poll, highest ranking of seasonBig Sky honors Sac State QB SafronNorth Dakota football coach firedSince 1897, the Cat Griz rivalry has captivated the stateFamily health: Prepare yourself and your vehicle for winter drivingFitness calendarBirths for Tuesday, November 19Angler with 4th place total takes Fall Mack Days fishing tournament titleWestern Montana hunters get help from fresh snow, rutIf the name Grace Coddington is familiar, you've probably seen the 2009 documentary film "The September Issue" about Vogue magazine's Editor in Chief Anna Wintour, the most feared and revered woman in fashion. Now Coddington, the longtime creative director of Vogue, has her own star vehicle, an engaging memoir titled "Grace," co written with Michael Roberts. For anyone with a passing interest in the fashion industry, it's worth a read for the name dropping alone.As became clear in the film, which chronicled the magazine's staff as they put together the 4 pound September 2007 issue, Coddington is not the Anna Wintour or Diana Vreeland type. You won't hear her barking orders at assistants or making dramatic pronouncements about pink.But she is equally passionate, a wild haired dreamer who thinks that fashion should be transporting, provocative and even intellectual, who bemoans the dominance of celebrities and digital hocus pocus in fashion photography and who isn't afraid to take on Wintour.The book is a window into how fashion has changed from a small, niche business into a global pop culture medium. It chronicles Coddington's 50 years in the industry, first as a model, then as a fashion editor for British Vogue and finally as creative director for American Vogue, with lots of juicy anecdotes about designers, photographers, celebrities and models.She compares the fashion world then and now and offers clues into her relationship with Wintour. She's also open about her private life, including details about failed marriages, the tragic death of her sister Rosemary and her 30 year romance with French hairstylist Didier Malige. She tells colorful stories behind many of the fashion shoots she has styled, but I do wish she had offered more insight into her role in the creative process.Coddington begins by painting a picture of her upbringing as romantic as any photo shoot. For her first 18 years, her home was the Trearddur Bay Hotel on the island of Anglesey off the coast of North Wales. "Although it was bleak, I saw beauty in the bleakness." When she wasn't outdoors, she amused herself by looking at picture books, reading fairy tales and, yes, studying the pages of Vogue magazine. As a teen, she went to a convent school and has vivid memories of the nuns roller skating on the rooftop, "flapping about surreally in their robes like crows on wheels."At 18, she moved to London to attend a modeling course advertised in Vogue. The fashion world was much different in 1959. Coddington had to learn how to apply her own makeup and style her own hair, because makeup artists and hairdressers specializing in photo shoots were nonexistent. A meeting with photographer Norman Parkinson led to her first modeling job running naked through the woods for an arty fashion catalog.Coddington became an overnight success. "I was a character, rather than a pretty model, and I suppose that's exactly what I look for in the girls I now select to put in American Vogue the ones who are quirky looking."She earned the nickname "The Cod" (to Jean Shrimpton's "The Shrimp"), danced the twist on Mary Quant's catwalk and became a muse to Vidal Sassoon, who created his famous five point cut on Coddington. Her modeling career was derailed for two years by a car accident, which scarred her left eyelid. But eventually things picked up again, and she settled into life in 1960s swinging London and Paris, hanging out with a fast crowd that included Michael Caine, Jane Birkin, the Beatles and the Rolling Stones.Her fashion editing career coincided with the beginning of her relationship with Michael Chow and the opening of his glamorous restaurant Mr. Chow, which attracted a starry crowd. "Naturally, we were forever being photographed at home, draped among our symbols of 'with it ness' as one of London's most happening couples; him, the cool young restaurateur, nonchalantly swinging in a hammock hung from the minstrel's gallery and me, the sophisticated style maker, perkily sitting cross legged atop a giant pop art version of a Campbell's soup can."At the height of the bohemian 1970s, she dyed her hair with henna and permed it (it would stay the same for much of the next 40 years), dressed almost exclusively in Yves Saint Laurent, had a fling with a Vietnamese photographer and spent her evenings at Club Sept in Paris. Coddington worked with the who's who of fashion. She shot Anjelica Huston with photographer David Bailey and Pat Cleveland with Helmut Newton.When Bea Miller, who had edited British Vogue for 22 years, retired, Coddington interviewed for the job but says she knew deep down she wasn't suited for it and thought that Wintour, then the creative director of American Vogue, should get it.Wintour did get it. Two days into her editorship, she invited Coddington to a screening of the racy film "Betty Blue." The two sat in dead silence through the opening sequence, a vivid five minute sex scene."Anna was rigid and unmoving. No sign of any emotion at all," Coddington writes. "I then realized how much significance Anna places on willpower trumping feelings."In 1988, when Wintour was appointed editor in chief at American Vogue, Coddington asked to join her. Coddington's narrative style fashion features and travelogues, a sampling of which appear in the book, became the heart and soul of the magazine, even as its pages became increasingly taken over by celebrities. Through her visual canvases, she interpreted the New Romantic period, grunge and the South Beach blinged out 1990s, and persuaded superstar designers Tom Ford, Marc Jacobs and others to play roles in a shoot based on "Alice in Wonderland."She sums up her creative process this way: "For me, one of the most important aspects of my work is to give people something to dream about, just as I used to dream all those years ago as a child looking at beautiful photographs."The book ends with a chapter on then and now. "Fashion has changed so much in my lifetime," Coddington writes. "Today, I find myself at the collections, asking, 'Who are all these people?' Sometimes I think I'm the last remaining person who comes to the shows for the pleasure of seeing the clothes."At 71, she seldom wears makeup and doesn't socialize much. But her attempt in the last 100 pages to distance herself from the term "fashionista" is a bit of a stretch. Clearly, Coddington has led a most charmed life. Otherwise, we wouldn't be reading about it.We provide this community forum for readers to exchange ideas and opinions on the news of the day. Passionate views, pointed criticism and critical thinking are welcome. Comments can only be submitted by registered users. By posting comments on our site, you are agreeing to the following terms:
Lady Griz hand Selvig 800th career win with 68 61 victory over PortlandGriz up to fifth in TSN poll, highest ranking of seasonBig Sky honors Sac State QB SafronNorth Dakota football coach firedSince 1897, the Cat Griz rivalry has captivated the stateFamily health: Prepare yourself and your vehicle for winter drivingFitness calendarBirths for Tuesday, November 19Angler with 4th place total takes Fall Mack Days fishing tournament titleWestern Montana hunters get help from fresh snow, rutIf the name Grace Coddington is familiar, you've probably seen the 2009 documentary film "The September Issue" about Vogue magazine's Editor in Chief Anna Wintour, the most feared and revered woman in fashion. Now Coddington, the longtime creative director of Vogue, has her own star vehicle, an engaging memoir titled "Grace," co written with Michael Roberts. For anyone with a passing interest in the fashion industry, it's worth a read for the name dropping alone.As became clear in the film, which chronicled the magazine's staff as they put together the 4 pound September 2007 issue, Coddington is not the Anna Wintour or Diana Vreeland type. You won't hear her barking orders at assistants or making dramatic pronouncements about pink.But she is equally passionate, a wild haired dreamer who thinks that fashion should be transporting, provocative and even intellectual, who bemoans the dominance of celebrities and digital hocus pocus in fashion photography and who isn't afraid to take on Wintour.The book is a window into how fashion has changed from a small, niche business into a global pop culture medium. It chronicles Coddington's 50 years in the industry, first as a model, then as a fashion editor for British Vogue and finally as creative director for American Vogue, with lots of juicy anecdotes about designers, photographers, celebrities and models.She compares the fashion world then and now and offers clues into her relationship with Wintour. She's also open about her private life, including details about failed marriages, the tragic death of her sister Rosemary and her 30 year romance with French hairstylist Didier Malige. She tells colorful stories behind many of the fashion shoots she has styled, but I do wish she had offered more insight into her role in the creative process.Coddington begins by painting a picture of her upbringing as romantic as any photo shoot. For her first 18 years, her home was the Trearddur Bay Hotel on the island of Anglesey off the coast of North Wales. "Although it was bleak, I saw beauty in the bleakness." When she wasn't outdoors, she amused herself by looking at picture books, reading fairy tales and, yes, studying the pages of Vogue magazine. As a teen, she went to a convent school and has vivid memories of the nuns roller skating on the rooftop, "flapping about surreally in their robes like crows on wheels."At 18, she moved to London to attend a modeling course advertised in Vogue. The fashion world was much different in 1959. Coddington had to learn how to apply her own makeup and style her own hair, because makeup artists and hairdressers specializing in photo shoots were nonexistent. A meeting with photographer Norman Parkinson led to her first modeling job running naked through the woods for an arty fashion catalog.Coddington became an overnight success. "I was a character, rather than a pretty model, and I suppose that's exactly what I look for in the girls I now select to put in American Vogue the ones who are quirky looking."She earned the nickname "The Cod" (to Jean Shrimpton's "The Shrimp"), danced the twist on Mary Quant's catwalk and became a muse to Vidal Sassoon, who created his famous five point cut on Coddington. Her modeling career was derailed for two years by a car accident, which scarred her left eyelid. But eventually things picked up again, and she settled into life in 1960s swinging London and Paris, hanging out with a fast crowd that included Michael Caine, Jane Birkin, the Beatles and the Rolling Stones.Her fashion editing career coincided with the beginning of her relationship with Michael Chow and the opening of his glamorous restaurant Mr. Chow, which attracted a starry crowd. "Naturally, we were forever being photographed at home, draped among our symbols of 'with it ness' as one of London's most happening couples; him, the cool young restaurateur, nonchalantly swinging in a hammock hung from the minstrel's gallery and me, the sophisticated style maker, perkily sitting cross legged atop a giant pop art version of a Campbell's soup can."At the height of the bohemian 1970s, she dyed her hair with henna and permed it (it would stay the same for much of the next 40 years), dressed almost exclusively in Yves Saint Laurent, had a fling with a Vietnamese photographer and spent her evenings at Club Sept in Paris. Coddington worked with the who's who of fashion. She shot Anjelica Huston with photographer David Bailey and Pat Cleveland with Helmut Newton.When Bea Miller, who had edited British Vogue for 22 years, retired, Coddington interviewed for the job but says she knew deep down she wasn't suited for it and thought that Wintour, then the creative director of American Vogue, should get it.Wintour did get it. Two days into her editorship, she invited Coddington to a screening of the racy film "Betty Blue." The two sat in dead silence through the opening sequence, a vivid five minute sex scene."Anna was rigid and unmoving. No sign of any emotion at all," Coddington writes. "I then realized how much significance Anna places on willpower trumping feelings."In 1988, when Wintour was appointed editor in chief at American Vogue, Coddington asked to join her. Coddington's narrative style fashion features and travelogues, a sampling of which appear in the book, became the heart and soul of the magazine, even as its pages became increasingly taken over by celebrities. Through her visual canvases, she interpreted the New Romantic period, grunge and the South Beach blinged out 1990s, and persuaded superstar designers Tom Ford, Marc Jacobs and others to play roles in a shoot based on "Alice in Wonderland."She sums up her creative process this way: "For me, one of the most important aspects of my work is to give people something to dream about, just as I used to dream all those years ago as a child looking at beautiful photographs."The book ends with a chapter on then and now. "Fashion has changed so much in my lifetime," Coddington writes. "Today, I find myself at the collections, asking, 'Who are all these people?' Sometimes I think I'm the last remaining person who comes to the shows for the pleasure of seeing the clothes."At 71, she seldom wears makeup and doesn't socialize much. But her attempt in the last 100 pages to distance herself from the term "fashionista" is a bit of a stretch. Clearly, Coddington has led a most charmed life. Otherwise, we wouldn't be reading about it.We provide this community forum for readers to exchange ideas and opinions on the news of the day. Passionate views, pointed criticism and critical thinking are welcome. Comments can only be submitted by registered users. By posting comments on our site, you are agreeing to the following terms:
Lady Griz hand Selvig 800th career win with 68 61 victory over PortlandGriz up to fifth in TSN poll, highest ranking of seasonBig Sky honors Sac State QB SafronNorth Dakota football coach firedSince 1897, the Cat Griz rivalry has captivated the stateFamily health: Prepare yourself and your vehicle for winter drivingFitness calendarBirths for Tuesday, November 19Angler with 4th place total takes Fall Mack Days fishing tournament titleWestern Montana hunters get help from fresh snow, rutIf the name Grace Coddington is familiar, you've probably seen the 2009 documentary film "The September Issue" about Vogue magazine's Editor in Chief Anna Wintour, the most feared and revered woman in fashion. Now Coddington, the longtime creative director of Vogue, has her own star vehicle, an engaging memoir titled "Grace," co written with Michael Roberts. For anyone with a passing interest in the fashion industry, it's worth a read for the name dropping alone.As became clear in the film, which chronicled the magazine's staff as they put together the 4 pound September 2007 issue, Coddington is not the Anna Wintour or Diana Vreeland type. You won't hear her barking orders at assistants or making dramatic pronouncements about pink.But she is equally passionate, a wild haired dreamer who thinks that fashion should be transporting, provocative and even intellectual, who bemoans the dominance of celebrities and digital hocus pocus in fashion photography and who isn't afraid to take on Wintour.The book is a window into how fashion has changed from a small, niche business into a global pop culture medium. It chronicles Coddington's 50 years in the industry, first as a model, then as a fashion editor for British Vogue and finally as creative director for American Vogue, with lots of juicy anecdotes about designers, photographers, celebrities and models.She compares the fashion world then and now and offers clues into her relationship with Wintour. She's also open about her private life, including details about failed marriages, the tragic death of her sister Rosemary and her 30 year romance with French hairstylist Didier Malige. She tells colorful stories behind many of the fashion shoots she has styled, but I do wish she had offered more insight into her role in the creative process.Coddington begins by painting a picture of her upbringing as romantic as any photo shoot. For her first 18 years, her home was the Trearddur Bay Hotel on the island of Anglesey off the coast of North Wales. "Although it was bleak, I saw beauty in the bleakness." When she wasn't outdoors, she amused herself by looking at picture books, reading fairy tales and, yes, studying the pages of Vogue magazine. As a teen, she went to a convent school and has vivid memories of the nuns roller skating on the rooftop, "flapping about surreally in their robes like crows on wheels."At 18, she moved to London to attend a modeling course advertised in Vogue. The fashion world was much different in 1959. Coddington had to learn how to apply her own makeup and style her own hair, because makeup artists and hairdressers specializing in photo shoots were nonexistent. A meeting with photographer Norman Parkinson led to her first modeling job running naked through the woods for an arty fashion catalog.Coddington became an overnight success. "I was a character, rather than a pretty model, and I suppose that's exactly what I look for in the girls I now select to put in American Vogue the ones who are quirky looking."She earned the nickname "The Cod" (to Jean Shrimpton's "The Shrimp"), danced the twist on Mary Quant's catwalk and became a muse to Vidal Sassoon, who created his famous five point cut on Coddington. Her modeling career was derailed for two years by a car accident, which scarred her left eyelid. But eventually things picked up again, and she settled into life in 1960s swinging London and Paris, hanging out with a fast crowd that included Michael Caine, Jane Birkin, the Beatles and the Rolling Stones.Her fashion editing career coincided with the beginning of her relationship with Michael Chow and the opening of his glamorous restaurant Mr. Chow, which attracted a starry crowd. "Naturally, we were forever being photographed at home, draped among our symbols of 'with it ness' as one of London's most happening couples; him, the cool young restaurateur, nonchalantly swinging in a hammock hung from the minstrel's gallery and me, the sophisticated style maker, perkily sitting cross legged atop a giant pop art version of a Campbell's soup can."At the height of the bohemian 1970s, she dyed her hair with henna and permed it (it would stay the same for much of the next 40 years), dressed almost exclusively in Yves Saint Laurent, had a fling with a Vietnamese photographer and spent her evenings at Club Sept in Paris. Coddington worked with the who's who of fashion. She shot Anjelica Huston with photographer David Bailey and Pat Cleveland with Helmut Newton.When Bea Miller, who had edited British Vogue for 22 years, retired, Coddington interviewed for the job but says she knew deep down she wasn't suited for it and thought that Wintour, then the creative director of American Vogue, should get it.Wintour did get it. Two days into her editorship, she invited Coddington to a screening of the racy film "Betty Blue." The two sat in dead silence through the opening sequence, a vivid five minute sex scene."Anna was rigid and unmoving. No sign of any emotion at all," Coddington writes. "I then realized how much significance Anna places on willpower trumping feelings."In 1988, when Wintour was appointed editor in chief at American Vogue, Coddington asked to join her. Coddington's narrative style fashion features and travelogues, a sampling of which appear in the book, became the heart and soul of the magazine, even as its pages became increasingly taken over by celebrities. Through her visual canvases, she interpreted the New Romantic period, grunge and the South Beach blinged out 1990s, and persuaded superstar designers Tom Ford, Marc Jacobs and others to play roles in a shoot based on "Alice in Wonderland."She sums up her creative process this way: "For me, one of the most important aspects of my work is to give people something to dream about, just as I used to dream all those years ago as a child looking at beautiful photographs."The book ends with a chapter on then and now. "Fashion has changed so much in my lifetime," Coddington writes. "Today, I find myself at the collections, asking, 'Who are all these people?' Sometimes I think I'm the last remaining person who comes to the shows for the pleasure of seeing the clothes."At 71, she seldom wears makeup and doesn't socialize much. But her attempt in the last 100 pages to distance herself from the term "fashionista" is a bit of a stretch. Clearly, Coddington has led a most charmed life. Otherwise, we wouldn't be reading about it.We provide this community forum for readers to exchange ideas and opinions on the news of the day. Passionate views, pointed criticism and critical thinking are welcome. Comments can only be submitted by registered users. By posting comments on our site, you are agreeing to the following terms:
Lady Griz hand Selvig 800th career win with 68 61 victory over PortlandGriz up to fifth in TSN poll, highest ranking of seasonBig Sky honors Sac State QB SafronNorth Dakota football coach firedSince 1897, the Cat Griz rivalry has captivated the stateFamily health: Prepare yourself and your vehicle for winter drivingFitness calendarBirths for Tuesday, November 19Angler with 4th place total takes Fall Mack Days fishing tournament titleWestern Montana hunters get help from fresh snow, rutIf the name Grace Coddington is familiar, you've probably seen the 2009 documentary film "The September Issue" about Vogue magazine's Editor in Chief Anna Wintour, the most feared and revered woman in fashion. Now Coddington, the longtime creative director of Vogue, has her own star vehicle, an engaging memoir titled "Grace," co written with Michael Roberts. For anyone with a passing interest in the fashion industry, it's worth a read for the name dropping alone.As became clear in the film, which chronicled the magazine's staff as they put together the 4 pound September 2007 issue, Coddington is not the Anna Wintour or Diana Vreeland type. You won't hear her barking orders at assistants or making dramatic pronouncements about pink.But she is equally passionate, a wild haired dreamer who thinks that fashion should be transporting, provocative and even intellectual, who bemoans the dominance of celebrities and digital hocus pocus in fashion photography and who isn't afraid to take on Wintour.The book is a window into how fashion has changed from a small, niche business into a global pop culture medium. It chronicles Coddington's 50 years in the industry, first as a model, then as a fashion editor for British Vogue and finally as creative director for American Vogue, with lots of juicy anecdotes about designers, photographers, celebrities and models.She compares the fashion world then and now and offers clues into her relationship with Wintour. She's also open about her private life, including details about failed marriages, the tragic death of her sister Rosemary and her 30 year romance with French hairstylist Didier Malige. She tells colorful stories behind many of the fashion shoots she has styled, but I do wish she had offered more insight into her role in the creative process.Coddington begins by painting a picture of her upbringing as romantic as any photo shoot. For her first 18 years, her home was the Trearddur Bay Hotel on the island of Anglesey off the coast of North Wales. "Although it was bleak, I saw beauty in the bleakness." When she wasn't outdoors, she amused herself by looking at picture books, reading fairy tales and, yes, studying the pages of Vogue magazine. As a teen, she went to a convent school and has vivid memories of the nuns roller skating on the rooftop, "flapping about surreally in their robes like crows on wheels."At 18, she moved to London to attend a modeling course advertised in Vogue. The fashion world was much different in 1959. Coddington had to learn how to apply her own makeup and style her own hair, because makeup artists and hairdressers specializing in photo shoots were nonexistent. A meeting with photographer Norman Parkinson led to her first modeling job running naked through the woods for an arty fashion catalog.Coddington became an overnight success. "I was a character, rather than a pretty model, and I suppose that's exactly what I look for in the girls I now select to put in American Vogue the ones who are quirky looking."She earned the nickname "The Cod" (to Jean Shrimpton's "The Shrimp"), danced the twist on Mary Quant's catwalk and became a muse to Vidal Sassoon, who created his famous five point cut on Coddington. Her modeling career was derailed for two years by a car accident, which scarred her left eyelid. But eventually things picked up again, and she settled into life in 1960s swinging London and Paris, hanging out with a fast crowd that included Michael Caine, Jane Birkin, the Beatles and the Rolling Stones.Her fashion editing career coincided with the beginning of her relationship with Michael Chow and the opening of his glamorous restaurant Mr. Chow, which attracted a starry crowd. "Naturally, we were forever being photographed at home, draped among our symbols of 'with it ness' as one of London's most happening couples; him, the cool young restaurateur, nonchalantly swinging in a hammock hung from the minstrel's gallery and me, the sophisticated style maker, perkily sitting cross legged atop a giant pop art version of a Campbell's soup can."At the height of the bohemian 1970s, she dyed her hair with henna and permed it (it would stay the same for much of the next 40 years), dressed almost exclusively in Yves Saint Laurent, had a fling with a Vietnamese photographer and spent her evenings at Club Sept in Paris. Coddington worked with the who's who of fashion. She shot Anjelica Huston with photographer David Bailey and Pat Cleveland with Helmut Newton.When Bea Miller, who had edited British Vogue for 22 years, retired, Coddington interviewed for the job but says she knew deep down she wasn't suited for it and thought that Wintour, then the creative director of American Vogue, should get it.Wintour did get it. Two days into her editorship, she invited Coddington to a screening of the racy film "Betty Blue." The two sat in dead silence through the opening sequence, a vivid five minute sex scene."Anna was rigid and unmoving. No sign of any emotion at all," Coddington writes. "I then realized how much significance Anna places on willpower trumping feelings."In 1988, when Wintour was appointed editor in chief at American Vogue, Coddington asked to join her. Coddington's narrative style fashion features and travelogues, a sampling of which appear in the book, became the heart and soul of the magazine, even as its pages became increasingly taken over by celebrities. Through her visual canvases, she interpreted the New Romantic period, grunge and the South Beach blinged out 1990s, and persuaded superstar designers Tom Ford, Marc Jacobs and others to play roles in a shoot based on "Alice in Wonderland."She sums up her creative process this way: "For me, one of the most important aspects of my work is to give people something to dream about, just as I used to dream all those years ago as a child looking at beautiful photographs."The book ends with a chapter on then and now. "Fashion has changed so much in my lifetime," Coddington writes. "Today, I find myself at the collections, asking, 'Who are all these people?' Sometimes I think I'm the last remaining person who comes to the shows for the pleasure of seeing the clothes."At 71, she seldom wears makeup and doesn't socialize much. But her attempt in the last 100 pages to distance herself from the term "fashionista" is a bit of a stretch. Clearly, Coddington has led a most charmed life. Otherwise, we wouldn't be reading about it.We provide this community forum for readers to exchange ideas and opinions on the news of the day. Passionate views, pointed criticism and critical thinking are welcome. Comments can only be submitted by registered users. By posting comments on our site, you are agreeing to the following terms:
Lady Griz hand Selvig 800th career win with 68 61 victory over PortlandGriz up to fifth in TSN poll, highest ranking of seasonBig Sky honors Sac State QB SafronNorth Dakota football coach firedSince 1897, the Cat Griz rivalry has captivated the stateFamily health: Prepare yourself and your vehicle for winter drivingFitness calendarBirths for Tuesday, November 19Angler with 4th place total takes Fall Mack Days fishing tournament titleWestern Montana hunters get help from fresh snow, rutIf the name Grace Coddington is familiar, you've probably seen the 2009 documentary film "The September Issue" about Vogue magazine's Editor in Chief Anna Wintour, the most feared and revered woman in fashion. Now Coddington, the longtime creative director of Vogue, has her own star vehicle, an engaging memoir titled "Grace," co written with Michael Roberts. For anyone with a passing interest in the fashion industry, it's worth a read for the name dropping alone.As became clear in the film, which chronicled the magazine's staff as they put together the 4 pound September 2007 issue, Coddington is not the Anna Wintour or Diana Vreeland type. You won't hear her barking orders at assistants or making dramatic pronouncements about pink.But she is equally passionate, a wild haired dreamer who thinks that fashion should be transporting, provocative and even intellectual, who bemoans the dominance of celebrities and digital hocus pocus in fashion photography and who isn't afraid to take on Wintour.The book is a window into how fashion has changed from a small, niche business into a global pop culture medium. It chronicles Coddington's 50 years in the industry, first as a model, then as a fashion editor for British Vogue and finally as creative director for American Vogue, with lots of juicy anecdotes about designers, photographers, celebrities and models.She compares the fashion world then and now and offers clues into her relationship with Wintour. She's also open about her private life, including details about failed marriages, the tragic death of her sister Rosemary and her 30 year romance with French hairstylist Didier Malige. She tells colorful stories behind many of the fashion shoots she has styled, but I do wish she had offered more insight into her role in the creative process.Coddington begins by painting a picture of her upbringing as romantic as any photo shoot. For her first 18 years, her home was the Trearddur Bay Hotel on the island of Anglesey off the coast of North Wales. "Although it was bleak, I saw beauty in the bleakness." When she wasn't outdoors, she amused herself by looking at picture books, reading fairy tales and, yes, studying the pages of Vogue magazine. As a teen, she went to a convent school and has vivid memories of the nuns roller skating on the rooftop, "flapping about surreally in their robes like crows on wheels."At 18, she moved to London to attend a modeling course advertised in Vogue. The fashion world was much different in 1959. Coddington had to learn how to apply her own makeup and style her own hair, because makeup artists and hairdressers specializing in photo shoots were nonexistent. A meeting with photographer Norman Parkinson led to her first modeling job running naked through the woods for an arty fashion catalog.Coddington became an overnight success. "I was a character, rather than a pretty model, and I suppose that's exactly what I look for in the girls I now select to put in American Vogue the ones who are quirky looking."She earned the nickname "The Cod" (to Jean Shrimpton's "The Shrimp"), danced the twist on Mary Quant's catwalk and became a muse to Vidal Sassoon, who created his famous five point cut on Coddington. Her modeling career was derailed for two years by a car accident, which scarred her left eyelid. But eventually things picked up again, and she settled into life in 1960s swinging London and Paris, hanging out with a fast crowd that included Michael Caine, Jane Birkin, the Beatles and the Rolling Stones.Her fashion editing career coincided with the beginning of her relationship with Michael Chow and the opening of his glamorous restaurant Mr. Chow, which attracted a starry crowd. "Naturally, we were forever being photographed at home, draped among our symbols of 'with it ness' as one of London's most happening couples; him, the cool young restaurateur, nonchalantly swinging in a hammock hung from the minstrel's gallery and me, the sophisticated style maker, perkily sitting cross legged atop a giant pop art version of a Campbell's soup can."At the height of the bohemian 1970s, she dyed her hair with henna and permed it (it would stay the same for much of the next 40 years), dressed almost exclusively in Yves Saint Laurent, had a fling with a Vietnamese photographer and spent her evenings at Club Sept in Paris. Coddington worked with the who's who of fashion. She shot Anjelica Huston with photographer David Bailey and Pat Cleveland with Helmut Newton.When Bea Miller, who had edited British Vogue for 22 years, retired, Coddington interviewed for the job but says she knew deep down she wasn't suited for it and thought that Wintour, then the creative director of American Vogue, should get it.Wintour did get it. Two days into her editorship, she invited Coddington to a screening of the racy film "Betty Blue." The two sat in dead silence through the opening sequence, a vivid five minute sex scene."Anna was rigid and unmoving. No sign of any emotion at all," Coddington writes. "I then realized how much significance Anna places on willpower trumping feelings."In 1988, when Wintour was appointed editor in chief at American Vogue, Coddington asked to join her. Coddington's narrative style fashion features and travelogues, a sampling of which appear in the book, became the heart and soul of the magazine, even as its pages became increasingly taken over by celebrities. Through her visual canvases, she interpreted the New Romantic period, grunge and the South Beach blinged out 1990s, and persuaded superstar designers Tom Ford, Marc Jacobs and others to play roles in a shoot based on "Alice in Wonderland."She sums up her creative process this way: "For me, one of the most important aspects of my work is to give people something to dream about, just as I used to dream all those years ago as a child looking at beautiful photographs."The book ends with a chapter on then and now. "Fashion has changed so much in my lifetime," Coddington writes. "Today, I find myself at the collections, asking, 'Who are all these people?' Sometimes I think I'm the last remaining person who comes to the shows for the pleasure of seeing the clothes."At 71, she seldom wears makeup and doesn't socialize much. But her attempt in the last 100 pages to distance herself from the term "fashionista" is a bit of a stretch. Clearly, Coddington has led a most charmed life. Otherwise, we wouldn't be reading about it.We provide this community forum for readers to exchange ideas and opinions on the news of the day. Passionate views, pointed criticism and critical thinking are welcome. Comments can only be submitted by registered users. By posting comments on our site, you are agreeing to the following terms:
Lady Griz hand Selvig 800th career win with 68 61 victory over PortlandGriz up to fifth in TSN poll, highest ranking of seasonBig Sky honors Sac State QB SafronNorth Dakota football coach firedSince 1897, the Cat Griz rivalry has captivated the stateFamily health: Prepare yourself and your vehicle for winter drivingFitness calendarBirths for Tuesday, November 19Angler with 4th place total takes Fall Mack Days fishing tournament titleWestern Montana hunters get help from fresh snow, rutIf the name Grace Coddington is familiar, you've probably seen the 2009 documentary film "The September Issue" about Vogue magazine's Editor in Chief Anna Wintour, the most feared and revered woman in fashion. Now Coddington, the longtime creative director of Vogue, has her own star vehicle, an engaging memoir titled "Grace," co written with Michael Roberts. For anyone with a passing interest in the fashion industry, it's worth a read for the name dropping alone.As became clear in the film, which chronicled the magazine's staff as they put together the 4 pound September 2007 issue, Coddington is not the Anna Wintour or Diana Vreeland type. You won't hear her barking orders at assistants or making dramatic pronouncements about pink.But she is equally passionate, a wild haired dreamer who thinks that fashion should be transporting, provocative and even intellectual, who bemoans the dominance of celebrities and digital hocus pocus in fashion photography and who isn't afraid to take on Wintour.The book is a window into how fashion has changed from a small, niche business into a global pop culture medium. It chronicles Coddington's 50 years in the industry, first as a model, then as a fashion editor for British Vogue and finally as creative director for American Vogue, with lots of juicy anecdotes about designers, photographers, celebrities and models.She compares the fashion world then and now and offers clues into her relationship with Wintour. She's also open about her private life, including details about failed marriages, the tragic death of her sister Rosemary and her 30 year romance with French hairstylist Didier Malige. She tells colorful stories behind many of the fashion shoots she has styled, but I do wish she had offered more insight into her role in the creative process.Coddington begins by painting a picture of her upbringing as romantic as any photo shoot. For her first 18 years, her home was the Trearddur Bay Hotel on the island of Anglesey off the coast of North Wales. "Although it was bleak, I saw beauty in the bleakness." When she wasn't outdoors, she amused herself by looking at picture books, reading fairy tales and, yes, studying the pages of Vogue magazine. As a teen, she went to a convent school and has vivid memories of the nuns roller skating on the rooftop, "flapping about surreally in their robes like crows on wheels."At 18, she moved to London to attend a modeling course advertised in Vogue. The fashion world was much different in 1959. Coddington had to learn how to apply her own makeup and style her own hair, because makeup artists and hairdressers specializing in photo shoots were nonexistent. A meeting with photographer Norman Parkinson led to her first modeling job running naked through the woods for an arty fashion catalog.Coddington became an overnight success. "I was a character, rather than a pretty model, and I suppose that's exactly what I look for in the girls I now select to put in American Vogue the ones who are quirky looking."She earned the nickname "The Cod" (to Jean Shrimpton's "The Shrimp"), danced the twist on Mary Quant's catwalk and became a muse to Vidal Sassoon, who created his famous five point cut on Coddington. Her modeling career was derailed for two years by a car accident, which scarred her left eyelid. But eventually things picked up again, and she settled into life in 1960s swinging London and Paris, hanging out with a fast crowd that included Michael Caine, Jane Birkin, the Beatles and the Rolling Stones.Her fashion editing career coincided with the beginning of her relationship with Michael Chow and the opening of his glamorous restaurant Mr. Chow, which attracted a starry crowd. "Naturally, we were forever being photographed at home, draped among our symbols of 'with it ness' as one of London's most happening couples; him, the cool young restaurateur, nonchalantly swinging in a hammock hung from the minstrel's gallery and me, the sophisticated style maker, perkily sitting cross legged atop a giant pop art version of a Campbell's soup can."At the height of the bohemian 1970s, she dyed her hair with henna and permed it (it would stay the same for much of the next 40 years), dressed almost exclusively in Yves Saint Laurent, had a fling with a Vietnamese photographer and spent her evenings at Club Sept in Paris. Coddington worked with the who's who of fashion. She shot Anjelica Huston with photographer David Bailey and Pat Cleveland with Helmut Newton.When Bea Miller, who had edited British Vogue for 22 years, retired, Coddington interviewed for the job but says she knew deep down she wasn't suited for it and thought that Wintour, then the creative director of American Vogue, should get it.Wintour did get it. Two days into her editorship, she invited Coddington to a screening of the racy film "Betty Blue." The two sat in dead silence through the opening sequence, a vivid five minute sex scene."Anna was rigid and unmoving. No sign of any emotion at all," Coddington writes. "I then realized how much significance Anna places on willpower trumping feelings."In 1988, when Wintour was appointed editor in chief at American Vogue, Coddington asked to join her. Coddington's narrative style fashion features and travelogues, a sampling of which appear in the book, became the heart and soul of the magazine, even as its pages became increasingly taken over by celebrities. Through her visual canvases, she interpreted the New Romantic period, grunge and the South Beach blinged out 1990s, and persuaded superstar designers Tom Ford, Marc Jacobs and others to play roles in a shoot based on "Alice in Wonderland."She sums up her creative process this way: "For me, one of the most important aspects of my work is to give people something to dream about, just as I used to dream all those years ago as a child looking at beautiful photographs."The book ends with a chapter on then and now. "Fashion has changed so much in my lifetime," Coddington writes. "Today, I find myself at the collections, asking, 'Who are all these people?' Sometimes I think I'm the last remaining person who comes to the shows for the pleasure of seeing the clothes."At 71, she seldom wears makeup and doesn't socialize much. But her attempt in the last 100 pages to distance herself from the term "fashionista" is a bit of a stretch. Clearly, Coddington has led a most charmed life. Otherwise, we wouldn't be reading about it.We provide this community forum for readers to exchange ideas and opinions on the news of the day. Passionate views, pointed criticism and critical thinking are welcome. Comments can only be submitted by registered users. By posting comments on our site, you are agreeing to the following terms:
Lady Griz hand Selvig 800th career win with 68 61 victory over PortlandGriz up to fifth in TSN poll, highest ranking of seasonBig Sky honors Sac State QB SafronNorth Dakota football coach firedSince 1897, the Cat Griz rivalry has captivated the stateFamily health: Prepare yourself and your vehicle for winter drivingFitness calendarBirths for Tuesday, November 19Angler with 4th place total takes Fall Mack Days fishing tournament titleWestern Montana hunters get help from fresh snow, rutIf the name Grace Coddington is familiar, you've probably seen the 2009 documentary film "The September Issue" about Vogue magazine's Editor in Chief Anna Wintour, the most feared and revered woman in fashion. Now Coddington, the longtime creative director of Vogue, has her own star vehicle, an engaging memoir titled "Grace," co written with Michael Roberts. For anyone with a passing interest in the fashion industry, it's worth a read for the name dropping alone.As became clear in the film, which chronicled the magazine's staff as they put together the 4 pound September 2007 issue, Coddington is not the Anna Wintour or Diana Vreeland type. You won't hear her barking orders at assistants or making dramatic pronouncements about pink.But she is equally passionate, a wild haired dreamer who thinks that fashion should be transporting, provocative and even intellectual, who bemoans the dominance of celebrities and digital hocus pocus in fashion photography and who isn't afraid to take on Wintour.The book is a window into how fashion has changed from a small, niche business into a global pop culture medium. It chronicles Coddington's 50 years in the industry, first as a model, then as a fashion editor for British Vogue and finally as creative director for American Vogue, with lots of juicy anecdotes about designers, photographers, celebrities and models.She compares the fashion world then and now and offers clues into her relationship with Wintour. She's also open about her private life, including details about failed marriages, the tragic death of her sister Rosemary and her 30 year romance with French hairstylist Didier Malige. She tells colorful stories behind many of the fashion shoots she has styled, but I do wish she had offered more insight into her role in the creative process.Coddington begins by painting a picture of her upbringing as romantic as any photo shoot. For her first 18 years, her home was the Trearddur Bay Hotel on the island of Anglesey off the coast of North Wales. "Although it was bleak, I saw beauty in the bleakness." When she wasn't outdoors, she amused herself by looking at picture books, reading fairy tales and, yes, studying the pages of Vogue magazine. As a teen, she went to a convent school and has vivid memories of the nuns roller skating on the rooftop, "flapping about surreally in their robes like crows on wheels."At 18, she moved to London to attend a modeling course advertised in Vogue. The fashion world was much different in 1959. Coddington had to learn how to apply her own makeup and style her own hair, because makeup artists and hairdressers specializing in photo shoots were nonexistent. A meeting with photographer Norman Parkinson led to her first modeling job running naked through the woods for an arty fashion catalog.Coddington became an overnight success. "I was a character, rather than a pretty model, and I suppose that's exactly what I look for in the girls I now select to put in American Vogue the ones who are quirky looking."She earned the nickname "The Cod" (to Jean Shrimpton's "The Shrimp"), danced the twist on Mary Quant's catwalk and became a muse to Vidal Sassoon, who created his famous five point cut on Coddington. Her modeling career was derailed for two years by a car accident, which scarred her left eyelid. But eventually things picked up again, and she settled into life in 1960s swinging London and Paris, hanging out with a fast crowd that included Michael Caine, Jane Birkin, the Beatles and the Rolling Stones.Her fashion editing career coincided with the beginning of her relationship with Michael Chow and the opening of his glamorous restaurant Mr. Chow, which attracted a starry crowd. "Naturally, we were forever being photographed at home, draped among our symbols of 'with it ness' as one of London's most happening couples; him, the cool young restaurateur, nonchalantly swinging in a hammock hung from the minstrel's gallery and me, the sophisticated style maker, perkily sitting cross legged atop a giant pop art version of a Campbell's soup can."At the height of the bohemian 1970s, she dyed her hair with henna and permed it (it would stay the same for much of the next 40 years), dressed almost exclusively in Yves Saint Laurent, had a fling with a Vietnamese photographer and spent her evenings at Club Sept in Paris. Coddington worked with the who's who of fashion. She shot Anjelica Huston with photographer David Bailey and Pat Cleveland with Helmut Newton.When Bea Miller, who had edited British Vogue for 22 years, retired, Coddington interviewed for the job but says she knew deep down she wasn't suited for it and thought that Wintour, then the creative director of American Vogue, should get it.Wintour did get it. Two days into her editorship, she invited Coddington to a screening of the racy film "Betty Blue." The two sat in dead silence through the opening sequence, a vivid five minute sex scene."Anna was rigid and unmoving. No sign of any emotion at all," Coddington writes. "I then realized how much significance Anna places on willpower trumping feelings."In 1988, when Wintour was appointed editor in chief at American Vogue, Coddington asked to join her. Coddington's narrative style fashion features and travelogues, a sampling of which appear in the book, became the heart and soul of the magazine, even as its pages became increasingly taken over by celebrities. Through her visual canvases, she interpreted the New Romantic period, grunge and the South Beach blinged out 1990s, and persuaded superstar designers Tom Ford, Marc Jacobs and others to play roles in a shoot based on "Alice in Wonderland."She sums up her creative process this way: "For me, one of the most important aspects of my work is to give people something to dream about, just as I used to dream all those years ago as a child looking at beautiful photographs."The book ends with a chapter on then and now. "Fashion has changed so much in my lifetime," Coddington writes. "Today, I find myself at the collections, asking, 'Who are all these people?' Sometimes I think I'm the last remaining person who comes to the shows for the pleasure of seeing the clothes."At 71, she seldom wears makeup and doesn't socialize much. But her attempt in the last 100 pages to distance herself from the term "fashionista" is a bit of a stretch. Clearly, Coddington has led a most charmed life. Otherwise, we wouldn't be reading about it.We provide this community forum for readers to exchange ideas and opinions on the news of the day. Passionate views, pointed criticism and critical thinking are welcome. Comments can only be submitted by registered users. By posting comments on our site, you are agreeing to the following terms:
Lady Griz hand Selvig 800th career win with 68 61 victory over PortlandGriz up to fifth in TSN poll, highest ranking of seasonBig Sky honors Sac State QB SafronNorth Dakota football coach firedSince 1897, the Cat Griz rivalry has captivated the stateFamily health: Prepare yourself and your vehicle for winter drivingFitness calendarBirths for Tuesday, November 19Angler with 4th place total takes Fall Mack Days fishing tournament titleWestern Montana hunters get help from fresh snow, rutIf the name Grace Coddington is familiar, you've probably seen the 2009 documentary film "The September Issue" about Vogue magazine's Editor in Chief Anna Wintour, the most feared and revered woman in fashion. Now Coddington, the longtime creative director of Vogue, has her own star vehicle, an engaging memoir titled "Grace," co written with Michael Roberts. For anyone with a passing interest in the fashion industry, it's worth a read for the name dropping alone.As became clear in the film, which chronicled the magazine's staff as they put together the 4 pound September 2007 issue, Coddington is not the Anna Wintour or Diana Vreeland type. You won't hear her barking orders at assistants or making dramatic pronouncements about pink.But she is equally passionate, a wild haired dreamer who thinks that fashion should be transporting, provocative and even intellectual, who bemoans the dominance of celebrities and digital hocus pocus in fashion photography and who isn't afraid to take on Wintour.The book is a window into how fashion has changed from a small, niche business into a global pop culture medium. It chronicles Coddington's 50 years in the industry, first as a model, then as a fashion editor for British Vogue and finally as creative director for American Vogue, with lots of juicy anecdotes about designers, photographers, celebrities and models.She compares the fashion world then and now and offers clues into her relationship with Wintour. She's also open about her private life, including details about failed marriages, the tragic death of her sister Rosemary and her 30 year romance with French hairstylist Didier Malige. She tells colorful stories behind many of the fashion shoots she has styled, but I do wish she had offered more insight into her role in the creative process.Coddington begins by painting a picture of her upbringing as romantic as any photo shoot. For her first 18 years, her home was the Trearddur Bay Hotel on the island of Anglesey off the coast of North Wales. "Although it was bleak, I saw beauty in the bleakness." When she wasn't outdoors, she amused herself by looking at picture books, reading fairy tales and, yes, studying the pages of Vogue magazine. As a teen, she went to a convent school and has vivid memories of the nuns roller skating on the rooftop, "flapping about surreally in their robes like crows on wheels."At 18, she moved to London to attend a modeling course advertised in Vogue. The fashion world was much different in 1959. Coddington had to learn how to apply her own makeup and style her own hair, because makeup artists and hairdressers specializing in photo shoots were nonexistent. A meeting with photographer Norman Parkinson led to her first modeling job running naked through the woods for an arty fashion catalog.Coddington became an overnight success. "I was a character, rather than a pretty model, and I suppose that's exactly what I look for in the girls I now select to put in American Vogue the ones who are quirky looking."She earned the nickname "The Cod" (to Jean Shrimpton's "The Shrimp"), danced the twist on Mary Quant's catwalk and became a muse to Vidal Sassoon, who created his famous five point cut on Coddington. Her modeling career was derailed for two years by a car accident, which scarred her left eyelid. But eventually things picked up again, and she settled into life in 1960s swinging London and Paris, hanging out with a fast crowd that included Michael Caine, Jane Birkin, the Beatles and the Rolling Stones.Her fashion editing career coincided with the beginning of her relationship with Michael Chow and the opening of his glamorous restaurant Mr. Chow, which attracted a starry crowd. "Naturally, we were forever being photographed at home, draped among our symbols of 'with it ness' as one of London's most happening couples; him, the cool young restaurateur, nonchalantly swinging in a hammock hung from the minstrel's gallery and me, the sophisticated style maker, perkily sitting cross legged atop a giant pop art version of a Campbell's soup can."At the height of the bohemian 1970s, she dyed her hair with henna and permed it (it would stay the same for much of the next 40 years), dressed almost exclusively in Yves Saint Laurent, had a fling with a Vietnamese photographer and spent her evenings at Club Sept in Paris. Coddington worked with the who's who of fashion. She shot Anjelica Huston with photographer David Bailey and Pat Cleveland with Helmut Newton.When Bea Miller, who had edited British Vogue for 22 years, retired, Coddington interviewed for the job but says she knew deep down she wasn't suited for it and thought that Wintour, then the creative director of American Vogue, should get it.Wintour did get it. Two days into her editorship, she invited Coddington to a screening of the racy film "Betty Blue." The two sat in dead silence through the opening sequence, a vivid five minute sex scene."Anna was rigid and unmoving. No sign of any emotion at all," Coddington writes. "I then realized how much significance Anna places on willpower trumping feelings."In 1988, when Wintour was appointed editor in chief at American Vogue, Coddington asked to join her. Coddington's narrative style fashion features and travelogues, a sampling of which appear in the book, became the heart and soul of the magazine, even as its pages became increasingly taken over by celebrities. Through her visual canvases, she interpreted the New Romantic period, grunge and the South Beach blinged out 1990s, and persuaded superstar designers Tom Ford, Marc Jacobs and others to play roles in a shoot based on "Alice in Wonderland."She sums up her creative process this way: "For me, one of the most important aspects of my work is to give people something to dream about, just as I used to dream all those years ago as a child looking at beautiful photographs."The book ends with a chapter on then and now. "Fashion has changed so much in my lifetime," Coddington writes. "Today, I find myself at the collections, asking, 'Who are all these people?' Sometimes I think I'm the last remaining person who comes to the shows for the pleasure of seeing the clothes."At 71, she seldom wears makeup and doesn't socialize much. But her attempt in the last 100 pages to distance herself from the term "fashionista" is a bit of a stretch. Clearly, Coddington has led a most charmed life. Otherwise, we wouldn't be reading about it.We provide this community forum for readers to exchange ideas and opinions on the news of the day. Passionate views, pointed criticism and critical thinking are welcome. Comments can only be submitted by registered users. By posting comments on our site, you are agreeing to the following terms:
Lady Griz hand Selvig 800th career win with 68 61 victory over PortlandGriz up to fifth in TSN poll, highest ranking of seasonBig Sky honors Sac State QB SafronNorth Dakota football coach firedSince 1897, the Cat Griz rivalry has captivated the stateFamily health: Prepare yourself and your vehicle for winter drivingFitness calendarBirths for Tuesday, November 19Angler with 4th place total takes Fall Mack Days fishing tournament titleWestern Montana hunters get help from fresh snow, rutIf the name Grace Coddington is familiar, you've probably seen the 2009 documentary film "The September Issue" about Vogue magazine's Editor in Chief Anna Wintour, the most feared and revered woman in fashion. Now Coddington, the longtime creative director of Vogue, has her own star vehicle, an engaging memoir titled "Grace," co written with Michael Roberts. For anyone with a passing interest in the fashion industry, it's worth a read for the name dropping alone.As became clear in the film, which chronicled the magazine's staff as they put together the 4 pound September 2007 issue, Coddington is not the Anna Wintour or Diana Vreeland type. You won't hear her barking orders at assistants or making dramatic pronouncements about pink.But she is equally passionate, a wild haired dreamer who thinks that fashion should be transporting, provocative and even intellectual, who bemoans the dominance of celebrities and digital hocus pocus in fashion photography and who isn't afraid to take on Wintour.The book is a window into how fashion has changed from a small, niche business into a global pop culture medium. It chronicles Coddington's 50 years in the industry, first as a model, then as a fashion editor for British Vogue and finally as creative director for American Vogue, with lots of juicy anecdotes about designers, photographers, celebrities and models.She compares the fashion world then and now and offers clues into her relationship with Wintour. She's also open about her private life, including details about failed marriages, the tragic death of her sister Rosemary and her 30 year romance with French hairstylist Didier Malige. She tells colorful stories behind many of the fashion shoots she has styled, but I do wish she had offered more insight into her role in the creative process.Coddington begins by painting a picture of her upbringing as romantic as any photo shoot. For her first 18 years, her home was the Trearddur Bay Hotel on the island of Anglesey off the coast of North Wales. "Although it was bleak, I saw beauty in the bleakness." When she wasn't outdoors, she amused herself by looking at picture books, reading fairy tales and, yes, studying the pages of Vogue magazine. As a teen, she went to a convent school and has vivid memories of the nuns roller skating on the rooftop, "flapping about surreally in their robes like crows on wheels."At 18, she moved to London to attend a modeling course advertised in Vogue. The fashion world was much different in 1959. Coddington had to learn how to apply her own makeup and style her own hair, because makeup artists and hairdressers specializing in photo shoots were nonexistent. A meeting with photographer Norman Parkinson led to her first modeling job running naked through the woods for an arty fashion catalog.Coddington became an overnight success. "I was a character, rather than a pretty model, and I suppose that's exactly what I look for in the girls I now select to put in American Vogue the ones who are quirky looking."She earned the nickname "The Cod" (to Jean Shrimpton's "The Shrimp"), danced the twist on Mary Quant's catwalk and became a muse to Vidal Sassoon, who created his famous five point cut on Coddington. Her modeling career was derailed for two years by a car accident, which scarred her left eyelid. But eventually things picked up again, and she settled into life in 1960s swinging London and Paris, hanging out with a fast crowd that included Michael Caine, Jane Birkin, the Beatles and the Rolling Stones.Her fashion editing career coincided with the beginning of her relationship with Michael Chow and the opening of his glamorous restaurant Mr. Chow, which attracted a starry crowd. "Naturally, we were forever being photographed at home, draped among our symbols of 'with it ness' as one of London's most happening couples; him, the cool young restaurateur, nonchalantly swinging in a hammock hung from the minstrel's gallery and me, the sophisticated style maker, perkily sitting cross legged atop a giant pop art version of a Campbell's soup can."At the height of the bohemian 1970s, she dyed her hair with henna and permed it (it would stay the same for much of the next 40 years), dressed almost exclusively in Yves Saint Laurent, had a fling with a Vietnamese photographer and spent her evenings at Club Sept in Paris. Coddington worked with the who's who of fashion. She shot Anjelica Huston with photographer David Bailey and Pat Cleveland with Helmut Newton.When Bea Miller, who had edited British Vogue for 22 years, retired, Coddington interviewed for the job but says she knew deep down she wasn't suited for it and thought that Wintour, then the creative director of American Vogue, should get it.Wintour did get it. Two days into her editorship, she invited Coddington to a screening of the racy film "Betty Blue." The two sat in dead silence through the opening sequence, a vivid five minute sex scene."Anna was rigid and unmoving. No sign of any emotion at all," Coddington writes. "I then realized how much significance Anna places on willpower trumping feelings."In 1988, when Wintour was appointed editor in chief at American Vogue, Coddington asked to join her. Coddington's narrative style fashion features and travelogues, a sampling of which appear in the book, became the heart and soul of the magazine, even as its pages became increasingly taken over by celebrities. Through her visual canvases, she interpreted the New Romantic period, grunge and the South Beach blinged out 1990s, and persuaded superstar designers Tom Ford, Marc Jacobs and others to play roles in a shoot based on "Alice in Wonderland."She sums up her creative process this way: "For me, one of the most important aspects of my work is to give people something to dream about, just as I used to dream all those years ago as a child looking at beautiful photographs."The book ends with a chapter on then and now. "Fashion has changed so much in my lifetime," Coddington writes. "Today, I find myself at the collections, asking, 'Who are all these people?' Sometimes I think I'm the last remaining person who comes to the shows for the pleasure of seeing the clothes."At 71, she seldom wears makeup and doesn't socialize much. But her attempt in the last 100 pages to distance herself from the term "fashionista" is a bit of a stretch. Clearly, Coddington has led a most charmed life. Otherwise, we wouldn't be reading about it.We provide this community forum for readers to exchange ideas and opinions on the news of the day. Passionate views, pointed criticism and critical thinking are welcome. Comments can only be submitted by registered users. By posting comments on our site, you are agreeing to the following terms:
Lady Griz hand Selvig 800th career win with 68 61 victory over PortlandGriz up to fifth in TSN poll, highest ranking of seasonBig Sky honors Sac State QB SafronNorth Dakota football coach firedSince 1897, the Cat Griz rivalry has captivated the stateFamily health: Prepare yourself and your vehicle for winter drivingFitness calendarBirths for Tuesday, November 19Angler with 4th place total takes Fall Mack Days fishing tournament titleWestern Montana hunters get help from fresh snow, rutIf the name Grace Coddington is familiar, you've probably seen the 2009 documentary film "The September Issue" about Vogue magazine's Editor in Chief Anna Wintour, the most feared and revered woman in fashion. Now Coddington, the longtime creative director of Vogue, has her own star vehicle, an engaging memoir titled "Grace," co written with Michael Roberts. For anyone with a passing interest in the fashion industry, it's worth a read for the name dropping alone.As became clear in the film, which chronicled the magazine's staff as they put together the 4 pound September 2007 issue, Coddington is not the Anna Wintour or Diana Vreeland type. You won't hear her barking orders at assistants or making dramatic pronouncements about pink.But she is equally passionate, a wild haired dreamer who thinks that fashion should be transporting, provocative and even intellectual, who bemoans the dominance of celebrities and digital hocus pocus in fashion photography and who isn't afraid to take on Wintour.The book is a window into how fashion has changed from a small, niche business into a global pop culture medium. It chronicles Coddington's 50 years in the industry, first as a model, then as a fashion editor for British Vogue and finally as creative director for American Vogue, with lots of juicy anecdotes about designers, photographers, celebrities and models.She compares the fashion world then and now and offers clues into her relationship with Wintour. She's also open about her private life, including details about failed marriages, the tragic death of her sister Rosemary and her 30 year romance with French hairstylist Didier Malige. She tells colorful stories behind many of the fashion shoots she has styled, but I do wish she had offered more insight into her role in the creative process.Coddington begins by painting a picture of her upbringing as romantic as any photo shoot. For her first 18 years, her home was the Trearddur Bay Hotel on the island of Anglesey off the coast of North Wales. "Although it was bleak, I saw beauty in the bleakness." When she wasn't outdoors, she amused herself by looking at picture books, reading fairy tales and, yes, studying the pages of Vogue magazine. As a teen, she went to a convent school and has vivid memories of the nuns roller skating on the rooftop, "flapping about surreally in their robes like crows on wheels."At 18, she moved to London to attend a modeling course advertised in Vogue. The fashion world was much different in 1959. Coddington had to learn how to apply her own makeup and style her own hair, because makeup artists and hairdressers specializing in photo shoots were nonexistent. A meeting with photographer Norman Parkinson led to her first modeling job running naked through the woods for an arty fashion catalog.Coddington became an overnight success. "I was a character, rather than a pretty model, and I suppose that's exactly what I look for in the girls I now select to put in American Vogue the ones who are quirky looking."She earned the nickname "The Cod" (to Jean Shrimpton's "The Shrimp"), danced the twist on Mary Quant's catwalk and became a muse to Vidal Sassoon, who created his famous five point cut on Coddington. Her modeling career was derailed for two years by a car accident, which scarred her left eyelid. But eventually things picked up again, and she settled into life in 1960s swinging London and Paris, hanging out with a fast crowd that included Michael Caine, Jane Birkin, the Beatles and the Rolling Stones.Her fashion editing career coincided with the beginning of her relationship with Michael Chow and the opening of his glamorous restaurant Mr. Chow, which attracted a starry crowd. "Naturally, we were forever being photographed at home, draped among our symbols of 'with it ness' as one of London's most happening couples; him, the cool young restaurateur, nonchalantly swinging in a hammock hung from the minstrel's gallery and me, the sophisticated style maker, perkily sitting cross legged atop a giant pop art version of a Campbell's soup can."At the height of the bohemian 1970s, she dyed her hair with henna and permed it (it would stay the same for much of the next 40 years), dressed almost exclusively in Yves Saint Laurent, had a fling with a Vietnamese photographer and spent her evenings at Club Sept in Paris. Coddington worked with the who's who of fashion. She shot Anjelica Huston with photographer David Bailey and Pat Cleveland with Helmut Newton.When Bea Miller, who had edited British Vogue for 22 years, retired, Coddington interviewed for the job but says she knew deep down she wasn't suited for it and thought that Wintour, then the creative director of American Vogue, should get it.Wintour did get it. Two days into her editorship, she invited Coddington to a screening of the racy film "Betty Blue." The two sat in dead silence through the opening sequence, a vivid five minute sex scene."Anna was rigid and unmoving. No sign of any emotion at all," Coddington writes. "I then realized how much significance Anna places on willpower trumping feelings."In 1988, when Wintour was appointed editor in chief at American Vogue, Coddington asked to join her. Coddington's narrative style fashion features and travelogues, a sampling of which appear in the book, became the heart and soul of the magazine, even as its pages became increasingly taken over by celebrities. Through her visual canvases, she interpreted the New Romantic period, grunge and the South Beach blinged out 1990s, and persuaded superstar designers Tom Ford, Marc Jacobs and others to play roles in a shoot based on "Alice in Wonderland."She sums up her creative process this way: "For me, one of the most important aspects of my work is to give people something to dream about, just as I used to dream all those years ago as a child looking at beautiful photographs."The book ends with a chapter on then and now. "Fashion has changed so much in my lifetime," Coddington writes. "Today, I find myself at the collections, asking, 'Who are all these people?' Sometimes I think I'm the last remaining person who comes to the shows for the pleasure of seeing the clothes."At 71, she seldom wears makeup and doesn't socialize much. But her attempt in the last 100 pages to distance herself from the term "fashionista" is a bit of a stretch. Clearly, Coddington has led a most charmed life. Otherwise, we wouldn't be reading about it.We provide this community forum for readers to exchange ideas and opinions on the news of the day. Passionate views, pointed criticism and critical thinking are welcome. Comments can only be submitted by registered users. By posting comments on our site, you are agreeing to the following terms:
Lady Griz hand Selvig 800th career win with 68 61 victory over PortlandGriz up to fifth in TSN poll, highest ranking of seasonBig Sky honors Sac State QB SafronNorth Dakota football coach firedSince 1897, the Cat Griz rivalry has captivated the stateFamily health: Prepare yourself and your vehicle for winter drivingFitness calendarBirths for Tuesday, November 19Angler with 4th place total takes Fall Mack Days fishing tournament titleWestern Montana hunters get help from fresh snow, rutIf the name Grace Coddington is familiar, you've probably seen the 2009 documentary film "The September Issue" about Vogue magazine's Editor in Chief Anna Wintour, the most feared and revered woman in fashion. Now Coddington, the longtime creative director of Vogue, has her own star vehicle, an engaging memoir titled "Grace," co written with Michael Roberts. For anyone with a passing interest in the fashion industry, it's worth a read for the name dropping alone.As became clear in the film, which chronicled the magazine's staff as they put together the 4 pound September 2007 issue, Coddington is not the Anna Wintour or Diana Vreeland type. You won't hear her barking orders at assistants or making dramatic pronouncements about pink.But she is equally passionate, a wild haired dreamer who thinks that fashion should be transporting, provocative and even intellectual, who bemoans the dominance of celebrities and digital hocus pocus in fashion photography and who isn't afraid to take on Wintour.The book is a window into how fashion has changed from a small, niche business into a global pop culture medium. It chronicles Coddington's 50 years in the industry, first as a model, then as a fashion editor for British Vogue and finally as creative director for American Vogue, with lots of juicy anecdotes about designers, photographers, celebrities and models.She compares the fashion world then and now and offers clues into her relationship with Wintour. She's also open about her private life, including details about failed marriages, the tragic death of her sister Rosemary and her 30 year romance with French hairstylist Didier Malige. She tells colorful stories behind many of the fashion shoots she has styled, but I do wish she had offered more insight into her role in the creative process.Coddington begins by painting a picture of her upbringing as romantic as any photo shoot. For her first 18 years, her home was the Trearddur Bay Hotel on the island of Anglesey off the coast of North Wales. "Although it was bleak, I saw beauty in the bleakness." When she wasn't outdoors, she amused herself by looking at picture books, reading fairy tales and, yes, studying the pages of Vogue magazine. As a teen, she went to a convent school and has vivid memories of the nuns roller skating on the rooftop, "flapping about surreally in their robes like crows on wheels."At 18, she moved to London to attend a modeling course advertised in Vogue. The fashion world was much different in 1959. Coddington had to learn how to apply her own makeup and style her own hair, because makeup artists and hairdressers specializing in photo shoots were nonexistent. A meeting with photographer Norman Parkinson led to her first modeling job running naked through the woods for an arty fashion catalog.Coddington became an overnight success. "I was a character, rather than a pretty model, and I suppose that's exactly what I look for in the girls I now select to put in American Vogue the ones who are quirky looking."She earned the nickname "The Cod" (to Jean Shrimpton's "The Shrimp"), danced the twist on Mary Quant's catwalk and became a muse to Vidal Sassoon, who created his famous five point cut on Coddington. Her modeling career was derailed for two years by a car accident, which scarred her left eyelid. But eventually things picked up again, and she settled into life in 1960s swinging London and Paris, hanging out with a fast crowd that included Michael Caine, Jane Birkin, the Beatles and the Rolling Stones.Her fashion editing career coincided with the beginning of her relationship with Michael Chow and the opening of his glamorous restaurant Mr. Chow, which attracted a starry crowd. "Naturally, we were forever being photographed at home, draped among our symbols of 'with it ness' as one of London's most happening couples; him, the cool young restaurateur, nonchalantly swinging in a hammock hung from the minstrel's gallery and me, the sophisticated style maker, perkily sitting cross legged atop a giant pop art version of a Campbell's soup can."At the height of the bohemian 1970s, she dyed her hair with henna and permed it (it would stay the same for much of the next 40 years), dressed almost exclusively in Yves Saint Laurent, had a fling with a Vietnamese photographer and spent her evenings at Club Sept in Paris. Coddington worked with the who's who of fashion. She shot Anjelica Huston with photographer David Bailey and Pat Cleveland with Helmut Newton.When Bea Miller, who had edited British Vogue for 22 years, retired, Coddington interviewed for the job but says she knew deep down she wasn't suited for it and thought that Wintour, then the creative director of American Vogue, should get it.Wintour did get it. Two days into her editorship, she invited Coddington to a screening of the racy film "Betty Blue." The two sat in dead silence through the opening sequence, a vivid five minute sex scene."Anna was rigid and unmoving. No sign of any emotion at all," Coddington writes. "I then realized how much significance Anna places on willpower trumping feelings."In 1988, when Wintour was appointed editor in chief at American Vogue, Coddington asked to join her. Coddington's narrative style fashion features and travelogues, a sampling of which appear in the book, became the heart and soul of the magazine, even as its pages became increasingly taken over by celebrities. Through her visual canvases, she interpreted the New Romantic period, grunge and the South Beach blinged out 1990s, and persuaded superstar designers Tom Ford, Marc Jacobs and others to play roles in a shoot based on "Alice in Wonderland."She sums up her creative process this way: "For me, one of the most important aspects of my work is to give people something to dream about, just as I used to dream all those years ago as a child looking at beautiful photographs."The book ends with a chapter on then and now. "Fashion has changed so much in my lifetime," Coddington writes. "Today, I find myself at the collections, asking, 'Who are all these people?' Sometimes I think I'm the last remaining person who comes to the shows for the pleasure of seeing the clothes."At 71, she seldom wears makeup and doesn't socialize much. But her attempt in the last 100 pages to distance herself from the term "fashionista" is a bit of a stretch. Clearly, Coddington has led a most charmed life. Otherwise, we wouldn't be reading about it.We provide this community forum for readers to exchange ideas and opinions on the news of the day. Passionate views, pointed criticism and critical thinking are welcome. Comments can only be submitted by registered users. By posting comments on our site, you are agreeing to the following terms:
Lady Griz hand Selvig 800th career win with 68 61 victory over PortlandGriz up to fifth in TSN poll, highest ranking of seasonBig Sky honors Sac State QB SafronNorth Dakota football coach firedSince 1897, the Cat Griz rivalry has captivated the stateFamily health: Prepare yourself and your vehicle for winter drivingFitness calendarBirths for Tuesday, November 19Angler with 4th place total takes Fall Mack Days fishing tournament titleWestern Montana hunters get help from fresh snow, rutIf the name Grace Coddington is familiar, you've probably seen the 2009 documentary film "The September Issue" about Vogue magazine's Editor in Chief Anna Wintour, the most feared and revered woman in fashion. Now Coddington, the longtime creative director of Vogue, has her own star vehicle, an engaging memoir titled "Grace," co written with Michael Roberts. For anyone with a passing interest in the fashion industry, it's worth a read for the name dropping alone.As became clear in the film, which chronicled the magazine's staff as they put together the 4 pound September 2007 issue, Coddington is not the Anna Wintour or Diana Vreeland type. You won't hear her barking orders at assistants or making dramatic pronouncements about pink.But she is equally passionate, a wild haired dreamer who thinks that fashion should be transporting, provocative and even intellectual, who bemoans the dominance of celebrities and digital hocus pocus in fashion photography and who isn't afraid to take on Wintour.The book is a window into how fashion has changed from a small, niche business into a global pop culture medium. It chronicles Coddington's 50 years in the industry, first as a model, then as a fashion editor for British Vogue and finally as creative director for American Vogue, with lots of juicy anecdotes about designers, photographers, celebrities and models.She compares the fashion world then and now and offers clues into her relationship with Wintour. She's also open about her private life, including details about failed marriages, the tragic death of her sister Rosemary and her 30 year romance with French hairstylist Didier Malige. She tells colorful stories behind many of the fashion shoots she has styled, but I do wish she had offered more insight into her role in the creative process.Coddington begins by painting a picture of her upbringing as romantic as any photo shoot. For her first 18 years, her home was the Trearddur Bay Hotel on the island of Anglesey off the coast of North Wales. "Although it was bleak, I saw beauty in the bleakness." When she wasn't outdoors, she amused herself by looking at picture books, reading fairy tales and, yes, studying the pages of Vogue magazine. As a teen, she went to a convent school and has vivid memories of the nuns roller skating on the rooftop, "flapping about surreally in their robes like crows on wheels."At 18, she moved to London to attend a modeling course advertised in Vogue. The fashion world was much different in 1959. Coddington had to learn how to apply her own makeup and style her own hair, because makeup artists and hairdressers specializing in photo shoots were nonexistent. A meeting with photographer Norman Parkinson led to her first modeling job running naked through the woods for an arty fashion catalog.Coddington became an overnight success. "I was a character, rather than a pretty model, and I suppose that's exactly what I look for in the girls I now select to put in American Vogue the ones who are quirky looking."She earned the nickname "The Cod" (to Jean Shrimpton's "The Shrimp"), danced the twist on Mary Quant's catwalk and became a muse to Vidal Sassoon, who created his famous five point cut on Coddington. Her modeling career was derailed for two years by a car accident, which scarred her left eyelid. But eventually things picked up again, and she settled into life in 1960s swinging London and Paris, hanging out with a fast crowd that included Michael Caine, Jane Birkin, the Beatles and the Rolling Stones.Her fashion editing career coincided with the beginning of her relationship with Michael Chow and the opening of his glamorous restaurant Mr. Chow, which attracted a starry crowd. "Naturally, we were forever being photographed at home, draped among our symbols of 'with it ness' as one of London's most happening couples; him, the cool young restaurateur, nonchalantly swinging in a hammock hung from the minstrel's gallery and me, the sophisticated style maker, perkily sitting cross legged atop a giant pop art version of a Campbell's soup can."At the height of the bohemian 1970s, she dyed her hair with henna and permed it (it would stay the same for much of the next 40 years), dressed almost exclusively in Yves Saint Laurent, had a fling with a Vietnamese photographer and spent her evenings at Club Sept in Paris. Coddington worked with the who's who of fashion. She shot Anjelica Huston with photographer David Bailey and Pat Cleveland with Helmut Newton.When Bea Miller, who had edited British Vogue for 22 years, retired, Coddington interviewed for the job but says she knew deep down she wasn't suited for it and thought that Wintour, then the creative director of American Vogue, should get it.Wintour did get it. Two days into her editorship, she invited Coddington to a screening of the racy film "Betty Blue." The two sat in dead silence through the opening sequence, a vivid five minute sex scene."Anna was rigid and unmoving. No sign of any emotion at all," Coddington writes. "I then realized how much significance Anna places on willpower trumping feelings."In 1988, when Wintour was appointed editor in chief at American Vogue, Coddington asked to join her. Coddington's narrative style fashion features and travelogues, a sampling of which appear in the book, became the heart and soul of the magazine, even as its pages became increasingly taken over by celebrities. Through her visual canvases, she interpreted the New Romantic period, grunge and the South Beach blinged out 1990s, and persuaded superstar designers Tom Ford, Marc Jacobs and others to play roles in a shoot based on "Alice in Wonderland."She sums up her creative process this way: "For me, one of the most important aspects of my work is to give people something to dream about, just as I used to dream all those years ago as a child looking at beautiful photographs."The book ends with a chapter on then and now. "Fashion has changed so much in my lifetime," Coddington writes. "Today, I find myself at the collections, asking, 'Who are all these people?' Sometimes I think I'm the last remaining person who comes to the shows for the pleasure of seeing the clothes."At 71, she seldom wears makeup and doesn't socialize much. But her attempt in the last 100 pages to distance herself from the term "fashionista" is a bit of a stretch. Clearly, Coddington has led a most charmed life. Otherwise, we wouldn't be reading about it.We provide this community forum for readers to exchange ideas and opinions on the news of the day. Passionate views, pointed criticism and critical thinking are welcome. Comments can only be submitted by registered users. By posting comments on our site, you are agreeing to the following terms:
Lady Griz hand Selvig 800th career win with 68 61 victory over PortlandGriz up to fifth in TSN poll, highest ranking of seasonBig Sky honors Sac State QB SafronNorth Dakota football coach firedSince 1897, the Cat Griz rivalry has captivated the stateFamily health: Prepare yourself and your vehicle for winter drivingFitness calendarBirths for Tuesday, November 19Angler with 4th place total takes Fall Mack Days fishing tournament titleWestern Montana hunters get help from fresh snow, rutIf the name Grace Coddington is familiar, you've probably seen the 2009 documentary film "The September Issue" about Vogue magazine's Editor in Chief Anna Wintour, the most feared and revered woman in fashion. Now Coddington, the longtime creative director of Vogue, has her own star vehicle, an engaging memoir titled "Grace," co written with Michael Roberts. For anyone with a passing interest in the fashion industry, it's worth a read for the name dropping alone.As became clear in the film, which chronicled the magazine's staff as they put together the 4 pound September 2007 issue, Coddington is not the Anna Wintour or Diana Vreeland type. You won't hear her barking orders at assistants or making dramatic pronouncements about pink.But she is equally passionate, a wild haired dreamer who thinks that fashion should be transporting, provocative and even intellectual, who bemoans the dominance of celebrities and digital hocus pocus in fashion photography and who isn't afraid to take on Wintour.The book is a window into how fashion has changed from a small, niche business into a global pop culture medium. It chronicles Coddington's 50 years in the industry, first as a model, then as a fashion editor for British Vogue and finally as creative director for American Vogue, with lots of juicy anecdotes about designers, photographers, celebrities and models.She compares the fashion world then and now and offers clues into her relationship with Wintour. She's also open about her private life, including details about failed marriages, the tragic death of her sister Rosemary and her 30 year romance with French hairstylist Didier Malige. She tells colorful stories behind many of the fashion shoots she has styled, but I do wish she had offered more insight into her role in the creative process.Coddington begins by painting a picture of her upbringing as romantic as any photo shoot. For her first 18 years, her home was the Trearddur Bay Hotel on the island of Anglesey off the coast of North Wales. "Although it was bleak, I saw beauty in the bleakness." When she wasn't outdoors, she amused herself by looking at picture books, reading fairy tales and, yes, studying the pages of Vogue magazine. As a teen, she went to a convent school and has vivid memories of the nuns roller skating on the rooftop, "flapping about surreally in their robes like crows on wheels."At 18, she moved to London to attend a modeling course advertised in Vogue. The fashion world was much different in 1959. Coddington had to learn how to apply her own makeup and style her own hair, because makeup artists and hairdressers specializing in photo shoots were nonexistent. A meeting with photographer Norman Parkinson led to her first modeling job running naked through the woods for an arty fashion catalog.Coddington became an overnight success. "I was a character, rather than a pretty model, and I suppose that's exactly what I look for in the girls I now select to put in American Vogue the ones who are quirky looking."She earned the nickname "The Cod" (to Jean Shrimpton's "The Shrimp"), danced the twist on Mary Quant's catwalk and became a muse to Vidal Sassoon, who created his famous five point cut on Coddington. Her modeling career was derailed for two years by a car accident, which scarred her left eyelid. But eventually things picked up again, and she settled into life in 1960s swinging London and Paris, hanging out with a fast crowd that included Michael Caine, Jane Birkin, the Beatles and the Rolling Stones.Her fashion editing career coincided with the beginning of her relationship with Michael Chow and the opening of his glamorous restaurant Mr. Chow, which attracted a starry crowd. "Naturally, we were forever being photographed at home, draped among our symbols of 'with it ness' as one of London's most happening couples; him, the cool young restaurateur, nonchalantly swinging in a hammock hung from the minstrel's gallery and me, the sophisticated style maker, perkily sitting cross legged atop a giant pop art version of a Campbell's soup can."At the height of the bohemian 1970s, she dyed her hair with henna and permed it (it would stay the same for much of the next 40 years), dressed almost exclusively in Yves Saint Laurent, had a fling with a Vietnamese photographer and spent her evenings at Club Sept in Paris. Coddington worked with the who's who of fashion. She shot Anjelica Huston with photographer David Bailey and Pat Cleveland with Helmut Newton.When Bea Miller, who had edited British Vogue for 22 years, retired, Coddington interviewed for the job but says she knew deep down she wasn't suited for it and thought that Wintour, then the creative director of American Vogue, should get it.Wintour did get it. Two days into her editorship, she invited Coddington to a screening of the racy film "Betty Blue." The two sat in dead silence through the opening sequence, a vivid five minute sex scene."Anna was rigid and unmoving. No sign of any emotion at all," Coddington writes. "I then realized how much significance Anna places on willpower trumping feelings."In 1988, when Wintour was appointed editor in chief at American Vogue, Coddington asked to join her. Coddington's narrative style fashion features and travelogues, a sampling of which appear in the book, became the heart and soul of the magazine, even as its pages became increasingly taken over by celebrities. Through her visual canvases, she interpreted the New Romantic period, grunge and the South Beach blinged out 1990s, and persuaded superstar designers Tom Ford, Marc Jacobs and others to play roles in a shoot based on "Alice in Wonderland."She sums up her creative process this way: "For me, one of the most important aspects of my work is to give people something to dream about, just as I used to dream all those years ago as a child looking at beautiful photographs."The book ends with a chapter on then and now. "Fashion has changed so much in my lifetime," Coddington writes. "Today, I find myself at the collections, asking, 'Who are all these people?' Sometimes I think I'm the last remaining person who comes to the shows for the pleasure of seeing the clothes."At 71, she seldom wears makeup and doesn't socialize much. But her attempt in the last 100 pages to distance herself from the term "fashionista" is a bit of a stretch. Clearly, Coddington has led a most charmed life. Otherwise, we wouldn't be reading about it.We provide this community forum for readers to exchange ideas and opinions on the news of the day. Passionate views, pointed criticism and critical thinking are welcome. Comments can only be submitted by registered users. By posting comments on our site, you are agreeing to the following terms:
Lady Griz hand Selvig 800th career win with 68 61 victory over PortlandGriz up to fifth in TSN poll, highest ranking of seasonBig Sky honors Sac State QB SafronNorth Dakota football coach firedSince 1897, the Cat Griz rivalry has captivated the stateFamily health: Prepare yourself and your vehicle for winter drivingFitness calendarBirths for Tuesday, November 19Angler with 4th place total takes Fall Mack Days fishing tournament titleWestern Montana hunters get help from fresh snow, rutIf the name Grace Coddington is familiar, you've probably seen the 2009 documentary film "The September Issue" about Vogue magazine's Editor in Chief Anna Wintour, the most feared and revered woman in fashion. Now Coddington, the longtime creative director of Vogue, has her own star vehicle, an engaging memoir titled "Grace," co written with Michael Roberts. For anyone with a passing interest in the fashion industry, it's worth a read for the name dropping alone.As became clear in the film, which chronicled the magazine's staff as they put together the 4 pound September 2007 issue, Coddington is not the Anna Wintour or Diana Vreeland type. You won't hear her barking orders at assistants or making dramatic pronouncements about pink.But she is equally passionate, a wild haired dreamer who thinks that fashion should be transporting, provocative and even intellectual, who bemoans the dominance of celebrities and digital hocus pocus in fashion photography and who isn't afraid to take on Wintour.The book is a window into how fashion has changed from a small, niche business into a global pop culture medium. It chronicles Coddington's 50 years in the industry, first as a model, then as a fashion editor for British Vogue and finally as creative director for American Vogue, with lots of juicy anecdotes about designers, photographers, celebrities and models.She compares the fashion world then and now and offers clues into her relationship with Wintour. She's also open about her private life, including details about failed marriages, the tragic death of her sister Rosemary and her 30 year romance with French hairstylist Didier Malige. She tells colorful stories behind many of the fashion shoots she has styled, but I do wish she had offered more insight into her role in the creative process.Coddington begins by painting a picture of her upbringing as romantic as any photo shoot. For her first 18 years, her home was the Trearddur Bay Hotel on the island of Anglesey off the coast of North Wales. "Although it was bleak, I saw beauty in the bleakness." When she wasn't outdoors, she amused herself by looking at picture books, reading fairy tales and, yes, studying the pages of Vogue magazine. As a teen, she went to a convent school and has vivid memories of the nuns roller skating on the rooftop, "flapping about surreally in their robes like crows on wheels."At 18, she moved to London to attend a modeling course advertised in Vogue. The fashion world was much different in 1959. Coddington had to learn how to apply her own makeup and style her own hair, because makeup artists and hairdressers specializing in photo shoots were nonexistent. A meeting with photographer Norman Parkinson led to her first modeling job running naked through the woods for an arty fashion catalog.Coddington became an overnight success. "I was a character, rather than a pretty model, and I suppose that's exactly what I look for in the girls I now select to put in American Vogue the ones who are quirky looking."She earned the nickname "The Cod" (to Jean Shrimpton's "The Shrimp"), danced the twist on Mary Quant's catwalk and became a muse to Vidal Sassoon, who created his famous five point cut on Coddington. Her modeling career was derailed for two years by a car accident, which scarred her left eyelid. But eventually things picked up again, and she settled into life in 1960s swinging London and Paris, hanging out with a fast crowd that included Michael Caine, Jane Birkin, the Beatles and the Rolling Stones.Her fashion editing career coincided with the beginning of her relationship with Michael Chow and the opening of his glamorous restaurant Mr. Chow, which attracted a starry crowd. "Naturally, we were forever being photographed at home, draped among our symbols of 'with it ness' as one of London's most happening couples; him, the cool young restaurateur, nonchalantly swinging in a hammock hung from the minstrel's gallery and me, the sophisticated style maker, perkily sitting cross legged atop a giant pop art version of a Campbell's soup can."At the height of the bohemian 1970s, she dyed her hair with henna and permed it (it would stay the same for much of the next 40 years), dressed almost exclusively in Yves Saint Laurent, had a fling with a Vietnamese photographer and spent her evenings at Club Sept in Paris. Coddington worked with the who's who of fashion. She shot Anjelica Huston with photographer David Bailey and Pat Cleveland with Helmut Newton.When Bea Miller, who had edited British Vogue for 22 years, retired, Coddington interviewed for the job but says she knew deep down she wasn't suited for it and thought that Wintour, then the creative director of American Vogue, should get it.Wintour did get it. Two days into her editorship, she invited Coddington to a screening of the racy film "Betty Blue." The two sat in dead silence through the opening sequence, a vivid five minute sex scene."Anna was rigid and unmoving. No sign of any emotion at all," Coddington writes. "I then realized how much significance Anna places on willpower trumping feelings."In 1988, when Wintour was appointed editor in chief at American Vogue, Coddington asked to join her. Coddington's narrative style fashion features and travelogues, a sampling of which appear in the book, became the heart and soul of the magazine, even as its pages became increasingly taken over by celebrities. Through her visual canvases, she interpreted the New Romantic period, grunge and the South Beach blinged out 1990s, and persuaded superstar designers Tom Ford, Marc Jacobs and others to play roles in a shoot based on "Alice in Wonderland."She sums up her creative process this way: "For me, one of the most important aspects of my work is to give people something to dream about, just as I used to dream all those years ago as a child looking at beautiful photographs."The book ends with a chapter on then and now. "Fashion has changed so much in my lifetime," Coddington writes. "Today, I find myself at the collections, asking, 'Who are all these people?' Sometimes I think I'm the last remaining person who comes to the shows for the pleasure of seeing the clothes."At 71, she seldom wears makeup and doesn't socialize much. But her attempt in the last 100 pages to distance herself from the term "fashionista" is a bit of a stretch. Clearly, Coddington has led a most charmed life. Otherwise, we wouldn't be reading about it.We provide this community forum for readers to exchange ideas and opinions on the news of the day. Passionate views, pointed criticism and critical thinking are welcome. Comments can only be submitted by registered users. By posting comments on our site, you are agreeing to the following terms:
Lady Griz hand Selvig 800th career win with 68 61 victory over PortlandGriz up to fifth in TSN poll, highest ranking of seasonBig Sky honors Sac State QB SafronNorth Dakota football coach firedSince 1897, the Cat Griz rivalry has captivated the stateFamily health: Prepare yourself and your vehicle for winter drivingFitness calendarBirths for Tuesday, November 19Angler with 4th place total takes Fall Mack Days fishing tournament titleWestern Montana hunters get help from fresh snow, rutIf the name Grace Coddington is familiar, you've probably seen the 2009 documentary film "The September Issue" about Vogue magazine's Editor in Chief Anna Wintour, the most feared and revered woman in fashion. Now Coddington, the longtime creative director of Vogue, has her own star vehicle, an engaging memoir titled "Grace," co written with Michael Roberts. For anyone with a passing interest in the fashion industry, it's worth a read for the name dropping alone.As became clear in the film, which chronicled the magazine's staff as they put together the 4 pound September 2007 issue, Coddington is not the Anna Wintour or Diana Vreeland type. You won't hear her barking orders at assistants or making dramatic pronouncements about pink.But she is equally passionate, a wild haired dreamer who thinks that fashion should be transporting, provocative and even intellectual, who bemoans the dominance of celebrities and digital hocus pocus in fashion photography and who isn't afraid to take on Wintour.The book is a window into how fashion has changed from a small, niche business into a global pop culture medium. It chronicles Coddington's 50 years in the industry, first as a model, then as a fashion editor for British Vogue and finally as creative director for American Vogue, with lots of juicy anecdotes about designers, photographers, celebrities and models.She compares the fashion world then and now and offers clues into her relationship with Wintour. She's also open about her private life, including details about failed marriages, the tragic death of her sister Rosemary and her 30 year romance with French hairstylist Didier Malige. She tells colorful stories behind many of the fashion shoots she has styled, but I do wish she had offered more insight into her role in the creative process.Coddington begins by painting a picture of her upbringing as romantic as any photo shoot. For her first 18 years, her home was the Trearddur Bay Hotel on the island of Anglesey off the coast of North Wales. "Although it was bleak, I saw beauty in the bleakness." When she wasn't outdoors, she amused herself by looking at picture books, reading fairy tales and, yes, studying the pages of Vogue magazine. As a teen, she went to a convent school and has vivid memories of the nuns roller skating on the rooftop, "flapping about surreally in their robes like crows on wheels."At 18, she moved to London to attend a modeling course advertised in Vogue. The fashion world was much different in 1959. Coddington had to learn how to apply her own makeup and style her own hair, because makeup artists and hairdressers specializing in photo shoots were nonexistent. A meeting with photographer Norman Parkinson led to her first modeling job running naked through the woods for an arty fashion catalog.Coddington became an overnight success. "I was a character, rather than a pretty model, and I suppose that's exactly what I look for in the girls I now select to put in American Vogue the ones who are quirky looking."She earned the nickname "The Cod" (to Jean Shrimpton's "The Shrimp"), danced the twist on Mary Quant's catwalk and became a muse to Vidal Sassoon, who created his famous five point cut on Coddington. Her modeling career was derailed for two years by a car accident, which scarred her left eyelid. But eventually things picked up again, and she settled into life in 1960s swinging London and Paris, hanging out with a fast crowd that included Michael Caine, Jane Birkin, the Beatles and the Rolling Stones.Her fashion editing career coincided with the beginning of her relationship with Michael Chow and the opening of his glamorous restaurant Mr. Chow, which attracted a starry crowd. "Naturally, we were forever being photographed at home, draped among our symbols of 'with it ness' as one of London's most happening couples; him, the cool young restaurateur, nonchalantly swinging in a hammock hung from the minstrel's gallery and me, the sophisticated style maker, perkily sitting cross legged atop a giant pop art version of a Campbell's soup can."At the height of the bohemian 1970s, she dyed her hair with henna and permed it (it would stay the same for much of the next 40 years), dressed almost exclusively in Yves Saint Laurent, had a fling with a Vietnamese photographer and spent her evenings at Club Sept in Paris. Coddington worked with the who's who of fashion. She shot Anjelica Huston with photographer David Bailey and Pat Cleveland with Helmut Newton.When Bea Miller, who had edited British Vogue for 22 years, retired, Coddington interviewed for the job but says she knew deep down she wasn't suited for it and thought that Wintour, then the creative director of American Vogue, should get it.Wintour did get it. Two days into her editorship, she invited Coddington to a screening of the racy film "Betty Blue." The two sat in dead silence through the opening sequence, a vivid five minute sex scene."Anna was rigid and unmoving. No sign of any emotion at all," Coddington writes. "I then realized how much significance Anna places on willpower trumping feelings."In 1988, when Wintour was appointed editor in chief at American Vogue, Coddington asked to join her. Coddington's narrative style fashion features and travelogues, a sampling of which appear in the book, became the heart and soul of the magazine, even as its pages became increasingly taken over by celebrities. Through her visual canvases, she interpreted the New Romantic period, grunge and the South Beach blinged out 1990s, and persuaded superstar designers Tom Ford, Marc Jacobs and others to play roles in a shoot based on "Alice in Wonderland."She sums up her creative process this way: "For me, one of the most important aspects of my work is to give people something to dream about, just as I used to dream all those years ago as a child looking at beautiful photographs."The book ends with a chapter on then and now. "Fashion has changed so much in my lifetime," Coddington writes. "Today, I find myself at the collections, asking, 'Who are all these people?' Sometimes I think I'm the last remaining person who comes to the shows for the pleasure of seeing the clothes."At 71, she seldom wears makeup and doesn't socialize much. But her attempt in the last 100 pages to distance herself from the term "fashionista" is a bit of a stretch. Clearly, Coddington has led a most charmed life. Otherwise, we wouldn't be reading about it.We provide this community forum for readers to exchange ideas and opinions on the news of the day. Passionate views, pointed criticism and critical thinking are welcome. Comments can only be submitted by registered users. By posting comments on our site, you are agreeing to the following terms:
Lady Griz hand Selvig 800th career win with 68 61 victory over PortlandGriz up to fifth in TSN poll, highest ranking of seasonBig Sky honors Sac State QB SafronNorth Dakota football coach firedSince 1897, the Cat Griz rivalry has captivated the stateFamily health: Prepare yourself and your vehicle for winter drivingFitness calendarBirths for Tuesday, November 19Angler with 4th place total takes Fall Mack Days fishing tournament titleWestern Montana hunters get help from fresh snow, rutIf the name Grace Coddington is familiar, you've probably seen the 2009 documentary film "The September Issue" about Vogue magazine's Editor in Chief Anna Wintour, the most feared and revered woman in fashion. Now Coddington, the longtime creative director of Vogue, has her own star vehicle, an engaging memoir titled "Grace," co written with Michael Roberts. For anyone with a passing interest in the fashion industry, it's worth a read for the name dropping alone.As became clear in the film, which chronicled the magazine's staff as they put together the 4 pound September 2007 issue, Coddington is not the Anna Wintour or Diana Vreeland type. You won't hear her barking orders at assistants or making dramatic pronouncements about pink.But she is equally passionate, a wild haired dreamer who thinks that fashion should be transporting, provocative and even intellectual, who bemoans the dominance of celebrities and digital hocus pocus in fashion photography and who isn't afraid to take on Wintour.The book is a window into how fashion has changed from a small, niche business into a global pop culture medium. It chronicles Coddington's 50 years in the industry, first as a model, then as a fashion editor for British Vogue and finally as creative director for American Vogue, with lots of juicy anecdotes about designers, photographers, celebrities and models.She compares the fashion world then and now and offers clues into her relationship with Wintour. She's also open about her private life, including details about failed marriages, the tragic death of her sister Rosemary and her 30 year romance with French hairstylist Didier Malige. She tells colorful stories behind many of the fashion shoots she has styled, but I do wish she had offered more insight into her role in the creative process.Coddington begins by painting a picture of her upbringing as romantic as any photo shoot. For her first 18 years, her home was the Trearddur Bay Hotel on the island of Anglesey off the coast of North Wales. "Although it was bleak, I saw beauty in the bleakness." When she wasn't outdoors, she amused herself by looking at picture books, reading fairy tales and, yes, studying the pages of Vogue magazine. As a teen, she went to a convent school and has vivid memories of the nuns roller skating on the rooftop, "flapping about surreally in their robes like crows on wheels."At 18, she moved to London to attend a modeling course advertised in Vogue. The fashion world was much different in 1959. Coddington had to learn how to apply her own makeup and style her own hair, because makeup artists and hairdressers specializing in photo shoots were nonexistent. A meeting with photographer Norman Parkinson led to her first modeling job running naked through the woods for an arty fashion catalog.Coddington became an overnight success. "I was a character, rather than a pretty model, and I suppose that's exactly what I look for in the girls I now select to put in American Vogue the ones who are quirky looking."She earned the nickname "The Cod" (to Jean Shrimpton's "The Shrimp"), danced the twist on Mary Quant's catwalk and became a muse to Vidal Sassoon, who created his famous five point cut on Coddington. Her modeling career was derailed for two years by a car accident, which scarred her left eyelid. But eventually things picked up again, and she settled into life in 1960s swinging London and Paris, hanging out with a fast crowd that included Michael Caine, Jane Birkin, the Beatles and the Rolling Stones.Her fashion editing career coincided with the beginning of her relationship with Michael Chow and the opening of his glamorous restaurant Mr. Chow, which attracted a starry crowd. "Naturally, we were forever being photographed at home, draped among our symbols of 'with it ness' as one of London's most happening couples; him, the cool young restaurateur, nonchalantly swinging in a hammock hung from the minstrel's gallery and me, the sophisticated style maker, perkily sitting cross legged atop a giant pop art version of a Campbell's soup can."At the height of the bohemian 1970s, she dyed her hair with henna and permed it (it would stay the same for much of the next 40 years), dressed almost exclusively in Yves Saint Laurent, had a fling with a Vietnamese photographer and spent her evenings at Club Sept in Paris. Coddington worked with the who's who of fashion. She shot Anjelica Huston with photographer David Bailey and Pat Cleveland with Helmut Newton.When Bea Miller, who had edited British Vogue for 22 years, retired, Coddington interviewed for the job but says she knew deep down she wasn't suited for it and thought that Wintour, then the creative director of American Vogue, should get it.Wintour did get it. Two days into her editorship, she invited Coddington to a screening of the racy film "Betty Blue." The two sat in dead silence through the opening sequence, a vivid five minute sex scene."Anna was rigid and unmoving. No sign of any emotion at all," Coddington writes. "I then realized how much significance Anna places on willpower trumping feelings."In 1988, when Wintour was appointed editor in chief at American Vogue, Coddington asked to join her. Coddington's narrative style fashion features and travelogues, a sampling of which appear in the book, became the heart and soul of the magazine, even as its pages became increasingly taken over by celebrities. Through her visual canvases, she interpreted the New Romantic period, grunge and the South Beach blinged out 1990s, and persuaded superstar designers Tom Ford, Marc Jacobs and others to play roles in a shoot based on "Alice in Wonderland."She sums up her creative process this way: "For me, one of the most important aspects of my work is to give people something to dream about, just as I used to dream all those years ago as a child looking at beautiful photographs."The book ends with a chapter on then and now. "Fashion has changed so much in my lifetime," Coddington writes. "Today, I find myself at the collections, asking, 'Who are all these people?' Sometimes I think I'm the last remaining person who comes to the shows for the pleasure of seeing the clothes."At 71, she seldom wears makeup and doesn't socialize much. But her attempt in the last 100 pages to distance herself from the term "fashionista" is a bit of a stretch. Clearly, Coddington has led a most charmed life. Otherwise, we wouldn't be reading about it.We provide this community forum for readers to exchange ideas and opinions on the news of the day. Passionate views, pointed criticism and critical thinking are welcome. Comments can only be submitted by registered users. By posting comments on our site, you are agreeing to the following terms:
Lady Griz hand Selvig 800th career win with 68 61 victory over PortlandGriz up to fifth in TSN poll, highest ranking of seasonBig Sky honors Sac State QB SafronNorth Dakota football coach firedSince 1897, the Cat Griz rivalry has captivated the stateFamily health: Prepare yourself and your vehicle for winter drivingFitness calendarBirths for Tuesday, November 19Angler with 4th place total takes Fall Mack Days fishing tournament titleWestern Montana hunters get help from fresh snow, rutIf the name Grace Coddington is familiar, you've probably seen the 2009 documentary film "The September Issue" about Vogue magazine's Editor in Chief Anna Wintour, the most feared and revered woman in fashion. Now Coddington, the longtime creative director of Vogue, has her own star vehicle, an engaging memoir titled "Grace," co written with Michael Roberts. For anyone with a passing interest in the fashion industry, it's worth a read for the name dropping alone.As became clear in the film, which chronicled the magazine's staff as they put together the 4 pound September 2007 issue, Coddington is not the Anna Wintour or Diana Vreeland type. You won't hear her barking orders at assistants or making dramatic pronouncements about pink.But she is equally passionate, a wild haired dreamer who thinks that fashion should be transporting, provocative and even intellectual, who bemoans the dominance of celebrities and digital hocus pocus in fashion photography and who isn't afraid to take on Wintour.The book is a window into how fashion has changed from a small, niche business into a global pop culture medium. It chronicles Coddington's 50 years in the industry, first as a model, then as a fashion editor for British Vogue and finally as creative director for American Vogue, with lots of juicy anecdotes about designers, photographers, celebrities and models.She compares the fashion world then and now and offers clues into her relationship with Wintour. She's also open about her private life, including details about failed marriages, the tragic death of her sister Rosemary and her 30 year romance with French hairstylist Didier Malige. She tells colorful stories behind many of the fashion shoots she has styled, but I do wish she had offered more insight into her role in the creative process.Coddington begins by painting a picture of her upbringing as romantic as any photo shoot. For her first 18 years, her home was the Trearddur Bay Hotel on the island of Anglesey off the coast of North Wales. "Although it was bleak, I saw beauty in the bleakness." When she wasn't outdoors, she amused herself by looking at picture books, reading fairy tales and, yes, studying the pages of Vogue magazine. As a teen, she went to a convent school and has vivid memories of the nuns roller skating on the rooftop, "flapping about surreally in their robes like crows on wheels."At 18, she moved to London to attend a modeling course advertised in Vogue. The fashion world was much different in 1959. Coddington had to learn how to apply her own makeup and style her own hair, because makeup artists and hairdressers specializing in photo shoots were nonexistent. A meeting with photographer Norman Parkinson led to her first modeling job running naked through the woods for an arty fashion catalog.Coddington became an overnight success. "I was a character, rather than a pretty model, and I suppose that's exactly what I look for in the girls I now select to put in American Vogue the ones who are quirky looking."She earned the nickname "The Cod" (to Jean Shrimpton's "The Shrimp"), danced the twist on Mary Quant's catwalk and became a muse to Vidal Sassoon, who created his famous five point cut on Coddington. Her modeling career was derailed for two years by a car accident, which scarred her left eyelid. But eventually things picked up again, and she settled into life in 1960s swinging London and Paris, hanging out with a fast crowd that included Michael Caine, Jane Birkin, the Beatles and the Rolling Stones.Her fashion editing career coincided with the beginning of her relationship with Michael Chow and the opening of his glamorous restaurant Mr. Chow, which attracted a starry crowd. "Naturally, we were forever being photographed at home, draped among our symbols of 'with it ness' as one of London's most happening couples; him, the cool young restaurateur, nonchalantly swinging in a hammock hung from the minstrel's gallery and me, the sophisticated style maker, perkily sitting cross legged atop a giant pop art version of a Campbell's soup can."At the height of the bohemian 1970s, she dyed her hair with henna and permed it (it would stay the same for much of the next 40 years), dressed almost exclusively in Yves Saint Laurent, had a fling with a Vietnamese photographer and spent her evenings at Club Sept in Paris. Coddington worked with the who's who of fashion. She shot Anjelica Huston with photographer David Bailey and Pat Cleveland with Helmut Newton.When Bea Miller, who had edited British Vogue for 22 years, retired, Coddington interviewed for the job but says she knew deep down she wasn't suited for it and thought that Wintour, then the creative director of American Vogue, should get it.Wintour did get it. Two days into her editorship, she invited Coddington to a screening of the racy film "Betty Blue." The two sat in dead silence through the opening sequence, a vivid five minute sex scene."Anna was rigid and unmoving. No sign of any emotion at all," Coddington writes. "I then realized how much significance Anna places on willpower trumping feelings."In 1988, when Wintour was appointed editor in chief at American Vogue, Coddington asked to join her. Coddington's narrative style fashion features and travelogues, a sampling of which appear in the book, became the heart and soul of the magazine, even as its pages became increasingly taken over by celebrities. Through her visual canvases, she interpreted the New Romantic period, grunge and the South Beach blinged out 1990s, and persuaded superstar designers Tom Ford, Marc Jacobs and others to play roles in a shoot based on "Alice in Wonderland."She sums up her creative process this way: "For me, one of the most important aspects of my work is to give people something to dream about, just as I used to dream all those years ago as a child looking at beautiful photographs."The book ends with a chapter on then and now. "Fashion has changed so much in my lifetime," Coddington writes. "Today, I find myself at the collections, asking, 'Who are all these people?' Sometimes I think I'm the last remaining person who comes to the shows for the pleasure of seeing the clothes."At 71, she seldom wears makeup and doesn't socialize much. But her attempt in the last 100 pages to distance herself from the term "fashionista" is a bit of a stretch. Clearly, Coddington has led a most charmed life. Otherwise, we wouldn't be reading about it.We provide this community forum for readers to exchange ideas and opinions on the news of the day. Passionate views, pointed criticism and critical thinking are welcome. Comments can only be submitted by registered users. By posting comments on our site, you are agreeing to the following terms:
Lady Griz hand Selvig 800th career win with 68 61 victory over PortlandGriz up to fifth in TSN poll, highest ranking of seasonBig Sky honors Sac State QB SafronNorth Dakota football coach firedSince 1897, the Cat Griz rivalry has captivated the stateFamily health: Prepare yourself and your vehicle for winter drivingFitness calendarBirths for Tuesday, November 19Angler with 4th place total takes Fall Mack Days fishing tournament titleWestern Montana hunters get help from fresh snow, rutIf the name Grace Coddington is familiar, you've probably seen the 2009 documentary film "The September Issue" about Vogue magazine's Editor in Chief Anna Wintour, the most feared and revered woman in fashion. Now Coddington, the longtime creative director of Vogue, has her own star vehicle, an engaging memoir titled "Grace," co written with Michael Roberts. For anyone with a passing interest in the fashion industry, it's worth a read for the name dropping alone.As became clear in the film, which chronicled the magazine's staff as they put together the 4 pound September 2007 issue, Coddington is not the Anna Wintour or Diana Vreeland type. You won't hear her barking orders at assistants or making dramatic pronouncements about pink.But she is equally passionate, a wild haired dreamer who thinks that fashion should be transporting, provocative and even intellectual, who bemoans the dominance of celebrities and digital hocus pocus in fashion photography and who isn't afraid to take on Wintour.The book is a window into how fashion has changed from a small, niche business into a global pop culture medium. It chronicles Coddington's 50 years in the industry, first as a model, then as a fashion editor for British Vogue and finally as creative director for American Vogue, with lots of juicy anecdotes about designers, photographers, celebrities and models.She compares the fashion world then and now and offers clues into her relationship with Wintour. She's also open about her private life, including details about failed marriages, the tragic death of her sister Rosemary and her 30 year romance with French hairstylist Didier Malige. She tells colorful stories behind many of the fashion shoots she has styled, but I do wish she had offered more insight into her role in the creative process.Coddington begins by painting a picture of her upbringing as romantic as any photo shoot. For her first 18 years, her home was the Trearddur Bay Hotel on the island of Anglesey off the coast of North Wales. "Although it was bleak, I saw beauty in the bleakness." When she wasn't outdoors, she amused herself by looking at picture books, reading fairy tales and, yes, studying the pages of Vogue magazine. As a teen, she went to a convent school and has vivid memories of the nuns roller skating on the rooftop, "flapping about surreally in their robes like crows on wheels."At 18, she moved to London to attend a modeling course advertised in Vogue. The fashion world was much different in 1959. Coddington had to learn how to apply her own makeup and style her own hair, because makeup artists and hairdressers specializing in photo shoots were nonexistent. A meeting with photographer Norman Parkinson led to her first modeling job running naked through the woods for an arty fashion catalog.Coddington became an overnight success. "I was a character, rather than a pretty model, and I suppose that's exactly what I look for in the girls I now select to put in American Vogue the ones who are quirky looking."She earned the nickname "The Cod" (to Jean Shrimpton's "The Shrimp"), danced the twist on Mary Quant's catwalk and became a muse to Vidal Sassoon, who created his famous five point cut on Coddington. Her modeling career was derailed for two years by a car accident, which scarred her left eyelid. But eventually things picked up again, and she settled into life in 1960s swinging London and Paris, hanging out with a fast crowd that included Michael Caine, Jane Birkin, the Beatles and the Rolling Stones.Her fashion editing career coincided with the beginning of her relationship with Michael Chow and the opening of his glamorous restaurant Mr. Chow, which attracted a starry crowd. "Naturally, we were forever being photographed at home, draped among our symbols of 'with it ness' as one of London's most happening couples; him, the cool young restaurateur, nonchalantly swinging in a hammock hung from the minstrel's gallery and me, the sophisticated style maker, perkily sitting cross legged atop a giant pop art version of a Campbell's soup can."At the height of the bohemian 1970s, she dyed her hair with henna and permed it (it would stay the same for much of the next 40 years), dressed almost exclusively in Yves Saint Laurent, had a fling with a Vietnamese photographer and spent her evenings at Club Sept in Paris. Coddington worked with the who's who of fashion. She shot Anjelica Huston with photographer David Bailey and Pat Cleveland with Helmut Newton.When Bea Miller, who had edited British Vogue for 22 years, retired, Coddington interviewed for the job but says she knew deep down she wasn't suited for it and thought that Wintour, then the creative director of American Vogue, should get it.Wintour did get it. Two days into her editorship, she invited Coddington to a screening of the racy film "Betty Blue." The two sat in dead silence through the opening sequence, a vivid five minute sex scene."Anna was rigid and unmoving. No sign of any emotion at all," Coddington writes. "I then realized how much significance Anna places on willpower trumping feelings."In 1988, when Wintour was appointed editor in chief at American Vogue, Coddington asked to join her. Coddington's narrative style fashion features and travelogues, a sampling of which appear in the book, became the heart and soul of the magazine, even as its pages became increasingly taken over by celebrities. Through her visual canvases, she interpreted the New Romantic period, grunge and the South Beach blinged out 1990s, and persuaded superstar designers Tom Ford, Marc Jacobs and others to play roles in a shoot based on "Alice in Wonderland."She sums up her creative process this way: "For me, one of the most important aspects of my work is to give people something to dream about, just as I used to dream all those years ago as a child looking at beautiful photographs."The book ends with a chapter on then and now. "Fashion has changed so much in my lifetime," Coddington writes. "Today, I find myself at the collections, asking, 'Who are all these people?' Sometimes I think I'm the last remaining person who comes to the shows for the pleasure of seeing the clothes."At 71, she seldom wears makeup and doesn't socialize much. But her attempt in the last 100 pages to distance herself from the term "fashionista" is a bit of a stretch. Clearly, Coddington has led a most charmed life. Otherwise, we wouldn't be reading about it.We provide this community forum for readers to exchange ideas and opinions on the news of the day. Passionate views, pointed criticism and critical thinking are welcome. Comments can only be submitted by registered users. By posting comments on our site, you are agreeing to the following terms:
Lady Griz hand Selvig 800th career win with 68 61 victory over PortlandGriz up to fifth in TSN poll, highest ranking of seasonBig Sky honors Sac State QB SafronNorth Dakota football coach firedSince 1897, the Cat Griz rivalry has captivated the stateFamily health: Prepare yourself and your vehicle for winter drivingFitness calendarBirths for Tuesday, November 19Angler with 4th place total takes Fall Mack Days fishing tournament titleWestern Montana hunters get help from fresh snow, rutIf the name Grace Coddington is familiar, you've probably seen the 2009 documentary film "The September Issue" about Vogue magazine's Editor in Chief Anna Wintour, the most feared and revered woman in fashion. Now Coddington, the longtime creative director of Vogue, has her own star vehicle, an engaging memoir titled "Grace," co written with Michael Roberts. For anyone with a passing interest in the fashion industry, it's worth a read for the name dropping alone.As became clear in the film, which chronicled the magazine's staff as they put together the 4 pound September 2007 issue, Coddington is not the Anna Wintour or Diana Vreeland type. You won't hear her barking orders at assistants or making dramatic pronouncements about pink.But she is equally passionate, a wild haired dreamer who thinks that fashion should be transporting, provocative and even intellectual, who bemoans the dominance of celebrities and digital hocus pocus in fashion photography and who isn't afraid to take on Wintour.The book is a window into how fashion has changed from a small, niche business into a global pop culture medium. It chronicles Coddington's 50 years in the industry, first as a model, then as a fashion editor for British Vogue and finally as creative director for American Vogue, with lots of juicy anecdotes about designers, photographers, celebrities and models.She compares the fashion world then and now and offers clues into her relationship with Wintour. She's also open about her private life, including details about failed marriages, the tragic death of her sister Rosemary and her 30 year romance with French hairstylist Didier Malige. She tells colorful stories behind many of the fashion shoots she has styled, but I do wish she had offered more insight into her role in the creative process.Coddington begins by painting a picture of her upbringing as romantic as any photo shoot. For her first 18 years, her home was the Trearddur Bay Hotel on the island of Anglesey off the coast of North Wales. "Although it was bleak, I saw beauty in the bleakness." When she wasn't outdoors, she amused herself by looking at picture books, reading fairy tales and, yes, studying the pages of Vogue magazine. As a teen, she went to a convent school and has vivid memories of the nuns roller skating on the rooftop, "flapping about surreally in their robes like crows on wheels."At 18, she moved to London to attend a modeling course advertised in Vogue. The fashion world was much different in 1959. Coddington had to learn how to apply her own makeup and style her own hair, because makeup artists and hairdressers specializing in photo shoots were nonexistent. A meeting with photographer Norman Parkinson led to her first modeling job running naked through the woods for an arty fashion catalog.Coddington became an overnight success. "I was a character, rather than a pretty model, and I suppose that's exactly what I look for in the girls I now select to put in American Vogue the ones who are quirky looking."She earned the nickname "The Cod" (to Jean Shrimpton's "The Shrimp"), danced the twist on Mary Quant's catwalk and became a muse to Vidal Sassoon, who created his famous five point cut on Coddington. Her modeling career was derailed for two years by a car accident, which scarred her left eyelid. But eventually things picked up again, and she settled into life in 1960s swinging London and Paris, hanging out with a fast crowd that included Michael Caine, Jane Birkin, the Beatles and the Rolling Stones.Her fashion editing career coincided with the beginning of her relationship with Michael Chow and the opening of his glamorous restaurant Mr. Chow, which attracted a starry crowd. "Naturally, we were forever being photographed at home, draped among our symbols of 'with it ness' as one of London's most happening couples; him, the cool young restaurateur, nonchalantly swinging in a hammock hung from the minstrel's gallery and me, the sophisticated style maker, perkily sitting cross legged atop a giant pop art version of a Campbell's soup can."At the height of the bohemian 1970s, she dyed her hair with henna and permed it (it would stay the same for much of the next 40 years), dressed almost exclusively in Yves Saint Laurent, had a fling with a Vietnamese photographer and spent her evenings at Club Sept in Paris. Coddington worked with the who's who of fashion. She shot Anjelica Huston with photographer David Bailey and Pat Cleveland with Helmut Newton.When Bea Miller, who had edited British Vogue for 22 years, retired, Coddington interviewed for the job but says she knew deep down she wasn't suited for it and thought that Wintour, then the creative director of American Vogue, should get it.Wintour did get it. Two days into her editorship, she invited Coddington to a screening of the racy film "Betty Blue." The two sat in dead silence through the opening sequence, a vivid five minute sex scene."Anna was rigid and unmoving. No sign of any emotion at all," Coddington writes. "I then realized how much significance Anna places on willpower trumping feelings."In 1988, when Wintour was appointed editor in chief at American Vogue, Coddington asked to join her. Coddington's narrative style fashion features and travelogues, a sampling of which appear in the book, became the heart and soul of the magazine, even as its pages became increasingly taken over by celebrities. Through her visual canvases, she interpreted the New Romantic period, grunge and the South Beach blinged out 1990s, and persuaded superstar designers Tom Ford, Marc Jacobs and others to play roles in a shoot based on "Alice in Wonderland."She sums up her creative process this way: "For me, one of the most important aspects of my work is to give people something to dream about, just as I used to dream all those years ago as a child looking at beautiful photographs."The book ends with a chapter on then and now. "Fashion has changed so much in my lifetime," Coddington writes. "Today, I find myself at the collections, asking, 'Who are all these people?' Sometimes I think I'm the last remaining person who comes to the shows for the pleasure of seeing the clothes."At 71, she seldom wears makeup and doesn't socialize much. But her attempt in the last 100 pages to distance herself from the term "fashionista" is a bit of a stretch. Clearly, Coddington has led a most charmed life. Otherwise, we wouldn't be reading about it.We provide this community forum for readers to exchange ideas and opinions on the news of the day. Passionate views, pointed criticism and critical thinking are welcome. Comments can only be submitted by registered users. By posting comments on our site, you are agreeing to the following terms:
Lady Griz hand Selvig 800th career win with 68 61 victory over PortlandGriz up to fifth in TSN poll, highest ranking of seasonBig Sky honors Sac State QB SafronNorth Dakota football coach firedSince 1897, the Cat Griz rivalry has captivated the stateFamily health: Prepare yourself and your vehicle for winter drivingFitness calendarBirths for Tuesday, November 19Angler with 4th place total takes Fall Mack Days fishing tournament titleWestern Montana hunters get help from fresh snow, rutIf the name Grace Coddington is familiar, you've probably seen the 2009 documentary film "The September Issue" about Vogue magazine's Editor in Chief Anna Wintour, the most feared and revered woman in fashion. Now Coddington, the longtime creative director of Vogue, has her own star vehicle, an engaging memoir titled "Grace," co written with Michael Roberts. For anyone with a passing interest in the fashion industry, it's worth a read for the name dropping alone.As became clear in the film, which chronicled the magazine's staff as they put together the 4 pound September 2007 issue, Coddington is not the Anna Wintour or Diana Vreeland type. You won't hear her barking orders at assistants or making dramatic pronouncements about pink.But she is equally passionate, a wild haired dreamer who thinks that fashion should be transporting, provocative and even intellectual, who bemoans the dominance of celebrities and digital hocus pocus in fashion photography and who isn't afraid to take on Wintour.The book is a window into how fashion has changed from a small, niche business into a global pop culture medium. It chronicles Coddington's 50 years in the industry, first as a model, then as a fashion editor for British Vogue and finally as creative director for American Vogue, with lots of juicy anecdotes about designers, photographers, celebrities and models.She compares the fashion world then and now and offers clues into her relationship with Wintour. She's also open about her private life, including details about failed marriages, the tragic death of her sister Rosemary and her 30 year romance with French hairstylist Didier Malige. She tells colorful stories behind many of the fashion shoots she has styled, but I do wish she had offered more insight into her role in the creative process.Coddington begins by painting a picture of her upbringing as romantic as any photo shoot. For her first 18 years, her home was the Trearddur Bay Hotel on the island of Anglesey off the coast of North Wales. "Although it was bleak, I saw beauty in the bleakness." When she wasn't outdoors, she amused herself by looking at picture books, reading fairy tales and, yes, studying the pages of Vogue magazine. As a teen, she went to a convent school and has vivid memories of the nuns roller skating on the rooftop, "flapping about surreally in their robes like crows on wheels."At 18, she moved to London to attend a modeling course advertised in Vogue. The fashion world was much different in 1959. Coddington had to learn how to apply her own makeup and style her own hair, because makeup artists and hairdressers specializing in photo shoots were nonexistent. A meeting with photographer Norman Parkinson led to her first modeling job running naked through the woods for an arty fashion catalog.Coddington became an overnight success. "I was a character, rather than a pretty model, and I suppose that's exactly what I look for in the girls I now select to put in American Vogue the ones who are quirky looking."She earned the nickname "The Cod" (to Jean Shrimpton's "The Shrimp"), danced the twist on Mary Quant's catwalk and became a muse to Vidal Sassoon, who created his famous five point cut on Coddington. Her modeling career was derailed for two years by a car accident, which scarred her left eyelid. But eventually things picked up again, and she settled into life in 1960s swinging London and Paris, hanging out with a fast crowd that included Michael Caine, Jane Birkin, the Beatles and the Rolling Stones.Her fashion editing career coincided with the beginning of her relationship with Michael Chow and the opening of his glamorous restaurant Mr. Chow, which attracted a starry crowd. "Naturally, we were forever being photographed at home, draped among our symbols of 'with it ness' as one of London's most happening couples; him, the cool young restaurateur, nonchalantly swinging in a hammock hung from the minstrel's gallery and me, the sophisticated style maker, perkily sitting cross legged atop a giant pop art version of a Campbell's soup can."At the height of the bohemian 1970s, she dyed her hair with henna and permed it (it would stay the same for much of the next 40 years), dressed almost exclusively in Yves Saint Laurent, had a fling with a Vietnamese photographer and spent her evenings at Club Sept in Paris. Coddington worked with the who's who of fashion. She shot Anjelica Huston with photographer David Bailey and Pat Cleveland with Helmut Newton.When Bea Miller, who had edited British Vogue for 22 years, retired, Coddington interviewed for the job but says she knew deep down she wasn't suited for it and thought that Wintour, then the creative director of American Vogue, should get it.Wintour did get it. Two days into her editorship, she invited Coddington to a screening of the racy film "Betty Blue." The two sat in dead silence through the opening sequence, a vivid five minute sex scene."Anna was rigid and unmoving. No sign of any emotion at all," Coddington writes. "I then realized how much significance Anna places on willpower trumping feelings."In 1988, when Wintour was appointed editor in chief at American Vogue, Coddington asked to join her. Coddington's narrative style fashion features and travelogues, a sampling of which appear in the book, became the heart and soul of the magazine, even as its pages became increasingly taken over by celebrities. Through her visual canvases, she interpreted the New Romantic period, grunge and the South Beach blinged out 1990s, and persuaded superstar designers Tom Ford, Marc Jacobs and others to play roles in a shoot based on "Alice in Wonderland."She sums up her creative process this way: "For me, one of the most important aspects of my work is to give people something to dream about, just as I used to dream all those years ago as a child looking at beautiful photographs."The book ends with a chapter on then and now. "Fashion has changed so much in my lifetime," Coddington writes. "Today, I find myself at the collections, asking, 'Who are all these people?' Sometimes I think I'm the last remaining person who comes to the shows for the pleasure of seeing the clothes."At 71, she seldom wears makeup and doesn't socialize much. But her attempt in the last 100 pages to distance herself from the term "fashionista" is a bit of a stretch. Clearly, Coddington has led a most charmed life. Otherwise, we wouldn't be reading about it.We provide this community forum for readers to exchange ideas and opinions on the news of the day. Passionate views, pointed criticism and critical thinking are welcome. Comments can only be submitted by registered users. By posting comments on our site, you are agreeing to the following terms:
Lady Griz hand Selvig 800th career win with 68 61 victory over PortlandGriz up to fifth in TSN poll, highest ranking of seasonBig Sky honors Sac State QB SafronNorth Dakota football coach firedSince 1897, the Cat Griz rivalry has captivated the stateFamily health: Prepare yourself and your vehicle for winter drivingFitness calendarBirths for Tuesday, November 19Angler with 4th place total takes Fall Mack Days fishing tournament titleWestern Montana hunters get help from fresh snow, rutIf the name Grace Coddington is familiar, you've probably seen the 2009 documentary film "The September Issue" about Vogue magazine's Editor in Chief Anna Wintour, the most feared and revered woman in fashion. Now Coddington, the longtime creative director of Vogue, has her own star vehicle, an engaging memoir titled "Grace," co written with Michael Roberts. For anyone with a passing interest in the fashion industry, it's worth a read for the name dropping alone.As became clear in the film, which chronicled the magazine's staff as they put together the 4 pound September 2007 issue, Coddington is not the Anna Wintour or Diana Vreeland type. You won't hear her barking orders at assistants or making dramatic pronouncements about pink.But she is equally passionate, a wild haired dreamer who thinks that fashion should be transporting, provocative and even intellectual, who bemoans the dominance of celebrities and digital hocus pocus in fashion photography and who isn't afraid to take on Wintour.The book is a window into how fashion has changed from a small, niche business into a global pop culture medium. It chronicles Coddington's 50 years in the industry, first as a model, then as a fashion editor for British Vogue and finally as creative director for American Vogue, with lots of juicy anecdotes about designers, photographers, celebrities and models.She compares the fashion world then and now and offers clues into her relationship with Wintour. She's also open about her private life, including details about failed marriages, the tragic death of her sister Rosemary and her 30 year romance with French hairstylist Didier Malige. She tells colorful stories behind many of the fashion shoots she has styled, but I do wish she had offered more insight into her role in the creative process.Coddington begins by painting a picture of her upbringing as romantic as any photo shoot. For her first 18 years, her home was the Trearddur Bay Hotel on the island of Anglesey off the coast of North Wales. "Although it was bleak, I saw beauty in the bleakness." When she wasn't outdoors, she amused herself by looking at picture books, reading fairy tales and, yes, studying the pages of Vogue magazine. As a teen, she went to a convent school and has vivid memories of the nuns roller skating on the rooftop, "flapping about surreally in their robes like crows on wheels."At 18, she moved to London to attend a modeling course advertised in Vogue. The fashion world was much different in 1959. Coddington had to learn how to apply her own makeup and style her own hair, because makeup artists and hairdressers specializing in photo shoots were nonexistent. A meeting with photographer Norman Parkinson led to her first modeling job running naked through the woods for an arty fashion catalog.Coddington became an overnight success. "I was a character, rather than a pretty model, and I suppose that's exactly what I look for in the girls I now select to put in American Vogue the ones who are quirky looking."She earned the nickname "The Cod" (to Jean Shrimpton's "The Shrimp"), danced the twist on Mary Quant's catwalk and became a muse to Vidal Sassoon, who created his famous five point cut on Coddington. Her modeling career was derailed for two years by a car accident, which scarred her left eyelid. But eventually things picked up again, and she settled into life in 1960s swinging London and Paris, hanging out with a fast crowd that included Michael Caine, Jane Birkin, the Beatles and the Rolling Stones.Her fashion editing career coincided with the beginning of her relationship with Michael Chow and the opening of his glamorous restaurant Mr. Chow, which attracted a starry crowd. "Naturally, we were forever being photographed at home, draped among our symbols of 'with it ness' as one of London's most happening couples; him, the cool young restaurateur, nonchalantly swinging in a hammock hung from the minstrel's gallery and me, the sophisticated style maker, perkily sitting cross legged atop a giant pop art version of a Campbell's soup can."At the height of the bohemian 1970s, she dyed her hair with henna and permed it (it would stay the same for much of the next 40 years), dressed almost exclusively in Yves Saint Laurent, had a fling with a Vietnamese photographer and spent her evenings at Club Sept in Paris. Coddington worked with the who's who of fashion. She shot Anjelica Huston with photographer David Bailey and Pat Cleveland with Helmut Newton.When Bea Miller, who had edited British Vogue for 22 years, retired, Coddington interviewed for the job but says she knew deep down she wasn't suited for it and thought that Wintour, then the creative director of American Vogue, should get it.Wintour did get it. Two days into her editorship, she invited Coddington to a screening of the racy film "Betty Blue." The two sat in dead silence through the opening sequence, a vivid five minute sex scene."Anna was rigid and unmoving. No sign of any emotion at all," Coddington writes. "I then realized how much significance Anna places on willpower trumping feelings."In 1988, when Wintour was appointed editor in chief at American Vogue, Coddington asked to join her. Coddington's narrative style fashion features and travelogues, a sampling of which appear in the book, became the heart and soul of the magazine, even as its pages became increasingly taken over by celebrities. Through her visual canvases, she interpreted the New Romantic period, grunge and the South Beach blinged out 1990s, and persuaded superstar designers Tom Ford, Marc Jacobs and others to play roles in a shoot based on "Alice in Wonderland."She sums up her creative process this way: "For me, one of the most important aspects of my work is to give people something to dream about, just as I used to dream all those years ago as a child looking at beautiful photographs."The book ends with a chapter on then and now. "Fashion has changed so much in my lifetime," Coddington writes. "Today, I find myself at the collections, asking, 'Who are all these people?' Sometimes I think I'm the last remaining person who comes to the shows for the pleasure of seeing the clothes."At 71, she seldom wears makeup and doesn't socialize much. But her attempt in the last 100 pages to distance herself from the term "fashionista" is a bit of a stretch. Clearly, Coddington has led a most charmed life. Otherwise, we wouldn't be reading about it.We provide this community forum for readers to exchange ideas and opinions on the news of the day. Passionate views, pointed criticism and critical thinking are welcome. Comments can only be submitted by registered users. By posting comments on our site, you are agreeing to the following terms:
Lady Griz hand Selvig 800th career win with 68 61 victory over PortlandGriz up to fifth in TSN poll, highest ranking of seasonBig Sky honors Sac State QB SafronNorth Dakota football coach firedSince 1897, the Cat Griz rivalry has captivated the stateFamily health: Prepare yourself and your vehicle for winter drivingFitness calendarBirths for Tuesday, November 19Angler with 4th place total takes Fall Mack Days fishing tournament titleWestern Montana hunters get help from fresh snow, rutIf the name Grace Coddington is familiar, you've probably seen the 2009 documentary film "The September Issue" about Vogue magazine's Editor in Chief Anna Wintour, the most feared and revered woman in fashion. Now Coddington, the longtime creative director of Vogue, has her own star vehicle, an engaging memoir titled "Grace," co written with Michael Roberts. For anyone with a passing interest in the fashion industry, it's worth a read for the name dropping alone.As became clear in the film, which chronicled the magazine's staff as they put together the 4 pound September 2007 issue, Coddington is not the Anna Wintour or Diana Vreeland type. You won't hear her barking orders at assistants or making dramatic pronouncements about pink.But she is equally passionate, a wild haired dreamer who thinks that fashion should be transporting, provocative and even intellectual, who bemoans the dominance of celebrities and digital hocus pocus in fashion photography and who isn't afraid to take on Wintour.The book is a window into how fashion has changed from a small, niche business into a global pop culture medium. It chronicles Coddington's 50 years in the industry, first as a model, then as a fashion editor for British Vogue and finally as creative director for American Vogue, with lots of juicy anecdotes about designers, photographers, celebrities and models.She compares the fashion world then and now and offers clues into her relationship with Wintour. She's also open about her private life, including details about failed marriages, the tragic death of her sister Rosemary and her 30 year romance with French hairstylist Didier Malige. She tells colorful stories behind many of the fashion shoots she has styled, but I do wish she had offered more insight into her role in the creative process.Coddington begins by painting a picture of her upbringing as romantic as any photo shoot. For her first 18 years, her home was the Trearddur Bay Hotel on the island of Anglesey off the coast of North Wales. "Although it was bleak, I saw beauty in the bleakness." When she wasn't outdoors, she amused herself by looking at picture books, reading fairy tales and, yes, studying the pages of Vogue magazine. As a teen, she went to a convent school and has vivid memories of the nuns roller skating on the rooftop, "flapping about surreally in their robes like crows on wheels."At 18, she moved to London to attend a modeling course advertised in Vogue. The fashion world was much different in 1959. Coddington had to learn how to apply her own makeup and style her own hair, because makeup artists and hairdressers specializing in photo shoots were nonexistent. A meeting with photographer Norman Parkinson led to her first modeling job running naked through the woods for an arty fashion catalog.Coddington became an overnight success. "I was a character, rather than a pretty model, and I suppose that's exactly what I look for in the girls I now select to put in American Vogue the ones who are quirky looking."She earned the nickname "The Cod" (to Jean Shrimpton's "The Shrimp"), danced the twist on Mary Quant's catwalk and became a muse to Vidal Sassoon, who created his famous five point cut on Coddington. Her modeling career was derailed for two years by a car accident, which scarred her left eyelid. But eventually things picked up again, and she settled into life in 1960s swinging London and Paris, hanging out with a fast crowd that included Michael Caine, Jane Birkin, the Beatles and the Rolling Stones.Her fashion editing career coincided with the beginning of her relationship with Michael Chow and the opening of his glamorous restaurant Mr. Chow, which attracted a starry crowd. "Naturally, we were forever being photographed at home, draped among our symbols of 'with it ness' as one of London's most happening couples; him, the cool young restaurateur, nonchalantly swinging in a hammock hung from the minstrel's gallery and me, the sophisticated style maker, perkily sitting cross legged atop a giant pop art version of a Campbell's soup can."At the height of the bohemian 1970s, she dyed her hair with henna and permed it (it would stay the same for much of the next 40 years), dressed almost exclusively in Yves Saint Laurent, had a fling with a Vietnamese photographer and spent her evenings at Club Sept in Paris. Coddington worked with the who's who of fashion. She shot Anjelica Huston with photographer David Bailey and Pat Cleveland with Helmut Newton.When Bea Miller, who had edited British Vogue for 22 years, retired, Coddington interviewed for the job but says she knew deep down she wasn't suited for it and thought that Wintour, then the creative director of American Vogue, should get it.Wintour did get it. Two days into her editorship, she invited Coddington to a screening of the racy film "Betty Blue." The two sat in dead silence through the opening sequence, a vivid five minute sex scene."Anna was rigid and unmoving. No sign of any emotion at all," Coddington writes. "I then realized how much significance Anna places on willpower trumping feelings."In 1988, when Wintour was appointed editor in chief at American Vogue, Coddington asked to join her. Coddington's narrative style fashion features and travelogues, a sampling of which appear in the book, became the heart and soul of the magazine, even as its pages became increasingly taken over by celebrities. Through her visual canvases, she interpreted the New Romantic period, grunge and the South Beach blinged out 1990s, and persuaded superstar designers Tom Ford, Marc Jacobs and others to play roles in a shoot based on "Alice in Wonderland."She sums up her creative process this way: "For me, one of the most important aspects of my work is to give people something to dream about, just as I used to dream all those years ago as a child looking at beautiful photographs."The book ends with a chapter on then and now. "Fashion has changed so much in my lifetime," Coddington writes. "Today, I find myself at the collections, asking, 'Who are all these people?' Sometimes I think I'm the last remaining person who comes to the shows for the pleasure of seeing the clothes."At 71, she seldom wears makeup and doesn't socialize much. But her attempt in the last 100 pages to distance herself from the term "fashionista" is a bit of a stretch. Clearly, Coddington has led a most charmed life. Otherwise, we wouldn't be reading about it.We provide this community forum for readers to exchange ideas and opinions on the news of the day. Passionate views, pointed criticism and critical thinking are welcome. Comments can only be submitted by registered users. By posting comments on our site, you are agreeing to the following terms:
Lady Griz hand Selvig 800th career win with 68 61 victory over PortlandGriz up to fifth in TSN poll, highest ranking of seasonBig Sky honors Sac State QB SafronNorth Dakota football coach firedSince 1897, the Cat Griz rivalry has captivated the stateFamily health: Prepare yourself and your vehicle for winter drivingFitness calendarBirths for Tuesday, November 19Angler with 4th place total takes Fall Mack Days fishing tournament titleWestern Montana hunters get help from fresh snow, rutIf the name Grace Coddington is familiar, you've probably seen the 2009 documentary film "The September Issue" about Vogue magazine's Editor in Chief Anna Wintour, the most feared and revered woman in fashion. Now Coddington, the longtime creative director of Vogue, has her own star vehicle, an engaging memoir titled "Grace," co written with Michael Roberts. For anyone with a passing interest in the fashion industry, it's worth a read for the name dropping alone.As became clear in the film, which chronicled the magazine's staff as they put together the 4 pound September 2007 issue, Coddington is not the Anna Wintour or Diana Vreeland type. You won't hear her barking orders at assistants or making dramatic pronouncements about pink.But she is equally passionate, a wild haired dreamer who thinks that fashion should be transporting, provocative and even intellectual, who bemoans the dominance of celebrities and digital hocus pocus in fashion photography and who isn't afraid to take on Wintour.The book is a window into how fashion has changed from a small, niche business into a global pop culture medium. It chronicles Coddington's 50 years in the industry, first as a model, then as a fashion editor for British Vogue and finally as creative director for American Vogue, with lots of juicy anecdotes about designers, photographers, celebrities and models.She compares the fashion world then and now and offers clues into her relationship with Wintour. She's also open about her private life, including details about failed marriages, the tragic death of her sister Rosemary and her 30 year romance with French hairstylist Didier Malige. She tells colorful stories behind many of the fashion shoots she has styled, but I do wish she had offered more insight into her role in the creative process.Coddington begins by painting a picture of her upbringing as romantic as any photo shoot. For her first 18 years, her home was the Trearddur Bay Hotel on the island of Anglesey off the coast of North Wales. "Although it was bleak, I saw beauty in the bleakness." When she wasn't outdoors, she amused herself by looking at picture books, reading fairy tales and, yes, studying the pages of Vogue magazine. As a teen, she went to a convent school and has vivid memories of the nuns roller skating on the rooftop, "flapping about surreally in their robes like crows on wheels."At 18, she moved to London to attend a modeling course advertised in Vogue. The fashion world was much different in 1959. Coddington had to learn how to apply her own makeup and style her own hair, because makeup artists and hairdressers specializing in photo shoots were nonexistent. A meeting with photographer Norman Parkinson led to her first modeling job running naked through the woods for an arty fashion catalog.Coddington became an overnight success. "I was a character, rather than a pretty model, and I suppose that's exactly what I look for in the girls I now select to put in American Vogue the ones who are quirky looking."She earned the nickname "The Cod" (to Jean Shrimpton's "The Shrimp"), danced the twist on Mary Quant's catwalk and became a muse to Vidal Sassoon, who created his famous five point cut on Coddington. Her modeling career was derailed for two years by a car accident, which scarred her left eyelid. But eventually things picked up again, and she settled into life in 1960s swinging London and Paris, hanging out with a fast crowd that included Michael Caine, Jane Birkin, the Beatles and the Rolling Stones.Her fashion editing career coincided with the beginning of her relationship with Michael Chow and the opening of his glamorous restaurant Mr. Chow, which attracted a starry crowd. "Naturally, we were forever being photographed at home, draped among our symbols of 'with it ness' as one of London's most happening couples; him, the cool young restaurateur, nonchalantly swinging in a hammock hung from the minstrel's gallery and me, the sophisticated style maker, perkily sitting cross legged atop a giant pop art version of a Campbell's soup can."At the height of the bohemian 1970s, she dyed her hair with henna and permed it (it would stay the same for much of the next 40 years), dressed almost exclusively in Yves Saint Laurent, had a fling with a Vietnamese photographer and spent her evenings at Club Sept in Paris. Coddington worked with the who's who of fashion. She shot Anjelica Huston with photographer David Bailey and Pat Cleveland with Helmut Newton.When Bea Miller, who had edited British Vogue for 22 years, retired, Coddington interviewed for the job but says she knew deep down she wasn't suited for it and thought that Wintour, then the creative director of American Vogue, should get it.Wintour did get it. Two days into her editorship, she invited Coddington to a screening of the racy film "Betty Blue." The two sat in dead silence through the opening sequence, a vivid five minute sex scene."Anna was rigid and unmoving. No sign of any emotion at all," Coddington writes. "I then realized how much significance Anna places on willpower trumping feelings."In 1988, when Wintour was appointed editor in chief at American Vogue, Coddington asked to join her. Coddington's narrative style fashion features and travelogues, a sampling of which appear in the book, became the heart and soul of the magazine, even as its pages became increasingly taken over by celebrities. Through her visual canvases, she interpreted the New Romantic period, grunge and the South Beach blinged out 1990s, and persuaded superstar designers Tom Ford, Marc Jacobs and others to play roles in a shoot based on "Alice in Wonderland."She sums up her creative process this way: "For me, one of the most important aspects of my work is to give people something to dream about, just as I used to dream all those years ago as a child looking at beautiful photographs."The book ends with a chapter on then and now. "Fashion has changed so much in my lifetime," Coddington writes. "Today, I find myself at the collections, asking, 'Who are all these people?' Sometimes I think I'm the last remaining person who comes to the shows for the pleasure of seeing the clothes."At 71, she seldom wears makeup and doesn't socialize much. But her attempt in the last 100 pages to distance herself from the term "fashionista" is a bit of a stretch. Clearly, Coddington has led a most charmed life. Otherwise, we wouldn't be reading about it.We provide this community forum for readers to exchange ideas and opinions on the news of the day. Passionate views, pointed criticism and critical thinking are welcome. Comments can only be submitted by registered users. By posting comments on our site, you are agreeing to the following terms:
Lady Griz hand Selvig 800th career win with 68 61 victory over PortlandGriz up to fifth in TSN poll, highest ranking of seasonBig Sky honors Sac State QB SafronNorth Dakota football coach firedSince 1897, the Cat Griz rivalry has captivated the stateFamily health: Prepare yourself and your vehicle for winter drivingFitness calendarBirths for Tuesday, November 19Angler with 4th place total takes Fall Mack Days fishing tournament titleWestern Montana hunters get help from fresh snow, rutIf the name Grace Coddington is familiar, you've probably seen the 2009 documentary film "The September Issue" about Vogue magazine's Editor in Chief Anna Wintour, the most feared and revered woman in fashion. Now Coddington, the longtime creative director of Vogue, has her own star vehicle, an engaging memoir titled "Grace," co written with Michael Roberts. For anyone with a passing interest in the fashion industry, it's worth a read for the name dropping alone.As became clear in the film, which chronicled the magazine's staff as they put together the 4 pound September 2007 issue, Coddington is not the Anna Wintour or Diana Vreeland type. You won't hear her barking orders at assistants or making dramatic pronouncements about pink.But she is equally passionate, a wild haired dreamer who thinks that fashion should be transporting, provocative and even intellectual, who bemoans the dominance of celebrities and digital hocus pocus in fashion photography and who isn't afraid to take on Wintour.The book is a window into how fashion has changed from a small, niche business into a global pop culture medium. It chronicles Coddington's 50 years in the industry, first as a model, then as a fashion editor for British Vogue and finally as creative director for American Vogue, with lots of juicy anecdotes about designers, photographers, celebrities and models.She compares the fashion world then and now and offers clues into her relationship with Wintour. She's also open about her private life, including details about failed marriages, the tragic death of her sister Rosemary and her 30 year romance with French hairstylist Didier Malige. She tells colorful stories behind many of the fashion shoots she has styled, but I do wish she had offered more insight into her role in the creative process.Coddington begins by painting a picture of her upbringing as romantic as any photo shoot. For her first 18 years, her home was the Trearddur Bay Hotel on the island of Anglesey off the coast of North Wales. "Although it was bleak, I saw beauty in the bleakness." When she wasn't outdoors, she amused herself by looking at picture books, reading fairy tales and, yes, studying the pages of Vogue magazine. As a teen, she went to a convent school and has vivid memories of the nuns roller skating on the rooftop, "flapping about surreally in their robes like crows on wheels."At 18, she moved to London to attend a modeling course advertised in Vogue. The fashion world was much different in 1959. Coddington had to learn how to apply her own makeup and style her own hair, because makeup artists and hairdressers specializing in photo shoots were nonexistent. A meeting with photographer Norman Parkinson led to her first modeling job running naked through the woods for an arty fashion catalog.Coddington became an overnight success. "I was a character, rather than a pretty model, and I suppose that's exactly what I look for in the girls I now select to put in American Vogue the ones who are quirky looking."She earned the nickname "The Cod" (to Jean Shrimpton's "The Shrimp"), danced the twist on Mary Quant's catwalk and became a muse to Vidal Sassoon, who created his famous five point cut on Coddington. Her modeling career was derailed for two years by a car accident, which scarred her left eyelid. But eventually things picked up again, and she settled into life in 1960s swinging London and Paris, hanging out with a fast crowd that included Michael Caine, Jane Birkin, the Beatles and the Rolling Stones.Her fashion editing career coincided with the beginning of her relationship with Michael Chow and the opening of his glamorous restaurant Mr. Chow, which attracted a starry crowd. "Naturally, we were forever being photographed at home, draped among our symbols of 'with it ness' as one of London's most happening couples; him, the cool young restaurateur, nonchalantly swinging in a hammock hung from the minstrel's gallery and me, the sophisticated style maker, perkily sitting cross legged atop a giant pop art version of a Campbell's soup can."At the height of the bohemian 1970s, she dyed her hair with henna and permed it (it would stay the same for much of the next 40 years), dressed almost exclusively in Yves Saint Laurent, had a fling with a Vietnamese photographer and spent her evenings at Club Sept in Paris. Coddington worked with the who's who of fashion. She shot Anjelica Huston with photographer David Bailey and Pat Cleveland with Helmut Newton.When Bea Miller, who had edited British Vogue for 22 years, retired, Coddington interviewed for the job but says she knew deep down she wasn't suited for it and thought that Wintour, then the creative director of American Vogue, should get it.Wintour did get it. Two days into her editorship, she invited Coddington to a screening of the racy film "Betty Blue." The two sat in dead silence through the opening sequence, a vivid five minute sex scene."Anna was rigid and unmoving. No sign of any emotion at all," Coddington writes. "I then realized how much significance Anna places on willpower trumping feelings."In 1988, when Wintour was appointed editor in chief at American Vogue, Coddington asked to join her. Coddington's narrative style fashion features and travelogues, a sampling of which appear in the book, became the heart and soul of the magazine, even as its pages became increasingly taken over by celebrities. Through her visual canvases, she interpreted the New Romantic period, grunge and the South Beach blinged out 1990s, and persuaded superstar designers Tom Ford, Marc Jacobs and others to play roles in a shoot based on "Alice in Wonderland."She sums up her creative process this way: "For me, one of the most important aspects of my work is to give people something to dream about, just as I used to dream all those years ago as a child looking at beautiful photographs."The book ends with a chapter on then and now. "Fashion has changed so much in my lifetime," Coddington writes. "Today, I find myself at the collections, asking, 'Who are all these people?' Sometimes I think I'm the last remaining person who comes to the shows for the pleasure of seeing the clothes."At 71, she seldom wears makeup and doesn't socialize much. But her attempt in the last 100 pages to distance herself from the term "fashionista" is a bit of a stretch. Clearly, Coddington has led a most charmed life. Otherwise, we wouldn't be reading about it.We provide this community forum for readers to exchange ideas and opinions on the news of the day. Passionate views, pointed criticism and critical thinking are welcome. Comments can only be submitted by registered users. By posting comments on our site, you are agreeing to the following terms:
Lady Griz hand Selvig 800th career win with 68 61 victory over PortlandGriz up to fifth in TSN poll, highest ranking of seasonBig Sky honors Sac State QB SafronNorth Dakota football coach firedSince 1897, the Cat Griz rivalry has captivated the stateFamily health: Prepare yourself and your vehicle for winter drivingFitness calendarBirths for Tuesday, November 19Angler with 4th place total takes Fall Mack Days fishing tournament titleWestern Montana hunters get help from fresh snow, rutIf the name Grace Coddington is familiar, you've probably seen the 2009 documentary film "The September Issue" about Vogue magazine's Editor in Chief Anna Wintour, the most feared and revered woman in fashion. Now Coddington, the longtime creative director of Vogue, has her own star vehicle, an engaging memoir titled "Grace," co written with Michael Roberts. For anyone with a passing interest in the fashion industry, it's worth a read for the name dropping alone.As became clear in the film, which chronicled the magazine's staff as they put together the 4 pound September 2007 issue, Coddington is not the Anna Wintour or Diana Vreeland type. You won't hear her barking orders at assistants or making dramatic pronouncements about pink.But she is equally passionate, a wild haired dreamer who thinks that fashion should be transporting, provocative and even intellectual, who bemoans the dominance of celebrities and digital hocus pocus in fashion photography and who isn't afraid to take on Wintour.The book is a window into how fashion has changed from a small, niche business into a global pop culture medium. It chronicles Coddington's 50 years in the industry, first as a model, then as a fashion editor for British Vogue and finally as creative director for American Vogue, with lots of juicy anecdotes about designers, photographers, celebrities and models.She compares the fashion world then and now and offers clues into her relationship with Wintour. She's also open about her private life, including details about failed marriages, the tragic death of her sister Rosemary and her 30 year romance with French hairstylist Didier Malige. She tells colorful stories behind many of the fashion shoots she has styled, but I do wish she had offered more insight into her role in the creative process.Coddington begins by painting a picture of her upbringing as romantic as any photo shoot. For her first 18 years, her home was the Trearddur Bay Hotel on the island of Anglesey off the coast of North Wales. "Although it was bleak, I saw beauty in the bleakness." When she wasn't outdoors, she amused herself by looking at picture books, reading fairy tales and, yes, studying the pages of Vogue magazine. As a teen, she went to a convent school and has vivid memories of the nuns roller skating on the rooftop, "flapping about surreally in their robes like crows on wheels."At 18, she moved to London to attend a modeling course advertised in Vogue. The fashion world was much different in 1959. Coddington had to learn how to apply her own makeup and style her own hair, because makeup artists and hairdressers specializing in photo shoots were nonexistent. A meeting with photographer Norman Parkinson led to her first modeling job running naked through the woods for an arty fashion catalog.Coddington became an overnight success. "I was a character, rather than a pretty model, and I suppose that's exactly what I look for in the girls I now select to put in American Vogue the ones who are quirky looking."She earned the nickname "The Cod" (to Jean Shrimpton's "The Shrimp"), danced the twist on Mary Quant's catwalk and became a muse to Vidal Sassoon, who created his famous five point cut on Coddington. Her modeling career was derailed for two years by a car accident, which scarred her left eyelid. But eventually things picked up again, and she settled into life in 1960s swinging London and Paris, hanging out with a fast crowd that included Michael Caine, Jane Birkin, the Beatles and the Rolling Stones.Her fashion editing career coincided with the beginning of her relationship with Michael Chow and the opening of his glamorous restaurant Mr. Chow, which attracted a starry crowd. "Naturally, we were forever being photographed at home, draped among our symbols of 'with it ness' as one of London's most happening couples; him, the cool young restaurateur, nonchalantly swinging in a hammock hung from the minstrel's gallery and me, the sophisticated style maker, perkily sitting cross legged atop a giant pop art version of a Campbell's soup can."At the height of the bohemian 1970s, she dyed her hair with henna and permed it (it would stay the same for much of the next 40 years), dressed almost exclusively in Yves Saint Laurent, had a fling with a Vietnamese photographer and spent her evenings at Club Sept in Paris. Coddington worked with the who's who of fashion. She shot Anjelica Huston with photographer David Bailey and Pat Cleveland with Helmut Newton.When Bea Miller, who had edited British Vogue for 22 years, retired, Coddington interviewed for the job but says she knew deep down she wasn't suited for it and thought that Wintour, then the creative director of American Vogue, should get it.Wintour did get it. Two days into her editorship, she invited Coddington to a screening of the racy film "Betty Blue." The two sat in dead silence through the opening sequence, a vivid five minute sex scene."Anna was rigid and unmoving. No sign of any emotion at all," Coddington writes. "I then realized how much significance Anna places on willpower trumping feelings."In 1988, when Wintour was appointed editor in chief at American Vogue, Coddington asked to join her. Coddington's narrative style fashion features and travelogues, a sampling of which appear in the book, became the heart and soul of the magazine, even as its pages became increasingly taken over by celebrities. Through her visual canvases, she interpreted the New Romantic period, grunge and the South Beach blinged out 1990s, and persuaded superstar designers Tom Ford, Marc Jacobs and others to play roles in a shoot based on "Alice in Wonderland."She sums up her creative process this way: "For me, one of the most important aspects of my work is to give people something to dream about, just as I used to dream all those years ago as a child looking at beautiful photographs."The book ends with a chapter on then and now. "Fashion has changed so much in my lifetime," Coddington writes. "Today, I find myself at the collections, asking, 'Who are all these people?' Sometimes I think I'm the last remaining person who comes to the shows for the pleasure of seeing the clothes."At 71, she seldom wears makeup and doesn't socialize much. But her attempt in the last 100 pages to distance herself from the term "fashionista" is a bit of a stretch. Clearly, Coddington has led a most charmed life. Otherwise, we wouldn't be reading about it.We provide this community forum for readers to exchange ideas and opinions on the news of the day. Passionate views, pointed criticism and critical thinking are welcome. Comments can only be submitted by registered users. By posting comments on our site, you are agreeing to the following terms:
Lady Griz hand Selvig 800th career win with 68 61 victory over PortlandGriz up to fifth in TSN poll, highest ranking of seasonBig Sky honors Sac State QB SafronNorth Dakota football coach firedSince 1897, the Cat Griz rivalry has captivated the stateFamily health: Prepare yourself and your vehicle for winter drivingFitness calendarBirths for Tuesday, November 19Angler with 4th place total takes Fall Mack Days fishing tournament titleWestern Montana hunters get help from fresh snow, rutIf the name Grace Coddington is familiar, you've probably seen the 2009 documentary film "The September Issue" about Vogue magazine's Editor in Chief Anna Wintour, the most feared and revered woman in fashion. Now Coddington, the longtime creative director of Vogue, has her own star vehicle, an engaging memoir titled "Grace," co written with Michael Roberts. For anyone with a passing interest in the fashion industry, it's worth a read for the name dropping alone.As became clear in the film, which chronicled the magazine's staff as they put together the 4 pound September 2007 issue, Coddington is not the Anna Wintour or Diana Vreeland type. You won't hear her barking orders at assistants or making dramatic pronouncements about pink.But she is equally passionate, a wild haired dreamer who thinks that fashion should be transporting, provocative and even intellectual, who bemoans the dominance of celebrities and digital hocus pocus in fashion photography and who isn't afraid to take on Wintour.The book is a window into how fashion has changed from a small, niche business into a global pop culture medium. It chronicles Coddington's 50 years in the industry, first as a model, then as a fashion editor for British Vogue and finally as creative director for American Vogue, with lots of juicy anecdotes about designers, photographers, celebrities and models.She compares the fashion world then and now and offers clues into her relationship with Wintour. She's also open about her private life, including details about failed marriages, the tragic death of her sister Rosemary and her 30 year romance with French hairstylist Didier Malige. She tells colorful stories behind many of the fashion shoots she has styled, but I do wish she had offered more insight into her role in the creative process.Coddington begins by painting a picture of her upbringing as romantic as any photo shoot. For her first 18 years, her home was the Trearddur Bay Hotel on the island of Anglesey off the coast of North Wales. "Although it was bleak, I saw beauty in the bleakness." When she wasn't outdoors, she amused herself by looking at picture books, reading fairy tales and, yes, studying the pages of Vogue magazine. As a teen, she went to a convent school and has vivid memories of the nuns roller skating on the rooftop, "flapping about surreally in their robes like crows on wheels."At 18, she moved to London to attend a modeling course advertised in Vogue. The fashion world was much different in 1959. Coddington had to learn how to apply her own makeup and style her own hair, because makeup artists and hairdressers specializing in photo shoots were nonexistent. A meeting with photographer Norman Parkinson led to her first modeling job running naked through the woods for an arty fashion catalog.Coddington became an overnight success. "I was a character, rather than a pretty model, and I suppose that's exactly what I look for in the girls I now select to put in American Vogue the ones who are quirky looking."She earned the nickname "The Cod" (to Jean Shrimpton's "The Shrimp"), danced the twist on Mary Quant's catwalk and became a muse to Vidal Sassoon, who created his famous five point cut on Coddington. Her modeling career was derailed for two years by a car accident, which scarred her left eyelid. But eventually things picked up again, and she settled into life in 1960s swinging London and Paris, hanging out with a fast crowd that included Michael Caine, Jane Birkin, the Beatles and the Rolling Stones.Her fashion editing career coincided with the beginning of her relationship with Michael Chow and the opening of his glamorous restaurant Mr. Chow, which attracted a starry crowd. "Naturally, we were forever being photographed at home, draped among our symbols of 'with it ness' as one of London's most happening couples; him, the cool young restaurateur, nonchalantly swinging in a hammock hung from the minstrel's gallery and me, the sophisticated style maker, perkily sitting cross legged atop a giant pop art version of a Campbell's soup can."At the height of the bohemian 1970s, she dyed her hair with henna and permed it (it would stay the same for much of the next 40 years), dressed almost exclusively in Yves Saint Laurent, had a fling with a Vietnamese photographer and spent her evenings at Club Sept in Paris. Coddington worked with the who's who of fashion. She shot Anjelica Huston with photographer David Bailey and Pat Cleveland with Helmut Newton.When Bea Miller, who had edited British Vogue for 22 years, retired, Coddington interviewed for the job but says she knew deep down she wasn't suited for it and thought that Wintour, then the creative director of American Vogue, should get it.Wintour did get it. Two days into her editorship, she invited Coddington to a screening of the racy film "Betty Blue." The two sat in dead silence through the opening sequence, a vivid five minute sex scene."Anna was rigid and unmoving. No sign of any emotion at all," Coddington writes. "I then realized how much significance Anna places on willpower trumping feelings."In 1988, when Wintour was appointed editor in chief at American Vogue, Coddington asked to join her. Coddington's narrative style fashion features and travelogues, a sampling of which appear in the book, became the heart and soul of the magazine, even as its pages became increasingly taken over by celebrities. Through her visual canvases, she interpreted the New Romantic period, grunge and the South Beach blinged out 1990s, and persuaded superstar designers Tom Ford, Marc Jacobs and others to play roles in a shoot based on "Alice in Wonderland."She sums up her creative process this way: "For me, one of the most important aspects of my work is to give people something to dream about, just as I used to dream all those years ago as a child looking at beautiful photographs."The book ends with a chapter on then and now. "Fashion has changed so much in my lifetime," Coddington writes. "Today, I find myself at the collections, asking, 'Who are all these people?' Sometimes I think I'm the last remaining person who comes to the shows for the pleasure of seeing the clothes."At 71, she seldom wears makeup and doesn't socialize much. But her attempt in the last 100 pages to distance herself from the term "fashionista" is a bit of a stretch. Clearly, Coddington has led a most charmed life. Otherwise, we wouldn't be reading about it.We provide this community forum for readers to exchange ideas and opinions on the news of the day. Passionate views, pointed criticism and critical thinking are welcome. Comments can only be submitted by registered users. By posting comments on our site, you are agreeing to the following terms:
Lady Griz hand Selvig 800th career win with 68 61 victory over PortlandGriz up to fifth in TSN poll, highest ranking of seasonBig Sky honors Sac State QB SafronNorth Dakota football coach firedSince 1897, the Cat Griz rivalry has captivated the stateFamily health: Prepare yourself and your vehicle for winter drivingFitness calendarBirths for Tuesday, November 19Angler with 4th place total takes Fall Mack Days fishing tournament titleWestern Montana hunters get help from fresh snow, rutIf the name Grace Coddington is familiar, you've probably seen the 2009 documentary film "The September Issue" about Vogue magazine's Editor in Chief Anna Wintour, the most feared and revered woman in fashion. Now Coddington, the longtime creative director of Vogue, has her own star vehicle, an engaging memoir titled "Grace," co written with Michael Roberts. For anyone with a passing interest in the fashion industry, it's worth a read for the name dropping alone.As became clear in the film, which chronicled the magazine's staff as they put together the 4 pound September 2007 issue, Coddington is not the Anna Wintour or Diana Vreeland type. You won't hear her barking orders at assistants or making dramatic pronouncements about pink.But she is equally passionate, a wild haired dreamer who thinks that fashion should be transporting, provocative and even intellectual, who bemoans the dominance of celebrities and digital hocus pocus in fashion photography and who isn't afraid to take on Wintour.The book is a window into how fashion has changed from a small, niche business into a global pop culture medium. It chronicles Coddington's 50 years in the industry, first as a model, then as a fashion editor for British Vogue and finally as creative director for American Vogue, with lots of juicy anecdotes about designers, photographers, celebrities and models.She compares the fashion world then and now and offers clues into her relationship with Wintour. She's also open about her private life, including details about failed marriages, the tragic death of her sister Rosemary and her 30 year romance with French hairstylist Didier Malige. She tells colorful stories behind many of the fashion shoots she has styled, but I do wish she had offered more insight into her role in the creative process.Coddington begins by painting a picture of her upbringing as romantic as any photo shoot. For her first 18 years, her home was the Trearddur Bay Hotel on the island of Anglesey off the coast of North Wales. "Although it was bleak, I saw beauty in the bleakness." When she wasn't outdoors, she amused herself by looking at picture books, reading fairy tales and, yes, studying the pages of Vogue magazine. As a teen, she went to a convent school and has vivid memories of the nuns roller skating on the rooftop, "flapping about surreally in their robes like crows on wheels."At 18, she moved to London to attend a modeling course advertised in Vogue. The fashion world was much different in 1959. Coddington had to learn how to apply her own makeup and style her own hair, because makeup artists and hairdressers specializing in photo shoots were nonexistent. A meeting with photographer Norman Parkinson led to her first modeling job running naked through the woods for an arty fashion catalog.Coddington became an overnight success. "I was a character, rather than a pretty model, and I suppose that's exactly what I look for in the girls I now select to put in American Vogue the ones who are quirky looking."She earned the nickname "The Cod" (to Jean Shrimpton's "The Shrimp"), danced the twist on Mary Quant's catwalk and became a muse to Vidal Sassoon, who created his famous five point cut on Coddington. Her modeling career was derailed for two years by a car accident, which scarred her left eyelid. But eventually things picked up again, and she settled into life in 1960s swinging London and Paris, hanging out with a fast crowd that included Michael Caine, Jane Birkin, the Beatles and the Rolling Stones.Her fashion editing career coincided with the beginning of her relationship with Michael Chow and the opening of his glamorous restaurant Mr. Chow, which attracted a starry crowd. "Naturally, we were forever being photographed at home, draped among our symbols of 'with it ness' as one of London's most happening couples; him, the cool young restaurateur, nonchalantly swinging in a hammock hung from the minstrel's gallery and me, the sophisticated style maker, perkily sitting cross legged atop a giant pop art version of a Campbell's soup can."At the height of the bohemian 1970s, she dyed her hair with henna and permed it (it would stay the same for much of the next 40 years), dressed almost exclusively in Yves Saint Laurent, had a fling with a Vietnamese photographer and spent her evenings at Club Sept in Paris. Coddington worked with the who's who of fashion. She shot Anjelica Huston with photographer David Bailey and Pat Cleveland with Helmut Newton.When Bea Miller, who had edited British Vogue for 22 years, retired, Coddington interviewed for the job but says she knew deep down she wasn't suited for it and thought that Wintour, then the creative director of American Vogue, should get it.Wintour did get it. Two days into her editorship, she invited Coddington to a screening of the racy film "Betty Blue." The two sat in dead silence through the opening sequence, a vivid five minute sex scene."Anna was rigid and unmoving. No sign of any emotion at all," Coddington writes. "I then realized how much significance Anna places on willpower trumping feelings."In 1988, when Wintour was appointed editor in chief at American Vogue, Coddington asked to join her. Coddington's narrative style fashion features and travelogues, a sampling of which appear in the book, became the heart and soul of the magazine, even as its pages became increasingly taken over by celebrities. Through her visual canvases, she interpreted the New Romantic period, grunge and the South Beach blinged out 1990s, and persuaded superstar designers Tom Ford, Marc Jacobs and others to play roles in a shoot based on "Alice in Wonderland."She sums up her creative process this way: "For me, one of the most important aspects of my work is to give people something to dream about, just as I used to dream all those years ago as a child looking at beautiful photographs."The book ends with a chapter on then and now. "Fashion has changed so much in my lifetime," Coddington writes. "Today, I find myself at the collections, asking, 'Who are all these people?' Sometimes I think I'm the last remaining person who comes to the shows for the pleasure of seeing the clothes."At 71, she seldom wears makeup and doesn't socialize much. But her attempt in the last 100 pages to distance herself from the term "fashionista" is a bit of a stretch. Clearly, Coddington has led a most charmed life. Otherwise, we wouldn't be reading about it.We provide this community forum for readers to exchange ideas and opinions on the news of the day. Passionate views, pointed criticism and critical thinking are welcome. Comments can only be submitted by registered users. By posting comments on our site, you are agreeing to the following terms:
The exact Louis Vuitton outlet will most certainly be so what I was expecting. There're nice in vogue. I receive heaps of comments if i bring in these individuals.
Lady Griz hand Selvig 800th career win with 68 61 victory over PortlandGriz up to fifth in TSN poll, highest ranking of seasonBig Sky honors Sac State QB SafronNorth Dakota football coach firedSince 1897, the Cat Griz rivalry has captivated the stateFamily health: Prepare yourself and your vehicle for winter drivingFitness calendarBirths for Tuesday, November 19Angler with 4th place total takes Fall Mack Days fishing tournament titleWestern Montana hunters get help from fresh snow, rutIf the name Grace Coddington is familiar, you've probably seen the 2009 documentary film "The September Issue" about Vogue magazine's Editor in Chief Anna Wintour, the most feared and revered woman in fashion. Now Coddington, the longtime creative director of Vogue, has her own star vehicle, an engaging memoir titled "Grace," co written with Michael Roberts. For anyone with a passing interest in the fashion industry, it's worth a read for the name dropping alone.As became clear in the film, which chronicled the magazine's staff as they put together the 4 pound September 2007 issue, Coddington is not the Anna Wintour or Diana Vreeland type. You won't hear her barking orders at assistants or making dramatic pronouncements about pink.But she is equally passionate, a wild haired dreamer who thinks that fashion should be transporting, provocative and even intellectual, who bemoans the dominance of celebrities and digital hocus pocus in fashion photography and who isn't afraid to take on Wintour.The book is a window into how fashion has changed from a small, niche business into a global pop culture medium. It chronicles Coddington's 50 years in the industry, first as a model, then as a fashion editor for British Vogue and finally as creative director for American Vogue, with lots of juicy anecdotes about designers, photographers, celebrities and models.She compares the fashion world then and now and offers clues into her relationship with Wintour. She's also open about her private life, including details about failed marriages, the tragic death of her sister Rosemary and her 30 year romance with French hairstylist Didier Malige. She tells colorful stories behind many of the fashion shoots she has styled, but I do wish she had offered more insight into her role in the creative process.Coddington begins by painting a picture of her upbringing as romantic as any photo shoot. For her first 18 years, her home was the Trearddur Bay Hotel on the island of Anglesey off the coast of North Wales. "Although it was bleak, I saw beauty in the bleakness." When she wasn't outdoors, she amused herself by looking at picture books, reading fairy tales and, yes, studying the pages of Vogue magazine. As a teen, she went to a convent school and has vivid memories of the nuns roller skating on the rooftop, "flapping about surreally in their robes like crows on wheels."At 18, she moved to London to attend a modeling course advertised in Vogue. The fashion world was much different in 1959. Coddington had to learn how to apply her own makeup and style her own hair, because makeup artists and hairdressers specializing in photo shoots were nonexistent. A meeting with photographer Norman Parkinson led to her first modeling job running naked through the woods for an arty fashion catalog.Coddington became an overnight success. "I was a character, rather than a pretty model, and I suppose that's exactly what I look for in the girls I now select to put in American Vogue the ones who are quirky looking."She earned the nickname "The Cod" (to Jean Shrimpton's "The Shrimp"), danced the twist on Mary Quant's catwalk and became a muse to Vidal Sassoon, who created his famous five point cut on Coddington. Her modeling career was derailed for two years by a car accident, which scarred her left eyelid. But eventually things picked up again, and she settled into life in 1960s swinging London and Paris, hanging out with a fast crowd that included Michael Caine, Jane Birkin, the Beatles and the Rolling Stones.Her fashion editing career coincided with the beginning of her relationship with Michael Chow and the opening of his glamorous restaurant Mr. Chow, which attracted a starry crowd. "Naturally, we were forever being photographed at home, draped among our symbols of 'with it ness' as one of London's most happening couples; him, the cool young restaurateur, nonchalantly swinging in a hammock hung from the minstrel's gallery and me, the sophisticated style maker, perkily sitting cross legged atop a giant pop art version of a Campbell's soup can."At the height of the bohemian 1970s, she dyed her hair with henna and permed it (it would stay the same for much of the next 40 years), dressed almost exclusively in Yves Saint Laurent, had a fling with a Vietnamese photographer and spent her evenings at Club Sept in Paris. Coddington worked with the who's who of fashion. She shot Anjelica Huston with photographer David Bailey and Pat Cleveland with Helmut Newton.When Bea Miller, who had edited British Vogue for 22 years, retired, Coddington interviewed for the job but says she knew deep down she wasn't suited for it and thought that Wintour, then the creative director of American Vogue, should get it.Wintour did get it. Two days into her editorship, she invited Coddington to a screening of the racy film "Betty Blue." The two sat in dead silence through the opening sequence, a vivid five minute sex scene."Anna was rigid and unmoving. No sign of any emotion at all," Coddington writes. "I then realized how much significance Anna places on willpower trumping feelings."In 1988, when Wintour was appointed editor in chief at American Vogue, Coddington asked to join her. Coddington's narrative style fashion features and travelogues, a sampling of which appear in the book, became the heart and soul of the magazine, even as its pages became increasingly taken over by celebrities. Through her visual canvases, she interpreted the New Romantic period, grunge and the South Beach blinged out 1990s, and persuaded superstar designers Tom Ford, Marc Jacobs and others to play roles in a shoot based on "Alice in Wonderland."She sums up her creative process this way: "For me, one of the most important aspects of my work is to give people something to dream about, just as I used to dream all those years ago as a child looking at beautiful photographs."The book ends with a chapter on then and now. "Fashion has changed so much in my lifetime," Coddington writes. "Today, I find myself at the collections, asking, 'Who are all these people?' Sometimes I think I'm the last remaining person who comes to the shows for the pleasure of seeing the clothes."At 71, she seldom wears makeup and doesn't socialize much. But her attempt in the last 100 pages to distance herself from the term "fashionista" is a bit of a stretch. Clearly, Coddington has led a most charmed life. Otherwise, we wouldn't be reading about it.We provide this community forum for readers to exchange ideas and opinions on the news of the day. Passionate views, pointed criticism and critical thinking are welcome. Comments can only be submitted by registered users. By posting comments on our site, you are agreeing to the following terms:
Lady Griz hand Selvig 800th career win with 68 61 victory over PortlandGriz up to fifth in TSN poll, highest ranking of seasonBig Sky honors Sac State QB SafronNorth Dakota football coach firedSince 1897, the Cat Griz rivalry has captivated the stateFamily health: Prepare yourself and your vehicle for winter drivingFitness calendarBirths for Tuesday, November 19Angler with 4th place total takes Fall Mack Days fishing tournament titleWestern Montana hunters get help from fresh snow, rutIf the name Grace Coddington is familiar, you've probably seen the 2009 documentary film "The September Issue" about Vogue magazine's Editor in Chief Anna Wintour, the most feared and revered woman in fashion. Now Coddington, the longtime creative director of Vogue, has her own star vehicle, an engaging memoir titled "Grace," co written with Michael Roberts. For anyone with a passing interest in the fashion industry, it's worth a read for the name dropping alone.As became clear in the film, which chronicled the magazine's staff as they put together the 4 pound September 2007 issue, Coddington is not the Anna Wintour or Diana Vreeland type. You won't hear her barking orders at assistants or making dramatic pronouncements about pink.But she is equally passionate, a wild haired dreamer who thinks that fashion should be transporting, provocative and even intellectual, who bemoans the dominance of celebrities and digital hocus pocus in fashion photography and who isn't afraid to take on Wintour.The book is a window into how fashion has changed from a small, niche business into a global pop culture medium. It chronicles Coddington's 50 years in the industry, first as a model, then as a fashion editor for British Vogue and finally as creative director for American Vogue, with lots of juicy anecdotes about designers, photographers, celebrities and models.She compares the fashion world then and now and offers clues into her relationship with Wintour. She's also open about her private life, including details about failed marriages, the tragic death of her sister Rosemary and her 30 year romance with French hairstylist Didier Malige. She tells colorful stories behind many of the fashion shoots she has styled, but I do wish she had offered more insight into her role in the creative process.Coddington begins by painting a picture of her upbringing as romantic as any photo shoot. For her first 18 years, her home was the Trearddur Bay Hotel on the island of Anglesey off the coast of North Wales. "Although it was bleak, I saw beauty in the bleakness." When she wasn't outdoors, she amused herself by looking at picture books, reading fairy tales and, yes, studying the pages of Vogue magazine. As a teen, she went to a convent school and has vivid memories of the nuns roller skating on the rooftop, "flapping about surreally in their robes like crows on wheels."At 18, she moved to London to attend a modeling course advertised in Vogue. The fashion world was much different in 1959. Coddington had to learn how to apply her own makeup and style her own hair, because makeup artists and hairdressers specializing in photo shoots were nonexistent. A meeting with photographer Norman Parkinson led to her first modeling job running naked through the woods for an arty fashion catalog.Coddington became an overnight success. "I was a character, rather than a pretty model, and I suppose that's exactly what I look for in the girls I now select to put in American Vogue the ones who are quirky looking."She earned the nickname "The Cod" (to Jean Shrimpton's "The Shrimp"), danced the twist on Mary Quant's catwalk and became a muse to Vidal Sassoon, who created his famous five point cut on Coddington. Her modeling career was derailed for two years by a car accident, which scarred her left eyelid. But eventually things picked up again, and she settled into life in 1960s swinging London and Paris, hanging out with a fast crowd that included Michael Caine, Jane Birkin, the Beatles and the Rolling Stones.Her fashion editing career coincided with the beginning of her relationship with Michael Chow and the opening of his glamorous restaurant Mr. Chow, which attracted a starry crowd. "Naturally, we were forever being photographed at home, draped among our symbols of 'with it ness' as one of London's most happening couples; him, the cool young restaurateur, nonchalantly swinging in a hammock hung from the minstrel's gallery and me, the sophisticated style maker, perkily sitting cross legged atop a giant pop art version of a Campbell's soup can."At the height of the bohemian 1970s, she dyed her hair with henna and permed it (it would stay the same for much of the next 40 years), dressed almost exclusively in Yves Saint Laurent, had a fling with a Vietnamese photographer and spent her evenings at Club Sept in Paris. Coddington worked with the who's who of fashion. She shot Anjelica Huston with photographer David Bailey and Pat Cleveland with Helmut Newton.When Bea Miller, who had edited British Vogue for 22 years, retired, Coddington interviewed for the job but says she knew deep down she wasn't suited for it and thought that Wintour, then the creative director of American Vogue, should get it.Wintour did get it. Two days into her editorship, she invited Coddington to a screening of the racy film "Betty Blue." The two sat in dead silence through the opening sequence, a vivid five minute sex scene."Anna was rigid and unmoving. No sign of any emotion at all," Coddington writes. "I then realized how much significance Anna places on willpower trumping feelings."In 1988, when Wintour was appointed editor in chief at American Vogue, Coddington asked to join her. Coddington's narrative style fashion features and travelogues, a sampling of which appear in the book, became the heart and soul of the magazine, even as its pages became increasingly taken over by celebrities. Through her visual canvases, she interpreted the New Romantic period, grunge and the South Beach blinged out 1990s, and persuaded superstar designers Tom Ford, Marc Jacobs and others to play roles in a shoot based on "Alice in Wonderland."She sums up her creative process this way: "For me, one of the most important aspects of my work is to give people something to dream about, just as I used to dream all those years ago as a child looking at beautiful photographs."The book ends with a chapter on then and now. "Fashion has changed so much in my lifetime," Coddington writes. "Today, I find myself at the collections, asking, 'Who are all these people?' Sometimes I think I'm the last remaining person who comes to the shows for the pleasure of seeing the clothes."At 71, she seldom wears makeup and doesn't socialize much. But her attempt in the last 100 pages to distance herself from the term "fashionista" is a bit of a stretch. Clearly, Coddington has led a most charmed life. Otherwise, we wouldn't be reading about it.We provide this community forum for readers to exchange ideas and opinions on the news of the day. Passionate views, pointed criticism and critical thinking are welcome. Comments can only be submitted by registered users. By posting comments on our site, you are agreeing to the following terms:
Lady Griz hand Selvig 800th career win with 68 61 victory over PortlandGriz up to fifth in TSN poll, highest ranking of seasonBig Sky honors Sac State QB SafronNorth Dakota football coach firedSince 1897, the Cat Griz rivalry has captivated the stateFamily health: Prepare yourself and your vehicle for winter drivingFitness calendarBirths for Tuesday, November 19Angler with 4th place total takes Fall Mack Days fishing tournament titleWestern Montana hunters get help from fresh snow, rutIf the name Grace Coddington is familiar, you've probably seen the 2009 documentary film "The September Issue" about Vogue magazine's Editor in Chief Anna Wintour, the most feared and revered woman in fashion. Now Coddington, the longtime creative director of Vogue, has her own star vehicle, an engaging memoir titled "Grace," co written with Michael Roberts. For anyone with a passing interest in the fashion industry, it's worth a read for the name dropping alone.As became clear in the film, which chronicled the magazine's staff as they put together the 4 pound September 2007 issue, Coddington is not the Anna Wintour or Diana Vreeland type. You won't hear her barking orders at assistants or making dramatic pronouncements about pink.But she is equally passionate, a wild haired dreamer who thinks that fashion should be transporting, provocative and even intellectual, who bemoans the dominance of celebrities and digital hocus pocus in fashion photography and who isn't afraid to take on Wintour.The book is a window into how fashion has changed from a small, niche business into a global pop culture medium. It chronicles Coddington's 50 years in the industry, first as a model, then as a fashion editor for British Vogue and finally as creative director for American Vogue, with lots of juicy anecdotes about designers, photographers, celebrities and models.She compares the fashion world then and now and offers clues into her relationship with Wintour. She's also open about her private life, including details about failed marriages, the tragic death of her sister Rosemary and her 30 year romance with French hairstylist Didier Malige. She tells colorful stories behind many of the fashion shoots she has styled, but I do wish she had offered more insight into her role in the creative process.Coddington begins by painting a picture of her upbringing as romantic as any photo shoot. For her first 18 years, her home was the Trearddur Bay Hotel on the island of Anglesey off the coast of North Wales. "Although it was bleak, I saw beauty in the bleakness." When she wasn't outdoors, she amused herself by looking at picture books, reading fairy tales and, yes, studying the pages of Vogue magazine. As a teen, she went to a convent school and has vivid memories of the nuns roller skating on the rooftop, "flapping about surreally in their robes like crows on wheels."At 18, she moved to London to attend a modeling course advertised in Vogue. The fashion world was much different in 1959. Coddington had to learn how to apply her own makeup and style her own hair, because makeup artists and hairdressers specializing in photo shoots were nonexistent. A meeting with photographer Norman Parkinson led to her first modeling job running naked through the woods for an arty fashion catalog.Coddington became an overnight success. "I was a character, rather than a pretty model, and I suppose that's exactly what I look for in the girls I now select to put in American Vogue the ones who are quirky looking."She earned the nickname "The Cod" (to Jean Shrimpton's "The Shrimp"), danced the twist on Mary Quant's catwalk and became a muse to Vidal Sassoon, who created his famous five point cut on Coddington. Her modeling career was derailed for two years by a car accident, which scarred her left eyelid. But eventually things picked up again, and she settled into life in 1960s swinging London and Paris, hanging out with a fast crowd that included Michael Caine, Jane Birkin, the Beatles and the Rolling Stones.Her fashion editing career coincided with the beginning of her relationship with Michael Chow and the opening of his glamorous restaurant Mr. Chow, which attracted a starry crowd. "Naturally, we were forever being photographed at home, draped among our symbols of 'with it ness' as one of London's most happening couples; him, the cool young restaurateur, nonchalantly swinging in a hammock hung from the minstrel's gallery and me, the sophisticated style maker, perkily sitting cross legged atop a giant pop art version of a Campbell's soup can."At the height of the bohemian 1970s, she dyed her hair with henna and permed it (it would stay the same for much of the next 40 years), dressed almost exclusively in Yves Saint Laurent, had a fling with a Vietnamese photographer and spent her evenings at Club Sept in Paris. Coddington worked with the who's who of fashion. She shot Anjelica Huston with photographer David Bailey and Pat Cleveland with Helmut Newton.When Bea Miller, who had edited British Vogue for 22 years, retired, Coddington interviewed for the job but says she knew deep down she wasn't suited for it and thought that Wintour, then the creative director of American Vogue, should get it.Wintour did get it. Two days into her editorship, she invited Coddington to a screening of the racy film "Betty Blue." The two sat in dead silence through the opening sequence, a vivid five minute sex scene."Anna was rigid and unmoving. No sign of any emotion at all," Coddington writes. "I then realized how much significance Anna places on willpower trumping feelings."In 1988, when Wintour was appointed editor in chief at American Vogue, Coddington asked to join her. Coddington's narrative style fashion features and travelogues, a sampling of which appear in the book, became the heart and soul of the magazine, even as its pages became increasingly taken over by celebrities. Through her visual canvases, she interpreted the New Romantic period, grunge and the South Beach blinged out 1990s, and persuaded superstar designers Tom Ford, Marc Jacobs and others to play roles in a shoot based on "Alice in Wonderland."She sums up her creative process this way: "For me, one of the most important aspects of my work is to give people something to dream about, just as I used to dream all those years ago as a child looking at beautiful photographs."The book ends with a chapter on then and now. "Fashion has changed so much in my lifetime," Coddington writes. "Today, I find myself at the collections, asking, 'Who are all these people?' Sometimes I think I'm the last remaining person who comes to the shows for the pleasure of seeing the clothes."At 71, she seldom wears makeup and doesn't socialize much. But her attempt in the last 100 pages to distance herself from the term "fashionista" is a bit of a stretch. Clearly, Coddington has led a most charmed life. Otherwise, we wouldn't be reading about it.We provide this community forum for readers to exchange ideas and opinions on the news of the day. Passionate views, pointed criticism and critical thinking are welcome. Comments can only be submitted by registered users. By posting comments on our site, you are agreeing to the following terms:
Lady Griz hand Selvig 800th career win with 68 61 victory over PortlandGriz up to fifth in TSN poll, highest ranking of seasonBig Sky honors Sac State QB SafronNorth Dakota football coach firedSince 1897, the Cat Griz rivalry has captivated the stateFamily health: Prepare yourself and your vehicle for winter drivingFitness calendarBirths for Tuesday, November 19Angler with 4th place total takes Fall Mack Days fishing tournament titleWestern Montana hunters get help from fresh snow, rutIf the name Grace Coddington is familiar, you've probably seen the 2009 documentary film "The September Issue" about Vogue magazine's Editor in Chief Anna Wintour, the most feared and revered woman in fashion. Now Coddington, the longtime creative director of Vogue, has her own star vehicle, an engaging memoir titled "Grace," co written with Michael Roberts. For anyone with a passing interest in the fashion industry, it's worth a read for the name dropping alone.As became clear in the film, which chronicled the magazine's staff as they put together the 4 pound September 2007 issue, Coddington is not the Anna Wintour or Diana Vreeland type. You won't hear her barking orders at assistants or making dramatic pronouncements about pink.But she is equally passionate, a wild haired dreamer who thinks that fashion should be transporting, provocative and even intellectual, who bemoans the dominance of celebrities and digital hocus pocus in fashion photography and who isn't afraid to take on Wintour.The book is a window into how fashion has changed from a small, niche business into a global pop culture medium. It chronicles Coddington's 50 years in the industry, first as a model, then as a fashion editor for British Vogue and finally as creative director for American Vogue, with lots of juicy anecdotes about designers, photographers, celebrities and models.She compares the fashion world then and now and offers clues into her relationship with Wintour. She's also open about her private life, including details about failed marriages, the tragic death of her sister Rosemary and her 30 year romance with French hairstylist Didier Malige. She tells colorful stories behind many of the fashion shoots she has styled, but I do wish she had offered more insight into her role in the creative process.Coddington begins by painting a picture of her upbringing as romantic as any photo shoot. For her first 18 years, her home was the Trearddur Bay Hotel on the island of Anglesey off the coast of North Wales. "Although it was bleak, I saw beauty in the bleakness." When she wasn't outdoors, she amused herself by looking at picture books, reading fairy tales and, yes, studying the pages of Vogue magazine. As a teen, she went to a convent school and has vivid memories of the nuns roller skating on the rooftop, "flapping about surreally in their robes like crows on wheels."At 18, she moved to London to attend a modeling course advertised in Vogue. The fashion world was much different in 1959. Coddington had to learn how to apply her own makeup and style her own hair, because makeup artists and hairdressers specializing in photo shoots were nonexistent. A meeting with photographer Norman Parkinson led to her first modeling job running naked through the woods for an arty fashion catalog.Coddington became an overnight success. "I was a character, rather than a pretty model, and I suppose that's exactly what I look for in the girls I now select to put in American Vogue the ones who are quirky looking."She earned the nickname "The Cod" (to Jean Shrimpton's "The Shrimp"), danced the twist on Mary Quant's catwalk and became a muse to Vidal Sassoon, who created his famous five point cut on Coddington. Her modeling career was derailed for two years by a car accident, which scarred her left eyelid. But eventually things picked up again, and she settled into life in 1960s swinging London and Paris, hanging out with a fast crowd that included Michael Caine, Jane Birkin, the Beatles and the Rolling Stones.Her fashion editing career coincided with the beginning of her relationship with Michael Chow and the opening of his glamorous restaurant Mr. Chow, which attracted a starry crowd. "Naturally, we were forever being photographed at home, draped among our symbols of 'with it ness' as one of London's most happening couples; him, the cool young restaurateur, nonchalantly swinging in a hammock hung from the minstrel's gallery and me, the sophisticated style maker, perkily sitting cross legged atop a giant pop art version of a Campbell's soup can."At the height of the bohemian 1970s, she dyed her hair with henna and permed it (it would stay the same for much of the next 40 years), dressed almost exclusively in Yves Saint Laurent, had a fling with a Vietnamese photographer and spent her evenings at Club Sept in Paris. Coddington worked with the who's who of fashion. She shot Anjelica Huston with photographer David Bailey and Pat Cleveland with Helmut Newton.When Bea Miller, who had edited British Vogue for 22 years, retired, Coddington interviewed for the job but says she knew deep down she wasn't suited for it and thought that Wintour, then the creative director of American Vogue, should get it.Wintour did get it. Two days into her editorship, she invited Coddington to a screening of the racy film "Betty Blue." The two sat in dead silence through the opening sequence, a vivid five minute sex scene."Anna was rigid and unmoving. No sign of any emotion at all," Coddington writes. "I then realized how much significance Anna places on willpower trumping feelings."In 1988, when Wintour was appointed editor in chief at American Vogue, Coddington asked to join her. Coddington's narrative style fashion features and travelogues, a sampling of which appear in the book, became the heart and soul of the magazine, even as its pages became increasingly taken over by celebrities. Through her visual canvases, she interpreted the New Romantic period, grunge and the South Beach blinged out 1990s, and persuaded superstar designers Tom Ford, Marc Jacobs and others to play roles in a shoot based on "Alice in Wonderland."She sums up her creative process this way: "For me, one of the most important aspects of my work is to give people something to dream about, just as I used to dream all those years ago as a child looking at beautiful photographs."The book ends with a chapter on then and now. "Fashion has changed so much in my lifetime," Coddington writes. "Today, I find myself at the collections, asking, 'Who are all these people?' Sometimes I think I'm the last remaining person who comes to the shows for the pleasure of seeing the clothes."At 71, she seldom wears makeup and doesn't socialize much. But her attempt in the last 100 pages to distance herself from the term "fashionista" is a bit of a stretch. Clearly, Coddington has led a most charmed life. Otherwise, we wouldn't be reading about it.We provide this community forum for readers to exchange ideas and opinions on the news of the day. Passionate views, pointed criticism and critical thinking are welcome. Comments can only be submitted by registered users. By posting comments on our site, you are agreeing to the following terms:
Lady Griz hand Selvig 800th career win with 68 61 victory over PortlandGriz up to fifth in TSN poll, highest ranking of seasonBig Sky honors Sac State QB SafronNorth Dakota football coach firedSince 1897, the Cat Griz rivalry has captivated the stateFamily health: Prepare yourself and your vehicle for winter drivingFitness calendarBirths for Tuesday, November 19Angler with 4th place total takes Fall Mack Days fishing tournament titleWestern Montana hunters get help from fresh snow, rutIf the name Grace Coddington is familiar, you've probably seen the 2009 documentary film "The September Issue" about Vogue magazine's Editor in Chief Anna Wintour, the most feared and revered woman in fashion. Now Coddington, the longtime creative director of Vogue, has her own star vehicle, an engaging memoir titled "Grace," co written with Michael Roberts. For anyone with a passing interest in the fashion industry, it's worth a read for the name dropping alone.As became clear in the film, which chronicled the magazine's staff as they put together the 4 pound September 2007 issue, Coddington is not the Anna Wintour or Diana Vreeland type. You won't hear her barking orders at assistants or making dramatic pronouncements about pink.But she is equally passionate, a wild haired dreamer who thinks that fashion should be transporting, provocative and even intellectual, who bemoans the dominance of celebrities and digital hocus pocus in fashion photography and who isn't afraid to take on Wintour.The book is a window into how fashion has changed from a small, niche business into a global pop culture medium. It chronicles Coddington's 50 years in the industry, first as a model, then as a fashion editor for British Vogue and finally as creative director for American Vogue, with lots of juicy anecdotes about designers, photographers, celebrities and models.She compares the fashion world then and now and offers clues into her relationship with Wintour. She's also open about her private life, including details about failed marriages, the tragic death of her sister Rosemary and her 30 year romance with French hairstylist Didier Malige. She tells colorful stories behind many of the fashion shoots she has styled, but I do wish she had offered more insight into her role in the creative process.Coddington begins by painting a picture of her upbringing as romantic as any photo shoot. For her first 18 years, her home was the Trearddur Bay Hotel on the island of Anglesey off the coast of North Wales. "Although it was bleak, I saw beauty in the bleakness." When she wasn't outdoors, she amused herself by looking at picture books, reading fairy tales and, yes, studying the pages of Vogue magazine. As a teen, she went to a convent school and has vivid memories of the nuns roller skating on the rooftop, "flapping about surreally in their robes like crows on wheels."At 18, she moved to London to attend a modeling course advertised in Vogue. The fashion world was much different in 1959. Coddington had to learn how to apply her own makeup and style her own hair, because makeup artists and hairdressers specializing in photo shoots were nonexistent. A meeting with photographer Norman Parkinson led to her first modeling job running naked through the woods for an arty fashion catalog.Coddington became an overnight success. "I was a character, rather than a pretty model, and I suppose that's exactly what I look for in the girls I now select to put in American Vogue the ones who are quirky looking."She earned the nickname "The Cod" (to Jean Shrimpton's "The Shrimp"), danced the twist on Mary Quant's catwalk and became a muse to Vidal Sassoon, who created his famous five point cut on Coddington. Her modeling career was derailed for two years by a car accident, which scarred her left eyelid. But eventually things picked up again, and she settled into life in 1960s swinging London and Paris, hanging out with a fast crowd that included Michael Caine, Jane Birkin, the Beatles and the Rolling Stones.Her fashion editing career coincided with the beginning of her relationship with Michael Chow and the opening of his glamorous restaurant Mr. Chow, which attracted a starry crowd. "Naturally, we were forever being photographed at home, draped among our symbols of 'with it ness' as one of London's most happening couples; him, the cool young restaurateur, nonchalantly swinging in a hammock hung from the minstrel's gallery and me, the sophisticated style maker, perkily sitting cross legged atop a giant pop art version of a Campbell's soup can."At the height of the bohemian 1970s, she dyed her hair with henna and permed it (it would stay the same for much of the next 40 years), dressed almost exclusively in Yves Saint Laurent, had a fling with a Vietnamese photographer and spent her evenings at Club Sept in Paris. Coddington worked with the who's who of fashion. She shot Anjelica Huston with photographer David Bailey and Pat Cleveland with Helmut Newton.When Bea Miller, who had edited British Vogue for 22 years, retired, Coddington interviewed for the job but says she knew deep down she wasn't suited for it and thought that Wintour, then the creative director of American Vogue, should get it.Wintour did get it. Two days into her editorship, she invited Coddington to a screening of the racy film "Betty Blue." The two sat in dead silence through the opening sequence, a vivid five minute sex scene."Anna was rigid and unmoving. No sign of any emotion at all," Coddington writes. "I then realized how much significance Anna places on willpower trumping feelings."In 1988, when Wintour was appointed editor in chief at American Vogue, Coddington asked to join her. Coddington's narrative style fashion features and travelogues, a sampling of which appear in the book, became the heart and soul of the magazine, even as its pages became increasingly taken over by celebrities. Through her visual canvases, she interpreted the New Romantic period, grunge and the South Beach blinged out 1990s, and persuaded superstar designers Tom Ford, Marc Jacobs and others to play roles in a shoot based on "Alice in Wonderland."She sums up her creative process this way: "For me, one of the most important aspects of my work is to give people something to dream about, just as I used to dream all those years ago as a child looking at beautiful photographs."The book ends with a chapter on then and now. "Fashion has changed so much in my lifetime," Coddington writes. "Today, I find myself at the collections, asking, 'Who are all these people?' Sometimes I think I'm the last remaining person who comes to the shows for the pleasure of seeing the clothes."At 71, she seldom wears makeup and doesn't socialize much. But her attempt in the last 100 pages to distance herself from the term "fashionista" is a bit of a stretch. Clearly, Coddington has led a most charmed life. Otherwise, we wouldn't be reading about it.We provide this community forum for readers to exchange ideas and opinions on the news of the day. Passionate views, pointed criticism and critical thinking are welcome. Comments can only be submitted by registered users. By posting comments on our site, you are agreeing to the following terms:
Lady Griz hand Selvig 800th career win with 68 61 victory over PortlandGriz up to fifth in TSN poll, highest ranking of seasonBig Sky honors Sac State QB SafronNorth Dakota football coach firedSince 1897, the Cat Griz rivalry has captivated the stateFamily health: Prepare yourself and your vehicle for winter drivingFitness calendarBirths for Tuesday, November 19Angler with 4th place total takes Fall Mack Days fishing tournament titleWestern Montana hunters get help from fresh snow, rutIf the name Grace Coddington is familiar, you've probably seen the 2009 documentary film "The September Issue" about Vogue magazine's Editor in Chief Anna Wintour, the most feared and revered woman in fashion. Now Coddington, the longtime creative director of Vogue, has her own star vehicle, an engaging memoir titled "Grace," co written with Michael Roberts. For anyone with a passing interest in the fashion industry, it's worth a read for the name dropping alone.As became clear in the film, which chronicled the magazine's staff as they put together the 4 pound September 2007 issue, Coddington is not the Anna Wintour or Diana Vreeland type. You won't hear her barking orders at assistants or making dramatic pronouncements about pink.But she is equally passionate, a wild haired dreamer who thinks that fashion should be transporting, provocative and even intellectual, who bemoans the dominance of celebrities and digital hocus pocus in fashion photography and who isn't afraid to take on Wintour.The book is a window into how fashion has changed from a small, niche business into a global pop culture medium. It chronicles Coddington's 50 years in the industry, first as a model, then as a fashion editor for British Vogue and finally as creative director for American Vogue, with lots of juicy anecdotes about designers, photographers, celebrities and models.She compares the fashion world then and now and offers clues into her relationship with Wintour. She's also open about her private life, including details about failed marriages, the tragic death of her sister Rosemary and her 30 year romance with French hairstylist Didier Malige. She tells colorful stories behind many of the fashion shoots she has styled, but I do wish she had offered more insight into her role in the creative process.Coddington begins by painting a picture of her upbringing as romantic as any photo shoot. For her first 18 years, her home was the Trearddur Bay Hotel on the island of Anglesey off the coast of North Wales. "Although it was bleak, I saw beauty in the bleakness." When she wasn't outdoors, she amused herself by looking at picture books, reading fairy tales and, yes, studying the pages of Vogue magazine. As a teen, she went to a convent school and has vivid memories of the nuns roller skating on the rooftop, "flapping about surreally in their robes like crows on wheels."At 18, she moved to London to attend a modeling course advertised in Vogue. The fashion world was much different in 1959. Coddington had to learn how to apply her own makeup and style her own hair, because makeup artists and hairdressers specializing in photo shoots were nonexistent. A meeting with photographer Norman Parkinson led to her first modeling job running naked through the woods for an arty fashion catalog.Coddington became an overnight success. "I was a character, rather than a pretty model, and I suppose that's exactly what I look for in the girls I now select to put in American Vogue the ones who are quirky looking."She earned the nickname "The Cod" (to Jean Shrimpton's "The Shrimp"), danced the twist on Mary Quant's catwalk and became a muse to Vidal Sassoon, who created his famous five point cut on Coddington. Her modeling career was derailed for two years by a car accident, which scarred her left eyelid. But eventually things picked up again, and she settled into life in 1960s swinging London and Paris, hanging out with a fast crowd that included Michael Caine, Jane Birkin, the Beatles and the Rolling Stones.Her fashion editing career coincided with the beginning of her relationship with Michael Chow and the opening of his glamorous restaurant Mr. Chow, which attracted a starry crowd. "Naturally, we were forever being photographed at home, draped among our symbols of 'with it ness' as one of London's most happening couples; him, the cool young restaurateur, nonchalantly swinging in a hammock hung from the minstrel's gallery and me, the sophisticated style maker, perkily sitting cross legged atop a giant pop art version of a Campbell's soup can."At the height of the bohemian 1970s, she dyed her hair with henna and permed it (it would stay the same for much of the next 40 years), dressed almost exclusively in Yves Saint Laurent, had a fling with a Vietnamese photographer and spent her evenings at Club Sept in Paris. Coddington worked with the who's who of fashion. She shot Anjelica Huston with photographer David Bailey and Pat Cleveland with Helmut Newton.When Bea Miller, who had edited British Vogue for 22 years, retired, Coddington interviewed for the job but says she knew deep down she wasn't suited for it and thought that Wintour, then the creative director of American Vogue, should get it.Wintour did get it. Two days into her editorship, she invited Coddington to a screening of the racy film "Betty Blue." The two sat in dead silence through the opening sequence, a vivid five minute sex scene."Anna was rigid and unmoving. No sign of any emotion at all," Coddington writes. "I then realized how much significance Anna places on willpower trumping feelings."In 1988, when Wintour was appointed editor in chief at American Vogue, Coddington asked to join her. Coddington's narrative style fashion features and travelogues, a sampling of which appear in the book, became the heart and soul of the magazine, even as its pages became increasingly taken over by celebrities. Through her visual canvases, she interpreted the New Romantic period, grunge and the South Beach blinged out 1990s, and persuaded superstar designers Tom Ford, Marc Jacobs and others to play roles in a shoot based on "Alice in Wonderland."She sums up her creative process this way: "For me, one of the most important aspects of my work is to give people something to dream about, just as I used to dream all those years ago as a child looking at beautiful photographs."The book ends with a chapter on then and now. "Fashion has changed so much in my lifetime," Coddington writes. "Today, I find myself at the collections, asking, 'Who are all these people?' Sometimes I think I'm the last remaining person who comes to the shows for the pleasure of seeing the clothes."At 71, she seldom wears makeup and doesn't socialize much. But her attempt in the last 100 pages to distance herself from the term "fashionista" is a bit of a stretch. Clearly, Coddington has led a most charmed life. Otherwise, we wouldn't be reading about it.We provide this community forum for readers to exchange ideas and opinions on the news of the day. Passionate views, pointed criticism and critical thinking are welcome. Comments can only be submitted by registered users. By posting comments on our site, you are agreeing to the following terms:
Lady Griz hand Selvig 800th career win with 68 61 victory over PortlandGriz up to fifth in TSN poll, highest ranking of seasonBig Sky honors Sac State QB SafronNorth Dakota football coach firedSince 1897, the Cat Griz rivalry has captivated the stateFamily health: Prepare yourself and your vehicle for winter drivingFitness calendarBirths for Tuesday, November 19Angler with 4th place total takes Fall Mack Days fishing tournament titleWestern Montana hunters get help from fresh snow, rutIf the name Grace Coddington is familiar, you've probably seen the 2009 documentary film "The September Issue" about Vogue magazine's Editor in Chief Anna Wintour, the most feared and revered woman in fashion. Now Coddington, the longtime creative director of Vogue, has her own star vehicle, an engaging memoir titled "Grace," co written with Michael Roberts. For anyone with a passing interest in the fashion industry, it's worth a read for the name dropping alone.As became clear in the film, which chronicled the magazine's staff as they put together the 4 pound September 2007 issue, Coddington is not the Anna Wintour or Diana Vreeland type. You won't hear her barking orders at assistants or making dramatic pronouncements about pink.But she is equally passionate, a wild haired dreamer who thinks that fashion should be transporting, provocative and even intellectual, who bemoans the dominance of celebrities and digital hocus pocus in fashion photography and who isn't afraid to take on Wintour.The book is a window into how fashion has changed from a small, niche business into a global pop culture medium. It chronicles Coddington's 50 years in the industry, first as a model, then as a fashion editor for British Vogue and finally as creative director for American Vogue, with lots of juicy anecdotes about designers, photographers, celebrities and models.She compares the fashion world then and now and offers clues into her relationship with Wintour. She's also open about her private life, including details about failed marriages, the tragic death of her sister Rosemary and her 30 year romance with French hairstylist Didier Malige. She tells colorful stories behind many of the fashion shoots she has styled, but I do wish she had offered more insight into her role in the creative process.Coddington begins by painting a picture of her upbringing as romantic as any photo shoot. For her first 18 years, her home was the Trearddur Bay Hotel on the island of Anglesey off the coast of North Wales. "Although it was bleak, I saw beauty in the bleakness." When she wasn't outdoors, she amused herself by looking at picture books, reading fairy tales and, yes, studying the pages of Vogue magazine. As a teen, she went to a convent school and has vivid memories of the nuns roller skating on the rooftop, "flapping about surreally in their robes like crows on wheels."At 18, she moved to London to attend a modeling course advertised in Vogue. The fashion world was much different in 1959. Coddington had to learn how to apply her own makeup and style her own hair, because makeup artists and hairdressers specializing in photo shoots were nonexistent. A meeting with photographer Norman Parkinson led to her first modeling job running naked through the woods for an arty fashion catalog.Coddington became an overnight success. "I was a character, rather than a pretty model, and I suppose that's exactly what I look for in the girls I now select to put in American Vogue the ones who are quirky looking."She earned the nickname "The Cod" (to Jean Shrimpton's "The Shrimp"), danced the twist on Mary Quant's catwalk and became a muse to Vidal Sassoon, who created his famous five point cut on Coddington. Her modeling career was derailed for two years by a car accident, which scarred her left eyelid. But eventually things picked up again, and she settled into life in 1960s swinging London and Paris, hanging out with a fast crowd that included Michael Caine, Jane Birkin, the Beatles and the Rolling Stones.Her fashion editing career coincided with the beginning of her relationship with Michael Chow and the opening of his glamorous restaurant Mr. Chow, which attracted a starry crowd. "Naturally, we were forever being photographed at home, draped among our symbols of 'with it ness' as one of London's most happening couples; him, the cool young restaurateur, nonchalantly swinging in a hammock hung from the minstrel's gallery and me, the sophisticated style maker, perkily sitting cross legged atop a giant pop art version of a Campbell's soup can."At the height of the bohemian 1970s, she dyed her hair with henna and permed it (it would stay the same for much of the next 40 years), dressed almost exclusively in Yves Saint Laurent, had a fling with a Vietnamese photographer and spent her evenings at Club Sept in Paris. Coddington worked with the who's who of fashion. She shot Anjelica Huston with photographer David Bailey and Pat Cleveland with Helmut Newton.When Bea Miller, who had edited British Vogue for 22 years, retired, Coddington interviewed for the job but says she knew deep down she wasn't suited for it and thought that Wintour, then the creative director of American Vogue, should get it.Wintour did get it. Two days into her editorship, she invited Coddington to a screening of the racy film "Betty Blue." The two sat in dead silence through the opening sequence, a vivid five minute sex scene."Anna was rigid and unmoving. No sign of any emotion at all," Coddington writes. "I then realized how much significance Anna places on willpower trumping feelings."In 1988, when Wintour was appointed editor in chief at American Vogue, Coddington asked to join her. Coddington's narrative style fashion features and travelogues, a sampling of which appear in the book, became the heart and soul of the magazine, even as its pages became increasingly taken over by celebrities. Through her visual canvases, she interpreted the New Romantic period, grunge and the South Beach blinged out 1990s, and persuaded superstar designers Tom Ford, Marc Jacobs and others to play roles in a shoot based on "Alice in Wonderland."She sums up her creative process this way: "For me, one of the most important aspects of my work is to give people something to dream about, just as I used to dream all those years ago as a child looking at beautiful photographs."The book ends with a chapter on then and now. "Fashion has changed so much in my lifetime," Coddington writes. "Today, I find myself at the collections, asking, 'Who are all these people?' Sometimes I think I'm the last remaining person who comes to the shows for the pleasure of seeing the clothes."At 71, she seldom wears makeup and doesn't socialize much. But her attempt in the last 100 pages to distance herself from the term "fashionista" is a bit of a stretch. Clearly, Coddington has led a most charmed life. Otherwise, we wouldn't be reading about it.We provide this community forum for readers to exchange ideas and opinions on the news of the day. Passionate views, pointed criticism and critical thinking are welcome. Comments can only be submitted by registered users. By posting comments on our site, you are agreeing to the following terms:
Lady Griz hand Selvig 800th career win with 68 61 victory over PortlandGriz up to fifth in TSN poll, highest ranking of seasonBig Sky honors Sac State QB SafronNorth Dakota football coach firedSince 1897, the Cat Griz rivalry has captivated the stateFamily health: Prepare yourself and your vehicle for winter drivingFitness calendarBirths for Tuesday, November 19Angler with 4th place total takes Fall Mack Days fishing tournament titleWestern Montana hunters get help from fresh snow, rutIf the name Grace Coddington is familiar, you've probably seen the 2009 documentary film "The September Issue" about Vogue magazine's Editor in Chief Anna Wintour, the most feared and revered woman in fashion. Now Coddington, the longtime creative director of Vogue, has her own star vehicle, an engaging memoir titled "Grace," co written with Michael Roberts. For anyone with a passing interest in the fashion industry, it's worth a read for the name dropping alone.As became clear in the film, which chronicled the magazine's staff as they put together the 4 pound September 2007 issue, Coddington is not the Anna Wintour or Diana Vreeland type. You won't hear her barking orders at assistants or making dramatic pronouncements about pink.But she is equally passionate, a wild haired dreamer who thinks that fashion should be transporting, provocative and even intellectual, who bemoans the dominance of celebrities and digital hocus pocus in fashion photography and who isn't afraid to take on Wintour.The book is a window into how fashion has changed from a small, niche business into a global pop culture medium. It chronicles Coddington's 50 years in the industry, first as a model, then as a fashion editor for British Vogue and finally as creative director for American Vogue, with lots of juicy anecdotes about designers, photographers, celebrities and models.She compares the fashion world then and now and offers clues into her relationship with Wintour. She's also open about her private life, including details about failed marriages, the tragic death of her sister Rosemary and her 30 year romance with French hairstylist Didier Malige. She tells colorful stories behind many of the fashion shoots she has styled, but I do wish she had offered more insight into her role in the creative process.Coddington begins by painting a picture of her upbringing as romantic as any photo shoot. For her first 18 years, her home was the Trearddur Bay Hotel on the island of Anglesey off the coast of North Wales. "Although it was bleak, I saw beauty in the bleakness." When she wasn't outdoors, she amused herself by looking at picture books, reading fairy tales and, yes, studying the pages of Vogue magazine. As a teen, she went to a convent school and has vivid memories of the nuns roller skating on the rooftop, "flapping about surreally in their robes like crows on wheels."At 18, she moved to London to attend a modeling course advertised in Vogue. The fashion world was much different in 1959. Coddington had to learn how to apply her own makeup and style her own hair, because makeup artists and hairdressers specializing in photo shoots were nonexistent. A meeting with photographer Norman Parkinson led to her first modeling job running naked through the woods for an arty fashion catalog.Coddington became an overnight success. "I was a character, rather than a pretty model, and I suppose that's exactly what I look for in the girls I now select to put in American Vogue the ones who are quirky looking."She earned the nickname "The Cod" (to Jean Shrimpton's "The Shrimp"), danced the twist on Mary Quant's catwalk and became a muse to Vidal Sassoon, who created his famous five point cut on Coddington. Her modeling career was derailed for two years by a car accident, which scarred her left eyelid. But eventually things picked up again, and she settled into life in 1960s swinging London and Paris, hanging out with a fast crowd that included Michael Caine, Jane Birkin, the Beatles and the Rolling Stones.Her fashion editing career coincided with the beginning of her relationship with Michael Chow and the opening of his glamorous restaurant Mr. Chow, which attracted a starry crowd. "Naturally, we were forever being photographed at home, draped among our symbols of 'with it ness' as one of London's most happening couples; him, the cool young restaurateur, nonchalantly swinging in a hammock hung from the minstrel's gallery and me, the sophisticated style maker, perkily sitting cross legged atop a giant pop art version of a Campbell's soup can."At the height of the bohemian 1970s, she dyed her hair with henna and permed it (it would stay the same for much of the next 40 years), dressed almost exclusively in Yves Saint Laurent, had a fling with a Vietnamese photographer and spent her evenings at Club Sept in Paris. Coddington worked with the who's who of fashion. She shot Anjelica Huston with photographer David Bailey and Pat Cleveland with Helmut Newton.When Bea Miller, who had edited British Vogue for 22 years, retired, Coddington interviewed for the job but says she knew deep down she wasn't suited for it and thought that Wintour, then the creative director of American Vogue, should get it.Wintour did get it. Two days into her editorship, she invited Coddington to a screening of the racy film "Betty Blue." The two sat in dead silence through the opening sequence, a vivid five minute sex scene."Anna was rigid and unmoving. No sign of any emotion at all," Coddington writes. "I then realized how much significance Anna places on willpower trumping feelings."In 1988, when Wintour was appointed editor in chief at American Vogue, Coddington asked to join her. Coddington's narrative style fashion features and travelogues, a sampling of which appear in the book, became the heart and soul of the magazine, even as its pages became increasingly taken over by celebrities. Through her visual canvases, she interpreted the New Romantic period, grunge and the South Beach blinged out 1990s, and persuaded superstar designers Tom Ford, Marc Jacobs and others to play roles in a shoot based on "Alice in Wonderland."She sums up her creative process this way: "For me, one of the most important aspects of my work is to give people something to dream about, just as I used to dream all those years ago as a child looking at beautiful photographs."The book ends with a chapter on then and now. "Fashion has changed so much in my lifetime," Coddington writes. "Today, I find myself at the collections, asking, 'Who are all these people?' Sometimes I think I'm the last remaining person who comes to the shows for the pleasure of seeing the clothes."At 71, she seldom wears makeup and doesn't socialize much. But her attempt in the last 100 pages to distance herself from the term "fashionista" is a bit of a stretch. Clearly, Coddington has led a most charmed life. Otherwise, we wouldn't be reading about it.We provide this community forum for readers to exchange ideas and opinions on the news of the day. Passionate views, pointed criticism and critical thinking are welcome. Comments can only be submitted by registered users. By posting comments on our site, you are agreeing to the following terms:
Lady Griz hand Selvig 800th career win with 68 61 victory over PortlandGriz up to fifth in TSN poll, highest ranking of seasonBig Sky honors Sac State QB SafronNorth Dakota football coach firedSince 1897, the Cat Griz rivalry has captivated the stateFamily health: Prepare yourself and your vehicle for winter drivingFitness calendarBirths for Tuesday, November 19Angler with 4th place total takes Fall Mack Days fishing tournament titleWestern Montana hunters get help from fresh snow, rutIf the name Grace Coddington is familiar, you've probably seen the 2009 documentary film "The September Issue" about Vogue magazine's Editor in Chief Anna Wintour, the most feared and revered woman in fashion. Now Coddington, the longtime creative director of Vogue, has her own star vehicle, an engaging memoir titled "Grace," co written with Michael Roberts. For anyone with a passing interest in the fashion industry, it's worth a read for the name dropping alone.As became clear in the film, which chronicled the magazine's staff as they put together the 4 pound September 2007 issue, Coddington is not the Anna Wintour or Diana Vreeland type. You won't hear her barking orders at assistants or making dramatic pronouncements about pink.But she is equally passionate, a wild haired dreamer who thinks that fashion should be transporting, provocative and even intellectual, who bemoans the dominance of celebrities and digital hocus pocus in fashion photography and who isn't afraid to take on Wintour.The book is a window into how fashion has changed from a small, niche business into a global pop culture medium. It chronicles Coddington's 50 years in the industry, first as a model, then as a fashion editor for British Vogue and finally as creative director for American Vogue, with lots of juicy anecdotes about designers, photographers, celebrities and models.She compares the fashion world then and now and offers clues into her relationship with Wintour. She's also open about her private life, including details about failed marriages, the tragic death of her sister Rosemary and her 30 year romance with French hairstylist Didier Malige. She tells colorful stories behind many of the fashion shoots she has styled, but I do wish she had offered more insight into her role in the creative process.Coddington begins by painting a picture of her upbringing as romantic as any photo shoot. For her first 18 years, her home was the Trearddur Bay Hotel on the island of Anglesey off the coast of North Wales. "Although it was bleak, I saw beauty in the bleakness." When she wasn't outdoors, she amused herself by looking at picture books, reading fairy tales and, yes, studying the pages of Vogue magazine. As a teen, she went to a convent school and has vivid memories of the nuns roller skating on the rooftop, "flapping about surreally in their robes like crows on wheels."At 18, she moved to London to attend a modeling course advertised in Vogue. The fashion world was much different in 1959. Coddington had to learn how to apply her own makeup and style her own hair, because makeup artists and hairdressers specializing in photo shoots were nonexistent. A meeting with photographer Norman Parkinson led to her first modeling job running naked through the woods for an arty fashion catalog.Coddington became an overnight success. "I was a character, rather than a pretty model, and I suppose that's exactly what I look for in the girls I now select to put in American Vogue the ones who are quirky looking."She earned the nickname "The Cod" (to Jean Shrimpton's "The Shrimp"), danced the twist on Mary Quant's catwalk and became a muse to Vidal Sassoon, who created his famous five point cut on Coddington. Her modeling career was derailed for two years by a car accident, which scarred her left eyelid. But eventually things picked up again, and she settled into life in 1960s swinging London and Paris, hanging out with a fast crowd that included Michael Caine, Jane Birkin, the Beatles and the Rolling Stones.Her fashion editing career coincided with the beginning of her relationship with Michael Chow and the opening of his glamorous restaurant Mr. Chow, which attracted a starry crowd. "Naturally, we were forever being photographed at home, draped among our symbols of 'with it ness' as one of London's most happening couples; him, the cool young restaurateur, nonchalantly swinging in a hammock hung from the minstrel's gallery and me, the sophisticated style maker, perkily sitting cross legged atop a giant pop art version of a Campbell's soup can."At the height of the bohemian 1970s, she dyed her hair with henna and permed it (it would stay the same for much of the next 40 years), dressed almost exclusively in Yves Saint Laurent, had a fling with a Vietnamese photographer and spent her evenings at Club Sept in Paris. Coddington worked with the who's who of fashion. She shot Anjelica Huston with photographer David Bailey and Pat Cleveland with Helmut Newton.When Bea Miller, who had edited British Vogue for 22 years, retired, Coddington interviewed for the job but says she knew deep down she wasn't suited for it and thought that Wintour, then the creative director of American Vogue, should get it.Wintour did get it. Two days into her editorship, she invited Coddington to a screening of the racy film "Betty Blue." The two sat in dead silence through the opening sequence, a vivid five minute sex scene."Anna was rigid and unmoving. No sign of any emotion at all," Coddington writes. "I then realized how much significance Anna places on willpower trumping feelings."In 1988, when Wintour was appointed editor in chief at American Vogue, Coddington asked to join her. Coddington's narrative style fashion features and travelogues, a sampling of which appear in the book, became the heart and soul of the magazine, even as its pages became increasingly taken over by celebrities. Through her visual canvases, she interpreted the New Romantic period, grunge and the South Beach blinged out 1990s, and persuaded superstar designers Tom Ford, Marc Jacobs and others to play roles in a shoot based on "Alice in Wonderland."She sums up her creative process this way: "For me, one of the most important aspects of my work is to give people something to dream about, just as I used to dream all those years ago as a child looking at beautiful photographs."The book ends with a chapter on then and now. "Fashion has changed so much in my lifetime," Coddington writes. "Today, I find myself at the collections, asking, 'Who are all these people?' Sometimes I think I'm the last remaining person who comes to the shows for the pleasure of seeing the clothes."At 71, she seldom wears makeup and doesn't socialize much. But her attempt in the last 100 pages to distance herself from the term "fashionista" is a bit of a stretch. Clearly, Coddington has led a most charmed life. Otherwise, we wouldn't be reading about it.We provide this community forum for readers to exchange ideas and opinions on the news of the day. Passionate views, pointed criticism and critical thinking are welcome. Comments can only be submitted by registered users. By posting comments on our site, you are agreeing to the following terms:
Lady Griz hand Selvig 800th career win with 68 61 victory over PortlandGriz up to fifth in TSN poll, highest ranking of seasonBig Sky honors Sac State QB SafronNorth Dakota football coach firedSince 1897, the Cat Griz rivalry has captivated the stateFamily health: Prepare yourself and your vehicle for winter drivingFitness calendarBirths for Tuesday, November 19Angler with 4th place total takes Fall Mack Days fishing tournament titleWestern Montana hunters get help from fresh snow, rutIf the name Grace Coddington is familiar, you've probably seen the 2009 documentary film "The September Issue" about Vogue magazine's Editor in Chief Anna Wintour, the most feared and revered woman in fashion. Now Coddington, the longtime creative director of Vogue, has her own star vehicle, an engaging memoir titled "Grace," co written with Michael Roberts. For anyone with a passing interest in the fashion industry, it's worth a read for the name dropping alone.As became clear in the film, which chronicled the magazine's staff as they put together the 4 pound September 2007 issue, Coddington is not the Anna Wintour or Diana Vreeland type. You won't hear her barking orders at assistants or making dramatic pronouncements about pink.But she is equally passionate, a wild haired dreamer who thinks that fashion should be transporting, provocative and even intellectual, who bemoans the dominance of celebrities and digital hocus pocus in fashion photography and who isn't afraid to take on Wintour.The book is a window into how fashion has changed from a small, niche business into a global pop culture medium. It chronicles Coddington's 50 years in the industry, first as a model, then as a fashion editor for British Vogue and finally as creative director for American Vogue, with lots of juicy anecdotes about designers, photographers, celebrities and models.She compares the fashion world then and now and offers clues into her relationship with Wintour. She's also open about her private life, including details about failed marriages, the tragic death of her sister Rosemary and her 30 year romance with French hairstylist Didier Malige. She tells colorful stories behind many of the fashion shoots she has styled, but I do wish she had offered more insight into her role in the creative process.Coddington begins by painting a picture of her upbringing as romantic as any photo shoot. For her first 18 years, her home was the Trearddur Bay Hotel on the island of Anglesey off the coast of North Wales. "Although it was bleak, I saw beauty in the bleakness." When she wasn't outdoors, she amused herself by looking at picture books, reading fairy tales and, yes, studying the pages of Vogue magazine. As a teen, she went to a convent school and has vivid memories of the nuns roller skating on the rooftop, "flapping about surreally in their robes like crows on wheels."At 18, she moved to London to attend a modeling course advertised in Vogue. The fashion world was much different in 1959. Coddington had to learn how to apply her own makeup and style her own hair, because makeup artists and hairdressers specializing in photo shoots were nonexistent. A meeting with photographer Norman Parkinson led to her first modeling job running naked through the woods for an arty fashion catalog.Coddington became an overnight success. "I was a character, rather than a pretty model, and I suppose that's exactly what I look for in the girls I now select to put in American Vogue the ones who are quirky looking."She earned the nickname "The Cod" (to Jean Shrimpton's "The Shrimp"), danced the twist on Mary Quant's catwalk and became a muse to Vidal Sassoon, who created his famous five point cut on Coddington. Her modeling career was derailed for two years by a car accident, which scarred her left eyelid. But eventually things picked up again, and she settled into life in 1960s swinging London and Paris, hanging out with a fast crowd that included Michael Caine, Jane Birkin, the Beatles and the Rolling Stones.Her fashion editing career coincided with the beginning of her relationship with Michael Chow and the opening of his glamorous restaurant Mr. Chow, which attracted a starry crowd. "Naturally, we were forever being photographed at home, draped among our symbols of 'with it ness' as one of London's most happening couples; him, the cool young restaurateur, nonchalantly swinging in a hammock hung from the minstrel's gallery and me, the sophisticated style maker, perkily sitting cross legged atop a giant pop art version of a Campbell's soup can."At the height of the bohemian 1970s, she dyed her hair with henna and permed it (it would stay the same for much of the next 40 years), dressed almost exclusively in Yves Saint Laurent, had a fling with a Vietnamese photographer and spent her evenings at Club Sept in Paris. Coddington worked with the who's who of fashion. She shot Anjelica Huston with photographer David Bailey and Pat Cleveland with Helmut Newton.When Bea Miller, who had edited British Vogue for 22 years, retired, Coddington interviewed for the job but says she knew deep down she wasn't suited for it and thought that Wintour, then the creative director of American Vogue, should get it.Wintour did get it. Two days into her editorship, she invited Coddington to a screening of the racy film "Betty Blue." The two sat in dead silence through the opening sequence, a vivid five minute sex scene."Anna was rigid and unmoving. No sign of any emotion at all," Coddington writes. "I then realized how much significance Anna places on willpower trumping feelings."In 1988, when Wintour was appointed editor in chief at American Vogue, Coddington asked to join her. Coddington's narrative style fashion features and travelogues, a sampling of which appear in the book, became the heart and soul of the magazine, even as its pages became increasingly taken over by celebrities. Through her visual canvases, she interpreted the New Romantic period, grunge and the South Beach blinged out 1990s, and persuaded superstar designers Tom Ford, Marc Jacobs and others to play roles in a shoot based on "Alice in Wonderland."She sums up her creative process this way: "For me, one of the most important aspects of my work is to give people something to dream about, just as I used to dream all those years ago as a child looking at beautiful photographs."The book ends with a chapter on then and now. "Fashion has changed so much in my lifetime," Coddington writes. "Today, I find myself at the collections, asking, 'Who are all these people?' Sometimes I think I'm the last remaining person who comes to the shows for the pleasure of seeing the clothes."At 71, she seldom wears makeup and doesn't socialize much. But her attempt in the last 100 pages to distance herself from the term "fashionista" is a bit of a stretch. Clearly, Coddington has led a most charmed life. Otherwise, we wouldn't be reading about it.We provide this community forum for readers to exchange ideas and opinions on the news of the day. Passionate views, pointed criticism and critical thinking are welcome. Comments can only be submitted by registered users. By posting comments on our site, you are agreeing to the following terms:
Lady Griz hand Selvig 800th career win with 68 61 victory over PortlandGriz up to fifth in TSN poll, highest ranking of seasonBig Sky honors Sac State QB SafronNorth Dakota football coach firedSince 1897, the Cat Griz rivalry has captivated the stateFamily health: Prepare yourself and your vehicle for winter drivingFitness calendarBirths for Tuesday, November 19Angler with 4th place total takes Fall Mack Days fishing tournament titleWestern Montana hunters get help from fresh snow, rutIf the name Grace Coddington is familiar, you've probably seen the 2009 documentary film "The September Issue" about Vogue magazine's Editor in Chief Anna Wintour, the most feared and revered woman in fashion. Now Coddington, the longtime creative director of Vogue, has her own star vehicle, an engaging memoir titled "Grace," co written with Michael Roberts. For anyone with a passing interest in the fashion industry, it's worth a read for the name dropping alone.As became clear in the film, which chronicled the magazine's staff as they put together the 4 pound September 2007 issue, Coddington is not the Anna Wintour or Diana Vreeland type. You won't hear her barking orders at assistants or making dramatic pronouncements about pink.But she is equally passionate, a wild haired dreamer who thinks that fashion should be transporting, provocative and even intellectual, who bemoans the dominance of celebrities and digital hocus pocus in fashion photography and who isn't afraid to take on Wintour.The book is a window into how fashion has changed from a small, niche business into a global pop culture medium. It chronicles Coddington's 50 years in the industry, first as a model, then as a fashion editor for British Vogue and finally as creative director for American Vogue, with lots of juicy anecdotes about designers, photographers, celebrities and models.She compares the fashion world then and now and offers clues into her relationship with Wintour. She's also open about her private life, including details about failed marriages, the tragic death of her sister Rosemary and her 30 year romance with French hairstylist Didier Malige. She tells colorful stories behind many of the fashion shoots she has styled, but I do wish she had offered more insight into her role in the creative process.Coddington begins by painting a picture of her upbringing as romantic as any photo shoot. For her first 18 years, her home was the Trearddur Bay Hotel on the island of Anglesey off the coast of North Wales. "Although it was bleak, I saw beauty in the bleakness." When she wasn't outdoors, she amused herself by looking at picture books, reading fairy tales and, yes, studying the pages of Vogue magazine. As a teen, she went to a convent school and has vivid memories of the nuns roller skating on the rooftop, "flapping about surreally in their robes like crows on wheels."At 18, she moved to London to attend a modeling course advertised in Vogue. The fashion world was much different in 1959. Coddington had to learn how to apply her own makeup and style her own hair, because makeup artists and hairdressers specializing in photo shoots were nonexistent. A meeting with photographer Norman Parkinson led to her first modeling job running naked through the woods for an arty fashion catalog.Coddington became an overnight success. "I was a character, rather than a pretty model, and I suppose that's exactly what I look for in the girls I now select to put in American Vogue the ones who are quirky looking."She earned the nickname "The Cod" (to Jean Shrimpton's "The Shrimp"), danced the twist on Mary Quant's catwalk and became a muse to Vidal Sassoon, who created his famous five point cut on Coddington. Her modeling career was derailed for two years by a car accident, which scarred her left eyelid. But eventually things picked up again, and she settled into life in 1960s swinging London and Paris, hanging out with a fast crowd that included Michael Caine, Jane Birkin, the Beatles and the Rolling Stones.Her fashion editing career coincided with the beginning of her relationship with Michael Chow and the opening of his glamorous restaurant Mr. Chow, which attracted a starry crowd. "Naturally, we were forever being photographed at home, draped among our symbols of 'with it ness' as one of London's most happening couples; him, the cool young restaurateur, nonchalantly swinging in a hammock hung from the minstrel's gallery and me, the sophisticated style maker, perkily sitting cross legged atop a giant pop art version of a Campbell's soup can."At the height of the bohemian 1970s, she dyed her hair with henna and permed it (it would stay the same for much of the next 40 years), dressed almost exclusively in Yves Saint Laurent, had a fling with a Vietnamese photographer and spent her evenings at Club Sept in Paris. Coddington worked with the who's who of fashion. She shot Anjelica Huston with photographer David Bailey and Pat Cleveland with Helmut Newton.When Bea Miller, who had edited British Vogue for 22 years, retired, Coddington interviewed for the job but says she knew deep down she wasn't suited for it and thought that Wintour, then the creative director of American Vogue, should get it.Wintour did get it. Two days into her editorship, she invited Coddington to a screening of the racy film "Betty Blue." The two sat in dead silence through the opening sequence, a vivid five minute sex scene."Anna was rigid and unmoving. No sign of any emotion at all," Coddington writes. "I then realized how much significance Anna places on willpower trumping feelings."In 1988, when Wintour was appointed editor in chief at American Vogue, Coddington asked to join her. Coddington's narrative style fashion features and travelogues, a sampling of which appear in the book, became the heart and soul of the magazine, even as its pages became increasingly taken over by celebrities. Through her visual canvases, she interpreted the New Romantic period, grunge and the South Beach blinged out 1990s, and persuaded superstar designers Tom Ford, Marc Jacobs and others to play roles in a shoot based on "Alice in Wonderland."She sums up her creative process this way: "For me, one of the most important aspects of my work is to give people something to dream about, just as I used to dream all those years ago as a child looking at beautiful photographs."The book ends with a chapter on then and now. "Fashion has changed so much in my lifetime," Coddington writes. "Today, I find myself at the collections, asking, 'Who are all these people?' Sometimes I think I'm the last remaining person who comes to the shows for the pleasure of seeing the clothes."At 71, she seldom wears makeup and doesn't socialize much. But her attempt in the last 100 pages to distance herself from the term "fashionista" is a bit of a stretch. Clearly, Coddington has led a most charmed life. Otherwise, we wouldn't be reading about it.We provide this community forum for readers to exchange ideas and opinions on the news of the day. Passionate views, pointed criticism and critical thinking are welcome. Comments can only be submitted by registered users. By posting comments on our site, you are agreeing to the following terms:
Lady Griz hand Selvig 800th career win with 68 61 victory over PortlandGriz up to fifth in TSN poll, highest ranking of seasonBig Sky honors Sac State QB SafronNorth Dakota football coach firedSince 1897, the Cat Griz rivalry has captivated the stateFamily health: Prepare yourself and your vehicle for winter drivingFitness calendarBirths for Tuesday, November 19Angler with 4th place total takes Fall Mack Days fishing tournament titleWestern Montana hunters get help from fresh snow, rutIf the name Grace Coddington is familiar, you've probably seen the 2009 documentary film "The September Issue" about Vogue magazine's Editor in Chief Anna Wintour, the most feared and revered woman in fashion. Now Coddington, the longtime creative director of Vogue, has her own star vehicle, an engaging memoir titled "Grace," co written with Michael Roberts. For anyone with a passing interest in the fashion industry, it's worth a read for the name dropping alone.As became clear in the film, which chronicled the magazine's staff as they put together the 4 pound September 2007 issue, Coddington is not the Anna Wintour or Diana Vreeland type. You won't hear her barking orders at assistants or making dramatic pronouncements about pink.But she is equally passionate, a wild haired dreamer who thinks that fashion should be transporting, provocative and even intellectual, who bemoans the dominance of celebrities and digital hocus pocus in fashion photography and who isn't afraid to take on Wintour.The book is a window into how fashion has changed from a small, niche business into a global pop culture medium. It chronicles Coddington's 50 years in the industry, first as a model, then as a fashion editor for British Vogue and finally as creative director for American Vogue, with lots of juicy anecdotes about designers, photographers, celebrities and models.She compares the fashion world then and now and offers clues into her relationship with Wintour. She's also open about her private life, including details about failed marriages, the tragic death of her sister Rosemary and her 30 year romance with French hairstylist Didier Malige. She tells colorful stories behind many of the fashion shoots she has styled, but I do wish she had offered more insight into her role in the creative process.Coddington begins by painting a picture of her upbringing as romantic as any photo shoot. For her first 18 years, her home was the Trearddur Bay Hotel on the island of Anglesey off the coast of North Wales. "Although it was bleak, I saw beauty in the bleakness." When she wasn't outdoors, she amused herself by looking at picture books, reading fairy tales and, yes, studying the pages of Vogue magazine. As a teen, she went to a convent school and has vivid memories of the nuns roller skating on the rooftop, "flapping about surreally in their robes like crows on wheels."At 18, she moved to London to attend a modeling course advertised in Vogue. The fashion world was much different in 1959. Coddington had to learn how to apply her own makeup and style her own hair, because makeup artists and hairdressers specializing in photo shoots were nonexistent. A meeting with photographer Norman Parkinson led to her first modeling job running naked through the woods for an arty fashion catalog.Coddington became an overnight success. "I was a character, rather than a pretty model, and I suppose that's exactly what I look for in the girls I now select to put in American Vogue the ones who are quirky looking."She earned the nickname "The Cod" (to Jean Shrimpton's "The Shrimp"), danced the twist on Mary Quant's catwalk and became a muse to Vidal Sassoon, who created his famous five point cut on Coddington. Her modeling career was derailed for two years by a car accident, which scarred her left eyelid. But eventually things picked up again, and she settled into life in 1960s swinging London and Paris, hanging out with a fast crowd that included Michael Caine, Jane Birkin, the Beatles and the Rolling Stones.Her fashion editing career coincided with the beginning of her relationship with Michael Chow and the opening of his glamorous restaurant Mr. Chow, which attracted a starry crowd. "Naturally, we were forever being photographed at home, draped among our symbols of 'with it ness' as one of London's most happening couples; him, the cool young restaurateur, nonchalantly swinging in a hammock hung from the minstrel's gallery and me, the sophisticated style maker, perkily sitting cross legged atop a giant pop art version of a Campbell's soup can."At the height of the bohemian 1970s, she dyed her hair with henna and permed it (it would stay the same for much of the next 40 years), dressed almost exclusively in Yves Saint Laurent, had a fling with a Vietnamese photographer and spent her evenings at Club Sept in Paris. Coddington worked with the who's who of fashion. She shot Anjelica Huston with photographer David Bailey and Pat Cleveland with Helmut Newton.When Bea Miller, who had edited British Vogue for 22 years, retired, Coddington interviewed for the job but says she knew deep down she wasn't suited for it and thought that Wintour, then the creative director of American Vogue, should get it.Wintour did get it. Two days into her editorship, she invited Coddington to a screening of the racy film "Betty Blue." The two sat in dead silence through the opening sequence, a vivid five minute sex scene."Anna was rigid and unmoving. No sign of any emotion at all," Coddington writes. "I then realized how much significance Anna places on willpower trumping feelings."In 1988, when Wintour was appointed editor in chief at American Vogue, Coddington asked to join her. Coddington's narrative style fashion features and travelogues, a sampling of which appear in the book, became the heart and soul of the magazine, even as its pages became increasingly taken over by celebrities. Through her visual canvases, she interpreted the New Romantic period, grunge and the South Beach blinged out 1990s, and persuaded superstar designers Tom Ford, Marc Jacobs and others to play roles in a shoot based on "Alice in Wonderland."She sums up her creative process this way: "For me, one of the most important aspects of my work is to give people something to dream about, just as I used to dream all those years ago as a child looking at beautiful photographs."The book ends with a chapter on then and now. "Fashion has changed so much in my lifetime," Coddington writes. "Today, I find myself at the collections, asking, 'Who are all these people?' Sometimes I think I'm the last remaining person who comes to the shows for the pleasure of seeing the clothes."At 71, she seldom wears makeup and doesn't socialize much. But her attempt in the last 100 pages to distance herself from the term "fashionista" is a bit of a stretch. Clearly, Coddington has led a most charmed life. Otherwise, we wouldn't be reading about it.We provide this community forum for readers to exchange ideas and opinions on the news of the day. Passionate views, pointed criticism and critical thinking are welcome. Comments can only be submitted by registered users. By posting comments on our site, you are agreeing to the following terms:
Lady Griz hand Selvig 800th career win with 68 61 victory over PortlandGriz up to fifth in TSN poll, highest ranking of seasonBig Sky honors Sac State QB SafronNorth Dakota football coach firedSince 1897, the Cat Griz rivalry has captivated the stateFamily health: Prepare yourself and your vehicle for winter drivingFitness calendarBirths for Tuesday, November 19Angler with 4th place total takes Fall Mack Days fishing tournament titleWestern Montana hunters get help from fresh snow, rutIf the name Grace Coddington is familiar, you've probably seen the 2009 documentary film "The September Issue" about Vogue magazine's Editor in Chief Anna Wintour, the most feared and revered woman in fashion. Now Coddington, the longtime creative director of Vogue, has her own star vehicle, an engaging memoir titled "Grace," co written with Michael Roberts. For anyone with a passing interest in the fashion industry, it's worth a read for the name dropping alone.As became clear in the film, which chronicled the magazine's staff as they put together the 4 pound September 2007 issue, Coddington is not the Anna Wintour or Diana Vreeland type. You won't hear her barking orders at assistants or making dramatic pronouncements about pink.But she is equally passionate, a wild haired dreamer who thinks that fashion should be transporting, provocative and even intellectual, who bemoans the dominance of celebrities and digital hocus pocus in fashion photography and who isn't afraid to take on Wintour.The book is a window into how fashion has changed from a small, niche business into a global pop culture medium. It chronicles Coddington's 50 years in the industry, first as a model, then as a fashion editor for British Vogue and finally as creative director for American Vogue, with lots of juicy anecdotes about designers, photographers, celebrities and models.She compares the fashion world then and now and offers clues into her relationship with Wintour. She's also open about her private life, including details about failed marriages, the tragic death of her sister Rosemary and her 30 year romance with French hairstylist Didier Malige. She tells colorful stories behind many of the fashion shoots she has styled, but I do wish she had offered more insight into her role in the creative process.Coddington begins by painting a picture of her upbringing as romantic as any photo shoot. For her first 18 years, her home was the Trearddur Bay Hotel on the island of Anglesey off the coast of North Wales. "Although it was bleak, I saw beauty in the bleakness." When she wasn't outdoors, she amused herself by looking at picture books, reading fairy tales and, yes, studying the pages of Vogue magazine. As a teen, she went to a convent school and has vivid memories of the nuns roller skating on the rooftop, "flapping about surreally in their robes like crows on wheels."At 18, she moved to London to attend a modeling course advertised in Vogue. The fashion world was much different in 1959. Coddington had to learn how to apply her own makeup and style her own hair, because makeup artists and hairdressers specializing in photo shoots were nonexistent. A meeting with photographer Norman Parkinson led to her first modeling job running naked through the woods for an arty fashion catalog.Coddington became an overnight success. "I was a character, rather than a pretty model, and I suppose that's exactly what I look for in the girls I now select to put in American Vogue the ones who are quirky looking."She earned the nickname "The Cod" (to Jean Shrimpton's "The Shrimp"), danced the twist on Mary Quant's catwalk and became a muse to Vidal Sassoon, who created his famous five point cut on Coddington. Her modeling career was derailed for two years by a car accident, which scarred her left eyelid. But eventually things picked up again, and she settled into life in 1960s swinging London and Paris, hanging out with a fast crowd that included Michael Caine, Jane Birkin, the Beatles and the Rolling Stones.Her fashion editing career coincided with the beginning of her relationship with Michael Chow and the opening of his glamorous restaurant Mr. Chow, which attracted a starry crowd. "Naturally, we were forever being photographed at home, draped among our symbols of 'with it ness' as one of London's most happening couples; him, the cool young restaurateur, nonchalantly swinging in a hammock hung from the minstrel's gallery and me, the sophisticated style maker, perkily sitting cross legged atop a giant pop art version of a Campbell's soup can."At the height of the bohemian 1970s, she dyed her hair with henna and permed it (it would stay the same for much of the next 40 years), dressed almost exclusively in Yves Saint Laurent, had a fling with a Vietnamese photographer and spent her evenings at Club Sept in Paris. Coddington worked with the who's who of fashion. She shot Anjelica Huston with photographer David Bailey and Pat Cleveland with Helmut Newton.When Bea Miller, who had edited British Vogue for 22 years, retired, Coddington interviewed for the job but says she knew deep down she wasn't suited for it and thought that Wintour, then the creative director of American Vogue, should get it.Wintour did get it. Two days into her editorship, she invited Coddington to a screening of the racy film "Betty Blue." The two sat in dead silence through the opening sequence, a vivid five minute sex scene."Anna was rigid and unmoving. No sign of any emotion at all," Coddington writes. "I then realized how much significance Anna places on willpower trumping feelings."In 1988, when Wintour was appointed editor in chief at American Vogue, Coddington asked to join her. Coddington's narrative style fashion features and travelogues, a sampling of which appear in the book, became the heart and soul of the magazine, even as its pages became increasingly taken over by celebrities. Through her visual canvases, she interpreted the New Romantic period, grunge and the South Beach blinged out 1990s, and persuaded superstar designers Tom Ford, Marc Jacobs and others to play roles in a shoot based on "Alice in Wonderland."She sums up her creative process this way: "For me, one of the most important aspects of my work is to give people something to dream about, just as I used to dream all those years ago as a child looking at beautiful photographs."The book ends with a chapter on then and now. "Fashion has changed so much in my lifetime," Coddington writes. "Today, I find myself at the collections, asking, 'Who are all these people?' Sometimes I think I'm the last remaining person who comes to the shows for the pleasure of seeing the clothes."At 71, she seldom wears makeup and doesn't socialize much. But her attempt in the last 100 pages to distance herself from the term "fashionista" is a bit of a stretch. Clearly, Coddington has led a most charmed life. Otherwise, we wouldn't be reading about it.We provide this community forum for readers to exchange ideas and opinions on the news of the day. Passionate views, pointed criticism and critical thinking are welcome. Comments can only be submitted by registered users. By posting comments on our site, you are agreeing to the following terms:
Lady Griz hand Selvig 800th career win with 68 61 victory over PortlandGriz up to fifth in TSN poll, highest ranking of seasonBig Sky honors Sac State QB SafronNorth Dakota football coach firedSince 1897, the Cat Griz rivalry has captivated the stateFamily health: Prepare yourself and your vehicle for winter drivingFitness calendarBirths for Tuesday, November 19Angler with 4th place total takes Fall Mack Days fishing tournament titleWestern Montana hunters get help from fresh snow, rutIf the name Grace Coddington is familiar, you've probably seen the 2009 documentary film "The September Issue" about Vogue magazine's Editor in Chief Anna Wintour, the most feared and revered woman in fashion. Now Coddington, the longtime creative director of Vogue, has her own star vehicle, an engaging memoir titled "Grace," co written with Michael Roberts. For anyone with a passing interest in the fashion industry, it's worth a read for the name dropping alone.As became clear in the film, which chronicled the magazine's staff as they put together the 4 pound September 2007 issue, Coddington is not the Anna Wintour or Diana Vreeland type. You won't hear her barking orders at assistants or making dramatic pronouncements about pink.But she is equally passionate, a wild haired dreamer who thinks that fashion should be transporting, provocative and even intellectual, who bemoans the dominance of celebrities and digital hocus pocus in fashion photography and who isn't afraid to take on Wintour.The book is a window into how fashion has changed from a small, niche business into a global pop culture medium. It chronicles Coddington's 50 years in the industry, first as a model, then as a fashion editor for British Vogue and finally as creative director for American Vogue, with lots of juicy anecdotes about designers, photographers, celebrities and models.She compares the fashion world then and now and offers clues into her relationship with Wintour. She's also open about her private life, including details about failed marriages, the tragic death of her sister Rosemary and her 30 year romance with French hairstylist Didier Malige. She tells colorful stories behind many of the fashion shoots she has styled, but I do wish she had offered more insight into her role in the creative process.Coddington begins by painting a picture of her upbringing as romantic as any photo shoot. For her first 18 years, her home was the Trearddur Bay Hotel on the island of Anglesey off the coast of North Wales. "Although it was bleak, I saw beauty in the bleakness." When she wasn't outdoors, she amused herself by looking at picture books, reading fairy tales and, yes, studying the pages of Vogue magazine. As a teen, she went to a convent school and has vivid memories of the nuns roller skating on the rooftop, "flapping about surreally in their robes like crows on wheels."At 18, she moved to London to attend a modeling course advertised in Vogue. The fashion world was much different in 1959. Coddington had to learn how to apply her own makeup and style her own hair, because makeup artists and hairdressers specializing in photo shoots were nonexistent. A meeting with photographer Norman Parkinson led to her first modeling job running naked through the woods for an arty fashion catalog.Coddington became an overnight success. "I was a character, rather than a pretty model, and I suppose that's exactly what I look for in the girls I now select to put in American Vogue the ones who are quirky looking."She earned the nickname "The Cod" (to Jean Shrimpton's "The Shrimp"), danced the twist on Mary Quant's catwalk and became a muse to Vidal Sassoon, who created his famous five point cut on Coddington. Her modeling career was derailed for two years by a car accident, which scarred her left eyelid. But eventually things picked up again, and she settled into life in 1960s swinging London and Paris, hanging out with a fast crowd that included Michael Caine, Jane Birkin, the Beatles and the Rolling Stones.Her fashion editing career coincided with the beginning of her relationship with Michael Chow and the opening of his glamorous restaurant Mr. Chow, which attracted a starry crowd. "Naturally, we were forever being photographed at home, draped among our symbols of 'with it ness' as one of London's most happening couples; him, the cool young restaurateur, nonchalantly swinging in a hammock hung from the minstrel's gallery and me, the sophisticated style maker, perkily sitting cross legged atop a giant pop art version of a Campbell's soup can."At the height of the bohemian 1970s, she dyed her hair with henna and permed it (it would stay the same for much of the next 40 years), dressed almost exclusively in Yves Saint Laurent, had a fling with a Vietnamese photographer and spent her evenings at Club Sept in Paris. Coddington worked with the who's who of fashion. She shot Anjelica Huston with photographer David Bailey and Pat Cleveland with Helmut Newton.When Bea Miller, who had edited British Vogue for 22 years, retired, Coddington interviewed for the job but says she knew deep down she wasn't suited for it and thought that Wintour, then the creative director of American Vogue, should get it.Wintour did get it. Two days into her editorship, she invited Coddington to a screening of the racy film "Betty Blue." The two sat in dead silence through the opening sequence, a vivid five minute sex scene."Anna was rigid and unmoving. No sign of any emotion at all," Coddington writes. "I then realized how much significance Anna places on willpower trumping feelings."In 1988, when Wintour was appointed editor in chief at American Vogue, Coddington asked to join her. Coddington's narrative style fashion features and travelogues, a sampling of which appear in the book, became the heart and soul of the magazine, even as its pages became increasingly taken over by celebrities. Through her visual canvases, she interpreted the New Romantic period, grunge and the South Beach blinged out 1990s, and persuaded superstar designers Tom Ford, Marc Jacobs and others to play roles in a shoot based on "Alice in Wonderland."She sums up her creative process this way: "For me, one of the most important aspects of my work is to give people something to dream about, just as I used to dream all those years ago as a child looking at beautiful photographs."The book ends with a chapter on then and now. "Fashion has changed so much in my lifetime," Coddington writes. "Today, I find myself at the collections, asking, 'Who are all these people?' Sometimes I think I'm the last remaining person who comes to the shows for the pleasure of seeing the clothes."At 71, she seldom wears makeup and doesn't socialize much. But her attempt in the last 100 pages to distance herself from the term "fashionista" is a bit of a stretch. Clearly, Coddington has led a most charmed life. Otherwise, we wouldn't be reading about it.We provide this community forum for readers to exchange ideas and opinions on the news of the day. Passionate views, pointed criticism and critical thinking are welcome. Comments can only be submitted by registered users. By posting comments on our site, you are agreeing to the following terms:
Lady Griz hand Selvig 800th career win with 68 61 victory over PortlandGriz up to fifth in TSN poll, highest ranking of seasonBig Sky honors Sac State QB SafronNorth Dakota football coach firedSince 1897, the Cat Griz rivalry has captivated the stateFamily health: Prepare yourself and your vehicle for winter drivingFitness calendarBirths for Tuesday, November 19Angler with 4th place total takes Fall Mack Days fishing tournament titleWestern Montana hunters get help from fresh snow, rutIf the name Grace Coddington is familiar, you've probably seen the 2009 documentary film "The September Issue" about Vogue magazine's Editor in Chief Anna Wintour, the most feared and revered woman in fashion. Now Coddington, the longtime creative director of Vogue, has her own star vehicle, an engaging memoir titled "Grace," co written with Michael Roberts. For anyone with a passing interest in the fashion industry, it's worth a read for the name dropping alone.As became clear in the film, which chronicled the magazine's staff as they put together the 4 pound September 2007 issue, Coddington is not the Anna Wintour or Diana Vreeland type. You won't hear her barking orders at assistants or making dramatic pronouncements about pink.But she is equally passionate, a wild haired dreamer who thinks that fashion should be transporting, provocative and even intellectual, who bemoans the dominance of celebrities and digital hocus pocus in fashion photography and who isn't afraid to take on Wintour.The book is a window into how fashion has changed from a small, niche business into a global pop culture medium. It chronicles Coddington's 50 years in the industry, first as a model, then as a fashion editor for British Vogue and finally as creative director for American Vogue, with lots of juicy anecdotes about designers, photographers, celebrities and models.She compares the fashion world then and now and offers clues into her relationship with Wintour. She's also open about her private life, including details about failed marriages, the tragic death of her sister Rosemary and her 30 year romance with French hairstylist Didier Malige. She tells colorful stories behind many of the fashion shoots she has styled, but I do wish she had offered more insight into her role in the creative process.Coddington begins by painting a picture of her upbringing as romantic as any photo shoot. For her first 18 years, her home was the Trearddur Bay Hotel on the island of Anglesey off the coast of North Wales. "Although it was bleak, I saw beauty in the bleakness." When she wasn't outdoors, she amused herself by looking at picture books, reading fairy tales and, yes, studying the pages of Vogue magazine. As a teen, she went to a convent school and has vivid memories of the nuns roller skating on the rooftop, "flapping about surreally in their robes like crows on wheels."At 18, she moved to London to attend a modeling course advertised in Vogue. The fashion world was much different in 1959. Coddington had to learn how to apply her own makeup and style her own hair, because makeup artists and hairdressers specializing in photo shoots were nonexistent. A meeting with photographer Norman Parkinson led to her first modeling job running naked through the woods for an arty fashion catalog.Coddington became an overnight success. "I was a character, rather than a pretty model, and I suppose that's exactly what I look for in the girls I now select to put in American Vogue the ones who are quirky looking."She earned the nickname "The Cod" (to Jean Shrimpton's "The Shrimp"), danced the twist on Mary Quant's catwalk and became a muse to Vidal Sassoon, who created his famous five point cut on Coddington. Her modeling career was derailed for two years by a car accident, which scarred her left eyelid. But eventually things picked up again, and she settled into life in 1960s swinging London and Paris, hanging out with a fast crowd that included Michael Caine, Jane Birkin, the Beatles and the Rolling Stones.Her fashion editing career coincided with the beginning of her relationship with Michael Chow and the opening of his glamorous restaurant Mr. Chow, which attracted a starry crowd. "Naturally, we were forever being photographed at home, draped among our symbols of 'with it ness' as one of London's most happening couples; him, the cool young restaurateur, nonchalantly swinging in a hammock hung from the minstrel's gallery and me, the sophisticated style maker, perkily sitting cross legged atop a giant pop art version of a Campbell's soup can."At the height of the bohemian 1970s, she dyed her hair with henna and permed it (it would stay the same for much of the next 40 years), dressed almost exclusively in Yves Saint Laurent, had a fling with a Vietnamese photographer and spent her evenings at Club Sept in Paris. Coddington worked with the who's who of fashion. She shot Anjelica Huston with photographer David Bailey and Pat Cleveland with Helmut Newton.When Bea Miller, who had edited British Vogue for 22 years, retired, Coddington interviewed for the job but says she knew deep down she wasn't suited for it and thought that Wintour, then the creative director of American Vogue, should get it.Wintour did get it. Two days into her editorship, she invited Coddington to a screening of the racy film "Betty Blue." The two sat in dead silence through the opening sequence, a vivid five minute sex scene."Anna was rigid and unmoving. No sign of any emotion at all," Coddington writes. "I then realized how much significance Anna places on willpower trumping feelings."In 1988, when Wintour was appointed editor in chief at American Vogue, Coddington asked to join her. Coddington's narrative style fashion features and travelogues, a sampling of which appear in the book, became the heart and soul of the magazine, even as its pages became increasingly taken over by celebrities. Through her visual canvases, she interpreted the New Romantic period, grunge and the South Beach blinged out 1990s, and persuaded superstar designers Tom Ford, Marc Jacobs and others to play roles in a shoot based on "Alice in Wonderland."She sums up her creative process this way: "For me, one of the most important aspects of my work is to give people something to dream about, just as I used to dream all those years ago as a child looking at beautiful photographs."The book ends with a chapter on then and now. "Fashion has changed so much in my lifetime," Coddington writes. "Today, I find myself at the collections, asking, 'Who are all these people?' Sometimes I think I'm the last remaining person who comes to the shows for the pleasure of seeing the clothes."At 71, she seldom wears makeup and doesn't socialize much. But her attempt in the last 100 pages to distance herself from the term "fashionista" is a bit of a stretch. Clearly, Coddington has led a most charmed life. Otherwise, we wouldn't be reading about it.We provide this community forum for readers to exchange ideas and opinions on the news of the day. Passionate views, pointed criticism and critical thinking are welcome. Comments can only be submitted by registered users. By posting comments on our site, you are agreeing to the following terms:
Lady Griz hand Selvig 800th career win with 68 61 victory over PortlandGriz up to fifth in TSN poll, highest ranking of seasonBig Sky honors Sac State QB SafronNorth Dakota football coach firedSince 1897, the Cat Griz rivalry has captivated the stateFamily health: Prepare yourself and your vehicle for winter drivingFitness calendarBirths for Tuesday, November 19Angler with 4th place total takes Fall Mack Days fishing tournament titleWestern Montana hunters get help from fresh snow, rutIf the name Grace Coddington is familiar, you've probably seen the 2009 documentary film "The September Issue" about Vogue magazine's Editor in Chief Anna Wintour, the most feared and revered woman in fashion. Now Coddington, the longtime creative director of Vogue, has her own star vehicle, an engaging memoir titled "Grace," co written with Michael Roberts. For anyone with a passing interest in the fashion industry, it's worth a read for the name dropping alone.As became clear in the film, which chronicled the magazine's staff as they put together the 4 pound September 2007 issue, Coddington is not the Anna Wintour or Diana Vreeland type. You won't hear her barking orders at assistants or making dramatic pronouncements about pink.But she is equally passionate, a wild haired dreamer who thinks that fashion should be transporting, provocative and even intellectual, who bemoans the dominance of celebrities and digital hocus pocus in fashion photography and who isn't afraid to take on Wintour.The book is a window into how fashion has changed from a small, niche business into a global pop culture medium. It chronicles Coddington's 50 years in the industry, first as a model, then as a fashion editor for British Vogue and finally as creative director for American Vogue, with lots of juicy anecdotes about designers, photographers, celebrities and models.She compares the fashion world then and now and offers clues into her relationship with Wintour. She's also open about her private life, including details about failed marriages, the tragic death of her sister Rosemary and her 30 year romance with French hairstylist Didier Malige. She tells colorful stories behind many of the fashion shoots she has styled, but I do wish she had offered more insight into her role in the creative process.Coddington begins by painting a picture of her upbringing as romantic as any photo shoot. For her first 18 years, her home was the Trearddur Bay Hotel on the island of Anglesey off the coast of North Wales. "Although it was bleak, I saw beauty in the bleakness." When she wasn't outdoors, she amused herself by looking at picture books, reading fairy tales and, yes, studying the pages of Vogue magazine. As a teen, she went to a convent school and has vivid memories of the nuns roller skating on the rooftop, "flapping about surreally in their robes like crows on wheels."At 18, she moved to London to attend a modeling course advertised in Vogue. The fashion world was much different in 1959. Coddington had to learn how to apply her own makeup and style her own hair, because makeup artists and hairdressers specializing in photo shoots were nonexistent. A meeting with photographer Norman Parkinson led to her first modeling job running naked through the woods for an arty fashion catalog.Coddington became an overnight success. "I was a character, rather than a pretty model, and I suppose that's exactly what I look for in the girls I now select to put in American Vogue the ones who are quirky looking."She earned the nickname "The Cod" (to Jean Shrimpton's "The Shrimp"), danced the twist on Mary Quant's catwalk and became a muse to Vidal Sassoon, who created his famous five point cut on Coddington. Her modeling career was derailed for two years by a car accident, which scarred her left eyelid. But eventually things picked up again, and she settled into life in 1960s swinging London and Paris, hanging out with a fast crowd that included Michael Caine, Jane Birkin, the Beatles and the Rolling Stones.Her fashion editing career coincided with the beginning of her relationship with Michael Chow and the opening of his glamorous restaurant Mr. Chow, which attracted a starry crowd. "Naturally, we were forever being photographed at home, draped among our symbols of 'with it ness' as one of London's most happening couples; him, the cool young restaurateur, nonchalantly swinging in a hammock hung from the minstrel's gallery and me, the sophisticated style maker, perkily sitting cross legged atop a giant pop art version of a Campbell's soup can."At the height of the bohemian 1970s, she dyed her hair with henna and permed it (it would stay the same for much of the next 40 years), dressed almost exclusively in Yves Saint Laurent, had a fling with a Vietnamese photographer and spent her evenings at Club Sept in Paris. Coddington worked with the who's who of fashion. She shot Anjelica Huston with photographer David Bailey and Pat Cleveland with Helmut Newton.When Bea Miller, who had edited British Vogue for 22 years, retired, Coddington interviewed for the job but says she knew deep down she wasn't suited for it and thought that Wintour, then the creative director of American Vogue, should get it.Wintour did get it. Two days into her editorship, she invited Coddington to a screening of the racy film "Betty Blue." The two sat in dead silence through the opening sequence, a vivid five minute sex scene."Anna was rigid and unmoving. No sign of any emotion at all," Coddington writes. "I then realized how much significance Anna places on willpower trumping feelings."In 1988, when Wintour was appointed editor in chief at American Vogue, Coddington asked to join her. Coddington's narrative style fashion features and travelogues, a sampling of which appear in the book, became the heart and soul of the magazine, even as its pages became increasingly taken over by celebrities. Through her visual canvases, she interpreted the New Romantic period, grunge and the South Beach blinged out 1990s, and persuaded superstar designers Tom Ford, Marc Jacobs and others to play roles in a shoot based on "Alice in Wonderland."She sums up her creative process this way: "For me, one of the most important aspects of my work is to give people something to dream about, just as I used to dream all those years ago as a child looking at beautiful photographs."The book ends with a chapter on then and now. "Fashion has changed so much in my lifetime," Coddington writes. "Today, I find myself at the collections, asking, 'Who are all these people?' Sometimes I think I'm the last remaining person who comes to the shows for the pleasure of seeing the clothes."At 71, she seldom wears makeup and doesn't socialize much. But her attempt in the last 100 pages to distance herself from the term "fashionista" is a bit of a stretch. Clearly, Coddington has led a most charmed life. Otherwise, we wouldn't be reading about it.We provide this community forum for readers to exchange ideas and opinions on the news of the day. Passionate views, pointed criticism and critical thinking are welcome. Comments can only be submitted by registered users. By posting comments on our site, you are agreeing to the following terms:
Lady Griz hand Selvig 800th career win with 68 61 victory over PortlandGriz up to fifth in TSN poll, highest ranking of seasonBig Sky honors Sac State QB SafronNorth Dakota football coach firedSince 1897, the Cat Griz rivalry has captivated the stateFamily health: Prepare yourself and your vehicle for winter drivingFitness calendarBirths for Tuesday, November 19Angler with 4th place total takes Fall Mack Days fishing tournament titleWestern Montana hunters get help from fresh snow, rutIf the name Grace Coddington is familiar, you've probably seen the 2009 documentary film "The September Issue" about Vogue magazine's Editor in Chief Anna Wintour, the most feared and revered woman in fashion. Now Coddington, the longtime creative director of Vogue, has her own star vehicle, an engaging memoir titled "Grace," co written with Michael Roberts. For anyone with a passing interest in the fashion industry, it's worth a read for the name dropping alone.As became clear in the film, which chronicled the magazine's staff as they put together the 4 pound September 2007 issue, Coddington is not the Anna Wintour or Diana Vreeland type. You won't hear her barking orders at assistants or making dramatic pronouncements about pink.But she is equally passionate, a wild haired dreamer who thinks that fashion should be transporting, provocative and even intellectual, who bemoans the dominance of celebrities and digital hocus pocus in fashion photography and who isn't afraid to take on Wintour.The book is a window into how fashion has changed from a small, niche business into a global pop culture medium. It chronicles Coddington's 50 years in the industry, first as a model, then as a fashion editor for British Vogue and finally as creative director for American Vogue, with lots of juicy anecdotes about designers, photographers, celebrities and models.She compares the fashion world then and now and offers clues into her relationship with Wintour. She's also open about her private life, including details about failed marriages, the tragic death of her sister Rosemary and her 30 year romance with French hairstylist Didier Malige. She tells colorful stories behind many of the fashion shoots she has styled, but I do wish she had offered more insight into her role in the creative process.Coddington begins by painting a picture of her upbringing as romantic as any photo shoot. For her first 18 years, her home was the Trearddur Bay Hotel on the island of Anglesey off the coast of North Wales. "Although it was bleak, I saw beauty in the bleakness." When she wasn't outdoors, she amused herself by looking at picture books, reading fairy tales and, yes, studying the pages of Vogue magazine. As a teen, she went to a convent school and has vivid memories of the nuns roller skating on the rooftop, "flapping about surreally in their robes like crows on wheels."At 18, she moved to London to attend a modeling course advertised in Vogue. The fashion world was much different in 1959. Coddington had to learn how to apply her own makeup and style her own hair, because makeup artists and hairdressers specializing in photo shoots were nonexistent. A meeting with photographer Norman Parkinson led to her first modeling job running naked through the woods for an arty fashion catalog.Coddington became an overnight success. "I was a character, rather than a pretty model, and I suppose that's exactly what I look for in the girls I now select to put in American Vogue the ones who are quirky looking."She earned the nickname "The Cod" (to Jean Shrimpton's "The Shrimp"), danced the twist on Mary Quant's catwalk and became a muse to Vidal Sassoon, who created his famous five point cut on Coddington. Her modeling career was derailed for two years by a car accident, which scarred her left eyelid. But eventually things picked up again, and she settled into life in 1960s swinging London and Paris, hanging out with a fast crowd that included Michael Caine, Jane Birkin, the Beatles and the Rolling Stones.Her fashion editing career coincided with the beginning of her relationship with Michael Chow and the opening of his glamorous restaurant Mr. Chow, which attracted a starry crowd. "Naturally, we were forever being photographed at home, draped among our symbols of 'with it ness' as one of London's most happening couples; him, the cool young restaurateur, nonchalantly swinging in a hammock hung from the minstrel's gallery and me, the sophisticated style maker, perkily sitting cross legged atop a giant pop art version of a Campbell's soup can."At the height of the bohemian 1970s, she dyed her hair with henna and permed it (it would stay the same for much of the next 40 years), dressed almost exclusively in Yves Saint Laurent, had a fling with a Vietnamese photographer and spent her evenings at Club Sept in Paris. Coddington worked with the who's who of fashion. She shot Anjelica Huston with photographer David Bailey and Pat Cleveland with Helmut Newton.When Bea Miller, who had edited British Vogue for 22 years, retired, Coddington interviewed for the job but says she knew deep down she wasn't suited for it and thought that Wintour, then the creative director of American Vogue, should get it.Wintour did get it. Two days into her editorship, she invited Coddington to a screening of the racy film "Betty Blue." The two sat in dead silence through the opening sequence, a vivid five minute sex scene."Anna was rigid and unmoving. No sign of any emotion at all," Coddington writes. "I then realized how much significance Anna places on willpower trumping feelings."In 1988, when Wintour was appointed editor in chief at American Vogue, Coddington asked to join her. Coddington's narrative style fashion features and travelogues, a sampling of which appear in the book, became the heart and soul of the magazine, even as its pages became increasingly taken over by celebrities. Through her visual canvases, she interpreted the New Romantic period, grunge and the South Beach blinged out 1990s, and persuaded superstar designers Tom Ford, Marc Jacobs and others to play roles in a shoot based on "Alice in Wonderland."She sums up her creative process this way: "For me, one of the most important aspects of my work is to give people something to dream about, just as I used to dream all those years ago as a child looking at beautiful photographs."The book ends with a chapter on then and now. "Fashion has changed so much in my lifetime," Coddington writes. "Today, I find myself at the collections, asking, 'Who are all these people?' Sometimes I think I'm the last remaining person who comes to the shows for the pleasure of seeing the clothes."At 71, she seldom wears makeup and doesn't socialize much. But her attempt in the last 100 pages to distance herself from the term "fashionista" is a bit of a stretch. Clearly, Coddington has led a most charmed life. Otherwise, we wouldn't be reading about it.We provide this community forum for readers to exchange ideas and opinions on the news of the day. Passionate views, pointed criticism and critical thinking are welcome. Comments can only be submitted by registered users. By posting comments on our site, you are agreeing to the following terms:
Lady Griz hand Selvig 800th career win with 68 61 victory over PortlandGriz up to fifth in TSN poll, highest ranking of seasonBig Sky honors Sac State QB SafronNorth Dakota football coach firedSince 1897, the Cat Griz rivalry has captivated the stateFamily health: Prepare yourself and your vehicle for winter drivingFitness calendarBirths for Tuesday, November 19Angler with 4th place total takes Fall Mack Days fishing tournament titleWestern Montana hunters get help from fresh snow, rutIf the name Grace Coddington is familiar, you've probably seen the 2009 documentary film "The September Issue" about Vogue magazine's Editor in Chief Anna Wintour, the most feared and revered woman in fashion. Now Coddington, the longtime creative director of Vogue, has her own star vehicle, an engaging memoir titled "Grace," co written with Michael Roberts. For anyone with a passing interest in the fashion industry, it's worth a read for the name dropping alone.As became clear in the film, which chronicled the magazine's staff as they put together the 4 pound September 2007 issue, Coddington is not the Anna Wintour or Diana Vreeland type. You won't hear her barking orders at assistants or making dramatic pronouncements about pink.But she is equally passionate, a wild haired dreamer who thinks that fashion should be transporting, provocative and even intellectual, who bemoans the dominance of celebrities and digital hocus pocus in fashion photography and who isn't afraid to take on Wintour.The book is a window into how fashion has changed from a small, niche business into a global pop culture medium. It chronicles Coddington's 50 years in the industry, first as a model, then as a fashion editor for British Vogue and finally as creative director for American Vogue, with lots of juicy anecdotes about designers, photographers, celebrities and models.She compares the fashion world then and now and offers clues into her relationship with Wintour. She's also open about her private life, including details about failed marriages, the tragic death of her sister Rosemary and her 30 year romance with French hairstylist Didier Malige. She tells colorful stories behind many of the fashion shoots she has styled, but I do wish she had offered more insight into her role in the creative process.Coddington begins by painting a picture of her upbringing as romantic as any photo shoot. For her first 18 years, her home was the Trearddur Bay Hotel on the island of Anglesey off the coast of North Wales. "Although it was bleak, I saw beauty in the bleakness." When she wasn't outdoors, she amused herself by looking at picture books, reading fairy tales and, yes, studying the pages of Vogue magazine. As a teen, she went to a convent school and has vivid memories of the nuns roller skating on the rooftop, "flapping about surreally in their robes like crows on wheels."At 18, she moved to London to attend a modeling course advertised in Vogue. The fashion world was much different in 1959. Coddington had to learn how to apply her own makeup and style her own hair, because makeup artists and hairdressers specializing in photo shoots were nonexistent. A meeting with photographer Norman Parkinson led to her first modeling job running naked through the woods for an arty fashion catalog.Coddington became an overnight success. "I was a character, rather than a pretty model, and I suppose that's exactly what I look for in the girls I now select to put in American Vogue the ones who are quirky looking."She earned the nickname "The Cod" (to Jean Shrimpton's "The Shrimp"), danced the twist on Mary Quant's catwalk and became a muse to Vidal Sassoon, who created his famous five point cut on Coddington. Her modeling career was derailed for two years by a car accident, which scarred her left eyelid. But eventually things picked up again, and she settled into life in 1960s swinging London and Paris, hanging out with a fast crowd that included Michael Caine, Jane Birkin, the Beatles and the Rolling Stones.Her fashion editing career coincided with the beginning of her relationship with Michael Chow and the opening of his glamorous restaurant Mr. Chow, which attracted a starry crowd. "Naturally, we were forever being photographed at home, draped among our symbols of 'with it ness' as one of London's most happening couples; him, the cool young restaurateur, nonchalantly swinging in a hammock hung from the minstrel's gallery and me, the sophisticated style maker, perkily sitting cross legged atop a giant pop art version of a Campbell's soup can."At the height of the bohemian 1970s, she dyed her hair with henna and permed it (it would stay the same for much of the next 40 years), dressed almost exclusively in Yves Saint Laurent, had a fling with a Vietnamese photographer and spent her evenings at Club Sept in Paris. Coddington worked with the who's who of fashion. She shot Anjelica Huston with photographer David Bailey and Pat Cleveland with Helmut Newton.When Bea Miller, who had edited British Vogue for 22 years, retired, Coddington interviewed for the job but says she knew deep down she wasn't suited for it and thought that Wintour, then the creative director of American Vogue, should get it.Wintour did get it. Two days into her editorship, she invited Coddington to a screening of the racy film "Betty Blue." The two sat in dead silence through the opening sequence, a vivid five minute sex scene."Anna was rigid and unmoving. No sign of any emotion at all," Coddington writes. "I then realized how much significance Anna places on willpower trumping feelings."In 1988, when Wintour was appointed editor in chief at American Vogue, Coddington asked to join her. Coddington's narrative style fashion features and travelogues, a sampling of which appear in the book, became the heart and soul of the magazine, even as its pages became increasingly taken over by celebrities. Through her visual canvases, she interpreted the New Romantic period, grunge and the South Beach blinged out 1990s, and persuaded superstar designers Tom Ford, Marc Jacobs and others to play roles in a shoot based on "Alice in Wonderland."She sums up her creative process this way: "For me, one of the most important aspects of my work is to give people something to dream about, just as I used to dream all those years ago as a child looking at beautiful photographs."The book ends with a chapter on then and now. "Fashion has changed so much in my lifetime," Coddington writes. "Today, I find myself at the collections, asking, 'Who are all these people?' Sometimes I think I'm the last remaining person who comes to the shows for the pleasure of seeing the clothes."At 71, she seldom wears makeup and doesn't socialize much. But her attempt in the last 100 pages to distance herself from the term "fashionista" is a bit of a stretch. Clearly, Coddington has led a most charmed life. Otherwise, we wouldn't be reading about it.We provide this community forum for readers to exchange ideas and opinions on the news of the day. Passionate views, pointed criticism and critical thinking are welcome. Comments can only be submitted by registered users. By posting comments on our site, you are agreeing to the following terms:
Lady Griz hand Selvig 800th career win with 68 61 victory over PortlandGriz up to fifth in TSN poll, highest ranking of seasonBig Sky honors Sac State QB SafronNorth Dakota football coach firedSince 1897, the Cat Griz rivalry has captivated the stateFamily health: Prepare yourself and your vehicle for winter drivingFitness calendarBirths for Tuesday, November 19Angler with 4th place total takes Fall Mack Days fishing tournament titleWestern Montana hunters get help from fresh snow, rutIf the name Grace Coddington is familiar, you've probably seen the 2009 documentary film "The September Issue" about Vogue magazine's Editor in Chief Anna Wintour, the most feared and revered woman in fashion. Now Coddington, the longtime creative director of Vogue, has her own star vehicle, an engaging memoir titled "Grace," co written with Michael Roberts. For anyone with a passing interest in the fashion industry, it's worth a read for the name dropping alone.As became clear in the film, which chronicled the magazine's staff as they put together the 4 pound September 2007 issue, Coddington is not the Anna Wintour or Diana Vreeland type. You won't hear her barking orders at assistants or making dramatic pronouncements about pink.But she is equally passionate, a wild haired dreamer who thinks that fashion should be transporting, provocative and even intellectual, who bemoans the dominance of celebrities and digital hocus pocus in fashion photography and who isn't afraid to take on Wintour.The book is a window into how fashion has changed from a small, niche business into a global pop culture medium. It chronicles Coddington's 50 years in the industry, first as a model, then as a fashion editor for British Vogue and finally as creative director for American Vogue, with lots of juicy anecdotes about designers, photographers, celebrities and models.She compares the fashion world then and now and offers clues into her relationship with Wintour. She's also open about her private life, including details about failed marriages, the tragic death of her sister Rosemary and her 30 year romance with French hairstylist Didier Malige. She tells colorful stories behind many of the fashion shoots she has styled, but I do wish she had offered more insight into her role in the creative process.Coddington begins by painting a picture of her upbringing as romantic as any photo shoot. For her first 18 years, her home was the Trearddur Bay Hotel on the island of Anglesey off the coast of North Wales. "Although it was bleak, I saw beauty in the bleakness." When she wasn't outdoors, she amused herself by looking at picture books, reading fairy tales and, yes, studying the pages of Vogue magazine. As a teen, she went to a convent school and has vivid memories of the nuns roller skating on the rooftop, "flapping about surreally in their robes like crows on wheels."At 18, she moved to London to attend a modeling course advertised in Vogue. The fashion world was much different in 1959. Coddington had to learn how to apply her own makeup and style her own hair, because makeup artists and hairdressers specializing in photo shoots were nonexistent. A meeting with photographer Norman Parkinson led to her first modeling job running naked through the woods for an arty fashion catalog.Coddington became an overnight success. "I was a character, rather than a pretty model, and I suppose that's exactly what I look for in the girls I now select to put in American Vogue the ones who are quirky looking."She earned the nickname "The Cod" (to Jean Shrimpton's "The Shrimp"), danced the twist on Mary Quant's catwalk and became a muse to Vidal Sassoon, who created his famous five point cut on Coddington. Her modeling career was derailed for two years by a car accident, which scarred her left eyelid. But eventually things picked up again, and she settled into life in 1960s swinging London and Paris, hanging out with a fast crowd that included Michael Caine, Jane Birkin, the Beatles and the Rolling Stones.Her fashion editing career coincided with the beginning of her relationship with Michael Chow and the opening of his glamorous restaurant Mr. Chow, which attracted a starry crowd. "Naturally, we were forever being photographed at home, draped among our symbols of 'with it ness' as one of London's most happening couples; him, the cool young restaurateur, nonchalantly swinging in a hammock hung from the minstrel's gallery and me, the sophisticated style maker, perkily sitting cross legged atop a giant pop art version of a Campbell's soup can."At the height of the bohemian 1970s, she dyed her hair with henna and permed it (it would stay the same for much of the next 40 years), dressed almost exclusively in Yves Saint Laurent, had a fling with a Vietnamese photographer and spent her evenings at Club Sept in Paris. Coddington worked with the who's who of fashion. She shot Anjelica Huston with photographer David Bailey and Pat Cleveland with Helmut Newton.When Bea Miller, who had edited British Vogue for 22 years, retired, Coddington interviewed for the job but says she knew deep down she wasn't suited for it and thought that Wintour, then the creative director of American Vogue, should get it.Wintour did get it. Two days into her editorship, she invited Coddington to a screening of the racy film "Betty Blue." The two sat in dead silence through the opening sequence, a vivid five minute sex scene."Anna was rigid and unmoving. No sign of any emotion at all," Coddington writes. "I then realized how much significance Anna places on willpower trumping feelings."In 1988, when Wintour was appointed editor in chief at American Vogue, Coddington asked to join her. Coddington's narrative style fashion features and travelogues, a sampling of which appear in the book, became the heart and soul of the magazine, even as its pages became increasingly taken over by celebrities. Through her visual canvases, she interpreted the New Romantic period, grunge and the South Beach blinged out 1990s, and persuaded superstar designers Tom Ford, Marc Jacobs and others to play roles in a shoot based on "Alice in Wonderland."She sums up her creative process this way: "For me, one of the most important aspects of my work is to give people something to dream about, just as I used to dream all those years ago as a child looking at beautiful photographs."The book ends with a chapter on then and now. "Fashion has changed so much in my lifetime," Coddington writes. "Today, I find myself at the collections, asking, 'Who are all these people?' Sometimes I think I'm the last remaining person who comes to the shows for the pleasure of seeing the clothes."At 71, she seldom wears makeup and doesn't socialize much. But her attempt in the last 100 pages to distance herself from the term "fashionista" is a bit of a stretch. Clearly, Coddington has led a most charmed life. Otherwise, we wouldn't be reading about it.We provide this community forum for readers to exchange ideas and opinions on the news of the day. Passionate views, pointed criticism and critical thinking are welcome. Comments can only be submitted by registered users. By posting comments on our site, you are agreeing to the following terms:
Lady Griz hand Selvig 800th career win with 68 61 victory over PortlandGriz up to fifth in TSN poll, highest ranking of seasonBig Sky honors Sac State QB SafronNorth Dakota football coach firedSince 1897, the Cat Griz rivalry has captivated the stateFamily health: Prepare yourself and your vehicle for winter drivingFitness calendarBirths for Tuesday, November 19Angler with 4th place total takes Fall Mack Days fishing tournament titleWestern Montana hunters get help from fresh snow, rutIf the name Grace Coddington is familiar, you've probably seen the 2009 documentary film "The September Issue" about Vogue magazine's Editor in Chief Anna Wintour, the most feared and revered woman in fashion. Now Coddington, the longtime creative director of Vogue, has her own star vehicle, an engaging memoir titled "Grace," co written with Michael Roberts. For anyone with a passing interest in the fashion industry, it's worth a read for the name dropping alone.As became clear in the film, which chronicled the magazine's staff as they put together the 4 pound September 2007 issue, Coddington is not the Anna Wintour or Diana Vreeland type. You won't hear her barking orders at assistants or making dramatic pronouncements about pink.But she is equally passionate, a wild haired dreamer who thinks that fashion should be transporting, provocative and even intellectual, who bemoans the dominance of celebrities and digital hocus pocus in fashion photography and who isn't afraid to take on Wintour.The book is a window into how fashion has changed from a small, niche business into a global pop culture medium. It chronicles Coddington's 50 years in the industry, first as a model, then as a fashion editor for British Vogue and finally as creative director for American Vogue, with lots of juicy anecdotes about designers, photographers, celebrities and models.She compares the fashion world then and now and offers clues into her relationship with Wintour. She's also open about her private life, including details about failed marriages, the tragic death of her sister Rosemary and her 30 year romance with French hairstylist Didier Malige. She tells colorful stories behind many of the fashion shoots she has styled, but I do wish she had offered more insight into her role in the creative process.Coddington begins by painting a picture of her upbringing as romantic as any photo shoot. For her first 18 years, her home was the Trearddur Bay Hotel on the island of Anglesey off the coast of North Wales. "Although it was bleak, I saw beauty in the bleakness." When she wasn't outdoors, she amused herself by looking at picture books, reading fairy tales and, yes, studying the pages of Vogue magazine. As a teen, she went to a convent school and has vivid memories of the nuns roller skating on the rooftop, "flapping about surreally in their robes like crows on wheels."At 18, she moved to London to attend a modeling course advertised in Vogue. The fashion world was much different in 1959. Coddington had to learn how to apply her own makeup and style her own hair, because makeup artists and hairdressers specializing in photo shoots were nonexistent. A meeting with photographer Norman Parkinson led to her first modeling job running naked through the woods for an arty fashion catalog.Coddington became an overnight success. "I was a character, rather than a pretty model, and I suppose that's exactly what I look for in the girls I now select to put in American Vogue the ones who are quirky looking."She earned the nickname "The Cod" (to Jean Shrimpton's "The Shrimp"), danced the twist on Mary Quant's catwalk and became a muse to Vidal Sassoon, who created his famous five point cut on Coddington. Her modeling career was derailed for two years by a car accident, which scarred her left eyelid. But eventually things picked up again, and she settled into life in 1960s swinging London and Paris, hanging out with a fast crowd that included Michael Caine, Jane Birkin, the Beatles and the Rolling Stones.Her fashion editing career coincided with the beginning of her relationship with Michael Chow and the opening of his glamorous restaurant Mr. Chow, which attracted a starry crowd. "Naturally, we were forever being photographed at home, draped among our symbols of 'with it ness' as one of London's most happening couples; him, the cool young restaurateur, nonchalantly swinging in a hammock hung from the minstrel's gallery and me, the sophisticated style maker, perkily sitting cross legged atop a giant pop art version of a Campbell's soup can."At the height of the bohemian 1970s, she dyed her hair with henna and permed it (it would stay the same for much of the next 40 years), dressed almost exclusively in Yves Saint Laurent, had a fling with a Vietnamese photographer and spent her evenings at Club Sept in Paris. Coddington worked with the who's who of fashion. She shot Anjelica Huston with photographer David Bailey and Pat Cleveland with Helmut Newton.When Bea Miller, who had edited British Vogue for 22 years, retired, Coddington interviewed for the job but says she knew deep down she wasn't suited for it and thought that Wintour, then the creative director of American Vogue, should get it.Wintour did get it. Two days into her editorship, she invited Coddington to a screening of the racy film "Betty Blue." The two sat in dead silence through the opening sequence, a vivid five minute sex scene."Anna was rigid and unmoving. No sign of any emotion at all," Coddington writes. "I then realized how much significance Anna places on willpower trumping feelings."In 1988, when Wintour was appointed editor in chief at American Vogue, Coddington asked to join her. Coddington's narrative style fashion features and travelogues, a sampling of which appear in the book, became the heart and soul of the magazine, even as its pages became increasingly taken over by celebrities. Through her visual canvases, she interpreted the New Romantic period, grunge and the South Beach blinged out 1990s, and persuaded superstar designers Tom Ford, Marc Jacobs and others to play roles in a shoot based on "Alice in Wonderland."She sums up her creative process this way: "For me, one of the most important aspects of my work is to give people something to dream about, just as I used to dream all those years ago as a child looking at beautiful photographs."The book ends with a chapter on then and now. "Fashion has changed so much in my lifetime," Coddington writes. "Today, I find myself at the collections, asking, 'Who are all these people?' Sometimes I think I'm the last remaining person who comes to the shows for the pleasure of seeing the clothes."At 71, she seldom wears makeup and doesn't socialize much. But her attempt in the last 100 pages to distance herself from the term "fashionista" is a bit of a stretch. Clearly, Coddington has led a most charmed life. Otherwise, we wouldn't be reading about it.We provide this community forum for readers to exchange ideas and opinions on the news of the day. Passionate views, pointed criticism and critical thinking are welcome. Comments can only be submitted by registered users. By posting comments on our site, you are agreeing to the following terms:
Lady Griz hand Selvig 800th career win with 68 61 victory over PortlandGriz up to fifth in TSN poll, highest ranking of seasonBig Sky honors Sac State QB SafronNorth Dakota football coach firedSince 1897, the Cat Griz rivalry has captivated the stateFamily health: Prepare yourself and your vehicle for winter drivingFitness calendarBirths for Tuesday, November 19Angler with 4th place total takes Fall Mack Days fishing tournament titleWestern Montana hunters get help from fresh snow, rutIf the name Grace Coddington is familiar, you've probably seen the 2009 documentary film "The September Issue" about Vogue magazine's Editor in Chief Anna Wintour, the most feared and revered woman in fashion. Now Coddington, the longtime creative director of Vogue, has her own star vehicle, an engaging memoir titled "Grace," co written with Michael Roberts. For anyone with a passing interest in the fashion industry, it's worth a read for the name dropping alone.As became clear in the film, which chronicled the magazine's staff as they put together the 4 pound September 2007 issue, Coddington is not the Anna Wintour or Diana Vreeland type. You won't hear her barking orders at assistants or making dramatic pronouncements about pink.But she is equally passionate, a wild haired dreamer who thinks that fashion should be transporting, provocative and even intellectual, who bemoans the dominance of celebrities and digital hocus pocus in fashion photography and who isn't afraid to take on Wintour.The book is a window into how fashion has changed from a small, niche business into a global pop culture medium. It chronicles Coddington's 50 years in the industry, first as a model, then as a fashion editor for British Vogue and finally as creative director for American Vogue, with lots of juicy anecdotes about designers, photographers, celebrities and models.She compares the fashion world then and now and offers clues into her relationship with Wintour. She's also open about her private life, including details about failed marriages, the tragic death of her sister Rosemary and her 30 year romance with French hairstylist Didier Malige. She tells colorful stories behind many of the fashion shoots she has styled, but I do wish she had offered more insight into her role in the creative process.Coddington begins by painting a picture of her upbringing as romantic as any photo shoot. For her first 18 years, her home was the Trearddur Bay Hotel on the island of Anglesey off the coast of North Wales. "Although it was bleak, I saw beauty in the bleakness." When she wasn't outdoors, she amused herself by looking at picture books, reading fairy tales and, yes, studying the pages of Vogue magazine. As a teen, she went to a convent school and has vivid memories of the nuns roller skating on the rooftop, "flapping about surreally in their robes like crows on wheels."At 18, she moved to London to attend a modeling course advertised in Vogue. The fashion world was much different in 1959. Coddington had to learn how to apply her own makeup and style her own hair, because makeup artists and hairdressers specializing in photo shoots were nonexistent. A meeting with photographer Norman Parkinson led to her first modeling job running naked through the woods for an arty fashion catalog.Coddington became an overnight success. "I was a character, rather than a pretty model, and I suppose that's exactly what I look for in the girls I now select to put in American Vogue the ones who are quirky looking."She earned the nickname "The Cod" (to Jean Shrimpton's "The Shrimp"), danced the twist on Mary Quant's catwalk and became a muse to Vidal Sassoon, who created his famous five point cut on Coddington. Her modeling career was derailed for two years by a car accident, which scarred her left eyelid. But eventually things picked up again, and she settled into life in 1960s swinging London and Paris, hanging out with a fast crowd that included Michael Caine, Jane Birkin, the Beatles and the Rolling Stones.Her fashion editing career coincided with the beginning of her relationship with Michael Chow and the opening of his glamorous restaurant Mr. Chow, which attracted a starry crowd. "Naturally, we were forever being photographed at home, draped among our symbols of 'with it ness' as one of London's most happening couples; him, the cool young restaurateur, nonchalantly swinging in a hammock hung from the minstrel's gallery and me, the sophisticated style maker, perkily sitting cross legged atop a giant pop art version of a Campbell's soup can."At the height of the bohemian 1970s, she dyed her hair with henna and permed it (it would stay the same for much of the next 40 years), dressed almost exclusively in Yves Saint Laurent, had a fling with a Vietnamese photographer and spent her evenings at Club Sept in Paris. Coddington worked with the who's who of fashion. She shot Anjelica Huston with photographer David Bailey and Pat Cleveland with Helmut Newton.When Bea Miller, who had edited British Vogue for 22 years, retired, Coddington interviewed for the job but says she knew deep down she wasn't suited for it and thought that Wintour, then the creative director of American Vogue, should get it.Wintour did get it. Two days into her editorship, she invited Coddington to a screening of the racy film "Betty Blue." The two sat in dead silence through the opening sequence, a vivid five minute sex scene."Anna was rigid and unmoving. No sign of any emotion at all," Coddington writes. "I then realized how much significance Anna places on willpower trumping feelings."In 1988, when Wintour was appointed editor in chief at American Vogue, Coddington asked to join her. Coddington's narrative style fashion features and travelogues, a sampling of which appear in the book, became the heart and soul of the magazine, even as its pages became increasingly taken over by celebrities. Through her visual canvases, she interpreted the New Romantic period, grunge and the South Beach blinged out 1990s, and persuaded superstar designers Tom Ford, Marc Jacobs and others to play roles in a shoot based on "Alice in Wonderland."She sums up her creative process this way: "For me, one of the most important aspects of my work is to give people something to dream about, just as I used to dream all those years ago as a child looking at beautiful photographs."The book ends with a chapter on then and now. "Fashion has changed so much in my lifetime," Coddington writes. "Today, I find myself at the collections, asking, 'Who are all these people?' Sometimes I think I'm the last remaining person who comes to the shows for the pleasure of seeing the clothes."At 71, she seldom wears makeup and doesn't socialize much. But her attempt in the last 100 pages to distance herself from the term "fashionista" is a bit of a stretch. Clearly, Coddington has led a most charmed life. Otherwise, we wouldn't be reading about it.We provide this community forum for readers to exchange ideas and opinions on the news of the day. Passionate views, pointed criticism and critical thinking are welcome. Comments can only be submitted by registered users. By posting comments on our site, you are agreeing to the following terms:
Lady Griz hand Selvig 800th career win with 68 61 victory over PortlandGriz up to fifth in TSN poll, highest ranking of seasonBig Sky honors Sac State QB SafronNorth Dakota football coach firedSince 1897, the Cat Griz rivalry has captivated the stateFamily health: Prepare yourself and your vehicle for winter drivingFitness calendarBirths for Tuesday, November 19Angler with 4th place total takes Fall Mack Days fishing tournament titleWestern Montana hunters get help from fresh snow, rutIf the name Grace Coddington is familiar, you've probably seen the 2009 documentary film "The September Issue" about Vogue magazine's Editor in Chief Anna Wintour, the most feared and revered woman in fashion. Now Coddington, the longtime creative director of Vogue, has her own star vehicle, an engaging memoir titled "Grace," co written with Michael Roberts. For anyone with a passing interest in the fashion industry, it's worth a read for the name dropping alone.As became clear in the film, which chronicled the magazine's staff as they put together the 4 pound September 2007 issue, Coddington is not the Anna Wintour or Diana Vreeland type. You won't hear her barking orders at assistants or making dramatic pronouncements about pink.But she is equally passionate, a wild haired dreamer who thinks that fashion should be transporting, provocative and even intellectual, who bemoans the dominance of celebrities and digital hocus pocus in fashion photography and who isn't afraid to take on Wintour.The book is a window into how fashion has changed from a small, niche business into a global pop culture medium. It chronicles Coddington's 50 years in the industry, first as a model, then as a fashion editor for British Vogue and finally as creative director for American Vogue, with lots of juicy anecdotes about designers, photographers, celebrities and models.She compares the fashion world then and now and offers clues into her relationship with Wintour. She's also open about her private life, including details about failed marriages, the tragic death of her sister Rosemary and her 30 year romance with French hairstylist Didier Malige. She tells colorful stories behind many of the fashion shoots she has styled, but I do wish she had offered more insight into her role in the creative process.Coddington begins by painting a picture of her upbringing as romantic as any photo shoot. For her first 18 years, her home was the Trearddur Bay Hotel on the island of Anglesey off the coast of North Wales. "Although it was bleak, I saw beauty in the bleakness." When she wasn't outdoors, she amused herself by looking at picture books, reading fairy tales and, yes, studying the pages of Vogue magazine. As a teen, she went to a convent school and has vivid memories of the nuns roller skating on the rooftop, "flapping about surreally in their robes like crows on wheels."At 18, she moved to London to attend a modeling course advertised in Vogue. The fashion world was much different in 1959. Coddington had to learn how to apply her own makeup and style her own hair, because makeup artists and hairdressers specializing in photo shoots were nonexistent. A meeting with photographer Norman Parkinson led to her first modeling job running naked through the woods for an arty fashion catalog.Coddington became an overnight success. "I was a character, rather than a pretty model, and I suppose that's exactly what I look for in the girls I now select to put in American Vogue the ones who are quirky looking."She earned the nickname "The Cod" (to Jean Shrimpton's "The Shrimp"), danced the twist on Mary Quant's catwalk and became a muse to Vidal Sassoon, who created his famous five point cut on Coddington. Her modeling career was derailed for two years by a car accident, which scarred her left eyelid. But eventually things picked up again, and she settled into life in 1960s swinging London and Paris, hanging out with a fast crowd that included Michael Caine, Jane Birkin, the Beatles and the Rolling Stones.Her fashion editing career coincided with the beginning of her relationship with Michael Chow and the opening of his glamorous restaurant Mr. Chow, which attracted a starry crowd. "Naturally, we were forever being photographed at home, draped among our symbols of 'with it ness' as one of London's most happening couples; him, the cool young restaurateur, nonchalantly swinging in a hammock hung from the minstrel's gallery and me, the sophisticated style maker, perkily sitting cross legged atop a giant pop art version of a Campbell's soup can."At the height of the bohemian 1970s, she dyed her hair with henna and permed it (it would stay the same for much of the next 40 years), dressed almost exclusively in Yves Saint Laurent, had a fling with a Vietnamese photographer and spent her evenings at Club Sept in Paris. Coddington worked with the who's who of fashion. She shot Anjelica Huston with photographer David Bailey and Pat Cleveland with Helmut Newton.When Bea Miller, who had edited British Vogue for 22 years, retired, Coddington interviewed for the job but says she knew deep down she wasn't suited for it and thought that Wintour, then the creative director of American Vogue, should get it.Wintour did get it. Two days into her editorship, she invited Coddington to a screening of the racy film "Betty Blue." The two sat in dead silence through the opening sequence, a vivid five minute sex scene."Anna was rigid and unmoving. No sign of any emotion at all," Coddington writes. "I then realized how much significance Anna places on willpower trumping feelings."In 1988, when Wintour was appointed editor in chief at American Vogue, Coddington asked to join her. Coddington's narrative style fashion features and travelogues, a sampling of which appear in the book, became the heart and soul of the magazine, even as its pages became increasingly taken over by celebrities. Through her visual canvases, she interpreted the New Romantic period, grunge and the South Beach blinged out 1990s, and persuaded superstar designers Tom Ford, Marc Jacobs and others to play roles in a shoot based on "Alice in Wonderland."She sums up her creative process this way: "For me, one of the most important aspects of my work is to give people something to dream about, just as I used to dream all those years ago as a child looking at beautiful photographs."The book ends with a chapter on then and now. "Fashion has changed so much in my lifetime," Coddington writes. "Today, I find myself at the collections, asking, 'Who are all these people?' Sometimes I think I'm the last remaining person who comes to the shows for the pleasure of seeing the clothes."At 71, she seldom wears makeup and doesn't socialize much. But her attempt in the last 100 pages to distance herself from the term "fashionista" is a bit of a stretch. Clearly, Coddington has led a most charmed life. Otherwise, we wouldn't be reading about it.We provide this community forum for readers to exchange ideas and opinions on the news of the day. Passionate views, pointed criticism and critical thinking are welcome. Comments can only be submitted by registered users. By posting comments on our site, you are agreeing to the following terms:
Lady Griz hand Selvig 800th career win with 68 61 victory over PortlandGriz up to fifth in TSN poll, highest ranking of seasonBig Sky honors Sac State QB SafronNorth Dakota football coach firedSince 1897, the Cat Griz rivalry has captivated the stateFamily health: Prepare yourself and your vehicle for winter drivingFitness calendarBirths for Tuesday, November 19Angler with 4th place total takes Fall Mack Days fishing tournament titleWestern Montana hunters get help from fresh snow, rutIf the name Grace Coddington is familiar, you've probably seen the 2009 documentary film "The September Issue" about Vogue magazine's Editor in Chief Anna Wintour, the most feared and revered woman in fashion. Now Coddington, the longtime creative director of Vogue, has her own star vehicle, an engaging memoir titled "Grace," co written with Michael Roberts. For anyone with a passing interest in the fashion industry, it's worth a read for the name dropping alone.As became clear in the film, which chronicled the magazine's staff as they put together the 4 pound September 2007 issue, Coddington is not the Anna Wintour or Diana Vreeland type. You won't hear her barking orders at assistants or making dramatic pronouncements about pink.But she is equally passionate, a wild haired dreamer who thinks that fashion should be transporting, provocative and even intellectual, who bemoans the dominance of celebrities and digital hocus pocus in fashion photography and who isn't afraid to take on Wintour.The book is a window into how fashion has changed from a small, niche business into a global pop culture medium. It chronicles Coddington's 50 years in the industry, first as a model, then as a fashion editor for British Vogue and finally as creative director for American Vogue, with lots of juicy anecdotes about designers, photographers, celebrities and models.She compares the fashion world then and now and offers clues into her relationship with Wintour. She's also open about her private life, including details about failed marriages, the tragic death of her sister Rosemary and her 30 year romance with French hairstylist Didier Malige. She tells colorful stories behind many of the fashion shoots she has styled, but I do wish she had offered more insight into her role in the creative process.Coddington begins by painting a picture of her upbringing as romantic as any photo shoot. For her first 18 years, her home was the Trearddur Bay Hotel on the island of Anglesey off the coast of North Wales. "Although it was bleak, I saw beauty in the bleakness." When she wasn't outdoors, she amused herself by looking at picture books, reading fairy tales and, yes, studying the pages of Vogue magazine. As a teen, she went to a convent school and has vivid memories of the nuns roller skating on the rooftop, "flapping about surreally in their robes like crows on wheels."At 18, she moved to London to attend a modeling course advertised in Vogue. The fashion world was much different in 1959. Coddington had to learn how to apply her own makeup and style her own hair, because makeup artists and hairdressers specializing in photo shoots were nonexistent. A meeting with photographer Norman Parkinson led to her first modeling job running naked through the woods for an arty fashion catalog.Coddington became an overnight success. "I was a character, rather than a pretty model, and I suppose that's exactly what I look for in the girls I now select to put in American Vogue the ones who are quirky looking."She earned the nickname "The Cod" (to Jean Shrimpton's "The Shrimp"), danced the twist on Mary Quant's catwalk and became a muse to Vidal Sassoon, who created his famous five point cut on Coddington. Her modeling career was derailed for two years by a car accident, which scarred her left eyelid. But eventually things picked up again, and she settled into life in 1960s swinging London and Paris, hanging out with a fast crowd that included Michael Caine, Jane Birkin, the Beatles and the Rolling Stones.Her fashion editing career coincided with the beginning of her relationship with Michael Chow and the opening of his glamorous restaurant Mr. Chow, which attracted a starry crowd. "Naturally, we were forever being photographed at home, draped among our symbols of 'with it ness' as one of London's most happening couples; him, the cool young restaurateur, nonchalantly swinging in a hammock hung from the minstrel's gallery and me, the sophisticated style maker, perkily sitting cross legged atop a giant pop art version of a Campbell's soup can."At the height of the bohemian 1970s, she dyed her hair with henna and permed it (it would stay the same for much of the next 40 years), dressed almost exclusively in Yves Saint Laurent, had a fling with a Vietnamese photographer and spent her evenings at Club Sept in Paris. Coddington worked with the who's who of fashion. She shot Anjelica Huston with photographer David Bailey and Pat Cleveland with Helmut Newton.When Bea Miller, who had edited British Vogue for 22 years, retired, Coddington interviewed for the job but says she knew deep down she wasn't suited for it and thought that Wintour, then the creative director of American Vogue, should get it.Wintour did get it. Two days into her editorship, she invited Coddington to a screening of the racy film "Betty Blue." The two sat in dead silence through the opening sequence, a vivid five minute sex scene."Anna was rigid and unmoving. No sign of any emotion at all," Coddington writes. "I then realized how much significance Anna places on willpower trumping feelings."In 1988, when Wintour was appointed editor in chief at American Vogue, Coddington asked to join her. Coddington's narrative style fashion features and travelogues, a sampling of which appear in the book, became the heart and soul of the magazine, even as its pages became increasingly taken over by celebrities. Through her visual canvases, she interpreted the New Romantic period, grunge and the South Beach blinged out 1990s, and persuaded superstar designers Tom Ford, Marc Jacobs and others to play roles in a shoot based on "Alice in Wonderland."She sums up her creative process this way: "For me, one of the most important aspects of my work is to give people something to dream about, just as I used to dream all those years ago as a child looking at beautiful photographs."The book ends with a chapter on then and now. "Fashion has changed so much in my lifetime," Coddington writes. "Today, I find myself at the collections, asking, 'Who are all these people?' Sometimes I think I'm the last remaining person who comes to the shows for the pleasure of seeing the clothes."At 71, she seldom wears makeup and doesn't socialize much. But her attempt in the last 100 pages to distance herself from the term "fashionista" is a bit of a stretch. Clearly, Coddington has led a most charmed life. Otherwise, we wouldn't be reading about it.We provide this community forum for readers to exchange ideas and opinions on the news of the day. Passionate views, pointed criticism and critical thinking are welcome. Comments can only be submitted by registered users. By posting comments on our site, you are agreeing to the following terms:
Lady Griz hand Selvig 800th career win with 68 61 victory over PortlandGriz up to fifth in TSN poll, highest ranking of seasonBig Sky honors Sac State QB SafronNorth Dakota football coach firedSince 1897, the Cat Griz rivalry has captivated the stateFamily health: Prepare yourself and your vehicle for winter drivingFitness calendarBirths for Tuesday, November 19Angler with 4th place total takes Fall Mack Days fishing tournament titleWestern Montana hunters get help from fresh snow, rutIf the name Grace Coddington is familiar, you've probably seen the 2009 documentary film "The September Issue" about Vogue magazine's Editor in Chief Anna Wintour, the most feared and revered woman in fashion. Now Coddington, the longtime creative director of Vogue, has her own star vehicle, an engaging memoir titled "Grace," co written with Michael Roberts. For anyone with a passing interest in the fashion industry, it's worth a read for the name dropping alone.As became clear in the film, which chronicled the magazine's staff as they put together the 4 pound September 2007 issue, Coddington is not the Anna Wintour or Diana Vreeland type. You won't hear her barking orders at assistants or making dramatic pronouncements about pink.But she is equally passionate, a wild haired dreamer who thinks that fashion should be transporting, provocative and even intellectual, who bemoans the dominance of celebrities and digital hocus pocus in fashion photography and who isn't afraid to take on Wintour.The book is a window into how fashion has changed from a small, niche business into a global pop culture medium. It chronicles Coddington's 50 years in the industry, first as a model, then as a fashion editor for British Vogue and finally as creative director for American Vogue, with lots of juicy anecdotes about designers, photographers, celebrities and models.She compares the fashion world then and now and offers clues into her relationship with Wintour. She's also open about her private life, including details about failed marriages, the tragic death of her sister Rosemary and her 30 year romance with French hairstylist Didier Malige. She tells colorful stories behind many of the fashion shoots she has styled, but I do wish she had offered more insight into her role in the creative process.Coddington begins by painting a picture of her upbringing as romantic as any photo shoot. For her first 18 years, her home was the Trearddur Bay Hotel on the island of Anglesey off the coast of North Wales. "Although it was bleak, I saw beauty in the bleakness." When she wasn't outdoors, she amused herself by looking at picture books, reading fairy tales and, yes, studying the pages of Vogue magazine. As a teen, she went to a convent school and has vivid memories of the nuns roller skating on the rooftop, "flapping about surreally in their robes like crows on wheels."At 18, she moved to London to attend a modeling course advertised in Vogue. The fashion world was much different in 1959. Coddington had to learn how to apply her own makeup and style her own hair, because makeup artists and hairdressers specializing in photo shoots were nonexistent. A meeting with photographer Norman Parkinson led to her first modeling job running naked through the woods for an arty fashion catalog.Coddington became an overnight success. "I was a character, rather than a pretty model, and I suppose that's exactly what I look for in the girls I now select to put in American Vogue the ones who are quirky looking."She earned the nickname "The Cod" (to Jean Shrimpton's "The Shrimp"), danced the twist on Mary Quant's catwalk and became a muse to Vidal Sassoon, who created his famous five point cut on Coddington. Her modeling career was derailed for two years by a car accident, which scarred her left eyelid. But eventually things picked up again, and she settled into life in 1960s swinging London and Paris, hanging out with a fast crowd that included Michael Caine, Jane Birkin, the Beatles and the Rolling Stones.Her fashion editing career coincided with the beginning of her relationship with Michael Chow and the opening of his glamorous restaurant Mr. Chow, which attracted a starry crowd. "Naturally, we were forever being photographed at home, draped among our symbols of 'with it ness' as one of London's most happening couples; him, the cool young restaurateur, nonchalantly swinging in a hammock hung from the minstrel's gallery and me, the sophisticated style maker, perkily sitting cross legged atop a giant pop art version of a Campbell's soup can."At the height of the bohemian 1970s, she dyed her hair with henna and permed it (it would stay the same for much of the next 40 years), dressed almost exclusively in Yves Saint Laurent, had a fling with a Vietnamese photographer and spent her evenings at Club Sept in Paris. Coddington worked with the who's who of fashion. She shot Anjelica Huston with photographer David Bailey and Pat Cleveland with Helmut Newton.When Bea Miller, who had edited British Vogue for 22 years, retired, Coddington interviewed for the job but says she knew deep down she wasn't suited for it and thought that Wintour, then the creative director of American Vogue, should get it.Wintour did get it. Two days into her editorship, she invited Coddington to a screening of the racy film "Betty Blue." The two sat in dead silence through the opening sequence, a vivid five minute sex scene."Anna was rigid and unmoving. No sign of any emotion at all," Coddington writes. "I then realized how much significance Anna places on willpower trumping feelings."In 1988, when Wintour was appointed editor in chief at American Vogue, Coddington asked to join her. Coddington's narrative style fashion features and travelogues, a sampling of which appear in the book, became the heart and soul of the magazine, even as its pages became increasingly taken over by celebrities. Through her visual canvases, she interpreted the New Romantic period, grunge and the South Beach blinged out 1990s, and persuaded superstar designers Tom Ford, Marc Jacobs and others to play roles in a shoot based on "Alice in Wonderland."She sums up her creative process this way: "For me, one of the most important aspects of my work is to give people something to dream about, just as I used to dream all those years ago as a child looking at beautiful photographs."The book ends with a chapter on then and now. "Fashion has changed so much in my lifetime," Coddington writes. "Today, I find myself at the collections, asking, 'Who are all these people?' Sometimes I think I'm the last remaining person who comes to the shows for the pleasure of seeing the clothes."At 71, she seldom wears makeup and doesn't socialize much. But her attempt in the last 100 pages to distance herself from the term "fashionista" is a bit of a stretch. Clearly, Coddington has led a most charmed life. Otherwise, we wouldn't be reading about it.We provide this community forum for readers to exchange ideas and opinions on the news of the day. Passionate views, pointed criticism and critical thinking are welcome. Comments can only be submitted by registered users. By posting comments on our site, you are agreeing to the following terms:
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11:47 As David West breaks out to the right corner of the free throw line thanks to a Roy Hibbert pick on Kevin Garnett that would make the Colts O Line proud, I already can help but think to myself how weird it seems watching Garnett/Pierce these Nets uniforms. However, as a Lakers fan myself, am I happy to see two former Celtics end their careers in such fashion? Absolutely! ANNNNYYYYTTTHHHHIIIINNNGGGG IIIISSSSS POSSSSSIIIIBBBBBLLLLLLLEEEEEE!!!! West hits the jumper to tie the game 46 46, because David West is just flat out a bad man.
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3:12 Brooklyn starts to come back, and with the Nets down 90 87, George Hill dribbles the ball from 20 seconds on the clock down to 13 and follows this up with a running floater through the lane. If it goes in, Hill looks like a genius, but since he missed, I should point out that Brooklyn is fighting their way back into this game and Paul George hasn shot the ball since the 7:26 mark in the quarter.
11:40, 4th Luis Scola moves to the top of the key to help on Nets guard Shaun Livingston, leaving Garnett completely open to grab the rebound in the air and slam it down for a dunk that shakes the Barclays Center. Maybe Garnett still has some life in those legs after all, 72 69 Pacers up.
How do the Pacers respond? They keep on winning of course! Friday night the Pacers tied a franchise record best 6 0 start, dropping the Toronto Raptors by the final of 91 84 at Bankers Life Fieldhouse. Perhaps would they get everyone focus and attention at that point? Well, perhaps they would if the National Football League wasn so popular that one irrelevant player on an irrelevant team bullied another irrelevant player thus making that irrelevant player leave the irrelevant team, and this irrelevancy is the biggest topic of the Monday Friday news cycle.
Funny things seem to always happen to take away the focus from the Indiana Pacers. After the first week of the season, the numbers that Paul George and Lance Stephenson put up should have made them absolute shoe ins to win the Eastern Conference Player of the Week Award. What happens? The Philadelphia 76ers defeat the Miami Heat, the Washington Wizards, and the Chicago Bulls, and rookie Michael Carter Williams ends up sneaking away with the award.
So all eyes would be on the Pacers when they host the Chicago Bulls on national television, right? Well, despite the 97 80 victory over a team many believe could be the best in the Eastern Conference, the talking heads the following day decided to spend their time talking about what a point guard who had missed the entire season before was doing wrong just four games in.
5:06 Nets center Andre Blatche hits a jumper to make the score 62 57, and Pacers announcer Chris Denari mentions that like in Boston, Kevin Garnett has to come out early in the first and third quarters. This reminded me of the Pacers pregame show I was listening too on 1070 The Fan when Austin Croshere mentioned that he doesn fully buy in to this Brooklyn squad to be a top seeded team. Basically Croshere believes that with the years of basketball mileage on their body, Garnett and Pierce could perhaps reach their full potential if they played once every three games. Throw in the fact that Pierce, Garnett, and Jason Terry combined for 8 23 from the field, 21 points, and nine turnovers, I now wonder how Sports Illustrated picked this squad to be the number three seed over the course of an 82 game season.
The Pacers had had leading contributors all the way down their starting line up to go along with Paul George 24 points Lance Stephenson finished with 15 points, seven assists David West finished with 18 points and eight rebounds Roy Hibbert had 15 points, 11 rebounds, and two blocks.
So all eyes would be on the Pacers when they host the Chicago Bulls on national television, right? Well, despite the 97 80 victory over a team many believe could be the best in the Eastern Conference, the talking heads the following day decided to spend their time talking about what a point guard who had missed the entire season before was doing wrong just four games in.
11:15 I told myself I was going to pace myself to only write something every three minutes But Luis Scola just got Garnett with his patented defender goes by, dribble a once or twice and then shoot play that I absolutely fallen in love with. Frank Vogel said it best after the victory against the Bulls, when he mentioned have one of the best international players ever coming off of our bench I think Pacers fans finally 100% realized what they now have in Scola when they booed Tyler Hansbrough during his first appearance with the Toronto Raptors on Friday night.
0:00 Quarter ends with Joe Johnson getting guarded by Paul George on the corner, George hesitated and gave Johnson just a short extra breath of space to breathe, and Johnson throws up a three that hits nothing but net at the buzzer. Not sure what more George could have done there, but Pacers take the lead 72 67 going into the quarter. On the offensive end what probably stood out the least and had the most impact is Paul George sneaky 3 4 from the field for nine points on the quarter. I think this is when you realize that somebody has taken the extra leap from pretty good player to absolute All Star, is when they use little energy to hit a 10 footer, 20 footer, and three at 25 feet, and you don necessarily think twice about what is taking place.
2:31 Paul George uses a Roy Hibbert pick on Paul Pierce to create some extra space, he runs to his right, and throws up a shot falling away from the basket that was much longer than the 15 feet the shot chart says. Does it go in? Of course it does, and George finishes the night with 24 points on 8 14 shooting with six rebounds and two assists. This Pacers team has enough depth that Paul George doesn have to absolutely demand the ball in the fourth quarter (like perhaps Kobe would), but it definitely doesn hurt the team when he gives it a shot.
But how about Saturday night, with the team getting the chance to travel to Brooklyn to improve to 7 0 with a victory? This would be the case, if a little Brad Stevens magic (or BradMagic as one Jeremiah Johnson likes to call it) didn take place in Miami, with the Boston Celtics dropping the Heat 111 110 on an impossible game winning shot from Jeff Green. The cover of ESPN NBA page as follows:
0:00 Quarter ends with Joe Johnson getting guarded by Paul George on the corner, George hesitated and gave Johnson just a short extra breath of space to breathe, and Johnson throws up a three that hits nothing but net at the buzzer. Not sure what more George could have done there, but Pacers take the lead 72 67 going into the quarter. On the offensive end what probably stood out the least and had the most impact is Paul George sneaky 3 4 from the field for nine points on the quarter. I think this is when you realize that somebody has taken the extra leap from pretty good player to absolute All Star, is when they use little energy to hit a 10 footer, 20 footer, and three at 25 feet, and you don necessarily think twice about what is taking place.
11:40, 4th Luis Scola moves to the top of the key to help on Nets guard Shaun Livingston, leaving Garnett completely open to grab the rebound in the air and slam it down for a dunk that shakes the Barclays Center. Maybe Garnett still has some life in those legs after all, 72 69 Pacers up.
But how about Saturday night, with the team getting the chance to travel to Brooklyn to improve to 7 0 with a victory? This would be the case, if a little Brad Stevens magic (or BradMagic as one Jeremiah Johnson likes to call it) didn take place in Miami, with the Boston Celtics dropping the Heat 111 110 on an impossible game winning shot from Jeff Green. The cover of ESPN NBA page as follows:
11:15 I told myself I was going to pace myself to only write something every three minutes But Luis Scola just got Garnett with his patented defender goes by, dribble a once or twice and then shoot play that I absolutely fallen in love with. Frank Vogel said it best after the victory against the Bulls, when he mentioned have one of the best international players ever coming off of our bench I think Pacers fans finally 100% realized what they now have in Scola when they booed Tyler Hansbrough during his first appearance with the Toronto Raptors on Friday night.
3:12 Brooklyn starts to come back, and with the Nets down 90 87, George Hill dribbles the ball from 20 seconds on the clock down to 13 and follows this up with a running floater through the lane. If it goes in, Hill looks like a genius, but since he missed, I should point out that Brooklyn is fighting their way back into this game and Paul George hasn shot the ball since the 7:26 mark in the quarter.
11:15 I told myself I was going to pace myself to only write something every three minutes But Luis Scola just got Garnett with his patented defender goes by, dribble a once or twice and then shoot play that I absolutely fallen in love with. Frank Vogel said it best after the victory against the Bulls, when he mentioned have one of the best international players ever coming off of our bench I think Pacers fans finally 100% realized what they now have in Scola when they booed Tyler Hansbrough during his first appearance with the Toronto Raptors on Friday night.
But how about Saturday night, with the team getting the chance to travel to Brooklyn to improve to 7 0 with a victory? This would be the case, if a little Brad Stevens magic (or BradMagic as one Jeremiah Johnson likes to call it) didn take place in Miami, with the Boston Celtics dropping the Heat 111 110 on an impossible game winning shot from Jeff Green. The cover of ESPN NBA page as follows:
It okay Indiana Pacers, with a 96 91 victory over the Nets and a now historic start for the franchise, I got your back. I catching up on the DVR from the beginning of the second half to take some notes in retro diary form (with 100% of the idea credit going to Grantland Bill Simmons of course) to see how we in fact got to this point. To start the third quarter, Brooklyn would be leading the way 46 44, with the only difference between the two teams seemingly being the fact that Brooklyn bench outscored the Pacers bench 16 6. And we start NOW!
5:06 Nets center Andre Blatche hits a jumper to make the score 62 57, and Pacers announcer Chris Denari mentions that like in Boston, Kevin Garnett has to come out early in the first and third quarters. This reminded me of the Pacers pregame show I was listening too on 1070 The Fan when Austin Croshere mentioned that he doesn fully buy in to this Brooklyn squad to be a top seeded team. Basically Croshere believes that with the years of basketball mileage on their body, Garnett and Pierce could perhaps reach their full potential if they played once every three games. Throw in the fact that Pierce, Garnett, and Jason Terry combined for 8 23 from the field, 21 points, and nine turnovers, I now wonder how Sports Illustrated picked this squad to be the number three seed over the course of an 82 game season.
6:00 I just going to call the Roy Hibbert stat I referenced above as Hibbert just forced one on Brook Lopez, who tried to take Hibbert base line and swing the ball up from under the hoop with his dribbling hand, but Hibbert forced Lopez to throw up a bad shot that went over the rim. I all in on the stat, Pacers lead 60 53.
The Pacers had had leading contributors all the way down their starting line up to go along with Paul George 24 points Lance Stephenson finished with 15 points, seven assists David West finished with 18 points and eight rebounds Roy Hibbert had 15 points, 11 rebounds, and two blocks.
5:06 Nets center Andre Blatche hits a jumper to make the score 62 57, and Pacers announcer Chris Denari mentions that like in Boston, Kevin Garnett has to come out early in the first and third quarters. This reminded me of the Pacers pregame show I was listening too on 1070 The Fan when Austin Croshere mentioned that he doesn fully buy in to this Brooklyn squad to be a top seeded team. Basically Croshere believes that with the years of basketball mileage on their body, Garnett and Pierce could perhaps reach their full potential if they played once every three games. Throw in the fact that Pierce, Garnett, and Jason Terry combined for 8 23 from the field, 21 points, and nine turnovers, I now wonder how Sports Illustrated picked this squad to be the number three seed over the course of an 82 game season.
8:06 I said this in my last post, but for me the signature play of the Pacers undefeated start to the season is the killer Paul George three that sucks the life out of the opposition, and then he slowly moves down the court with full out swag that only a 23 year old soon to be superstar could possess. With three seconds left on the shot clock off an in bounds play, George found Luis Scola cutting to the baseline. George then faked a cut pass the hoop, and instead wrapped around Scola (who placement set a pick on defender Paul Pierce) while George made his way beyond the arc. George hit the three, turned, tapped himself on the head with three fingers up, and made his way down the court slowly as the Pacers lead 82 73. If that isn cool, I not sure what is.
:38 Mark that down as a Down 94 91, Joe Johnson literally found Kevin Garnett inside the restricted circle and two feet away from the hoop. As Garnett caught the ball, Roy Hibbert came over from the help side and went straight up, forcing Garnett to push up a floater over Hibbert extended arm. The outcome? Complete air ball, the rock eventually lands out of bounds, and Pacers get the ball. Game effectively over Or not, because Paul George just turned the ball over. This is probably why I not an NBA coach.
Personally, I just interested to see what whacky event will happen on the national sports scene to continue covering up this great Pacers start if they were to come away with the victory.
The Pacers had had leading contributors all the way down their starting line up to go along with Paul George 24 points Lance Stephenson finished with 15 points, seven assists David West finished with 18 points and eight rebounds Roy Hibbert had 15 points, 11 rebounds, and two blocks.
9:11 I don feel bad making fun of Deron Williams because: 1. Despite the fact he incredibly good, I not a big fan and 2. Roy Hibbert just scared the living daylights out of him as he drove towards the lane, causing him to stop and settle for an awkward floater instead of challenging number 55. I think my favorite thing about the uber Roy Hibbert defense this year is trying to keep count of how many shots are missed not because he gets a hand on them, but rather how many shots he forces to be thrown up wildly just because he happens to be in the area. This leads to David West finding Lance Stephenson cutting through down low for an and one that causes Chris Denari to reach high decibels on Pacers now up 55 49.
It okay Indiana Pacers, with a 96 91 victory over the Nets and a now historic start for the franchise, I got your back. I catching up on the DVR from the beginning of the second half to take some notes in retro diary form (with 100% of the idea credit going to Grantland Bill Simmons of course) to see how we in fact got to this point. To start the third quarter, Brooklyn would be leading the way 46 44, with the only difference between the two teams seemingly being the fact that Brooklyn bench outscored the Pacers bench 16 6. And we start NOW!
0:00 Quarter ends with Joe Johnson getting guarded by Paul George on the corner, George hesitated and gave Johnson just a short extra breath of space to breathe, and Johnson throws up a three that hits nothing but net at the buzzer. Not sure what more George could have done there, but Pacers take the lead 72 67 going into the quarter. On the offensive end what probably stood out the least and had the most impact is Paul George sneaky 3 4 from the field for nine points on the quarter. I think this is when you realize that somebody has taken the extra leap from pretty good player to absolute All Star, is when they use little energy to hit a 10 footer, 20 footer, and three at 25 feet, and you don necessarily think twice about what is taking place.
11:47 As David West breaks out to the right corner of the free throw line thanks to a Roy Hibbert pick on Kevin Garnett that would make the Colts O Line proud, I already can help but think to myself how weird it seems watching Garnett/Pierce these Nets uniforms. However, as a Lakers fan myself, am I happy to see two former Celtics end their careers in such fashion? Absolutely! ANNNNYYYYTTTHHHHIIIINNNGGGG IIIISSSSS POSSSSSIIIIBBBBBLLLLLLLEEEEEE!!!! West hits the jumper to tie the game 46 46, because David West is just flat out a bad man.
3:12 Brooklyn starts to come back, and with the Nets down 90 87, George Hill dribbles the ball from 20 seconds on the clock down to 13 and follows this up with a running floater through the lane. If it goes in, Hill looks like a genius, but since he missed, I should point out that Brooklyn is fighting their way back into this game and Paul George hasn shot the ball since the 7:26 mark in the quarter.
Personally, I just interested to see what whacky event will happen on the national sports scene to continue covering up this great Pacers start if they were to come away with the victory.
8:06 I said this in my last post, but for me the signature play of the Pacers undefeated start to the season is the killer Paul George three that sucks the life out of the opposition, and then he slowly moves down the court with full out swag that only a 23 year old soon to be superstar could possess. With three seconds left on the shot clock off an in bounds play, George found Luis Scola cutting to the baseline. George then faked a cut pass the hoop, and instead wrapped around Scola (who placement set a pick on defender Paul Pierce) while George made his way beyond the arc. George hit the three, turned, tapped himself on the head with three fingers up, and made his way down the court slowly as the Pacers lead 82 73. If that isn cool, I not sure what is.
8:06 I said this in my last post, but for me the signature play of the Pacers undefeated start to the season is the killer Paul George three that sucks the life out of the opposition, and then he slowly moves down the court with full out swag that only a 23 year old soon to be superstar could possess. With three seconds left on the shot clock off an in bounds play, George found Luis Scola cutting to the baseline. George then faked a cut pass the hoop, and instead wrapped around Scola (who placement set a pick on defender Paul Pierce) while George made his way beyond the arc. George hit the three, turned, tapped himself on the head with three fingers up, and made his way down the court slowly as the Pacers lead 82 73. If that isn cool, I not sure what is.
:38 Mark that down as a Down 94 91, Joe Johnson literally found Kevin Garnett inside the restricted circle and two feet away from the hoop. As Garnett caught the ball, Roy Hibbert came over from the help side and went straight up, forcing Garnett to push up a floater over Hibbert extended arm. The outcome? Complete air ball, the rock eventually lands out of bounds, and Pacers get the ball. Game effectively over Or not, because Paul George just turned the ball over. This is probably why I not an NBA coach.
2:31 Paul George uses a Roy Hibbert pick on Paul Pierce to create some extra space, he runs to his right, and throws up a shot falling away from the basket that was much longer than the 15 feet the shot chart says. Does it go in? Of course it does, and George finishes the night with 24 points on 8 14 shooting with six rebounds and two assists. This Pacers team has enough depth that Paul George doesn have to absolutely demand the ball in the fourth quarter (like perhaps Kobe would), but it definitely doesn hurt the team when he gives it a shot.
5:06 Nets center Andre Blatche hits a jumper to make the score 62 57, and Pacers announcer Chris Denari mentions that like in Boston, Kevin Garnett has to come out early in the first and third quarters. This reminded me of the Pacers pregame show I was listening too on 1070 The Fan when Austin Croshere mentioned that he doesn fully buy in to this Brooklyn squad to be a top seeded team. Basically Croshere believes that with the years of basketball mileage on their body, Garnett and Pierce could perhaps reach their full potential if they played once every three games. Throw in the fact that Pierce, Garnett, and Jason Terry combined for 8 23 from the field, 21 points, and nine turnovers, I now wonder how Sports Illustrated picked this squad to be the number three seed over the course of an 82 game season.
8:06 I said this in my last post, but for me the signature play of the Pacers undefeated start to the season is the killer Paul George three that sucks the life out of the opposition, and then he slowly moves down the court with full out swag that only a 23 year old soon to be superstar could possess. With three seconds left on the shot clock off an in bounds play, George found Luis Scola cutting to the baseline. George then faked a cut pass the hoop, and instead wrapped around Scola (who placement set a pick on defender Paul Pierce) while George made his way beyond the arc. George hit the three, turned, tapped himself on the head with three fingers up, and made his way down the court slowly as the Pacers lead 82 73. If that isn cool, I not sure what is.
But how about Saturday night, with the team getting the chance to travel to Brooklyn to improve to 7 0 with a victory? This would be the case, if a little Brad Stevens magic (or BradMagic as one Jeremiah Johnson likes to call it) didn take place in Miami, with the Boston Celtics dropping the Heat 111 110 on an impossible game winning shot from Jeff Green. The cover of ESPN NBA page as follows:
5:06 Nets center Andre Blatche hits a jumper to make the score 62 57, and Pacers announcer Chris Denari mentions that like in Boston, Kevin Garnett has to come out early in the first and third quarters. This reminded me of the Pacers pregame show I was listening too on 1070 The Fan when Austin Croshere mentioned that he doesn fully buy in to this Brooklyn squad to be a top seeded team. Basically Croshere believes that with the years of basketball mileage on their body, Garnett and Pierce could perhaps reach their full potential if they played once every three games. Throw in the fact that Pierce, Garnett, and Jason Terry combined for 8 23 from the field, 21 points, and nine turnovers, I now wonder how Sports Illustrated picked this squad to be the number three seed over the course of an 82 game season.
8:06 I said this in my last post, but for me the signature play of the Pacers undefeated start to the season is the killer Paul George three that sucks the life out of the opposition, and then he slowly moves down the court with full out swag that only a 23 year old soon to be superstar could possess. With three seconds left on the shot clock off an in bounds play, George found Luis Scola cutting to the baseline. George then faked a cut pass the hoop, and instead wrapped around Scola (who placement set a pick on defender Paul Pierce) while George made his way beyond the arc. George hit the three, turned, tapped himself on the head with three fingers up, and made his way down the court slowly as the Pacers lead 82 73. If that isn cool, I not sure what is.
Personally, I just interested to see what whacky event will happen on the national sports scene to continue covering up this great Pacers start if they were to come away with the victory.
Funny things seem to always happen to take away the focus from the Indiana Pacers. After the first week of the season, the numbers that Paul George and Lance Stephenson put up should have made them absolute shoe ins to win the Eastern Conference Player of the Week Award. What happens? The Philadelphia 76ers defeat the Miami Heat, the Washington Wizards, and the Chicago Bulls, and rookie Michael Carter Williams ends up sneaking away with the award.
5:06 Nets center Andre Blatche hits a jumper to make the score 62 57, and Pacers announcer Chris Denari mentions that like in Boston, Kevin Garnett has to come out early in the first and third quarters. This reminded me of the Pacers pregame show I was listening too on 1070 The Fan when Austin Croshere mentioned that he doesn fully buy in to this Brooklyn squad to be a top seeded team. Basically Croshere believes that with the years of basketball mileage on their body, Garnett and Pierce could perhaps reach their full potential if they played once every three games. Throw in the fact that Pierce, Garnett, and Jason Terry combined for 8 23 from the field, 21 points, and nine turnovers, I now wonder how Sports Illustrated picked this squad to be the number three seed over the course of an 82 game season.
8:06 I said this in my last post, but for me the signature play of the Pacers undefeated start to the season is the killer Paul George three that sucks the life out of the opposition, and then he slowly moves down the court with full out swag that only a 23 year old soon to be superstar could possess. With three seconds left on the shot clock off an in bounds play, George found Luis Scola cutting to the baseline. George then faked a cut pass the hoop, and instead wrapped around Scola (who placement set a pick on defender Paul Pierce) while George made his way beyond the arc. George hit the three, turned, tapped himself on the head with three fingers up, and made his way down the court slowly as the Pacers lead 82 73. If that isn cool, I not sure what is.
5:06 Nets center Andre Blatche hits a jumper to make the score 62 57, and Pacers announcer Chris Denari mentions that like in Boston, Kevin Garnett has to come out early in the first and third quarters. This reminded me of the Pacers pregame show I was listening too on 1070 The Fan when Austin Croshere mentioned that he doesn fully buy in to this Brooklyn squad to be a top seeded team. Basically Croshere believes that with the years of basketball mileage on their body, Garnett and Pierce could perhaps reach their full potential if they played once every three games. Throw in the fact that Pierce, Garnett, and Jason Terry combined for 8 23 from the field, 21 points, and nine turnovers, I now wonder how Sports Illustrated picked this squad to be the number three seed over the course of an 82 game season.
Final thoughts are this game is much more impressive when you take in account the Pacers played four games in five nights and won them all. This Brooklyn team is full of veterans and a win against Indiana would have given answered some of the doubters about what their franchise is doing this season, and you could sense the urgency in the second half pouring from them. Still, this Indiana squad responded, and now they head into Monday night home game against Memphis with a shot to go 8 0.
:9.5 Joe Johnson misses the great look for a three, David West gets the rebound ices the game with free throws, and now the game is over. Pacers fans, you are 7 0 for the first time in team history, go crazy!
3:12 Brooklyn starts to come back, and with the Nets down 90 87, George Hill dribbles the ball from 20 seconds on the clock down to 13 and follows this up with a running floater through the lane. If it goes in, Hill looks like a genius, but since he missed, I should point out that Brooklyn is fighting their way back into this game and Paul George hasn shot the ball since the 7:26 mark in the quarter.
Final thoughts are this game is much more impressive when you take in account the Pacers played four games in five nights and won them all. This Brooklyn team is full of veterans and a win against Indiana would have given answered some of the doubters about what their franchise is doing this season, and you could sense the urgency in the second half pouring from them. Still, this Indiana squad responded, and now they head into Monday night home game against Memphis with a shot to go 8 0.
11:40, 4th Luis Scola moves to the top of the key to help on Nets guard Shaun Livingston, leaving Garnett completely open to grab the rebound in the air and slam it down for a dunk that shakes the Barclays Center. Maybe Garnett still has some life in those legs after all, 72 69 Pacers up.
Funny things seem to always happen to take away the focus from the Indiana Pacers. After the first week of the season, the numbers that Paul George and Lance Stephenson put up should have made them absolute shoe ins to win the Eastern Conference Player of the Week Award. What happens? The Philadelphia 76ers defeat the Miami Heat, the Washington Wizards, and the Chicago Bulls, and rookie Michael Carter Williams ends up sneaking away with the award.
5:06 Nets center Andre Blatche hits a jumper to make the score 62 57, and Pacers announcer Chris Denari mentions that like in Boston, Kevin Garnett has to come out early in the first and third quarters. This reminded me of the Pacers pregame show I was listening too on 1070 The Fan when Austin Croshere mentioned that he doesn fully buy in to this Brooklyn squad to be a top seeded team. Basically Croshere believes that with the years of basketball mileage on their body, Garnett and Pierce could perhaps reach their full potential if they played once every three games. Throw in the fact that Pierce, Garnett, and Jason Terry combined for 8 23 from the field, 21 points, and nine turnovers, I now wonder how Sports Illustrated picked this squad to be the number three seed over the course of an 82 game season.
3:12 Brooklyn starts to come back, and with the Nets down 90 87, George Hill dribbles the ball from 20 seconds on the clock down to 13 and follows this up with a running floater through the lane. If it goes in, Hill looks like a genius, but since he missed, I should point out that Brooklyn is fighting their way back into this game and Paul George hasn shot the ball since the 7:26 mark in the quarter.
11:47 As David West breaks out to the right corner of the free throw line thanks to a Roy Hibbert pick on Kevin Garnett that would make the Colts O Line proud, I already can help but think to myself how weird it seems watching Garnett/Pierce these Nets uniforms. However, as a Lakers fan myself, am I happy to see two former Celtics end their careers in such fashion? Absolutely! ANNNNYYYYTTTHHHHIIIINNNGGGG IIIISSSSS POSSSSSIIIIBBBBBLLLLLLLEEEEEE!!!! West hits the jumper to tie the game 46 46, because David West is just flat out a bad man.
The Pacers had had leading contributors all the way down their starting line up to go along with Paul George 24 points Lance Stephenson finished with 15 points, seven assists David West finished with 18 points and eight rebounds Roy Hibbert had 15 points, 11 rebounds, and two blocks.
It okay Indiana Pacers, with a 96 91 victory over the Nets and a now historic start for the franchise, I got your back. I catching up on the DVR from the beginning of the second half to take some notes in retro diary form (with 100% of the idea credit going to Grantland Bill Simmons of course) to see how we in fact got to this point. To start the third quarter, Brooklyn would be leading the way 46 44, with the only difference between the two teams seemingly being the fact that Brooklyn bench outscored the Pacers bench 16 6. And we start NOW!
3:12 Brooklyn starts to come back, and with the Nets down 90 87, George Hill dribbles the ball from 20 seconds on the clock down to 13 and follows this up with a running floater through the lane. If it goes in, Hill looks like a genius, but since he missed, I should point out that Brooklyn is fighting their way back into this game and Paul George hasn shot the ball since the 7:26 mark in the quarter.
:9.5 Joe Johnson misses the great look for a three, David West gets the rebound ices the game with free throws, and now the game is over. Pacers fans, you are 7 0 for the first time in team history, go crazy!
11:15 I told myself I was going to pace myself to only write something every three minutes But Luis Scola just got Garnett with his patented defender goes by, dribble a once or twice and then shoot play that I absolutely fallen in love with. Frank Vogel said it best after the victory against the Bulls, when he mentioned have one of the best international players ever coming off of our bench I think Pacers fans finally 100% realized what they now have in Scola when they booed Tyler Hansbrough during his first appearance with the Toronto Raptors on Friday night.
So all eyes would be on the Pacers when they host the Chicago Bulls on national television, right? Well, despite the 97 80 victory over a team many believe could be the best in the Eastern Conference, the talking heads the following day decided to spend their time talking about what a point guard who had missed the entire season before was doing wrong just four games in.
It okay Indiana Pacers, with a 96 91 victory over the Nets and a now historic start for the franchise, I got your back. I catching up on the DVR from the beginning of the second half to take some notes in retro diary form (with 100% of the idea credit going to Grantland Bill Simmons of course) to see how we in fact got to this point. To start the third quarter, Brooklyn would be leading the way 46 44, with the only difference between the two teams seemingly being the fact that Brooklyn bench outscored the Pacers bench 16 6. And we start NOW!
Personally, I just interested to see what whacky event will happen on the national sports scene to continue covering up this great Pacers start if they were to come away with the victory.
6:00 I just going to call the Roy Hibbert stat I referenced above as Hibbert just forced one on Brook Lopez, who tried to take Hibbert base line and swing the ball up from under the hoop with his dribbling hand, but Hibbert forced Lopez to throw up a bad shot that went over the rim. I all in on the stat, Pacers lead 60 53.
9:11 I don feel bad making fun of Deron Williams because: 1. Despite the fact he incredibly good, I not a big fan and 2. Roy Hibbert just scared the living daylights out of him as he drove towards the lane, causing him to stop and settle for an awkward floater instead of challenging number 55. I think my favorite thing about the uber Roy Hibbert defense this year is trying to keep count of how many shots are missed not because he gets a hand on them, but rather how many shots he forces to be thrown up wildly just because he happens to be in the area. This leads to David West finding Lance Stephenson cutting through down low for an and one that causes Chris Denari to reach high decibels on Pacers now up 55 49.
:9.5 Joe Johnson misses the great look for a three, David West gets the rebound ices the game with free throws, and now the game is over. Pacers fans, you are 7 0 for the first time in team history, go crazy!
6:00 I just going to call the Roy Hibbert stat I referenced above as Hibbert just forced one on Brook Lopez, who tried to take Hibbert base line and swing the ball up from under the hoop with his dribbling hand, but Hibbert forced Lopez to throw up a bad shot that went over the rim. I all in on the stat, Pacers lead 60 53.
11:40, 4th Luis Scola moves to the top of the key to help on Nets guard Shaun Livingston, leaving Garnett completely open to grab the rebound in the air and slam it down for a dunk that shakes the Barclays Center. Maybe Garnett still has some life in those legs after all, 72 69 Pacers up.
It okay Indiana Pacers, with a 96 91 victory over the Nets and a now historic start for the franchise, I got your back. I catching up on the DVR from the beginning of the second half to take some notes in retro diary form (with 100% of the idea credit going to Grantland Bill Simmons of course) to see how we in fact got to this point. To start the third quarter, Brooklyn would be leading the way 46 44, with the only difference between the two teams seemingly being the fact that Brooklyn bench outscored the Pacers bench 16 6. And we start NOW!
:9.5 Joe Johnson misses the great look for a three, David West gets the rebound ices the game with free throws, and now the game is over. Pacers fans, you are 7 0 for the first time in team history, go crazy!
Personally, I just interested to see what whacky event will happen on the national sports scene to continue covering up this great Pacers start if they were to come away with the victory.
Personally, I just interested to see what whacky event will happen on the national sports scene to continue covering up this great Pacers start if they were to come away with the victory.
3:12 Brooklyn starts to come back, and with the Nets down 90 87, George Hill dribbles the ball from 20 seconds on the clock down to 13 and follows this up with a running floater through the lane. If it goes in, Hill looks like a genius, but since he missed, I should point out that Brooklyn is fighting their way back into this game and Paul George hasn shot the ball since the 7:26 mark in the quarter.
11:40, 4th Luis Scola moves to the top of the key to help on Nets guard Shaun Livingston, leaving Garnett completely open to grab the rebound in the air and slam it down for a dunk that shakes the Barclays Center. Maybe Garnett still has some life in those legs after all, 72 69 Pacers up.
Personally, I just interested to see what whacky event will happen on the national sports scene to continue covering up this great Pacers start if they were to come away with the victory.
6:00 I just going to call the Roy Hibbert stat I referenced above as Hibbert just forced one on Brook Lopez, who tried to take Hibbert base line and swing the ball up from under the hoop with his dribbling hand, but Hibbert forced Lopez to throw up a bad shot that went over the rim. I all in on the stat, Pacers lead 60 53.
How do the Pacers respond? They keep on winning of course! Friday night the Pacers tied a franchise record best 6 0 start, dropping the Toronto Raptors by the final of 91 84 at Bankers Life Fieldhouse. Perhaps would they get everyone focus and attention at that point? Well, perhaps they would if the National Football League wasn so popular that one irrelevant player on an irrelevant team bullied another irrelevant player thus making that irrelevant player leave the irrelevant team, and this irrelevancy is the biggest topic of the Monday Friday news cycle.
2:31 Paul George uses a Roy Hibbert pick on Paul Pierce to create some extra space, he runs to his right, and throws up a shot falling away from the basket that was much longer than the 15 feet the shot chart says. Does it go in? Of course it does, and George finishes the night with 24 points on 8 14 shooting with six rebounds and two assists. This Pacers team has enough depth that Paul George doesn have to absolutely demand the ball in the fourth quarter (like perhaps Kobe would), but it definitely doesn hurt the team when he gives it a shot.
Funny things seem to always happen to take away the focus from the Indiana Pacers. After the first week of the season, the numbers that Paul George and Lance Stephenson put up should have made them absolute shoe ins to win the Eastern Conference Player of the Week Award. What happens? The Philadelphia 76ers defeat the Miami Heat, the Washington Wizards, and the Chicago Bulls, and rookie Michael Carter Williams ends up sneaking away with the award.
So all eyes would be on the Pacers when they host the Chicago Bulls on national television, right? Well, despite the 97 80 victory over a team many believe could be the best in the Eastern Conference, the talking heads the following day decided to spend their time talking about what a point guard who had missed the entire season before was doing wrong just four games in.
:38 Mark that down as a Down 94 91, Joe Johnson literally found Kevin Garnett inside the restricted circle and two feet away from the hoop. As Garnett caught the ball, Roy Hibbert came over from the help side and went straight up, forcing Garnett to push up a floater over Hibbert extended arm. The outcome? Complete air ball, the rock eventually lands out of bounds, and Pacers get the ball. Game effectively over Or not, because Paul George just turned the ball over. This is probably why I not an NBA coach.
The Pacers had had leading contributors all the way down their starting line up to go along with Paul George 24 points Lance Stephenson finished with 15 points, seven assists David West finished with 18 points and eight rebounds Roy Hibbert had 15 points, 11 rebounds, and two blocks.
Personally, I just interested to see what whacky event will happen on the national sports scene to continue covering up this great Pacers start if they were to come away with the victory.
11:15 I told myself I was going to pace myself to only write something every three minutes But Luis Scola just got Garnett with his patented defender goes by, dribble a once or twice and then shoot play that I absolutely fallen in love with. Frank Vogel said it best after the victory against the Bulls, when he mentioned have one of the best international players ever coming off of our bench I think Pacers fans finally 100% realized what they now have in Scola when they booed Tyler Hansbrough during his first appearance with the Toronto Raptors on Friday night.
Funny things seem to always happen to take away the focus from the Indiana Pacers. After the first week of the season, the numbers that Paul George and Lance Stephenson put up should have made them absolute shoe ins to win the Eastern Conference Player of the Week Award. What happens? The Philadelphia 76ers defeat the Miami Heat, the Washington Wizards, and the Chicago Bulls, and rookie Michael Carter Williams ends up sneaking away with the award.
:38 Mark that down as a Down 94 91, Joe Johnson literally found Kevin Garnett inside the restricted circle and two feet away from the hoop. As Garnett caught the ball, Roy Hibbert came over from the help side and went straight up, forcing Garnett to push up a floater over Hibbert extended arm. The outcome? Complete air ball, the rock eventually lands out of bounds, and Pacers get the ball. Game effectively over Or not, because Paul George just turned the ball over. This is probably why I not an NBA coach.
11:15 I told myself I was going to pace myself to only write something every three minutes But Luis Scola just got Garnett with his patented defender goes by, dribble a once or twice and then shoot play that I absolutely fallen in love with. Frank Vogel said it best after the victory against the Bulls, when he mentioned have one of the best international players ever coming off of our bench I think Pacers fans finally 100% realized what they now have in Scola when they booed Tyler Hansbrough during his first appearance with the Toronto Raptors on Friday night.
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5:47 A graphic just flashed that Paul George is the first Indiana Pacer to start the season with seven straight 20 plus point games since Clark Kellogg in the 1985 86 season. I would be very interested to know what the odds are of him winning an MVP award before Andrew Luck does with the Colts.
Funny things seem to always happen to take away the focus from the Indiana Pacers. After the first week of the season, the numbers that Paul George and Lance Stephenson put up should have made them absolute shoe ins to win the Eastern Conference Player of the Week Award. What happens? The Philadelphia 76ers defeat the Miami Heat, the Washington Wizards, and the Chicago Bulls, and rookie Michael Carter Williams ends up sneaking away with the award.
Final thoughts are this game is much more impressive when you take in account the Pacers played four games in five nights and won them all. This Brooklyn team is full of veterans and a win against Indiana would have given answered some of the doubters about what their franchise is doing this season, and you could sense the urgency in the second half pouring from them. Still, this Indiana squad responded, and now they head into Monday night home game against Memphis with a shot to go 8 0.
9:11 I don feel bad making fun of Deron Williams because: 1. Despite the fact he incredibly good, I not a big fan and 2. Roy Hibbert just scared the living daylights out of him as he drove towards the lane, causing him to stop and settle for an awkward floater instead of challenging number 55. I think my favorite thing about the uber Roy Hibbert defense this year is trying to keep count of how many shots are missed not because he gets a hand on them, but rather how many shots he forces to be thrown up wildly just because he happens to be in the area. This leads to David West finding Lance Stephenson cutting through down low for an and one that causes Chris Denari to reach high decibels on Pacers now up 55 49.
But how about Saturday night, with the team getting the chance to travel to Brooklyn to improve to 7 0 with a victory? This would be the case, if a little Brad Stevens magic (or BradMagic as one Jeremiah Johnson likes to call it) didn take place in Miami, with the Boston Celtics dropping the Heat 111 110 on an impossible game winning shot from Jeff Green. The cover of ESPN NBA page as follows:
6:00 I just going to call the Roy Hibbert stat I referenced above as Hibbert just forced one on Brook Lopez, who tried to take Hibbert base line and swing the ball up from under the hoop with his dribbling hand, but Hibbert forced Lopez to throw up a bad shot that went over the rim. I all in on the stat, Pacers lead 60 53.
11:47 As David West breaks out to the right corner of the free throw line thanks to a Roy Hibbert pick on Kevin Garnett that would make the Colts O Line proud, I already can help but think to myself how weird it seems watching Garnett/Pierce these Nets uniforms. However, as a Lakers fan myself, am I happy to see two former Celtics end their careers in such fashion? Absolutely! ANNNNYYYYTTTHHHHIIIINNNGGGG IIIISSSSS POSSSSSIIIIBBBBBLLLLLLLEEEEEE!!!! West hits the jumper to tie the game 46 46, because David West is just flat out a bad man.
Personally, I just interested to see what whacky event will happen on the national sports scene to continue covering up this great Pacers start if they were to come away with the victory.
6:00 Paul Pierce is doing everything he can to keep this Brooklyn team in the game, but his teammates can help him out a lick. I would feel bad, but this is the same guy who tore up the Lakers in the NBA Finals after looking like this:
6:00 Paul Pierce is doing everything he can to keep this Brooklyn team in the game, but his teammates can help him out a lick. I would feel bad, but this is the same guy who tore up the Lakers in the NBA Finals after looking like this:
5:47 A graphic just flashed that Paul George is the first Indiana Pacer to start the season with seven straight 20 plus point games since Clark Kellogg in the 1985 86 season. I would be very interested to know what the odds are of him winning an MVP award before Andrew Luck does with the Colts.
11:47 As David West breaks out to the right corner of the free throw line thanks to a Roy Hibbert pick on Kevin Garnett that would make the Colts O Line proud, I already can help but think to myself how weird it seems watching Garnett/Pierce these Nets uniforms. However, as a Lakers fan myself, am I happy to see two former Celtics end their careers in such fashion? Absolutely! ANNNNYYYYTTTHHHHIIIINNNGGGG IIIISSSSS POSSSSSIIIIBBBBBLLLLLLLEEEEEE!!!! West hits the jumper to tie the game 46 46, because David West is just flat out a bad man.
6:00 Paul Pierce is doing everything he can to keep this Brooklyn team in the game, but his teammates can help him out a lick. I would feel bad, but this is the same guy who tore up the Lakers in the NBA Finals after looking like this:
:38 Mark that down as a Down 94 91, Joe Johnson literally found Kevin Garnett inside the restricted circle and two feet away from the hoop. As Garnett caught the ball, Roy Hibbert came over from the help side and went straight up, forcing Garnett to push up a floater over Hibbert extended arm. The outcome? Complete air ball, the rock eventually lands out of bounds, and Pacers get the ball. Game effectively over Or not, because Paul George just turned the ball over. This is probably why I not an NBA coach.
But how about Saturday night, with the team getting the chance to travel to Brooklyn to improve to 7 0 with a victory? This would be the case, if a little Brad Stevens magic (or BradMagic as one Jeremiah Johnson likes to call it) didn take place in Miami, with the Boston Celtics dropping the Heat 111 110 on an impossible game winning shot from Jeff Green. The cover of ESPN NBA page as follows:
11:40, 4th Luis Scola moves to the top of the key to help on Nets guard Shaun Livingston, leaving Garnett completely open to grab the rebound in the air and slam it down for a dunk that shakes the Barclays Center. Maybe Garnett still has some life in those legs after all, 72 69 Pacers up.
So all eyes would be on the Pacers when they host the Chicago Bulls on national television, right? Well, despite the 97 80 victory over a team many believe could be the best in the Eastern Conference, the talking heads the following day decided to spend their time talking about what a point guard who had missed the entire season before was doing wrong just four games in.
11:15 I told myself I was going to pace myself to only write something every three minutes But Luis Scola just got Garnett with his patented defender goes by, dribble a once or twice and then shoot play that I absolutely fallen in love with. Frank Vogel said it best after the victory against the Bulls, when he mentioned have one of the best international players ever coming off of our bench I think Pacers fans finally 100% realized what they now have in Scola when they booed Tyler Hansbrough during his first appearance with the Toronto Raptors on Friday night.
Funny things seem to always happen to take away the focus from the Indiana Pacers. After the first week of the season, the numbers that Paul George and Lance Stephenson put up should have made them absolute shoe ins to win the Eastern Conference Player of the Week Award. What happens? The Philadelphia 76ers defeat the Miami Heat, the Washington Wizards, and the Chicago Bulls, and rookie Michael Carter Williams ends up sneaking away with the award.
5:06 Nets center Andre Blatche hits a jumper to make the score 62 57, and Pacers announcer Chris Denari mentions that like in Boston, Kevin Garnett has to come out early in the first and third quarters. This reminded me of the Pacers pregame show I was listening too on 1070 The Fan when Austin Croshere mentioned that he doesn fully buy in to this Brooklyn squad to be a top seeded team. Basically Croshere believes that with the years of basketball mileage on their body, Garnett and Pierce could perhaps reach their full potential if they played once every three games. Throw in the fact that Pierce, Garnett, and Jason Terry combined for 8 23 from the field, 21 points, and nine turnovers, I now wonder how Sports Illustrated picked this squad to be the number three seed over the course of an 82 game season.
6:00 I just going to call the Roy Hibbert stat I referenced above as Hibbert just forced one on Brook Lopez, who tried to take Hibbert base line and swing the ball up from under the hoop with his dribbling hand, but Hibbert forced Lopez to throw up a bad shot that went over the rim. I all in on the stat, Pacers lead 60 53.
It okay Indiana Pacers, with a 96 91 victory over the Nets and a now historic start for the franchise, I got your back. I catching up on the DVR from the beginning of the second half to take some notes in retro diary form (with 100% of the idea credit going to Grantland Bill Simmons of course) to see how we in fact got to this point. To start the third quarter, Brooklyn would be leading the way 46 44, with the only difference between the two teams seemingly being the fact that Brooklyn bench outscored the Pacers bench 16 6. And we start NOW!
5:47 A graphic just flashed that Paul George is the first Indiana Pacer to start the season with seven straight 20 plus point games since Clark Kellogg in the 1985 86 season. I would be very interested to know what the odds are of him winning an MVP award before Andrew Luck does with the Colts.
:9.5 Joe Johnson misses the great look for a three, David West gets the rebound ices the game with free throws, and now the game is over. Pacers fans, you are 7 0 for the first time in team history, go crazy!
2:31 Paul George uses a Roy Hibbert pick on Paul Pierce to create some extra space, he runs to his right, and throws up a shot falling away from the basket that was much longer than the 15 feet the shot chart says. Does it go in? Of course it does, and George finishes the night with 24 points on 8 14 shooting with six rebounds and two assists. This Pacers team has enough depth that Paul George doesn have to absolutely demand the ball in the fourth quarter (like perhaps Kobe would), but it definitely doesn hurt the team when he gives it a shot.
5:06 Nets center Andre Blatche hits a jumper to make the score 62 57, and Pacers announcer Chris Denari mentions that like in Boston, Kevin Garnett has to come out early in the first and third quarters. This reminded me of the Pacers pregame show I was listening too on 1070 The Fan when Austin Croshere mentioned that he doesn fully buy in to this Brooklyn squad to be a top seeded team. Basically Croshere believes that with the years of basketball mileage on their body, Garnett and Pierce could perhaps reach their full potential if they played once every three games. Throw in the fact that Pierce, Garnett, and Jason Terry combined for 8 23 from the field, 21 points, and nine turnovers, I now wonder how Sports Illustrated picked this squad to be the number three seed over the course of an 82 game season.
:38 Mark that down as a Down 94 91, Joe Johnson literally found Kevin Garnett inside the restricted circle and two feet away from the hoop. As Garnett caught the ball, Roy Hibbert came over from the help side and went straight up, forcing Garnett to push up a floater over Hibbert extended arm. The outcome? Complete air ball, the rock eventually lands out of bounds, and Pacers get the ball. Game effectively over Or not, because Paul George just turned the ball over. This is probably why I not an NBA coach.
The Pacers had had leading contributors all the way down their starting line up to go along with Paul George 24 points Lance Stephenson finished with 15 points, seven assists David West finished with 18 points and eight rebounds Roy Hibbert had 15 points, 11 rebounds, and two blocks.
5:06 Nets center Andre Blatche hits a jumper to make the score 62 57, and Pacers announcer Chris Denari mentions that like in Boston, Kevin Garnett has to come out early in the first and third quarters. This reminded me of the Pacers pregame show I was listening too on 1070 The Fan when Austin Croshere mentioned that he doesn fully buy in to this Brooklyn squad to be a top seeded team. Basically Croshere believes that with the years of basketball mileage on their body, Garnett and Pierce could perhaps reach their full potential if they played once every three games. Throw in the fact that Pierce, Garnett, and Jason Terry combined for 8 23 from the field, 21 points, and nine turnovers, I now wonder how Sports Illustrated picked this squad to be the number three seed over the course of an 82 game season.
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9:11 I don feel bad making fun of Deron Williams because: 1. Despite the fact he incredibly good, I not a big fan and 2. Roy Hibbert just scared the living daylights out of him as he drove towards the lane, causing him to stop and settle for an awkward floater instead of challenging number 55. I think my favorite thing about the uber Roy Hibbert defense this year is trying to keep count of how many shots are missed not because he gets a hand on them, but rather how many shots he forces to be thrown up wildly just because he happens to be in the area. This leads to David West finding Lance Stephenson cutting through down low for an and one that causes Chris Denari to reach high decibels on Pacers now up 55 49.
From: http://www.bendbrewwerks.com (http://www.bendbrewwerks.com) Fri Jan 10 09:16:58 2014
5:06 Nets center Andre Blatche hits a jumper to make the score 62 57, and Pacers announcer Chris Denari mentions that like in Boston, Kevin Garnett has to come out early in the first and third quarters. This reminded me of the Pacers pregame show I was listening too on 1070 The Fan when Austin Croshere mentioned that he doesn fully buy in to this Brooklyn squad to be a top seeded team. Basically Croshere believes that with the years of basketball mileage on their body, Garnett and Pierce could perhaps reach their full potential if they played once every three games. Throw in the fact that Pierce, Garnett, and Jason Terry combined for 8 23 from the field, 21 points, and nine turnovers, I now wonder how Sports Illustrated picked this squad to be the number three seed over the course of an 82 game season.
From: http://www.intownmcacc.com (http://www.intownmcacc.com) Fri Jan 10 09:16:59 2014
Final thoughts are this game is much more impressive when you take in account the Pacers played four games in five nights and won them all. This Brooklyn team is full of veterans and a win against Indiana would have given answered some of the doubters about what their franchise is doing this season, and you could sense the urgency in the second half pouring from them. Still, this Indiana squad responded, and now they head into Monday night home game against Memphis with a shot to go 8 0.
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:9.5 Joe Johnson misses the great look for a three, David West gets the rebound ices the game with free throws, and now the game is over. Pacers fans, you are 7 0 for the first time in team history, go crazy!
From: http://www.szpitalczerniakowski.com (http://www.szpitalczerniakowski.com) Fri Jan 10 09:17:03 2014
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Funny things seem to always happen to take away the focus from the Indiana Pacers. After the first week of the season, the numbers that Paul George and Lance Stephenson put up should have made them absolute shoe ins to win the Eastern Conference Player of the Week Award. What happens? The Philadelphia 76ers defeat the Miami Heat, the Washington Wizards, and the Chicago Bulls, and rookie Michael Carter Williams ends up sneaking away with the award.
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:38 Mark that down as a Down 94 91, Joe Johnson literally found Kevin Garnett inside the restricted circle and two feet away from the hoop. As Garnett caught the ball, Roy Hibbert came over from the help side and went straight up, forcing Garnett to push up a floater over Hibbert extended arm. The outcome? Complete air ball, the rock eventually lands out of bounds, and Pacers get the ball. Game effectively over Or not, because Paul George just turned the ball over. This is probably why I not an NBA coach.
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The Pacers had had leading contributors all the way down their starting line up to go along with Paul George 24 points Lance Stephenson finished with 15 points, seven assists David West finished with 18 points and eight rebounds Roy Hibbert had 15 points, 11 rebounds, and two blocks.
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2:31 Paul George uses a Roy Hibbert pick on Paul Pierce to create some extra space, he runs to his right, and throws up a shot falling away from the basket that was much longer than the 15 feet the shot chart says. Does it go in? Of course it does, and George finishes the night with 24 points on 8 14 shooting with six rebounds and two assists. This Pacers team has enough depth that Paul George doesn have to absolutely demand the ball in the fourth quarter (like perhaps Kobe would), but it definitely doesn hurt the team when he gives it a shot.
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:9.5 Joe Johnson misses the great look for a three, David West gets the rebound ices the game with free throws, and now the game is over. Pacers fans, you are 7 0 for the first time in team history, go crazy!
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9:11 I don feel bad making fun of Deron Williams because: 1. Despite the fact he incredibly good, I not a big fan and 2. Roy Hibbert just scared the living daylights out of him as he drove towards the lane, causing him to stop and settle for an awkward floater instead of challenging number 55. I think my favorite thing about the uber Roy Hibbert defense this year is trying to keep count of how many shots are missed not because he gets a hand on them, but rather how many shots he forces to be thrown up wildly just because he happens to be in the area. This leads to David West finding Lance Stephenson cutting through down low for an and one that causes Chris Denari to reach high decibels on Pacers now up 55 49.
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11:15 I told myself I was going to pace myself to only write something every three minutes But Luis Scola just got Garnett with his patented defender goes by, dribble a once or twice and then shoot play that I absolutely fallen in love with. Frank Vogel said it best after the victory against the Bulls, when he mentioned have one of the best international players ever coming off of our bench I think Pacers fans finally 100% realized what they now have in Scola when they booed Tyler Hansbrough during his first appearance with the Toronto Raptors on Friday night.
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But how about Saturday night, with the team getting the chance to travel to Brooklyn to improve to 7 0 with a victory? This would be the case, if a little Brad Stevens magic (or BradMagic as one Jeremiah Johnson likes to call it) didn take place in Miami, with the Boston Celtics dropping the Heat 111 110 on an impossible game winning shot from Jeff Green. The cover of ESPN NBA page as follows:
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5:06 Nets center Andre Blatche hits a jumper to make the score 62 57, and Pacers announcer Chris Denari mentions that like in Boston, Kevin Garnett has to come out early in the first and third quarters. This reminded me of the Pacers pregame show I was listening too on 1070 The Fan when Austin Croshere mentioned that he doesn fully buy in to this Brooklyn squad to be a top seeded team. Basically Croshere believes that with the years of basketball mileage on their body, Garnett and Pierce could perhaps reach their full potential if they played once every three games. Throw in the fact that Pierce, Garnett, and Jason Terry combined for 8 23 from the field, 21 points, and nine turnovers, I now wonder how Sports Illustrated picked this squad to be the number three seed over the course of an 82 game season.
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8:06 I said this in my last post, but for me the signature play of the Pacers undefeated start to the season is the killer Paul George three that sucks the life out of the opposition, and then he slowly moves down the court with full out swag that only a 23 year old soon to be superstar could possess. With three seconds left on the shot clock off an in bounds play, George found Luis Scola cutting to the baseline. George then faked a cut pass the hoop, and instead wrapped around Scola (who placement set a pick on defender Paul Pierce) while George made his way beyond the arc. George hit the three, turned, tapped himself on the head with three fingers up, and made his way down the court slowly as the Pacers lead 82 73. If that isn cool, I not sure what is.
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Final thoughts are this game is much more impressive when you take in account the Pacers played four games in five nights and won them all. This Brooklyn team is full of veterans and a win against Indiana would have given answered some of the doubters about what their franchise is doing this season, and you could sense the urgency in the second half pouring from them. Still, this Indiana squad responded, and now they head into Monday night home game against Memphis with a shot to go 8 0.
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So all eyes would be on the Pacers when they host the Chicago Bulls on national television, right? Well, despite the 97 80 victory over a team many believe could be the best in the Eastern Conference, the talking heads the following day decided to spend their time talking about what a point guard who had missed the entire season before was doing wrong just four games in.
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:38 Mark that down as a Down 94 91, Joe Johnson literally found Kevin Garnett inside the restricted circle and two feet away from the hoop. As Garnett caught the ball, Roy Hibbert came over from the help side and went straight up, forcing Garnett to push up a floater over Hibbert extended arm. The outcome? Complete air ball, the rock eventually lands out of bounds, and Pacers get the ball. Game effectively over Or not, because Paul George just turned the ball over. This is probably why I not an NBA coach.
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5:47 A graphic just flashed that Paul George is the first Indiana Pacer to start the season with seven straight 20 plus point games since Clark Kellogg in the 1985 86 season. I would be very interested to know what the odds are of him winning an MVP award before Andrew Luck does with the Colts.
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6:00 Paul Pierce is doing everything he can to keep this Brooklyn team in the game, but his teammates can help him out a lick. I would feel bad, but this is the same guy who tore up the Lakers in the NBA Finals after looking like this:
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:9.5 Joe Johnson misses the great look for a three, David West gets the rebound ices the game with free throws, and now the game is over. Pacers fans, you are 7 0 for the first time in team history, go crazy!
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6:00 Paul Pierce is doing everything he can to keep this Brooklyn team in the game, but his teammates can help him out a lick. I would feel bad, but this is the same guy who tore up the Lakers in the NBA Finals after looking like this:
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5:06 Nets center Andre Blatche hits a jumper to make the score 62 57, and Pacers announcer Chris Denari mentions that like in Boston, Kevin Garnett has to come out early in the first and third quarters. This reminded me of the Pacers pregame show I was listening too on 1070 The Fan when Austin Croshere mentioned that he doesn fully buy in to this Brooklyn squad to be a top seeded team. Basically Croshere believes that with the years of basketball mileage on their body, Garnett and Pierce could perhaps reach their full potential if they played once every three games. Throw in the fact that Pierce, Garnett, and Jason Terry combined for 8 23 from the field, 21 points, and nine turnovers, I now wonder how Sports Illustrated picked this squad to be the number three seed over the course of an 82 game season.
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But how about Saturday night, with the team getting the chance to travel to Brooklyn to improve to 7 0 with a victory? This would be the case, if a little Brad Stevens magic (or BradMagic as one Jeremiah Johnson likes to call it) didn take place in Miami, with the Boston Celtics dropping the Heat 111 110 on an impossible game winning shot from Jeff Green. The cover of ESPN NBA page as follows:
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The Pacers had had leading contributors all the way down their starting line up to go along with Paul George 24 points Lance Stephenson finished with 15 points, seven assists David West finished with 18 points and eight rebounds Roy Hibbert had 15 points, 11 rebounds, and two blocks.
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Funny things seem to always happen to take away the focus from the Indiana Pacers. After the first week of the season, the numbers that Paul George and Lance Stephenson put up should have made them absolute shoe ins to win the Eastern Conference Player of the Week Award. What happens? The Philadelphia 76ers defeat the Miami Heat, the Washington Wizards, and the Chicago Bulls, and rookie Michael Carter Williams ends up sneaking away with the award.
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How do the Pacers respond? They keep on winning of course! Friday night the Pacers tied a franchise record best 6 0 start, dropping the Toronto Raptors by the final of 91 84 at Bankers Life Fieldhouse. Perhaps would they get everyone focus and attention at that point? Well, perhaps they would if the National Football League wasn so popular that one irrelevant player on an irrelevant team bullied another irrelevant player thus making that irrelevant player leave the irrelevant team, and this irrelevancy is the biggest topic of the Monday Friday news cycle.
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3:12 Brooklyn starts to come back, and with the Nets down 90 87, George Hill dribbles the ball from 20 seconds on the clock down to 13 and follows this up with a running floater through the lane. If it goes in, Hill looks like a genius, but since he missed, I should point out that Brooklyn is fighting their way back into this game and Paul George hasn shot the ball since the 7:26 mark in the quarter.
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5:47 A graphic just flashed that Paul George is the first Indiana Pacer to start the season with seven straight 20 plus point games since Clark Kellogg in the 1985 86 season. I would be very interested to know what the odds are of him winning an MVP award before Andrew Luck does with the Colts.
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The Pacers had had leading contributors all the way down their starting line up to go along with Paul George 24 points Lance Stephenson finished with 15 points, seven assists David West finished with 18 points and eight rebounds Roy Hibbert had 15 points, 11 rebounds, and two blocks.
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Personally, I just interested to see what whacky event will happen on the national sports scene to continue covering up this great Pacers start if they were to come away with the victory.
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:9.5 Joe Johnson misses the great look for a three, David West gets the rebound ices the game with free throws, and now the game is over. Pacers fans, you are 7 0 for the first time in team history, go crazy!
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11:15 I told myself I was going to pace myself to only write something every three minutes But Luis Scola just got Garnett with his patented defender goes by, dribble a once or twice and then shoot play that I absolutely fallen in love with. Frank Vogel said it best after the victory against the Bulls, when he mentioned have one of the best international players ever coming off of our bench I think Pacers fans finally 100% realized what they now have in Scola when they booed Tyler Hansbrough during his first appearance with the Toronto Raptors on Friday night.
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6:00 I just going to call the Roy Hibbert stat I referenced above as Hibbert just forced one on Brook Lopez, who tried to take Hibbert base line and swing the ball up from under the hoop with his dribbling hand, but Hibbert forced Lopez to throw up a bad shot that went over the rim. I all in on the stat, Pacers lead 60 53.
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8:06 I said this in my last post, but for me the signature play of the Pacers undefeated start to the season is the killer Paul George three that sucks the life out of the opposition, and then he slowly moves down the court with full out swag that only a 23 year old soon to be superstar could possess. With three seconds left on the shot clock off an in bounds play, George found Luis Scola cutting to the baseline. George then faked a cut pass the hoop, and instead wrapped around Scola (who placement set a pick on defender Paul Pierce) while George made his way beyond the arc. George hit the three, turned, tapped himself on the head with three fingers up, and made his way down the court slowly as the Pacers lead 82 73. If that isn cool, I not sure what is.
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9:11 I don feel bad making fun of Deron Williams because: 1. Despite the fact he incredibly good, I not a big fan and 2. Roy Hibbert just scared the living daylights out of him as he drove towards the lane, causing him to stop and settle for an awkward floater instead of challenging number 55. I think my favorite thing about the uber Roy Hibbert defense this year is trying to keep count of how many shots are missed not because he gets a hand on them, but rather how many shots he forces to be thrown up wildly just because he happens to be in the area. This leads to David West finding Lance Stephenson cutting through down low for an and one that causes Chris Denari to reach high decibels on Pacers now up 55 49.
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11:40, 4th Luis Scola moves to the top of the key to help on Nets guard Shaun Livingston, leaving Garnett completely open to grab the rebound in the air and slam it down for a dunk that shakes the Barclays Center. Maybe Garnett still has some life in those legs after all, 72 69 Pacers up.
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6:00 I just going to call the Roy Hibbert stat I referenced above as Hibbert just forced one on Brook Lopez, who tried to take Hibbert base line and swing the ball up from under the hoop with his dribbling hand, but Hibbert forced Lopez to throw up a bad shot that went over the rim. I all in on the stat, Pacers lead 60 53.
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:9.5 Joe Johnson misses the great look for a three, David West gets the rebound ices the game with free throws, and now the game is over. Pacers fans, you are 7 0 for the first time in team history, go crazy!
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Personally, I just interested to see what whacky event will happen on the national sports scene to continue covering up this great Pacers start if they were to come away with the victory.
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2:31 Paul George uses a Roy Hibbert pick on Paul Pierce to create some extra space, he runs to his right, and throws up a shot falling away from the basket that was much longer than the 15 feet the shot chart says. Does it go in? Of course it does, and George finishes the night with 24 points on 8 14 shooting with six rebounds and two assists. This Pacers team has enough depth that Paul George doesn have to absolutely demand the ball in the fourth quarter (like perhaps Kobe would), but it definitely doesn hurt the team when he gives it a shot.
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8:06 I said this in my last post, but for me the signature play of the Pacers undefeated start to the season is the killer Paul George three that sucks the life out of the opposition, and then he slowly moves down the court with full out swag that only a 23 year old soon to be superstar could possess. With three seconds left on the shot clock off an in bounds play, George found Luis Scola cutting to the baseline. George then faked a cut pass the hoop, and instead wrapped around Scola (who placement set a pick on defender Paul Pierce) while George made his way beyond the arc. George hit the three, turned, tapped himself on the head with three fingers up, and made his way down the court slowly as the Pacers lead 82 73. If that isn cool, I not sure what is.
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11:40, 4th Luis Scola moves to the top of the key to help on Nets guard Shaun Livingston, leaving Garnett completely open to grab the rebound in the air and slam it down for a dunk that shakes the Barclays Center. Maybe Garnett still has some life in those legs after all, 72 69 Pacers up.
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a memoir of fashion dreamer's life in vogue
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Lady Griz hand Selvig 800th career win with 68 61 victory over PortlandGriz up to fifth in TSN poll, highest ranking of seasonBig Sky honors Sac State QB SafronNorth Dakota football coach firedSince 1897, the Cat Griz rivalry has captivated the stateFamily health: Prepare yourself and your vehicle for winter drivingFitness calendarBirths for Tuesday, November 19Angler with 4th place total takes Fall Mack Days fishing tournament titleWestern Montana hunters get help from fresh snow, rutIf the name Grace Coddington is familiar, you've probably seen the 2009 documentary film "The September Issue" about Vogue magazine's Editor in Chief Anna Wintour, the most feared and revered woman in fashion. Now Coddington, the longtime creative director of Vogue, has her own star vehicle, an engaging memoir titled "Grace," co written with Michael Roberts. For anyone with a passing interest in the fashion industry, it's worth a read for the name dropping alone.As became clear in the film, which chronicled the magazine's staff as they put together the 4 pound September 2007 issue, Coddington is not the Anna Wintour or Diana Vreeland type. You won't hear her barking orders at assistants or making dramatic pronouncements about pink.But she is equally passionate, a wild haired dreamer who thinks that fashion should be transporting, provocative and even intellectual, who bemoans the dominance of celebrities and digital hocus pocus in fashion photography and who isn't afraid to take on Wintour.The book is a window into how fashion has changed from a small, niche business into a global pop culture medium. It chronicles Coddington's 50 years in the industry, first as a model, then as a fashion editor for British Vogue and finally as creative director for American Vogue, with lots of juicy anecdotes about designers, photographers, celebrities and models.She compares the fashion world then and now and offers clues into her relationship with Wintour. She's also open about her private life, including details about failed marriages, the tragic death of her sister Rosemary and her 30 year romance with French hairstylist Didier Malige. She tells colorful stories behind many of the fashion shoots she has styled, but I do wish she had offered more insight into her role in the creative process.Coddington begins by painting a picture of her upbringing as romantic as any photo shoot. For her first 18 years, her home was the Trearddur Bay Hotel on the island of Anglesey off the coast of North Wales. "Although it was bleak, I saw beauty in the bleakness." When she wasn't outdoors, she amused herself by looking at picture books, reading fairy tales and, yes, studying the pages of Vogue magazine. As a teen, she went to a convent school and has vivid memories of the nuns roller skating on the rooftop, "flapping about surreally in their robes like crows on wheels."At 18, she moved to London to attend a modeling course advertised in Vogue. The fashion world was much different in 1959. Coddington had to learn how to apply her own makeup and style her own hair, because makeup artists and hairdressers specializing in photo shoots were nonexistent. A meeting with photographer Norman Parkinson led to her first modeling job running naked through the woods for an arty fashion catalog.Coddington became an overnight success. "I was a character, rather than a pretty model, and I suppose that's exactly what I look for in the girls I now select to put in American Vogue the ones who are quirky looking."She earned the nickname "The Cod" (to Jean Shrimpton's "The Shrimp"), danced the twist on Mary Quant's catwalk and became a muse to Vidal Sassoon, who created his famous five point cut on Coddington. Her modeling career was derailed for two years by a car accident, which scarred her left eyelid. But eventually things picked up again, and she settled into life in 1960s swinging London and Paris, hanging out with a fast crowd that included Michael Caine, Jane Birkin, the Beatles and the Rolling Stones.Her fashion editing career coincided with the beginning of her relationship with Michael Chow and the opening of his glamorous restaurant Mr. Chow, which attracted a starry crowd. "Naturally, we were forever being photographed at home, draped among our symbols of 'with it ness' as one of London's most happening couples; him, the cool young restaurateur, nonchalantly swinging in a hammock hung from the minstrel's gallery and me, the sophisticated style maker, perkily sitting cross legged atop a giant pop art version of a Campbell's soup can."At the height of the bohemian 1970s, she dyed her hair with henna and permed it (it would stay the same for much of the next 40 years), dressed almost exclusively in Yves Saint Laurent, had a fling with a Vietnamese photographer and spent her evenings at Club Sept in Paris. Coddington worked with the who's who of fashion. She shot Anjelica Huston with photographer David Bailey and Pat Cleveland with Helmut Newton.When Bea Miller, who had edited British Vogue for 22 years, retired, Coddington interviewed for the job but says she knew deep down she wasn't suited for it and thought that Wintour, then the creative director of American Vogue, should get it.Wintour did get it. Two days into her editorship, she invited Coddington to a screening of the racy film "Betty Blue." The two sat in dead silence through the opening sequence, a vivid five minute sex scene."Anna was rigid and unmoving. No sign of any emotion at all," Coddington writes. "I then realized how much significance Anna places on willpower trumping feelings."In 1988, when Wintour was appointed editor in chief at American Vogue, Coddington asked to join her. Coddington's narrative style fashion features and travelogues, a sampling of which appear in the book, became the heart and soul of the magazine, even as its pages became increasingly taken over by celebrities. Through her visual canvases, she interpreted the New Romantic period, grunge and the South Beach blinged out 1990s, and persuaded superstar designers Tom Ford, Marc Jacobs and others to play roles in a shoot based on "Alice in Wonderland."She sums up her creative process this way: "For me, one of the most important aspects of my work is to give people something to dream about, just as I used to dream all those years ago as a child looking at beautiful photographs."The book ends with a chapter on then and now. "Fashion has changed so much in my lifetime," Coddington writes. "Today, I find myself at the collections, asking, 'Who are all these people?' Sometimes I think I'm the last remaining person who comes to the shows for the pleasure of seeing the clothes."At 71, she seldom wears makeup and doesn't socialize much. But her attempt in the last 100 pages to distance herself from the term "fashionista" is a bit of a stretch. Clearly, Coddington has led a most charmed life. Otherwise, we wouldn't be reading about it.We provide this community forum for readers to exchange ideas and opinions on the news of the day. Passionate views, pointed criticism and critical thinking are welcome. Comments can only be submitted by registered users. By posting comments on our site, you are agreeing to the following terms:
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Lady Griz hand Selvig 800th career win with 68 61 victory over PortlandGriz up to fifth in TSN poll, highest ranking of seasonBig Sky honors Sac State QB SafronNorth Dakota football coach firedSince 1897, the Cat Griz rivalry has captivated the stateFamily health: Prepare yourself and your vehicle for winter drivingFitness calendarBirths for Tuesday, November 19Angler with 4th place total takes Fall Mack Days fishing tournament titleWestern Montana hunters get help from fresh snow, rutIf the name Grace Coddington is familiar, you've probably seen the 2009 documentary film "The September Issue" about Vogue magazine's Editor in Chief Anna Wintour, the most feared and revered woman in fashion. Now Coddington, the longtime creative director of Vogue, has her own star vehicle, an engaging memoir titled "Grace," co written with Michael Roberts. For anyone with a passing interest in the fashion industry, it's worth a read for the name dropping alone.As became clear in the film, which chronicled the magazine's staff as they put together the 4 pound September 2007 issue, Coddington is not the Anna Wintour or Diana Vreeland type. You won't hear her barking orders at assistants or making dramatic pronouncements about pink.But she is equally passionate, a wild haired dreamer who thinks that fashion should be transporting, provocative and even intellectual, who bemoans the dominance of celebrities and digital hocus pocus in fashion photography and who isn't afraid to take on Wintour.The book is a window into how fashion has changed from a small, niche business into a global pop culture medium. It chronicles Coddington's 50 years in the industry, first as a model, then as a fashion editor for British Vogue and finally as creative director for American Vogue, with lots of juicy anecdotes about designers, photographers, celebrities and models.She compares the fashion world then and now and offers clues into her relationship with Wintour. She's also open about her private life, including details about failed marriages, the tragic death of her sister Rosemary and her 30 year romance with French hairstylist Didier Malige. She tells colorful stories behind many of the fashion shoots she has styled, but I do wish she had offered more insight into her role in the creative process.Coddington begins by painting a picture of her upbringing as romantic as any photo shoot. For her first 18 years, her home was the Trearddur Bay Hotel on the island of Anglesey off the coast of North Wales. "Although it was bleak, I saw beauty in the bleakness." When she wasn't outdoors, she amused herself by looking at picture books, reading fairy tales and, yes, studying the pages of Vogue magazine. As a teen, she went to a convent school and has vivid memories of the nuns roller skating on the rooftop, "flapping about surreally in their robes like crows on wheels."At 18, she moved to London to attend a modeling course advertised in Vogue. The fashion world was much different in 1959. Coddington had to learn how to apply her own makeup and style her own hair, because makeup artists and hairdressers specializing in photo shoots were nonexistent. A meeting with photographer Norman Parkinson led to her first modeling job running naked through the woods for an arty fashion catalog.Coddington became an overnight success. "I was a character, rather than a pretty model, and I suppose that's exactly what I look for in the girls I now select to put in American Vogue the ones who are quirky looking."She earned the nickname "The Cod" (to Jean Shrimpton's "The Shrimp"), danced the twist on Mary Quant's catwalk and became a muse to Vidal Sassoon, who created his famous five point cut on Coddington. Her modeling career was derailed for two years by a car accident, which scarred her left eyelid. But eventually things picked up again, and she settled into life in 1960s swinging London and Paris, hanging out with a fast crowd that included Michael Caine, Jane Birkin, the Beatles and the Rolling Stones.Her fashion editing career coincided with the beginning of her relationship with Michael Chow and the opening of his glamorous restaurant Mr. Chow, which attracted a starry crowd. "Naturally, we were forever being photographed at home, draped among our symbols of 'with it ness' as one of London's most happening couples; him, the cool young restaurateur, nonchalantly swinging in a hammock hung from the minstrel's gallery and me, the sophisticated style maker, perkily sitting cross legged atop a giant pop art version of a Campbell's soup can."At the height of the bohemian 1970s, she dyed her hair with henna and permed it (it would stay the same for much of the next 40 years), dressed almost exclusively in Yves Saint Laurent, had a fling with a Vietnamese photographer and spent her evenings at Club Sept in Paris. Coddington worked with the who's who of fashion. She shot Anjelica Huston with photographer David Bailey and Pat Cleveland with Helmut Newton.When Bea Miller, who had edited British Vogue for 22 years, retired, Coddington interviewed for the job but says she knew deep down she wasn't suited for it and thought that Wintour, then the creative director of American Vogue, should get it.Wintour did get it. Two days into her editorship, she invited Coddington to a screening of the racy film "Betty Blue." The two sat in dead silence through the opening sequence, a vivid five minute sex scene."Anna was rigid and unmoving. No sign of any emotion at all," Coddington writes. "I then realized how much significance Anna places on willpower trumping feelings."In 1988, when Wintour was appointed editor in chief at American Vogue, Coddington asked to join her. Coddington's narrative style fashion features and travelogues, a sampling of which appear in the book, became the heart and soul of the magazine, even as its pages became increasingly taken over by celebrities. Through her visual canvases, she interpreted the New Romantic period, grunge and the South Beach blinged out 1990s, and persuaded superstar designers Tom Ford, Marc Jacobs and others to play roles in a shoot based on "Alice in Wonderland."She sums up her creative process this way: "For me, one of the most important aspects of my work is to give people something to dream about, just as I used to dream all those years ago as a child looking at beautiful photographs."The book ends with a chapter on then and now. "Fashion has changed so much in my lifetime," Coddington writes. "Today, I find myself at the collections, asking, 'Who are all these people?' Sometimes I think I'm the last remaining person who comes to the shows for the pleasure of seeing the clothes."At 71, she seldom wears makeup and doesn't socialize much. But her attempt in the last 100 pages to distance herself from the term "fashionista" is a bit of a stretch. Clearly, Coddington has led a most charmed life. Otherwise, we wouldn't be reading about it.We provide this community forum for readers to exchange ideas and opinions on the news of the day. Passionate views, pointed criticism and critical thinking are welcome. Comments can only be submitted by registered users. By posting comments on our site, you are agreeing to the following terms:
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Lady Griz hand Selvig 800th career win with 68 61 victory over PortlandGriz up to fifth in TSN poll, highest ranking of seasonBig Sky honors Sac State QB SafronNorth Dakota football coach firedSince 1897, the Cat Griz rivalry has captivated the stateFamily health: Prepare yourself and your vehicle for winter drivingFitness calendarBirths for Tuesday, November 19Angler with 4th place total takes Fall Mack Days fishing tournament titleWestern Montana hunters get help from fresh snow, rutIf the name Grace Coddington is familiar, you've probably seen the 2009 documentary film "The September Issue" about Vogue magazine's Editor in Chief Anna Wintour, the most feared and revered woman in fashion. Now Coddington, the longtime creative director of Vogue, has her own star vehicle, an engaging memoir titled "Grace," co written with Michael Roberts. For anyone with a passing interest in the fashion industry, it's worth a read for the name dropping alone.As became clear in the film, which chronicled the magazine's staff as they put together the 4 pound September 2007 issue, Coddington is not the Anna Wintour or Diana Vreeland type. You won't hear her barking orders at assistants or making dramatic pronouncements about pink.But she is equally passionate, a wild haired dreamer who thinks that fashion should be transporting, provocative and even intellectual, who bemoans the dominance of celebrities and digital hocus pocus in fashion photography and who isn't afraid to take on Wintour.The book is a window into how fashion has changed from a small, niche business into a global pop culture medium. It chronicles Coddington's 50 years in the industry, first as a model, then as a fashion editor for British Vogue and finally as creative director for American Vogue, with lots of juicy anecdotes about designers, photographers, celebrities and models.She compares the fashion world then and now and offers clues into her relationship with Wintour. She's also open about her private life, including details about failed marriages, the tragic death of her sister Rosemary and her 30 year romance with French hairstylist Didier Malige. She tells colorful stories behind many of the fashion shoots she has styled, but I do wish she had offered more insight into her role in the creative process.Coddington begins by painting a picture of her upbringing as romantic as any photo shoot. For her first 18 years, her home was the Trearddur Bay Hotel on the island of Anglesey off the coast of North Wales. "Although it was bleak, I saw beauty in the bleakness." When she wasn't outdoors, she amused herself by looking at picture books, reading fairy tales and, yes, studying the pages of Vogue magazine. As a teen, she went to a convent school and has vivid memories of the nuns roller skating on the rooftop, "flapping about surreally in their robes like crows on wheels."At 18, she moved to London to attend a modeling course advertised in Vogue. The fashion world was much different in 1959. Coddington had to learn how to apply her own makeup and style her own hair, because makeup artists and hairdressers specializing in photo shoots were nonexistent. A meeting with photographer Norman Parkinson led to her first modeling job running naked through the woods for an arty fashion catalog.Coddington became an overnight success. "I was a character, rather than a pretty model, and I suppose that's exactly what I look for in the girls I now select to put in American Vogue the ones who are quirky looking."She earned the nickname "The Cod" (to Jean Shrimpton's "The Shrimp"), danced the twist on Mary Quant's catwalk and became a muse to Vidal Sassoon, who created his famous five point cut on Coddington. Her modeling career was derailed for two years by a car accident, which scarred her left eyelid. But eventually things picked up again, and she settled into life in 1960s swinging London and Paris, hanging out with a fast crowd that included Michael Caine, Jane Birkin, the Beatles and the Rolling Stones.Her fashion editing career coincided with the beginning of her relationship with Michael Chow and the opening of his glamorous restaurant Mr. Chow, which attracted a starry crowd. "Naturally, we were forever being photographed at home, draped among our symbols of 'with it ness' as one of London's most happening couples; him, the cool young restaurateur, nonchalantly swinging in a hammock hung from the minstrel's gallery and me, the sophisticated style maker, perkily sitting cross legged atop a giant pop art version of a Campbell's soup can."At the height of the bohemian 1970s, she dyed her hair with henna and permed it (it would stay the same for much of the next 40 years), dressed almost exclusively in Yves Saint Laurent, had a fling with a Vietnamese photographer and spent her evenings at Club Sept in Paris. Coddington worked with the who's who of fashion. She shot Anjelica Huston with photographer David Bailey and Pat Cleveland with Helmut Newton.When Bea Miller, who had edited British Vogue for 22 years, retired, Coddington interviewed for the job but says she knew deep down she wasn't suited for it and thought that Wintour, then the creative director of American Vogue, should get it.Wintour did get it. Two days into her editorship, she invited Coddington to a screening of the racy film "Betty Blue." The two sat in dead silence through the opening sequence, a vivid five minute sex scene."Anna was rigid and unmoving. No sign of any emotion at all," Coddington writes. "I then realized how much significance Anna places on willpower trumping feelings."In 1988, when Wintour was appointed editor in chief at American Vogue, Coddington asked to join her. Coddington's narrative style fashion features and travelogues, a sampling of which appear in the book, became the heart and soul of the magazine, even as its pages became increasingly taken over by celebrities. Through her visual canvases, she interpreted the New Romantic period, grunge and the South Beach blinged out 1990s, and persuaded superstar designers Tom Ford, Marc Jacobs and others to play roles in a shoot based on "Alice in Wonderland."She sums up her creative process this way: "For me, one of the most important aspects of my work is to give people something to dream about, just as I used to dream all those years ago as a child looking at beautiful photographs."The book ends with a chapter on then and now. "Fashion has changed so much in my lifetime," Coddington writes. "Today, I find myself at the collections, asking, 'Who are all these people?' Sometimes I think I'm the last remaining person who comes to the shows for the pleasure of seeing the clothes."At 71, she seldom wears makeup and doesn't socialize much. But her attempt in the last 100 pages to distance herself from the term "fashionista" is a bit of a stretch. Clearly, Coddington has led a most charmed life. Otherwise, we wouldn't be reading about it.We provide this community forum for readers to exchange ideas and opinions on the news of the day. Passionate views, pointed criticism and critical thinking are welcome. Comments can only be submitted by registered users. By posting comments on our site, you are agreeing to the following terms:
From: 136046 142 Jordan 11 XI Retro ColumbiaAll Stars (http://www.extremefmxair.com/792/nike-sku-136046-142-jordan-11-xi-retro-columbiaall-stars/) Thu Jan 16 13:04:35 2014
Lady Griz hand Selvig 800th career win with 68 61 victory over PortlandGriz up to fifth in TSN poll, highest ranking of seasonBig Sky honors Sac State QB SafronNorth Dakota football coach firedSince 1897, the Cat Griz rivalry has captivated the stateFamily health: Prepare yourself and your vehicle for winter drivingFitness calendarBirths for Tuesday, November 19Angler with 4th place total takes Fall Mack Days fishing tournament titleWestern Montana hunters get help from fresh snow, rutIf the name Grace Coddington is familiar, you've probably seen the 2009 documentary film "The September Issue" about Vogue magazine's Editor in Chief Anna Wintour, the most feared and revered woman in fashion. Now Coddington, the longtime creative director of Vogue, has her own star vehicle, an engaging memoir titled "Grace," co written with Michael Roberts. For anyone with a passing interest in the fashion industry, it's worth a read for the name dropping alone.As became clear in the film, which chronicled the magazine's staff as they put together the 4 pound September 2007 issue, Coddington is not the Anna Wintour or Diana Vreeland type. You won't hear her barking orders at assistants or making dramatic pronouncements about pink.But she is equally passionate, a wild haired dreamer who thinks that fashion should be transporting, provocative and even intellectual, who bemoans the dominance of celebrities and digital hocus pocus in fashion photography and who isn't afraid to take on Wintour.The book is a window into how fashion has changed from a small, niche business into a global pop culture medium. It chronicles Coddington's 50 years in the industry, first as a model, then as a fashion editor for British Vogue and finally as creative director for American Vogue, with lots of juicy anecdotes about designers, photographers, celebrities and models.She compares the fashion world then and now and offers clues into her relationship with Wintour. She's also open about her private life, including details about failed marriages, the tragic death of her sister Rosemary and her 30 year romance with French hairstylist Didier Malige. She tells colorful stories behind many of the fashion shoots she has styled, but I do wish she had offered more insight into her role in the creative process.Coddington begins by painting a picture of her upbringing as romantic as any photo shoot. For her first 18 years, her home was the Trearddur Bay Hotel on the island of Anglesey off the coast of North Wales. "Although it was bleak, I saw beauty in the bleakness." When she wasn't outdoors, she amused herself by looking at picture books, reading fairy tales and, yes, studying the pages of Vogue magazine. As a teen, she went to a convent school and has vivid memories of the nuns roller skating on the rooftop, "flapping about surreally in their robes like crows on wheels."At 18, she moved to London to attend a modeling course advertised in Vogue. The fashion world was much different in 1959. Coddington had to learn how to apply her own makeup and style her own hair, because makeup artists and hairdressers specializing in photo shoots were nonexistent. A meeting with photographer Norman Parkinson led to her first modeling job running naked through the woods for an arty fashion catalog.Coddington became an overnight success. "I was a character, rather than a pretty model, and I suppose that's exactly what I look for in the girls I now select to put in American Vogue the ones who are quirky looking."She earned the nickname "The Cod" (to Jean Shrimpton's "The Shrimp"), danced the twist on Mary Quant's catwalk and became a muse to Vidal Sassoon, who created his famous five point cut on Coddington. Her modeling career was derailed for two years by a car accident, which scarred her left eyelid. But eventually things picked up again, and she settled into life in 1960s swinging London and Paris, hanging out with a fast crowd that included Michael Caine, Jane Birkin, the Beatles and the Rolling Stones.Her fashion editing career coincided with the beginning of her relationship with Michael Chow and the opening of his glamorous restaurant Mr. Chow, which attracted a starry crowd. "Naturally, we were forever being photographed at home, draped among our symbols of 'with it ness' as one of London's most happening couples; him, the cool young restaurateur, nonchalantly swinging in a hammock hung from the minstrel's gallery and me, the sophisticated style maker, perkily sitting cross legged atop a giant pop art version of a Campbell's soup can."At the height of the bohemian 1970s, she dyed her hair with henna and permed it (it would stay the same for much of the next 40 years), dressed almost exclusively in Yves Saint Laurent, had a fling with a Vietnamese photographer and spent her evenings at Club Sept in Paris. Coddington worked with the who's who of fashion. She shot Anjelica Huston with photographer David Bailey and Pat Cleveland with Helmut Newton.When Bea Miller, who had edited British Vogue for 22 years, retired, Coddington interviewed for the job but says she knew deep down she wasn't suited for it and thought that Wintour, then the creative director of American Vogue, should get it.Wintour did get it. Two days into her editorship, she invited Coddington to a screening of the racy film "Betty Blue." The two sat in dead silence through the opening sequence, a vivid five minute sex scene."Anna was rigid and unmoving. No sign of any emotion at all," Coddington writes. "I then realized how much significance Anna places on willpower trumping feelings."In 1988, when Wintour was appointed editor in chief at American Vogue, Coddington asked to join her. Coddington's narrative style fashion features and travelogues, a sampling of which appear in the book, became the heart and soul of the magazine, even as its pages became increasingly taken over by celebrities. Through her visual canvases, she interpreted the New Romantic period, grunge and the South Beach blinged out 1990s, and persuaded superstar designers Tom Ford, Marc Jacobs and others to play roles in a shoot based on "Alice in Wonderland."She sums up her creative process this way: "For me, one of the most important aspects of my work is to give people something to dream about, just as I used to dream all those years ago as a child looking at beautiful photographs."The book ends with a chapter on then and now. "Fashion has changed so much in my lifetime," Coddington writes. "Today, I find myself at the collections, asking, 'Who are all these people?' Sometimes I think I'm the last remaining person who comes to the shows for the pleasure of seeing the clothes."At 71, she seldom wears makeup and doesn't socialize much. But her attempt in the last 100 pages to distance herself from the term "fashionista" is a bit of a stretch. Clearly, Coddington has led a most charmed life. Otherwise, we wouldn't be reading about it.We provide this community forum for readers to exchange ideas and opinions on the news of the day. Passionate views, pointed criticism and critical thinking are welcome. Comments can only be submitted by registered users. By posting comments on our site, you are agreeing to the following terms:
From: Christian Louboutin Flats (http://www.sudamerikahostel.com/512/black-riviera-printed-pony-christian-louboutin-flats/) Thu Jan 16 13:04:36 2014
a memoir of fashion dreamer's life in vogue
From: Jordan CDP (http://www.extremefmxair.com/485/nike-sku-318541-992-jordan-914-countdown-package/) Thu Jan 16 13:04:38 2014
a memoir of fashion dreamer's life in vogue
From: Jordan 13 (http://www.extremefmxair.com/693/nike-sku-414571-010-jordan-13-bred-2013/) Thu Jan 16 13:04:39 2014
a memoir of fashion dreamer's life in vogue
From: Nike 130690 161 (http://www.extremefmxair.com/616/nike-sku-130690-161-jordan-12-white-varsity-redblack/) Thu Jan 16 13:04:40 2014
Lady Griz hand Selvig 800th career win with 68 61 victory over PortlandGriz up to fifth in TSN poll, highest ranking of seasonBig Sky honors Sac State QB SafronNorth Dakota football coach firedSince 1897, the Cat Griz rivalry has captivated the stateFamily health: Prepare yourself and your vehicle for winter drivingFitness calendarBirths for Tuesday, November 19Angler with 4th place total takes Fall Mack Days fishing tournament titleWestern Montana hunters get help from fresh snow, rutIf the name Grace Coddington is familiar, you've probably seen the 2009 documentary film "The September Issue" about Vogue magazine's Editor in Chief Anna Wintour, the most feared and revered woman in fashion. Now Coddington, the longtime creative director of Vogue, has her own star vehicle, an engaging memoir titled "Grace," co written with Michael Roberts. For anyone with a passing interest in the fashion industry, it's worth a read for the name dropping alone.As became clear in the film, which chronicled the magazine's staff as they put together the 4 pound September 2007 issue, Coddington is not the Anna Wintour or Diana Vreeland type. You won't hear her barking orders at assistants or making dramatic pronouncements about pink.But she is equally passionate, a wild haired dreamer who thinks that fashion should be transporting, provocative and even intellectual, who bemoans the dominance of celebrities and digital hocus pocus in fashion photography and who isn't afraid to take on Wintour.The book is a window into how fashion has changed from a small, niche business into a global pop culture medium. It chronicles Coddington's 50 years in the industry, first as a model, then as a fashion editor for British Vogue and finally as creative director for American Vogue, with lots of juicy anecdotes about designers, photographers, celebrities and models.She compares the fashion world then and now and offers clues into her relationship with Wintour. She's also open about her private life, including details about failed marriages, the tragic death of her sister Rosemary and her 30 year romance with French hairstylist Didier Malige. She tells colorful stories behind many of the fashion shoots she has styled, but I do wish she had offered more insight into her role in the creative process.Coddington begins by painting a picture of her upbringing as romantic as any photo shoot. For her first 18 years, her home was the Trearddur Bay Hotel on the island of Anglesey off the coast of North Wales. "Although it was bleak, I saw beauty in the bleakness." When she wasn't outdoors, she amused herself by looking at picture books, reading fairy tales and, yes, studying the pages of Vogue magazine. As a teen, she went to a convent school and has vivid memories of the nuns roller skating on the rooftop, "flapping about surreally in their robes like crows on wheels."At 18, she moved to London to attend a modeling course advertised in Vogue. The fashion world was much different in 1959. Coddington had to learn how to apply her own makeup and style her own hair, because makeup artists and hairdressers specializing in photo shoots were nonexistent. A meeting with photographer Norman Parkinson led to her first modeling job running naked through the woods for an arty fashion catalog.Coddington became an overnight success. "I was a character, rather than a pretty model, and I suppose that's exactly what I look for in the girls I now select to put in American Vogue the ones who are quirky looking."She earned the nickname "The Cod" (to Jean Shrimpton's "The Shrimp"), danced the twist on Mary Quant's catwalk and became a muse to Vidal Sassoon, who created his famous five point cut on Coddington. Her modeling career was derailed for two years by a car accident, which scarred her left eyelid. But eventually things picked up again, and she settled into life in 1960s swinging London and Paris, hanging out with a fast crowd that included Michael Caine, Jane Birkin, the Beatles and the Rolling Stones.Her fashion editing career coincided with the beginning of her relationship with Michael Chow and the opening of his glamorous restaurant Mr. Chow, which attracted a starry crowd. "Naturally, we were forever being photographed at home, draped among our symbols of 'with it ness' as one of London's most happening couples; him, the cool young restaurateur, nonchalantly swinging in a hammock hung from the minstrel's gallery and me, the sophisticated style maker, perkily sitting cross legged atop a giant pop art version of a Campbell's soup can."At the height of the bohemian 1970s, she dyed her hair with henna and permed it (it would stay the same for much of the next 40 years), dressed almost exclusively in Yves Saint Laurent, had a fling with a Vietnamese photographer and spent her evenings at Club Sept in Paris. Coddington worked with the who's who of fashion. She shot Anjelica Huston with photographer David Bailey and Pat Cleveland with Helmut Newton.When Bea Miller, who had edited British Vogue for 22 years, retired, Coddington interviewed for the job but says she knew deep down she wasn't suited for it and thought that Wintour, then the creative director of American Vogue, should get it.Wintour did get it. Two days into her editorship, she invited Coddington to a screening of the racy film "Betty Blue." The two sat in dead silence through the opening sequence, a vivid five minute sex scene."Anna was rigid and unmoving. No sign of any emotion at all," Coddington writes. "I then realized how much significance Anna places on willpower trumping feelings."In 1988, when Wintour was appointed editor in chief at American Vogue, Coddington asked to join her. Coddington's narrative style fashion features and travelogues, a sampling of which appear in the book, became the heart and soul of the magazine, even as its pages became increasingly taken over by celebrities. Through her visual canvases, she interpreted the New Romantic period, grunge and the South Beach blinged out 1990s, and persuaded superstar designers Tom Ford, Marc Jacobs and others to play roles in a shoot based on "Alice in Wonderland."She sums up her creative process this way: "For me, one of the most important aspects of my work is to give people something to dream about, just as I used to dream all those years ago as a child looking at beautiful photographs."The book ends with a chapter on then and now. "Fashion has changed so much in my lifetime," Coddington writes. "Today, I find myself at the collections, asking, 'Who are all these people?' Sometimes I think I'm the last remaining person who comes to the shows for the pleasure of seeing the clothes."At 71, she seldom wears makeup and doesn't socialize much. But her attempt in the last 100 pages to distance herself from the term "fashionista" is a bit of a stretch. Clearly, Coddington has led a most charmed life. Otherwise, we wouldn't be reading about it.We provide this community forum for readers to exchange ideas and opinions on the news of the day. Passionate views, pointed criticism and critical thinking are welcome. Comments can only be submitted by registered users. By posting comments on our site, you are agreeing to the following terms:
From: Grenadine Velvet Christian Louboutin Flats (http://www.sudamerikahostel.com/1438/grenadine-velvet-christian-louboutin-flats/) Thu Jan 16 13:04:42 2014
Lady Griz hand Selvig 800th career win with 68 61 victory over PortlandGriz up to fifth in TSN poll, highest ranking of seasonBig Sky honors Sac State QB SafronNorth Dakota football coach firedSince 1897, the Cat Griz rivalry has captivated the stateFamily health: Prepare yourself and your vehicle for winter drivingFitness calendarBirths for Tuesday, November 19Angler with 4th place total takes Fall Mack Days fishing tournament titleWestern Montana hunters get help from fresh snow, rutIf the name Grace Coddington is familiar, you've probably seen the 2009 documentary film "The September Issue" about Vogue magazine's Editor in Chief Anna Wintour, the most feared and revered woman in fashion. Now Coddington, the longtime creative director of Vogue, has her own star vehicle, an engaging memoir titled "Grace," co written with Michael Roberts. For anyone with a passing interest in the fashion industry, it's worth a read for the name dropping alone.As became clear in the film, which chronicled the magazine's staff as they put together the 4 pound September 2007 issue, Coddington is not the Anna Wintour or Diana Vreeland type. You won't hear her barking orders at assistants or making dramatic pronouncements about pink.But she is equally passionate, a wild haired dreamer who thinks that fashion should be transporting, provocative and even intellectual, who bemoans the dominance of celebrities and digital hocus pocus in fashion photography and who isn't afraid to take on Wintour.The book is a window into how fashion has changed from a small, niche business into a global pop culture medium. It chronicles Coddington's 50 years in the industry, first as a model, then as a fashion editor for British Vogue and finally as creative director for American Vogue, with lots of juicy anecdotes about designers, photographers, celebrities and models.She compares the fashion world then and now and offers clues into her relationship with Wintour. She's also open about her private life, including details about failed marriages, the tragic death of her sister Rosemary and her 30 year romance with French hairstylist Didier Malige. She tells colorful stories behind many of the fashion shoots she has styled, but I do wish she had offered more insight into her role in the creative process.Coddington begins by painting a picture of her upbringing as romantic as any photo shoot. For her first 18 years, her home was the Trearddur Bay Hotel on the island of Anglesey off the coast of North Wales. "Although it was bleak, I saw beauty in the bleakness." When she wasn't outdoors, she amused herself by looking at picture books, reading fairy tales and, yes, studying the pages of Vogue magazine. As a teen, she went to a convent school and has vivid memories of the nuns roller skating on the rooftop, "flapping about surreally in their robes like crows on wheels."At 18, she moved to London to attend a modeling course advertised in Vogue. The fashion world was much different in 1959. Coddington had to learn how to apply her own makeup and style her own hair, because makeup artists and hairdressers specializing in photo shoots were nonexistent. A meeting with photographer Norman Parkinson led to her first modeling job running naked through the woods for an arty fashion catalog.Coddington became an overnight success. "I was a character, rather than a pretty model, and I suppose that's exactly what I look for in the girls I now select to put in American Vogue the ones who are quirky looking."She earned the nickname "The Cod" (to Jean Shrimpton's "The Shrimp"), danced the twist on Mary Quant's catwalk and became a muse to Vidal Sassoon, who created his famous five point cut on Coddington. Her modeling career was derailed for two years by a car accident, which scarred her left eyelid. But eventually things picked up again, and she settled into life in 1960s swinging London and Paris, hanging out with a fast crowd that included Michael Caine, Jane Birkin, the Beatles and the Rolling Stones.Her fashion editing career coincided with the beginning of her relationship with Michael Chow and the opening of his glamorous restaurant Mr. Chow, which attracted a starry crowd. "Naturally, we were forever being photographed at home, draped among our symbols of 'with it ness' as one of London's most happening couples; him, the cool young restaurateur, nonchalantly swinging in a hammock hung from the minstrel's gallery and me, the sophisticated style maker, perkily sitting cross legged atop a giant pop art version of a Campbell's soup can."At the height of the bohemian 1970s, she dyed her hair with henna and permed it (it would stay the same for much of the next 40 years), dressed almost exclusively in Yves Saint Laurent, had a fling with a Vietnamese photographer and spent her evenings at Club Sept in Paris. Coddington worked with the who's who of fashion. She shot Anjelica Huston with photographer David Bailey and Pat Cleveland with Helmut Newton.When Bea Miller, who had edited British Vogue for 22 years, retired, Coddington interviewed for the job but says she knew deep down she wasn't suited for it and thought that Wintour, then the creative director of American Vogue, should get it.Wintour did get it. Two days into her editorship, she invited Coddington to a screening of the racy film "Betty Blue." The two sat in dead silence through the opening sequence, a vivid five minute sex scene."Anna was rigid and unmoving. No sign of any emotion at all," Coddington writes. "I then realized how much significance Anna places on willpower trumping feelings."In 1988, when Wintour was appointed editor in chief at American Vogue, Coddington asked to join her. Coddington's narrative style fashion features and travelogues, a sampling of which appear in the book, became the heart and soul of the magazine, even as its pages became increasingly taken over by celebrities. Through her visual canvases, she interpreted the New Romantic period, grunge and the South Beach blinged out 1990s, and persuaded superstar designers Tom Ford, Marc Jacobs and others to play roles in a shoot based on "Alice in Wonderland."She sums up her creative process this way: "For me, one of the most important aspects of my work is to give people something to dream about, just as I used to dream all those years ago as a child looking at beautiful photographs."The book ends with a chapter on then and now. "Fashion has changed so much in my lifetime," Coddington writes. "Today, I find myself at the collections, asking, 'Who are all these people?' Sometimes I think I'm the last remaining person who comes to the shows for the pleasure of seeing the clothes."At 71, she seldom wears makeup and doesn't socialize much. But her attempt in the last 100 pages to distance herself from the term "fashionista" is a bit of a stretch. Clearly, Coddington has led a most charmed life. Otherwise, we wouldn't be reading about it.We provide this community forum for readers to exchange ideas and opinions on the news of the day. Passionate views, pointed criticism and critical thinking are welcome. Comments can only be submitted by registered users. By posting comments on our site, you are agreeing to the following terms:
From: Rose Paris Christian Louboutin Flats (http://www.sudamerikahostel.com/1548/rose-paris-patent-leather-christian-louboutin-flats/) Thu Jan 16 13:04:43 2014
Lady Griz hand Selvig 800th career win with 68 61 victory over PortlandGriz up to fifth in TSN poll, highest ranking of seasonBig Sky honors Sac State QB SafronNorth Dakota football coach firedSince 1897, the Cat Griz rivalry has captivated the stateFamily health: Prepare yourself and your vehicle for winter drivingFitness calendarBirths for Tuesday, November 19Angler with 4th place total takes Fall Mack Days fishing tournament titleWestern Montana hunters get help from fresh snow, rutIf the name Grace Coddington is familiar, you've probably seen the 2009 documentary film "The September Issue" about Vogue magazine's Editor in Chief Anna Wintour, the most feared and revered woman in fashion. Now Coddington, the longtime creative director of Vogue, has her own star vehicle, an engaging memoir titled "Grace," co written with Michael Roberts. For anyone with a passing interest in the fashion industry, it's worth a read for the name dropping alone.As became clear in the film, which chronicled the magazine's staff as they put together the 4 pound September 2007 issue, Coddington is not the Anna Wintour or Diana Vreeland type. You won't hear her barking orders at assistants or making dramatic pronouncements about pink.But she is equally passionate, a wild haired dreamer who thinks that fashion should be transporting, provocative and even intellectual, who bemoans the dominance of celebrities and digital hocus pocus in fashion photography and who isn't afraid to take on Wintour.The book is a window into how fashion has changed from a small, niche business into a global pop culture medium. It chronicles Coddington's 50 years in the industry, first as a model, then as a fashion editor for British Vogue and finally as creative director for American Vogue, with lots of juicy anecdotes about designers, photographers, celebrities and models.She compares the fashion world then and now and offers clues into her relationship with Wintour. She's also open about her private life, including details about failed marriages, the tragic death of her sister Rosemary and her 30 year romance with French hairstylist Didier Malige. She tells colorful stories behind many of the fashion shoots she has styled, but I do wish she had offered more insight into her role in the creative process.Coddington begins by painting a picture of her upbringing as romantic as any photo shoot. For her first 18 years, her home was the Trearddur Bay Hotel on the island of Anglesey off the coast of North Wales. "Although it was bleak, I saw beauty in the bleakness." When she wasn't outdoors, she amused herself by looking at picture books, reading fairy tales and, yes, studying the pages of Vogue magazine. As a teen, she went to a convent school and has vivid memories of the nuns roller skating on the rooftop, "flapping about surreally in their robes like crows on wheels."At 18, she moved to London to attend a modeling course advertised in Vogue. The fashion world was much different in 1959. Coddington had to learn how to apply her own makeup and style her own hair, because makeup artists and hairdressers specializing in photo shoots were nonexistent. A meeting with photographer Norman Parkinson led to her first modeling job running naked through the woods for an arty fashion catalog.Coddington became an overnight success. "I was a character, rather than a pretty model, and I suppose that's exactly what I look for in the girls I now select to put in American Vogue the ones who are quirky looking."She earned the nickname "The Cod" (to Jean Shrimpton's "The Shrimp"), danced the twist on Mary Quant's catwalk and became a muse to Vidal Sassoon, who created his famous five point cut on Coddington. Her modeling career was derailed for two years by a car accident, which scarred her left eyelid. But eventually things picked up again, and she settled into life in 1960s swinging London and Paris, hanging out with a fast crowd that included Michael Caine, Jane Birkin, the Beatles and the Rolling Stones.Her fashion editing career coincided with the beginning of her relationship with Michael Chow and the opening of his glamorous restaurant Mr. Chow, which attracted a starry crowd. "Naturally, we were forever being photographed at home, draped among our symbols of 'with it ness' as one of London's most happening couples; him, the cool young restaurateur, nonchalantly swinging in a hammock hung from the minstrel's gallery and me, the sophisticated style maker, perkily sitting cross legged atop a giant pop art version of a Campbell's soup can."At the height of the bohemian 1970s, she dyed her hair with henna and permed it (it would stay the same for much of the next 40 years), dressed almost exclusively in Yves Saint Laurent, had a fling with a Vietnamese photographer and spent her evenings at Club Sept in Paris. Coddington worked with the who's who of fashion. She shot Anjelica Huston with photographer David Bailey and Pat Cleveland with Helmut Newton.When Bea Miller, who had edited British Vogue for 22 years, retired, Coddington interviewed for the job but says she knew deep down she wasn't suited for it and thought that Wintour, then the creative director of American Vogue, should get it.Wintour did get it. Two days into her editorship, she invited Coddington to a screening of the racy film "Betty Blue." The two sat in dead silence through the opening sequence, a vivid five minute sex scene."Anna was rigid and unmoving. No sign of any emotion at all," Coddington writes. "I then realized how much significance Anna places on willpower trumping feelings."In 1988, when Wintour was appointed editor in chief at American Vogue, Coddington asked to join her. Coddington's narrative style fashion features and travelogues, a sampling of which appear in the book, became the heart and soul of the magazine, even as its pages became increasingly taken over by celebrities. Through her visual canvases, she interpreted the New Romantic period, grunge and the South Beach blinged out 1990s, and persuaded superstar designers Tom Ford, Marc Jacobs and others to play roles in a shoot based on "Alice in Wonderland."She sums up her creative process this way: "For me, one of the most important aspects of my work is to give people something to dream about, just as I used to dream all those years ago as a child looking at beautiful photographs."The book ends with a chapter on then and now. "Fashion has changed so much in my lifetime," Coddington writes. "Today, I find myself at the collections, asking, 'Who are all these people?' Sometimes I think I'm the last remaining person who comes to the shows for the pleasure of seeing the clothes."At 71, she seldom wears makeup and doesn't socialize much. But her attempt in the last 100 pages to distance herself from the term "fashionista" is a bit of a stretch. Clearly, Coddington has led a most charmed life. Otherwise, we wouldn't be reading about it.We provide this community forum for readers to exchange ideas and opinions on the news of the day. Passionate views, pointed criticism and critical thinking are welcome. Comments can only be submitted by registered users. By posting comments on our site, you are agreeing to the following terms:
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Lady Griz hand Selvig 800th career win with 68 61 victory over PortlandGriz up to fifth in TSN poll, highest ranking of seasonBig Sky honors Sac State QB SafronNorth Dakota football coach firedSince 1897, the Cat Griz rivalry has captivated the stateFamily health: Prepare yourself and your vehicle for winter drivingFitness calendarBirths for Tuesday, November 19Angler with 4th place total takes Fall Mack Days fishing tournament titleWestern Montana hunters get help from fresh snow, rutIf the name Grace Coddington is familiar, you've probably seen the 2009 documentary film "The September Issue" about Vogue magazine's Editor in Chief Anna Wintour, the most feared and revered woman in fashion. Now Coddington, the longtime creative director of Vogue, has her own star vehicle, an engaging memoir titled "Grace," co written with Michael Roberts. For anyone with a passing interest in the fashion industry, it's worth a read for the name dropping alone.As became clear in the film, which chronicled the magazine's staff as they put together the 4 pound September 2007 issue, Coddington is not the Anna Wintour or Diana Vreeland type. You won't hear her barking orders at assistants or making dramatic pronouncements about pink.But she is equally passionate, a wild haired dreamer who thinks that fashion should be transporting, provocative and even intellectual, who bemoans the dominance of celebrities and digital hocus pocus in fashion photography and who isn't afraid to take on Wintour.The book is a window into how fashion has changed from a small, niche business into a global pop culture medium. It chronicles Coddington's 50 years in the industry, first as a model, then as a fashion editor for British Vogue and finally as creative director for American Vogue, with lots of juicy anecdotes about designers, photographers, celebrities and models.She compares the fashion world then and now and offers clues into her relationship with Wintour. She's also open about her private life, including details about failed marriages, the tragic death of her sister Rosemary and her 30 year romance with French hairstylist Didier Malige. She tells colorful stories behind many of the fashion shoots she has styled, but I do wish she had offered more insight into her role in the creative process.Coddington begins by painting a picture of her upbringing as romantic as any photo shoot. For her first 18 years, her home was the Trearddur Bay Hotel on the island of Anglesey off the coast of North Wales. "Although it was bleak, I saw beauty in the bleakness." When she wasn't outdoors, she amused herself by looking at picture books, reading fairy tales and, yes, studying the pages of Vogue magazine. As a teen, she went to a convent school and has vivid memories of the nuns roller skating on the rooftop, "flapping about surreally in their robes like crows on wheels."At 18, she moved to London to attend a modeling course advertised in Vogue. The fashion world was much different in 1959. Coddington had to learn how to apply her own makeup and style her own hair, because makeup artists and hairdressers specializing in photo shoots were nonexistent. A meeting with photographer Norman Parkinson led to her first modeling job running naked through the woods for an arty fashion catalog.Coddington became an overnight success. "I was a character, rather than a pretty model, and I suppose that's exactly what I look for in the girls I now select to put in American Vogue the ones who are quirky looking."She earned the nickname "The Cod" (to Jean Shrimpton's "The Shrimp"), danced the twist on Mary Quant's catwalk and became a muse to Vidal Sassoon, who created his famous five point cut on Coddington. Her modeling career was derailed for two years by a car accident, which scarred her left eyelid. But eventually things picked up again, and she settled into life in 1960s swinging London and Paris, hanging out with a fast crowd that included Michael Caine, Jane Birkin, the Beatles and the Rolling Stones.Her fashion editing career coincided with the beginning of her relationship with Michael Chow and the opening of his glamorous restaurant Mr. Chow, which attracted a starry crowd. "Naturally, we were forever being photographed at home, draped among our symbols of 'with it ness' as one of London's most happening couples; him, the cool young restaurateur, nonchalantly swinging in a hammock hung from the minstrel's gallery and me, the sophisticated style maker, perkily sitting cross legged atop a giant pop art version of a Campbell's soup can."At the height of the bohemian 1970s, she dyed her hair with henna and permed it (it would stay the same for much of the next 40 years), dressed almost exclusively in Yves Saint Laurent, had a fling with a Vietnamese photographer and spent her evenings at Club Sept in Paris. Coddington worked with the who's who of fashion. She shot Anjelica Huston with photographer David Bailey and Pat Cleveland with Helmut Newton.When Bea Miller, who had edited British Vogue for 22 years, retired, Coddington interviewed for the job but says she knew deep down she wasn't suited for it and thought that Wintour, then the creative director of American Vogue, should get it.Wintour did get it. Two days into her editorship, she invited Coddington to a screening of the racy film "Betty Blue." The two sat in dead silence through the opening sequence, a vivid five minute sex scene."Anna was rigid and unmoving. No sign of any emotion at all," Coddington writes. "I then realized how much significance Anna places on willpower trumping feelings."In 1988, when Wintour was appointed editor in chief at American Vogue, Coddington asked to join her. Coddington's narrative style fashion features and travelogues, a sampling of which appear in the book, became the heart and soul of the magazine, even as its pages became increasingly taken over by celebrities. Through her visual canvases, she interpreted the New Romantic period, grunge and the South Beach blinged out 1990s, and persuaded superstar designers Tom Ford, Marc Jacobs and others to play roles in a shoot based on "Alice in Wonderland."She sums up her creative process this way: "For me, one of the most important aspects of my work is to give people something to dream about, just as I used to dream all those years ago as a child looking at beautiful photographs."The book ends with a chapter on then and now. "Fashion has changed so much in my lifetime," Coddington writes. "Today, I find myself at the collections, asking, 'Who are all these people?' Sometimes I think I'm the last remaining person who comes to the shows for the pleasure of seeing the clothes."At 71, she seldom wears makeup and doesn't socialize much. But her attempt in the last 100 pages to distance herself from the term "fashionista" is a bit of a stretch. Clearly, Coddington has led a most charmed life. Otherwise, we wouldn't be reading about it.We provide this community forum for readers to exchange ideas and opinions on the news of the day. Passionate views, pointed criticism and critical thinking are welcome. Comments can only be submitted by registered users. By posting comments on our site, you are agreeing to the following terms:
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Lady Griz hand Selvig 800th career win with 68 61 victory over PortlandGriz up to fifth in TSN poll, highest ranking of seasonBig Sky honors Sac State QB SafronNorth Dakota football coach firedSince 1897, the Cat Griz rivalry has captivated the stateFamily health: Prepare yourself and your vehicle for winter drivingFitness calendarBirths for Tuesday, November 19Angler with 4th place total takes Fall Mack Days fishing tournament titleWestern Montana hunters get help from fresh snow, rutIf the name Grace Coddington is familiar, you've probably seen the 2009 documentary film "The September Issue" about Vogue magazine's Editor in Chief Anna Wintour, the most feared and revered woman in fashion. Now Coddington, the longtime creative director of Vogue, has her own star vehicle, an engaging memoir titled "Grace," co written with Michael Roberts. For anyone with a passing interest in the fashion industry, it's worth a read for the name dropping alone.As became clear in the film, which chronicled the magazine's staff as they put together the 4 pound September 2007 issue, Coddington is not the Anna Wintour or Diana Vreeland type. You won't hear her barking orders at assistants or making dramatic pronouncements about pink.But she is equally passionate, a wild haired dreamer who thinks that fashion should be transporting, provocative and even intellectual, who bemoans the dominance of celebrities and digital hocus pocus in fashion photography and who isn't afraid to take on Wintour.The book is a window into how fashion has changed from a small, niche business into a global pop culture medium. It chronicles Coddington's 50 years in the industry, first as a model, then as a fashion editor for British Vogue and finally as creative director for American Vogue, with lots of juicy anecdotes about designers, photographers, celebrities and models.She compares the fashion world then and now and offers clues into her relationship with Wintour. She's also open about her private life, including details about failed marriages, the tragic death of her sister Rosemary and her 30 year romance with French hairstylist Didier Malige. She tells colorful stories behind many of the fashion shoots she has styled, but I do wish she had offered more insight into her role in the creative process.Coddington begins by painting a picture of her upbringing as romantic as any photo shoot. For her first 18 years, her home was the Trearddur Bay Hotel on the island of Anglesey off the coast of North Wales. "Although it was bleak, I saw beauty in the bleakness." When she wasn't outdoors, she amused herself by looking at picture books, reading fairy tales and, yes, studying the pages of Vogue magazine. As a teen, she went to a convent school and has vivid memories of the nuns roller skating on the rooftop, "flapping about surreally in their robes like crows on wheels."At 18, she moved to London to attend a modeling course advertised in Vogue. The fashion world was much different in 1959. Coddington had to learn how to apply her own makeup and style her own hair, because makeup artists and hairdressers specializing in photo shoots were nonexistent. A meeting with photographer Norman Parkinson led to her first modeling job running naked through the woods for an arty fashion catalog.Coddington became an overnight success. "I was a character, rather than a pretty model, and I suppose that's exactly what I look for in the girls I now select to put in American Vogue the ones who are quirky looking."She earned the nickname "The Cod" (to Jean Shrimpton's "The Shrimp"), danced the twist on Mary Quant's catwalk and became a muse to Vidal Sassoon, who created his famous five point cut on Coddington. Her modeling career was derailed for two years by a car accident, which scarred her left eyelid. But eventually things picked up again, and she settled into life in 1960s swinging London and Paris, hanging out with a fast crowd that included Michael Caine, Jane Birkin, the Beatles and the Rolling Stones.Her fashion editing career coincided with the beginning of her relationship with Michael Chow and the opening of his glamorous restaurant Mr. Chow, which attracted a starry crowd. "Naturally, we were forever being photographed at home, draped among our symbols of 'with it ness' as one of London's most happening couples; him, the cool young restaurateur, nonchalantly swinging in a hammock hung from the minstrel's gallery and me, the sophisticated style maker, perkily sitting cross legged atop a giant pop art version of a Campbell's soup can."At the height of the bohemian 1970s, she dyed her hair with henna and permed it (it would stay the same for much of the next 40 years), dressed almost exclusively in Yves Saint Laurent, had a fling with a Vietnamese photographer and spent her evenings at Club Sept in Paris. Coddington worked with the who's who of fashion. She shot Anjelica Huston with photographer David Bailey and Pat Cleveland with Helmut Newton.When Bea Miller, who had edited British Vogue for 22 years, retired, Coddington interviewed for the job but says she knew deep down she wasn't suited for it and thought that Wintour, then the creative director of American Vogue, should get it.Wintour did get it. Two days into her editorship, she invited Coddington to a screening of the racy film "Betty Blue." The two sat in dead silence through the opening sequence, a vivid five minute sex scene."Anna was rigid and unmoving. No sign of any emotion at all," Coddington writes. "I then realized how much significance Anna places on willpower trumping feelings."In 1988, when Wintour was appointed editor in chief at American Vogue, Coddington asked to join her. Coddington's narrative style fashion features and travelogues, a sampling of which appear in the book, became the heart and soul of the magazine, even as its pages became increasingly taken over by celebrities. Through her visual canvases, she interpreted the New Romantic period, grunge and the South Beach blinged out 1990s, and persuaded superstar designers Tom Ford, Marc Jacobs and others to play roles in a shoot based on "Alice in Wonderland."She sums up her creative process this way: "For me, one of the most important aspects of my work is to give people something to dream about, just as I used to dream all those years ago as a child looking at beautiful photographs."The book ends with a chapter on then and now. "Fashion has changed so much in my lifetime," Coddington writes. "Today, I find myself at the collections, asking, 'Who are all these people?' Sometimes I think I'm the last remaining person who comes to the shows for the pleasure of seeing the clothes."At 71, she seldom wears makeup and doesn't socialize much. But her attempt in the last 100 pages to distance herself from the term "fashionista" is a bit of a stretch. Clearly, Coddington has led a most charmed life. Otherwise, we wouldn't be reading about it.We provide this community forum for readers to exchange ideas and opinions on the news of the day. Passionate views, pointed criticism and critical thinking are welcome. Comments can only be submitted by registered users. By posting comments on our site, you are agreeing to the following terms:
From: Cheap fake replica official online for sale outlet factory store oplof (http://www.sudamerikahostel.com/720/rouge-lipstick-leather-christian-louboutin-sandals-120mm/) Thu Jan 16 13:04:56 2014
Lady Griz hand Selvig 800th career win with 68 61 victory over PortlandGriz up to fifth in TSN poll, highest ranking of seasonBig Sky honors Sac State QB SafronNorth Dakota football coach firedSince 1897, the Cat Griz rivalry has captivated the stateFamily health: Prepare yourself and your vehicle for winter drivingFitness calendarBirths for Tuesday, November 19Angler with 4th place total takes Fall Mack Days fishing tournament titleWestern Montana hunters get help from fresh snow, rutIf the name Grace Coddington is familiar, you've probably seen the 2009 documentary film "The September Issue" about Vogue magazine's Editor in Chief Anna Wintour, the most feared and revered woman in fashion. Now Coddington, the longtime creative director of Vogue, has her own star vehicle, an engaging memoir titled "Grace," co written with Michael Roberts. For anyone with a passing interest in the fashion industry, it's worth a read for the name dropping alone.As became clear in the film, which chronicled the magazine's staff as they put together the 4 pound September 2007 issue, Coddington is not the Anna Wintour or Diana Vreeland type. You won't hear her barking orders at assistants or making dramatic pronouncements about pink.But she is equally passionate, a wild haired dreamer who thinks that fashion should be transporting, provocative and even intellectual, who bemoans the dominance of celebrities and digital hocus pocus in fashion photography and who isn't afraid to take on Wintour.The book is a window into how fashion has changed from a small, niche business into a global pop culture medium. It chronicles Coddington's 50 years in the industry, first as a model, then as a fashion editor for British Vogue and finally as creative director for American Vogue, with lots of juicy anecdotes about designers, photographers, celebrities and models.She compares the fashion world then and now and offers clues into her relationship with Wintour. She's also open about her private life, including details about failed marriages, the tragic death of her sister Rosemary and her 30 year romance with French hairstylist Didier Malige. She tells colorful stories behind many of the fashion shoots she has styled, but I do wish she had offered more insight into her role in the creative process.Coddington begins by painting a picture of her upbringing as romantic as any photo shoot. For her first 18 years, her home was the Trearddur Bay Hotel on the island of Anglesey off the coast of North Wales. "Although it was bleak, I saw beauty in the bleakness." When she wasn't outdoors, she amused herself by looking at picture books, reading fairy tales and, yes, studying the pages of Vogue magazine. As a teen, she went to a convent school and has vivid memories of the nuns roller skating on the rooftop, "flapping about surreally in their robes like crows on wheels."At 18, she moved to London to attend a modeling course advertised in Vogue. The fashion world was much different in 1959. Coddington had to learn how to apply her own makeup and style her own hair, because makeup artists and hairdressers specializing in photo shoots were nonexistent. A meeting with photographer Norman Parkinson led to her first modeling job running naked through the woods for an arty fashion catalog.Coddington became an overnight success. "I was a character, rather than a pretty model, and I suppose that's exactly what I look for in the girls I now select to put in American Vogue the ones who are quirky looking."She earned the nickname "The Cod" (to Jean Shrimpton's "The Shrimp"), danced the twist on Mary Quant's catwalk and became a muse to Vidal Sassoon, who created his famous five point cut on Coddington. Her modeling career was derailed for two years by a car accident, which scarred her left eyelid. But eventually things picked up again, and she settled into life in 1960s swinging London and Paris, hanging out with a fast crowd that included Michael Caine, Jane Birkin, the Beatles and the Rolling Stones.Her fashion editing career coincided with the beginning of her relationship with Michael Chow and the opening of his glamorous restaurant Mr. Chow, which attracted a starry crowd. "Naturally, we were forever being photographed at home, draped among our symbols of 'with it ness' as one of London's most happening couples; him, the cool young restaurateur, nonchalantly swinging in a hammock hung from the minstrel's gallery and me, the sophisticated style maker, perkily sitting cross legged atop a giant pop art version of a Campbell's soup can."At the height of the bohemian 1970s, she dyed her hair with henna and permed it (it would stay the same for much of the next 40 years), dressed almost exclusively in Yves Saint Laurent, had a fling with a Vietnamese photographer and spent her evenings at Club Sept in Paris. Coddington worked with the who's who of fashion. She shot Anjelica Huston with photographer David Bailey and Pat Cleveland with Helmut Newton.When Bea Miller, who had edited British Vogue for 22 years, retired, Coddington interviewed for the job but says she knew deep down she wasn't suited for it and thought that Wintour, then the creative director of American Vogue, should get it.Wintour did get it. Two days into her editorship, she invited Coddington to a screening of the racy film "Betty Blue." The two sat in dead silence through the opening sequence, a vivid five minute sex scene."Anna was rigid and unmoving. No sign of any emotion at all," Coddington writes. "I then realized how much significance Anna places on willpower trumping feelings."In 1988, when Wintour was appointed editor in chief at American Vogue, Coddington asked to join her. Coddington's narrative style fashion features and travelogues, a sampling of which appear in the book, became the heart and soul of the magazine, even as its pages became increasingly taken over by celebrities. Through her visual canvases, she interpreted the New Romantic period, grunge and the South Beach blinged out 1990s, and persuaded superstar designers Tom Ford, Marc Jacobs and others to play roles in a shoot based on "Alice in Wonderland."She sums up her creative process this way: "For me, one of the most important aspects of my work is to give people something to dream about, just as I used to dream all those years ago as a child looking at beautiful photographs."The book ends with a chapter on then and now. "Fashion has changed so much in my lifetime," Coddington writes. "Today, I find myself at the collections, asking, 'Who are all these people?' Sometimes I think I'm the last remaining person who comes to the shows for the pleasure of seeing the clothes."At 71, she seldom wears makeup and doesn't socialize much. But her attempt in the last 100 pages to distance herself from the term "fashionista" is a bit of a stretch. Clearly, Coddington has led a most charmed life. Otherwise, we wouldn't be reading about it.We provide this community forum for readers to exchange ideas and opinions on the news of the day. Passionate views, pointed criticism and critical thinking are welcome. Comments can only be submitted by registered users. By posting comments on our site, you are agreeing to the following terms:
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Lady Griz hand Selvig 800th career win with 68 61 victory over PortlandGriz up to fifth in TSN poll, highest ranking of seasonBig Sky honors Sac State QB SafronNorth Dakota football coach firedSince 1897, the Cat Griz rivalry has captivated the stateFamily health: Prepare yourself and your vehicle for winter drivingFitness calendarBirths for Tuesday, November 19Angler with 4th place total takes Fall Mack Days fishing tournament titleWestern Montana hunters get help from fresh snow, rutIf the name Grace Coddington is familiar, you've probably seen the 2009 documentary film "The September Issue" about Vogue magazine's Editor in Chief Anna Wintour, the most feared and revered woman in fashion. Now Coddington, the longtime creative director of Vogue, has her own star vehicle, an engaging memoir titled "Grace," co written with Michael Roberts. For anyone with a passing interest in the fashion industry, it's worth a read for the name dropping alone.As became clear in the film, which chronicled the magazine's staff as they put together the 4 pound September 2007 issue, Coddington is not the Anna Wintour or Diana Vreeland type. You won't hear her barking orders at assistants or making dramatic pronouncements about pink.But she is equally passionate, a wild haired dreamer who thinks that fashion should be transporting, provocative and even intellectual, who bemoans the dominance of celebrities and digital hocus pocus in fashion photography and who isn't afraid to take on Wintour.The book is a window into how fashion has changed from a small, niche business into a global pop culture medium. It chronicles Coddington's 50 years in the industry, first as a model, then as a fashion editor for British Vogue and finally as creative director for American Vogue, with lots of juicy anecdotes about designers, photographers, celebrities and models.She compares the fashion world then and now and offers clues into her relationship with Wintour. She's also open about her private life, including details about failed marriages, the tragic death of her sister Rosemary and her 30 year romance with French hairstylist Didier Malige. She tells colorful stories behind many of the fashion shoots she has styled, but I do wish she had offered more insight into her role in the creative process.Coddington begins by painting a picture of her upbringing as romantic as any photo shoot. For her first 18 years, her home was the Trearddur Bay Hotel on the island of Anglesey off the coast of North Wales. "Although it was bleak, I saw beauty in the bleakness." When she wasn't outdoors, she amused herself by looking at picture books, reading fairy tales and, yes, studying the pages of Vogue magazine. As a teen, she went to a convent school and has vivid memories of the nuns roller skating on the rooftop, "flapping about surreally in their robes like crows on wheels."At 18, she moved to London to attend a modeling course advertised in Vogue. The fashion world was much different in 1959. Coddington had to learn how to apply her own makeup and style her own hair, because makeup artists and hairdressers specializing in photo shoots were nonexistent. A meeting with photographer Norman Parkinson led to her first modeling job running naked through the woods for an arty fashion catalog.Coddington became an overnight success. "I was a character, rather than a pretty model, and I suppose that's exactly what I look for in the girls I now select to put in American Vogue the ones who are quirky looking."She earned the nickname "The Cod" (to Jean Shrimpton's "The Shrimp"), danced the twist on Mary Quant's catwalk and became a muse to Vidal Sassoon, who created his famous five point cut on Coddington. Her modeling career was derailed for two years by a car accident, which scarred her left eyelid. But eventually things picked up again, and she settled into life in 1960s swinging London and Paris, hanging out with a fast crowd that included Michael Caine, Jane Birkin, the Beatles and the Rolling Stones.Her fashion editing career coincided with the beginning of her relationship with Michael Chow and the opening of his glamorous restaurant Mr. Chow, which attracted a starry crowd. "Naturally, we were forever being photographed at home, draped among our symbols of 'with it ness' as one of London's most happening couples; him, the cool young restaurateur, nonchalantly swinging in a hammock hung from the minstrel's gallery and me, the sophisticated style maker, perkily sitting cross legged atop a giant pop art version of a Campbell's soup can."At the height of the bohemian 1970s, she dyed her hair with henna and permed it (it would stay the same for much of the next 40 years), dressed almost exclusively in Yves Saint Laurent, had a fling with a Vietnamese photographer and spent her evenings at Club Sept in Paris. Coddington worked with the who's who of fashion. She shot Anjelica Huston with photographer David Bailey and Pat Cleveland with Helmut Newton.When Bea Miller, who had edited British Vogue for 22 years, retired, Coddington interviewed for the job but says she knew deep down she wasn't suited for it and thought that Wintour, then the creative director of American Vogue, should get it.Wintour did get it. Two days into her editorship, she invited Coddington to a screening of the racy film "Betty Blue." The two sat in dead silence through the opening sequence, a vivid five minute sex scene."Anna was rigid and unmoving. No sign of any emotion at all," Coddington writes. "I then realized how much significance Anna places on willpower trumping feelings."In 1988, when Wintour was appointed editor in chief at American Vogue, Coddington asked to join her. Coddington's narrative style fashion features and travelogues, a sampling of which appear in the book, became the heart and soul of the magazine, even as its pages became increasingly taken over by celebrities. Through her visual canvases, she interpreted the New Romantic period, grunge and the South Beach blinged out 1990s, and persuaded superstar designers Tom Ford, Marc Jacobs and others to play roles in a shoot based on "Alice in Wonderland."She sums up her creative process this way: "For me, one of the most important aspects of my work is to give people something to dream about, just as I used to dream all those years ago as a child looking at beautiful photographs."The book ends with a chapter on then and now. "Fashion has changed so much in my lifetime," Coddington writes. "Today, I find myself at the collections, asking, 'Who are all these people?' Sometimes I think I'm the last remaining person who comes to the shows for the pleasure of seeing the clothes."At 71, she seldom wears makeup and doesn't socialize much. But her attempt in the last 100 pages to distance herself from the term "fashionista" is a bit of a stretch. Clearly, Coddington has led a most charmed life. Otherwise, we wouldn't be reading about it.We provide this community forum for readers to exchange ideas and opinions on the news of the day. Passionate views, pointed criticism and critical thinking are welcome. Comments can only be submitted by registered users. By posting comments on our site, you are agreeing to the following terms:
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Lady Griz hand Selvig 800th career win with 68 61 victory over PortlandGriz up to fifth in TSN poll, highest ranking of seasonBig Sky honors Sac State QB SafronNorth Dakota football coach firedSince 1897, the Cat Griz rivalry has captivated the stateFamily health: Prepare yourself and your vehicle for winter drivingFitness calendarBirths for Tuesday, November 19Angler with 4th place total takes Fall Mack Days fishing tournament titleWestern Montana hunters get help from fresh snow, rutIf the name Grace Coddington is familiar, you've probably seen the 2009 documentary film "The September Issue" about Vogue magazine's Editor in Chief Anna Wintour, the most feared and revered woman in fashion. Now Coddington, the longtime creative director of Vogue, has her own star vehicle, an engaging memoir titled "Grace," co written with Michael Roberts. For anyone with a passing interest in the fashion industry, it's worth a read for the name dropping alone.As became clear in the film, which chronicled the magazine's staff as they put together the 4 pound September 2007 issue, Coddington is not the Anna Wintour or Diana Vreeland type. You won't hear her barking orders at assistants or making dramatic pronouncements about pink.But she is equally passionate, a wild haired dreamer who thinks that fashion should be transporting, provocative and even intellectual, who bemoans the dominance of celebrities and digital hocus pocus in fashion photography and who isn't afraid to take on Wintour.The book is a window into how fashion has changed from a small, niche business into a global pop culture medium. It chronicles Coddington's 50 years in the industry, first as a model, then as a fashion editor for British Vogue and finally as creative director for American Vogue, with lots of juicy anecdotes about designers, photographers, celebrities and models.She compares the fashion world then and now and offers clues into her relationship with Wintour. She's also open about her private life, including details about failed marriages, the tragic death of her sister Rosemary and her 30 year romance with French hairstylist Didier Malige. She tells colorful stories behind many of the fashion shoots she has styled, but I do wish she had offered more insight into her role in the creative process.Coddington begins by painting a picture of her upbringing as romantic as any photo shoot. For her first 18 years, her home was the Trearddur Bay Hotel on the island of Anglesey off the coast of North Wales. "Although it was bleak, I saw beauty in the bleakness." When she wasn't outdoors, she amused herself by looking at picture books, reading fairy tales and, yes, studying the pages of Vogue magazine. As a teen, she went to a convent school and has vivid memories of the nuns roller skating on the rooftop, "flapping about surreally in their robes like crows on wheels."At 18, she moved to London to attend a modeling course advertised in Vogue. The fashion world was much different in 1959. Coddington had to learn how to apply her own makeup and style her own hair, because makeup artists and hairdressers specializing in photo shoots were nonexistent. A meeting with photographer Norman Parkinson led to her first modeling job running naked through the woods for an arty fashion catalog.Coddington became an overnight success. "I was a character, rather than a pretty model, and I suppose that's exactly what I look for in the girls I now select to put in American Vogue the ones who are quirky looking."She earned the nickname "The Cod" (to Jean Shrimpton's "The Shrimp"), danced the twist on Mary Quant's catwalk and became a muse to Vidal Sassoon, who created his famous five point cut on Coddington. Her modeling career was derailed for two years by a car accident, which scarred her left eyelid. But eventually things picked up again, and she settled into life in 1960s swinging London and Paris, hanging out with a fast crowd that included Michael Caine, Jane Birkin, the Beatles and the Rolling Stones.Her fashion editing career coincided with the beginning of her relationship with Michael Chow and the opening of his glamorous restaurant Mr. Chow, which attracted a starry crowd. "Naturally, we were forever being photographed at home, draped among our symbols of 'with it ness' as one of London's most happening couples; him, the cool young restaurateur, nonchalantly swinging in a hammock hung from the minstrel's gallery and me, the sophisticated style maker, perkily sitting cross legged atop a giant pop art version of a Campbell's soup can."At the height of the bohemian 1970s, she dyed her hair with henna and permed it (it would stay the same for much of the next 40 years), dressed almost exclusively in Yves Saint Laurent, had a fling with a Vietnamese photographer and spent her evenings at Club Sept in Paris. Coddington worked with the who's who of fashion. She shot Anjelica Huston with photographer David Bailey and Pat Cleveland with Helmut Newton.When Bea Miller, who had edited British Vogue for 22 years, retired, Coddington interviewed for the job but says she knew deep down she wasn't suited for it and thought that Wintour, then the creative director of American Vogue, should get it.Wintour did get it. Two days into her editorship, she invited Coddington to a screening of the racy film "Betty Blue." The two sat in dead silence through the opening sequence, a vivid five minute sex scene."Anna was rigid and unmoving. No sign of any emotion at all," Coddington writes. "I then realized how much significance Anna places on willpower trumping feelings."In 1988, when Wintour was appointed editor in chief at American Vogue, Coddington asked to join her. Coddington's narrative style fashion features and travelogues, a sampling of which appear in the book, became the heart and soul of the magazine, even as its pages became increasingly taken over by celebrities. Through her visual canvases, she interpreted the New Romantic period, grunge and the South Beach blinged out 1990s, and persuaded superstar designers Tom Ford, Marc Jacobs and others to play roles in a shoot based on "Alice in Wonderland."She sums up her creative process this way: "For me, one of the most important aspects of my work is to give people something to dream about, just as I used to dream all those years ago as a child looking at beautiful photographs."The book ends with a chapter on then and now. "Fashion has changed so much in my lifetime," Coddington writes. "Today, I find myself at the collections, asking, 'Who are all these people?' Sometimes I think I'm the last remaining person who comes to the shows for the pleasure of seeing the clothes."At 71, she seldom wears makeup and doesn't socialize much. But her attempt in the last 100 pages to distance herself from the term "fashionista" is a bit of a stretch. Clearly, Coddington has led a most charmed life. Otherwise, we wouldn't be reading about it.We provide this community forum for readers to exchange ideas and opinions on the news of the day. Passionate views, pointed criticism and critical thinking are welcome. Comments can only be submitted by registered users. By posting comments on our site, you are agreeing to the following terms:
From: Christian Louboutin Pumps (http://www.sudamerikahostel.com/1665/christian-louboutin-pumps/) Thu Jan 16 13:05:12 2014
Lady Griz hand Selvig 800th career win with 68 61 victory over PortlandGriz up to fifth in TSN poll, highest ranking of seasonBig Sky honors Sac State QB SafronNorth Dakota football coach firedSince 1897, the Cat Griz rivalry has captivated the stateFamily health: Prepare yourself and your vehicle for winter drivingFitness calendarBirths for Tuesday, November 19Angler with 4th place total takes Fall Mack Days fishing tournament titleWestern Montana hunters get help from fresh snow, rutIf the name Grace Coddington is familiar, you've probably seen the 2009 documentary film "The September Issue" about Vogue magazine's Editor in Chief Anna Wintour, the most feared and revered woman in fashion. Now Coddington, the longtime creative director of Vogue, has her own star vehicle, an engaging memoir titled "Grace," co written with Michael Roberts. For anyone with a passing interest in the fashion industry, it's worth a read for the name dropping alone.As became clear in the film, which chronicled the magazine's staff as they put together the 4 pound September 2007 issue, Coddington is not the Anna Wintour or Diana Vreeland type. You won't hear her barking orders at assistants or making dramatic pronouncements about pink.But she is equally passionate, a wild haired dreamer who thinks that fashion should be transporting, provocative and even intellectual, who bemoans the dominance of celebrities and digital hocus pocus in fashion photography and who isn't afraid to take on Wintour.The book is a window into how fashion has changed from a small, niche business into a global pop culture medium. It chronicles Coddington's 50 years in the industry, first as a model, then as a fashion editor for British Vogue and finally as creative director for American Vogue, with lots of juicy anecdotes about designers, photographers, celebrities and models.She compares the fashion world then and now and offers clues into her relationship with Wintour. She's also open about her private life, including details about failed marriages, the tragic death of her sister Rosemary and her 30 year romance with French hairstylist Didier Malige. She tells colorful stories behind many of the fashion shoots she has styled, but I do wish she had offered more insight into her role in the creative process.Coddington begins by painting a picture of her upbringing as romantic as any photo shoot. For her first 18 years, her home was the Trearddur Bay Hotel on the island of Anglesey off the coast of North Wales. "Although it was bleak, I saw beauty in the bleakness." When she wasn't outdoors, she amused herself by looking at picture books, reading fairy tales and, yes, studying the pages of Vogue magazine. As a teen, she went to a convent school and has vivid memories of the nuns roller skating on the rooftop, "flapping about surreally in their robes like crows on wheels."At 18, she moved to London to attend a modeling course advertised in Vogue. The fashion world was much different in 1959. Coddington had to learn how to apply her own makeup and style her own hair, because makeup artists and hairdressers specializing in photo shoots were nonexistent. A meeting with photographer Norman Parkinson led to her first modeling job running naked through the woods for an arty fashion catalog.Coddington became an overnight success. "I was a character, rather than a pretty model, and I suppose that's exactly what I look for in the girls I now select to put in American Vogue the ones who are quirky looking."She earned the nickname "The Cod" (to Jean Shrimpton's "The Shrimp"), danced the twist on Mary Quant's catwalk and became a muse to Vidal Sassoon, who created his famous five point cut on Coddington. Her modeling career was derailed for two years by a car accident, which scarred her left eyelid. But eventually things picked up again, and she settled into life in 1960s swinging London and Paris, hanging out with a fast crowd that included Michael Caine, Jane Birkin, the Beatles and the Rolling Stones.Her fashion editing career coincided with the beginning of her relationship with Michael Chow and the opening of his glamorous restaurant Mr. Chow, which attracted a starry crowd. "Naturally, we were forever being photographed at home, draped among our symbols of 'with it ness' as one of London's most happening couples; him, the cool young restaurateur, nonchalantly swinging in a hammock hung from the minstrel's gallery and me, the sophisticated style maker, perkily sitting cross legged atop a giant pop art version of a Campbell's soup can."At the height of the bohemian 1970s, she dyed her hair with henna and permed it (it would stay the same for much of the next 40 years), dressed almost exclusively in Yves Saint Laurent, had a fling with a Vietnamese photographer and spent her evenings at Club Sept in Paris. Coddington worked with the who's who of fashion. She shot Anjelica Huston with photographer David Bailey and Pat Cleveland with Helmut Newton.When Bea Miller, who had edited British Vogue for 22 years, retired, Coddington interviewed for the job but says she knew deep down she wasn't suited for it and thought that Wintour, then the creative director of American Vogue, should get it.Wintour did get it. Two days into her editorship, she invited Coddington to a screening of the racy film "Betty Blue." The two sat in dead silence through the opening sequence, a vivid five minute sex scene."Anna was rigid and unmoving. No sign of any emotion at all," Coddington writes. "I then realized how much significance Anna places on willpower trumping feelings."In 1988, when Wintour was appointed editor in chief at American Vogue, Coddington asked to join her. Coddington's narrative style fashion features and travelogues, a sampling of which appear in the book, became the heart and soul of the magazine, even as its pages became increasingly taken over by celebrities. Through her visual canvases, she interpreted the New Romantic period, grunge and the South Beach blinged out 1990s, and persuaded superstar designers Tom Ford, Marc Jacobs and others to play roles in a shoot based on "Alice in Wonderland."She sums up her creative process this way: "For me, one of the most important aspects of my work is to give people something to dream about, just as I used to dream all those years ago as a child looking at beautiful photographs."The book ends with a chapter on then and now. "Fashion has changed so much in my lifetime," Coddington writes. "Today, I find myself at the collections, asking, 'Who are all these people?' Sometimes I think I'm the last remaining person who comes to the shows for the pleasure of seeing the clothes."At 71, she seldom wears makeup and doesn't socialize much. But her attempt in the last 100 pages to distance herself from the term "fashionista" is a bit of a stretch. Clearly, Coddington has led a most charmed life. Otherwise, we wouldn't be reading about it.We provide this community forum for readers to exchange ideas and opinions on the news of the day. Passionate views, pointed criticism and critical thinking are welcome. Comments can only be submitted by registered users. By posting comments on our site, you are agreeing to the following terms:
From: Cheap fake replica official online for sale outlet factory store oplof (http://www.sudamerikahostel.com/359/black-pvc-christian-louboutin-sandals-100mm/) Thu Jan 16 13:05:13 2014
Lady Griz hand Selvig 800th career win with 68 61 victory over PortlandGriz up to fifth in TSN poll, highest ranking of seasonBig Sky honors Sac State QB SafronNorth Dakota football coach firedSince 1897, the Cat Griz rivalry has captivated the stateFamily health: Prepare yourself and your vehicle for winter drivingFitness calendarBirths for Tuesday, November 19Angler with 4th place total takes Fall Mack Days fishing tournament titleWestern Montana hunters get help from fresh snow, rutIf the name Grace Coddington is familiar, you've probably seen the 2009 documentary film "The September Issue" about Vogue magazine's Editor in Chief Anna Wintour, the most feared and revered woman in fashion. Now Coddington, the longtime creative director of Vogue, has her own star vehicle, an engaging memoir titled "Grace," co written with Michael Roberts. For anyone with a passing interest in the fashion industry, it's worth a read for the name dropping alone.As became clear in the film, which chronicled the magazine's staff as they put together the 4 pound September 2007 issue, Coddington is not the Anna Wintour or Diana Vreeland type. You won't hear her barking orders at assistants or making dramatic pronouncements about pink.But she is equally passionate, a wild haired dreamer who thinks that fashion should be transporting, provocative and even intellectual, who bemoans the dominance of celebrities and digital hocus pocus in fashion photography and who isn't afraid to take on Wintour.The book is a window into how fashion has changed from a small, niche business into a global pop culture medium. It chronicles Coddington's 50 years in the industry, first as a model, then as a fashion editor for British Vogue and finally as creative director for American Vogue, with lots of juicy anecdotes about designers, photographers, celebrities and models.She compares the fashion world then and now and offers clues into her relationship with Wintour. She's also open about her private life, including details about failed marriages, the tragic death of her sister Rosemary and her 30 year romance with French hairstylist Didier Malige. She tells colorful stories behind many of the fashion shoots she has styled, but I do wish she had offered more insight into her role in the creative process.Coddington begins by painting a picture of her upbringing as romantic as any photo shoot. For her first 18 years, her home was the Trearddur Bay Hotel on the island of Anglesey off the coast of North Wales. "Although it was bleak, I saw beauty in the bleakness." When she wasn't outdoors, she amused herself by looking at picture books, reading fairy tales and, yes, studying the pages of Vogue magazine. As a teen, she went to a convent school and has vivid memories of the nuns roller skating on the rooftop, "flapping about surreally in their robes like crows on wheels."At 18, she moved to London to attend a modeling course advertised in Vogue. The fashion world was much different in 1959. Coddington had to learn how to apply her own makeup and style her own hair, because makeup artists and hairdressers specializing in photo shoots were nonexistent. A meeting with photographer Norman Parkinson led to her first modeling job running naked through the woods for an arty fashion catalog.Coddington became an overnight success. "I was a character, rather than a pretty model, and I suppose that's exactly what I look for in the girls I now select to put in American Vogue the ones who are quirky looking."She earned the nickname "The Cod" (to Jean Shrimpton's "The Shrimp"), danced the twist on Mary Quant's catwalk and became a muse to Vidal Sassoon, who created his famous five point cut on Coddington. Her modeling career was derailed for two years by a car accident, which scarred her left eyelid. But eventually things picked up again, and she settled into life in 1960s swinging London and Paris, hanging out with a fast crowd that included Michael Caine, Jane Birkin, the Beatles and the Rolling Stones.Her fashion editing career coincided with the beginning of her relationship with Michael Chow and the opening of his glamorous restaurant Mr. Chow, which attracted a starry crowd. "Naturally, we were forever being photographed at home, draped among our symbols of 'with it ness' as one of London's most happening couples; him, the cool young restaurateur, nonchalantly swinging in a hammock hung from the minstrel's gallery and me, the sophisticated style maker, perkily sitting cross legged atop a giant pop art version of a Campbell's soup can."At the height of the bohemian 1970s, she dyed her hair with henna and permed it (it would stay the same for much of the next 40 years), dressed almost exclusively in Yves Saint Laurent, had a fling with a Vietnamese photographer and spent her evenings at Club Sept in Paris. Coddington worked with the who's who of fashion. She shot Anjelica Huston with photographer David Bailey and Pat Cleveland with Helmut Newton.When Bea Miller, who had edited British Vogue for 22 years, retired, Coddington interviewed for the job but says she knew deep down she wasn't suited for it and thought that Wintour, then the creative director of American Vogue, should get it.Wintour did get it. Two days into her editorship, she invited Coddington to a screening of the racy film "Betty Blue." The two sat in dead silence through the opening sequence, a vivid five minute sex scene."Anna was rigid and unmoving. No sign of any emotion at all," Coddington writes. "I then realized how much significance Anna places on willpower trumping feelings."In 1988, when Wintour was appointed editor in chief at American Vogue, Coddington asked to join her. Coddington's narrative style fashion features and travelogues, a sampling of which appear in the book, became the heart and soul of the magazine, even as its pages became increasingly taken over by celebrities. Through her visual canvases, she interpreted the New Romantic period, grunge and the South Beach blinged out 1990s, and persuaded superstar designers Tom Ford, Marc Jacobs and others to play roles in a shoot based on "Alice in Wonderland."She sums up her creative process this way: "For me, one of the most important aspects of my work is to give people something to dream about, just as I used to dream all those years ago as a child looking at beautiful photographs."The book ends with a chapter on then and now. "Fashion has changed so much in my lifetime," Coddington writes. "Today, I find myself at the collections, asking, 'Who are all these people?' Sometimes I think I'm the last remaining person who comes to the shows for the pleasure of seeing the clothes."At 71, she seldom wears makeup and doesn't socialize much. But her attempt in the last 100 pages to distance herself from the term "fashionista" is a bit of a stretch. Clearly, Coddington has led a most charmed life. Otherwise, we wouldn't be reading about it.We provide this community forum for readers to exchange ideas and opinions on the news of the day. Passionate views, pointed criticism and critical thinking are welcome. Comments can only be submitted by registered users. By posting comments on our site, you are agreeing to the following terms:
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a memoir of fashion dreamer's life in vogue
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Lady Griz hand Selvig 800th career win with 68 61 victory over PortlandGriz up to fifth in TSN poll, highest ranking of seasonBig Sky honors Sac State QB SafronNorth Dakota football coach firedSince 1897, the Cat Griz rivalry has captivated the stateFamily health: Prepare yourself and your vehicle for winter drivingFitness calendarBirths for Tuesday, November 19Angler with 4th place total takes Fall Mack Days fishing tournament titleWestern Montana hunters get help from fresh snow, rutIf the name Grace Coddington is familiar, you've probably seen the 2009 documentary film "The September Issue" about Vogue magazine's Editor in Chief Anna Wintour, the most feared and revered woman in fashion. Now Coddington, the longtime creative director of Vogue, has her own star vehicle, an engaging memoir titled "Grace," co written with Michael Roberts. For anyone with a passing interest in the fashion industry, it's worth a read for the name dropping alone.As became clear in the film, which chronicled the magazine's staff as they put together the 4 pound September 2007 issue, Coddington is not the Anna Wintour or Diana Vreeland type. You won't hear her barking orders at assistants or making dramatic pronouncements about pink.But she is equally passionate, a wild haired dreamer who thinks that fashion should be transporting, provocative and even intellectual, who bemoans the dominance of celebrities and digital hocus pocus in fashion photography and who isn't afraid to take on Wintour.The book is a window into how fashion has changed from a small, niche business into a global pop culture medium. It chronicles Coddington's 50 years in the industry, first as a model, then as a fashion editor for British Vogue and finally as creative director for American Vogue, with lots of juicy anecdotes about designers, photographers, celebrities and models.She compares the fashion world then and now and offers clues into her relationship with Wintour. She's also open about her private life, including details about failed marriages, the tragic death of her sister Rosemary and her 30 year romance with French hairstylist Didier Malige. She tells colorful stories behind many of the fashion shoots she has styled, but I do wish she had offered more insight into her role in the creative process.Coddington begins by painting a picture of her upbringing as romantic as any photo shoot. For her first 18 years, her home was the Trearddur Bay Hotel on the island of Anglesey off the coast of North Wales. "Although it was bleak, I saw beauty in the bleakness." When she wasn't outdoors, she amused herself by looking at picture books, reading fairy tales and, yes, studying the pages of Vogue magazine. As a teen, she went to a convent school and has vivid memories of the nuns roller skating on the rooftop, "flapping about surreally in their robes like crows on wheels."At 18, she moved to London to attend a modeling course advertised in Vogue. The fashion world was much different in 1959. Coddington had to learn how to apply her own makeup and style her own hair, because makeup artists and hairdressers specializing in photo shoots were nonexistent. A meeting with photographer Norman Parkinson led to her first modeling job running naked through the woods for an arty fashion catalog.Coddington became an overnight success. "I was a character, rather than a pretty model, and I suppose that's exactly what I look for in the girls I now select to put in American Vogue the ones who are quirky looking."She earned the nickname "The Cod" (to Jean Shrimpton's "The Shrimp"), danced the twist on Mary Quant's catwalk and became a muse to Vidal Sassoon, who created his famous five point cut on Coddington. Her modeling career was derailed for two years by a car accident, which scarred her left eyelid. But eventually things picked up again, and she settled into life in 1960s swinging London and Paris, hanging out with a fast crowd that included Michael Caine, Jane Birkin, the Beatles and the Rolling Stones.Her fashion editing career coincided with the beginning of her relationship with Michael Chow and the opening of his glamorous restaurant Mr. Chow, which attracted a starry crowd. "Naturally, we were forever being photographed at home, draped among our symbols of 'with it ness' as one of London's most happening couples; him, the cool young restaurateur, nonchalantly swinging in a hammock hung from the minstrel's gallery and me, the sophisticated style maker, perkily sitting cross legged atop a giant pop art version of a Campbell's soup can."At the height of the bohemian 1970s, she dyed her hair with henna and permed it (it would stay the same for much of the next 40 years), dressed almost exclusively in Yves Saint Laurent, had a fling with a Vietnamese photographer and spent her evenings at Club Sept in Paris. Coddington worked with the who's who of fashion. She shot Anjelica Huston with photographer David Bailey and Pat Cleveland with Helmut Newton.When Bea Miller, who had edited British Vogue for 22 years, retired, Coddington interviewed for the job but says she knew deep down she wasn't suited for it and thought that Wintour, then the creative director of American Vogue, should get it.Wintour did get it. Two days into her editorship, she invited Coddington to a screening of the racy film "Betty Blue." The two sat in dead silence through the opening sequence, a vivid five minute sex scene."Anna was rigid and unmoving. No sign of any emotion at all," Coddington writes. "I then realized how much significance Anna places on willpower trumping feelings."In 1988, when Wintour was appointed editor in chief at American Vogue, Coddington asked to join her. Coddington's narrative style fashion features and travelogues, a sampling of which appear in the book, became the heart and soul of the magazine, even as its pages became increasingly taken over by celebrities. Through her visual canvases, she interpreted the New Romantic period, grunge and the South Beach blinged out 1990s, and persuaded superstar designers Tom Ford, Marc Jacobs and others to play roles in a shoot based on "Alice in Wonderland."She sums up her creative process this way: "For me, one of the most important aspects of my work is to give people something to dream about, just as I used to dream all those years ago as a child looking at beautiful photographs."The book ends with a chapter on then and now. "Fashion has changed so much in my lifetime," Coddington writes. "Today, I find myself at the collections, asking, 'Who are all these people?' Sometimes I think I'm the last remaining person who comes to the shows for the pleasure of seeing the clothes."At 71, she seldom wears makeup and doesn't socialize much. But her attempt in the last 100 pages to distance herself from the term "fashionista" is a bit of a stretch. Clearly, Coddington has led a most charmed life. Otherwise, we wouldn't be reading about it.We provide this community forum for readers to exchange ideas and opinions on the news of the day. Passionate views, pointed criticism and critical thinking are welcome. Comments can only be submitted by registered users. By posting comments on our site, you are agreeing to the following terms:
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Lady Griz hand Selvig 800th career win with 68 61 victory over PortlandGriz up to fifth in TSN poll, highest ranking of seasonBig Sky honors Sac State QB SafronNorth Dakota football coach firedSince 1897, the Cat Griz rivalry has captivated the stateFamily health: Prepare yourself and your vehicle for winter drivingFitness calendarBirths for Tuesday, November 19Angler with 4th place total takes Fall Mack Days fishing tournament titleWestern Montana hunters get help from fresh snow, rutIf the name Grace Coddington is familiar, you've probably seen the 2009 documentary film "The September Issue" about Vogue magazine's Editor in Chief Anna Wintour, the most feared and revered woman in fashion. Now Coddington, the longtime creative director of Vogue, has her own star vehicle, an engaging memoir titled "Grace," co written with Michael Roberts. For anyone with a passing interest in the fashion industry, it's worth a read for the name dropping alone.As became clear in the film, which chronicled the magazine's staff as they put together the 4 pound September 2007 issue, Coddington is not the Anna Wintour or Diana Vreeland type. You won't hear her barking orders at assistants or making dramatic pronouncements about pink.But she is equally passionate, a wild haired dreamer who thinks that fashion should be transporting, provocative and even intellectual, who bemoans the dominance of celebrities and digital hocus pocus in fashion photography and who isn't afraid to take on Wintour.The book is a window into how fashion has changed from a small, niche business into a global pop culture medium. It chronicles Coddington's 50 years in the industry, first as a model, then as a fashion editor for British Vogue and finally as creative director for American Vogue, with lots of juicy anecdotes about designers, photographers, celebrities and models.She compares the fashion world then and now and offers clues into her relationship with Wintour. She's also open about her private life, including details about failed marriages, the tragic death of her sister Rosemary and her 30 year romance with French hairstylist Didier Malige. She tells colorful stories behind many of the fashion shoots she has styled, but I do wish she had offered more insight into her role in the creative process.Coddington begins by painting a picture of her upbringing as romantic as any photo shoot. For her first 18 years, her home was the Trearddur Bay Hotel on the island of Anglesey off the coast of North Wales. "Although it was bleak, I saw beauty in the bleakness." When she wasn't outdoors, she amused herself by looking at picture books, reading fairy tales and, yes, studying the pages of Vogue magazine. As a teen, she went to a convent school and has vivid memories of the nuns roller skating on the rooftop, "flapping about surreally in their robes like crows on wheels."At 18, she moved to London to attend a modeling course advertised in Vogue. The fashion world was much different in 1959. Coddington had to learn how to apply her own makeup and style her own hair, because makeup artists and hairdressers specializing in photo shoots were nonexistent. A meeting with photographer Norman Parkinson led to her first modeling job running naked through the woods for an arty fashion catalog.Coddington became an overnight success. "I was a character, rather than a pretty model, and I suppose that's exactly what I look for in the girls I now select to put in American Vogue the ones who are quirky looking."She earned the nickname "The Cod" (to Jean Shrimpton's "The Shrimp"), danced the twist on Mary Quant's catwalk and became a muse to Vidal Sassoon, who created his famous five point cut on Coddington. Her modeling career was derailed for two years by a car accident, which scarred her left eyelid. But eventually things picked up again, and she settled into life in 1960s swinging London and Paris, hanging out with a fast crowd that included Michael Caine, Jane Birkin, the Beatles and the Rolling Stones.Her fashion editing career coincided with the beginning of her relationship with Michael Chow and the opening of his glamorous restaurant Mr. Chow, which attracted a starry crowd. "Naturally, we were forever being photographed at home, draped among our symbols of 'with it ness' as one of London's most happening couples; him, the cool young restaurateur, nonchalantly swinging in a hammock hung from the minstrel's gallery and me, the sophisticated style maker, perkily sitting cross legged atop a giant pop art version of a Campbell's soup can."At the height of the bohemian 1970s, she dyed her hair with henna and permed it (it would stay the same for much of the next 40 years), dressed almost exclusively in Yves Saint Laurent, had a fling with a Vietnamese photographer and spent her evenings at Club Sept in Paris. Coddington worked with the who's who of fashion. She shot Anjelica Huston with photographer David Bailey and Pat Cleveland with Helmut Newton.When Bea Miller, who had edited British Vogue for 22 years, retired, Coddington interviewed for the job but says she knew deep down she wasn't suited for it and thought that Wintour, then the creative director of American Vogue, should get it.Wintour did get it. Two days into her editorship, she invited Coddington to a screening of the racy film "Betty Blue." The two sat in dead silence through the opening sequence, a vivid five minute sex scene."Anna was rigid and unmoving. No sign of any emotion at all," Coddington writes. "I then realized how much significance Anna places on willpower trumping feelings."In 1988, when Wintour was appointed editor in chief at American Vogue, Coddington asked to join her. Coddington's narrative style fashion features and travelogues, a sampling of which appear in the book, became the heart and soul of the magazine, even as its pages became increasingly taken over by celebrities. Through her visual canvases, she interpreted the New Romantic period, grunge and the South Beach blinged out 1990s, and persuaded superstar designers Tom Ford, Marc Jacobs and others to play roles in a shoot based on "Alice in Wonderland."She sums up her creative process this way: "For me, one of the most important aspects of my work is to give people something to dream about, just as I used to dream all those years ago as a child looking at beautiful photographs."The book ends with a chapter on then and now. "Fashion has changed so much in my lifetime," Coddington writes. "Today, I find myself at the collections, asking, 'Who are all these people?' Sometimes I think I'm the last remaining person who comes to the shows for the pleasure of seeing the clothes."At 71, she seldom wears makeup and doesn't socialize much. But her attempt in the last 100 pages to distance herself from the term "fashionista" is a bit of a stretch. Clearly, Coddington has led a most charmed life. Otherwise, we wouldn't be reading about it.We provide this community forum for readers to exchange ideas and opinions on the news of the day. Passionate views, pointed criticism and critical thinking are welcome. Comments can only be submitted by registered users. By posting comments on our site, you are agreeing to the following terms:
From: Christian Louboutin Flats (http://www.sudamerikahostel.com/879/black-python-christian-louboutin-flats/) Thu Jan 16 13:05:34 2014
Lady Griz hand Selvig 800th career win with 68 61 victory over PortlandGriz up to fifth in TSN poll, highest ranking of seasonBig Sky honors Sac State QB SafronNorth Dakota football coach firedSince 1897, the Cat Griz rivalry has captivated the stateFamily health: Prepare yourself and your vehicle for winter drivingFitness calendarBirths for Tuesday, November 19Angler with 4th place total takes Fall Mack Days fishing tournament titleWestern Montana hunters get help from fresh snow, rutIf the name Grace Coddington is familiar, you've probably seen the 2009 documentary film "The September Issue" about Vogue magazine's Editor in Chief Anna Wintour, the most feared and revered woman in fashion. Now Coddington, the longtime creative director of Vogue, has her own star vehicle, an engaging memoir titled "Grace," co written with Michael Roberts. For anyone with a passing interest in the fashion industry, it's worth a read for the name dropping alone.As became clear in the film, which chronicled the magazine's staff as they put together the 4 pound September 2007 issue, Coddington is not the Anna Wintour or Diana Vreeland type. You won't hear her barking orders at assistants or making dramatic pronouncements about pink.But she is equally passionate, a wild haired dreamer who thinks that fashion should be transporting, provocative and even intellectual, who bemoans the dominance of celebrities and digital hocus pocus in fashion photography and who isn't afraid to take on Wintour.The book is a window into how fashion has changed from a small, niche business into a global pop culture medium. It chronicles Coddington's 50 years in the industry, first as a model, then as a fashion editor for British Vogue and finally as creative director for American Vogue, with lots of juicy anecdotes about designers, photographers, celebrities and models.She compares the fashion world then and now and offers clues into her relationship with Wintour. She's also open about her private life, including details about failed marriages, the tragic death of her sister Rosemary and her 30 year romance with French hairstylist Didier Malige. She tells colorful stories behind many of the fashion shoots she has styled, but I do wish she had offered more insight into her role in the creative process.Coddington begins by painting a picture of her upbringing as romantic as any photo shoot. For her first 18 years, her home was the Trearddur Bay Hotel on the island of Anglesey off the coast of North Wales. "Although it was bleak, I saw beauty in the bleakness." When she wasn't outdoors, she amused herself by looking at picture books, reading fairy tales and, yes, studying the pages of Vogue magazine. As a teen, she went to a convent school and has vivid memories of the nuns roller skating on the rooftop, "flapping about surreally in their robes like crows on wheels."At 18, she moved to London to attend a modeling course advertised in Vogue. The fashion world was much different in 1959. Coddington had to learn how to apply her own makeup and style her own hair, because makeup artists and hairdressers specializing in photo shoots were nonexistent. A meeting with photographer Norman Parkinson led to her first modeling job running naked through the woods for an arty fashion catalog.Coddington became an overnight success. "I was a character, rather than a pretty model, and I suppose that's exactly what I look for in the girls I now select to put in American Vogue the ones who are quirky looking."She earned the nickname "The Cod" (to Jean Shrimpton's "The Shrimp"), danced the twist on Mary Quant's catwalk and became a muse to Vidal Sassoon, who created his famous five point cut on Coddington. Her modeling career was derailed for two years by a car accident, which scarred her left eyelid. But eventually things picked up again, and she settled into life in 1960s swinging London and Paris, hanging out with a fast crowd that included Michael Caine, Jane Birkin, the Beatles and the Rolling Stones.Her fashion editing career coincided with the beginning of her relationship with Michael Chow and the opening of his glamorous restaurant Mr. Chow, which attracted a starry crowd. "Naturally, we were forever being photographed at home, draped among our symbols of 'with it ness' as one of London's most happening couples; him, the cool young restaurateur, nonchalantly swinging in a hammock hung from the minstrel's gallery and me, the sophisticated style maker, perkily sitting cross legged atop a giant pop art version of a Campbell's soup can."At the height of the bohemian 1970s, she dyed her hair with henna and permed it (it would stay the same for much of the next 40 years), dressed almost exclusively in Yves Saint Laurent, had a fling with a Vietnamese photographer and spent her evenings at Club Sept in Paris. Coddington worked with the who's who of fashion. She shot Anjelica Huston with photographer David Bailey and Pat Cleveland with Helmut Newton.When Bea Miller, who had edited British Vogue for 22 years, retired, Coddington interviewed for the job but says she knew deep down she wasn't suited for it and thought that Wintour, then the creative director of American Vogue, should get it.Wintour did get it. Two days into her editorship, she invited Coddington to a screening of the racy film "Betty Blue." The two sat in dead silence through the opening sequence, a vivid five minute sex scene."Anna was rigid and unmoving. No sign of any emotion at all," Coddington writes. "I then realized how much significance Anna places on willpower trumping feelings."In 1988, when Wintour was appointed editor in chief at American Vogue, Coddington asked to join her. Coddington's narrative style fashion features and travelogues, a sampling of which appear in the book, became the heart and soul of the magazine, even as its pages became increasingly taken over by celebrities. Through her visual canvases, she interpreted the New Romantic period, grunge and the South Beach blinged out 1990s, and persuaded superstar designers Tom Ford, Marc Jacobs and others to play roles in a shoot based on "Alice in Wonderland."She sums up her creative process this way: "For me, one of the most important aspects of my work is to give people something to dream about, just as I used to dream all those years ago as a child looking at beautiful photographs."The book ends with a chapter on then and now. "Fashion has changed so much in my lifetime," Coddington writes. "Today, I find myself at the collections, asking, 'Who are all these people?' Sometimes I think I'm the last remaining person who comes to the shows for the pleasure of seeing the clothes."At 71, she seldom wears makeup and doesn't socialize much. But her attempt in the last 100 pages to distance herself from the term "fashionista" is a bit of a stretch. Clearly, Coddington has led a most charmed life. Otherwise, we wouldn't be reading about it.We provide this community forum for readers to exchange ideas and opinions on the news of the day. Passionate views, pointed criticism and critical thinking are welcome. Comments can only be submitted by registered users. By posting comments on our site, you are agreeing to the following terms:
From: Jordan Size 15 (http://www.extremefmxair.com/735/nike-sku-302370-101-jordan-9-ix-white-black-true-red/) Thu Jan 16 13:05:35 2014
Lady Griz hand Selvig 800th career win with 68 61 victory over PortlandGriz up to fifth in TSN poll, highest ranking of seasonBig Sky honors Sac State QB SafronNorth Dakota football coach firedSince 1897, the Cat Griz rivalry has captivated the stateFamily health: Prepare yourself and your vehicle for winter drivingFitness calendarBirths for Tuesday, November 19Angler with 4th place total takes Fall Mack Days fishing tournament titleWestern Montana hunters get help from fresh snow, rutIf the name Grace Coddington is familiar, you've probably seen the 2009 documentary film "The September Issue" about Vogue magazine's Editor in Chief Anna Wintour, the most feared and revered woman in fashion. Now Coddington, the longtime creative director of Vogue, has her own star vehicle, an engaging memoir titled "Grace," co written with Michael Roberts. For anyone with a passing interest in the fashion industry, it's worth a read for the name dropping alone.As became clear in the film, which chronicled the magazine's staff as they put together the 4 pound September 2007 issue, Coddington is not the Anna Wintour or Diana Vreeland type. You won't hear her barking orders at assistants or making dramatic pronouncements about pink.But she is equally passionate, a wild haired dreamer who thinks that fashion should be transporting, provocative and even intellectual, who bemoans the dominance of celebrities and digital hocus pocus in fashion photography and who isn't afraid to take on Wintour.The book is a window into how fashion has changed from a small, niche business into a global pop culture medium. It chronicles Coddington's 50 years in the industry, first as a model, then as a fashion editor for British Vogue and finally as creative director for American Vogue, with lots of juicy anecdotes about designers, photographers, celebrities and models.She compares the fashion world then and now and offers clues into her relationship with Wintour. She's also open about her private life, including details about failed marriages, the tragic death of her sister Rosemary and her 30 year romance with French hairstylist Didier Malige. She tells colorful stories behind many of the fashion shoots she has styled, but I do wish she had offered more insight into her role in the creative process.Coddington begins by painting a picture of her upbringing as romantic as any photo shoot. For her first 18 years, her home was the Trearddur Bay Hotel on the island of Anglesey off the coast of North Wales. "Although it was bleak, I saw beauty in the bleakness." When she wasn't outdoors, she amused herself by looking at picture books, reading fairy tales and, yes, studying the pages of Vogue magazine. As a teen, she went to a convent school and has vivid memories of the nuns roller skating on the rooftop, "flapping about surreally in their robes like crows on wheels."At 18, she moved to London to attend a modeling course advertised in Vogue. The fashion world was much different in 1959. Coddington had to learn how to apply her own makeup and style her own hair, because makeup artists and hairdressers specializing in photo shoots were nonexistent. A meeting with photographer Norman Parkinson led to her first modeling job running naked through the woods for an arty fashion catalog.Coddington became an overnight success. "I was a character, rather than a pretty model, and I suppose that's exactly what I look for in the girls I now select to put in American Vogue the ones who are quirky looking."She earned the nickname "The Cod" (to Jean Shrimpton's "The Shrimp"), danced the twist on Mary Quant's catwalk and became a muse to Vidal Sassoon, who created his famous five point cut on Coddington. Her modeling career was derailed for two years by a car accident, which scarred her left eyelid. But eventually things picked up again, and she settled into life in 1960s swinging London and Paris, hanging out with a fast crowd that included Michael Caine, Jane Birkin, the Beatles and the Rolling Stones.Her fashion editing career coincided with the beginning of her relationship with Michael Chow and the opening of his glamorous restaurant Mr. Chow, which attracted a starry crowd. "Naturally, we were forever being photographed at home, draped among our symbols of 'with it ness' as one of London's most happening couples; him, the cool young restaurateur, nonchalantly swinging in a hammock hung from the minstrel's gallery and me, the sophisticated style maker, perkily sitting cross legged atop a giant pop art version of a Campbell's soup can."At the height of the bohemian 1970s, she dyed her hair with henna and permed it (it would stay the same for much of the next 40 years), dressed almost exclusively in Yves Saint Laurent, had a fling with a Vietnamese photographer and spent her evenings at Club Sept in Paris. Coddington worked with the who's who of fashion. She shot Anjelica Huston with photographer David Bailey and Pat Cleveland with Helmut Newton.When Bea Miller, who had edited British Vogue for 22 years, retired, Coddington interviewed for the job but says she knew deep down she wasn't suited for it and thought that Wintour, then the creative director of American Vogue, should get it.Wintour did get it. Two days into her editorship, she invited Coddington to a screening of the racy film "Betty Blue." The two sat in dead silence through the opening sequence, a vivid five minute sex scene."Anna was rigid and unmoving. No sign of any emotion at all," Coddington writes. "I then realized how much significance Anna places on willpower trumping feelings."In 1988, when Wintour was appointed editor in chief at American Vogue, Coddington asked to join her. Coddington's narrative style fashion features and travelogues, a sampling of which appear in the book, became the heart and soul of the magazine, even as its pages became increasingly taken over by celebrities. Through her visual canvases, she interpreted the New Romantic period, grunge and the South Beach blinged out 1990s, and persuaded superstar designers Tom Ford, Marc Jacobs and others to play roles in a shoot based on "Alice in Wonderland."She sums up her creative process this way: "For me, one of the most important aspects of my work is to give people something to dream about, just as I used to dream all those years ago as a child looking at beautiful photographs."The book ends with a chapter on then and now. "Fashion has changed so much in my lifetime," Coddington writes. "Today, I find myself at the collections, asking, 'Who are all these people?' Sometimes I think I'm the last remaining person who comes to the shows for the pleasure of seeing the clothes."At 71, she seldom wears makeup and doesn't socialize much. But her attempt in the last 100 pages to distance herself from the term "fashionista" is a bit of a stretch. Clearly, Coddington has led a most charmed life. Otherwise, we wouldn't be reading about it.We provide this community forum for readers to exchange ideas and opinions on the news of the day. Passionate views, pointed criticism and critical thinking are welcome. Comments can only be submitted by registered users. By posting comments on our site, you are agreeing to the following terms:
From: Cheap fake replica official online for sale outlet factory store oplof (http://www.extremefmxair.com/668/nike-sku-308497-102-jordan-4-retro-all-white-pure-25th-anniversary/) Thu Jan 16 13:05:37 2014
Lady Griz hand Selvig 800th career win with 68 61 victory over PortlandGriz up to fifth in TSN poll, highest ranking of seasonBig Sky honors Sac State QB SafronNorth Dakota football coach firedSince 1897, the Cat Griz rivalry has captivated the stateFamily health: Prepare yourself and your vehicle for winter drivingFitness calendarBirths for Tuesday, November 19Angler with 4th place total takes Fall Mack Days fishing tournament titleWestern Montana hunters get help from fresh snow, rutIf the name Grace Coddington is familiar, you've probably seen the 2009 documentary film "The September Issue" about Vogue magazine's Editor in Chief Anna Wintour, the most feared and revered woman in fashion. Now Coddington, the longtime creative director of Vogue, has her own star vehicle, an engaging memoir titled "Grace," co written with Michael Roberts. For anyone with a passing interest in the fashion industry, it's worth a read for the name dropping alone.As became clear in the film, which chronicled the magazine's staff as they put together the 4 pound September 2007 issue, Coddington is not the Anna Wintour or Diana Vreeland type. You won't hear her barking orders at assistants or making dramatic pronouncements about pink.But she is equally passionate, a wild haired dreamer who thinks that fashion should be transporting, provocative and even intellectual, who bemoans the dominance of celebrities and digital hocus pocus in fashion photography and who isn't afraid to take on Wintour.The book is a window into how fashion has changed from a small, niche business into a global pop culture medium. It chronicles Coddington's 50 years in the industry, first as a model, then as a fashion editor for British Vogue and finally as creative director for American Vogue, with lots of juicy anecdotes about designers, photographers, celebrities and models.She compares the fashion world then and now and offers clues into her relationship with Wintour. She's also open about her private life, including details about failed marriages, the tragic death of her sister Rosemary and her 30 year romance with French hairstylist Didier Malige. She tells colorful stories behind many of the fashion shoots she has styled, but I do wish she had offered more insight into her role in the creative process.Coddington begins by painting a picture of her upbringing as romantic as any photo shoot. For her first 18 years, her home was the Trearddur Bay Hotel on the island of Anglesey off the coast of North Wales. "Although it was bleak, I saw beauty in the bleakness." When she wasn't outdoors, she amused herself by looking at picture books, reading fairy tales and, yes, studying the pages of Vogue magazine. As a teen, she went to a convent school and has vivid memories of the nuns roller skating on the rooftop, "flapping about surreally in their robes like crows on wheels."At 18, she moved to London to attend a modeling course advertised in Vogue. The fashion world was much different in 1959. Coddington had to learn how to apply her own makeup and style her own hair, because makeup artists and hairdressers specializing in photo shoots were nonexistent. A meeting with photographer Norman Parkinson led to her first modeling job running naked through the woods for an arty fashion catalog.Coddington became an overnight success. "I was a character, rather than a pretty model, and I suppose that's exactly what I look for in the girls I now select to put in American Vogue the ones who are quirky looking."She earned the nickname "The Cod" (to Jean Shrimpton's "The Shrimp"), danced the twist on Mary Quant's catwalk and became a muse to Vidal Sassoon, who created his famous five point cut on Coddington. Her modeling career was derailed for two years by a car accident, which scarred her left eyelid. But eventually things picked up again, and she settled into life in 1960s swinging London and Paris, hanging out with a fast crowd that included Michael Caine, Jane Birkin, the Beatles and the Rolling Stones.Her fashion editing career coincided with the beginning of her relationship with Michael Chow and the opening of his glamorous restaurant Mr. Chow, which attracted a starry crowd. "Naturally, we were forever being photographed at home, draped among our symbols of 'with it ness' as one of London's most happening couples; him, the cool young restaurateur, nonchalantly swinging in a hammock hung from the minstrel's gallery and me, the sophisticated style maker, perkily sitting cross legged atop a giant pop art version of a Campbell's soup can."At the height of the bohemian 1970s, she dyed her hair with henna and permed it (it would stay the same for much of the next 40 years), dressed almost exclusively in Yves Saint Laurent, had a fling with a Vietnamese photographer and spent her evenings at Club Sept in Paris. Coddington worked with the who's who of fashion. She shot Anjelica Huston with photographer David Bailey and Pat Cleveland with Helmut Newton.When Bea Miller, who had edited British Vogue for 22 years, retired, Coddington interviewed for the job but says she knew deep down she wasn't suited for it and thought that Wintour, then the creative director of American Vogue, should get it.Wintour did get it. Two days into her editorship, she invited Coddington to a screening of the racy film "Betty Blue." The two sat in dead silence through the opening sequence, a vivid five minute sex scene."Anna was rigid and unmoving. No sign of any emotion at all," Coddington writes. "I then realized how much significance Anna places on willpower trumping feelings."In 1988, when Wintour was appointed editor in chief at American Vogue, Coddington asked to join her. Coddington's narrative style fashion features and travelogues, a sampling of which appear in the book, became the heart and soul of the magazine, even as its pages became increasingly taken over by celebrities. Through her visual canvases, she interpreted the New Romantic period, grunge and the South Beach blinged out 1990s, and persuaded superstar designers Tom Ford, Marc Jacobs and others to play roles in a shoot based on "Alice in Wonderland."She sums up her creative process this way: "For me, one of the most important aspects of my work is to give people something to dream about, just as I used to dream all those years ago as a child looking at beautiful photographs."The book ends with a chapter on then and now. "Fashion has changed so much in my lifetime," Coddington writes. "Today, I find myself at the collections, asking, 'Who are all these people?' Sometimes I think I'm the last remaining person who comes to the shows for the pleasure of seeing the clothes."At 71, she seldom wears makeup and doesn't socialize much. But her attempt in the last 100 pages to distance herself from the term "fashionista" is a bit of a stretch. Clearly, Coddington has led a most charmed life. Otherwise, we wouldn't be reading about it.We provide this community forum for readers to exchange ideas and opinions on the news of the day. Passionate views, pointed criticism and critical thinking are welcome. Comments can only be submitted by registered users. By posting comments on our site, you are agreeing to the following terms:
From: 310810 103 Jordan 13 Low White Metallic Silver (http://www.extremefmxair.com/195/nike-sku-310810-103-jordan-13-low-white-metallic-silver/) Thu Jan 16 13:05:38 2014
Lady Griz hand Selvig 800th career win with 68 61 victory over PortlandGriz up to fifth in TSN poll, highest ranking of seasonBig Sky honors Sac State QB SafronNorth Dakota football coach firedSince 1897, the Cat Griz rivalry has captivated the stateFamily health: Prepare yourself and your vehicle for winter drivingFitness calendarBirths for Tuesday, November 19Angler with 4th place total takes Fall Mack Days fishing tournament titleWestern Montana hunters get help from fresh snow, rutIf the name Grace Coddington is familiar, you've probably seen the 2009 documentary film "The September Issue" about Vogue magazine's Editor in Chief Anna Wintour, the most feared and revered woman in fashion. Now Coddington, the longtime creative director of Vogue, has her own star vehicle, an engaging memoir titled "Grace," co written with Michael Roberts. For anyone with a passing interest in the fashion industry, it's worth a read for the name dropping alone.As became clear in the film, which chronicled the magazine's staff as they put together the 4 pound September 2007 issue, Coddington is not the Anna Wintour or Diana Vreeland type. You won't hear her barking orders at assistants or making dramatic pronouncements about pink.But she is equally passionate, a wild haired dreamer who thinks that fashion should be transporting, provocative and even intellectual, who bemoans the dominance of celebrities and digital hocus pocus in fashion photography and who isn't afraid to take on Wintour.The book is a window into how fashion has changed from a small, niche business into a global pop culture medium. It chronicles Coddington's 50 years in the industry, first as a model, then as a fashion editor for British Vogue and finally as creative director for American Vogue, with lots of juicy anecdotes about designers, photographers, celebrities and models.She compares the fashion world then and now and offers clues into her relationship with Wintour. She's also open about her private life, including details about failed marriages, the tragic death of her sister Rosemary and her 30 year romance with French hairstylist Didier Malige. She tells colorful stories behind many of the fashion shoots she has styled, but I do wish she had offered more insight into her role in the creative process.Coddington begins by painting a picture of her upbringing as romantic as any photo shoot. For her first 18 years, her home was the Trearddur Bay Hotel on the island of Anglesey off the coast of North Wales. "Although it was bleak, I saw beauty in the bleakness." When she wasn't outdoors, she amused herself by looking at picture books, reading fairy tales and, yes, studying the pages of Vogue magazine. As a teen, she went to a convent school and has vivid memories of the nuns roller skating on the rooftop, "flapping about surreally in their robes like crows on wheels."At 18, she moved to London to attend a modeling course advertised in Vogue. The fashion world was much different in 1959. Coddington had to learn how to apply her own makeup and style her own hair, because makeup artists and hairdressers specializing in photo shoots were nonexistent. A meeting with photographer Norman Parkinson led to her first modeling job running naked through the woods for an arty fashion catalog.Coddington became an overnight success. "I was a character, rather than a pretty model, and I suppose that's exactly what I look for in the girls I now select to put in American Vogue the ones who are quirky looking."She earned the nickname "The Cod" (to Jean Shrimpton's "The Shrimp"), danced the twist on Mary Quant's catwalk and became a muse to Vidal Sassoon, who created his famous five point cut on Coddington. Her modeling career was derailed for two years by a car accident, which scarred her left eyelid. But eventually things picked up again, and she settled into life in 1960s swinging London and Paris, hanging out with a fast crowd that included Michael Caine, Jane Birkin, the Beatles and the Rolling Stones.Her fashion editing career coincided with the beginning of her relationship with Michael Chow and the opening of his glamorous restaurant Mr. Chow, which attracted a starry crowd. "Naturally, we were forever being photographed at home, draped among our symbols of 'with it ness' as one of London's most happening couples; him, the cool young restaurateur, nonchalantly swinging in a hammock hung from the minstrel's gallery and me, the sophisticated style maker, perkily sitting cross legged atop a giant pop art version of a Campbell's soup can."At the height of the bohemian 1970s, she dyed her hair with henna and permed it (it would stay the same for much of the next 40 years), dressed almost exclusively in Yves Saint Laurent, had a fling with a Vietnamese photographer and spent her evenings at Club Sept in Paris. Coddington worked with the who's who of fashion. She shot Anjelica Huston with photographer David Bailey and Pat Cleveland with Helmut Newton.When Bea Miller, who had edited British Vogue for 22 years, retired, Coddington interviewed for the job but says she knew deep down she wasn't suited for it and thought that Wintour, then the creative director of American Vogue, should get it.Wintour did get it. Two days into her editorship, she invited Coddington to a screening of the racy film "Betty Blue." The two sat in dead silence through the opening sequence, a vivid five minute sex scene."Anna was rigid and unmoving. No sign of any emotion at all," Coddington writes. "I then realized how much significance Anna places on willpower trumping feelings."In 1988, when Wintour was appointed editor in chief at American Vogue, Coddington asked to join her. Coddington's narrative style fashion features and travelogues, a sampling of which appear in the book, became the heart and soul of the magazine, even as its pages became increasingly taken over by celebrities. Through her visual canvases, she interpreted the New Romantic period, grunge and the South Beach blinged out 1990s, and persuaded superstar designers Tom Ford, Marc Jacobs and others to play roles in a shoot based on "Alice in Wonderland."She sums up her creative process this way: "For me, one of the most important aspects of my work is to give people something to dream about, just as I used to dream all those years ago as a child looking at beautiful photographs."The book ends with a chapter on then and now. "Fashion has changed so much in my lifetime," Coddington writes. "Today, I find myself at the collections, asking, 'Who are all these people?' Sometimes I think I'm the last remaining person who comes to the shows for the pleasure of seeing the clothes."At 71, she seldom wears makeup and doesn't socialize much. But her attempt in the last 100 pages to distance herself from the term "fashionista" is a bit of a stretch. Clearly, Coddington has led a most charmed life. Otherwise, we wouldn't be reading about it.We provide this community forum for readers to exchange ideas and opinions on the news of the day. Passionate views, pointed criticism and critical thinking are welcome. Comments can only be submitted by registered users. By posting comments on our site, you are agreeing to the following terms:
From: Roccia Python Christian Louboutin Sandals 100mm (http://www.sudamerikahostel.com/1506/roccia-python-christian-louboutin-sandals-100mm/) Thu Jan 16 13:05:40 2014
Lady Griz hand Selvig 800th career win with 68 61 victory over PortlandGriz up to fifth in TSN poll, highest ranking of seasonBig Sky honors Sac State QB SafronNorth Dakota football coach firedSince 1897, the Cat Griz rivalry has captivated the stateFamily health: Prepare yourself and your vehicle for winter drivingFitness calendarBirths for Tuesday, November 19Angler with 4th place total takes Fall Mack Days fishing tournament titleWestern Montana hunters get help from fresh snow, rutIf the name Grace Coddington is familiar, you've probably seen the 2009 documentary film "The September Issue" about Vogue magazine's Editor in Chief Anna Wintour, the most feared and revered woman in fashion. Now Coddington, the longtime creative director of Vogue, has her own star vehicle, an engaging memoir titled "Grace," co written with Michael Roberts. For anyone with a passing interest in the fashion industry, it's worth a read for the name dropping alone.As became clear in the film, which chronicled the magazine's staff as they put together the 4 pound September 2007 issue, Coddington is not the Anna Wintour or Diana Vreeland type. You won't hear her barking orders at assistants or making dramatic pronouncements about pink.But she is equally passionate, a wild haired dreamer who thinks that fashion should be transporting, provocative and even intellectual, who bemoans the dominance of celebrities and digital hocus pocus in fashion photography and who isn't afraid to take on Wintour.The book is a window into how fashion has changed from a small, niche business into a global pop culture medium. It chronicles Coddington's 50 years in the industry, first as a model, then as a fashion editor for British Vogue and finally as creative director for American Vogue, with lots of juicy anecdotes about designers, photographers, celebrities and models.She compares the fashion world then and now and offers clues into her relationship with Wintour. She's also open about her private life, including details about failed marriages, the tragic death of her sister Rosemary and her 30 year romance with French hairstylist Didier Malige. She tells colorful stories behind many of the fashion shoots she has styled, but I do wish she had offered more insight into her role in the creative process.Coddington begins by painting a picture of her upbringing as romantic as any photo shoot. For her first 18 years, her home was the Trearddur Bay Hotel on the island of Anglesey off the coast of North Wales. "Although it was bleak, I saw beauty in the bleakness." When she wasn't outdoors, she amused herself by looking at picture books, reading fairy tales and, yes, studying the pages of Vogue magazine. As a teen, she went to a convent school and has vivid memories of the nuns roller skating on the rooftop, "flapping about surreally in their robes like crows on wheels."At 18, she moved to London to attend a modeling course advertised in Vogue. The fashion world was much different in 1959. Coddington had to learn how to apply her own makeup and style her own hair, because makeup artists and hairdressers specializing in photo shoots were nonexistent. A meeting with photographer Norman Parkinson led to her first modeling job running naked through the woods for an arty fashion catalog.Coddington became an overnight success. "I was a character, rather than a pretty model, and I suppose that's exactly what I look for in the girls I now select to put in American Vogue the ones who are quirky looking."She earned the nickname "The Cod" (to Jean Shrimpton's "The Shrimp"), danced the twist on Mary Quant's catwalk and became a muse to Vidal Sassoon, who created his famous five point cut on Coddington. Her modeling career was derailed for two years by a car accident, which scarred her left eyelid. But eventually things picked up again, and she settled into life in 1960s swinging London and Paris, hanging out with a fast crowd that included Michael Caine, Jane Birkin, the Beatles and the Rolling Stones.Her fashion editing career coincided with the beginning of her relationship with Michael Chow and the opening of his glamorous restaurant Mr. Chow, which attracted a starry crowd. "Naturally, we were forever being photographed at home, draped among our symbols of 'with it ness' as one of London's most happening couples; him, the cool young restaurateur, nonchalantly swinging in a hammock hung from the minstrel's gallery and me, the sophisticated style maker, perkily sitting cross legged atop a giant pop art version of a Campbell's soup can."At the height of the bohemian 1970s, she dyed her hair with henna and permed it (it would stay the same for much of the next 40 years), dressed almost exclusively in Yves Saint Laurent, had a fling with a Vietnamese photographer and spent her evenings at Club Sept in Paris. Coddington worked with the who's who of fashion. She shot Anjelica Huston with photographer David Bailey and Pat Cleveland with Helmut Newton.When Bea Miller, who had edited British Vogue for 22 years, retired, Coddington interviewed for the job but says she knew deep down she wasn't suited for it and thought that Wintour, then the creative director of American Vogue, should get it.Wintour did get it. Two days into her editorship, she invited Coddington to a screening of the racy film "Betty Blue." The two sat in dead silence through the opening sequence, a vivid five minute sex scene."Anna was rigid and unmoving. No sign of any emotion at all," Coddington writes. "I then realized how much significance Anna places on willpower trumping feelings."In 1988, when Wintour was appointed editor in chief at American Vogue, Coddington asked to join her. Coddington's narrative style fashion features and travelogues, a sampling of which appear in the book, became the heart and soul of the magazine, even as its pages became increasingly taken over by celebrities. Through her visual canvases, she interpreted the New Romantic period, grunge and the South Beach blinged out 1990s, and persuaded superstar designers Tom Ford, Marc Jacobs and others to play roles in a shoot based on "Alice in Wonderland."She sums up her creative process this way: "For me, one of the most important aspects of my work is to give people something to dream about, just as I used to dream all those years ago as a child looking at beautiful photographs."The book ends with a chapter on then and now. "Fashion has changed so much in my lifetime," Coddington writes. "Today, I find myself at the collections, asking, 'Who are all these people?' Sometimes I think I'm the last remaining person who comes to the shows for the pleasure of seeing the clothes."At 71, she seldom wears makeup and doesn't socialize much. But her attempt in the last 100 pages to distance herself from the term "fashionista" is a bit of a stretch. Clearly, Coddington has led a most charmed life. Otherwise, we wouldn't be reading about it.We provide this community forum for readers to exchange ideas and opinions on the news of the day. Passionate views, pointed criticism and critical thinking are welcome. Comments can only be submitted by registered users. By posting comments on our site, you are agreeing to the following terms:
From: Christian Louboutin Pointed Toe (http://www.sudamerikahostel.com/390/baby-pink-canari-patent-leather-christian-louboutin-pointed-toe-120mm/) Thu Jan 16 13:05:43 2014
Lady Griz hand Selvig 800th career win with 68 61 victory over PortlandGriz up to fifth in TSN poll, highest ranking of seasonBig Sky honors Sac State QB SafronNorth Dakota football coach firedSince 1897, the Cat Griz rivalry has captivated the stateFamily health: Prepare yourself and your vehicle for winter drivingFitness calendarBirths for Tuesday, November 19Angler with 4th place total takes Fall Mack Days fishing tournament titleWestern Montana hunters get help from fresh snow, rutIf the name Grace Coddington is familiar, you've probably seen the 2009 documentary film "The September Issue" about Vogue magazine's Editor in Chief Anna Wintour, the most feared and revered woman in fashion. Now Coddington, the longtime creative director of Vogue, has her own star vehicle, an engaging memoir titled "Grace," co written with Michael Roberts. For anyone with a passing interest in the fashion industry, it's worth a read for the name dropping alone.As became clear in the film, which chronicled the magazine's staff as they put together the 4 pound September 2007 issue, Coddington is not the Anna Wintour or Diana Vreeland type. You won't hear her barking orders at assistants or making dramatic pronouncements about pink.But she is equally passionate, a wild haired dreamer who thinks that fashion should be transporting, provocative and even intellectual, who bemoans the dominance of celebrities and digital hocus pocus in fashion photography and who isn't afraid to take on Wintour.The book is a window into how fashion has changed from a small, niche business into a global pop culture medium. It chronicles Coddington's 50 years in the industry, first as a model, then as a fashion editor for British Vogue and finally as creative director for American Vogue, with lots of juicy anecdotes about designers, photographers, celebrities and models.She compares the fashion world then and now and offers clues into her relationship with Wintour. She's also open about her private life, including details about failed marriages, the tragic death of her sister Rosemary and her 30 year romance with French hairstylist Didier Malige. She tells colorful stories behind many of the fashion shoots she has styled, but I do wish she had offered more insight into her role in the creative process.Coddington begins by painting a picture of her upbringing as romantic as any photo shoot. For her first 18 years, her home was the Trearddur Bay Hotel on the island of Anglesey off the coast of North Wales. "Although it was bleak, I saw beauty in the bleakness." When she wasn't outdoors, she amused herself by looking at picture books, reading fairy tales and, yes, studying the pages of Vogue magazine. As a teen, she went to a convent school and has vivid memories of the nuns roller skating on the rooftop, "flapping about surreally in their robes like crows on wheels."At 18, she moved to London to attend a modeling course advertised in Vogue. The fashion world was much different in 1959. Coddington had to learn how to apply her own makeup and style her own hair, because makeup artists and hairdressers specializing in photo shoots were nonexistent. A meeting with photographer Norman Parkinson led to her first modeling job running naked through the woods for an arty fashion catalog.Coddington became an overnight success. "I was a character, rather than a pretty model, and I suppose that's exactly what I look for in the girls I now select to put in American Vogue the ones who are quirky looking."She earned the nickname "The Cod" (to Jean Shrimpton's "The Shrimp"), danced the twist on Mary Quant's catwalk and became a muse to Vidal Sassoon, who created his famous five point cut on Coddington. Her modeling career was derailed for two years by a car accident, which scarred her left eyelid. But eventually things picked up again, and she settled into life in 1960s swinging London and Paris, hanging out with a fast crowd that included Michael Caine, Jane Birkin, the Beatles and the Rolling Stones.Her fashion editing career coincided with the beginning of her relationship with Michael Chow and the opening of his glamorous restaurant Mr. Chow, which attracted a starry crowd. "Naturally, we were forever being photographed at home, draped among our symbols of 'with it ness' as one of London's most happening couples; him, the cool young restaurateur, nonchalantly swinging in a hammock hung from the minstrel's gallery and me, the sophisticated style maker, perkily sitting cross legged atop a giant pop art version of a Campbell's soup can."At the height of the bohemian 1970s, she dyed her hair with henna and permed it (it would stay the same for much of the next 40 years), dressed almost exclusively in Yves Saint Laurent, had a fling with a Vietnamese photographer and spent her evenings at Club Sept in Paris. Coddington worked with the who's who of fashion. She shot Anjelica Huston with photographer David Bailey and Pat Cleveland with Helmut Newton.When Bea Miller, who had edited British Vogue for 22 years, retired, Coddington interviewed for the job but says she knew deep down she wasn't suited for it and thought that Wintour, then the creative director of American Vogue, should get it.Wintour did get it. Two days into her editorship, she invited Coddington to a screening of the racy film "Betty Blue." The two sat in dead silence through the opening sequence, a vivid five minute sex scene."Anna was rigid and unmoving. No sign of any emotion at all," Coddington writes. "I then realized how much significance Anna places on willpower trumping feelings."In 1988, when Wintour was appointed editor in chief at American Vogue, Coddington asked to join her. Coddington's narrative style fashion features and travelogues, a sampling of which appear in the book, became the heart and soul of the magazine, even as its pages became increasingly taken over by celebrities. Through her visual canvases, she interpreted the New Romantic period, grunge and the South Beach blinged out 1990s, and persuaded superstar designers Tom Ford, Marc Jacobs and others to play roles in a shoot based on "Alice in Wonderland."She sums up her creative process this way: "For me, one of the most important aspects of my work is to give people something to dream about, just as I used to dream all those years ago as a child looking at beautiful photographs."The book ends with a chapter on then and now. "Fashion has changed so much in my lifetime," Coddington writes. "Today, I find myself at the collections, asking, 'Who are all these people?' Sometimes I think I'm the last remaining person who comes to the shows for the pleasure of seeing the clothes."At 71, she seldom wears makeup and doesn't socialize much. But her attempt in the last 100 pages to distance herself from the term "fashionista" is a bit of a stretch. Clearly, Coddington has led a most charmed life. Otherwise, we wouldn't be reading about it.We provide this community forum for readers to exchange ideas and opinions on the news of the day. Passionate views, pointed criticism and critical thinking are welcome. Comments can only be submitted by registered users. By posting comments on our site, you are agreeing to the following terms:
From: Stone Christian Louboutin Sandals (http://www.sudamerikahostel.com/278/stone-leather-christian-louboutin-sandals-160mm/) Thu Jan 16 13:05:47 2014
Lady Griz hand Selvig 800th career win with 68 61 victory over PortlandGriz up to fifth in TSN poll, highest ranking of seasonBig Sky honors Sac State QB SafronNorth Dakota football coach firedSince 1897, the Cat Griz rivalry has captivated the stateFamily health: Prepare yourself and your vehicle for winter drivingFitness calendarBirths for Tuesday, November 19Angler with 4th place total takes Fall Mack Days fishing tournament titleWestern Montana hunters get help from fresh snow, rutIf the name Grace Coddington is familiar, you've probably seen the 2009 documentary film "The September Issue" about Vogue magazine's Editor in Chief Anna Wintour, the most feared and revered woman in fashion. Now Coddington, the longtime creative director of Vogue, has her own star vehicle, an engaging memoir titled "Grace," co written with Michael Roberts. For anyone with a passing interest in the fashion industry, it's worth a read for the name dropping alone.As became clear in the film, which chronicled the magazine's staff as they put together the 4 pound September 2007 issue, Coddington is not the Anna Wintour or Diana Vreeland type. You won't hear her barking orders at assistants or making dramatic pronouncements about pink.But she is equally passionate, a wild haired dreamer who thinks that fashion should be transporting, provocative and even intellectual, who bemoans the dominance of celebrities and digital hocus pocus in fashion photography and who isn't afraid to take on Wintour.The book is a window into how fashion has changed from a small, niche business into a global pop culture medium. It chronicles Coddington's 50 years in the industry, first as a model, then as a fashion editor for British Vogue and finally as creative director for American Vogue, with lots of juicy anecdotes about designers, photographers, celebrities and models.She compares the fashion world then and now and offers clues into her relationship with Wintour. She's also open about her private life, including details about failed marriages, the tragic death of her sister Rosemary and her 30 year romance with French hairstylist Didier Malige. She tells colorful stories behind many of the fashion shoots she has styled, but I do wish she had offered more insight into her role in the creative process.Coddington begins by painting a picture of her upbringing as romantic as any photo shoot. For her first 18 years, her home was the Trearddur Bay Hotel on the island of Anglesey off the coast of North Wales. "Although it was bleak, I saw beauty in the bleakness." When she wasn't outdoors, she amused herself by looking at picture books, reading fairy tales and, yes, studying the pages of Vogue magazine. As a teen, she went to a convent school and has vivid memories of the nuns roller skating on the rooftop, "flapping about surreally in their robes like crows on wheels."At 18, she moved to London to attend a modeling course advertised in Vogue. The fashion world was much different in 1959. Coddington had to learn how to apply her own makeup and style her own hair, because makeup artists and hairdressers specializing in photo shoots were nonexistent. A meeting with photographer Norman Parkinson led to her first modeling job running naked through the woods for an arty fashion catalog.Coddington became an overnight success. "I was a character, rather than a pretty model, and I suppose that's exactly what I look for in the girls I now select to put in American Vogue the ones who are quirky looking."She earned the nickname "The Cod" (to Jean Shrimpton's "The Shrimp"), danced the twist on Mary Quant's catwalk and became a muse to Vidal Sassoon, who created his famous five point cut on Coddington. Her modeling career was derailed for two years by a car accident, which scarred her left eyelid. But eventually things picked up again, and she settled into life in 1960s swinging London and Paris, hanging out with a fast crowd that included Michael Caine, Jane Birkin, the Beatles and the Rolling Stones.Her fashion editing career coincided with the beginning of her relationship with Michael Chow and the opening of his glamorous restaurant Mr. Chow, which attracted a starry crowd. "Naturally, we were forever being photographed at home, draped among our symbols of 'with it ness' as one of London's most happening couples; him, the cool young restaurateur, nonchalantly swinging in a hammock hung from the minstrel's gallery and me, the sophisticated style maker, perkily sitting cross legged atop a giant pop art version of a Campbell's soup can."At the height of the bohemian 1970s, she dyed her hair with henna and permed it (it would stay the same for much of the next 40 years), dressed almost exclusively in Yves Saint Laurent, had a fling with a Vietnamese photographer and spent her evenings at Club Sept in Paris. Coddington worked with the who's who of fashion. She shot Anjelica Huston with photographer David Bailey and Pat Cleveland with Helmut Newton.When Bea Miller, who had edited British Vogue for 22 years, retired, Coddington interviewed for the job but says she knew deep down she wasn't suited for it and thought that Wintour, then the creative director of American Vogue, should get it.Wintour did get it. Two days into her editorship, she invited Coddington to a screening of the racy film "Betty Blue." The two sat in dead silence through the opening sequence, a vivid five minute sex scene."Anna was rigid and unmoving. No sign of any emotion at all," Coddington writes. "I then realized how much significance Anna places on willpower trumping feelings."In 1988, when Wintour was appointed editor in chief at American Vogue, Coddington asked to join her. Coddington's narrative style fashion features and travelogues, a sampling of which appear in the book, became the heart and soul of the magazine, even as its pages became increasingly taken over by celebrities. Through her visual canvases, she interpreted the New Romantic period, grunge and the South Beach blinged out 1990s, and persuaded superstar designers Tom Ford, Marc Jacobs and others to play roles in a shoot based on "Alice in Wonderland."She sums up her creative process this way: "For me, one of the most important aspects of my work is to give people something to dream about, just as I used to dream all those years ago as a child looking at beautiful photographs."The book ends with a chapter on then and now. "Fashion has changed so much in my lifetime," Coddington writes. "Today, I find myself at the collections, asking, 'Who are all these people?' Sometimes I think I'm the last remaining person who comes to the shows for the pleasure of seeing the clothes."At 71, she seldom wears makeup and doesn't socialize much. But her attempt in the last 100 pages to distance herself from the term "fashionista" is a bit of a stretch. Clearly, Coddington has led a most charmed life. Otherwise, we wouldn't be reading about it.We provide this community forum for readers to exchange ideas and opinions on the news of the day. Passionate views, pointed criticism and critical thinking are welcome. Comments can only be submitted by registered users. By posting comments on our site, you are agreeing to the following terms:
From: Jordan 23 (http://www.extremefmxair.com/158/nike-sku-318376-001-jordan-xx3-black-red-stealth/) Thu Jan 16 13:05:50 2014
Lady Griz hand Selvig 800th career win with 68 61 victory over PortlandGriz up to fifth in TSN poll, highest ranking of seasonBig Sky honors Sac State QB SafronNorth Dakota football coach firedSince 1897, the Cat Griz rivalry has captivated the stateFamily health: Prepare yourself and your vehicle for winter drivingFitness calendarBirths for Tuesday, November 19Angler with 4th place total takes Fall Mack Days fishing tournament titleWestern Montana hunters get help from fresh snow, rutIf the name Grace Coddington is familiar, you've probably seen the 2009 documentary film "The September Issue" about Vogue magazine's Editor in Chief Anna Wintour, the most feared and revered woman in fashion. Now Coddington, the longtime creative director of Vogue, has her own star vehicle, an engaging memoir titled "Grace," co written with Michael Roberts. For anyone with a passing interest in the fashion industry, it's worth a read for the name dropping alone.As became clear in the film, which chronicled the magazine's staff as they put together the 4 pound September 2007 issue, Coddington is not the Anna Wintour or Diana Vreeland type. You won't hear her barking orders at assistants or making dramatic pronouncements about pink.But she is equally passionate, a wild haired dreamer who thinks that fashion should be transporting, provocative and even intellectual, who bemoans the dominance of celebrities and digital hocus pocus in fashion photography and who isn't afraid to take on Wintour.The book is a window into how fashion has changed from a small, niche business into a global pop culture medium. It chronicles Coddington's 50 years in the industry, first as a model, then as a fashion editor for British Vogue and finally as creative director for American Vogue, with lots of juicy anecdotes about designers, photographers, celebrities and models.She compares the fashion world then and now and offers clues into her relationship with Wintour. She's also open about her private life, including details about failed marriages, the tragic death of her sister Rosemary and her 30 year romance with French hairstylist Didier Malige. She tells colorful stories behind many of the fashion shoots she has styled, but I do wish she had offered more insight into her role in the creative process.Coddington begins by painting a picture of her upbringing as romantic as any photo shoot. For her first 18 years, her home was the Trearddur Bay Hotel on the island of Anglesey off the coast of North Wales. "Although it was bleak, I saw beauty in the bleakness." When she wasn't outdoors, she amused herself by looking at picture books, reading fairy tales and, yes, studying the pages of Vogue magazine. As a teen, she went to a convent school and has vivid memories of the nuns roller skating on the rooftop, "flapping about surreally in their robes like crows on wheels."At 18, she moved to London to attend a modeling course advertised in Vogue. The fashion world was much different in 1959. Coddington had to learn how to apply her own makeup and style her own hair, because makeup artists and hairdressers specializing in photo shoots were nonexistent. A meeting with photographer Norman Parkinson led to her first modeling job running naked through the woods for an arty fashion catalog.Coddington became an overnight success. "I was a character, rather than a pretty model, and I suppose that's exactly what I look for in the girls I now select to put in American Vogue the ones who are quirky looking."She earned the nickname "The Cod" (to Jean Shrimpton's "The Shrimp"), danced the twist on Mary Quant's catwalk and became a muse to Vidal Sassoon, who created his famous five point cut on Coddington. Her modeling career was derailed for two years by a car accident, which scarred her left eyelid. But eventually things picked up again, and she settled into life in 1960s swinging London and Paris, hanging out with a fast crowd that included Michael Caine, Jane Birkin, the Beatles and the Rolling Stones.Her fashion editing career coincided with the beginning of her relationship with Michael Chow and the opening of his glamorous restaurant Mr. Chow, which attracted a starry crowd. "Naturally, we were forever being photographed at home, draped among our symbols of 'with it ness' as one of London's most happening couples; him, the cool young restaurateur, nonchalantly swinging in a hammock hung from the minstrel's gallery and me, the sophisticated style maker, perkily sitting cross legged atop a giant pop art version of a Campbell's soup can."At the height of the bohemian 1970s, she dyed her hair with henna and permed it (it would stay the same for much of the next 40 years), dressed almost exclusively in Yves Saint Laurent, had a fling with a Vietnamese photographer and spent her evenings at Club Sept in Paris. Coddington worked with the who's who of fashion. She shot Anjelica Huston with photographer David Bailey and Pat Cleveland with Helmut Newton.When Bea Miller, who had edited British Vogue for 22 years, retired, Coddington interviewed for the job but says she knew deep down she wasn't suited for it and thought that Wintour, then the creative director of American Vogue, should get it.Wintour did get it. Two days into her editorship, she invited Coddington to a screening of the racy film "Betty Blue." The two sat in dead silence through the opening sequence, a vivid five minute sex scene."Anna was rigid and unmoving. No sign of any emotion at all," Coddington writes. "I then realized how much significance Anna places on willpower trumping feelings."In 1988, when Wintour was appointed editor in chief at American Vogue, Coddington asked to join her. Coddington's narrative style fashion features and travelogues, a sampling of which appear in the book, became the heart and soul of the magazine, even as its pages became increasingly taken over by celebrities. Through her visual canvases, she interpreted the New Romantic period, grunge and the South Beach blinged out 1990s, and persuaded superstar designers Tom Ford, Marc Jacobs and others to play roles in a shoot based on "Alice in Wonderland."She sums up her creative process this way: "For me, one of the most important aspects of my work is to give people something to dream about, just as I used to dream all those years ago as a child looking at beautiful photographs."The book ends with a chapter on then and now. "Fashion has changed so much in my lifetime," Coddington writes. "Today, I find myself at the collections, asking, 'Who are all these people?' Sometimes I think I'm the last remaining person who comes to the shows for the pleasure of seeing the clothes."At 71, she seldom wears makeup and doesn't socialize much. But her attempt in the last 100 pages to distance herself from the term "fashionista" is a bit of a stretch. Clearly, Coddington has led a most charmed life. Otherwise, we wouldn't be reading about it.We provide this community forum for readers to exchange ideas and opinions on the news of the day. Passionate views, pointed criticism and critical thinking are welcome. Comments can only be submitted by registered users. By posting comments on our site, you are agreeing to the following terms:
From: Jordan 13 (http://www.extremefmxair.com/441/nike-sku-136002-061-jordan-13-original-black-red-white/) Thu Jan 16 13:05:53 2014
a memoir of fashion dreamer's life in vogue
From: Jordan DMP (http://www.extremefmxair.com/629/nike-sku-316132-991-jordan-1-retro-dmp-red-yellow/) Thu Jan 16 13:05:56 2014
Lady Griz hand Selvig 800th career win with 68 61 victory over PortlandGriz up to fifth in TSN poll, highest ranking of seasonBig Sky honors Sac State QB SafronNorth Dakota football coach firedSince 1897, the Cat Griz rivalry has captivated the stateFamily health: Prepare yourself and your vehicle for winter drivingFitness calendarBirths for Tuesday, November 19Angler with 4th place total takes Fall Mack Days fishing tournament titleWestern Montana hunters get help from fresh snow, rutIf the name Grace Coddington is familiar, you've probably seen the 2009 documentary film "The September Issue" about Vogue magazine's Editor in Chief Anna Wintour, the most feared and revered woman in fashion. Now Coddington, the longtime creative director of Vogue, has her own star vehicle, an engaging memoir titled "Grace," co written with Michael Roberts. For anyone with a passing interest in the fashion industry, it's worth a read for the name dropping alone.As became clear in the film, which chronicled the magazine's staff as they put together the 4 pound September 2007 issue, Coddington is not the Anna Wintour or Diana Vreeland type. You won't hear her barking orders at assistants or making dramatic pronouncements about pink.But she is equally passionate, a wild haired dreamer who thinks that fashion should be transporting, provocative and even intellectual, who bemoans the dominance of celebrities and digital hocus pocus in fashion photography and who isn't afraid to take on Wintour.The book is a window into how fashion has changed from a small, niche business into a global pop culture medium. It chronicles Coddington's 50 years in the industry, first as a model, then as a fashion editor for British Vogue and finally as creative director for American Vogue, with lots of juicy anecdotes about designers, photographers, celebrities and models.She compares the fashion world then and now and offers clues into her relationship with Wintour. She's also open about her private life, including details about failed marriages, the tragic death of her sister Rosemary and her 30 year romance with French hairstylist Didier Malige. She tells colorful stories behind many of the fashion shoots she has styled, but I do wish she had offered more insight into her role in the creative process.Coddington begins by painting a picture of her upbringing as romantic as any photo shoot. For her first 18 years, her home was the Trearddur Bay Hotel on the island of Anglesey off the coast of North Wales. "Although it was bleak, I saw beauty in the bleakness." When she wasn't outdoors, she amused herself by looking at picture books, reading fairy tales and, yes, studying the pages of Vogue magazine. As a teen, she went to a convent school and has vivid memories of the nuns roller skating on the rooftop, "flapping about surreally in their robes like crows on wheels."At 18, she moved to London to attend a modeling course advertised in Vogue. The fashion world was much different in 1959. Coddington had to learn how to apply her own makeup and style her own hair, because makeup artists and hairdressers specializing in photo shoots were nonexistent. A meeting with photographer Norman Parkinson led to her first modeling job running naked through the woods for an arty fashion catalog.Coddington became an overnight success. "I was a character, rather than a pretty model, and I suppose that's exactly what I look for in the girls I now select to put in American Vogue the ones who are quirky looking."She earned the nickname "The Cod" (to Jean Shrimpton's "The Shrimp"), danced the twist on Mary Quant's catwalk and became a muse to Vidal Sassoon, who created his famous five point cut on Coddington. Her modeling career was derailed for two years by a car accident, which scarred her left eyelid. But eventually things picked up again, and she settled into life in 1960s swinging London and Paris, hanging out with a fast crowd that included Michael Caine, Jane Birkin, the Beatles and the Rolling Stones.Her fashion editing career coincided with the beginning of her relationship with Michael Chow and the opening of his glamorous restaurant Mr. Chow, which attracted a starry crowd. "Naturally, we were forever being photographed at home, draped among our symbols of 'with it ness' as one of London's most happening couples; him, the cool young restaurateur, nonchalantly swinging in a hammock hung from the minstrel's gallery and me, the sophisticated style maker, perkily sitting cross legged atop a giant pop art version of a Campbell's soup can."At the height of the bohemian 1970s, she dyed her hair with henna and permed it (it would stay the same for much of the next 40 years), dressed almost exclusively in Yves Saint Laurent, had a fling with a Vietnamese photographer and spent her evenings at Club Sept in Paris. Coddington worked with the who's who of fashion. She shot Anjelica Huston with photographer David Bailey and Pat Cleveland with Helmut Newton.When Bea Miller, who had edited British Vogue for 22 years, retired, Coddington interviewed for the job but says she knew deep down she wasn't suited for it and thought that Wintour, then the creative director of American Vogue, should get it.Wintour did get it. Two days into her editorship, she invited Coddington to a screening of the racy film "Betty Blue." The two sat in dead silence through the opening sequence, a vivid five minute sex scene."Anna was rigid and unmoving. No sign of any emotion at all," Coddington writes. "I then realized how much significance Anna places on willpower trumping feelings."In 1988, when Wintour was appointed editor in chief at American Vogue, Coddington asked to join her. Coddington's narrative style fashion features and travelogues, a sampling of which appear in the book, became the heart and soul of the magazine, even as its pages became increasingly taken over by celebrities. Through her visual canvases, she interpreted the New Romantic period, grunge and the South Beach blinged out 1990s, and persuaded superstar designers Tom Ford, Marc Jacobs and others to play roles in a shoot based on "Alice in Wonderland."She sums up her creative process this way: "For me, one of the most important aspects of my work is to give people something to dream about, just as I used to dream all those years ago as a child looking at beautiful photographs."The book ends with a chapter on then and now. "Fashion has changed so much in my lifetime," Coddington writes. "Today, I find myself at the collections, asking, 'Who are all these people?' Sometimes I think I'm the last remaining person who comes to the shows for the pleasure of seeing the clothes."At 71, she seldom wears makeup and doesn't socialize much. But her attempt in the last 100 pages to distance herself from the term "fashionista" is a bit of a stretch. Clearly, Coddington has led a most charmed life. Otherwise, we wouldn't be reading about it.We provide this community forum for readers to exchange ideas and opinions on the news of the day. Passionate views, pointed criticism and critical thinking are welcome. Comments can only be submitted by registered users. By posting comments on our site, you are agreeing to the following terms:
From: 136027 101 Jordan 5 V Retro Fire Red White Black Fire Red (http://www.extremefmxair.com/269/nike-sku-136027-101-jordan-5-v-retro-fire-red-white-black-fire-red/) Thu Jan 16 13:05:59 2014
a memoir of fashion dreamer's life in vogue
From: Christian Louboutin Sling back (http://www.sudamerikahostel.com/719/caraibes-patent-leather-christian-louboutin-sling-back-120mm/) Thu Jan 16 13:06:02 2014
Lady Griz hand Selvig 800th career win with 68 61 victory over PortlandGriz up to fifth in TSN poll, highest ranking of seasonBig Sky honors Sac State QB SafronNorth Dakota football coach firedSince 1897, the Cat Griz rivalry has captivated the stateFamily health: Prepare yourself and your vehicle for winter drivingFitness calendarBirths for Tuesday, November 19Angler with 4th place total takes Fall Mack Days fishing tournament titleWestern Montana hunters get help from fresh snow, rutIf the name Grace Coddington is familiar, you've probably seen the 2009 documentary film "The September Issue" about Vogue magazine's Editor in Chief Anna Wintour, the most feared and revered woman in fashion. Now Coddington, the longtime creative director of Vogue, has her own star vehicle, an engaging memoir titled "Grace," co written with Michael Roberts. For anyone with a passing interest in the fashion industry, it's worth a read for the name dropping alone.As became clear in the film, which chronicled the magazine's staff as they put together the 4 pound September 2007 issue, Coddington is not the Anna Wintour or Diana Vreeland type. You won't hear her barking orders at assistants or making dramatic pronouncements about pink.But she is equally passionate, a wild haired dreamer who thinks that fashion should be transporting, provocative and even intellectual, who bemoans the dominance of celebrities and digital hocus pocus in fashion photography and who isn't afraid to take on Wintour.The book is a window into how fashion has changed from a small, niche business into a global pop culture medium. It chronicles Coddington's 50 years in the industry, first as a model, then as a fashion editor for British Vogue and finally as creative director for American Vogue, with lots of juicy anecdotes about designers, photographers, celebrities and models.She compares the fashion world then and now and offers clues into her relationship with Wintour. She's also open about her private life, including details about failed marriages, the tragic death of her sister Rosemary and her 30 year romance with French hairstylist Didier Malige. She tells colorful stories behind many of the fashion shoots she has styled, but I do wish she had offered more insight into her role in the creative process.Coddington begins by painting a picture of her upbringing as romantic as any photo shoot. For her first 18 years, her home was the Trearddur Bay Hotel on the island of Anglesey off the coast of North Wales. "Although it was bleak, I saw beauty in the bleakness." When she wasn't outdoors, she amused herself by looking at picture books, reading fairy tales and, yes, studying the pages of Vogue magazine. As a teen, she went to a convent school and has vivid memories of the nuns roller skating on the rooftop, "flapping about surreally in their robes like crows on wheels."At 18, she moved to London to attend a modeling course advertised in Vogue. The fashion world was much different in 1959. Coddington had to learn how to apply her own makeup and style her own hair, because makeup artists and hairdressers specializing in photo shoots were nonexistent. A meeting with photographer Norman Parkinson led to her first modeling job running naked through the woods for an arty fashion catalog.Coddington became an overnight success. "I was a character, rather than a pretty model, and I suppose that's exactly what I look for in the girls I now select to put in American Vogue the ones who are quirky looking."She earned the nickname "The Cod" (to Jean Shrimpton's "The Shrimp"), danced the twist on Mary Quant's catwalk and became a muse to Vidal Sassoon, who created his famous five point cut on Coddington. Her modeling career was derailed for two years by a car accident, which scarred her left eyelid. But eventually things picked up again, and she settled into life in 1960s swinging London and Paris, hanging out with a fast crowd that included Michael Caine, Jane Birkin, the Beatles and the Rolling Stones.Her fashion editing career coincided with the beginning of her relationship with Michael Chow and the opening of his glamorous restaurant Mr. Chow, which attracted a starry crowd. "Naturally, we were forever being photographed at home, draped among our symbols of 'with it ness' as one of London's most happening couples; him, the cool young restaurateur, nonchalantly swinging in a hammock hung from the minstrel's gallery and me, the sophisticated style maker, perkily sitting cross legged atop a giant pop art version of a Campbell's soup can."At the height of the bohemian 1970s, she dyed her hair with henna and permed it (it would stay the same for much of the next 40 years), dressed almost exclusively in Yves Saint Laurent, had a fling with a Vietnamese photographer and spent her evenings at Club Sept in Paris. Coddington worked with the who's who of fashion. She shot Anjelica Huston with photographer David Bailey and Pat Cleveland with Helmut Newton.When Bea Miller, who had edited British Vogue for 22 years, retired, Coddington interviewed for the job but says she knew deep down she wasn't suited for it and thought that Wintour, then the creative director of American Vogue, should get it.Wintour did get it. Two days into her editorship, she invited Coddington to a screening of the racy film "Betty Blue." The two sat in dead silence through the opening sequence, a vivid five minute sex scene."Anna was rigid and unmoving. No sign of any emotion at all," Coddington writes. "I then realized how much significance Anna places on willpower trumping feelings."In 1988, when Wintour was appointed editor in chief at American Vogue, Coddington asked to join her. Coddington's narrative style fashion features and travelogues, a sampling of which appear in the book, became the heart and soul of the magazine, even as its pages became increasingly taken over by celebrities. Through her visual canvases, she interpreted the New Romantic period, grunge and the South Beach blinged out 1990s, and persuaded superstar designers Tom Ford, Marc Jacobs and others to play roles in a shoot based on "Alice in Wonderland."She sums up her creative process this way: "For me, one of the most important aspects of my work is to give people something to dream about, just as I used to dream all those years ago as a child looking at beautiful photographs."The book ends with a chapter on then and now. "Fashion has changed so much in my lifetime," Coddington writes. "Today, I find myself at the collections, asking, 'Who are all these people?' Sometimes I think I'm the last remaining person who comes to the shows for the pleasure of seeing the clothes."At 71, she seldom wears makeup and doesn't socialize much. But her attempt in the last 100 pages to distance herself from the term "fashionista" is a bit of a stretch. Clearly, Coddington has led a most charmed life. Otherwise, we wouldn't be reading about it.We provide this community forum for readers to exchange ideas and opinions on the news of the day. Passionate views, pointed criticism and critical thinking are welcome. Comments can only be submitted by registered users. By posting comments on our site, you are agreeing to the following terms:
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a memoir of fashion dreamer's life in vogue
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Lady Griz hand Selvig 800th career win with 68 61 victory over PortlandGriz up to fifth in TSN poll, highest ranking of seasonBig Sky honors Sac State QB SafronNorth Dakota football coach firedSince 1897, the Cat Griz rivalry has captivated the stateFamily health: Prepare yourself and your vehicle for winter drivingFitness calendarBirths for Tuesday, November 19Angler with 4th place total takes Fall Mack Days fishing tournament titleWestern Montana hunters get help from fresh snow, rutIf the name Grace Coddington is familiar, you've probably seen the 2009 documentary film "The September Issue" about Vogue magazine's Editor in Chief Anna Wintour, the most feared and revered woman in fashion. Now Coddington, the longtime creative director of Vogue, has her own star vehicle, an engaging memoir titled "Grace," co written with Michael Roberts. For anyone with a passing interest in the fashion industry, it's worth a read for the name dropping alone.As became clear in the film, which chronicled the magazine's staff as they put together the 4 pound September 2007 issue, Coddington is not the Anna Wintour or Diana Vreeland type. You won't hear her barking orders at assistants or making dramatic pronouncements about pink.But she is equally passionate, a wild haired dreamer who thinks that fashion should be transporting, provocative and even intellectual, who bemoans the dominance of celebrities and digital hocus pocus in fashion photography and who isn't afraid to take on Wintour.The book is a window into how fashion has changed from a small, niche business into a global pop culture medium. It chronicles Coddington's 50 years in the industry, first as a model, then as a fashion editor for British Vogue and finally as creative director for American Vogue, with lots of juicy anecdotes about designers, photographers, celebrities and models.She compares the fashion world then and now and offers clues into her relationship with Wintour. She's also open about her private life, including details about failed marriages, the tragic death of her sister Rosemary and her 30 year romance with French hairstylist Didier Malige. She tells colorful stories behind many of the fashion shoots she has styled, but I do wish she had offered more insight into her role in the creative process.Coddington begins by painting a picture of her upbringing as romantic as any photo shoot. For her first 18 years, her home was the Trearddur Bay Hotel on the island of Anglesey off the coast of North Wales. "Although it was bleak, I saw beauty in the bleakness." When she wasn't outdoors, she amused herself by looking at picture books, reading fairy tales and, yes, studying the pages of Vogue magazine. As a teen, she went to a convent school and has vivid memories of the nuns roller skating on the rooftop, "flapping about surreally in their robes like crows on wheels."At 18, she moved to London to attend a modeling course advertised in Vogue. The fashion world was much different in 1959. Coddington had to learn how to apply her own makeup and style her own hair, because makeup artists and hairdressers specializing in photo shoots were nonexistent. A meeting with photographer Norman Parkinson led to her first modeling job running naked through the woods for an arty fashion catalog.Coddington became an overnight success. "I was a character, rather than a pretty model, and I suppose that's exactly what I look for in the girls I now select to put in American Vogue the ones who are quirky looking."She earned the nickname "The Cod" (to Jean Shrimpton's "The Shrimp"), danced the twist on Mary Quant's catwalk and became a muse to Vidal Sassoon, who created his famous five point cut on Coddington. Her modeling career was derailed for two years by a car accident, which scarred her left eyelid. But eventually things picked up again, and she settled into life in 1960s swinging London and Paris, hanging out with a fast crowd that included Michael Caine, Jane Birkin, the Beatles and the Rolling Stones.Her fashion editing career coincided with the beginning of her relationship with Michael Chow and the opening of his glamorous restaurant Mr. Chow, which attracted a starry crowd. "Naturally, we were forever being photographed at home, draped among our symbols of 'with it ness' as one of London's most happening couples; him, the cool young restaurateur, nonchalantly swinging in a hammock hung from the minstrel's gallery and me, the sophisticated style maker, perkily sitting cross legged atop a giant pop art version of a Campbell's soup can."At the height of the bohemian 1970s, she dyed her hair with henna and permed it (it would stay the same for much of the next 40 years), dressed almost exclusively in Yves Saint Laurent, had a fling with a Vietnamese photographer and spent her evenings at Club Sept in Paris. Coddington worked with the who's who of fashion. She shot Anjelica Huston with photographer David Bailey and Pat Cleveland with Helmut Newton.When Bea Miller, who had edited British Vogue for 22 years, retired, Coddington interviewed for the job but says she knew deep down she wasn't suited for it and thought that Wintour, then the creative director of American Vogue, should get it.Wintour did get it. Two days into her editorship, she invited Coddington to a screening of the racy film "Betty Blue." The two sat in dead silence through the opening sequence, a vivid five minute sex scene."Anna was rigid and unmoving. No sign of any emotion at all," Coddington writes. "I then realized how much significance Anna places on willpower trumping feelings."In 1988, when Wintour was appointed editor in chief at American Vogue, Coddington asked to join her. Coddington's narrative style fashion features and travelogues, a sampling of which appear in the book, became the heart and soul of the magazine, even as its pages became increasingly taken over by celebrities. Through her visual canvases, she interpreted the New Romantic period, grunge and the South Beach blinged out 1990s, and persuaded superstar designers Tom Ford, Marc Jacobs and others to play roles in a shoot based on "Alice in Wonderland."She sums up her creative process this way: "For me, one of the most important aspects of my work is to give people something to dream about, just as I used to dream all those years ago as a child looking at beautiful photographs."The book ends with a chapter on then and now. "Fashion has changed so much in my lifetime," Coddington writes. "Today, I find myself at the collections, asking, 'Who are all these people?' Sometimes I think I'm the last remaining person who comes to the shows for the pleasure of seeing the clothes."At 71, she seldom wears makeup and doesn't socialize much. But her attempt in the last 100 pages to distance herself from the term "fashionista" is a bit of a stretch. Clearly, Coddington has led a most charmed life. Otherwise, we wouldn't be reading about it.We provide this community forum for readers to exchange ideas and opinions on the news of the day. Passionate views, pointed criticism and critical thinking are welcome. Comments can only be submitted by registered users. By posting comments on our site, you are agreeing to the following terms:
From: Jordan 12 (http://www.extremefmxair.com/409/nike-sku-136001-014-jordan-12-xii-retro-nubucksunc/) Thu Jan 16 13:06:08 2014
Lady Griz hand Selvig 800th career win with 68 61 victory over PortlandGriz up to fifth in TSN poll, highest ranking of seasonBig Sky honors Sac State QB SafronNorth Dakota football coach firedSince 1897, the Cat Griz rivalry has captivated the stateFamily health: Prepare yourself and your vehicle for winter drivingFitness calendarBirths for Tuesday, November 19Angler with 4th place total takes Fall Mack Days fishing tournament titleWestern Montana hunters get help from fresh snow, rutIf the name Grace Coddington is familiar, you've probably seen the 2009 documentary film "The September Issue" about Vogue magazine's Editor in Chief Anna Wintour, the most feared and revered woman in fashion. Now Coddington, the longtime creative director of Vogue, has her own star vehicle, an engaging memoir titled "Grace," co written with Michael Roberts. For anyone with a passing interest in the fashion industry, it's worth a read for the name dropping alone.As became clear in the film, which chronicled the magazine's staff as they put together the 4 pound September 2007 issue, Coddington is not the Anna Wintour or Diana Vreeland type. You won't hear her barking orders at assistants or making dramatic pronouncements about pink.But she is equally passionate, a wild haired dreamer who thinks that fashion should be transporting, provocative and even intellectual, who bemoans the dominance of celebrities and digital hocus pocus in fashion photography and who isn't afraid to take on Wintour.The book is a window into how fashion has changed from a small, niche business into a global pop culture medium. It chronicles Coddington's 50 years in the industry, first as a model, then as a fashion editor for British Vogue and finally as creative director for American Vogue, with lots of juicy anecdotes about designers, photographers, celebrities and models.She compares the fashion world then and now and offers clues into her relationship with Wintour. She's also open about her private life, including details about failed marriages, the tragic death of her sister Rosemary and her 30 year romance with French hairstylist Didier Malige. She tells colorful stories behind many of the fashion shoots she has styled, but I do wish she had offered more insight into her role in the creative process.Coddington begins by painting a picture of her upbringing as romantic as any photo shoot. For her first 18 years, her home was the Trearddur Bay Hotel on the island of Anglesey off the coast of North Wales. "Although it was bleak, I saw beauty in the bleakness." When she wasn't outdoors, she amused herself by looking at picture books, reading fairy tales and, yes, studying the pages of Vogue magazine. As a teen, she went to a convent school and has vivid memories of the nuns roller skating on the rooftop, "flapping about surreally in their robes like crows on wheels."At 18, she moved to London to attend a modeling course advertised in Vogue. The fashion world was much different in 1959. Coddington had to learn how to apply her own makeup and style her own hair, because makeup artists and hairdressers specializing in photo shoots were nonexistent. A meeting with photographer Norman Parkinson led to her first modeling job running naked through the woods for an arty fashion catalog.Coddington became an overnight success. "I was a character, rather than a pretty model, and I suppose that's exactly what I look for in the girls I now select to put in American Vogue the ones who are quirky looking."She earned the nickname "The Cod" (to Jean Shrimpton's "The Shrimp"), danced the twist on Mary Quant's catwalk and became a muse to Vidal Sassoon, who created his famous five point cut on Coddington. Her modeling career was derailed for two years by a car accident, which scarred her left eyelid. But eventually things picked up again, and she settled into life in 1960s swinging London and Paris, hanging out with a fast crowd that included Michael Caine, Jane Birkin, the Beatles and the Rolling Stones.Her fashion editing career coincided with the beginning of her relationship with Michael Chow and the opening of his glamorous restaurant Mr. Chow, which attracted a starry crowd. "Naturally, we were forever being photographed at home, draped among our symbols of 'with it ness' as one of London's most happening couples; him, the cool young restaurateur, nonchalantly swinging in a hammock hung from the minstrel's gallery and me, the sophisticated style maker, perkily sitting cross legged atop a giant pop art version of a Campbell's soup can."At the height of the bohemian 1970s, she dyed her hair with henna and permed it (it would stay the same for much of the next 40 years), dressed almost exclusively in Yves Saint Laurent, had a fling with a Vietnamese photographer and spent her evenings at Club Sept in Paris. Coddington worked with the who's who of fashion. She shot Anjelica Huston with photographer David Bailey and Pat Cleveland with Helmut Newton.When Bea Miller, who had edited British Vogue for 22 years, retired, Coddington interviewed for the job but says she knew deep down she wasn't suited for it and thought that Wintour, then the creative director of American Vogue, should get it.Wintour did get it. Two days into her editorship, she invited Coddington to a screening of the racy film "Betty Blue." The two sat in dead silence through the opening sequence, a vivid five minute sex scene."Anna was rigid and unmoving. No sign of any emotion at all," Coddington writes. "I then realized how much significance Anna places on willpower trumping feelings."In 1988, when Wintour was appointed editor in chief at American Vogue, Coddington asked to join her. Coddington's narrative style fashion features and travelogues, a sampling of which appear in the book, became the heart and soul of the magazine, even as its pages became increasingly taken over by celebrities. Through her visual canvases, she interpreted the New Romantic period, grunge and the South Beach blinged out 1990s, and persuaded superstar designers Tom Ford, Marc Jacobs and others to play roles in a shoot based on "Alice in Wonderland."She sums up her creative process this way: "For me, one of the most important aspects of my work is to give people something to dream about, just as I used to dream all those years ago as a child looking at beautiful photographs."The book ends with a chapter on then and now. "Fashion has changed so much in my lifetime," Coddington writes. "Today, I find myself at the collections, asking, 'Who are all these people?' Sometimes I think I'm the last remaining person who comes to the shows for the pleasure of seeing the clothes."At 71, she seldom wears makeup and doesn't socialize much. But her attempt in the last 100 pages to distance herself from the term "fashionista" is a bit of a stretch. Clearly, Coddington has led a most charmed life. Otherwise, we wouldn't be reading about it.We provide this community forum for readers to exchange ideas and opinions on the news of the day. Passionate views, pointed criticism and critical thinking are welcome. Comments can only be submitted by registered users. By posting comments on our site, you are agreeing to the following terms:
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Lady Griz hand Selvig 800th career win with 68 61 victory over PortlandGriz up to fifth in TSN poll, highest ranking of seasonBig Sky honors Sac State QB SafronNorth Dakota football coach firedSince 1897, the Cat Griz rivalry has captivated the stateFamily health: Prepare yourself and your vehicle for winter drivingFitness calendarBirths for Tuesday, November 19Angler with 4th place total takes Fall Mack Days fishing tournament titleWestern Montana hunters get help from fresh snow, rutIf the name Grace Coddington is familiar, you've probably seen the 2009 documentary film "The September Issue" about Vogue magazine's Editor in Chief Anna Wintour, the most feared and revered woman in fashion. Now Coddington, the longtime creative director of Vogue, has her own star vehicle, an engaging memoir titled "Grace," co written with Michael Roberts. For anyone with a passing interest in the fashion industry, it's worth a read for the name dropping alone.As became clear in the film, which chronicled the magazine's staff as they put together the 4 pound September 2007 issue, Coddington is not the Anna Wintour or Diana Vreeland type. You won't hear her barking orders at assistants or making dramatic pronouncements about pink.But she is equally passionate, a wild haired dreamer who thinks that fashion should be transporting, provocative and even intellectual, who bemoans the dominance of celebrities and digital hocus pocus in fashion photography and who isn't afraid to take on Wintour.The book is a window into how fashion has changed from a small, niche business into a global pop culture medium. It chronicles Coddington's 50 years in the industry, first as a model, then as a fashion editor for British Vogue and finally as creative director for American Vogue, with lots of juicy anecdotes about designers, photographers, celebrities and models.She compares the fashion world then and now and offers clues into her relationship with Wintour. She's also open about her private life, including details about failed marriages, the tragic death of her sister Rosemary and her 30 year romance with French hairstylist Didier Malige. She tells colorful stories behind many of the fashion shoots she has styled, but I do wish she had offered more insight into her role in the creative process.Coddington begins by painting a picture of her upbringing as romantic as any photo shoot. For her first 18 years, her home was the Trearddur Bay Hotel on the island of Anglesey off the coast of North Wales. "Although it was bleak, I saw beauty in the bleakness." When she wasn't outdoors, she amused herself by looking at picture books, reading fairy tales and, yes, studying the pages of Vogue magazine. As a teen, she went to a convent school and has vivid memories of the nuns roller skating on the rooftop, "flapping about surreally in their robes like crows on wheels."At 18, she moved to London to attend a modeling course advertised in Vogue. The fashion world was much different in 1959. Coddington had to learn how to apply her own makeup and style her own hair, because makeup artists and hairdressers specializing in photo shoots were nonexistent. A meeting with photographer Norman Parkinson led to her first modeling job running naked through the woods for an arty fashion catalog.Coddington became an overnight success. "I was a character, rather than a pretty model, and I suppose that's exactly what I look for in the girls I now select to put in American Vogue the ones who are quirky looking."She earned the nickname "The Cod" (to Jean Shrimpton's "The Shrimp"), danced the twist on Mary Quant's catwalk and became a muse to Vidal Sassoon, who created his famous five point cut on Coddington. Her modeling career was derailed for two years by a car accident, which scarred her left eyelid. But eventually things picked up again, and she settled into life in 1960s swinging London and Paris, hanging out with a fast crowd that included Michael Caine, Jane Birkin, the Beatles and the Rolling Stones.Her fashion editing career coincided with the beginning of her relationship with Michael Chow and the opening of his glamorous restaurant Mr. Chow, which attracted a starry crowd. "Naturally, we were forever being photographed at home, draped among our symbols of 'with it ness' as one of London's most happening couples; him, the cool young restaurateur, nonchalantly swinging in a hammock hung from the minstrel's gallery and me, the sophisticated style maker, perkily sitting cross legged atop a giant pop art version of a Campbell's soup can."At the height of the bohemian 1970s, she dyed her hair with henna and permed it (it would stay the same for much of the next 40 years), dressed almost exclusively in Yves Saint Laurent, had a fling with a Vietnamese photographer and spent her evenings at Club Sept in Paris. Coddington worked with the who's who of fashion. She shot Anjelica Huston with photographer David Bailey and Pat Cleveland with Helmut Newton.When Bea Miller, who had edited British Vogue for 22 years, retired, Coddington interviewed for the job but says she knew deep down she wasn't suited for it and thought that Wintour, then the creative director of American Vogue, should get it.Wintour did get it. Two days into her editorship, she invited Coddington to a screening of the racy film "Betty Blue." The two sat in dead silence through the opening sequence, a vivid five minute sex scene."Anna was rigid and unmoving. No sign of any emotion at all," Coddington writes. "I then realized how much significance Anna places on willpower trumping feelings."In 1988, when Wintour was appointed editor in chief at American Vogue, Coddington asked to join her. Coddington's narrative style fashion features and travelogues, a sampling of which appear in the book, became the heart and soul of the magazine, even as its pages became increasingly taken over by celebrities. Through her visual canvases, she interpreted the New Romantic period, grunge and the South Beach blinged out 1990s, and persuaded superstar designers Tom Ford, Marc Jacobs and others to play roles in a shoot based on "Alice in Wonderland."She sums up her creative process this way: "For me, one of the most important aspects of my work is to give people something to dream about, just as I used to dream all those years ago as a child looking at beautiful photographs."The book ends with a chapter on then and now. "Fashion has changed so much in my lifetime," Coddington writes. "Today, I find myself at the collections, asking, 'Who are all these people?' Sometimes I think I'm the last remaining person who comes to the shows for the pleasure of seeing the clothes."At 71, she seldom wears makeup and doesn't socialize much. But her attempt in the last 100 pages to distance herself from the term "fashionista" is a bit of a stretch. Clearly, Coddington has led a most charmed life. Otherwise, we wouldn't be reading about it.We provide this community forum for readers to exchange ideas and opinions on the news of the day. Passionate views, pointed criticism and critical thinking are welcome. Comments can only be submitted by registered users. By posting comments on our site, you are agreeing to the following terms:
From: Christian Louboutin Pumps (http://www.sudamerikahostel.com/195/gold-strass-christian-louboutin-pumps-160mm/) Thu Jan 16 13:06:21 2014
Lady Griz hand Selvig 800th career win with 68 61 victory over PortlandGriz up to fifth in TSN poll, highest ranking of seasonBig Sky honors Sac State QB SafronNorth Dakota football coach firedSince 1897, the Cat Griz rivalry has captivated the stateFamily health: Prepare yourself and your vehicle for winter drivingFitness calendarBirths for Tuesday, November 19Angler with 4th place total takes Fall Mack Days fishing tournament titleWestern Montana hunters get help from fresh snow, rutIf the name Grace Coddington is familiar, you've probably seen the 2009 documentary film "The September Issue" about Vogue magazine's Editor in Chief Anna Wintour, the most feared and revered woman in fashion. Now Coddington, the longtime creative director of Vogue, has her own star vehicle, an engaging memoir titled "Grace," co written with Michael Roberts. For anyone with a passing interest in the fashion industry, it's worth a read for the name dropping alone.As became clear in the film, which chronicled the magazine's staff as they put together the 4 pound September 2007 issue, Coddington is not the Anna Wintour or Diana Vreeland type. You won't hear her barking orders at assistants or making dramatic pronouncements about pink.But she is equally passionate, a wild haired dreamer who thinks that fashion should be transporting, provocative and even intellectual, who bemoans the dominance of celebrities and digital hocus pocus in fashion photography and who isn't afraid to take on Wintour.The book is a window into how fashion has changed from a small, niche business into a global pop culture medium. It chronicles Coddington's 50 years in the industry, first as a model, then as a fashion editor for British Vogue and finally as creative director for American Vogue, with lots of juicy anecdotes about designers, photographers, celebrities and models.She compares the fashion world then and now and offers clues into her relationship with Wintour. She's also open about her private life, including details about failed marriages, the tragic death of her sister Rosemary and her 30 year romance with French hairstylist Didier Malige. She tells colorful stories behind many of the fashion shoots she has styled, but I do wish she had offered more insight into her role in the creative process.Coddington begins by painting a picture of her upbringing as romantic as any photo shoot. For her first 18 years, her home was the Trearddur Bay Hotel on the island of Anglesey off the coast of North Wales. "Although it was bleak, I saw beauty in the bleakness." When she wasn't outdoors, she amused herself by looking at picture books, reading fairy tales and, yes, studying the pages of Vogue magazine. As a teen, she went to a convent school and has vivid memories of the nuns roller skating on the rooftop, "flapping about surreally in their robes like crows on wheels."At 18, she moved to London to attend a modeling course advertised in Vogue. The fashion world was much different in 1959. Coddington had to learn how to apply her own makeup and style her own hair, because makeup artists and hairdressers specializing in photo shoots were nonexistent. A meeting with photographer Norman Parkinson led to her first modeling job running naked through the woods for an arty fashion catalog.Coddington became an overnight success. "I was a character, rather than a pretty model, and I suppose that's exactly what I look for in the girls I now select to put in American Vogue the ones who are quirky looking."She earned the nickname "The Cod" (to Jean Shrimpton's "The Shrimp"), danced the twist on Mary Quant's catwalk and became a muse to Vidal Sassoon, who created his famous five point cut on Coddington. Her modeling career was derailed for two years by a car accident, which scarred her left eyelid. But eventually things picked up again, and she settled into life in 1960s swinging London and Paris, hanging out with a fast crowd that included Michael Caine, Jane Birkin, the Beatles and the Rolling Stones.Her fashion editing career coincided with the beginning of her relationship with Michael Chow and the opening of his glamorous restaurant Mr. Chow, which attracted a starry crowd. "Naturally, we were forever being photographed at home, draped among our symbols of 'with it ness' as one of London's most happening couples; him, the cool young restaurateur, nonchalantly swinging in a hammock hung from the minstrel's gallery and me, the sophisticated style maker, perkily sitting cross legged atop a giant pop art version of a Campbell's soup can."At the height of the bohemian 1970s, she dyed her hair with henna and permed it (it would stay the same for much of the next 40 years), dressed almost exclusively in Yves Saint Laurent, had a fling with a Vietnamese photographer and spent her evenings at Club Sept in Paris. Coddington worked with the who's who of fashion. She shot Anjelica Huston with photographer David Bailey and Pat Cleveland with Helmut Newton.When Bea Miller, who had edited British Vogue for 22 years, retired, Coddington interviewed for the job but says she knew deep down she wasn't suited for it and thought that Wintour, then the creative director of American Vogue, should get it.Wintour did get it. Two days into her editorship, she invited Coddington to a screening of the racy film "Betty Blue." The two sat in dead silence through the opening sequence, a vivid five minute sex scene."Anna was rigid and unmoving. No sign of any emotion at all," Coddington writes. "I then realized how much significance Anna places on willpower trumping feelings."In 1988, when Wintour was appointed editor in chief at American Vogue, Coddington asked to join her. Coddington's narrative style fashion features and travelogues, a sampling of which appear in the book, became the heart and soul of the magazine, even as its pages became increasingly taken over by celebrities. Through her visual canvases, she interpreted the New Romantic period, grunge and the South Beach blinged out 1990s, and persuaded superstar designers Tom Ford, Marc Jacobs and others to play roles in a shoot based on "Alice in Wonderland."She sums up her creative process this way: "For me, one of the most important aspects of my work is to give people something to dream about, just as I used to dream all those years ago as a child looking at beautiful photographs."The book ends with a chapter on then and now. "Fashion has changed so much in my lifetime," Coddington writes. "Today, I find myself at the collections, asking, 'Who are all these people?' Sometimes I think I'm the last remaining person who comes to the shows for the pleasure of seeing the clothes."At 71, she seldom wears makeup and doesn't socialize much. But her attempt in the last 100 pages to distance herself from the term "fashionista" is a bit of a stretch. Clearly, Coddington has led a most charmed life. Otherwise, we wouldn't be reading about it.We provide this community forum for readers to exchange ideas and opinions on the news of the day. Passionate views, pointed criticism and critical thinking are welcome. Comments can only be submitted by registered users. By posting comments on our site, you are agreeing to the following terms:
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Lady Griz hand Selvig 800th career win with 68 61 victory over PortlandGriz up to fifth in TSN poll, highest ranking of seasonBig Sky honors Sac State QB SafronNorth Dakota football coach firedSince 1897, the Cat Griz rivalry has captivated the stateFamily health: Prepare yourself and your vehicle for winter drivingFitness calendarBirths for Tuesday, November 19Angler with 4th place total takes Fall Mack Days fishing tournament titleWestern Montana hunters get help from fresh snow, rutIf the name Grace Coddington is familiar, you've probably seen the 2009 documentary film "The September Issue" about Vogue magazine's Editor in Chief Anna Wintour, the most feared and revered woman in fashion. Now Coddington, the longtime creative director of Vogue, has her own star vehicle, an engaging memoir titled "Grace," co written with Michael Roberts. For anyone with a passing interest in the fashion industry, it's worth a read for the name dropping alone.As became clear in the film, which chronicled the magazine's staff as they put together the 4 pound September 2007 issue, Coddington is not the Anna Wintour or Diana Vreeland type. You won't hear her barking orders at assistants or making dramatic pronouncements about pink.But she is equally passionate, a wild haired dreamer who thinks that fashion should be transporting, provocative and even intellectual, who bemoans the dominance of celebrities and digital hocus pocus in fashion photography and who isn't afraid to take on Wintour.The book is a window into how fashion has changed from a small, niche business into a global pop culture medium. It chronicles Coddington's 50 years in the industry, first as a model, then as a fashion editor for British Vogue and finally as creative director for American Vogue, with lots of juicy anecdotes about designers, photographers, celebrities and models.She compares the fashion world then and now and offers clues into her relationship with Wintour. She's also open about her private life, including details about failed marriages, the tragic death of her sister Rosemary and her 30 year romance with French hairstylist Didier Malige. She tells colorful stories behind many of the fashion shoots she has styled, but I do wish she had offered more insight into her role in the creative process.Coddington begins by painting a picture of her upbringing as romantic as any photo shoot. For her first 18 years, her home was the Trearddur Bay Hotel on the island of Anglesey off the coast of North Wales. "Although it was bleak, I saw beauty in the bleakness." When she wasn't outdoors, she amused herself by looking at picture books, reading fairy tales and, yes, studying the pages of Vogue magazine. As a teen, she went to a convent school and has vivid memories of the nuns roller skating on the rooftop, "flapping about surreally in their robes like crows on wheels."At 18, she moved to London to attend a modeling course advertised in Vogue. The fashion world was much different in 1959. Coddington had to learn how to apply her own makeup and style her own hair, because makeup artists and hairdressers specializing in photo shoots were nonexistent. A meeting with photographer Norman Parkinson led to her first modeling job running naked through the woods for an arty fashion catalog.Coddington became an overnight success. "I was a character, rather than a pretty model, and I suppose that's exactly what I look for in the girls I now select to put in American Vogue the ones who are quirky looking."She earned the nickname "The Cod" (to Jean Shrimpton's "The Shrimp"), danced the twist on Mary Quant's catwalk and became a muse to Vidal Sassoon, who created his famous five point cut on Coddington. Her modeling career was derailed for two years by a car accident, which scarred her left eyelid. But eventually things picked up again, and she settled into life in 1960s swinging London and Paris, hanging out with a fast crowd that included Michael Caine, Jane Birkin, the Beatles and the Rolling Stones.Her fashion editing career coincided with the beginning of her relationship with Michael Chow and the opening of his glamorous restaurant Mr. Chow, which attracted a starry crowd. "Naturally, we were forever being photographed at home, draped among our symbols of 'with it ness' as one of London's most happening couples; him, the cool young restaurateur, nonchalantly swinging in a hammock hung from the minstrel's gallery and me, the sophisticated style maker, perkily sitting cross legged atop a giant pop art version of a Campbell's soup can."At the height of the bohemian 1970s, she dyed her hair with henna and permed it (it would stay the same for much of the next 40 years), dressed almost exclusively in Yves Saint Laurent, had a fling with a Vietnamese photographer and spent her evenings at Club Sept in Paris. Coddington worked with the who's who of fashion. She shot Anjelica Huston with photographer David Bailey and Pat Cleveland with Helmut Newton.When Bea Miller, who had edited British Vogue for 22 years, retired, Coddington interviewed for the job but says she knew deep down she wasn't suited for it and thought that Wintour, then the creative director of American Vogue, should get it.Wintour did get it. Two days into her editorship, she invited Coddington to a screening of the racy film "Betty Blue." The two sat in dead silence through the opening sequence, a vivid five minute sex scene."Anna was rigid and unmoving. No sign of any emotion at all," Coddington writes. "I then realized how much significance Anna places on willpower trumping feelings."In 1988, when Wintour was appointed editor in chief at American Vogue, Coddington asked to join her. Coddington's narrative style fashion features and travelogues, a sampling of which appear in the book, became the heart and soul of the magazine, even as its pages became increasingly taken over by celebrities. Through her visual canvases, she interpreted the New Romantic period, grunge and the South Beach blinged out 1990s, and persuaded superstar designers Tom Ford, Marc Jacobs and others to play roles in a shoot based on "Alice in Wonderland."She sums up her creative process this way: "For me, one of the most important aspects of my work is to give people something to dream about, just as I used to dream all those years ago as a child looking at beautiful photographs."The book ends with a chapter on then and now. "Fashion has changed so much in my lifetime," Coddington writes. "Today, I find myself at the collections, asking, 'Who are all these people?' Sometimes I think I'm the last remaining person who comes to the shows for the pleasure of seeing the clothes."At 71, she seldom wears makeup and doesn't socialize much. But her attempt in the last 100 pages to distance herself from the term "fashionista" is a bit of a stretch. Clearly, Coddington has led a most charmed life. Otherwise, we wouldn't be reading about it.We provide this community forum for readers to exchange ideas and opinions on the news of the day. Passionate views, pointed criticism and critical thinking are welcome. Comments can only be submitted by registered users. By posting comments on our site, you are agreeing to the following terms:
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Lady Griz hand Selvig 800th career win with 68 61 victory over PortlandGriz up to fifth in TSN poll, highest ranking of seasonBig Sky honors Sac State QB SafronNorth Dakota football coach firedSince 1897, the Cat Griz rivalry has captivated the stateFamily health: Prepare yourself and your vehicle for winter drivingFitness calendarBirths for Tuesday, November 19Angler with 4th place total takes Fall Mack Days fishing tournament titleWestern Montana hunters get help from fresh snow, rutIf the name Grace Coddington is familiar, you've probably seen the 2009 documentary film "The September Issue" about Vogue magazine's Editor in Chief Anna Wintour, the most feared and revered woman in fashion. Now Coddington, the longtime creative director of Vogue, has her own star vehicle, an engaging memoir titled "Grace," co written with Michael Roberts. For anyone with a passing interest in the fashion industry, it's worth a read for the name dropping alone.As became clear in the film, which chronicled the magazine's staff as they put together the 4 pound September 2007 issue, Coddington is not the Anna Wintour or Diana Vreeland type. You won't hear her barking orders at assistants or making dramatic pronouncements about pink.But she is equally passionate, a wild haired dreamer who thinks that fashion should be transporting, provocative and even intellectual, who bemoans the dominance of celebrities and digital hocus pocus in fashion photography and who isn't afraid to take on Wintour.The book is a window into how fashion has changed from a small, niche business into a global pop culture medium. It chronicles Coddington's 50 years in the industry, first as a model, then as a fashion editor for British Vogue and finally as creative director for American Vogue, with lots of juicy anecdotes about designers, photographers, celebrities and models.She compares the fashion world then and now and offers clues into her relationship with Wintour. She's also open about her private life, including details about failed marriages, the tragic death of her sister Rosemary and her 30 year romance with French hairstylist Didier Malige. She tells colorful stories behind many of the fashion shoots she has styled, but I do wish she had offered more insight into her role in the creative process.Coddington begins by painting a picture of her upbringing as romantic as any photo shoot. For her first 18 years, her home was the Trearddur Bay Hotel on the island of Anglesey off the coast of North Wales. "Although it was bleak, I saw beauty in the bleakness." When she wasn't outdoors, she amused herself by looking at picture books, reading fairy tales and, yes, studying the pages of Vogue magazine. As a teen, she went to a convent school and has vivid memories of the nuns roller skating on the rooftop, "flapping about surreally in their robes like crows on wheels."At 18, she moved to London to attend a modeling course advertised in Vogue. The fashion world was much different in 1959. Coddington had to learn how to apply her own makeup and style her own hair, because makeup artists and hairdressers specializing in photo shoots were nonexistent. A meeting with photographer Norman Parkinson led to her first modeling job running naked through the woods for an arty fashion catalog.Coddington became an overnight success. "I was a character, rather than a pretty model, and I suppose that's exactly what I look for in the girls I now select to put in American Vogue the ones who are quirky looking."She earned the nickname "The Cod" (to Jean Shrimpton's "The Shrimp"), danced the twist on Mary Quant's catwalk and became a muse to Vidal Sassoon, who created his famous five point cut on Coddington. Her modeling career was derailed for two years by a car accident, which scarred her left eyelid. But eventually things picked up again, and she settled into life in 1960s swinging London and Paris, hanging out with a fast crowd that included Michael Caine, Jane Birkin, the Beatles and the Rolling Stones.Her fashion editing career coincided with the beginning of her relationship with Michael Chow and the opening of his glamorous restaurant Mr. Chow, which attracted a starry crowd. "Naturally, we were forever being photographed at home, draped among our symbols of 'with it ness' as one of London's most happening couples; him, the cool young restaurateur, nonchalantly swinging in a hammock hung from the minstrel's gallery and me, the sophisticated style maker, perkily sitting cross legged atop a giant pop art version of a Campbell's soup can."At the height of the bohemian 1970s, she dyed her hair with henna and permed it (it would stay the same for much of the next 40 years), dressed almost exclusively in Yves Saint Laurent, had a fling with a Vietnamese photographer and spent her evenings at Club Sept in Paris. Coddington worked with the who's who of fashion. She shot Anjelica Huston with photographer David Bailey and Pat Cleveland with Helmut Newton.When Bea Miller, who had edited British Vogue for 22 years, retired, Coddington interviewed for the job but says she knew deep down she wasn't suited for it and thought that Wintour, then the creative director of American Vogue, should get it.Wintour did get it. Two days into her editorship, she invited Coddington to a screening of the racy film "Betty Blue." The two sat in dead silence through the opening sequence, a vivid five minute sex scene."Anna was rigid and unmoving. No sign of any emotion at all," Coddington writes. "I then realized how much significance Anna places on willpower trumping feelings."In 1988, when Wintour was appointed editor in chief at American Vogue, Coddington asked to join her. Coddington's narrative style fashion features and travelogues, a sampling of which appear in the book, became the heart and soul of the magazine, even as its pages became increasingly taken over by celebrities. Through her visual canvases, she interpreted the New Romantic period, grunge and the South Beach blinged out 1990s, and persuaded superstar designers Tom Ford, Marc Jacobs and others to play roles in a shoot based on "Alice in Wonderland."She sums up her creative process this way: "For me, one of the most important aspects of my work is to give people something to dream about, just as I used to dream all those years ago as a child looking at beautiful photographs."The book ends with a chapter on then and now. "Fashion has changed so much in my lifetime," Coddington writes. "Today, I find myself at the collections, asking, 'Who are all these people?' Sometimes I think I'm the last remaining person who comes to the shows for the pleasure of seeing the clothes."At 71, she seldom wears makeup and doesn't socialize much. But her attempt in the last 100 pages to distance herself from the term "fashionista" is a bit of a stretch. Clearly, Coddington has led a most charmed life. Otherwise, we wouldn't be reading about it.We provide this community forum for readers to exchange ideas and opinions on the news of the day. Passionate views, pointed criticism and critical thinking are welcome. Comments can only be submitted by registered users. By posting comments on our site, you are agreeing to the following terms:
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Lady Griz hand Selvig 800th career win with 68 61 victory over PortlandGriz up to fifth in TSN poll, highest ranking of seasonBig Sky honors Sac State QB SafronNorth Dakota football coach firedSince 1897, the Cat Griz rivalry has captivated the stateFamily health: Prepare yourself and your vehicle for winter drivingFitness calendarBirths for Tuesday, November 19Angler with 4th place total takes Fall Mack Days fishing tournament titleWestern Montana hunters get help from fresh snow, rutIf the name Grace Coddington is familiar, you've probably seen the 2009 documentary film "The September Issue" about Vogue magazine's Editor in Chief Anna Wintour, the most feared and revered woman in fashion. Now Coddington, the longtime creative director of Vogue, has her own star vehicle, an engaging memoir titled "Grace," co written with Michael Roberts. For anyone with a passing interest in the fashion industry, it's worth a read for the name dropping alone.As became clear in the film, which chronicled the magazine's staff as they put together the 4 pound September 2007 issue, Coddington is not the Anna Wintour or Diana Vreeland type. You won't hear her barking orders at assistants or making dramatic pronouncements about pink.But she is equally passionate, a wild haired dreamer who thinks that fashion should be transporting, provocative and even intellectual, who bemoans the dominance of celebrities and digital hocus pocus in fashion photography and who isn't afraid to take on Wintour.The book is a window into how fashion has changed from a small, niche business into a global pop culture medium. It chronicles Coddington's 50 years in the industry, first as a model, then as a fashion editor for British Vogue and finally as creative director for American Vogue, with lots of juicy anecdotes about designers, photographers, celebrities and models.She compares the fashion world then and now and offers clues into her relationship with Wintour. She's also open about her private life, including details about failed marriages, the tragic death of her sister Rosemary and her 30 year romance with French hairstylist Didier Malige. She tells colorful stories behind many of the fashion shoots she has styled, but I do wish she had offered more insight into her role in the creative process.Coddington begins by painting a picture of her upbringing as romantic as any photo shoot. For her first 18 years, her home was the Trearddur Bay Hotel on the island of Anglesey off the coast of North Wales. "Although it was bleak, I saw beauty in the bleakness." When she wasn't outdoors, she amused herself by looking at picture books, reading fairy tales and, yes, studying the pages of Vogue magazine. As a teen, she went to a convent school and has vivid memories of the nuns roller skating on the rooftop, "flapping about surreally in their robes like crows on wheels."At 18, she moved to London to attend a modeling course advertised in Vogue. The fashion world was much different in 1959. Coddington had to learn how to apply her own makeup and style her own hair, because makeup artists and hairdressers specializing in photo shoots were nonexistent. A meeting with photographer Norman Parkinson led to her first modeling job running naked through the woods for an arty fashion catalog.Coddington became an overnight success. "I was a character, rather than a pretty model, and I suppose that's exactly what I look for in the girls I now select to put in American Vogue the ones who are quirky looking."She earned the nickname "The Cod" (to Jean Shrimpton's "The Shrimp"), danced the twist on Mary Quant's catwalk and became a muse to Vidal Sassoon, who created his famous five point cut on Coddington. Her modeling career was derailed for two years by a car accident, which scarred her left eyelid. But eventually things picked up again, and she settled into life in 1960s swinging London and Paris, hanging out with a fast crowd that included Michael Caine, Jane Birkin, the Beatles and the Rolling Stones.Her fashion editing career coincided with the beginning of her relationship with Michael Chow and the opening of his glamorous restaurant Mr. Chow, which attracted a starry crowd. "Naturally, we were forever being photographed at home, draped among our symbols of 'with it ness' as one of London's most happening couples; him, the cool young restaurateur, nonchalantly swinging in a hammock hung from the minstrel's gallery and me, the sophisticated style maker, perkily sitting cross legged atop a giant pop art version of a Campbell's soup can."At the height of the bohemian 1970s, she dyed her hair with henna and permed it (it would stay the same for much of the next 40 years), dressed almost exclusively in Yves Saint Laurent, had a fling with a Vietnamese photographer and spent her evenings at Club Sept in Paris. Coddington worked with the who's who of fashion. She shot Anjelica Huston with photographer David Bailey and Pat Cleveland with Helmut Newton.When Bea Miller, who had edited British Vogue for 22 years, retired, Coddington interviewed for the job but says she knew deep down she wasn't suited for it and thought that Wintour, then the creative director of American Vogue, should get it.Wintour did get it. Two days into her editorship, she invited Coddington to a screening of the racy film "Betty Blue." The two sat in dead silence through the opening sequence, a vivid five minute sex scene."Anna was rigid and unmoving. No sign of any emotion at all," Coddington writes. "I then realized how much significance Anna places on willpower trumping feelings."In 1988, when Wintour was appointed editor in chief at American Vogue, Coddington asked to join her. Coddington's narrative style fashion features and travelogues, a sampling of which appear in the book, became the heart and soul of the magazine, even as its pages became increasingly taken over by celebrities. Through her visual canvases, she interpreted the New Romantic period, grunge and the South Beach blinged out 1990s, and persuaded superstar designers Tom Ford, Marc Jacobs and others to play roles in a shoot based on "Alice in Wonderland."She sums up her creative process this way: "For me, one of the most important aspects of my work is to give people something to dream about, just as I used to dream all those years ago as a child looking at beautiful photographs."The book ends with a chapter on then and now. "Fashion has changed so much in my lifetime," Coddington writes. "Today, I find myself at the collections, asking, 'Who are all these people?' Sometimes I think I'm the last remaining person who comes to the shows for the pleasure of seeing the clothes."At 71, she seldom wears makeup and doesn't socialize much. But her attempt in the last 100 pages to distance herself from the term "fashionista" is a bit of a stretch. Clearly, Coddington has led a most charmed life. Otherwise, we wouldn't be reading about it.We provide this community forum for readers to exchange ideas and opinions on the news of the day. Passionate views, pointed criticism and critical thinking are welcome. Comments can only be submitted by registered users. By posting comments on our site, you are agreeing to the following terms:
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Lady Griz hand Selvig 800th career win with 68 61 victory over PortlandGriz up to fifth in TSN poll, highest ranking of seasonBig Sky honors Sac State QB SafronNorth Dakota football coach firedSince 1897, the Cat Griz rivalry has captivated the stateFamily health: Prepare yourself and your vehicle for winter drivingFitness calendarBirths for Tuesday, November 19Angler with 4th place total takes Fall Mack Days fishing tournament titleWestern Montana hunters get help from fresh snow, rutIf the name Grace Coddington is familiar, you've probably seen the 2009 documentary film "The September Issue" about Vogue magazine's Editor in Chief Anna Wintour, the most feared and revered woman in fashion. Now Coddington, the longtime creative director of Vogue, has her own star vehicle, an engaging memoir titled "Grace," co written with Michael Roberts. For anyone with a passing interest in the fashion industry, it's worth a read for the name dropping alone.As became clear in the film, which chronicled the magazine's staff as they put together the 4 pound September 2007 issue, Coddington is not the Anna Wintour or Diana Vreeland type. You won't hear her barking orders at assistants or making dramatic pronouncements about pink.But she is equally passionate, a wild haired dreamer who thinks that fashion should be transporting, provocative and even intellectual, who bemoans the dominance of celebrities and digital hocus pocus in fashion photography and who isn't afraid to take on Wintour.The book is a window into how fashion has changed from a small, niche business into a global pop culture medium. It chronicles Coddington's 50 years in the industry, first as a model, then as a fashion editor for British Vogue and finally as creative director for American Vogue, with lots of juicy anecdotes about designers, photographers, celebrities and models.She compares the fashion world then and now and offers clues into her relationship with Wintour. She's also open about her private life, including details about failed marriages, the tragic death of her sister Rosemary and her 30 year romance with French hairstylist Didier Malige. She tells colorful stories behind many of the fashion shoots she has styled, but I do wish she had offered more insight into her role in the creative process.Coddington begins by painting a picture of her upbringing as romantic as any photo shoot. For her first 18 years, her home was the Trearddur Bay Hotel on the island of Anglesey off the coast of North Wales. "Although it was bleak, I saw beauty in the bleakness." When she wasn't outdoors, she amused herself by looking at picture books, reading fairy tales and, yes, studying the pages of Vogue magazine. As a teen, she went to a convent school and has vivid memories of the nuns roller skating on the rooftop, "flapping about surreally in their robes like crows on wheels."At 18, she moved to London to attend a modeling course advertised in Vogue. The fashion world was much different in 1959. Coddington had to learn how to apply her own makeup and style her own hair, because makeup artists and hairdressers specializing in photo shoots were nonexistent. A meeting with photographer Norman Parkinson led to her first modeling job running naked through the woods for an arty fashion catalog.Coddington became an overnight success. "I was a character, rather than a pretty model, and I suppose that's exactly what I look for in the girls I now select to put in American Vogue the ones who are quirky looking."She earned the nickname "The Cod" (to Jean Shrimpton's "The Shrimp"), danced the twist on Mary Quant's catwalk and became a muse to Vidal Sassoon, who created his famous five point cut on Coddington. Her modeling career was derailed for two years by a car accident, which scarred her left eyelid. But eventually things picked up again, and she settled into life in 1960s swinging London and Paris, hanging out with a fast crowd that included Michael Caine, Jane Birkin, the Beatles and the Rolling Stones.Her fashion editing career coincided with the beginning of her relationship with Michael Chow and the opening of his glamorous restaurant Mr. Chow, which attracted a starry crowd. "Naturally, we were forever being photographed at home, draped among our symbols of 'with it ness' as one of London's most happening couples; him, the cool young restaurateur, nonchalantly swinging in a hammock hung from the minstrel's gallery and me, the sophisticated style maker, perkily sitting cross legged atop a giant pop art version of a Campbell's soup can."At the height of the bohemian 1970s, she dyed her hair with henna and permed it (it would stay the same for much of the next 40 years), dressed almost exclusively in Yves Saint Laurent, had a fling with a Vietnamese photographer and spent her evenings at Club Sept in Paris. Coddington worked with the who's who of fashion. She shot Anjelica Huston with photographer David Bailey and Pat Cleveland with Helmut Newton.When Bea Miller, who had edited British Vogue for 22 years, retired, Coddington interviewed for the job but says she knew deep down she wasn't suited for it and thought that Wintour, then the creative director of American Vogue, should get it.Wintour did get it. Two days into her editorship, she invited Coddington to a screening of the racy film "Betty Blue." The two sat in dead silence through the opening sequence, a vivid five minute sex scene."Anna was rigid and unmoving. No sign of any emotion at all," Coddington writes. "I then realized how much significance Anna places on willpower trumping feelings."In 1988, when Wintour was appointed editor in chief at American Vogue, Coddington asked to join her. Coddington's narrative style fashion features and travelogues, a sampling of which appear in the book, became the heart and soul of the magazine, even as its pages became increasingly taken over by celebrities. Through her visual canvases, she interpreted the New Romantic period, grunge and the South Beach blinged out 1990s, and persuaded superstar designers Tom Ford, Marc Jacobs and others to play roles in a shoot based on "Alice in Wonderland."She sums up her creative process this way: "For me, one of the most important aspects of my work is to give people something to dream about, just as I used to dream all those years ago as a child looking at beautiful photographs."The book ends with a chapter on then and now. "Fashion has changed so much in my lifetime," Coddington writes. "Today, I find myself at the collections, asking, 'Who are all these people?' Sometimes I think I'm the last remaining person who comes to the shows for the pleasure of seeing the clothes."At 71, she seldom wears makeup and doesn't socialize much. But her attempt in the last 100 pages to distance herself from the term "fashionista" is a bit of a stretch. Clearly, Coddington has led a most charmed life. Otherwise, we wouldn't be reading about it.We provide this community forum for readers to exchange ideas and opinions on the news of the day. Passionate views, pointed criticism and critical thinking are welcome. Comments can only be submitted by registered users. By posting comments on our site, you are agreeing to the following terms:
From: Christian Louboutin Flats Black Suede (http://www.prospectusoffering.net/1584/cheap-christian-louboutin-flats-black-suede-outlet-online/) Mon Jan 20 14:14:43 2014
Lady Griz hand Selvig 800th career win with 68 61 victory over PortlandGriz up to fifth in TSN poll, highest ranking of seasonBig Sky honors Sac State QB SafronNorth Dakota football coach firedSince 1897, the Cat Griz rivalry has captivated the stateFamily health: Prepare yourself and your vehicle for winter drivingFitness calendarBirths for Tuesday, November 19Angler with 4th place total takes Fall Mack Days fishing tournament titleWestern Montana hunters get help from fresh snow, rutIf the name Grace Coddington is familiar, you've probably seen the 2009 documentary film "The September Issue" about Vogue magazine's Editor in Chief Anna Wintour, the most feared and revered woman in fashion. Now Coddington, the longtime creative director of Vogue, has her own star vehicle, an engaging memoir titled "Grace," co written with Michael Roberts. For anyone with a passing interest in the fashion industry, it's worth a read for the name dropping alone.As became clear in the film, which chronicled the magazine's staff as they put together the 4 pound September 2007 issue, Coddington is not the Anna Wintour or Diana Vreeland type. You won't hear her barking orders at assistants or making dramatic pronouncements about pink.But she is equally passionate, a wild haired dreamer who thinks that fashion should be transporting, provocative and even intellectual, who bemoans the dominance of celebrities and digital hocus pocus in fashion photography and who isn't afraid to take on Wintour.The book is a window into how fashion has changed from a small, niche business into a global pop culture medium. It chronicles Coddington's 50 years in the industry, first as a model, then as a fashion editor for British Vogue and finally as creative director for American Vogue, with lots of juicy anecdotes about designers, photographers, celebrities and models.She compares the fashion world then and now and offers clues into her relationship with Wintour. She's also open about her private life, including details about failed marriages, the tragic death of her sister Rosemary and her 30 year romance with French hairstylist Didier Malige. She tells colorful stories behind many of the fashion shoots she has styled, but I do wish she had offered more insight into her role in the creative process.Coddington begins by painting a picture of her upbringing as romantic as any photo shoot. For her first 18 years, her home was the Trearddur Bay Hotel on the island of Anglesey off the coast of North Wales. "Although it was bleak, I saw beauty in the bleakness." When she wasn't outdoors, she amused herself by looking at picture books, reading fairy tales and, yes, studying the pages of Vogue magazine. As a teen, she went to a convent school and has vivid memories of the nuns roller skating on the rooftop, "flapping about surreally in their robes like crows on wheels."At 18, she moved to London to attend a modeling course advertised in Vogue. The fashion world was much different in 1959. Coddington had to learn how to apply her own makeup and style her own hair, because makeup artists and hairdressers specializing in photo shoots were nonexistent. A meeting with photographer Norman Parkinson led to her first modeling job running naked through the woods for an arty fashion catalog.Coddington became an overnight success. "I was a character, rather than a pretty model, and I suppose that's exactly what I look for in the girls I now select to put in American Vogue the ones who are quirky looking."She earned the nickname "The Cod" (to Jean Shrimpton's "The Shrimp"), danced the twist on Mary Quant's catwalk and became a muse to Vidal Sassoon, who created his famous five point cut on Coddington. Her modeling career was derailed for two years by a car accident, which scarred her left eyelid. But eventually things picked up again, and she settled into life in 1960s swinging London and Paris, hanging out with a fast crowd that included Michael Caine, Jane Birkin, the Beatles and the Rolling Stones.Her fashion editing career coincided with the beginning of her relationship with Michael Chow and the opening of his glamorous restaurant Mr. Chow, which attracted a starry crowd. "Naturally, we were forever being photographed at home, draped among our symbols of 'with it ness' as one of London's most happening couples; him, the cool young restaurateur, nonchalantly swinging in a hammock hung from the minstrel's gallery and me, the sophisticated style maker, perkily sitting cross legged atop a giant pop art version of a Campbell's soup can."At the height of the bohemian 1970s, she dyed her hair with henna and permed it (it would stay the same for much of the next 40 years), dressed almost exclusively in Yves Saint Laurent, had a fling with a Vietnamese photographer and spent her evenings at Club Sept in Paris. Coddington worked with the who's who of fashion. She shot Anjelica Huston with photographer David Bailey and Pat Cleveland with Helmut Newton.When Bea Miller, who had edited British Vogue for 22 years, retired, Coddington interviewed for the job but says she knew deep down she wasn't suited for it and thought that Wintour, then the creative director of American Vogue, should get it.Wintour did get it. Two days into her editorship, she invited Coddington to a screening of the racy film "Betty Blue." The two sat in dead silence through the opening sequence, a vivid five minute sex scene."Anna was rigid and unmoving. No sign of any emotion at all," Coddington writes. "I then realized how much significance Anna places on willpower trumping feelings."In 1988, when Wintour was appointed editor in chief at American Vogue, Coddington asked to join her. Coddington's narrative style fashion features and travelogues, a sampling of which appear in the book, became the heart and soul of the magazine, even as its pages became increasingly taken over by celebrities. Through her visual canvases, she interpreted the New Romantic period, grunge and the South Beach blinged out 1990s, and persuaded superstar designers Tom Ford, Marc Jacobs and others to play roles in a shoot based on "Alice in Wonderland."She sums up her creative process this way: "For me, one of the most important aspects of my work is to give people something to dream about, just as I used to dream all those years ago as a child looking at beautiful photographs."The book ends with a chapter on then and now. "Fashion has changed so much in my lifetime," Coddington writes. "Today, I find myself at the collections, asking, 'Who are all these people?' Sometimes I think I'm the last remaining person who comes to the shows for the pleasure of seeing the clothes."At 71, she seldom wears makeup and doesn't socialize much. But her attempt in the last 100 pages to distance herself from the term "fashionista" is a bit of a stretch. Clearly, Coddington has led a most charmed life. Otherwise, we wouldn't be reading about it.We provide this community forum for readers to exchange ideas and opinions on the news of the day. Passionate views, pointed criticism and critical thinking are welcome. Comments can only be submitted by registered users. By posting comments on our site, you are agreeing to the following terms:
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a memoir of fashion dreamer's life in vogue
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Lady Griz hand Selvig 800th career win with 68 61 victory over PortlandGriz up to fifth in TSN poll, highest ranking of seasonBig Sky honors Sac State QB SafronNorth Dakota football coach firedSince 1897, the Cat Griz rivalry has captivated the stateFamily health: Prepare yourself and your vehicle for winter drivingFitness calendarBirths for Tuesday, November 19Angler with 4th place total takes Fall Mack Days fishing tournament titleWestern Montana hunters get help from fresh snow, rutIf the name Grace Coddington is familiar, you've probably seen the 2009 documentary film "The September Issue" about Vogue magazine's Editor in Chief Anna Wintour, the most feared and revered woman in fashion. Now Coddington, the longtime creative director of Vogue, has her own star vehicle, an engaging memoir titled "Grace," co written with Michael Roberts. For anyone with a passing interest in the fashion industry, it's worth a read for the name dropping alone.As became clear in the film, which chronicled the magazine's staff as they put together the 4 pound September 2007 issue, Coddington is not the Anna Wintour or Diana Vreeland type. You won't hear her barking orders at assistants or making dramatic pronouncements about pink.But she is equally passionate, a wild haired dreamer who thinks that fashion should be transporting, provocative and even intellectual, who bemoans the dominance of celebrities and digital hocus pocus in fashion photography and who isn't afraid to take on Wintour.The book is a window into how fashion has changed from a small, niche business into a global pop culture medium. It chronicles Coddington's 50 years in the industry, first as a model, then as a fashion editor for British Vogue and finally as creative director for American Vogue, with lots of juicy anecdotes about designers, photographers, celebrities and models.She compares the fashion world then and now and offers clues into her relationship with Wintour. She's also open about her private life, including details about failed marriages, the tragic death of her sister Rosemary and her 30 year romance with French hairstylist Didier Malige. She tells colorful stories behind many of the fashion shoots she has styled, but I do wish she had offered more insight into her role in the creative process.Coddington begins by painting a picture of her upbringing as romantic as any photo shoot. For her first 18 years, her home was the Trearddur Bay Hotel on the island of Anglesey off the coast of North Wales. "Although it was bleak, I saw beauty in the bleakness." When she wasn't outdoors, she amused herself by looking at picture books, reading fairy tales and, yes, studying the pages of Vogue magazine. As a teen, she went to a convent school and has vivid memories of the nuns roller skating on the rooftop, "flapping about surreally in their robes like crows on wheels."At 18, she moved to London to attend a modeling course advertised in Vogue. The fashion world was much different in 1959. Coddington had to learn how to apply her own makeup and style her own hair, because makeup artists and hairdressers specializing in photo shoots were nonexistent. A meeting with photographer Norman Parkinson led to her first modeling job running naked through the woods for an arty fashion catalog.Coddington became an overnight success. "I was a character, rather than a pretty model, and I suppose that's exactly what I look for in the girls I now select to put in American Vogue the ones who are quirky looking."She earned the nickname "The Cod" (to Jean Shrimpton's "The Shrimp"), danced the twist on Mary Quant's catwalk and became a muse to Vidal Sassoon, who created his famous five point cut on Coddington. Her modeling career was derailed for two years by a car accident, which scarred her left eyelid. But eventually things picked up again, and she settled into life in 1960s swinging London and Paris, hanging out with a fast crowd that included Michael Caine, Jane Birkin, the Beatles and the Rolling Stones.Her fashion editing career coincided with the beginning of her relationship with Michael Chow and the opening of his glamorous restaurant Mr. Chow, which attracted a starry crowd. "Naturally, we were forever being photographed at home, draped among our symbols of 'with it ness' as one of London's most happening couples; him, the cool young restaurateur, nonchalantly swinging in a hammock hung from the minstrel's gallery and me, the sophisticated style maker, perkily sitting cross legged atop a giant pop art version of a Campbell's soup can."At the height of the bohemian 1970s, she dyed her hair with henna and permed it (it would stay the same for much of the next 40 years), dressed almost exclusively in Yves Saint Laurent, had a fling with a Vietnamese photographer and spent her evenings at Club Sept in Paris. Coddington worked with the who's who of fashion. She shot Anjelica Huston with photographer David Bailey and Pat Cleveland with Helmut Newton.When Bea Miller, who had edited British Vogue for 22 years, retired, Coddington interviewed for the job but says she knew deep down she wasn't suited for it and thought that Wintour, then the creative director of American Vogue, should get it.Wintour did get it. Two days into her editorship, she invited Coddington to a screening of the racy film "Betty Blue." The two sat in dead silence through the opening sequence, a vivid five minute sex scene."Anna was rigid and unmoving. No sign of any emotion at all," Coddington writes. "I then realized how much significance Anna places on willpower trumping feelings."In 1988, when Wintour was appointed editor in chief at American Vogue, Coddington asked to join her. Coddington's narrative style fashion features and travelogues, a sampling of which appear in the book, became the heart and soul of the magazine, even as its pages became increasingly taken over by celebrities. Through her visual canvases, she interpreted the New Romantic period, grunge and the South Beach blinged out 1990s, and persuaded superstar designers Tom Ford, Marc Jacobs and others to play roles in a shoot based on "Alice in Wonderland."She sums up her creative process this way: "For me, one of the most important aspects of my work is to give people something to dream about, just as I used to dream all those years ago as a child looking at beautiful photographs."The book ends with a chapter on then and now. "Fashion has changed so much in my lifetime," Coddington writes. "Today, I find myself at the collections, asking, 'Who are all these people?' Sometimes I think I'm the last remaining person who comes to the shows for the pleasure of seeing the clothes."At 71, she seldom wears makeup and doesn't socialize much. But her attempt in the last 100 pages to distance herself from the term "fashionista" is a bit of a stretch. Clearly, Coddington has led a most charmed life. Otherwise, we wouldn't be reading about it.We provide this community forum for readers to exchange ideas and opinions on the news of the day. Passionate views, pointed criticism and critical thinking are welcome. Comments can only be submitted by registered users. By posting comments on our site, you are agreeing to the following terms:
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Lady Griz hand Selvig 800th career win with 68 61 victory over PortlandGriz up to fifth in TSN poll, highest ranking of seasonBig Sky honors Sac State QB SafronNorth Dakota football coach firedSince 1897, the Cat Griz rivalry has captivated the stateFamily health: Prepare yourself and your vehicle for winter drivingFitness calendarBirths for Tuesday, November 19Angler with 4th place total takes Fall Mack Days fishing tournament titleWestern Montana hunters get help from fresh snow, rutIf the name Grace Coddington is familiar, you've probably seen the 2009 documentary film "The September Issue" about Vogue magazine's Editor in Chief Anna Wintour, the most feared and revered woman in fashion. Now Coddington, the longtime creative director of Vogue, has her own star vehicle, an engaging memoir titled "Grace," co written with Michael Roberts. For anyone with a passing interest in the fashion industry, it's worth a read for the name dropping alone.As became clear in the film, which chronicled the magazine's staff as they put together the 4 pound September 2007 issue, Coddington is not the Anna Wintour or Diana Vreeland type. You won't hear her barking orders at assistants or making dramatic pronouncements about pink.But she is equally passionate, a wild haired dreamer who thinks that fashion should be transporting, provocative and even intellectual, who bemoans the dominance of celebrities and digital hocus pocus in fashion photography and who isn't afraid to take on Wintour.The book is a window into how fashion has changed from a small, niche business into a global pop culture medium. It chronicles Coddington's 50 years in the industry, first as a model, then as a fashion editor for British Vogue and finally as creative director for American Vogue, with lots of juicy anecdotes about designers, photographers, celebrities and models.She compares the fashion world then and now and offers clues into her relationship with Wintour. She's also open about her private life, including details about failed marriages, the tragic death of her sister Rosemary and her 30 year romance with French hairstylist Didier Malige. She tells colorful stories behind many of the fashion shoots she has styled, but I do wish she had offered more insight into her role in the creative process.Coddington begins by painting a picture of her upbringing as romantic as any photo shoot. For her first 18 years, her home was the Trearddur Bay Hotel on the island of Anglesey off the coast of North Wales. "Although it was bleak, I saw beauty in the bleakness." When she wasn't outdoors, she amused herself by looking at picture books, reading fairy tales and, yes, studying the pages of Vogue magazine. As a teen, she went to a convent school and has vivid memories of the nuns roller skating on the rooftop, "flapping about surreally in their robes like crows on wheels."At 18, she moved to London to attend a modeling course advertised in Vogue. The fashion world was much different in 1959. Coddington had to learn how to apply her own makeup and style her own hair, because makeup artists and hairdressers specializing in photo shoots were nonexistent. A meeting with photographer Norman Parkinson led to her first modeling job running naked through the woods for an arty fashion catalog.Coddington became an overnight success. "I was a character, rather than a pretty model, and I suppose that's exactly what I look for in the girls I now select to put in American Vogue the ones who are quirky looking."She earned the nickname "The Cod" (to Jean Shrimpton's "The Shrimp"), danced the twist on Mary Quant's catwalk and became a muse to Vidal Sassoon, who created his famous five point cut on Coddington. Her modeling career was derailed for two years by a car accident, which scarred her left eyelid. But eventually things picked up again, and she settled into life in 1960s swinging London and Paris, hanging out with a fast crowd that included Michael Caine, Jane Birkin, the Beatles and the Rolling Stones.Her fashion editing career coincided with the beginning of her relationship with Michael Chow and the opening of his glamorous restaurant Mr. Chow, which attracted a starry crowd. "Naturally, we were forever being photographed at home, draped among our symbols of 'with it ness' as one of London's most happening couples; him, the cool young restaurateur, nonchalantly swinging in a hammock hung from the minstrel's gallery and me, the sophisticated style maker, perkily sitting cross legged atop a giant pop art version of a Campbell's soup can."At the height of the bohemian 1970s, she dyed her hair with henna and permed it (it would stay the same for much of the next 40 years), dressed almost exclusively in Yves Saint Laurent, had a fling with a Vietnamese photographer and spent her evenings at Club Sept in Paris. Coddington worked with the who's who of fashion. She shot Anjelica Huston with photographer David Bailey and Pat Cleveland with Helmut Newton.When Bea Miller, who had edited British Vogue for 22 years, retired, Coddington interviewed for the job but says she knew deep down she wasn't suited for it and thought that Wintour, then the creative director of American Vogue, should get it.Wintour did get it. Two days into her editorship, she invited Coddington to a screening of the racy film "Betty Blue." The two sat in dead silence through the opening sequence, a vivid five minute sex scene."Anna was rigid and unmoving. No sign of any emotion at all," Coddington writes. "I then realized how much significance Anna places on willpower trumping feelings."In 1988, when Wintour was appointed editor in chief at American Vogue, Coddington asked to join her. Coddington's narrative style fashion features and travelogues, a sampling of which appear in the book, became the heart and soul of the magazine, even as its pages became increasingly taken over by celebrities. Through her visual canvases, she interpreted the New Romantic period, grunge and the South Beach blinged out 1990s, and persuaded superstar designers Tom Ford, Marc Jacobs and others to play roles in a shoot based on "Alice in Wonderland."She sums up her creative process this way: "For me, one of the most important aspects of my work is to give people something to dream about, just as I used to dream all those years ago as a child looking at beautiful photographs."The book ends with a chapter on then and now. "Fashion has changed so much in my lifetime," Coddington writes. "Today, I find myself at the collections, asking, 'Who are all these people?' Sometimes I think I'm the last remaining person who comes to the shows for the pleasure of seeing the clothes."At 71, she seldom wears makeup and doesn't socialize much. But her attempt in the last 100 pages to distance herself from the term "fashionista" is a bit of a stretch. Clearly, Coddington has led a most charmed life. Otherwise, we wouldn't be reading about it.We provide this community forum for readers to exchange ideas and opinions on the news of the day. Passionate views, pointed criticism and critical thinking are welcome. Comments can only be submitted by registered users. By posting comments on our site, you are agreeing to the following terms:
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a memoir of fashion dreamer's life in vogue
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Lady Griz hand Selvig 800th career win with 68 61 victory over PortlandGriz up to fifth in TSN poll, highest ranking of seasonBig Sky honors Sac State QB SafronNorth Dakota football coach firedSince 1897, the Cat Griz rivalry has captivated the stateFamily health: Prepare yourself and your vehicle for winter drivingFitness calendarBirths for Tuesday, November 19Angler with 4th place total takes Fall Mack Days fishing tournament titleWestern Montana hunters get help from fresh snow, rutIf the name Grace Coddington is familiar, you've probably seen the 2009 documentary film "The September Issue" about Vogue magazine's Editor in Chief Anna Wintour, the most feared and revered woman in fashion. Now Coddington, the longtime creative director of Vogue, has her own star vehicle, an engaging memoir titled "Grace," co written with Michael Roberts. For anyone with a passing interest in the fashion industry, it's worth a read for the name dropping alone.As became clear in the film, which chronicled the magazine's staff as they put together the 4 pound September 2007 issue, Coddington is not the Anna Wintour or Diana Vreeland type. You won't hear her barking orders at assistants or making dramatic pronouncements about pink.But she is equally passionate, a wild haired dreamer who thinks that fashion should be transporting, provocative and even intellectual, who bemoans the dominance of celebrities and digital hocus pocus in fashion photography and who isn't afraid to take on Wintour.The book is a window into how fashion has changed from a small, niche business into a global pop culture medium. It chronicles Coddington's 50 years in the industry, first as a model, then as a fashion editor for British Vogue and finally as creative director for American Vogue, with lots of juicy anecdotes about designers, photographers, celebrities and models.She compares the fashion world then and now and offers clues into her relationship with Wintour. She's also open about her private life, including details about failed marriages, the tragic death of her sister Rosemary and her 30 year romance with French hairstylist Didier Malige. She tells colorful stories behind many of the fashion shoots she has styled, but I do wish she had offered more insight into her role in the creative process.Coddington begins by painting a picture of her upbringing as romantic as any photo shoot. For her first 18 years, her home was the Trearddur Bay Hotel on the island of Anglesey off the coast of North Wales. "Although it was bleak, I saw beauty in the bleakness." When she wasn't outdoors, she amused herself by looking at picture books, reading fairy tales and, yes, studying the pages of Vogue magazine. As a teen, she went to a convent school and has vivid memories of the nuns roller skating on the rooftop, "flapping about surreally in their robes like crows on wheels."At 18, she moved to London to attend a modeling course advertised in Vogue. The fashion world was much different in 1959. Coddington had to learn how to apply her own makeup and style her own hair, because makeup artists and hairdressers specializing in photo shoots were nonexistent. A meeting with photographer Norman Parkinson led to her first modeling job running naked through the woods for an arty fashion catalog.Coddington became an overnight success. "I was a character, rather than a pretty model, and I suppose that's exactly what I look for in the girls I now select to put in American Vogue the ones who are quirky looking."She earned the nickname "The Cod" (to Jean Shrimpton's "The Shrimp"), danced the twist on Mary Quant's catwalk and became a muse to Vidal Sassoon, who created his famous five point cut on Coddington. Her modeling career was derailed for two years by a car accident, which scarred her left eyelid. But eventually things picked up again, and she settled into life in 1960s swinging London and Paris, hanging out with a fast crowd that included Michael Caine, Jane Birkin, the Beatles and the Rolling Stones.Her fashion editing career coincided with the beginning of her relationship with Michael Chow and the opening of his glamorous restaurant Mr. Chow, which attracted a starry crowd. "Naturally, we were forever being photographed at home, draped among our symbols of 'with it ness' as one of London's most happening couples; him, the cool young restaurateur, nonchalantly swinging in a hammock hung from the minstrel's gallery and me, the sophisticated style maker, perkily sitting cross legged atop a giant pop art version of a Campbell's soup can."At the height of the bohemian 1970s, she dyed her hair with henna and permed it (it would stay the same for much of the next 40 years), dressed almost exclusively in Yves Saint Laurent, had a fling with a Vietnamese photographer and spent her evenings at Club Sept in Paris. Coddington worked with the who's who of fashion. She shot Anjelica Huston with photographer David Bailey and Pat Cleveland with Helmut Newton.When Bea Miller, who had edited British Vogue for 22 years, retired, Coddington interviewed for the job but says she knew deep down she wasn't suited for it and thought that Wintour, then the creative director of American Vogue, should get it.Wintour did get it. Two days into her editorship, she invited Coddington to a screening of the racy film "Betty Blue." The two sat in dead silence through the opening sequence, a vivid five minute sex scene."Anna was rigid and unmoving. No sign of any emotion at all," Coddington writes. "I then realized how much significance Anna places on willpower trumping feelings."In 1988, when Wintour was appointed editor in chief at American Vogue, Coddington asked to join her. Coddington's narrative style fashion features and travelogues, a sampling of which appear in the book, became the heart and soul of the magazine, even as its pages became increasingly taken over by celebrities. Through her visual canvases, she interpreted the New Romantic period, grunge and the South Beach blinged out 1990s, and persuaded superstar designers Tom Ford, Marc Jacobs and others to play roles in a shoot based on "Alice in Wonderland."She sums up her creative process this way: "For me, one of the most important aspects of my work is to give people something to dream about, just as I used to dream all those years ago as a child looking at beautiful photographs."The book ends with a chapter on then and now. "Fashion has changed so much in my lifetime," Coddington writes. "Today, I find myself at the collections, asking, 'Who are all these people?' Sometimes I think I'm the last remaining person who comes to the shows for the pleasure of seeing the clothes."At 71, she seldom wears makeup and doesn't socialize much. But her attempt in the last 100 pages to distance herself from the term "fashionista" is a bit of a stretch. Clearly, Coddington has led a most charmed life. Otherwise, we wouldn't be reading about it.We provide this community forum for readers to exchange ideas and opinions on the news of the day. Passionate views, pointed criticism and critical thinking are welcome. Comments can only be submitted by registered users. By posting comments on our site, you are agreeing to the following terms:
From: Cheap fake replica official online for sale outlet factory store huawei (http://www.czech-business-center.com/1035/cheap-ray-ban-jackie-ohh-7019-deep-brown-frame-brown-lens-new/) Mon Jan 20 14:14:56 2014
Lady Griz hand Selvig 800th career win with 68 61 victory over PortlandGriz up to fifth in TSN poll, highest ranking of seasonBig Sky honors Sac State QB SafronNorth Dakota football coach firedSince 1897, the Cat Griz rivalry has captivated the stateFamily health: Prepare yourself and your vehicle for winter drivingFitness calendarBirths for Tuesday, November 19Angler with 4th place total takes Fall Mack Days fishing tournament titleWestern Montana hunters get help from fresh snow, rutIf the name Grace Coddington is familiar, you've probably seen the 2009 documentary film "The September Issue" about Vogue magazine's Editor in Chief Anna Wintour, the most feared and revered woman in fashion. Now Coddington, the longtime creative director of Vogue, has her own star vehicle, an engaging memoir titled "Grace," co written with Michael Roberts. For anyone with a passing interest in the fashion industry, it's worth a read for the name dropping alone.As became clear in the film, which chronicled the magazine's staff as they put together the 4 pound September 2007 issue, Coddington is not the Anna Wintour or Diana Vreeland type. You won't hear her barking orders at assistants or making dramatic pronouncements about pink.But she is equally passionate, a wild haired dreamer who thinks that fashion should be transporting, provocative and even intellectual, who bemoans the dominance of celebrities and digital hocus pocus in fashion photography and who isn't afraid to take on Wintour.The book is a window into how fashion has changed from a small, niche business into a global pop culture medium. It chronicles Coddington's 50 years in the industry, first as a model, then as a fashion editor for British Vogue and finally as creative director for American Vogue, with lots of juicy anecdotes about designers, photographers, celebrities and models.She compares the fashion world then and now and offers clues into her relationship with Wintour. She's also open about her private life, including details about failed marriages, the tragic death of her sister Rosemary and her 30 year romance with French hairstylist Didier Malige. She tells colorful stories behind many of the fashion shoots she has styled, but I do wish she had offered more insight into her role in the creative process.Coddington begins by painting a picture of her upbringing as romantic as any photo shoot. For her first 18 years, her home was the Trearddur Bay Hotel on the island of Anglesey off the coast of North Wales. "Although it was bleak, I saw beauty in the bleakness." When she wasn't outdoors, she amused herself by looking at picture books, reading fairy tales and, yes, studying the pages of Vogue magazine. As a teen, she went to a convent school and has vivid memories of the nuns roller skating on the rooftop, "flapping about surreally in their robes like crows on wheels."At 18, she moved to London to attend a modeling course advertised in Vogue. The fashion world was much different in 1959. Coddington had to learn how to apply her own makeup and style her own hair, because makeup artists and hairdressers specializing in photo shoots were nonexistent. A meeting with photographer Norman Parkinson led to her first modeling job running naked through the woods for an arty fashion catalog.Coddington became an overnight success. "I was a character, rather than a pretty model, and I suppose that's exactly what I look for in the girls I now select to put in American Vogue the ones who are quirky looking."She earned the nickname "The Cod" (to Jean Shrimpton's "The Shrimp"), danced the twist on Mary Quant's catwalk and became a muse to Vidal Sassoon, who created his famous five point cut on Coddington. Her modeling career was derailed for two years by a car accident, which scarred her left eyelid. But eventually things picked up again, and she settled into life in 1960s swinging London and Paris, hanging out with a fast crowd that included Michael Caine, Jane Birkin, the Beatles and the Rolling Stones.Her fashion editing career coincided with the beginning of her relationship with Michael Chow and the opening of his glamorous restaurant Mr. Chow, which attracted a starry crowd. "Naturally, we were forever being photographed at home, draped among our symbols of 'with it ness' as one of London's most happening couples; him, the cool young restaurateur, nonchalantly swinging in a hammock hung from the minstrel's gallery and me, the sophisticated style maker, perkily sitting cross legged atop a giant pop art version of a Campbell's soup can."At the height of the bohemian 1970s, she dyed her hair with henna and permed it (it would stay the same for much of the next 40 years), dressed almost exclusively in Yves Saint Laurent, had a fling with a Vietnamese photographer and spent her evenings at Club Sept in Paris. Coddington worked with the who's who of fashion. She shot Anjelica Huston with photographer David Bailey and Pat Cleveland with Helmut Newton.When Bea Miller, who had edited British Vogue for 22 years, retired, Coddington interviewed for the job but says she knew deep down she wasn't suited for it and thought that Wintour, then the creative director of American Vogue, should get it.Wintour did get it. Two days into her editorship, she invited Coddington to a screening of the racy film "Betty Blue." The two sat in dead silence through the opening sequence, a vivid five minute sex scene."Anna was rigid and unmoving. No sign of any emotion at all," Coddington writes. "I then realized how much significance Anna places on willpower trumping feelings."In 1988, when Wintour was appointed editor in chief at American Vogue, Coddington asked to join her. Coddington's narrative style fashion features and travelogues, a sampling of which appear in the book, became the heart and soul of the magazine, even as its pages became increasingly taken over by celebrities. Through her visual canvases, she interpreted the New Romantic period, grunge and the South Beach blinged out 1990s, and persuaded superstar designers Tom Ford, Marc Jacobs and others to play roles in a shoot based on "Alice in Wonderland."She sums up her creative process this way: "For me, one of the most important aspects of my work is to give people something to dream about, just as I used to dream all those years ago as a child looking at beautiful photographs."The book ends with a chapter on then and now. "Fashion has changed so much in my lifetime," Coddington writes. "Today, I find myself at the collections, asking, 'Who are all these people?' Sometimes I think I'm the last remaining person who comes to the shows for the pleasure of seeing the clothes."At 71, she seldom wears makeup and doesn't socialize much. But her attempt in the last 100 pages to distance herself from the term "fashionista" is a bit of a stretch. Clearly, Coddington has led a most charmed life. Otherwise, we wouldn't be reading about it.We provide this community forum for readers to exchange ideas and opinions on the news of the day. Passionate views, pointed criticism and critical thinking are welcome. Comments can only be submitted by registered users. By posting comments on our site, you are agreeing to the following terms:
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a memoir of fashion dreamer's life in vogue
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Lady Griz hand Selvig 800th career win with 68 61 victory over PortlandGriz up to fifth in TSN poll, highest ranking of seasonBig Sky honors Sac State QB SafronNorth Dakota football coach firedSince 1897, the Cat Griz rivalry has captivated the stateFamily health: Prepare yourself and your vehicle for winter drivingFitness calendarBirths for Tuesday, November 19Angler with 4th place total takes Fall Mack Days fishing tournament titleWestern Montana hunters get help from fresh snow, rutIf the name Grace Coddington is familiar, you've probably seen the 2009 documentary film "The September Issue" about Vogue magazine's Editor in Chief Anna Wintour, the most feared and revered woman in fashion. Now Coddington, the longtime creative director of Vogue, has her own star vehicle, an engaging memoir titled "Grace," co written with Michael Roberts. For anyone with a passing interest in the fashion industry, it's worth a read for the name dropping alone.As became clear in the film, which chronicled the magazine's staff as they put together the 4 pound September 2007 issue, Coddington is not the Anna Wintour or Diana Vreeland type. You won't hear her barking orders at assistants or making dramatic pronouncements about pink.But she is equally passionate, a wild haired dreamer who thinks that fashion should be transporting, provocative and even intellectual, who bemoans the dominance of celebrities and digital hocus pocus in fashion photography and who isn't afraid to take on Wintour.The book is a window into how fashion has changed from a small, niche business into a global pop culture medium. It chronicles Coddington's 50 years in the industry, first as a model, then as a fashion editor for British Vogue and finally as creative director for American Vogue, with lots of juicy anecdotes about designers, photographers, celebrities and models.She compares the fashion world then and now and offers clues into her relationship with Wintour. She's also open about her private life, including details about failed marriages, the tragic death of her sister Rosemary and her 30 year romance with French hairstylist Didier Malige. She tells colorful stories behind many of the fashion shoots she has styled, but I do wish she had offered more insight into her role in the creative process.Coddington begins by painting a picture of her upbringing as romantic as any photo shoot. For her first 18 years, her home was the Trearddur Bay Hotel on the island of Anglesey off the coast of North Wales. "Although it was bleak, I saw beauty in the bleakness." When she wasn't outdoors, she amused herself by looking at picture books, reading fairy tales and, yes, studying the pages of Vogue magazine. As a teen, she went to a convent school and has vivid memories of the nuns roller skating on the rooftop, "flapping about surreally in their robes like crows on wheels."At 18, she moved to London to attend a modeling course advertised in Vogue. The fashion world was much different in 1959. Coddington had to learn how to apply her own makeup and style her own hair, because makeup artists and hairdressers specializing in photo shoots were nonexistent. A meeting with photographer Norman Parkinson led to her first modeling job running naked through the woods for an arty fashion catalog.Coddington became an overnight success. "I was a character, rather than a pretty model, and I suppose that's exactly what I look for in the girls I now select to put in American Vogue the ones who are quirky looking."She earned the nickname "The Cod" (to Jean Shrimpton's "The Shrimp"), danced the twist on Mary Quant's catwalk and became a muse to Vidal Sassoon, who created his famous five point cut on Coddington. Her modeling career was derailed for two years by a car accident, which scarred her left eyelid. But eventually things picked up again, and she settled into life in 1960s swinging London and Paris, hanging out with a fast crowd that included Michael Caine, Jane Birkin, the Beatles and the Rolling Stones.Her fashion editing career coincided with the beginning of her relationship with Michael Chow and the opening of his glamorous restaurant Mr. Chow, which attracted a starry crowd. "Naturally, we were forever being photographed at home, draped among our symbols of 'with it ness' as one of London's most happening couples; him, the cool young restaurateur, nonchalantly swinging in a hammock hung from the minstrel's gallery and me, the sophisticated style maker, perkily sitting cross legged atop a giant pop art version of a Campbell's soup can."At the height of the bohemian 1970s, she dyed her hair with henna and permed it (it would stay the same for much of the next 40 years), dressed almost exclusively in Yves Saint Laurent, had a fling with a Vietnamese photographer and spent her evenings at Club Sept in Paris. Coddington worked with the who's who of fashion. She shot Anjelica Huston with photographer David Bailey and Pat Cleveland with Helmut Newton.When Bea Miller, who had edited British Vogue for 22 years, retired, Coddington interviewed for the job but says she knew deep down she wasn't suited for it and thought that Wintour, then the creative director of American Vogue, should get it.Wintour did get it. Two days into her editorship, she invited Coddington to a screening of the racy film "Betty Blue." The two sat in dead silence through the opening sequence, a vivid five minute sex scene."Anna was rigid and unmoving. No sign of any emotion at all," Coddington writes. "I then realized how much significance Anna places on willpower trumping feelings."In 1988, when Wintour was appointed editor in chief at American Vogue, Coddington asked to join her. Coddington's narrative style fashion features and travelogues, a sampling of which appear in the book, became the heart and soul of the magazine, even as its pages became increasingly taken over by celebrities. Through her visual canvases, she interpreted the New Romantic period, grunge and the South Beach blinged out 1990s, and persuaded superstar designers Tom Ford, Marc Jacobs and others to play roles in a shoot based on "Alice in Wonderland."She sums up her creative process this way: "For me, one of the most important aspects of my work is to give people something to dream about, just as I used to dream all those years ago as a child looking at beautiful photographs."The book ends with a chapter on then and now. "Fashion has changed so much in my lifetime," Coddington writes. "Today, I find myself at the collections, asking, 'Who are all these people?' Sometimes I think I'm the last remaining person who comes to the shows for the pleasure of seeing the clothes."At 71, she seldom wears makeup and doesn't socialize much. But her attempt in the last 100 pages to distance herself from the term "fashionista" is a bit of a stretch. Clearly, Coddington has led a most charmed life. Otherwise, we wouldn't be reading about it.We provide this community forum for readers to exchange ideas and opinions on the news of the day. Passionate views, pointed criticism and critical thinking are welcome. Comments can only be submitted by registered users. By posting comments on our site, you are agreeing to the following terms:
From: Cheap fake replica official online for sale outlet factory store huawei (http://www.czech-business-center.com/475/cheap-ray-ban-rare-prints-25081-orange-pattern-frame-gray-lens/) Mon Jan 20 14:15:01 2014
Lady Griz hand Selvig 800th career win with 68 61 victory over PortlandGriz up to fifth in TSN poll, highest ranking of seasonBig Sky honors Sac State QB SafronNorth Dakota football coach firedSince 1897, the Cat Griz rivalry has captivated the stateFamily health: Prepare yourself and your vehicle for winter drivingFitness calendarBirths for Tuesday, November 19Angler with 4th place total takes Fall Mack Days fishing tournament titleWestern Montana hunters get help from fresh snow, rutIf the name Grace Coddington is familiar, you've probably seen the 2009 documentary film "The September Issue" about Vogue magazine's Editor in Chief Anna Wintour, the most feared and revered woman in fashion. Now Coddington, the longtime creative director of Vogue, has her own star vehicle, an engaging memoir titled "Grace," co written with Michael Roberts. For anyone with a passing interest in the fashion industry, it's worth a read for the name dropping alone.As became clear in the film, which chronicled the magazine's staff as they put together the 4 pound September 2007 issue, Coddington is not the Anna Wintour or Diana Vreeland type. You won't hear her barking orders at assistants or making dramatic pronouncements about pink.But she is equally passionate, a wild haired dreamer who thinks that fashion should be transporting, provocative and even intellectual, who bemoans the dominance of celebrities and digital hocus pocus in fashion photography and who isn't afraid to take on Wintour.The book is a window into how fashion has changed from a small, niche business into a global pop culture medium. It chronicles Coddington's 50 years in the industry, first as a model, then as a fashion editor for British Vogue and finally as creative director for American Vogue, with lots of juicy anecdotes about designers, photographers, celebrities and models.She compares the fashion world then and now and offers clues into her relationship with Wintour. She's also open about her private life, including details about failed marriages, the tragic death of her sister Rosemary and her 30 year romance with French hairstylist Didier Malige. She tells colorful stories behind many of the fashion shoots she has styled, but I do wish she had offered more insight into her role in the creative process.Coddington begins by painting a picture of her upbringing as romantic as any photo shoot. For her first 18 years, her home was the Trearddur Bay Hotel on the island of Anglesey off the coast of North Wales. "Although it was bleak, I saw beauty in the bleakness." When she wasn't outdoors, she amused herself by looking at picture books, reading fairy tales and, yes, studying the pages of Vogue magazine. As a teen, she went to a convent school and has vivid memories of the nuns roller skating on the rooftop, "flapping about surreally in their robes like crows on wheels."At 18, she moved to London to attend a modeling course advertised in Vogue. The fashion world was much different in 1959. Coddington had to learn how to apply her own makeup and style her own hair, because makeup artists and hairdressers specializing in photo shoots were nonexistent. A meeting with photographer Norman Parkinson led to her first modeling job running naked through the woods for an arty fashion catalog.Coddington became an overnight success. "I was a character, rather than a pretty model, and I suppose that's exactly what I look for in the girls I now select to put in American Vogue the ones who are quirky looking."She earned the nickname "The Cod" (to Jean Shrimpton's "The Shrimp"), danced the twist on Mary Quant's catwalk and became a muse to Vidal Sassoon, who created his famous five point cut on Coddington. Her modeling career was derailed for two years by a car accident, which scarred her left eyelid. But eventually things picked up again, and she settled into life in 1960s swinging London and Paris, hanging out with a fast crowd that included Michael Caine, Jane Birkin, the Beatles and the Rolling Stones.Her fashion editing career coincided with the beginning of her relationship with Michael Chow and the opening of his glamorous restaurant Mr. Chow, which attracted a starry crowd. "Naturally, we were forever being photographed at home, draped among our symbols of 'with it ness' as one of London's most happening couples; him, the cool young restaurateur, nonchalantly swinging in a hammock hung from the minstrel's gallery and me, the sophisticated style maker, perkily sitting cross legged atop a giant pop art version of a Campbell's soup can."At the height of the bohemian 1970s, she dyed her hair with henna and permed it (it would stay the same for much of the next 40 years), dressed almost exclusively in Yves Saint Laurent, had a fling with a Vietnamese photographer and spent her evenings at Club Sept in Paris. Coddington worked with the who's who of fashion. She shot Anjelica Huston with photographer David Bailey and Pat Cleveland with Helmut Newton.When Bea Miller, who had edited British Vogue for 22 years, retired, Coddington interviewed for the job but says she knew deep down she wasn't suited for it and thought that Wintour, then the creative director of American Vogue, should get it.Wintour did get it. Two days into her editorship, she invited Coddington to a screening of the racy film "Betty Blue." The two sat in dead silence through the opening sequence, a vivid five minute sex scene."Anna was rigid and unmoving. No sign of any emotion at all," Coddington writes. "I then realized how much significance Anna places on willpower trumping feelings."In 1988, when Wintour was appointed editor in chief at American Vogue, Coddington asked to join her. Coddington's narrative style fashion features and travelogues, a sampling of which appear in the book, became the heart and soul of the magazine, even as its pages became increasingly taken over by celebrities. Through her visual canvases, she interpreted the New Romantic period, grunge and the South Beach blinged out 1990s, and persuaded superstar designers Tom Ford, Marc Jacobs and others to play roles in a shoot based on "Alice in Wonderland."She sums up her creative process this way: "For me, one of the most important aspects of my work is to give people something to dream about, just as I used to dream all those years ago as a child looking at beautiful photographs."The book ends with a chapter on then and now. "Fashion has changed so much in my lifetime," Coddington writes. "Today, I find myself at the collections, asking, 'Who are all these people?' Sometimes I think I'm the last remaining person who comes to the shows for the pleasure of seeing the clothes."At 71, she seldom wears makeup and doesn't socialize much. But her attempt in the last 100 pages to distance herself from the term "fashionista" is a bit of a stretch. Clearly, Coddington has led a most charmed life. Otherwise, we wouldn't be reading about it.We provide this community forum for readers to exchange ideas and opinions on the news of the day. Passionate views, pointed criticism and critical thinking are welcome. Comments can only be submitted by registered users. By posting comments on our site, you are agreeing to the following terms:
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a memoir of fashion dreamer's life in vogue
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Lady Griz hand Selvig 800th career win with 68 61 victory over PortlandGriz up to fifth in TSN poll, highest ranking of seasonBig Sky honors Sac State QB SafronNorth Dakota football coach firedSince 1897, the Cat Griz rivalry has captivated the stateFamily health: Prepare yourself and your vehicle for winter drivingFitness calendarBirths for Tuesday, November 19Angler with 4th place total takes Fall Mack Days fishing tournament titleWestern Montana hunters get help from fresh snow, rutIf the name Grace Coddington is familiar, you've probably seen the 2009 documentary film "The September Issue" about Vogue magazine's Editor in Chief Anna Wintour, the most feared and revered woman in fashion. Now Coddington, the longtime creative director of Vogue, has her own star vehicle, an engaging memoir titled "Grace," co written with Michael Roberts. For anyone with a passing interest in the fashion industry, it's worth a read for the name dropping alone.As became clear in the film, which chronicled the magazine's staff as they put together the 4 pound September 2007 issue, Coddington is not the Anna Wintour or Diana Vreeland type. You won't hear her barking orders at assistants or making dramatic pronouncements about pink.But she is equally passionate, a wild haired dreamer who thinks that fashion should be transporting, provocative and even intellectual, who bemoans the dominance of celebrities and digital hocus pocus in fashion photography and who isn't afraid to take on Wintour.The book is a window into how fashion has changed from a small, niche business into a global pop culture medium. It chronicles Coddington's 50 years in the industry, first as a model, then as a fashion editor for British Vogue and finally as creative director for American Vogue, with lots of juicy anecdotes about designers, photographers, celebrities and models.She compares the fashion world then and now and offers clues into her relationship with Wintour. She's also open about her private life, including details about failed marriages, the tragic death of her sister Rosemary and her 30 year romance with French hairstylist Didier Malige. She tells colorful stories behind many of the fashion shoots she has styled, but I do wish she had offered more insight into her role in the creative process.Coddington begins by painting a picture of her upbringing as romantic as any photo shoot. For her first 18 years, her home was the Trearddur Bay Hotel on the island of Anglesey off the coast of North Wales. "Although it was bleak, I saw beauty in the bleakness." When she wasn't outdoors, she amused herself by looking at picture books, reading fairy tales and, yes, studying the pages of Vogue magazine. As a teen, she went to a convent school and has vivid memories of the nuns roller skating on the rooftop, "flapping about surreally in their robes like crows on wheels."At 18, she moved to London to attend a modeling course advertised in Vogue. The fashion world was much different in 1959. Coddington had to learn how to apply her own makeup and style her own hair, because makeup artists and hairdressers specializing in photo shoots were nonexistent. A meeting with photographer Norman Parkinson led to her first modeling job running naked through the woods for an arty fashion catalog.Coddington became an overnight success. "I was a character, rather than a pretty model, and I suppose that's exactly what I look for in the girls I now select to put in American Vogue the ones who are quirky looking."She earned the nickname "The Cod" (to Jean Shrimpton's "The Shrimp"), danced the twist on Mary Quant's catwalk and became a muse to Vidal Sassoon, who created his famous five point cut on Coddington. Her modeling career was derailed for two years by a car accident, which scarred her left eyelid. But eventually things picked up again, and she settled into life in 1960s swinging London and Paris, hanging out with a fast crowd that included Michael Caine, Jane Birkin, the Beatles and the Rolling Stones.Her fashion editing career coincided with the beginning of her relationship with Michael Chow and the opening of his glamorous restaurant Mr. Chow, which attracted a starry crowd. "Naturally, we were forever being photographed at home, draped among our symbols of 'with it ness' as one of London's most happening couples; him, the cool young restaurateur, nonchalantly swinging in a hammock hung from the minstrel's gallery and me, the sophisticated style maker, perkily sitting cross legged atop a giant pop art version of a Campbell's soup can."At the height of the bohemian 1970s, she dyed her hair with henna and permed it (it would stay the same for much of the next 40 years), dressed almost exclusively in Yves Saint Laurent, had a fling with a Vietnamese photographer and spent her evenings at Club Sept in Paris. Coddington worked with the who's who of fashion. She shot Anjelica Huston with photographer David Bailey and Pat Cleveland with Helmut Newton.When Bea Miller, who had edited British Vogue for 22 years, retired, Coddington interviewed for the job but says she knew deep down she wasn't suited for it and thought that Wintour, then the creative director of American Vogue, should get it.Wintour did get it. Two days into her editorship, she invited Coddington to a screening of the racy film "Betty Blue." The two sat in dead silence through the opening sequence, a vivid five minute sex scene."Anna was rigid and unmoving. No sign of any emotion at all," Coddington writes. "I then realized how much significance Anna places on willpower trumping feelings."In 1988, when Wintour was appointed editor in chief at American Vogue, Coddington asked to join her. Coddington's narrative style fashion features and travelogues, a sampling of which appear in the book, became the heart and soul of the magazine, even as its pages became increasingly taken over by celebrities. Through her visual canvases, she interpreted the New Romantic period, grunge and the South Beach blinged out 1990s, and persuaded superstar designers Tom Ford, Marc Jacobs and others to play roles in a shoot based on "Alice in Wonderland."She sums up her creative process this way: "For me, one of the most important aspects of my work is to give people something to dream about, just as I used to dream all those years ago as a child looking at beautiful photographs."The book ends with a chapter on then and now. "Fashion has changed so much in my lifetime," Coddington writes. "Today, I find myself at the collections, asking, 'Who are all these people?' Sometimes I think I'm the last remaining person who comes to the shows for the pleasure of seeing the clothes."At 71, she seldom wears makeup and doesn't socialize much. But her attempt in the last 100 pages to distance herself from the term "fashionista" is a bit of a stretch. Clearly, Coddington has led a most charmed life. Otherwise, we wouldn't be reading about it.We provide this community forum for readers to exchange ideas and opinions on the news of the day. Passionate views, pointed criticism and critical thinking are welcome. Comments can only be submitted by registered users. By posting comments on our site, you are agreeing to the following terms:
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a memoir of fashion dreamer's life in vogue
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Lady Griz hand Selvig 800th career win with 68 61 victory over PortlandGriz up to fifth in TSN poll, highest ranking of seasonBig Sky honors Sac State QB SafronNorth Dakota football coach firedSince 1897, the Cat Griz rivalry has captivated the stateFamily health: Prepare yourself and your vehicle for winter drivingFitness calendarBirths for Tuesday, November 19Angler with 4th place total takes Fall Mack Days fishing tournament titleWestern Montana hunters get help from fresh snow, rutIf the name Grace Coddington is familiar, you've probably seen the 2009 documentary film "The September Issue" about Vogue magazine's Editor in Chief Anna Wintour, the most feared and revered woman in fashion. Now Coddington, the longtime creative director of Vogue, has her own star vehicle, an engaging memoir titled "Grace," co written with Michael Roberts. For anyone with a passing interest in the fashion industry, it's worth a read for the name dropping alone.As became clear in the film, which chronicled the magazine's staff as they put together the 4 pound September 2007 issue, Coddington is not the Anna Wintour or Diana Vreeland type. You won't hear her barking orders at assistants or making dramatic pronouncements about pink.But she is equally passionate, a wild haired dreamer who thinks that fashion should be transporting, provocative and even intellectual, who bemoans the dominance of celebrities and digital hocus pocus in fashion photography and who isn't afraid to take on Wintour.The book is a window into how fashion has changed from a small, niche business into a global pop culture medium. It chronicles Coddington's 50 years in the industry, first as a model, then as a fashion editor for British Vogue and finally as creative director for American Vogue, with lots of juicy anecdotes about designers, photographers, celebrities and models.She compares the fashion world then and now and offers clues into her relationship with Wintour. She's also open about her private life, including details about failed marriages, the tragic death of her sister Rosemary and her 30 year romance with French hairstylist Didier Malige. She tells colorful stories behind many of the fashion shoots she has styled, but I do wish she had offered more insight into her role in the creative process.Coddington begins by painting a picture of her upbringing as romantic as any photo shoot. For her first 18 years, her home was the Trearddur Bay Hotel on the island of Anglesey off the coast of North Wales. "Although it was bleak, I saw beauty in the bleakness." When she wasn't outdoors, she amused herself by looking at picture books, reading fairy tales and, yes, studying the pages of Vogue magazine. As a teen, she went to a convent school and has vivid memories of the nuns roller skating on the rooftop, "flapping about surreally in their robes like crows on wheels."At 18, she moved to London to attend a modeling course advertised in Vogue. The fashion world was much different in 1959. Coddington had to learn how to apply her own makeup and style her own hair, because makeup artists and hairdressers specializing in photo shoots were nonexistent. A meeting with photographer Norman Parkinson led to her first modeling job running naked through the woods for an arty fashion catalog.Coddington became an overnight success. "I was a character, rather than a pretty model, and I suppose that's exactly what I look for in the girls I now select to put in American Vogue the ones who are quirky looking."She earned the nickname "The Cod" (to Jean Shrimpton's "The Shrimp"), danced the twist on Mary Quant's catwalk and became a muse to Vidal Sassoon, who created his famous five point cut on Coddington. Her modeling career was derailed for two years by a car accident, which scarred her left eyelid. But eventually things picked up again, and she settled into life in 1960s swinging London and Paris, hanging out with a fast crowd that included Michael Caine, Jane Birkin, the Beatles and the Rolling Stones.Her fashion editing career coincided with the beginning of her relationship with Michael Chow and the opening of his glamorous restaurant Mr. Chow, which attracted a starry crowd. "Naturally, we were forever being photographed at home, draped among our symbols of 'with it ness' as one of London's most happening couples; him, the cool young restaurateur, nonchalantly swinging in a hammock hung from the minstrel's gallery and me, the sophisticated style maker, perkily sitting cross legged atop a giant pop art version of a Campbell's soup can."At the height of the bohemian 1970s, she dyed her hair with henna and permed it (it would stay the same for much of the next 40 years), dressed almost exclusively in Yves Saint Laurent, had a fling with a Vietnamese photographer and spent her evenings at Club Sept in Paris. Coddington worked with the who's who of fashion. She shot Anjelica Huston with photographer David Bailey and Pat Cleveland with Helmut Newton.When Bea Miller, who had edited British Vogue for 22 years, retired, Coddington interviewed for the job but says she knew deep down she wasn't suited for it and thought that Wintour, then the creative director of American Vogue, should get it.Wintour did get it. Two days into her editorship, she invited Coddington to a screening of the racy film "Betty Blue." The two sat in dead silence through the opening sequence, a vivid five minute sex scene."Anna was rigid and unmoving. No sign of any emotion at all," Coddington writes. "I then realized how much significance Anna places on willpower trumping feelings."In 1988, when Wintour was appointed editor in chief at American Vogue, Coddington asked to join her. Coddington's narrative style fashion features and travelogues, a sampling of which appear in the book, became the heart and soul of the magazine, even as its pages became increasingly taken over by celebrities. Through her visual canvases, she interpreted the New Romantic period, grunge and the South Beach blinged out 1990s, and persuaded superstar designers Tom Ford, Marc Jacobs and others to play roles in a shoot based on "Alice in Wonderland."She sums up her creative process this way: "For me, one of the most important aspects of my work is to give people something to dream about, just as I used to dream all those years ago as a child looking at beautiful photographs."The book ends with a chapter on then and now. "Fashion has changed so much in my lifetime," Coddington writes. "Today, I find myself at the collections, asking, 'Who are all these people?' Sometimes I think I'm the last remaining person who comes to the shows for the pleasure of seeing the clothes."At 71, she seldom wears makeup and doesn't socialize much. But her attempt in the last 100 pages to distance herself from the term "fashionista" is a bit of a stretch. Clearly, Coddington has led a most charmed life. Otherwise, we wouldn't be reading about it.We provide this community forum for readers to exchange ideas and opinions on the news of the day. Passionate views, pointed criticism and critical thinking are welcome. Comments can only be submitted by registered users. By posting comments on our site, you are agreeing to the following terms:
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Lady Griz hand Selvig 800th career win with 68 61 victory over PortlandGriz up to fifth in TSN poll, highest ranking of seasonBig Sky honors Sac State QB SafronNorth Dakota football coach firedSince 1897, the Cat Griz rivalry has captivated the stateFamily health: Prepare yourself and your vehicle for winter drivingFitness calendarBirths for Tuesday, November 19Angler with 4th place total takes Fall Mack Days fishing tournament titleWestern Montana hunters get help from fresh snow, rutIf the name Grace Coddington is familiar, you've probably seen the 2009 documentary film "The September Issue" about Vogue magazine's Editor in Chief Anna Wintour, the most feared and revered woman in fashion. Now Coddington, the longtime creative director of Vogue, has her own star vehicle, an engaging memoir titled "Grace," co written with Michael Roberts. For anyone with a passing interest in the fashion industry, it's worth a read for the name dropping alone.As became clear in the film, which chronicled the magazine's staff as they put together the 4 pound September 2007 issue, Coddington is not the Anna Wintour or Diana Vreeland type. You won't hear her barking orders at assistants or making dramatic pronouncements about pink.But she is equally passionate, a wild haired dreamer who thinks that fashion should be transporting, provocative and even intellectual, who bemoans the dominance of celebrities and digital hocus pocus in fashion photography and who isn't afraid to take on Wintour.The book is a window into how fashion has changed from a small, niche business into a global pop culture medium. It chronicles Coddington's 50 years in the industry, first as a model, then as a fashion editor for British Vogue and finally as creative director for American Vogue, with lots of juicy anecdotes about designers, photographers, celebrities and models.She compares the fashion world then and now and offers clues into her relationship with Wintour. She's also open about her private life, including details about failed marriages, the tragic death of her sister Rosemary and her 30 year romance with French hairstylist Didier Malige. She tells colorful stories behind many of the fashion shoots she has styled, but I do wish she had offered more insight into her role in the creative process.Coddington begins by painting a picture of her upbringing as romantic as any photo shoot. For her first 18 years, her home was the Trearddur Bay Hotel on the island of Anglesey off the coast of North Wales. "Although it was bleak, I saw beauty in the bleakness." When she wasn't outdoors, she amused herself by looking at picture books, reading fairy tales and, yes, studying the pages of Vogue magazine. As a teen, she went to a convent school and has vivid memories of the nuns roller skating on the rooftop, "flapping about surreally in their robes like crows on wheels."At 18, she moved to London to attend a modeling course advertised in Vogue. The fashion world was much different in 1959. Coddington had to learn how to apply her own makeup and style her own hair, because makeup artists and hairdressers specializing in photo shoots were nonexistent. A meeting with photographer Norman Parkinson led to her first modeling job running naked through the woods for an arty fashion catalog.Coddington became an overnight success. "I was a character, rather than a pretty model, and I suppose that's exactly what I look for in the girls I now select to put in American Vogue the ones who are quirky looking."She earned the nickname "The Cod" (to Jean Shrimpton's "The Shrimp"), danced the twist on Mary Quant's catwalk and became a muse to Vidal Sassoon, who created his famous five point cut on Coddington. Her modeling career was derailed for two years by a car accident, which scarred her left eyelid. But eventually things picked up again, and she settled into life in 1960s swinging London and Paris, hanging out with a fast crowd that included Michael Caine, Jane Birkin, the Beatles and the Rolling Stones.Her fashion editing career coincided with the beginning of her relationship with Michael Chow and the opening of his glamorous restaurant Mr. Chow, which attracted a starry crowd. "Naturally, we were forever being photographed at home, draped among our symbols of 'with it ness' as one of London's most happening couples; him, the cool young restaurateur, nonchalantly swinging in a hammock hung from the minstrel's gallery and me, the sophisticated style maker, perkily sitting cross legged atop a giant pop art version of a Campbell's soup can."At the height of the bohemian 1970s, she dyed her hair with henna and permed it (it would stay the same for much of the next 40 years), dressed almost exclusively in Yves Saint Laurent, had a fling with a Vietnamese photographer and spent her evenings at Club Sept in Paris. Coddington worked with the who's who of fashion. She shot Anjelica Huston with photographer David Bailey and Pat Cleveland with Helmut Newton.When Bea Miller, who had edited British Vogue for 22 years, retired, Coddington interviewed for the job but says she knew deep down she wasn't suited for it and thought that Wintour, then the creative director of American Vogue, should get it.Wintour did get it. Two days into her editorship, she invited Coddington to a screening of the racy film "Betty Blue." The two sat in dead silence through the opening sequence, a vivid five minute sex scene."Anna was rigid and unmoving. No sign of any emotion at all," Coddington writes. "I then realized how much significance Anna places on willpower trumping feelings."In 1988, when Wintour was appointed editor in chief at American Vogue, Coddington asked to join her. Coddington's narrative style fashion features and travelogues, a sampling of which appear in the book, became the heart and soul of the magazine, even as its pages became increasingly taken over by celebrities. Through her visual canvases, she interpreted the New Romantic period, grunge and the South Beach blinged out 1990s, and persuaded superstar designers Tom Ford, Marc Jacobs and others to play roles in a shoot based on "Alice in Wonderland."She sums up her creative process this way: "For me, one of the most important aspects of my work is to give people something to dream about, just as I used to dream all those years ago as a child looking at beautiful photographs."The book ends with a chapter on then and now. "Fashion has changed so much in my lifetime," Coddington writes. "Today, I find myself at the collections, asking, 'Who are all these people?' Sometimes I think I'm the last remaining person who comes to the shows for the pleasure of seeing the clothes."At 71, she seldom wears makeup and doesn't socialize much. But her attempt in the last 100 pages to distance herself from the term "fashionista" is a bit of a stretch. Clearly, Coddington has led a most charmed life. Otherwise, we wouldn't be reading about it.We provide this community forum for readers to exchange ideas and opinions on the news of the day. Passionate views, pointed criticism and critical thinking are welcome. Comments can only be submitted by registered users. By posting comments on our site, you are agreeing to the following terms:
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Lady Griz hand Selvig 800th career win with 68 61 victory over PortlandGriz up to fifth in TSN poll, highest ranking of seasonBig Sky honors Sac State QB SafronNorth Dakota football coach firedSince 1897, the Cat Griz rivalry has captivated the stateFamily health: Prepare yourself and your vehicle for winter drivingFitness calendarBirths for Tuesday, November 19Angler with 4th place total takes Fall Mack Days fishing tournament titleWestern Montana hunters get help from fresh snow, rutIf the name Grace Coddington is familiar, you've probably seen the 2009 documentary film "The September Issue" about Vogue magazine's Editor in Chief Anna Wintour, the most feared and revered woman in fashion. Now Coddington, the longtime creative director of Vogue, has her own star vehicle, an engaging memoir titled "Grace," co written with Michael Roberts. For anyone with a passing interest in the fashion industry, it's worth a read for the name dropping alone.As became clear in the film, which chronicled the magazine's staff as they put together the 4 pound September 2007 issue, Coddington is not the Anna Wintour or Diana Vreeland type. You won't hear her barking orders at assistants or making dramatic pronouncements about pink.But she is equally passionate, a wild haired dreamer who thinks that fashion should be transporting, provocative and even intellectual, who bemoans the dominance of celebrities and digital hocus pocus in fashion photography and who isn't afraid to take on Wintour.The book is a window into how fashion has changed from a small, niche business into a global pop culture medium. It chronicles Coddington's 50 years in the industry, first as a model, then as a fashion editor for British Vogue and finally as creative director for American Vogue, with lots of juicy anecdotes about designers, photographers, celebrities and models.She compares the fashion world then and now and offers clues into her relationship with Wintour. She's also open about her private life, including details about failed marriages, the tragic death of her sister Rosemary and her 30 year romance with French hairstylist Didier Malige. She tells colorful stories behind many of the fashion shoots she has styled, but I do wish she had offered more insight into her role in the creative process.Coddington begins by painting a picture of her upbringing as romantic as any photo shoot. For her first 18 years, her home was the Trearddur Bay Hotel on the island of Anglesey off the coast of North Wales. "Although it was bleak, I saw beauty in the bleakness." When she wasn't outdoors, she amused herself by looking at picture books, reading fairy tales and, yes, studying the pages of Vogue magazine. As a teen, she went to a convent school and has vivid memories of the nuns roller skating on the rooftop, "flapping about surreally in their robes like crows on wheels."At 18, she moved to London to attend a modeling course advertised in Vogue. The fashion world was much different in 1959. Coddington had to learn how to apply her own makeup and style her own hair, because makeup artists and hairdressers specializing in photo shoots were nonexistent. A meeting with photographer Norman Parkinson led to her first modeling job running naked through the woods for an arty fashion catalog.Coddington became an overnight success. "I was a character, rather than a pretty model, and I suppose that's exactly what I look for in the girls I now select to put in American Vogue the ones who are quirky looking."She earned the nickname "The Cod" (to Jean Shrimpton's "The Shrimp"), danced the twist on Mary Quant's catwalk and became a muse to Vidal Sassoon, who created his famous five point cut on Coddington. Her modeling career was derailed for two years by a car accident, which scarred her left eyelid. But eventually things picked up again, and she settled into life in 1960s swinging London and Paris, hanging out with a fast crowd that included Michael Caine, Jane Birkin, the Beatles and the Rolling Stones.Her fashion editing career coincided with the beginning of her relationship with Michael Chow and the opening of his glamorous restaurant Mr. Chow, which attracted a starry crowd. "Naturally, we were forever being photographed at home, draped among our symbols of 'with it ness' as one of London's most happening couples; him, the cool young restaurateur, nonchalantly swinging in a hammock hung from the minstrel's gallery and me, the sophisticated style maker, perkily sitting cross legged atop a giant pop art version of a Campbell's soup can."At the height of the bohemian 1970s, she dyed her hair with henna and permed it (it would stay the same for much of the next 40 years), dressed almost exclusively in Yves Saint Laurent, had a fling with a Vietnamese photographer and spent her evenings at Club Sept in Paris. Coddington worked with the who's who of fashion. She shot Anjelica Huston with photographer David Bailey and Pat Cleveland with Helmut Newton.When Bea Miller, who had edited British Vogue for 22 years, retired, Coddington interviewed for the job but says she knew deep down she wasn't suited for it and thought that Wintour, then the creative director of American Vogue, should get it.Wintour did get it. Two days into her editorship, she invited Coddington to a screening of the racy film "Betty Blue." The two sat in dead silence through the opening sequence, a vivid five minute sex scene."Anna was rigid and unmoving. No sign of any emotion at all," Coddington writes. "I then realized how much significance Anna places on willpower trumping feelings."In 1988, when Wintour was appointed editor in chief at American Vogue, Coddington asked to join her. Coddington's narrative style fashion features and travelogues, a sampling of which appear in the book, became the heart and soul of the magazine, even as its pages became increasingly taken over by celebrities. Through her visual canvases, she interpreted the New Romantic period, grunge and the South Beach blinged out 1990s, and persuaded superstar designers Tom Ford, Marc Jacobs and others to play roles in a shoot based on "Alice in Wonderland."She sums up her creative process this way: "For me, one of the most important aspects of my work is to give people something to dream about, just as I used to dream all those years ago as a child looking at beautiful photographs."The book ends with a chapter on then and now. "Fashion has changed so much in my lifetime," Coddington writes. "Today, I find myself at the collections, asking, 'Who are all these people?' Sometimes I think I'm the last remaining person who comes to the shows for the pleasure of seeing the clothes."At 71, she seldom wears makeup and doesn't socialize much. But her attempt in the last 100 pages to distance herself from the term "fashionista" is a bit of a stretch. Clearly, Coddington has led a most charmed life. Otherwise, we wouldn't be reading about it.We provide this community forum for readers to exchange ideas and opinions on the news of the day. Passionate views, pointed criticism and critical thinking are welcome. Comments can only be submitted by registered users. By posting comments on our site, you are agreeing to the following terms:
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Lady Griz hand Selvig 800th career win with 68 61 victory over PortlandGriz up to fifth in TSN poll, highest ranking of seasonBig Sky honors Sac State QB SafronNorth Dakota football coach firedSince 1897, the Cat Griz rivalry has captivated the stateFamily health: Prepare yourself and your vehicle for winter drivingFitness calendarBirths for Tuesday, November 19Angler with 4th place total takes Fall Mack Days fishing tournament titleWestern Montana hunters get help from fresh snow, rutIf the name Grace Coddington is familiar, you've probably seen the 2009 documentary film "The September Issue" about Vogue magazine's Editor in Chief Anna Wintour, the most feared and revered woman in fashion. Now Coddington, the longtime creative director of Vogue, has her own star vehicle, an engaging memoir titled "Grace," co written with Michael Roberts. For anyone with a passing interest in the fashion industry, it's worth a read for the name dropping alone.As became clear in the film, which chronicled the magazine's staff as they put together the 4 pound September 2007 issue, Coddington is not the Anna Wintour or Diana Vreeland type. You won't hear her barking orders at assistants or making dramatic pronouncements about pink.But she is equally passionate, a wild haired dreamer who thinks that fashion should be transporting, provocative and even intellectual, who bemoans the dominance of celebrities and digital hocus pocus in fashion photography and who isn't afraid to take on Wintour.The book is a window into how fashion has changed from a small, niche business into a global pop culture medium. It chronicles Coddington's 50 years in the industry, first as a model, then as a fashion editor for British Vogue and finally as creative director for American Vogue, with lots of juicy anecdotes about designers, photographers, celebrities and models.She compares the fashion world then and now and offers clues into her relationship with Wintour. She's also open about her private life, including details about failed marriages, the tragic death of her sister Rosemary and her 30 year romance with French hairstylist Didier Malige. She tells colorful stories behind many of the fashion shoots she has styled, but I do wish she had offered more insight into her role in the creative process.Coddington begins by painting a picture of her upbringing as romantic as any photo shoot. For her first 18 years, her home was the Trearddur Bay Hotel on the island of Anglesey off the coast of North Wales. "Although it was bleak, I saw beauty in the bleakness." When she wasn't outdoors, she amused herself by looking at picture books, reading fairy tales and, yes, studying the pages of Vogue magazine. As a teen, she went to a convent school and has vivid memories of the nuns roller skating on the rooftop, "flapping about surreally in their robes like crows on wheels."At 18, she moved to London to attend a modeling course advertised in Vogue. The fashion world was much different in 1959. Coddington had to learn how to apply her own makeup and style her own hair, because makeup artists and hairdressers specializing in photo shoots were nonexistent. A meeting with photographer Norman Parkinson led to her first modeling job running naked through the woods for an arty fashion catalog.Coddington became an overnight success. "I was a character, rather than a pretty model, and I suppose that's exactly what I look for in the girls I now select to put in American Vogue the ones who are quirky looking."She earned the nickname "The Cod" (to Jean Shrimpton's "The Shrimp"), danced the twist on Mary Quant's catwalk and became a muse to Vidal Sassoon, who created his famous five point cut on Coddington. Her modeling career was derailed for two years by a car accident, which scarred her left eyelid. But eventually things picked up again, and she settled into life in 1960s swinging London and Paris, hanging out with a fast crowd that included Michael Caine, Jane Birkin, the Beatles and the Rolling Stones.Her fashion editing career coincided with the beginning of her relationship with Michael Chow and the opening of his glamorous restaurant Mr. Chow, which attracted a starry crowd. "Naturally, we were forever being photographed at home, draped among our symbols of 'with it ness' as one of London's most happening couples; him, the cool young restaurateur, nonchalantly swinging in a hammock hung from the minstrel's gallery and me, the sophisticated style maker, perkily sitting cross legged atop a giant pop art version of a Campbell's soup can."At the height of the bohemian 1970s, she dyed her hair with henna and permed it (it would stay the same for much of the next 40 years), dressed almost exclusively in Yves Saint Laurent, had a fling with a Vietnamese photographer and spent her evenings at Club Sept in Paris. Coddington worked with the who's who of fashion. She shot Anjelica Huston with photographer David Bailey and Pat Cleveland with Helmut Newton.When Bea Miller, who had edited British Vogue for 22 years, retired, Coddington interviewed for the job but says she knew deep down she wasn't suited for it and thought that Wintour, then the creative director of American Vogue, should get it.Wintour did get it. Two days into her editorship, she invited Coddington to a screening of the racy film "Betty Blue." The two sat in dead silence through the opening sequence, a vivid five minute sex scene."Anna was rigid and unmoving. No sign of any emotion at all," Coddington writes. "I then realized how much significance Anna places on willpower trumping feelings."In 1988, when Wintour was appointed editor in chief at American Vogue, Coddington asked to join her. Coddington's narrative style fashion features and travelogues, a sampling of which appear in the book, became the heart and soul of the magazine, even as its pages became increasingly taken over by celebrities. Through her visual canvases, she interpreted the New Romantic period, grunge and the South Beach blinged out 1990s, and persuaded superstar designers Tom Ford, Marc Jacobs and others to play roles in a shoot based on "Alice in Wonderland."She sums up her creative process this way: "For me, one of the most important aspects of my work is to give people something to dream about, just as I used to dream all those years ago as a child looking at beautiful photographs."The book ends with a chapter on then and now. "Fashion has changed so much in my lifetime," Coddington writes. "Today, I find myself at the collections, asking, 'Who are all these people?' Sometimes I think I'm the last remaining person who comes to the shows for the pleasure of seeing the clothes."At 71, she seldom wears makeup and doesn't socialize much. But her attempt in the last 100 pages to distance herself from the term "fashionista" is a bit of a stretch. Clearly, Coddington has led a most charmed life. Otherwise, we wouldn't be reading about it.We provide this community forum for readers to exchange ideas and opinions on the news of the day. Passionate views, pointed criticism and critical thinking are welcome. Comments can only be submitted by registered users. By posting comments on our site, you are agreeing to the following terms:
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Lady Griz hand Selvig 800th career win with 68 61 victory over PortlandGriz up to fifth in TSN poll, highest ranking of seasonBig Sky honors Sac State QB SafronNorth Dakota football coach firedSince 1897, the Cat Griz rivalry has captivated the stateFamily health: Prepare yourself and your vehicle for winter drivingFitness calendarBirths for Tuesday, November 19Angler with 4th place total takes Fall Mack Days fishing tournament titleWestern Montana hunters get help from fresh snow, rutIf the name Grace Coddington is familiar, you've probably seen the 2009 documentary film "The September Issue" about Vogue magazine's Editor in Chief Anna Wintour, the most feared and revered woman in fashion. Now Coddington, the longtime creative director of Vogue, has her own star vehicle, an engaging memoir titled "Grace," co written with Michael Roberts. For anyone with a passing interest in the fashion industry, it's worth a read for the name dropping alone.As became clear in the film, which chronicled the magazine's staff as they put together the 4 pound September 2007 issue, Coddington is not the Anna Wintour or Diana Vreeland type. You won't hear her barking orders at assistants or making dramatic pronouncements about pink.But she is equally passionate, a wild haired dreamer who thinks that fashion should be transporting, provocative and even intellectual, who bemoans the dominance of celebrities and digital hocus pocus in fashion photography and who isn't afraid to take on Wintour.The book is a window into how fashion has changed from a small, niche business into a global pop culture medium. It chronicles Coddington's 50 years in the industry, first as a model, then as a fashion editor for British Vogue and finally as creative director for American Vogue, with lots of juicy anecdotes about designers, photographers, celebrities and models.She compares the fashion world then and now and offers clues into her relationship with Wintour. She's also open about her private life, including details about failed marriages, the tragic death of her sister Rosemary and her 30 year romance with French hairstylist Didier Malige. She tells colorful stories behind many of the fashion shoots she has styled, but I do wish she had offered more insight into her role in the creative process.Coddington begins by painting a picture of her upbringing as romantic as any photo shoot. For her first 18 years, her home was the Trearddur Bay Hotel on the island of Anglesey off the coast of North Wales. "Although it was bleak, I saw beauty in the bleakness." When she wasn't outdoors, she amused herself by looking at picture books, reading fairy tales and, yes, studying the pages of Vogue magazine. As a teen, she went to a convent school and has vivid memories of the nuns roller skating on the rooftop, "flapping about surreally in their robes like crows on wheels."At 18, she moved to London to attend a modeling course advertised in Vogue. The fashion world was much different in 1959. Coddington had to learn how to apply her own makeup and style her own hair, because makeup artists and hairdressers specializing in photo shoots were nonexistent. A meeting with photographer Norman Parkinson led to her first modeling job running naked through the woods for an arty fashion catalog.Coddington became an overnight success. "I was a character, rather than a pretty model, and I suppose that's exactly what I look for in the girls I now select to put in American Vogue the ones who are quirky looking."She earned the nickname "The Cod" (to Jean Shrimpton's "The Shrimp"), danced the twist on Mary Quant's catwalk and became a muse to Vidal Sassoon, who created his famous five point cut on Coddington. Her modeling career was derailed for two years by a car accident, which scarred her left eyelid. But eventually things picked up again, and she settled into life in 1960s swinging London and Paris, hanging out with a fast crowd that included Michael Caine, Jane Birkin, the Beatles and the Rolling Stones.Her fashion editing career coincided with the beginning of her relationship with Michael Chow and the opening of his glamorous restaurant Mr. Chow, which attracted a starry crowd. "Naturally, we were forever being photographed at home, draped among our symbols of 'with it ness' as one of London's most happening couples; him, the cool young restaurateur, nonchalantly swinging in a hammock hung from the minstrel's gallery and me, the sophisticated style maker, perkily sitting cross legged atop a giant pop art version of a Campbell's soup can."At the height of the bohemian 1970s, she dyed her hair with henna and permed it (it would stay the same for much of the next 40 years), dressed almost exclusively in Yves Saint Laurent, had a fling with a Vietnamese photographer and spent her evenings at Club Sept in Paris. Coddington worked with the who's who of fashion. She shot Anjelica Huston with photographer David Bailey and Pat Cleveland with Helmut Newton.When Bea Miller, who had edited British Vogue for 22 years, retired, Coddington interviewed for the job but says she knew deep down she wasn't suited for it and thought that Wintour, then the creative director of American Vogue, should get it.Wintour did get it. Two days into her editorship, she invited Coddington to a screening of the racy film "Betty Blue." The two sat in dead silence through the opening sequence, a vivid five minute sex scene."Anna was rigid and unmoving. No sign of any emotion at all," Coddington writes. "I then realized how much significance Anna places on willpower trumping feelings."In 1988, when Wintour was appointed editor in chief at American Vogue, Coddington asked to join her. Coddington's narrative style fashion features and travelogues, a sampling of which appear in the book, became the heart and soul of the magazine, even as its pages became increasingly taken over by celebrities. Through her visual canvases, she interpreted the New Romantic period, grunge and the South Beach blinged out 1990s, and persuaded superstar designers Tom Ford, Marc Jacobs and others to play roles in a shoot based on "Alice in Wonderland."She sums up her creative process this way: "For me, one of the most important aspects of my work is to give people something to dream about, just as I used to dream all those years ago as a child looking at beautiful photographs."The book ends with a chapter on then and now. "Fashion has changed so much in my lifetime," Coddington writes. "Today, I find myself at the collections, asking, 'Who are all these people?' Sometimes I think I'm the last remaining person who comes to the shows for the pleasure of seeing the clothes."At 71, she seldom wears makeup and doesn't socialize much. But her attempt in the last 100 pages to distance herself from the term "fashionista" is a bit of a stretch. Clearly, Coddington has led a most charmed life. Otherwise, we wouldn't be reading about it.We provide this community forum for readers to exchange ideas and opinions on the news of the day. Passionate views, pointed criticism and critical thinking are welcome. Comments can only be submitted by registered users. By posting comments on our site, you are agreeing to the following terms:
From: Cheap fake replica official online for sale outlet factory store huawei (http://www.prospectusoffering.net/1369/cheap-christian-louboutin-pumps-navy-python-100mm-outlet-online/) Mon Jan 20 14:15:24 2014
Lady Griz hand Selvig 800th career win with 68 61 victory over PortlandGriz up to fifth in TSN poll, highest ranking of seasonBig Sky honors Sac State QB SafronNorth Dakota football coach firedSince 1897, the Cat Griz rivalry has captivated the stateFamily health: Prepare yourself and your vehicle for winter drivingFitness calendarBirths for Tuesday, November 19Angler with 4th place total takes Fall Mack Days fishing tournament titleWestern Montana hunters get help from fresh snow, rutIf the name Grace Coddington is familiar, you've probably seen the 2009 documentary film "The September Issue" about Vogue magazine's Editor in Chief Anna Wintour, the most feared and revered woman in fashion. Now Coddington, the longtime creative director of Vogue, has her own star vehicle, an engaging memoir titled "Grace," co written with Michael Roberts. For anyone with a passing interest in the fashion industry, it's worth a read for the name dropping alone.As became clear in the film, which chronicled the magazine's staff as they put together the 4 pound September 2007 issue, Coddington is not the Anna Wintour or Diana Vreeland type. You won't hear her barking orders at assistants or making dramatic pronouncements about pink.But she is equally passionate, a wild haired dreamer who thinks that fashion should be transporting, provocative and even intellectual, who bemoans the dominance of celebrities and digital hocus pocus in fashion photography and who isn't afraid to take on Wintour.The book is a window into how fashion has changed from a small, niche business into a global pop culture medium. It chronicles Coddington's 50 years in the industry, first as a model, then as a fashion editor for British Vogue and finally as creative director for American Vogue, with lots of juicy anecdotes about designers, photographers, celebrities and models.She compares the fashion world then and now and offers clues into her relationship with Wintour. She's also open about her private life, including details about failed marriages, the tragic death of her sister Rosemary and her 30 year romance with French hairstylist Didier Malige. She tells colorful stories behind many of the fashion shoots she has styled, but I do wish she had offered more insight into her role in the creative process.Coddington begins by painting a picture of her upbringing as romantic as any photo shoot. For her first 18 years, her home was the Trearddur Bay Hotel on the island of Anglesey off the coast of North Wales. "Although it was bleak, I saw beauty in the bleakness." When she wasn't outdoors, she amused herself by looking at picture books, reading fairy tales and, yes, studying the pages of Vogue magazine. As a teen, she went to a convent school and has vivid memories of the nuns roller skating on the rooftop, "flapping about surreally in their robes like crows on wheels."At 18, she moved to London to attend a modeling course advertised in Vogue. The fashion world was much different in 1959. Coddington had to learn how to apply her own makeup and style her own hair, because makeup artists and hairdressers specializing in photo shoots were nonexistent. A meeting with photographer Norman Parkinson led to her first modeling job running naked through the woods for an arty fashion catalog.Coddington became an overnight success. "I was a character, rather than a pretty model, and I suppose that's exactly what I look for in the girls I now select to put in American Vogue the ones who are quirky looking."She earned the nickname "The Cod" (to Jean Shrimpton's "The Shrimp"), danced the twist on Mary Quant's catwalk and became a muse to Vidal Sassoon, who created his famous five point cut on Coddington. Her modeling career was derailed for two years by a car accident, which scarred her left eyelid. But eventually things picked up again, and she settled into life in 1960s swinging London and Paris, hanging out with a fast crowd that included Michael Caine, Jane Birkin, the Beatles and the Rolling Stones.Her fashion editing career coincided with the beginning of her relationship with Michael Chow and the opening of his glamorous restaurant Mr. Chow, which attracted a starry crowd. "Naturally, we were forever being photographed at home, draped among our symbols of 'with it ness' as one of London's most happening couples; him, the cool young restaurateur, nonchalantly swinging in a hammock hung from the minstrel's gallery and me, the sophisticated style maker, perkily sitting cross legged atop a giant pop art version of a Campbell's soup can."At the height of the bohemian 1970s, she dyed her hair with henna and permed it (it would stay the same for much of the next 40 years), dressed almost exclusively in Yves Saint Laurent, had a fling with a Vietnamese photographer and spent her evenings at Club Sept in Paris. Coddington worked with the who's who of fashion. She shot Anjelica Huston with photographer David Bailey and Pat Cleveland with Helmut Newton.When Bea Miller, who had edited British Vogue for 22 years, retired, Coddington interviewed for the job but says she knew deep down she wasn't suited for it and thought that Wintour, then the creative director of American Vogue, should get it.Wintour did get it. Two days into her editorship, she invited Coddington to a screening of the racy film "Betty Blue." The two sat in dead silence through the opening sequence, a vivid five minute sex scene."Anna was rigid and unmoving. No sign of any emotion at all," Coddington writes. "I then realized how much significance Anna places on willpower trumping feelings."In 1988, when Wintour was appointed editor in chief at American Vogue, Coddington asked to join her. Coddington's narrative style fashion features and travelogues, a sampling of which appear in the book, became the heart and soul of the magazine, even as its pages became increasingly taken over by celebrities. Through her visual canvases, she interpreted the New Romantic period, grunge and the South Beach blinged out 1990s, and persuaded superstar designers Tom Ford, Marc Jacobs and others to play roles in a shoot based on "Alice in Wonderland."She sums up her creative process this way: "For me, one of the most important aspects of my work is to give people something to dream about, just as I used to dream all those years ago as a child looking at beautiful photographs."The book ends with a chapter on then and now. "Fashion has changed so much in my lifetime," Coddington writes. "Today, I find myself at the collections, asking, 'Who are all these people?' Sometimes I think I'm the last remaining person who comes to the shows for the pleasure of seeing the clothes."At 71, she seldom wears makeup and doesn't socialize much. But her attempt in the last 100 pages to distance herself from the term "fashionista" is a bit of a stretch. Clearly, Coddington has led a most charmed life. Otherwise, we wouldn't be reading about it.We provide this community forum for readers to exchange ideas and opinions on the news of the day. Passionate views, pointed criticism and critical thinking are welcome. Comments can only be submitted by registered users. By posting comments on our site, you are agreeing to the following terms:
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Lady Griz hand Selvig 800th career win with 68 61 victory over PortlandGriz up to fifth in TSN poll, highest ranking of seasonBig Sky honors Sac State QB SafronNorth Dakota football coach firedSince 1897, the Cat Griz rivalry has captivated the stateFamily health: Prepare yourself and your vehicle for winter drivingFitness calendarBirths for Tuesday, November 19Angler with 4th place total takes Fall Mack Days fishing tournament titleWestern Montana hunters get help from fresh snow, rutIf the name Grace Coddington is familiar, you've probably seen the 2009 documentary film "The September Issue" about Vogue magazine's Editor in Chief Anna Wintour, the most feared and revered woman in fashion. Now Coddington, the longtime creative director of Vogue, has her own star vehicle, an engaging memoir titled "Grace," co written with Michael Roberts. For anyone with a passing interest in the fashion industry, it's worth a read for the name dropping alone.As became clear in the film, which chronicled the magazine's staff as they put together the 4 pound September 2007 issue, Coddington is not the Anna Wintour or Diana Vreeland type. You won't hear her barking orders at assistants or making dramatic pronouncements about pink.But she is equally passionate, a wild haired dreamer who thinks that fashion should be transporting, provocative and even intellectual, who bemoans the dominance of celebrities and digital hocus pocus in fashion photography and who isn't afraid to take on Wintour.The book is a window into how fashion has changed from a small, niche business into a global pop culture medium. It chronicles Coddington's 50 years in the industry, first as a model, then as a fashion editor for British Vogue and finally as creative director for American Vogue, with lots of juicy anecdotes about designers, photographers, celebrities and models.She compares the fashion world then and now and offers clues into her relationship with Wintour. She's also open about her private life, including details about failed marriages, the tragic death of her sister Rosemary and her 30 year romance with French hairstylist Didier Malige. She tells colorful stories behind many of the fashion shoots she has styled, but I do wish she had offered more insight into her role in the creative process.Coddington begins by painting a picture of her upbringing as romantic as any photo shoot. For her first 18 years, her home was the Trearddur Bay Hotel on the island of Anglesey off the coast of North Wales. "Although it was bleak, I saw beauty in the bleakness." When she wasn't outdoors, she amused herself by looking at picture books, reading fairy tales and, yes, studying the pages of Vogue magazine. As a teen, she went to a convent school and has vivid memories of the nuns roller skating on the rooftop, "flapping about surreally in their robes like crows on wheels."At 18, she moved to London to attend a modeling course advertised in Vogue. The fashion world was much different in 1959. Coddington had to learn how to apply her own makeup and style her own hair, because makeup artists and hairdressers specializing in photo shoots were nonexistent. A meeting with photographer Norman Parkinson led to her first modeling job running naked through the woods for an arty fashion catalog.Coddington became an overnight success. "I was a character, rather than a pretty model, and I suppose that's exactly what I look for in the girls I now select to put in American Vogue the ones who are quirky looking."She earned the nickname "The Cod" (to Jean Shrimpton's "The Shrimp"), danced the twist on Mary Quant's catwalk and became a muse to Vidal Sassoon, who created his famous five point cut on Coddington. Her modeling career was derailed for two years by a car accident, which scarred her left eyelid. But eventually things picked up again, and she settled into life in 1960s swinging London and Paris, hanging out with a fast crowd that included Michael Caine, Jane Birkin, the Beatles and the Rolling Stones.Her fashion editing career coincided with the beginning of her relationship with Michael Chow and the opening of his glamorous restaurant Mr. Chow, which attracted a starry crowd. "Naturally, we were forever being photographed at home, draped among our symbols of 'with it ness' as one of London's most happening couples; him, the cool young restaurateur, nonchalantly swinging in a hammock hung from the minstrel's gallery and me, the sophisticated style maker, perkily sitting cross legged atop a giant pop art version of a Campbell's soup can."At the height of the bohemian 1970s, she dyed her hair with henna and permed it (it would stay the same for much of the next 40 years), dressed almost exclusively in Yves Saint Laurent, had a fling with a Vietnamese photographer and spent her evenings at Club Sept in Paris. Coddington worked with the who's who of fashion. She shot Anjelica Huston with photographer David Bailey and Pat Cleveland with Helmut Newton.When Bea Miller, who had edited British Vogue for 22 years, retired, Coddington interviewed for the job but says she knew deep down she wasn't suited for it and thought that Wintour, then the creative director of American Vogue, should get it.Wintour did get it. Two days into her editorship, she invited Coddington to a screening of the racy film "Betty Blue." The two sat in dead silence through the opening sequence, a vivid five minute sex scene."Anna was rigid and unmoving. No sign of any emotion at all," Coddington writes. "I then realized how much significance Anna places on willpower trumping feelings."In 1988, when Wintour was appointed editor in chief at American Vogue, Coddington asked to join her. Coddington's narrative style fashion features and travelogues, a sampling of which appear in the book, became the heart and soul of the magazine, even as its pages became increasingly taken over by celebrities. Through her visual canvases, she interpreted the New Romantic period, grunge and the South Beach blinged out 1990s, and persuaded superstar designers Tom Ford, Marc Jacobs and others to play roles in a shoot based on "Alice in Wonderland."She sums up her creative process this way: "For me, one of the most important aspects of my work is to give people something to dream about, just as I used to dream all those years ago as a child looking at beautiful photographs."The book ends with a chapter on then and now. "Fashion has changed so much in my lifetime," Coddington writes. "Today, I find myself at the collections, asking, 'Who are all these people?' Sometimes I think I'm the last remaining person who comes to the shows for the pleasure of seeing the clothes."At 71, she seldom wears makeup and doesn't socialize much. But her attempt in the last 100 pages to distance herself from the term "fashionista" is a bit of a stretch. Clearly, Coddington has led a most charmed life. Otherwise, we wouldn't be reading about it.We provide this community forum for readers to exchange ideas and opinions on the news of the day. Passionate views, pointed criticism and critical thinking are welcome. Comments can only be submitted by registered users. By posting comments on our site, you are agreeing to the following terms:
From: Cheap fake replica official online for sale outlet factory store huawei (http://www.prospectusoffering.net/910/cheap-christian-louboutin-flats-test-leather-outlet-online/) Mon Jan 20 14:15:29 2014
Lady Griz hand Selvig 800th career win with 68 61 victory over PortlandGriz up to fifth in TSN poll, highest ranking of seasonBig Sky honors Sac State QB SafronNorth Dakota football coach firedSince 1897, the Cat Griz rivalry has captivated the stateFamily health: Prepare yourself and your vehicle for winter drivingFitness calendarBirths for Tuesday, November 19Angler with 4th place total takes Fall Mack Days fishing tournament titleWestern Montana hunters get help from fresh snow, rutIf the name Grace Coddington is familiar, you've probably seen the 2009 documentary film "The September Issue" about Vogue magazine's Editor in Chief Anna Wintour, the most feared and revered woman in fashion. Now Coddington, the longtime creative director of Vogue, has her own star vehicle, an engaging memoir titled "Grace," co written with Michael Roberts. For anyone with a passing interest in the fashion industry, it's worth a read for the name dropping alone.As became clear in the film, which chronicled the magazine's staff as they put together the 4 pound September 2007 issue, Coddington is not the Anna Wintour or Diana Vreeland type. You won't hear her barking orders at assistants or making dramatic pronouncements about pink.But she is equally passionate, a wild haired dreamer who thinks that fashion should be transporting, provocative and even intellectual, who bemoans the dominance of celebrities and digital hocus pocus in fashion photography and who isn't afraid to take on Wintour.The book is a window into how fashion has changed from a small, niche business into a global pop culture medium. It chronicles Coddington's 50 years in the industry, first as a model, then as a fashion editor for British Vogue and finally as creative director for American Vogue, with lots of juicy anecdotes about designers, photographers, celebrities and models.She compares the fashion world then and now and offers clues into her relationship with Wintour. She's also open about her private life, including details about failed marriages, the tragic death of her sister Rosemary and her 30 year romance with French hairstylist Didier Malige. She tells colorful stories behind many of the fashion shoots she has styled, but I do wish she had offered more insight into her role in the creative process.Coddington begins by painting a picture of her upbringing as romantic as any photo shoot. For her first 18 years, her home was the Trearddur Bay Hotel on the island of Anglesey off the coast of North Wales. "Although it was bleak, I saw beauty in the bleakness." When she wasn't outdoors, she amused herself by looking at picture books, reading fairy tales and, yes, studying the pages of Vogue magazine. As a teen, she went to a convent school and has vivid memories of the nuns roller skating on the rooftop, "flapping about surreally in their robes like crows on wheels."At 18, she moved to London to attend a modeling course advertised in Vogue. The fashion world was much different in 1959. Coddington had to learn how to apply her own makeup and style her own hair, because makeup artists and hairdressers specializing in photo shoots were nonexistent. A meeting with photographer Norman Parkinson led to her first modeling job running naked through the woods for an arty fashion catalog.Coddington became an overnight success. "I was a character, rather than a pretty model, and I suppose that's exactly what I look for in the girls I now select to put in American Vogue the ones who are quirky looking."She earned the nickname "The Cod" (to Jean Shrimpton's "The Shrimp"), danced the twist on Mary Quant's catwalk and became a muse to Vidal Sassoon, who created his famous five point cut on Coddington. Her modeling career was derailed for two years by a car accident, which scarred her left eyelid. But eventually things picked up again, and she settled into life in 1960s swinging London and Paris, hanging out with a fast crowd that included Michael Caine, Jane Birkin, the Beatles and the Rolling Stones.Her fashion editing career coincided with the beginning of her relationship with Michael Chow and the opening of his glamorous restaurant Mr. Chow, which attracted a starry crowd. "Naturally, we were forever being photographed at home, draped among our symbols of 'with it ness' as one of London's most happening couples; him, the cool young restaurateur, nonchalantly swinging in a hammock hung from the minstrel's gallery and me, the sophisticated style maker, perkily sitting cross legged atop a giant pop art version of a Campbell's soup can."At the height of the bohemian 1970s, she dyed her hair with henna and permed it (it would stay the same for much of the next 40 years), dressed almost exclusively in Yves Saint Laurent, had a fling with a Vietnamese photographer and spent her evenings at Club Sept in Paris. Coddington worked with the who's who of fashion. She shot Anjelica Huston with photographer David Bailey and Pat Cleveland with Helmut Newton.When Bea Miller, who had edited British Vogue for 22 years, retired, Coddington interviewed for the job but says she knew deep down she wasn't suited for it and thought that Wintour, then the creative director of American Vogue, should get it.Wintour did get it. Two days into her editorship, she invited Coddington to a screening of the racy film "Betty Blue." The two sat in dead silence through the opening sequence, a vivid five minute sex scene."Anna was rigid and unmoving. No sign of any emotion at all," Coddington writes. "I then realized how much significance Anna places on willpower trumping feelings."In 1988, when Wintour was appointed editor in chief at American Vogue, Coddington asked to join her. Coddington's narrative style fashion features and travelogues, a sampling of which appear in the book, became the heart and soul of the magazine, even as its pages became increasingly taken over by celebrities. Through her visual canvases, she interpreted the New Romantic period, grunge and the South Beach blinged out 1990s, and persuaded superstar designers Tom Ford, Marc Jacobs and others to play roles in a shoot based on "Alice in Wonderland."She sums up her creative process this way: "For me, one of the most important aspects of my work is to give people something to dream about, just as I used to dream all those years ago as a child looking at beautiful photographs."The book ends with a chapter on then and now. "Fashion has changed so much in my lifetime," Coddington writes. "Today, I find myself at the collections, asking, 'Who are all these people?' Sometimes I think I'm the last remaining person who comes to the shows for the pleasure of seeing the clothes."At 71, she seldom wears makeup and doesn't socialize much. But her attempt in the last 100 pages to distance herself from the term "fashionista" is a bit of a stretch. Clearly, Coddington has led a most charmed life. Otherwise, we wouldn't be reading about it.We provide this community forum for readers to exchange ideas and opinions on the news of the day. Passionate views, pointed criticism and critical thinking are welcome. Comments can only be submitted by registered users. By posting comments on our site, you are agreeing to the following terms:
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Lady Griz hand Selvig 800th career win with 68 61 victory over PortlandGriz up to fifth in TSN poll, highest ranking of seasonBig Sky honors Sac State QB SafronNorth Dakota football coach firedSince 1897, the Cat Griz rivalry has captivated the stateFamily health: Prepare yourself and your vehicle for winter drivingFitness calendarBirths for Tuesday, November 19Angler with 4th place total takes Fall Mack Days fishing tournament titleWestern Montana hunters get help from fresh snow, rutIf the name Grace Coddington is familiar, you've probably seen the 2009 documentary film "The September Issue" about Vogue magazine's Editor in Chief Anna Wintour, the most feared and revered woman in fashion. Now Coddington, the longtime creative director of Vogue, has her own star vehicle, an engaging memoir titled "Grace," co written with Michael Roberts. For anyone with a passing interest in the fashion industry, it's worth a read for the name dropping alone.As became clear in the film, which chronicled the magazine's staff as they put together the 4 pound September 2007 issue, Coddington is not the Anna Wintour or Diana Vreeland type. You won't hear her barking orders at assistants or making dramatic pronouncements about pink.But she is equally passionate, a wild haired dreamer who thinks that fashion should be transporting, provocative and even intellectual, who bemoans the dominance of celebrities and digital hocus pocus in fashion photography and who isn't afraid to take on Wintour.The book is a window into how fashion has changed from a small, niche business into a global pop culture medium. It chronicles Coddington's 50 years in the industry, first as a model, then as a fashion editor for British Vogue and finally as creative director for American Vogue, with lots of juicy anecdotes about designers, photographers, celebrities and models.She compares the fashion world then and now and offers clues into her relationship with Wintour. She's also open about her private life, including details about failed marriages, the tragic death of her sister Rosemary and her 30 year romance with French hairstylist Didier Malige. She tells colorful stories behind many of the fashion shoots she has styled, but I do wish she had offered more insight into her role in the creative process.Coddington begins by painting a picture of her upbringing as romantic as any photo shoot. For her first 18 years, her home was the Trearddur Bay Hotel on the island of Anglesey off the coast of North Wales. "Although it was bleak, I saw beauty in the bleakness." When she wasn't outdoors, she amused herself by looking at picture books, reading fairy tales and, yes, studying the pages of Vogue magazine. As a teen, she went to a convent school and has vivid memories of the nuns roller skating on the rooftop, "flapping about surreally in their robes like crows on wheels."At 18, she moved to London to attend a modeling course advertised in Vogue. The fashion world was much different in 1959. Coddington had to learn how to apply her own makeup and style her own hair, because makeup artists and hairdressers specializing in photo shoots were nonexistent. A meeting with photographer Norman Parkinson led to her first modeling job running naked through the woods for an arty fashion catalog.Coddington became an overnight success. "I was a character, rather than a pretty model, and I suppose that's exactly what I look for in the girls I now select to put in American Vogue the ones who are quirky looking."She earned the nickname "The Cod" (to Jean Shrimpton's "The Shrimp"), danced the twist on Mary Quant's catwalk and became a muse to Vidal Sassoon, who created his famous five point cut on Coddington. Her modeling career was derailed for two years by a car accident, which scarred her left eyelid. But eventually things picked up again, and she settled into life in 1960s swinging London and Paris, hanging out with a fast crowd that included Michael Caine, Jane Birkin, the Beatles and the Rolling Stones.Her fashion editing career coincided with the beginning of her relationship with Michael Chow and the opening of his glamorous restaurant Mr. Chow, which attracted a starry crowd. "Naturally, we were forever being photographed at home, draped among our symbols of 'with it ness' as one of London's most happening couples; him, the cool young restaurateur, nonchalantly swinging in a hammock hung from the minstrel's gallery and me, the sophisticated style maker, perkily sitting cross legged atop a giant pop art version of a Campbell's soup can."At the height of the bohemian 1970s, she dyed her hair with henna and permed it (it would stay the same for much of the next 40 years), dressed almost exclusively in Yves Saint Laurent, had a fling with a Vietnamese photographer and spent her evenings at Club Sept in Paris. Coddington worked with the who's who of fashion. She shot Anjelica Huston with photographer David Bailey and Pat Cleveland with Helmut Newton.When Bea Miller, who had edited British Vogue for 22 years, retired, Coddington interviewed for the job but says she knew deep down she wasn't suited for it and thought that Wintour, then the creative director of American Vogue, should get it.Wintour did get it. Two days into her editorship, she invited Coddington to a screening of the racy film "Betty Blue." The two sat in dead silence through the opening sequence, a vivid five minute sex scene."Anna was rigid and unmoving. No sign of any emotion at all," Coddington writes. "I then realized how much significance Anna places on willpower trumping feelings."In 1988, when Wintour was appointed editor in chief at American Vogue, Coddington asked to join her. Coddington's narrative style fashion features and travelogues, a sampling of which appear in the book, became the heart and soul of the magazine, even as its pages became increasingly taken over by celebrities. Through her visual canvases, she interpreted the New Romantic period, grunge and the South Beach blinged out 1990s, and persuaded superstar designers Tom Ford, Marc Jacobs and others to play roles in a shoot based on "Alice in Wonderland."She sums up her creative process this way: "For me, one of the most important aspects of my work is to give people something to dream about, just as I used to dream all those years ago as a child looking at beautiful photographs."The book ends with a chapter on then and now. "Fashion has changed so much in my lifetime," Coddington writes. "Today, I find myself at the collections, asking, 'Who are all these people?' Sometimes I think I'm the last remaining person who comes to the shows for the pleasure of seeing the clothes."At 71, she seldom wears makeup and doesn't socialize much. But her attempt in the last 100 pages to distance herself from the term "fashionista" is a bit of a stretch. Clearly, Coddington has led a most charmed life. Otherwise, we wouldn't be reading about it.We provide this community forum for readers to exchange ideas and opinions on the news of the day. Passionate views, pointed criticism and critical thinking are welcome. Comments can only be submitted by registered users. By posting comments on our site, you are agreeing to the following terms:
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Lady Griz hand Selvig 800th career win with 68 61 victory over PortlandGriz up to fifth in TSN poll, highest ranking of seasonBig Sky honors Sac State QB SafronNorth Dakota football coach firedSince 1897, the Cat Griz rivalry has captivated the stateFamily health: Prepare yourself and your vehicle for winter drivingFitness calendarBirths for Tuesday, November 19Angler with 4th place total takes Fall Mack Days fishing tournament titleWestern Montana hunters get help from fresh snow, rutIf the name Grace Coddington is familiar, you've probably seen the 2009 documentary film "The September Issue" about Vogue magazine's Editor in Chief Anna Wintour, the most feared and revered woman in fashion. Now Coddington, the longtime creative director of Vogue, has her own star vehicle, an engaging memoir titled "Grace," co written with Michael Roberts. For anyone with a passing interest in the fashion industry, it's worth a read for the name dropping alone.As became clear in the film, which chronicled the magazine's staff as they put together the 4 pound September 2007 issue, Coddington is not the Anna Wintour or Diana Vreeland type. You won't hear her barking orders at assistants or making dramatic pronouncements about pink.But she is equally passionate, a wild haired dreamer who thinks that fashion should be transporting, provocative and even intellectual, who bemoans the dominance of celebrities and digital hocus pocus in fashion photography and who isn't afraid to take on Wintour.The book is a window into how fashion has changed from a small, niche business into a global pop culture medium. It chronicles Coddington's 50 years in the industry, first as a model, then as a fashion editor for British Vogue and finally as creative director for American Vogue, with lots of juicy anecdotes about designers, photographers, celebrities and models.She compares the fashion world then and now and offers clues into her relationship with Wintour. She's also open about her private life, including details about failed marriages, the tragic death of her sister Rosemary and her 30 year romance with French hairstylist Didier Malige. She tells colorful stories behind many of the fashion shoots she has styled, but I do wish she had offered more insight into her role in the creative process.Coddington begins by painting a picture of her upbringing as romantic as any photo shoot. For her first 18 years, her home was the Trearddur Bay Hotel on the island of Anglesey off the coast of North Wales. "Although it was bleak, I saw beauty in the bleakness." When she wasn't outdoors, she amused herself by looking at picture books, reading fairy tales and, yes, studying the pages of Vogue magazine. As a teen, she went to a convent school and has vivid memories of the nuns roller skating on the rooftop, "flapping about surreally in their robes like crows on wheels."At 18, she moved to London to attend a modeling course advertised in Vogue. The fashion world was much different in 1959. Coddington had to learn how to apply her own makeup and style her own hair, because makeup artists and hairdressers specializing in photo shoots were nonexistent. A meeting with photographer Norman Parkinson led to her first modeling job running naked through the woods for an arty fashion catalog.Coddington became an overnight success. "I was a character, rather than a pretty model, and I suppose that's exactly what I look for in the girls I now select to put in American Vogue the ones who are quirky looking."She earned the nickname "The Cod" (to Jean Shrimpton's "The Shrimp"), danced the twist on Mary Quant's catwalk and became a muse to Vidal Sassoon, who created his famous five point cut on Coddington. Her modeling career was derailed for two years by a car accident, which scarred her left eyelid. But eventually things picked up again, and she settled into life in 1960s swinging London and Paris, hanging out with a fast crowd that included Michael Caine, Jane Birkin, the Beatles and the Rolling Stones.Her fashion editing career coincided with the beginning of her relationship with Michael Chow and the opening of his glamorous restaurant Mr. Chow, which attracted a starry crowd. "Naturally, we were forever being photographed at home, draped among our symbols of 'with it ness' as one of London's most happening couples; him, the cool young restaurateur, nonchalantly swinging in a hammock hung from the minstrel's gallery and me, the sophisticated style maker, perkily sitting cross legged atop a giant pop art version of a Campbell's soup can."At the height of the bohemian 1970s, she dyed her hair with henna and permed it (it would stay the same for much of the next 40 years), dressed almost exclusively in Yves Saint Laurent, had a fling with a Vietnamese photographer and spent her evenings at Club Sept in Paris. Coddington worked with the who's who of fashion. She shot Anjelica Huston with photographer David Bailey and Pat Cleveland with Helmut Newton.When Bea Miller, who had edited British Vogue for 22 years, retired, Coddington interviewed for the job but says she knew deep down she wasn't suited for it and thought that Wintour, then the creative director of American Vogue, should get it.Wintour did get it. Two days into her editorship, she invited Coddington to a screening of the racy film "Betty Blue." The two sat in dead silence through the opening sequence, a vivid five minute sex scene."Anna was rigid and unmoving. No sign of any emotion at all," Coddington writes. "I then realized how much significance Anna places on willpower trumping feelings."In 1988, when Wintour was appointed editor in chief at American Vogue, Coddington asked to join her. Coddington's narrative style fashion features and travelogues, a sampling of which appear in the book, became the heart and soul of the magazine, even as its pages became increasingly taken over by celebrities. Through her visual canvases, she interpreted the New Romantic period, grunge and the South Beach blinged out 1990s, and persuaded superstar designers Tom Ford, Marc Jacobs and others to play roles in a shoot based on "Alice in Wonderland."She sums up her creative process this way: "For me, one of the most important aspects of my work is to give people something to dream about, just as I used to dream all those years ago as a child looking at beautiful photographs."The book ends with a chapter on then and now. "Fashion has changed so much in my lifetime," Coddington writes. "Today, I find myself at the collections, asking, 'Who are all these people?' Sometimes I think I'm the last remaining person who comes to the shows for the pleasure of seeing the clothes."At 71, she seldom wears makeup and doesn't socialize much. But her attempt in the last 100 pages to distance herself from the term "fashionista" is a bit of a stretch. Clearly, Coddington has led a most charmed life. Otherwise, we wouldn't be reading about it.We provide this community forum for readers to exchange ideas and opinions on the news of the day. Passionate views, pointed criticism and critical thinking are welcome. Comments can only be submitted by registered users. By posting comments on our site, you are agreeing to the following terms:
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Lady Griz hand Selvig 800th career win with 68 61 victory over PortlandGriz up to fifth in TSN poll, highest ranking of seasonBig Sky honors Sac State QB SafronNorth Dakota football coach firedSince 1897, the Cat Griz rivalry has captivated the stateFamily health: Prepare yourself and your vehicle for winter drivingFitness calendarBirths for Tuesday, November 19Angler with 4th place total takes Fall Mack Days fishing tournament titleWestern Montana hunters get help from fresh snow, rutIf the name Grace Coddington is familiar, you've probably seen the 2009 documentary film "The September Issue" about Vogue magazine's Editor in Chief Anna Wintour, the most feared and revered woman in fashion. Now Coddington, the longtime creative director of Vogue, has her own star vehicle, an engaging memoir titled "Grace," co written with Michael Roberts. For anyone with a passing interest in the fashion industry, it's worth a read for the name dropping alone.As became clear in the film, which chronicled the magazine's staff as they put together the 4 pound September 2007 issue, Coddington is not the Anna Wintour or Diana Vreeland type. You won't hear her barking orders at assistants or making dramatic pronouncements about pink.But she is equally passionate, a wild haired dreamer who thinks that fashion should be transporting, provocative and even intellectual, who bemoans the dominance of celebrities and digital hocus pocus in fashion photography and who isn't afraid to take on Wintour.The book is a window into how fashion has changed from a small, niche business into a global pop culture medium. It chronicles Coddington's 50 years in the industry, first as a model, then as a fashion editor for British Vogue and finally as creative director for American Vogue, with lots of juicy anecdotes about designers, photographers, celebrities and models.She compares the fashion world then and now and offers clues into her relationship with Wintour. She's also open about her private life, including details about failed marriages, the tragic death of her sister Rosemary and her 30 year romance with French hairstylist Didier Malige. She tells colorful stories behind many of the fashion shoots she has styled, but I do wish she had offered more insight into her role in the creative process.Coddington begins by painting a picture of her upbringing as romantic as any photo shoot. For her first 18 years, her home was the Trearddur Bay Hotel on the island of Anglesey off the coast of North Wales. "Although it was bleak, I saw beauty in the bleakness." When she wasn't outdoors, she amused herself by looking at picture books, reading fairy tales and, yes, studying the pages of Vogue magazine. As a teen, she went to a convent school and has vivid memories of the nuns roller skating on the rooftop, "flapping about surreally in their robes like crows on wheels."At 18, she moved to London to attend a modeling course advertised in Vogue. The fashion world was much different in 1959. Coddington had to learn how to apply her own makeup and style her own hair, because makeup artists and hairdressers specializing in photo shoots were nonexistent. A meeting with photographer Norman Parkinson led to her first modeling job running naked through the woods for an arty fashion catalog.Coddington became an overnight success. "I was a character, rather than a pretty model, and I suppose that's exactly what I look for in the girls I now select to put in American Vogue the ones who are quirky looking."She earned the nickname "The Cod" (to Jean Shrimpton's "The Shrimp"), danced the twist on Mary Quant's catwalk and became a muse to Vidal Sassoon, who created his famous five point cut on Coddington. Her modeling career was derailed for two years by a car accident, which scarred her left eyelid. But eventually things picked up again, and she settled into life in 1960s swinging London and Paris, hanging out with a fast crowd that included Michael Caine, Jane Birkin, the Beatles and the Rolling Stones.Her fashion editing career coincided with the beginning of her relationship with Michael Chow and the opening of his glamorous restaurant Mr. Chow, which attracted a starry crowd. "Naturally, we were forever being photographed at home, draped among our symbols of 'with it ness' as one of London's most happening couples; him, the cool young restaurateur, nonchalantly swinging in a hammock hung from the minstrel's gallery and me, the sophisticated style maker, perkily sitting cross legged atop a giant pop art version of a Campbell's soup can."At the height of the bohemian 1970s, she dyed her hair with henna and permed it (it would stay the same for much of the next 40 years), dressed almost exclusively in Yves Saint Laurent, had a fling with a Vietnamese photographer and spent her evenings at Club Sept in Paris. Coddington worked with the who's who of fashion. She shot Anjelica Huston with photographer David Bailey and Pat Cleveland with Helmut Newton.When Bea Miller, who had edited British Vogue for 22 years, retired, Coddington interviewed for the job but says she knew deep down she wasn't suited for it and thought that Wintour, then the creative director of American Vogue, should get it.Wintour did get it. Two days into her editorship, she invited Coddington to a screening of the racy film "Betty Blue." The two sat in dead silence through the opening sequence, a vivid five minute sex scene."Anna was rigid and unmoving. No sign of any emotion at all," Coddington writes. "I then realized how much significance Anna places on willpower trumping feelings."In 1988, when Wintour was appointed editor in chief at American Vogue, Coddington asked to join her. Coddington's narrative style fashion features and travelogues, a sampling of which appear in the book, became the heart and soul of the magazine, even as its pages became increasingly taken over by celebrities. Through her visual canvases, she interpreted the New Romantic period, grunge and the South Beach blinged out 1990s, and persuaded superstar designers Tom Ford, Marc Jacobs and others to play roles in a shoot based on "Alice in Wonderland."She sums up her creative process this way: "For me, one of the most important aspects of my work is to give people something to dream about, just as I used to dream all those years ago as a child looking at beautiful photographs."The book ends with a chapter on then and now. "Fashion has changed so much in my lifetime," Coddington writes. "Today, I find myself at the collections, asking, 'Who are all these people?' Sometimes I think I'm the last remaining person who comes to the shows for the pleasure of seeing the clothes."At 71, she seldom wears makeup and doesn't socialize much. But her attempt in the last 100 pages to distance herself from the term "fashionista" is a bit of a stretch. Clearly, Coddington has led a most charmed life. Otherwise, we wouldn't be reading about it.We provide this community forum for readers to exchange ideas and opinions on the news of the day. Passionate views, pointed criticism and critical thinking are welcome. Comments can only be submitted by registered users. By posting comments on our site, you are agreeing to the following terms:
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Lady Griz hand Selvig 800th career win with 68 61 victory over PortlandGriz up to fifth in TSN poll, highest ranking of seasonBig Sky honors Sac State QB SafronNorth Dakota football coach firedSince 1897, the Cat Griz rivalry has captivated the stateFamily health: Prepare yourself and your vehicle for winter drivingFitness calendarBirths for Tuesday, November 19Angler with 4th place total takes Fall Mack Days fishing tournament titleWestern Montana hunters get help from fresh snow, rutIf the name Grace Coddington is familiar, you've probably seen the 2009 documentary film "The September Issue" about Vogue magazine's Editor in Chief Anna Wintour, the most feared and revered woman in fashion. Now Coddington, the longtime creative director of Vogue, has her own star vehicle, an engaging memoir titled "Grace," co written with Michael Roberts. For anyone with a passing interest in the fashion industry, it's worth a read for the name dropping alone.As became clear in the film, which chronicled the magazine's staff as they put together the 4 pound September 2007 issue, Coddington is not the Anna Wintour or Diana Vreeland type. You won't hear her barking orders at assistants or making dramatic pronouncements about pink.But she is equally passionate, a wild haired dreamer who thinks that fashion should be transporting, provocative and even intellectual, who bemoans the dominance of celebrities and digital hocus pocus in fashion photography and who isn't afraid to take on Wintour.The book is a window into how fashion has changed from a small, niche business into a global pop culture medium. It chronicles Coddington's 50 years in the industry, first as a model, then as a fashion editor for British Vogue and finally as creative director for American Vogue, with lots of juicy anecdotes about designers, photographers, celebrities and models.She compares the fashion world then and now and offers clues into her relationship with Wintour. She's also open about her private life, including details about failed marriages, the tragic death of her sister Rosemary and her 30 year romance with French hairstylist Didier Malige. She tells colorful stories behind many of the fashion shoots she has styled, but I do wish she had offered more insight into her role in the creative process.Coddington begins by painting a picture of her upbringing as romantic as any photo shoot. For her first 18 years, her home was the Trearddur Bay Hotel on the island of Anglesey off the coast of North Wales. "Although it was bleak, I saw beauty in the bleakness." When she wasn't outdoors, she amused herself by looking at picture books, reading fairy tales and, yes, studying the pages of Vogue magazine. As a teen, she went to a convent school and has vivid memories of the nuns roller skating on the rooftop, "flapping about surreally in their robes like crows on wheels."At 18, she moved to London to attend a modeling course advertised in Vogue. The fashion world was much different in 1959. Coddington had to learn how to apply her own makeup and style her own hair, because makeup artists and hairdressers specializing in photo shoots were nonexistent. A meeting with photographer Norman Parkinson led to her first modeling job running naked through the woods for an arty fashion catalog.Coddington became an overnight success. "I was a character, rather than a pretty model, and I suppose that's exactly what I look for in the girls I now select to put in American Vogue the ones who are quirky looking."She earned the nickname "The Cod" (to Jean Shrimpton's "The Shrimp"), danced the twist on Mary Quant's catwalk and became a muse to Vidal Sassoon, who created his famous five point cut on Coddington. Her modeling career was derailed for two years by a car accident, which scarred her left eyelid. But eventually things picked up again, and she settled into life in 1960s swinging London and Paris, hanging out with a fast crowd that included Michael Caine, Jane Birkin, the Beatles and the Rolling Stones.Her fashion editing career coincided with the beginning of her relationship with Michael Chow and the opening of his glamorous restaurant Mr. Chow, which attracted a starry crowd. "Naturally, we were forever being photographed at home, draped among our symbols of 'with it ness' as one of London's most happening couples; him, the cool young restaurateur, nonchalantly swinging in a hammock hung from the minstrel's gallery and me, the sophisticated style maker, perkily sitting cross legged atop a giant pop art version of a Campbell's soup can."At the height of the bohemian 1970s, she dyed her hair with henna and permed it (it would stay the same for much of the next 40 years), dressed almost exclusively in Yves Saint Laurent, had a fling with a Vietnamese photographer and spent her evenings at Club Sept in Paris. Coddington worked with the who's who of fashion. She shot Anjelica Huston with photographer David Bailey and Pat Cleveland with Helmut Newton.When Bea Miller, who had edited British Vogue for 22 years, retired, Coddington interviewed for the job but says she knew deep down she wasn't suited for it and thought that Wintour, then the creative director of American Vogue, should get it.Wintour did get it. Two days into her editorship, she invited Coddington to a screening of the racy film "Betty Blue." The two sat in dead silence through the opening sequence, a vivid five minute sex scene."Anna was rigid and unmoving. No sign of any emotion at all," Coddington writes. "I then realized how much significance Anna places on willpower trumping feelings."In 1988, when Wintour was appointed editor in chief at American Vogue, Coddington asked to join her. Coddington's narrative style fashion features and travelogues, a sampling of which appear in the book, became the heart and soul of the magazine, even as its pages became increasingly taken over by celebrities. Through her visual canvases, she interpreted the New Romantic period, grunge and the South Beach blinged out 1990s, and persuaded superstar designers Tom Ford, Marc Jacobs and others to play roles in a shoot based on "Alice in Wonderland."She sums up her creative process this way: "For me, one of the most important aspects of my work is to give people something to dream about, just as I used to dream all those years ago as a child looking at beautiful photographs."The book ends with a chapter on then and now. "Fashion has changed so much in my lifetime," Coddington writes. "Today, I find myself at the collections, asking, 'Who are all these people?' Sometimes I think I'm the last remaining person who comes to the shows for the pleasure of seeing the clothes."At 71, she seldom wears makeup and doesn't socialize much. But her attempt in the last 100 pages to distance herself from the term "fashionista" is a bit of a stretch. Clearly, Coddington has led a most charmed life. Otherwise, we wouldn't be reading about it.We provide this community forum for readers to exchange ideas and opinions on the news of the day. Passionate views, pointed criticism and critical thinking are welcome. Comments can only be submitted by registered users. By posting comments on our site, you are agreeing to the following terms:
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Lady Griz hand Selvig 800th career win with 68 61 victory over PortlandGriz up to fifth in TSN poll, highest ranking of seasonBig Sky honors Sac State QB SafronNorth Dakota football coach firedSince 1897, the Cat Griz rivalry has captivated the stateFamily health: Prepare yourself and your vehicle for winter drivingFitness calendarBirths for Tuesday, November 19Angler with 4th place total takes Fall Mack Days fishing tournament titleWestern Montana hunters get help from fresh snow, rutIf the name Grace Coddington is familiar, you've probably seen the 2009 documentary film "The September Issue" about Vogue magazine's Editor in Chief Anna Wintour, the most feared and revered woman in fashion. Now Coddington, the longtime creative director of Vogue, has her own star vehicle, an engaging memoir titled "Grace," co written with Michael Roberts. For anyone with a passing interest in the fashion industry, it's worth a read for the name dropping alone.As became clear in the film, which chronicled the magazine's staff as they put together the 4 pound September 2007 issue, Coddington is not the Anna Wintour or Diana Vreeland type. You won't hear her barking orders at assistants or making dramatic pronouncements about pink.But she is equally passionate, a wild haired dreamer who thinks that fashion should be transporting, provocative and even intellectual, who bemoans the dominance of celebrities and digital hocus pocus in fashion photography and who isn't afraid to take on Wintour.The book is a window into how fashion has changed from a small, niche business into a global pop culture medium. It chronicles Coddington's 50 years in the industry, first as a model, then as a fashion editor for British Vogue and finally as creative director for American Vogue, with lots of juicy anecdotes about designers, photographers, celebrities and models.She compares the fashion world then and now and offers clues into her relationship with Wintour. She's also open about her private life, including details about failed marriages, the tragic death of her sister Rosemary and her 30 year romance with French hairstylist Didier Malige. She tells colorful stories behind many of the fashion shoots she has styled, but I do wish she had offered more insight into her role in the creative process.Coddington begins by painting a picture of her upbringing as romantic as any photo shoot. For her first 18 years, her home was the Trearddur Bay Hotel on the island of Anglesey off the coast of North Wales. "Although it was bleak, I saw beauty in the bleakness." When she wasn't outdoors, she amused herself by looking at picture books, reading fairy tales and, yes, studying the pages of Vogue magazine. As a teen, she went to a convent school and has vivid memories of the nuns roller skating on the rooftop, "flapping about surreally in their robes like crows on wheels."At 18, she moved to London to attend a modeling course advertised in Vogue. The fashion world was much different in 1959. Coddington had to learn how to apply her own makeup and style her own hair, because makeup artists and hairdressers specializing in photo shoots were nonexistent. A meeting with photographer Norman Parkinson led to her first modeling job running naked through the woods for an arty fashion catalog.Coddington became an overnight success. "I was a character, rather than a pretty model, and I suppose that's exactly what I look for in the girls I now select to put in American Vogue the ones who are quirky looking."She earned the nickname "The Cod" (to Jean Shrimpton's "The Shrimp"), danced the twist on Mary Quant's catwalk and became a muse to Vidal Sassoon, who created his famous five point cut on Coddington. Her modeling career was derailed for two years by a car accident, which scarred her left eyelid. But eventually things picked up again, and she settled into life in 1960s swinging London and Paris, hanging out with a fast crowd that included Michael Caine, Jane Birkin, the Beatles and the Rolling Stones.Her fashion editing career coincided with the beginning of her relationship with Michael Chow and the opening of his glamorous restaurant Mr. Chow, which attracted a starry crowd. "Naturally, we were forever being photographed at home, draped among our symbols of 'with it ness' as one of London's most happening couples; him, the cool young restaurateur, nonchalantly swinging in a hammock hung from the minstrel's gallery and me, the sophisticated style maker, perkily sitting cross legged atop a giant pop art version of a Campbell's soup can."At the height of the bohemian 1970s, she dyed her hair with henna and permed it (it would stay the same for much of the next 40 years), dressed almost exclusively in Yves Saint Laurent, had a fling with a Vietnamese photographer and spent her evenings at Club Sept in Paris. Coddington worked with the who's who of fashion. She shot Anjelica Huston with photographer David Bailey and Pat Cleveland with Helmut Newton.When Bea Miller, who had edited British Vogue for 22 years, retired, Coddington interviewed for the job but says she knew deep down she wasn't suited for it and thought that Wintour, then the creative director of American Vogue, should get it.Wintour did get it. Two days into her editorship, she invited Coddington to a screening of the racy film "Betty Blue." The two sat in dead silence through the opening sequence, a vivid five minute sex scene."Anna was rigid and unmoving. No sign of any emotion at all," Coddington writes. "I then realized how much significance Anna places on willpower trumping feelings."In 1988, when Wintour was appointed editor in chief at American Vogue, Coddington asked to join her. Coddington's narrative style fashion features and travelogues, a sampling of which appear in the book, became the heart and soul of the magazine, even as its pages became increasingly taken over by celebrities. Through her visual canvases, she interpreted the New Romantic period, grunge and the South Beach blinged out 1990s, and persuaded superstar designers Tom Ford, Marc Jacobs and others to play roles in a shoot based on "Alice in Wonderland."She sums up her creative process this way: "For me, one of the most important aspects of my work is to give people something to dream about, just as I used to dream all those years ago as a child looking at beautiful photographs."The book ends with a chapter on then and now. "Fashion has changed so much in my lifetime," Coddington writes. "Today, I find myself at the collections, asking, 'Who are all these people?' Sometimes I think I'm the last remaining person who comes to the shows for the pleasure of seeing the clothes."At 71, she seldom wears makeup and doesn't socialize much. But her attempt in the last 100 pages to distance herself from the term "fashionista" is a bit of a stretch. Clearly, Coddington has led a most charmed life. Otherwise, we wouldn't be reading about it.We provide this community forum for readers to exchange ideas and opinions on the news of the day. Passionate views, pointed criticism and critical thinking are welcome. Comments can only be submitted by registered users. By posting comments on our site, you are agreeing to the following terms:
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The Pacers had had leading contributors all the way down their starting line up to go along with Paul George 24 points Lance Stephenson finished with 15 points, seven assists David West finished with 18 points and eight rebounds Roy Hibbert had 15 points, 11 rebounds, and two blocks.
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5:06 Nets center Andre Blatche hits a jumper to make the score 62 57, and Pacers announcer Chris Denari mentions that like in Boston, Kevin Garnett has to come out early in the first and third quarters. This reminded me of the Pacers pregame show I was listening too on 1070 The Fan when Austin Croshere mentioned that he doesn fully buy in to this Brooklyn squad to be a top seeded team. Basically Croshere believes that with the years of basketball mileage on their body, Garnett and Pierce could perhaps reach their full potential if they played once every three games. Throw in the fact that Pierce, Garnett, and Jason Terry combined for 8 23 from the field, 21 points, and nine turnovers, I now wonder how Sports Illustrated picked this squad to be the number three seed over the course of an 82 game season.
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8:06 I said this in my last post, but for me the signature play of the Pacers undefeated start to the season is the killer Paul George three that sucks the life out of the opposition, and then he slowly moves down the court with full out swag that only a 23 year old soon to be superstar could possess. With three seconds left on the shot clock off an in bounds play, George found Luis Scola cutting to the baseline. George then faked a cut pass the hoop, and instead wrapped around Scola (who placement set a pick on defender Paul Pierce) while George made his way beyond the arc. George hit the three, turned, tapped himself on the head with three fingers up, and made his way down the court slowly as the Pacers lead 82 73. If that isn cool, I not sure what is.
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:38 Mark that down as a Down 94 91, Joe Johnson literally found Kevin Garnett inside the restricted circle and two feet away from the hoop. As Garnett caught the ball, Roy Hibbert came over from the help side and went straight up, forcing Garnett to push up a floater over Hibbert extended arm. The outcome? Complete air ball, the rock eventually lands out of bounds, and Pacers get the ball. Game effectively over Or not, because Paul George just turned the ball over. This is probably why I not an NBA coach.
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Personally, I just interested to see what whacky event will happen on the national sports scene to continue covering up this great Pacers start if they were to come away with the victory.
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The Pacers had had leading contributors all the way down their starting line up to go along with Paul George 24 points Lance Stephenson finished with 15 points, seven assists David West finished with 18 points and eight rebounds Roy Hibbert had 15 points, 11 rebounds, and two blocks.
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9:11 I don feel bad making fun of Deron Williams because: 1. Despite the fact he incredibly good, I not a big fan and 2. Roy Hibbert just scared the living daylights out of him as he drove towards the lane, causing him to stop and settle for an awkward floater instead of challenging number 55. I think my favorite thing about the uber Roy Hibbert defense this year is trying to keep count of how many shots are missed not because he gets a hand on them, but rather how many shots he forces to be thrown up wildly just because he happens to be in the area. This leads to David West finding Lance Stephenson cutting through down low for an and one that causes Chris Denari to reach high decibels on Pacers now up 55 49.
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(Has anyone ever said it weird seeing Deron Williams in a Nets jersey? Anyone?)
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It okay Indiana Pacers, with a 96 91 victory over the Nets and a now historic start for the franchise, I got your back. I catching up on the DVR from the beginning of the second half to take some notes in retro diary form (with 100% of the idea credit going to Grantland Bill Simmons of course) to see how we in fact got to this point. To start the third quarter, Brooklyn would be leading the way 46 44, with the only difference between the two teams seemingly being the fact that Brooklyn bench outscored the Pacers bench 16 6. And we start NOW!
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0:00 Quarter ends with Joe Johnson getting guarded by Paul George on the corner, George hesitated and gave Johnson just a short extra breath of space to breathe, and Johnson throws up a three that hits nothing but net at the buzzer. Not sure what more George could have done there, but Pacers take the lead 72 67 going into the quarter. On the offensive end what probably stood out the least and had the most impact is Paul George sneaky 3 4 from the field for nine points on the quarter. I think this is when you realize that somebody has taken the extra leap from pretty good player to absolute All Star, is when they use little energy to hit a 10 footer, 20 footer, and three at 25 feet, and you don necessarily think twice about what is taking place.
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11:47 As David West breaks out to the right corner of the free throw line thanks to a Roy Hibbert pick on Kevin Garnett that would make the Colts O Line proud, I already can help but think to myself how weird it seems watching Garnett/Pierce these Nets uniforms. However, as a Lakers fan myself, am I happy to see two former Celtics end their careers in such fashion? Absolutely! ANNNNYYYYTTTHHHHIIIINNNGGGG IIIISSSSS POSSSSSIIIIBBBBBLLLLLLLEEEEEE!!!! West hits the jumper to tie the game 46 46, because David West is just flat out a bad man.
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3:12 Brooklyn starts to come back, and with the Nets down 90 87, George Hill dribbles the ball from 20 seconds on the clock down to 13 and follows this up with a running floater through the lane. If it goes in, Hill looks like a genius, but since he missed, I should point out that Brooklyn is fighting their way back into this game and Paul George hasn shot the ball since the 7:26 mark in the quarter.
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Personally, I just interested to see what whacky event will happen on the national sports scene to continue covering up this great Pacers start if they were to come away with the victory.
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8:06 I said this in my last post, but for me the signature play of the Pacers undefeated start to the season is the killer Paul George three that sucks the life out of the opposition, and then he slowly moves down the court with full out swag that only a 23 year old soon to be superstar could possess. With three seconds left on the shot clock off an in bounds play, George found Luis Scola cutting to the baseline. George then faked a cut pass the hoop, and instead wrapped around Scola (who placement set a pick on defender Paul Pierce) while George made his way beyond the arc. George hit the three, turned, tapped himself on the head with three fingers up, and made his way down the court slowly as the Pacers lead 82 73. If that isn cool, I not sure what is.
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8:06 I said this in my last post, but for me the signature play of the Pacers undefeated start to the season is the killer Paul George three that sucks the life out of the opposition, and then he slowly moves down the court with full out swag that only a 23 year old soon to be superstar could possess. With three seconds left on the shot clock off an in bounds play, George found Luis Scola cutting to the baseline. George then faked a cut pass the hoop, and instead wrapped around Scola (who placement set a pick on defender Paul Pierce) while George made his way beyond the arc. George hit the three, turned, tapped himself on the head with three fingers up, and made his way down the court slowly as the Pacers lead 82 73. If that isn cool, I not sure what is.
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:38 Mark that down as a Down 94 91, Joe Johnson literally found Kevin Garnett inside the restricted circle and two feet away from the hoop. As Garnett caught the ball, Roy Hibbert came over from the help side and went straight up, forcing Garnett to push up a floater over Hibbert extended arm. The outcome? Complete air ball, the rock eventually lands out of bounds, and Pacers get the ball. Game effectively over Or not, because Paul George just turned the ball over. This is probably why I not an NBA coach.
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2:31 Paul George uses a Roy Hibbert pick on Paul Pierce to create some extra space, he runs to his right, and throws up a shot falling away from the basket that was much longer than the 15 feet the shot chart says. Does it go in? Of course it does, and George finishes the night with 24 points on 8 14 shooting with six rebounds and two assists. This Pacers team has enough depth that Paul George doesn have to absolutely demand the ball in the fourth quarter (like perhaps Kobe would), but it definitely doesn hurt the team when he gives it a shot.
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5:06 Nets center Andre Blatche hits a jumper to make the score 62 57, and Pacers announcer Chris Denari mentions that like in Boston, Kevin Garnett has to come out early in the first and third quarters. This reminded me of the Pacers pregame show I was listening too on 1070 The Fan when Austin Croshere mentioned that he doesn fully buy in to this Brooklyn squad to be a top seeded team. Basically Croshere believes that with the years of basketball mileage on their body, Garnett and Pierce could perhaps reach their full potential if they played once every three games. Throw in the fact that Pierce, Garnett, and Jason Terry combined for 8 23 from the field, 21 points, and nine turnovers, I now wonder how Sports Illustrated picked this squad to be the number three seed over the course of an 82 game season.
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8:06 I said this in my last post, but for me the signature play of the Pacers undefeated start to the season is the killer Paul George three that sucks the life out of the opposition, and then he slowly moves down the court with full out swag that only a 23 year old soon to be superstar could possess. With three seconds left on the shot clock off an in bounds play, George found Luis Scola cutting to the baseline. George then faked a cut pass the hoop, and instead wrapped around Scola (who placement set a pick on defender Paul Pierce) while George made his way beyond the arc. George hit the three, turned, tapped himself on the head with three fingers up, and made his way down the court slowly as the Pacers lead 82 73. If that isn cool, I not sure what is.
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(Has anyone ever said it weird seeing Deron Williams in a Nets jersey? Anyone?)
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But how about Saturday night, with the team getting the chance to travel to Brooklyn to improve to 7 0 with a victory? This would be the case, if a little Brad Stevens magic (or BradMagic as one Jeremiah Johnson likes to call it) didn take place in Miami, with the Boston Celtics dropping the Heat 111 110 on an impossible game winning shot from Jeff Green. The cover of ESPN NBA page as follows:
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5:06 Nets center Andre Blatche hits a jumper to make the score 62 57, and Pacers announcer Chris Denari mentions that like in Boston, Kevin Garnett has to come out early in the first and third quarters. This reminded me of the Pacers pregame show I was listening too on 1070 The Fan when Austin Croshere mentioned that he doesn fully buy in to this Brooklyn squad to be a top seeded team. Basically Croshere believes that with the years of basketball mileage on their body, Garnett and Pierce could perhaps reach their full potential if they played once every three games. Throw in the fact that Pierce, Garnett, and Jason Terry combined for 8 23 from the field, 21 points, and nine turnovers, I now wonder how Sports Illustrated picked this squad to be the number three seed over the course of an 82 game season.
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8:06 I said this in my last post, but for me the signature play of the Pacers undefeated start to the season is the killer Paul George three that sucks the life out of the opposition, and then he slowly moves down the court with full out swag that only a 23 year old soon to be superstar could possess. With three seconds left on the shot clock off an in bounds play, George found Luis Scola cutting to the baseline. George then faked a cut pass the hoop, and instead wrapped around Scola (who placement set a pick on defender Paul Pierce) while George made his way beyond the arc. George hit the three, turned, tapped himself on the head with three fingers up, and made his way down the court slowly as the Pacers lead 82 73. If that isn cool, I not sure what is.
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Personally, I just interested to see what whacky event will happen on the national sports scene to continue covering up this great Pacers start if they were to come away with the victory.
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Funny things seem to always happen to take away the focus from the Indiana Pacers. After the first week of the season, the numbers that Paul George and Lance Stephenson put up should have made them absolute shoe ins to win the Eastern Conference Player of the Week Award. What happens? The Philadelphia 76ers defeat the Miami Heat, the Washington Wizards, and the Chicago Bulls, and rookie Michael Carter Williams ends up sneaking away with the award.
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5:06 Nets center Andre Blatche hits a jumper to make the score 62 57, and Pacers announcer Chris Denari mentions that like in Boston, Kevin Garnett has to come out early in the first and third quarters. This reminded me of the Pacers pregame show I was listening too on 1070 The Fan when Austin Croshere mentioned that he doesn fully buy in to this Brooklyn squad to be a top seeded team. Basically Croshere believes that with the years of basketball mileage on their body, Garnett and Pierce could perhaps reach their full potential if they played once every three games. Throw in the fact that Pierce, Garnett, and Jason Terry combined for 8 23 from the field, 21 points, and nine turnovers, I now wonder how Sports Illustrated picked this squad to be the number three seed over the course of an 82 game season.
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8:06 I said this in my last post, but for me the signature play of the Pacers undefeated start to the season is the killer Paul George three that sucks the life out of the opposition, and then he slowly moves down the court with full out swag that only a 23 year old soon to be superstar could possess. With three seconds left on the shot clock off an in bounds play, George found Luis Scola cutting to the baseline. George then faked a cut pass the hoop, and instead wrapped around Scola (who placement set a pick on defender Paul Pierce) while George made his way beyond the arc. George hit the three, turned, tapped himself on the head with three fingers up, and made his way down the court slowly as the Pacers lead 82 73. If that isn cool, I not sure what is.
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(Has anyone ever said it weird seeing Deron Williams in a Nets jersey? Anyone?)
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5:06 Nets center Andre Blatche hits a jumper to make the score 62 57, and Pacers announcer Chris Denari mentions that like in Boston, Kevin Garnett has to come out early in the first and third quarters. This reminded me of the Pacers pregame show I was listening too on 1070 The Fan when Austin Croshere mentioned that he doesn fully buy in to this Brooklyn squad to be a top seeded team. Basically Croshere believes that with the years of basketball mileage on their body, Garnett and Pierce could perhaps reach their full potential if they played once every three games. Throw in the fact that Pierce, Garnett, and Jason Terry combined for 8 23 from the field, 21 points, and nine turnovers, I now wonder how Sports Illustrated picked this squad to be the number three seed over the course of an 82 game season.
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Final thoughts are this game is much more impressive when you take in account the Pacers played four games in five nights and won them all. This Brooklyn team is full of veterans and a win against Indiana would have given answered some of the doubters about what their franchise is doing this season, and you could sense the urgency in the second half pouring from them. Still, this Indiana squad responded, and now they head into Monday night home game against Memphis with a shot to go 8 0.
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:9.5 Joe Johnson misses the great look for a three, David West gets the rebound ices the game with free throws, and now the game is over. Pacers fans, you are 7 0 for the first time in team history, go crazy!
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3:12 Brooklyn starts to come back, and with the Nets down 90 87, George Hill dribbles the ball from 20 seconds on the clock down to 13 and follows this up with a running floater through the lane. If it goes in, Hill looks like a genius, but since he missed, I should point out that Brooklyn is fighting their way back into this game and Paul George hasn shot the ball since the 7:26 mark in the quarter.
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Final thoughts are this game is much more impressive when you take in account the Pacers played four games in five nights and won them all. This Brooklyn team is full of veterans and a win against Indiana would have given answered some of the doubters about what their franchise is doing this season, and you could sense the urgency in the second half pouring from them. Still, this Indiana squad responded, and now they head into Monday night home game against Memphis with a shot to go 8 0.
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11:40, 4th Luis Scola moves to the top of the key to help on Nets guard Shaun Livingston, leaving Garnett completely open to grab the rebound in the air and slam it down for a dunk that shakes the Barclays Center. Maybe Garnett still has some life in those legs after all, 72 69 Pacers up.
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(Has anyone ever said it weird seeing Deron Williams in a Nets jersey? Anyone?)
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Funny things seem to always happen to take away the focus from the Indiana Pacers. After the first week of the season, the numbers that Paul George and Lance Stephenson put up should have made them absolute shoe ins to win the Eastern Conference Player of the Week Award. What happens? The Philadelphia 76ers defeat the Miami Heat, the Washington Wizards, and the Chicago Bulls, and rookie Michael Carter Williams ends up sneaking away with the award.
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5:06 Nets center Andre Blatche hits a jumper to make the score 62 57, and Pacers announcer Chris Denari mentions that like in Boston, Kevin Garnett has to come out early in the first and third quarters. This reminded me of the Pacers pregame show I was listening too on 1070 The Fan when Austin Croshere mentioned that he doesn fully buy in to this Brooklyn squad to be a top seeded team. Basically Croshere believes that with the years of basketball mileage on their body, Garnett and Pierce could perhaps reach their full potential if they played once every three games. Throw in the fact that Pierce, Garnett, and Jason Terry combined for 8 23 from the field, 21 points, and nine turnovers, I now wonder how Sports Illustrated picked this squad to be the number three seed over the course of an 82 game season.
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3:12 Brooklyn starts to come back, and with the Nets down 90 87, George Hill dribbles the ball from 20 seconds on the clock down to 13 and follows this up with a running floater through the lane. If it goes in, Hill looks like a genius, but since he missed, I should point out that Brooklyn is fighting their way back into this game and Paul George hasn shot the ball since the 7:26 mark in the quarter.
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The Pacers had had leading contributors all the way down their starting line up to go along with Paul George 24 points Lance Stephenson finished with 15 points, seven assists David West finished with 18 points and eight rebounds Roy Hibbert had 15 points, 11 rebounds, and two blocks.
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0 with win over Nets
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3:12 Brooklyn starts to come back, and with the Nets down 90 87, George Hill dribbles the ball from 20 seconds on the clock down to 13 and follows this up with a running floater through the lane. If it goes in, Hill looks like a genius, but since he missed, I should point out that Brooklyn is fighting their way back into this game and Paul George hasn shot the ball since the 7:26 mark in the quarter.
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:9.5 Joe Johnson misses the great look for a three, David West gets the rebound ices the game with free throws, and now the game is over. Pacers fans, you are 7 0 for the first time in team history, go crazy!
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It okay Indiana Pacers, with a 96 91 victory over the Nets and a now historic start for the franchise, I got your back. I catching up on the DVR from the beginning of the second half to take some notes in retro diary form (with 100% of the idea credit going to Grantland Bill Simmons of course) to see how we in fact got to this point. To start the third quarter, Brooklyn would be leading the way 46 44, with the only difference between the two teams seemingly being the fact that Brooklyn bench outscored the Pacers bench 16 6. And we start NOW!
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6:00 I just going to call the Roy Hibbert stat I referenced above as Hibbert just forced one on Brook Lopez, who tried to take Hibbert base line and swing the ball up from under the hoop with his dribbling hand, but Hibbert forced Lopez to throw up a bad shot that went over the rim. I all in on the stat, Pacers lead 60 53.
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9:11 I don feel bad making fun of Deron Williams because: 1. Despite the fact he incredibly good, I not a big fan and 2. Roy Hibbert just scared the living daylights out of him as he drove towards the lane, causing him to stop and settle for an awkward floater instead of challenging number 55. I think my favorite thing about the uber Roy Hibbert defense this year is trying to keep count of how many shots are missed not because he gets a hand on them, but rather how many shots he forces to be thrown up wildly just because he happens to be in the area. This leads to David West finding Lance Stephenson cutting through down low for an and one that causes Chris Denari to reach high decibels on Pacers now up 55 49.
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:9.5 Joe Johnson misses the great look for a three, David West gets the rebound ices the game with free throws, and now the game is over. Pacers fans, you are 7 0 for the first time in team history, go crazy!
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6:00 I just going to call the Roy Hibbert stat I referenced above as Hibbert just forced one on Brook Lopez, who tried to take Hibbert base line and swing the ball up from under the hoop with his dribbling hand, but Hibbert forced Lopez to throw up a bad shot that went over the rim. I all in on the stat, Pacers lead 60 53.
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11:40, 4th Luis Scola moves to the top of the key to help on Nets guard Shaun Livingston, leaving Garnett completely open to grab the rebound in the air and slam it down for a dunk that shakes the Barclays Center. Maybe Garnett still has some life in those legs after all, 72 69 Pacers up.
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(Has anyone ever said it weird seeing Deron Williams in a Nets jersey? Anyone?)
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It okay Indiana Pacers, with a 96 91 victory over the Nets and a now historic start for the franchise, I got your back. I catching up on the DVR from the beginning of the second half to take some notes in retro diary form (with 100% of the idea credit going to Grantland Bill Simmons of course) to see how we in fact got to this point. To start the third quarter, Brooklyn would be leading the way 46 44, with the only difference between the two teams seemingly being the fact that Brooklyn bench outscored the Pacers bench 16 6. And we start NOW!
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:9.5 Joe Johnson misses the great look for a three, David West gets the rebound ices the game with free throws, and now the game is over. Pacers fans, you are 7 0 for the first time in team history, go crazy!
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3:12 Brooklyn starts to come back, and with the Nets down 90 87, George Hill dribbles the ball from 20 seconds on the clock down to 13 and follows this up with a running floater through the lane. If it goes in, Hill looks like a genius, but since he missed, I should point out that Brooklyn is fighting their way back into this game and Paul George hasn shot the ball since the 7:26 mark in the quarter.
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(Has anyone ever said it weird seeing Deron Williams in a Nets jersey? Anyone?)
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11:40, 4th Luis Scola moves to the top of the key to help on Nets guard Shaun Livingston, leaving Garnett completely open to grab the rebound in the air and slam it down for a dunk that shakes the Barclays Center. Maybe Garnett still has some life in those legs after all, 72 69 Pacers up.
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6:00 I just going to call the Roy Hibbert stat I referenced above as Hibbert just forced one on Brook Lopez, who tried to take Hibbert base line and swing the ball up from under the hoop with his dribbling hand, but Hibbert forced Lopez to throw up a bad shot that went over the rim. I all in on the stat, Pacers lead 60 53.
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How do the Pacers respond? They keep on winning of course! Friday night the Pacers tied a franchise record best 6 0 start, dropping the Toronto Raptors by the final of 91 84 at Bankers Life Fieldhouse. Perhaps would they get everyone focus and attention at that point? Well, perhaps they would if the National Football League wasn so popular that one irrelevant player on an irrelevant team bullied another irrelevant player thus making that irrelevant player leave the irrelevant team, and this irrelevancy is the biggest topic of the Monday Friday news cycle.
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:38 Mark that down as a Down 94 91, Joe Johnson literally found Kevin Garnett inside the restricted circle and two feet away from the hoop. As Garnett caught the ball, Roy Hibbert came over from the help side and went straight up, forcing Garnett to push up a floater over Hibbert extended arm. The outcome? Complete air ball, the rock eventually lands out of bounds, and Pacers get the ball. Game effectively over Or not, because Paul George just turned the ball over. This is probably why I not an NBA coach.
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The Pacers had had leading contributors all the way down their starting line up to go along with Paul George 24 points Lance Stephenson finished with 15 points, seven assists David West finished with 18 points and eight rebounds Roy Hibbert had 15 points, 11 rebounds, and two blocks.
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:38 Mark that down as a Down 94 91, Joe Johnson literally found Kevin Garnett inside the restricted circle and two feet away from the hoop. As Garnett caught the ball, Roy Hibbert came over from the help side and went straight up, forcing Garnett to push up a floater over Hibbert extended arm. The outcome? Complete air ball, the rock eventually lands out of bounds, and Pacers get the ball. Game effectively over Or not, because Paul George just turned the ball over. This is probably why I not an NBA coach.
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ΠΠ»ΠΎΠ³ [url=https://akpp-korobka.blogspot.com/]https://akpp-korobka.blogspot.com/[/url] ΠΏΠΎΡΠ²ΡΡΠ΅Π½ Π½ΡΠ°Π½ΡΠ°ΠΌ ΡΠΊΡΠΏΠ»ΡΠ°ΡΠ°ΡΠΈΠΈ Π°Π²ΡΠΎΠΌΠ°ΡΠΈΡΠ΅ΡΠΊΠΈΡ ΠΊΠΎΡΠΎΠ±ΠΎΠΊ ΠΏΠ΅ΡΠ΅Π΄Π°Ρ (ΠΠΠΠ) Π² Π°Π²ΡΠΎΠΌΠΎΠ±ΠΈΠ»ΡΡ . ΠΠ½ ΠΏΠΎΠ΄ΡΠ΅ΡΠΊΠΈΠ²Π°Π΅Ρ ΠΊΠ»ΡΡΠ΅Π²ΡΡ ΡΠΎΠ»Ρ ΠΠΠΠ Π² ΠΎΠ±Π΅ΡΠΏΠ΅ΡΠ΅Π½ΠΈΠΈ ΠΏΠ»Π°Π²Π½ΠΎΠΉ ΠΏΠ΅ΡΠ΅Π΄Π°ΡΠΈ ΠΌΠΎΡΠ½ΠΎΡΡΠΈ ΠΌΠ΅ΠΆΠ΄Ρ Π΄Π²ΠΈΠ³Π°ΡΠ΅Π»Π΅ΠΌ ΠΈ ΠΊΠΎΠ»Π΅ΡΠ°ΠΌΠΈ, ΡΡΠΎ Π²Π»ΠΈΡΠ΅Ρ Π² ΡΡΡΠ΅ΠΊΡΠΈΠ²Π½ΠΎΡΡΠΈ Π°Π²ΡΠΎΠΌΠΎΠ±ΠΈΠ»Ρ. Π Π΅ΡΡΡΡ ΠΎΠ±ΡΡΠΆΠ΄Π°Π΅Ρ Π·Π½Π°ΡΠ΅Π½ΠΈΠ΅ ΠΏΡΠΎΡΠ΅ΡΡΠΈΠΎΠ½Π°Π»ΡΠ½ΠΎΠ³ΠΎ ΠΏΠΎΠ΄Ρ ΠΎΠ΄Π° ΠΊ Π΄ΠΈΠ°Π³Π½ΠΎΡΡΠΈΠΊΠ΅ ΠΠΠΠ Π΄Π»Ρ ΠΎΠΏΡΠ΅Π΄Π΅Π»Π΅Π½ΠΈΡ ΠΏΡΠΎΠ±Π»Π΅ΠΌ, ΡΠΏΠΎΡΠΎΠ±ΡΡΠ²ΡΡΡΠ΅Π³ΠΎ ΡΠΊΠΎΠ½ΠΎΠΌΠΈΠΈ Π²ΡΠ΅ΠΌΡ ΠΈ Π΄Π΅Π½ΡΠ³ΠΈ. Π’Π°ΠΊΠΆΠ΅ Π·Π°ΡΡΠ°Π³ΠΈΠ²Π°ΡΡΡΡ ΠΎΡΠ½ΠΎΠ²Π½ΡΠ΅ Π°ΡΠΏΠ΅ΠΊΡΡ ΡΡ ΠΎΠ΄Π° ΠΠΠΠ, Ρ Π°ΠΊΡΠ΅Π½ΡΠΎΠΌ Π½Π° Π·Π°ΠΌΠ΅Π½Ρ ΠΌΠ°ΡΠ»Π°, ΠΏΡΠΎΠ²Π΅ΡΠΊΡ Π½Π° ΡΡΠ΅ΡΠΊΠΈ ΠΈ Π·Π°ΠΌΠ΅Π½Ρ ΡΠΈΠ»ΡΡΡΠΎΠ², Π΄Π»Ρ ΠΎΠ±Π΅ΡΠΏΠ΅ΡΠ΅Π½ΠΈΡ ΠΎΠΏΡΠΈΠΌΠ°Π»ΡΠ½ΠΎΠΉ ΡΠ°Π±ΠΎΡΡ ΡΡΠ°Π½ΡΠΌΠΈΡΡΠΈΠΎΠ½Π½ΠΎΠΉ ΡΠΈΡΡΠ΅ΠΌΡ. ΠΠ»Ρ ΠΏΠΎΠ»ΡΡΠ΅Π½ΠΈΡ Π΄ΠΎΠΏΠΎΠ»Π½ΠΈΡΠ΅Π»ΡΠ½ΠΎΠΉ ΠΈΠ½ΡΠΎΡΠΌΠ°ΡΠΈΠΈ ΠΏΠΎΡΠ΅ΡΠΈΡΠ΅ Π±Π»ΠΎΠ³ ΠΏΠΎ Π°Π΄ΡΠ΅ΡΡ <a href="https://akpp-korobka.blogspot.com/">https://akpp-korobka.blogspot.com/</a>;.
From: MarvinUsabe Sun Jan 28 13:44:36 2024
Π’Π΅ΡΡΡ Π½Π° ΡΠ°Π·Π²Π»Π΅ΡΠ΅Π½ΠΈΠ΅([url=https://razvlektesti.blogspot.com/2023/12/blog-post.html]https://razvlektesti.blogspot.com/2023/12/blog-post.html[/url]) - ΡΡΠΎ ΠΈΠ½ΡΠ΅ΡΠ°ΠΊΡΠΈΠ²Π½ΡΠ΅ ΠΎΠΏΡΠΎΡΡ, ΡΠΎΠ·Π΄Π°Π½Π½ΡΠ΅ Ρ ΡΠ΅Π»ΡΡ ΠΏΡΠΈΠ½ΠΎΡΠΈΡΡ ΡΠ°Π΄ΠΎΡΡΡ ΠΈ ΡΠ°Π·Π²Π»Π΅ΡΠ΅Π½ΠΈΠ΅. ΠΠ½ΠΈ ΠΏΡΠ΅Π΄Π»Π°Π³Π°ΡΡ ΡΡΠ°ΡΡΠ½ΠΈΠΊΠ°ΠΌ ΡΠ°Π·Π½ΠΎΠΎΠ±ΡΠ°Π·Π½ΡΠ΅ Π²ΠΎΠΏΡΠΎΡΡ ΠΈ Π·Π°Π΄Π°ΡΠΈ, ΠΊΠΎΡΠΎΡΡΠ΅ ΡΠ°ΡΡΠΎ ΡΠ²ΡΠ·Π°Π½Ρ Ρ ΠΈΠ½ΡΠ΅ΡΠ΅ΡΠ½ΡΠΌΠΈ ΡΠ΅ΠΌΠ°ΠΌΠΈ, Π»ΠΈΡΠ½ΡΠΌΠΈ ΠΏΡΠ΅Π΄ΠΏΠΎΡΡΠ΅Π½ΠΈΡΠΌΠΈ ΠΈΠ»ΠΈ Π·Π°Π±Π°Π²Π½ΡΠΌΠΈ ΡΠΈΡΡΠ°ΡΠΈΡΠΌΠΈ. ΠΡΠ½ΠΎΠ²Π½Π°Ρ Π³Π»Π°Π²Π½Π°Ρ ΡΠ΅Π»Ρ ΡΠ°ΠΊΠΈΡ ΡΠ΅ΡΡΠΎΠ² - ΠΏΡΠ΅Π΄ΠΎΡΡΠ°Π²ΠΈΡΡ ΠΏΠΎΠ»ΡΠ·ΠΎΠ²Π°ΡΠ΅Π»Ρ Π²ΠΎΠ·ΠΌΠΎΠΆΠ½ΠΎΡΡΡ ΠΏΠΎΠ»ΡΡΠΈΡΡ ΡΠ΄ΠΎΠ²ΠΎΠ»ΡΡΡΠ²ΠΈΠ΅, ΠΏΡΠΎΠ²Π΅ΡΠΈΡΡ ΡΠ²ΠΎΠΈ Π·Π½Π°Π½ΠΈΡ ΠΈ ΡΠΌΠ΅Π½ΠΈΡ ΠΈΠ»ΠΈ ΡΠ·Π½Π°ΡΡ ΡΡΠΎ-ΡΠΎ Π½ΠΎΠ²ΠΎΠ΅ ΠΎ ΡΠ΅Π±Π΅ ΠΈΠ»ΠΈ ΠΌΠΈΡΠ΅ Π²ΠΎΠΊΡΡΠ³ Π½ΠΈΡ . Π Π°Π·Π²Π»Π΅ΠΊΠ°ΡΠ΅Π»ΡΠ½ΡΠ΅ ΡΠ΅ΡΡΡ ΡΠΈΡΠΎΠΊΠΎ ΡΠ°ΡΠΏΡΠΎΡΡΡΠ°Π½Π΅Π½Ρ Π² ΠΎΠ½Π»Π°ΠΉΠ½-ΡΡΠ΅Π΄Π΅ ΠΈ ΡΠΎΡΠΈΠ°Π»ΡΠ½ΡΡ ΠΌΠ΅Π΄ΠΈΠ°, Π³Π΄Π΅ ΠΎΠ½ΠΈ ΠΌΠΎΠ³ΡΡ ΡΡΠ°ΡΡ ΠΏΠΎΠΏΡΠ»ΡΡΠ½ΡΠΌΠΈ ΡΠΎΡΠΌΠ°ΠΌΠΈ ΠΈΠ½ΡΠ΅ΡΠ°ΠΊΡΠΈΠ²Π½ΠΎΠ³ΠΎ ΡΠ°Π·Π²Π»Π΅ΡΠ΅Π½ΠΈΡ ΠΈ Π΄Π΅Π»ΠΈΡΡΡΡ ΠΈΠ½ΡΠΎΡΠΌΠ°ΡΠΈΠ΅ΠΉ.
ΠΠ΅ Π·Π°Π±ΡΠ΄ΡΡΠ΅ Π΄ΠΎΠ±Π°Π²ΠΈΡΡ Π½Π°Ρ ΡΠ°ΠΉΡ Π² Π·Π°ΠΊΠ»Π°Π΄ΠΊΠΈ: <a href="https://razvlektesti.blogspot.com/2023/12/blog-post.html">https://razvlektesti.blogspot.com/2023/12/blog-post.html</a>;
From: MarvinUsabe Sun Jan 28 18:44:35 2024
Π ΠΎΠΌΠ°Π½ΡΠΈΡΠ΅ΡΠΊΠΈΠ΅ ΠΊΠ²Π΅ΡΡΡ ΠΈ ΡΠ΅ΡΡΡ Π΄Π»Ρ ΠΏΠ°Ρ: Π‘ΠΎΠ·Π΄Π°ΠΉΡΠ΅ Π½ΠΎΠ²ΡΠ΅ ΡΡΡΠ°Π½ΠΈΡΡ Π² Π²Π°ΡΠ΅ΠΉ Π»ΡΠ±Π²ΠΈ ([url=https://testy-pro-lyubov-i-semyu.blogspot.com/2023/12/blog-post.html]https://testy-pro-lyubov-i-semyu.blogspot.com/2023/12/blog-post.html[/url]) - ΡΡΠΎ Π²Π΅ΡΠ΅Π»ΡΠ΅ ΠΊΠ²ΠΈΠ·Ρ, ΡΠΎΠ·Π΄Π°Π½Π½ΡΠ΅ Ρ ΡΠ΅Π»ΡΡ Π΄ΠΎΡΡΠ°Π²Π»ΡΡΡ ΡΠ΄ΠΎΠ²ΠΎΠ»ΡΡΡΠ²ΠΈΠ΅ ΠΈ ΡΠ°Π·Π²Π»Π΅ΡΠ΅Π½ΠΈΠ΅. ΠΠ½ΠΈ ΠΏΡΠ΅Π΄Π»Π°Π³Π°ΡΡ ΡΡΠ°ΡΡΠ½ΠΈΠΊΠ°ΠΌ ΡΠ°Π·Π½ΡΠ΅ Π²ΠΎΠΏΡΠΎΡΡ ΠΈ Π·Π°Π΄Π°ΡΠΈ, ΠΊΠΎΡΠΎΡΡΠ΅ ΡΠ°ΡΡΠΎ ΡΠ²ΡΠ·Π°Π½Ρ Ρ Π·Π°Ρ Π²Π°ΡΡΠ²Π°ΡΡΠΈΠΌΠΈ ΡΠ΅ΠΌΠ°ΠΌΠΈ, Π»ΠΈΡΠ½ΡΠΌΠΈ ΠΏΡΠ΅Π΄ΠΏΠΎΡΡΠ΅Π½ΠΈΡΠΌΠΈ ΠΈΠ»ΠΈ Π·Π°Π±Π°Π²Π½ΡΠΌΠΈ ΡΠΈΡΡΠ°ΡΠΈΡΠΌΠΈ. ΠΡΠ½ΠΎΠ²Π½Π°Ρ Π·Π°Π΄Π°ΡΠ° ΡΠ°ΠΊΠΈΡ ΡΠ΅ΡΡΠΎΠ² - ΠΏΡΠ΅Π΄ΠΎΡΡΠ°Π²ΠΈΡΡ ΠΏΠΎΠ»ΡΠ·ΠΎΠ²Π°ΡΠ΅Π»Ρ Π²ΠΎΠ·ΠΌΠΎΠΆΠ½ΠΎΡΡΡ ΠΏΡΠΎΠ²Π΅ΡΡΠΈ Π²ΡΠ΅ΠΌΡ Π²Π΅ΡΠ΅Π»ΠΎ, ΠΏΡΠΎΠ²Π΅ΡΠΈΡΡ ΡΠ²ΠΎΠΈ Π·Π½Π°Π½ΠΈΡ ΠΈ ΡΠΌΠ΅Π½ΠΈΡ ΠΈΠ»ΠΈ ΠΏΠΎΠ·Π½Π°ΠΊΠΎΠΌΠΈΡΡΡΡ Ρ Π½ΠΎΠ²ΠΎΠΉ ΠΈΠ½ΡΠΎΡΠΌΠ°ΡΠΈΠ΅ΠΉ ΠΎ ΡΠ΅Π±Π΅ ΠΈΠ»ΠΈ ΠΌΠΈΡΠ΅ Π²ΠΎΠΊΡΡΠ³ Π½ΠΈΡ . Π’Π°ΠΊΠΈΠ΅ ΡΠ΅ΡΡΡ ΡΠΈΡΠΎΠΊΠΎ ΡΠ°ΡΠΏΡΠΎΡΡΡΠ°Π½Π΅Π½Ρ Π² ΠΎΠ½Π»Π°ΠΉΠ½-ΡΡΠ΅Π΄Π΅ ΠΈ ΡΠΎΡΠΈΠ°Π»ΡΠ½ΡΡ ΠΌΠ΅Π΄ΠΈΠ°, Π³Π΄Π΅ ΠΎΠ½ΠΈ ΡΡΠ°Π»ΠΈ ΠΏΡΠΈΠ·Π½Π°Π½Π½ΡΠΌΠΈ ΡΠΎΡΠΌΠ°ΠΌΠΈ ΠΈΠ½ΡΠ΅ΡΠ°ΠΊΡΠΈΠ²Π½ΠΎΠ³ΠΎ ΡΠ°Π·Π²Π»Π΅ΡΠ΅Π½ΠΈΡ ΠΈ ΠΏΠΎΠ΄Π΅Π»ΠΈΡΡΡΡ ΠΊΠΎΠ½ΡΠ΅Π½ΡΠΎΠΌ.
ΠΠ΅ Π·Π°Π±ΡΠ΄ΡΡΠ΅ Π΄ΠΎΠ±Π°Π²ΠΈΡΡ Π½Π°Ρ ΡΠ°ΠΉΡ Π² Π·Π°ΠΊΠ»Π°Π΄ΠΊΠΈ: <a href="https://testy-pro-lyubov-i-semyu.blogspot.com/2023/12/blog-post.html">https://testy-pro-lyubov-i-semyu.blogspot.com/2023/12/blog-post.html</a>;
From: Donaldtes Sun Jan 28 18:45:45 2024
ΠΠ°Π½ΠΈΠΌΠ°ΡΠ΅Π»ΡΠ½ΡΠ΅ Π²ΠΎΠΏΡΠΎΡΡ ΠΎ Π·Π΄ΠΎΡΠΎΠ²ΡΠ΅: Π Π°Π·Π²Π»Π΅ΠΊΠ°ΡΠ΅Π»ΡΠ½ΡΠΉ ΠΊΠΎΠ½ΡΠ΅Π½Ρ Π΄Π»Ρ Π·Π°Π±ΠΎΡΡ ΠΎ ΡΠ²ΠΎΠ΅ΠΌ ΠΎΡΠ³Π°Π½ΠΈΠ·ΠΌΠ΅ ([url=https://testy-pro-zdorove.blogspot.com/2023/12/blog-post.html]https://testy-pro-zdorove.blogspot.com/2023/12/blog-post.html[/url]) - ΡΡΠΎ Π²Π΅ΡΠ΅Π»ΡΠ΅ ΠΊΠ²ΠΈΠ·Ρ, ΡΠΎΠ·Π΄Π°Π½Π½ΡΠ΅ Ρ ΡΠ΅Π»ΡΡ Π΄ΠΎΡΡΠ°Π²Π»ΡΡΡ ΡΠ΄ΠΎΠ²ΠΎΠ»ΡΡΡΠ²ΠΈΠ΅ ΠΈ ΡΠ°Π·Π²Π»Π΅ΡΠ΅Π½ΠΈΠ΅ Π² ΠΎΠ±Π»Π°ΡΡΠΈ Π·Π°Π±ΠΎΡΡ ΠΎ Π·Π΄ΠΎΡΠΎΠ²ΡΠ΅. ΠΠ½ΠΈ ΠΏΠΎΠ΄Π½ΠΎΡΡΡ ΡΡΠ°ΡΡΠ½ΠΈΠΊΠ°ΠΌ ΡΠ°Π·Π½ΠΎΠΎΠ±ΡΠ°Π·Π½ΡΠ΅ Π²ΠΎΠΏΡΠΎΡΡ ΠΈ Π·Π°Π΄Π°ΡΠΈ, ΠΊΠΎΡΠΎΡΡΠ΅ ΡΠ°ΡΡΠΎ ΡΠ²ΡΠ·Π°Π½Ρ Ρ ΠΈΠ½ΡΠ΅ΡΠ΅ΡΠ½ΡΠΌΠΈ ΡΠ΅ΠΌΠ°ΠΌΠΈ Π² ΠΎΠ±Π»Π°ΡΡΠΈ Π·Π΄ΠΎΡΠΎΠ²ΠΎΠ³ΠΎ ΠΎΠ±ΡΠ°Π·Π° ΠΆΠΈΠ·Π½ΠΈ, Π»ΠΈΡΠ½ΡΠΌΠΈ ΠΏΡΠΈΠ²ΡΡΠΊΠ°ΠΌΠΈ ΠΈΠ»ΠΈ ΡΠΌΠ΅ΡΠ½ΡΠΌΠΈ ΡΡΠ΅Π½Π°ΡΠΈΡΠΌΠΈ. ΠΡΠ½ΠΎΠ²Π½Π°Ρ Π³Π»Π°Π²Π½Π°Ρ ΡΠ΅Π»Ρ ΡΠ°ΠΊΠΈΡ ΡΠ΅ΡΡΠΎΠ² - ΠΏΡΠ΅Π΄ΠΎΡΡΠ°Π²ΠΈΡΡ ΠΏΠΎΠ»ΡΠ·ΠΎΠ²Π°ΡΠ΅Π»Ρ Π²ΠΎΠ·ΠΌΠΎΠΆΠ½ΠΎΡΡΡ ΠΏΡΠΎΠ²Π΅ΡΡΠΈ Π²ΡΠ΅ΠΌΡ Π²Π΅ΡΠ΅Π»ΠΎ, ΠΏΡΠΎΠ²Π΅ΡΠΈΡΡ ΡΠ²ΠΎΠΈ ΠΏΡΠΈΠ²ΡΡΠΊΠΈ Π΄Π»Ρ ΠΏΠΎΠ΄Π΄Π΅ΡΠΆΠ°Π½ΠΈΡ Π·Π΄ΠΎΡΠΎΠ²ΡΡ ΠΈΠ»ΠΈ ΠΎΡΠΊΡΡΡΡ Π΄Π»Ρ ΡΠ΅Π±Ρ ΡΡΠΎ-ΡΠΎ Π½ΠΎΠ²ΠΎΠ΅ ΠΎ ΡΠ΅Π±Π΅ ΠΈΠ»ΠΈ ΠΎΠΊΡΡΠΆΠ°ΡΡΠ΅ΠΌ ΠΌΠΈΡΠ΅. Π Π°Π·Π²Π»Π΅ΠΊΠ°ΡΠ΅Π»ΡΠ½ΡΠ΅ ΡΠ΅ΡΡΡ ΠΎ Π·Π΄ΠΎΡΠΎΠ²ΡΠ΅ ΡΠΈΡΠΎΠΊΠΎ ΠΏΠΎΠΏΡΠ»ΡΡΠ½Ρ Π² ΠΎΠ½Π»Π°ΠΉΠ½-ΡΡΠ΅Π΄Π΅ ΠΈ ΡΠΎΡΠΈΠ°Π»ΡΠ½ΡΡ ΠΌΠ΅Π΄ΠΈΠ°, Π³Π΄Π΅ ΠΎΠ½ΠΈ ΠΏΠΎΠ»ΡΡΠΈΠ»ΠΈ ΠΏΡΠΈΠ·Π½Π°Π½ΠΈΠ΅ ΠΊΠ°ΠΊ ΠΏΠΎΠΏΡΠ»ΡΡΠ½ΡΠ΅ ΡΠΎΡΠΌΡ ΠΈΠ½ΡΠ΅ΡΠ°ΠΊΡΠΈΠ²Π½ΠΎΠ³ΠΎ ΡΠ°Π·Π²Π»Π΅ΡΠ΅Π½ΠΈΡ Π² Π·Π΄ΠΎΡΠΎΠ²ΡΠ΅ ΠΈ ΠΏΠΎΠ΄Π΅Π»ΠΈΡΡΡΡ ΠΊΠΎΠ½ΡΠ΅Π½ΡΠΎΠΌ.
ΠΠ΅ Π·Π°Π±ΡΠ΄ΡΡΠ΅ Π΄ΠΎΠ±Π°Π²ΠΈΡΡ Π½Π°Ρ ΡΠ°ΠΉΡ Π² Π·Π°ΠΊΠ»Π°Π΄ΠΊΠΈ: <a href="https://testy-pro-zdorove.blogspot.com/2023/12/blog-post.html">https://testy-pro-zdorove.blogspot.com/2023/12/blog-post.html</a>;
From: Donaldtes Mon Jan 29 11:11:00 2024
ΠΠΎΠ·Π½Π°Π²Π°ΡΠ΅Π»ΡΠ½ΡΠ΅ ΡΠ΅ΡΡΡ Π½Π° ΠΏΡΠΈΡ ΠΎΠ»ΠΎΠ³ΠΈΡΠ΅ΡΠΊΠΈΠ΅ ΠΎΡΠΊΠ»ΠΎΠ½Π΅Π½ΠΈΡ: ΠΡΡΠ»Π΅Π΄ΡΠΉΡΠ΅ ΡΠΊΡΡΡΡΠ΅ Π°ΡΠΏΠ΅ΠΊΡΡ ΡΠ²ΠΎΠ΅Π³ΠΎ ΡΠ°Π·ΡΠΌΠ° ([url=https://teksty-otklonenij.blogspot.com/2023/12/blog-post.html]https://teksty-otklonenij.blogspot.com/2023/12/blog-post.html[/url]) - ΡΡΠΎ ΡΠ²Π»Π΅ΠΊΠ°ΡΠ΅Π»ΡΠ½ΡΠ΅ ΠΎΠΏΡΠΎΡΡ, ΡΠΎΠ·Π΄Π°Π½Π½ΡΠ΅ Π΄Π»Ρ Π³Π»ΡΠ±ΠΎΠΊΠΎΠ³ΠΎ ΠΏΠΎΠ³ΡΡΠΆΠ΅Π½ΠΈΡ Π² ΡΠΎΠ·Π½Π°Π½ΠΈΡ. ΠΠ½ΠΈ ΠΏΡΠ΅Π΄Π»Π°Π³Π°ΡΡ ΠΏΠ΅ΡΠ΅Π΄ ΡΡΠ°ΡΡΠ½ΠΈΠΊΠ°ΠΌΠΈ ΡΠ°Π·Π»ΠΈΡΠ½ΡΠ΅ Π²ΠΎΠΏΡΠΎΡΡ ΠΈ Π·Π°Π΄Π°Π½ΠΈΡ, Π½Π΅ΡΠ΅Π΄ΠΊΠΎ Π°ΡΡΠΎΡΠΈΠΈΡΡΡΡΠΈΠ΅ΡΡ Ρ ΠΈΠ½ΡΠ΅ΡΠ΅ΡΠ½ΡΠΌΠΈ ΡΠ΅ΠΌΠ°ΠΌΠΈ ΠΏΡΠΈΡ ΠΈΡΠ΅ΡΠΊΠΎΠ³ΠΎ Π·Π΄ΠΎΡΠΎΠ²ΡΡ. ΠΡΠ½ΠΎΠ²Π½Π°Ρ ΠΌΠΈΡΡΠΈΡ ΡΠ°ΠΊΠΈΡ ΡΠ΅ΡΡΠΎΠ² - ΠΏΡΠ΅Π΄ΠΎΡΡΠ°Π²ΠΈΡΡ ΠΏΠΎΠ»ΡΠ·ΠΎΠ²Π°ΡΠ΅Π»Ρ ΠΏΠ΅ΡΡΠΏΠ΅ΠΊΡΠΈΠ²Ρ ΡΠ²Π»Π΅ΠΊΠ°ΡΠ΅Π»ΡΠ½ΠΎ ΠΏΡΠΎΠ²Π΅ΡΡΠΈ Π²ΡΠ΅ΠΌΡ, Π½ΠΎ ΠΈ ΡΠ·Π½Π°ΡΡ ΡΠ²ΠΎΠΈ ΡΠΌΠΎΡΠΈΠΎΠ½Π°Π»ΡΠ½ΡΠ΅ ΠΎΡΠΊΠ»ΠΎΠ½Π΅Π½ΠΈΡ, ΠΏΠΎΠ²ΡΡΠΈΡΡ ΡΠ°ΠΌΠΎΡΠΎΠ·Π½Π°Π½ΠΈΠ΅ ΠΈ ΠΈ Π²ΠΎΠ·ΠΌΠΎΠΆΠ½ΠΎ Π²ΡΡΠ²ΠΈΡΡ Π·Π°ΡΠ°Π΅Π½Π½ΡΠ΅ ΡΠ΅ΡΡΡ ΠΈΠ½Π΄ΠΈΠ²ΠΈΠ΄ΡΠ°Π»ΡΠ½ΠΎΡΡΠΈ. Π’Π°ΠΊΠΈΠ΅ ΡΠ΅ΡΡΡ ΠΏΠΎΠ»ΡΡΠΈΠ»ΠΈ ΡΠΈΡΠΎΠΊΠΎΠ΅ ΡΠ°ΡΠΏΡΠΎΡΡΡΠ°Π½Π΅Π½ΠΈΠ΅ ΠΊΠ°ΠΊ ΠΈΠ½ΡΡΡΡΠΌΠ΅Π½Ρ ΡΠ°ΠΌΠΎΠ°Π½Π°Π»ΠΈΠ·Π° Π² ΠΎΠ½Π»Π°ΠΉΠ½-ΠΏΡΠΎΡΡΡΠ°Π½ΡΡΠ²Π΅ ΠΈ ΡΠΎΡΡΠ΅ΡΡΡ , Π³Π΄Π΅ ΠΎΠ½ΠΈ ΠΏΡΠ΅Π΄Π»Π°Π³Π°ΡΡ ΠΏΠΎΠ»ΡΠ·ΠΎΠ²Π°ΡΠ΅Π»ΡΠΌ Π½Π΅ ΡΠΎΠ»ΡΠΊΠΎ Π²Π΅ΡΠ΅Π»ΠΎΠ΅ Π²ΡΠ΅ΠΌΡΠΏΡΠ΅ΠΏΡΠΎΠ²ΠΎΠΆΠ΄Π΅Π½ΠΈΠ΅, Π½ΠΎ ΠΈ ΠΌΠ΅ΡΠΎΠ΄ ΡΠ°ΠΌΠΎΠ°Π½Π°Π»ΠΈΠ·Π°.
ΠΠ΅ Π·Π°Π±ΡΠ΄ΡΡΠ΅ Π΄ΠΎΠ±Π°Π²ΠΈΡΡ Π² Π·Π°ΠΊΠ»Π°Π΄ΠΊΠΈ ΡΡΡΠ»ΠΊΡ Π½Π° Π½Π°Ρ ΡΠ΅ΡΡΡΡ: <a href="https://teksty-otklonenij.blogspot.com/2023/12/blog-post.html">https://teksty-otklonenij.blogspot.com/2023/12/blog-post.html</a>;
From: MarvinUsabe Mon Jan 29 12:05:11 2024
Π£Π²Π»Π΅ΠΊΠ°ΡΠ΅Π»ΡΠ½ΡΠ΅ Π²ΠΈΠΊΡΠΎΡΠΈΠ½Ρ Π΄Π»Ρ ΠΎΠ±ΡΡΠ΅Π½ΠΈΡ ΠΈ ΡΠ°Π·Π²ΠΈΡΠΈΡ: ΠΠΎΠ³ΡΡΠ·ΠΈΡΠ΅ΡΡ Π² ΠΌΠΈΡ Π·Π½Π°Π½ΠΈΠΉ ([url=https://obrazovatelnye-testy.blogspot.com/2023/12/blog-post.html]https://obrazovatelnye-testy.blogspot.com/2023/12/blog-post.html[/url]) - ΡΡΠΎ ΠΏΠΎΠ·Π½Π°Π²Π°ΡΠ΅Π»ΡΠ½ΡΠ΅ ΠΊΠ²ΠΈΠ·Ρ, ΡΠΎΠ·Π΄Π°Π½Π½ΡΠ΅ Ρ ΡΠ΅Π»ΡΡ ΠΎΠ±ΠΎΠ³Π°ΡΠ΅Π½ΠΈΡ Π·Π½Π°Π½ΠΈΠΉ ΠΈ ΡΠ°Π·Π²ΠΈΡΠΈΡ ΡΠΌΠ΅Π½ΠΈΠΉ. ΠΠ½ΠΈ ΠΏΡΠ΅Π΄Π»Π°Π³Π°ΡΡ ΡΡΠ°ΡΠΈΠΌΡΡ ΡΠ°Π·Π½ΠΎΠΎΠ±ΡΠ°Π·Π½ΡΠ΅ Π²ΠΎΠΏΡΠΎΡΡ ΠΈ Π·Π°Π΄Π°Π½ΠΈΡ, ΠΊΠΎΡΠΎΡΡΠ΅ ΡΠ²ΡΠ·Π°Π½Ρ Ρ Π²Π°ΠΆΠ½ΡΠΌΠΈ ΠΎΠ±ΡΠ°Π·ΠΎΠ²Π°ΡΠ΅Π»ΡΠ½ΡΠΌΠΈ ΡΠ΅ΠΌΠ°ΠΌΠΈ. ΠΡΠ½ΠΎΠ²Π½Π°Ρ Π·Π°Π΄Π°ΡΠ° ΡΡΠΈΡ ΠΎΠΏΡΠΎΡΠΎΠ² - Π΄Π°ΡΡ ΡΡΠ°ΡΠΈΠΌΡΡ ΡΠ°Π½Ρ ΡΠ»ΡΡΡΠΈΡΡ ΡΡΠ΅Π±Π½ΡΠ΅ ΡΠ΅Π·ΡΠ»ΡΡΠ°ΡΡ ΡΠ΅ΡΠ΅Π· ΠΈΠ³ΡΡ, ΠΏΡΠΎΠ²Π΅ΡΠΈΡΡ ΠΈ Π·Π°ΠΊΡΠ΅ΠΏΠΈΡΡ ΠΏΠΎΠ»ΡΡΠ΅Π½Π½ΡΠ΅ Π·Π½Π°Π½ΠΈΡ ΠΈ ΠΎΡΠΊΡΡΡΡ Π½ΠΎΠ²ΡΠ΅ Π³ΠΎΡΠΈΠ·ΠΎΠ½ΡΡ ΠΏΠΎΠ·Π½Π°Π½ΠΈΡ. ΠΠ±ΡΠ°Π·ΠΎΠ²Π°ΡΠ΅Π»ΡΠ½ΡΠ΅ ΡΠ΅ΡΡΡ Π±ΡΡΡΡΠΎ Π½Π°Π±ΠΈΡΠ°ΡΡ ΠΏΠΎΠΏΡΠ»ΡΡΠ½ΠΎΡΡΡ Π² ΠΈΠ½ΡΠ΅ΡΠ½Π΅ΡΠ΅ ΠΈ ΡΡΠ΅Π΄ΠΈ ΠΏΠ΅Π΄Π°Π³ΠΎΠ³ΠΈΡΠ΅ΡΠΊΠΈΡ ΠΊΡΡΠ³ΠΎΠ², Π³Π΄Π΅ ΠΎΠ½ΠΈ ΠΈΡΠΏΠΎΠ»ΡΠ·ΡΡΡΡΡ ΠΊΠ°ΠΊ ΠΈΠ½ΡΡΡΡΠΌΠ΅Π½ΡΡ Π΄Π»Ρ ΠΈΠ½ΡΠ΅ΡΠ°ΠΊΡΠΈΠ²Π½ΠΎΠ³ΠΎ ΠΎΠ±ΡΡΠ΅Π½ΠΈΡ ΠΈ Π΄ΠΈΡΠΊΡΡΡΠΈΠΉ Π² ΡΡΠ΅Π±Π½ΠΎΠΌ ΠΏΡΠΎΡΠ΅ΡΡΠ΅.
ΠΠ΅ Π·Π°Π±ΡΠ΄ΡΡΠ΅ Π΄ΠΎΠ±Π°Π²ΠΈΡΡ Π½Π°Ρ ΡΠ°ΠΉΡ Π² Π·Π°ΠΊΠ»Π°Π΄ΠΊΠΈ Π΄Π»Ρ Π΄ΠΎΡΡΡΠΏΠ° ΠΊ ΠΎΠ±ΡΠ°Π·ΠΎΠ²Π°ΡΠ΅Π»ΡΠ½ΡΠΌ ΡΠ΅ΡΡΠ°ΠΌ: <a href="https://obrazovatelnye-testy.blogspot.com/2023/12/blog-post.html">https://obrazovatelnye-testy.blogspot.com/2023/12/blog-post.html</a>;
From: Donaldtes Mon Jan 29 13:13:05 2024
ΠΠ΄ΠΎΡ Π½ΠΎΠ²Π»ΡΡΡΠΈΠ΅ ΡΠ΅ΡΡΡ Π΄Π»Ρ ΠΆΠ΅Π½ΡΠΈΠ½: ΠΡΡΠ»Π΅Π΄ΡΠΉΡΠ΅ ΠΈΠ·ΡΡΠ΅ΡΡΠ²ΠΎ Π²Π°ΡΠ΅Π³ΠΎ ΡΠ°Π·ΡΠΌΠ° ([url=https://zhenskie-testy.blogspot.com/2023/12/blog-post.html]https://zhenskie-testy.blogspot.com/2023/12/blog-post.html[/url]) - ΡΡΠΎ ΠΏΡΠΈΠ²Π»Π΅ΠΊΠ°ΡΠ΅Π»ΡΠ½ΡΠ΅ ΠΎΠΏΡΠΎΡΡ, ΡΠΎΠ·Π΄Π°Π½Π½ΡΠ΅ Π΄Π»Ρ Π³Π»ΡΠ±ΠΎΠΊΠΎΠ³ΠΎ ΡΠ°ΠΌΠΎΠΏΠΎΠ·Π½Π°Π½ΠΈΡ. ΠΠ½ΠΈ ΠΏΡΠ΅Π΄Π»Π°Π³Π°ΡΡ ΠΏΠ΅ΡΠ΅Π΄ ΡΡΠ°ΡΡΠ½ΠΈΡΠ°ΠΌΠΈ ΠΌΠ½ΠΎΠΆΠ΅ΡΡΠ²ΠΎ Π·Π°Π΄Π°Π½ΠΈΠΉ Π΄Π»Ρ ΡΠ°ΠΌΠΎΠ°Π½Π°Π»ΠΈΠ·Π°, ΡΠ°ΡΡΠΎ ΡΠ²ΡΠ·Π°Π½Π½ΡΠ΅ Ρ Π³Π°ΡΠΌΠΎΠ½ΠΈΠΈ Π² ΠΆΠΈΠ·Π½ΠΈ. ΠΡΠ½ΠΎΠ²Π½Π°Ρ ΠΌΠΈΡΡΠΈΡ ΡΡΠΈΡ ΡΠ΅ΡΡΠΎΠ² - ΠΎΠ±Π΅ΡΠΏΠ΅ΡΠΈΡΡ ΠΏΠ΅ΡΡΠΏΠ΅ΠΊΡΠΈΠ²Ρ ΠΏΡΠΈΡΡΠ½ΠΎΠ³ΠΎ Π²ΡΠ΅ΠΌΡΠΏΡΠ΅ΠΏΡΠΎΠ²ΠΎΠΆΠ΄Π΅Π½ΠΈΡ, Π° ΡΠ°ΠΊΠΆΠ΅ ΠΏΠΎΠ·Π²ΠΎΠ»ΠΈΡΡ ΡΠ·Π½Π°ΡΡ ΡΠ²ΠΎΠΈ ΡΠ½ΠΈΠΊΠ°Π»ΡΠ½ΡΠ΅ ΠΎΡΠΎΠ±Π΅Π½Π½ΠΎΡΡΠΈ. ΠΡΠΈ ΡΠ΅ΡΡΡ ΡΡΠ°Π»ΠΈ ΠΏΠΎΠΏΡΠ»ΡΡΠ½ΡΠΌΠΈ ΡΡΠ΅Π΄ΠΈ ΠΆΠ΅Π½ΡΠΊΠΎΠΉ Π°ΡΠ΄ΠΈΡΠΎΡΠΈΠΈ ΠΎΠ½Π»Π°ΠΉΠ½ ΠΊΠ°ΠΊ ΠΌΠ΅ΡΠΎΠ΄ ΡΠ°ΠΌΠΎΠΏΠΎΠ·Π½Π°Π½ΠΈΡ.
ΠΠ΅ Π·Π°Π±ΡΠ΄ΡΡΠ΅ ΡΠΎΡ ΡΠ°Π½ΠΈΡΡ ΡΡΡΠ»ΠΊΡ Π½Π° Π½Π°Ρ ΡΠ΅ΡΡΡΡ: <a href="https://zhenskie-testy.blogspot.com/2023/12/blog-post.html">https://zhenskie-testy.blogspot.com/2023/12/blog-post.html</a>;
From: Donaldtes Tue Jan 30 12:18:18 2024
ΠΠ°Π½ΠΈΠΌΠ°ΡΠ΅Π»ΡΠ½ΡΠ΅ ΡΠ΅ΡΡΡ Π΄Π»Ρ ΠΌΡΠΆΡΠΈΠ½: ΠΡΡΠ»Π΅Π΄ΡΠΉΡΠ΅ ΡΠΊΡΡΡΡΡ ΡΠΈΠ»Ρ ([url=https://testy-dlya-muzhchin.blogspot.com/2023/12/blog-post.html]https://testy-dlya-muzhchin.blogspot.com/2023/12/blog-post.html[/url]) - ΡΡΠΎ Π·Π°Π½ΠΈΠΌΠ°ΡΠ΅Π»ΡΠ½ΡΠ΅ ΠΎΠΏΡΠΎΡΡ, ΠΏΡΠ΅Π΄Π½Π°Π·Π½Π°ΡΠ΅Π½Π½ΡΠ΅ Π΄Π»Ρ ΠΈΠ·ΡΡΠ΅Π½ΠΈΡ ΠΌΡΠΆΡΠΊΠΎΠΉ ΡΡΡΠ½ΠΎΡΡΠΈ. ΠΠ½ΠΈ ΠΏΡΠ΅Π΄Π»Π°Π³Π°ΡΡ ΠΏΠ΅ΡΠ΅Π΄ ΡΡΠ°ΡΡΠ½ΠΈΠΊΠ°ΠΌΠΈ ΠΌΠ½ΠΎΠΆΠ΅ΡΡΠ²ΠΎ Π·Π°Π΄Π°Π½ΠΈΠΉ Π΄Π»Ρ ΡΠ°ΠΌΠΎΠ°Π½Π°Π»ΠΈΠ·Π°, ΡΠ°ΡΡΠΎ ΡΠ²ΡΠ·Π°Π½Π½ΡΠ΅ Ρ Π³Π°ΡΠΌΠΎΠ½ΠΈΠΈ Π² ΠΆΠΈΠ·Π½ΠΈ. ΠΡΠ½ΠΎΠ²Π½Π°Ρ Π·Π°Π΄Π°ΡΠ° ΡΡΠΈΡ ΡΠ΅ΡΡΠΎΠ² - ΠΎΠ±Π΅ΡΠΏΠ΅ΡΠΈΡΡ ΡΠ°Π½Ρ Π½Π° Π·Π°Ρ Π²Π°ΡΡΠ²Π°ΡΡΠ΅Π΅ Π²ΡΠ΅ΠΌΡΠΏΡΠΎΠ²ΠΎΠΆΠ΄Π΅Π½ΠΈΠ΅, Π° ΡΠ°ΠΊΠΆΠ΅ ΠΏΠΎΠΌΠΎΡΡ ΠΎΠ±Π½Π°ΡΡΠΆΠΈΡΡ ΡΠΌΠΎΡΠΈΠΎΠ½Π°Π»ΡΠ½ΡΠ΅ Π³ΡΠ°Π½ΠΈ. ΠΡΠΈ ΡΠ΅ΡΡΡ ΡΡΠ°Π»ΠΈ ΠΏΠΎΠΏΡΠ»ΡΡΠ½ΡΠΌΠΈ ΡΡΠ΅Π΄ΠΈ ΠΌΡΠΆΡΠΈΠ½ Π² ΠΈΠ½ΡΠ΅ΡΠ½Π΅ΡΠ΅ ΠΊΠ°ΠΊ ΠΌΠ΅ΡΠΎΠ΄ ΡΠ°ΠΌΠΎΠΏΠΎΠ·Π½Π°Π½ΠΈΡ.
ΠΠ΅ Π·Π°Π±ΡΠ΄ΡΡΠ΅ ΡΠΎΡ ΡΠ°Π½ΠΈΡΡ ΡΡΡΠ»ΠΊΡ Π½Π° Π½Π°Ρ ΡΠ΅ΡΡΡΡ: <a href="https://testy-dlya-muzhchin.blogspot.com/2023/12/blog-post.html">https://testy-dlya-muzhchin.blogspot.com/2023/12/blog-post.html</a>;
From: ErnestoCoand Mon Feb 5 01:54:39 2024
ΠΠ° ΡΠ°ΠΉΡΠ΅ [url=https://anekdotitut.ru/]https://anekdotitut.ru/[/url] Π²Ρ ΠΎΠΊΡΠ½Π΅ΡΠ΅ΡΡ Π² ΠΌΠΈΡ Π±Π΅Π·ΠΌΠ΅ΡΠ½ΠΎΠ³ΠΎ ΡΠΌΠΎΡΠ° ΠΈ ΡΠΌΠ΅Ρ Π°. ΠΠ½Π΅ΠΊΠ΄ΠΎΡΡ - ΡΡΠΎ Π½Π΅ ΠΏΡΠΎΡΡΠΎ Π»Π°ΠΊΠΎΠ½ΠΈΡΠ½ΡΠ΅ ΠΈΡΡΠΎΡΠΈΠΈ, Π° ΠΈΡΡΠΎΡΠ½ΠΈΠΊ Π²Π΅ΡΠ΅Π»ΡΡ, ΠΊΠΎΡΠΎΡΡΠΉ ΡΠΏΠΎΡΠΎΠ±Π΅Π½ ΠΏΠΎΠ΄Π½ΡΡΡ Π½Π°ΡΡΡΠΎΠ΅Π½ΠΈΠ΅ Π² ΡΠ°Π·Π½ΠΎΠΉ ΡΠΈΡΡΠ°ΡΠΈΠΈ.
ΠΠΌΠΎΡ Π±ΡΠ²Π°ΡΡ ΡΠ°Π·Π½ΡΠ΅: ΠΊΠΎΠΌΠΈΡΠ΅ΡΠΊΠΈΠ΅, Π΄ΠΎΠ±ΡΡΠ΅, ΡΠ°ΡΠΊΠ°ΡΡΠΈΡΠ΅ΡΠΊΠΈΠ΅ ΠΈ Π΄Π°ΠΆΠ΅ Π½Π΅Π»Π΅ΠΏΡΠ΅. ΠΠ½ΠΈ ΠΌΠΎΠ³ΡΡ ΡΠ°ΡΡΠΊΠ°Π·ΡΠ²Π°ΡΡ ΠΎ ΠΎΠ±ΡΠ΄Π΅Π½Π½ΡΡ ΡΠΈΡΡΠ°ΡΠΈΡΡ , Π»ΠΈΡΠ°Ρ ΠΈΠ·Π²Π΅ΡΡΠ½ΡΡ ΠΌΡΠ»ΡΡΡΠΈΠ»ΡΠΌΠΎΠ² ΠΈΠ»ΠΈ Π³ΠΎΡΡΠ΄Π°ΡΡΡΠ²Π΅Π½Π½ΡΡ Π΄Π΅ΡΡΠ΅Π»Π΅ΠΉ, Π½ΠΎ Π²ΡΠ΅Π³Π΄Π° ΡΠ΅Π»ΡΡ ΠΎΡΡΠ°Π΅ΡΡΡ Π²ΡΠ·Π²Π°ΡΡ ΡΠ»ΡΠ±ΠΊΡ Ρ ΡΠΈΡΠ°ΡΠ΅Π»Ρ.
ΠΠ° anekdotitut.ru ΡΠΎΠ±ΡΠ°Π½Π° ΠΊΠΎΠ»ΠΎΡΡΠ°Π»ΡΠ½Π°Ρ ΠΊΠΎΠ»Π»Π΅ΠΊΡΠΈΡ Π°Π½Π΅ΠΊΠ΄ΠΎΡΠΎΠ² Π½Π° ΡΠ°ΠΌΡΠ΅ ΡΠ°Π·Π»ΠΈΡΠ½ΡΠ΅ ΡΠ΅ΠΌΡ. ΠΡ Π½Π°ΠΉΠ΄Π΅ΡΠ΅ Π·Π΄Π΅ΡΡ Π°Π½Π΅ΠΊΠ΄ΠΎΡΡ ΠΎ ΠΏΠΈΡΠΎΠΌΡΠ°Ρ , ΠΎΡΠ½ΠΎΡΠ΅Π½ΠΈΡΡ Π² ΡΠ΅ΠΌΡΠ΅, ΡΠ°Π±ΠΎΡΠ΅, Π³ΠΎΡΡΠ΄Π°ΡΡΡΠ²Π΅Π½Π½ΠΎΠΉ ΠΏΠΎΠ»ΠΈΡΠΈΠΊΠ΅ ΠΈ ΠΌΠ½ΠΎΠ³ΠΈΠ΅ Π΄ΡΡΠ³ΠΈΠ΅. ΠΠ½ΠΎΠΆΠ΅ΡΡΠ²ΠΎ ΠΊΠ°ΡΠ΅Π³ΠΎΡΠΈΠΉ ΠΈ ΠΊΠ°ΡΠ΅Π³ΠΎΡΠΈΠΉ ΠΏΠΎΠΌΠΎΠ³ΡΡ Π²Π°ΠΌ Π±ΡΡΡΡΠΎ Π½Π°ΠΉΡΠΈ Π°Π½Π΅ΠΊΠ΄ΠΎΡ ΠΏΠΎ Π²Π°ΡΠ΅ΠΌΡ Π²ΠΊΡΡΡ.
ΠΠ½Π΅ Π·Π°Π²ΠΈΡΠΈΠΌΠΎΡΡΠΈ ΠΎΡ Π²Π°ΡΠ΅Π³ΠΎ ΠΏΡΠΈΡ ΠΎΠ»ΠΎΠ³ΠΈΡΠ΅ΡΠΊΠΎΠ³ΠΎ ΡΠΎΡΡΠΎΡΠ½ΠΈΡ, ΡΠΌΠΎΡ Ρ anekdotitut.ru ΠΏΠΎΠΌΠΎΠ³ΡΡ Π²Π°ΠΌ ΡΠ°ΡΡΠ»Π°Π±ΠΈΡΡΡΡ ΠΈ Π²ΡΠ΅ΠΌΠ΅Π½Π½ΠΎ Π·Π°Π±ΡΡΡ ΠΎ Π΅ΠΆΠ΅Π΄Π½Π΅Π²Π½ΡΡ ΠΏΡΠΎΠ±Π»Π΅ΠΌΠ°Ρ . ΠΡΠΎΡ ΠΏΠΎΡΡΠ°Π» ΡΡΠ°Π½Π΅Ρ Π²Π°ΡΠΈΠΌ Π²Π΅ΡΠ½ΡΠΌ ΡΠΏΡΡΠ½ΠΈΠΊΠΎΠΌ Π² ΠΏΠΎΠ»ΠΎΠΆΠΈΡΠ΅Π»ΡΠ½ΡΡ ΡΠΌΠΎΡΠΈΠΉ ΠΈ ΡΠ°Π΄ΠΎΡΡΠ½ΡΡ ΠΌΠΎΠΌΠ΅Π½ΡΠΎΠ².
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ΠΠ΅ Π·Π°Π±ΡΠ΄ΡΡΠ΅ Π΄ΠΎΠ±Π°Π²ΠΈΡΡ Π½Π°Ρ ΡΠ°ΠΉΡ <a href="https://anekdotitut.ru/">https://anekdotitut.ru/</a>; Π² Π·Π°ΠΊΠ»Π°Π΄ΠΊΠΈ!
From: Jaredagord Mon Feb 5 21:30:22 2024
ΠΠ° ΠΏΠΎΡΡΠ°Π»Π΅ [url=https://antipushkin.ru/]https://antipushkin.ru/[/url], ΠΏΠΎΡΠ²ΡΡΠ΅Π½Π½ΠΎΠΌ ΡΠΈΡΠ°ΡΠ°ΠΌ, Π²Ρ ΠΎΠΊΡΠ½Π΅ΡΠ΅ΡΡ Π² ΠΌΠΈΡ ΡΠΈΠ»ΠΎΡΠΎΡΡΠΊΠΈΡ ΠΌΡΡΠ»Π΅ΠΉ Π²Π΅Π»ΠΈΠΊΠΈΡ ΡΠΈΠ»ΠΎΡΠΎΡΡΠΊΠΈΡ Π³ΡΡΡ.
Π£ Π½Π° ΡΠ°ΠΉΡΠ΅ ΡΠΈΡΠ°ΡΠ΅Π»Π΅ΠΉ ΠΆΠ΄Π΅Ρ ΠΌΠ½ΠΎΠΆΠ΅ΡΡΠ²ΠΎ ΡΠΈΠ»ΠΎΡΠΎΡΡΠΊΠΈΡ ΡΠΈΡΠ°Ρ ΠΎ ΡΠΈΠ»ΠΎΡΠΎΡΠΈΠΈ ΠΈ ΡΠ°Π·Π½ΡΡ Π°ΡΠΏΠ΅ΠΊΡΠ°Ρ ΠΆΠΈΠ·Π½ΠΈ.
Π£Π·Π½Π°ΠΉΡΠ΅ Π² Π²Π΄ΠΎΡ Π½ΠΎΠ²Π»ΡΡΡΠΈΠ΅ Π²ΡΡΠΊΠ°Π·ΡΠ²Π°Π½ΠΈΡ Π²Π΅Π»ΠΈΠΊΠΈΡ ΡΠΌΠΎΠ² ΠΈ ΠΏΠΎΠ»ΡΡΠΈΡΠ΅ ΡΠ΅Π½Π½ΡΠ΅ ΡΡΠΎΠΊΠΈ Π΅ΠΆΠ΅Π΄Π½Π΅Π²Π½ΠΎ. ΠΡΠΈΠΌΠ΅Π½ΡΠΉΡΠ΅ ΡΠΈΡΠ°ΡΡ ΠΈ Π°ΡΠΎΡΠΈΠ·ΠΌΡ Π΄Π»Ρ Π΄ΡΡ ΠΎΠ²Π½ΠΎΠ³ΠΎ ΡΠΎΠ²Π΅ΡΡΠ΅Π½ΡΡΠ²ΠΎΠ²Π°Π½ΠΈΡ ΠΈ ΠΏΡΠΎΠ΄Π²ΠΈΠΆΠ΅Π½ΠΈΡ Π²ΠΏΠ΅ΡΠ΅Π΄.
ΠΠΎΡΠ΅ΡΠΈΡΠ΅ Π½Π°Ρ ΡΠ°ΠΉΡ ΠΈ ΠΏΠΎΠ»ΡΡΠΈΡΠ΅ Π΄ΠΎΠ»Ρ ΡΠΈΠ»ΠΎΡΠΎΡΠΈΠΈ ΡΠ΅ΠΉΡΠ°Ρ ΠΈ Π²ΡΠ΅Π³Π΄Π°. ΠΠΎΠ·Π½Π°ΠΊΠΎΠΌΡΡΠ΅ΡΡ Ρ Π±Π΅ΡΡΠ΅Π½Π½ΡΠΌΠΈ ΡΠ΅Π½Π½ΠΎΡΡΡΠΌΠΈ, ΠΊΠΎΡΠΎΡΡΠ΅ ΠΏΡΠ΅Π΄Π»ΠΎΠΆΠΈΡ Π²Π°ΠΌ antipushkin.ru.
Π£ Π½Π°Ρ Π½Π° ΡΠ°ΠΉΡΠ΅ Π²Ρ Π½Π°ΠΉΠ΄Π΅ΡΠ΅ ΠΌΠ½ΠΎΠΆΠ΅ΡΡΠ²ΠΎ ΡΡΠ°Π· ΠΈ Π²ΡΡΠΊΠ°Π·ΡΠ²Π°Π½ΠΈΠΉ, ΠΊΠΎΡΠΎΡΡΠ΅ ΠΏΠΎΠ΄Π°ΡΡΡ Π²Π°ΠΌ ΠΌΡΠ΄ΡΠΎΡΡΡ Π² ΡΠ°Π·Π½ΡΡ Π°ΡΠΏΠ΅ΠΊΡΠ°Ρ Π±ΡΡΠΈΡ. ΠΠ° Π½Π°ΡΠ΅ΠΌ ΠΏΠΎΡΡΠ°Π»Π΅ Π΅ΡΡΡ Π²ΡΡΠΊΠ°Π·ΡΠ²Π°Π½ΠΈΡ ΠΎ ΡΠΌΡΡΠ»Π΅ Π±ΡΡΠΈΡ, Π΄ΠΎΡΡΠΈΠΆΠ΅Π½ΠΈΠΈ ΡΠ΅Π»Π΅ΠΉ, Π³Π°ΡΠΌΠΎΠ½ΠΈΠΈ ΠΈ Π΄ΡΡ ΠΎΠ²Π½ΠΎΠΌ ΡΠ°Π·Π²ΠΈΡΠΈΠΈ.
Π‘Π°ΠΉΡ <a href="https://antipushkin.ru/">antipushkin.ru</a>; - ΡΡΠΎ ΠΈΡΡΠΎΡΠ½ΠΈΠΊ Π²Π΄ΠΎΡ Π½ΠΎΠ²Π΅Π½ΠΈΡ. ΠΡ Π΄Π΅Π»Π°Π΅ΠΌ Π΄ΠΎΡΡΡΠΏΠ½ΡΠΌΠΈ Π»ΡΡΡΠΈΠ΅ ΡΠΈΡΠ°ΡΡ Π·Π½Π°ΠΌΠ΅Π½ΠΈΡΡΡ Π»ΡΠ΄Π΅ΠΉ, ΠΊΠΎΡΠΎΡΡΠ΅ ΠΏΠΎΠ΄Π°ΡΡΡ Π²Π°ΠΌ ΠΌΡΠ΄ΡΠΎΡΡΡ Π² Π² ΠΎΡΠΌΡΡΠ»Π΅Π½ΠΈΠΈ Π±ΡΡΠΈΡ.
ΠΠΎΠ΄ΠΏΠΈΡΡΠ²Π°ΠΉΡΠ΅ΡΡ Π½Π° Π½Π°ΡΠΈ ΠΎΠ±Π½ΠΎΠ²Π»Π΅Π½ΠΈΡ ΠΈ Π±ΡΠ΄ΡΡΠ΅ Π² ΠΊΡΡΡΠ΅ Π²ΡΠ΅Ρ Π½ΠΎΠ²ΡΡ ΡΠΈΡΠ°Ρ. antipushkin.ru Ρ ΡΠ΄ΠΎΠ²ΠΎΠ»ΡΡΡΠ²ΠΈΠ΅ΠΌ ΠΏΡΠ΅Π΄ΠΎΡΡΠ°Π²ΠΈΡ Π²Π°ΠΌ ΠΏΠΎΡΡΠΈΡ Π²Π΄ΠΎΡ Π½ΠΎΠ²Π΅Π½ΠΈΡ Π΅ΠΆΠ΅Π΄Π½Π΅Π²Π½ΠΎ.
From: <a href="https://amurplanet.ru/">Amura</a> Tue Feb 6 15:09:40 2024
Thanks for the complete information. You helped me.
From: ErnestoCoand Wed Feb 7 15:09:52 2024
ΠΠ° ΡΡΠΎΠΌ ΡΠ°ΠΉΡΠ΅ [url=https://psychotestinsights.blogspot.com/2023/12/blog-post.html]https://psychotestinsights.blogspot.com/2023/12/blog-post.html[/url] Π²Ρ ΡΠΌΠΎΠΆΠ΅ΡΠ΅ Π±Π΅Π·Π²ΠΎΠ·ΠΌΠ΅Π·Π΄Π½ΠΎ ΠΈ Π±Π΅Π· Π½Π΅ΠΎΠ±Ρ ΠΎΠ΄ΠΈΠΌΠΎΡΡΠΈ ΡΠ΅Π³ΠΈΡΡΡΠ°ΡΠΈΠΈ ΠΏΡΠΎΡΠ΅ΡΡΠΈΡΠΎΠ²Π°ΡΡ ΡΠ΅ΡΡΠΈΡΠΎΠ²Π°Π½ΠΈΠ΅ ΡΠ°Π·ΡΠΌΠ°. Π‘Π»Π΅Π΄ΠΈΡΠ΅ Π·Π° Π½ΠΎΠ²ΡΠΌΠΈ ΠΎΠΏΡΠΎΡΠ°ΠΌΠΈ ΠΈ Π°Π½Π°Π»ΠΈΠ·Π°ΠΌΠΈ ΠΈ Π½Π΅ Π·Π°Π±ΡΠ΄ΡΡΠ΅ Π΄ΠΎΠ±Π°Π²ΠΈΡΡ ΡΠ°ΠΉΡ Π² Π·Π°ΠΊΠ»Π°Π΄ΠΊΠΈ Π΄Π»Ρ ΡΠ΄ΠΎΠ±Π½ΠΎΠ³ΠΎ Π΄ΠΎΡΡΡΠΏΠ° ΠΊ ΡΠ²Π΅ΠΆΠΈΠΌ ΡΠ΅Π·ΡΠ»ΡΡΠ°ΡΠ°ΠΌ. Π£Π·Π½Π°ΠΉΡΠ΅ ΠΏΠ΅ΡΠ²ΡΠΌΠΈ Π³Π»ΡΠ±ΠΎΠΊΠΈΠ΅ Π°ΡΠΏΠ΅ΠΊΡΡ Π²Π°ΡΠ΅Π³ΠΎ Π²Π½ΡΡΡΠ΅Π½Π½Π΅Π³ΠΎ ΠΌΠΈΡΠ°. ΠΡΠΈΠ³ΠΎΡΠΎΠ²ΡΡΠ΅ΡΡ ΠΊ ΡΠ΄ΠΈΠ²ΠΈΡΠ΅Π»ΡΠ½ΡΠΌ ΡΠ°ΠΊΡΠ°ΠΌ Ρ ΠΏΠΎΡΠ»Π΅Π΄Π½ΠΈΠΌΠΈ ΠΈΡΡΠ»Π΅Π΄ΠΎΠ²Π°Π½ΠΈΡΠΌΠΈ. ΠΠΎΠ·Π½Π°Π²Π°ΠΉΡΠ΅ Π³Π»ΡΠ±ΠΈΠ½Ρ ΡΠ²ΠΎΠ΅Π³ΠΎ Π²Π½ΡΡΡΠ΅Π½Π½Π΅Π³ΠΎ ΠΌΠΈΡΠ° Ρ ΡΠ΅ΡΡΠ°ΠΌΠΈ Π½Π° ΡΠ°ΠΌΠΎΠΏΠΎΠ·Π½Π°Π½ΠΈΠ΅. ΠΠΎΠ·Π½Π°Π²Π°ΠΉΡΠ΅ ΡΠ΅ΠΊΡΠ΅ΡΡ ΡΠ²ΠΎΠ΅ΠΉ ΠΏΡΠΈΡ ΠΈΠΊΠΈ, ΠΏΡΠΎΠ²ΠΎΠ΄Ρ ΠΊΠ°ΠΆΠ΄ΡΡ ΠΏΡΠΎΡΠ΅Π΄ΡΡΡ Π½Π° Π½Π°ΡΠ΅ΠΌ ΠΏΠ»Π°ΡΡΠΎΡΠΌΠ΅. ΠΠΎΠ³ΡΡΠ·ΠΈΡΠ΅ΡΡ Π² ΡΠ²ΠΎΠΉ Π²Π½ΡΡΡΠ΅Π½Π½ΠΈΠΉ ΠΌΠΈΡ Ρ ΠΊΠ°ΠΆΠ΄ΡΠΌ ΠΈΡΡΠ»Π΅Π΄ΠΎΠ²Π°Π½ΠΈΠ΅ΠΌ. ΠΠΎΡΡΠ²ΡΡΠ²ΡΠΉΡΠ΅ Π²ΡΡ Π³Π°ΠΌΠΌΡ ΡΠΌΠΎΡΠΈΠΉ Π² ΠΏΡΠΎΡΠ΅ΡΡΠ΅ ΡΠ΅ΡΡΠΈΡΠΎΠ²Π°Π½ΠΈΡ ΠΊΠ°ΠΆΠ΄ΠΎΠΉ ΠΏΡΠΎΡΠ΅Π΄ΡΡΡ. Π£Π·Π½Π°Π²Π°ΠΉΡΠ΅ ΡΠ²ΠΎΠΈ Π»ΠΈΡΠ½ΠΎΡΡΠ½ΡΠ΅ Ρ Π°ΡΠ°ΠΊΡΠ΅ΡΠΈΡΡΠΈΠΊΠΈ Ρ ΠΏΡΡΠ΅ΠΌ ΠΏΡΠΈΡ ΠΎΡΠ΅ΡΡΠΎΠ². Π£Π·Π½Π°ΠΉΡΠ΅ Π³Π»ΡΠ±ΠΈΠ½Π½ΡΠ΅ ΡΠ»ΠΎΠΈ ΡΠ²ΠΎΠ΅ΠΉ ΠΈΠ½Π΄ΠΈΠ²ΠΈΠ΄ΡΠ°Π»ΡΠ½ΠΎΡΡΠΈ. Π‘ΠΎΠ²Π΅ΡΡΠ΅Π½ΡΡΠ²ΡΠΉΡΠ΅ΡΡ Ρ ΠΊΠ°ΠΆΠ΄ΠΎΠΉ ΠΏΡΠΎΡΠ΅Π΄ΡΡΠΎΠΉ ΠΈ ΡΡΡΠ΅ΠΌΠΈΡΠ΅ΡΡ ΠΊ Π»ΡΡΡΠ΅ΠΌΡ. ΠΡΠΎΡΡΠ²ΡΡΠ²ΡΠΉΡΠ΅ ΠΊΠ°ΠΆΠ΄ΡΠΉ ΠΌΠΎΠΌΠ΅Π½Ρ ΡΠ²ΠΎΠ΅Π³ΠΎ Π»ΠΈΡΠ½ΠΎΡΡΠ½ΠΎΠ³ΠΎ ΡΠΎΡΡΠ°. ΠΠΎΠ³ΡΡΠ·ΠΈΡΠ΅ΡΡ Π² ΡΠ²ΠΎΠΉ Π²Π½ΡΡΡΠ΅Π½Π½ΠΈΠΉ ΠΌΠΈΡ Ρ ΡΠ΅ΡΡΠ°ΠΌΠΈ Π½Π° ΡΠ°ΠΌΠΎΠΏΠΎΠ·Π½Π°Π½ΠΈΠ΅. ΠΠΎΡΠΎΠ²ΡΡΠ΅ΡΡ ΠΊ ΡΠ°ΠΌΠΎΠΏΠΎΠ·Π½Π°Π½ΠΈΡ. ΠΡΠΊΡΡΠ²Π°ΠΉΡΠ΅ Π΄Π»Ρ ΡΠ΅Π±Ρ Π½ΠΎΠ²ΡΠ΅ Π³ΡΠ°Π½ΠΈ ΡΠ²ΠΎΠ΅Π³ΠΎ "Π―". ΠΠΎΡΡΠΈΠ³Π°ΠΉΡΠ΅ Π³Π°ΡΠΌΠΎΠ½ΠΈΠΈ Ρ ΡΠ°ΠΌΠΈΠΌ ΡΠΎΠ±ΠΎΠΉ.
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[url=https://testy-pro-zdorove.blogspot.com/2023/12/blog-post.html]Π’Π΅ΡΡΡ Π½Π° Π·Π΄ΠΎΡΠΎΠ²ΡΠ΅[/url]
[url=https://teksty-otklonenij.blogspot.com/2023/12/blog-post.html]Π’Π΅ΡΡΡ Π½Π° ΠΏΡΠΈΡ ΠΎΠ»ΠΎΠ³ΠΈΡΠ΅ΡΠΊΠΈΠ΅ ΠΎΡΠΊΠ»ΠΎΠ½Π΅Π½ΠΈΡ[/url]
[url=https://obrazovatelnye-testy.blogspot.com/2023/12/blog-post.html]Π’Π΅ΡΡΡ Π½Π° ΠΎΠ±ΡΠ°Π·ΠΎΠ²Π°Π½ΠΈΠ΅[/url]
[url=https://zhenskie-testy.blogspot.com/2023/12/blog-post.html]Π’Π΅ΡΡΡ Π΄Π»Ρ ΠΆΠ΅Π½ΡΠΈΠ½[/url]
[url=https://testy-dlya-muzhchin.blogspot.com/2023/12/blog-post.html]Π’Π΅ΡΡΡ Π΄Π»Ρ ΠΌΡΠΆΡΠΈΠ½[/url]
Π’Π΅ΡΡΠΈΡΠΎΠ²Π°Π½ΠΈΡ ΡΠ°Π·ΡΠΌΠ° ΡΡΠ°Π½ΠΎΠ²ΡΡΡΡ Π½Π΅ΠΎΡΡΠ΅ΠΌΠ»Π΅ΠΌΠΎΠΉ ΡΠΎΡΡΠ°Π²Π½ΠΎΠΉ ΡΠ°ΡΡΡΡ Π½Π°ΡΠ΅Π³ΠΎ Π»ΠΈΡΠ½ΠΎΡΡΠ½ΠΎΠ³ΠΎ ΡΠΎΡΡΠ°. ΠΠ½ΠΈ ΠΏΠΎΠΌΠΎΠ³Π°ΡΡ ΠΎΡΠΊΡΡΠ²Π°ΡΡ Π½ΠΎΠ²ΡΠ΅ Π³ΡΠ°Π½ΠΈ ΡΠ²ΠΎΠ΅Π³ΠΎ "Π―". Π£ΡΠ°ΡΡΠ²ΡΠ΅ΠΌ Π² ΡΠ΅ΡΡΠΈΡΠΎΠ²Π°Π½ΠΈΡΡ , ΠΌΡ Π²Π·ΠΈΡΠ°Π΅ΠΌ Π² Π³Π»ΡΠ±ΠΈΠ½Ρ ΡΠ²ΠΎΠ΅ΠΉ Π΄ΡΡΠΈ, ΠΏΠΎΠ·Π²ΠΎΠ»ΡΡ ΠΎΡΡΡΠ°ΡΡ ΠΌΠΎΠΌΠ΅Π½ΡΡ Π²Π½ΡΡΡΠ΅Π½Π½Π΅ΠΉ ΡΡΠ½ΠΎΡΡΠΈ.
ΠΡΡΠ»Π΅Π΄ΠΎΠ²Π°Π½ΠΈΠ΅ Π»ΠΈΡΠ½ΠΎΡΡΠΈ - ΡΡΠΎ Π½Π΅ ΠΏΡΠΎΡΡΠΎ ΠΏΡΠ°ΠΊΡΠΈΠΊΠ° ΠΈΠ·ΡΡΠ΅Π½ΠΈΡ ΠΈΠ½Π΄ΠΈΠ²ΠΈΠ΄ΡΠ°Π»ΡΠ½ΡΡ ΡΠ΅ΡΡ Π»ΠΈΡΠ½ΠΎΡΡΠΈ, Π½ΠΎ ΠΈ ΠΌΠ΅ΡΠΎΠ΄ ΡΠ°ΠΌΠΎΠΏΠΎΠ·Π½Π°Π½ΠΈΡ. ΠΠ°ΠΆΠ΄ΡΠΉ ΠΏΡΠ½ΠΊΡ ΠΈΡΡΠ»Π΅Π΄ΠΎΠ²Π°Π½ΠΈΡ - ΡΡΠΎ ΠΊΠ°ΠΊ ΠΏΡΠΎΠ²ΠΎΠ΄Π½ΠΈΠΊ, Π½Π°ΠΏΡΠ°Π²Π»ΡΡΡΠΈΠΉ Π½Π°ΡΠΈ Π΄ΡΡΠ΅Π²Π½ΡΠ΅ ΡΠ΅ΡΡΠΈΡΠΎΡΠΈΠΈ. Π ΠΏΡΠΎΡΠ΅ΡΡΠ΅ Π°Π½Π°Π»ΠΈΠ·Π° Π²ΠΎΠΏΡΠΎΡΠΎΠ² ΠΌΡ ΡΡΠ°Π»ΠΊΠΈΠ²Π°Π΅ΠΌΡΡ Ρ Π΄ΡΡΠ΅Π²Π½ΡΠΌΠΈ ΡΠΈΠ»ΡΡΡΠ°ΠΌΠΈ, ΠΊΠΎΡΠΎΡΡΠ΅ Π΄Π΅Π»Π°ΡΡ Π½Π°Ρ ΡΠ½ΠΈΠΊΠ°Π»ΡΠ½ΡΠΌΠΈ ΠΈ Π½Π΅ΡΡΠ°Π²Π½Π΅Π½Π½ΡΠΌΠΈ.
Π’Π΅ΡΡΠΈΡΠΎΠ²Π°Π½ΠΈΠ΅ ΡΠ°ΡΠΊΡΡΠ²Π°ΡΡ Π½Π΅ ΡΠΎΠ»ΡΠΊΠΎ Π½Π°ΡΠΈ ΡΠΈΠ»ΡΠ½ΡΠ΅ ΡΠ΅ΡΡΡ, Π½ΠΎ ΠΈ ΡΡΠ·Π²ΠΈΠΌΠΎΡΡΠΈ. ΠΠ½ΠΈ ΡΡΠ°Π½ΠΎΠ²ΡΡΡΡ ΡΠ²ΠΎΠ΅ΠΎΠ±ΡΠ°Π·Π½ΡΠΌ ΠΈΠ½ΡΡΡΡΠΌΠ΅Π½ΡΠΎΠΌ ΡΠΎΡΡΠ°. ΠΡΠΎΠΉΠ΄Ρ ΡΠ΅ΡΡ, ΠΌΡ ΠΏΡΠΈΠ±Π»ΠΈΠΆΠ°Π΅ΠΌΡΡ ΠΊ ΡΠ²ΠΎΠ΅ΠΉ ΡΡΡΠ½ΠΎΡΡΠΈ ΠΈ ΡΠ°Π·Π³Π°Π΄ΡΠ²Π°Π΅ΠΌ ΠΏΠ΅ΡΠ΅Π΄ ΡΠΎΠ±ΠΎΠΉ Π½ΠΎΠ²ΡΠ΅ Π³ΠΎΡΠΈΠ·ΠΎΠ½ΡΡ Π²ΠΎΠ·ΠΌΠΎΠΆΠ½ΠΎΡΡΠ΅ΠΉ.
ΠΡΡΠ»Π΅Π΄ΠΎΠ²Π°Π½ΠΈΡ ΠΏΡΠΈΡ ΠΈΠΊΠΈ ΠΏΡΠΈΠ·Π²Π°Π½Ρ ΠΎΠ±ΠΎΠ³Π°ΡΠΈΡΡ Π½Π°ΡΠ΅ Π²ΠΎΡΠΏΡΠΈΡΡΠΈΠ΅ ΠΌΠΈΡΠ° ΠΈ ΠΏΡΠΈΠΎΡΠΊΡΡΡΡ Π΄Π²Π΅ΡΡ ΠΊ Π³Π»ΡΠ±ΠΈΠ½Π°ΠΌ Π½Π°ΡΠ΅ΠΉ Π΄ΡΡΠ΅Π²Π½ΠΎΠΉ ΡΡΡΠ½ΠΎΡΡΠΈ. Π ΠΏΡΠΎΡΠ΅ΡΡΠ΅ Π²Π·Π°ΠΈΠΌΠΎΠ΄Π΅ΠΉΡΡΠ²ΠΈΡ Ρ ΡΠ΅ΡΡΠ°ΠΌΠΈ ΠΌΡ ΠΈΡΡΠ»Π΅Π΄ΡΠ΅ΠΌ ΡΠ²ΠΎΠΈ ΠΈΠ½Π΄ΠΈΠ²ΠΈΠ΄ΡΠ°Π»ΡΠ½ΡΠ΅ ΡΠ΅Π°ΠΊΡΠΈΠΈ Π½Π° ΡΠ°Π·Π»ΠΈΡΠ½ΡΠ΅ ΡΡΠ΅Π½Π°ΡΠΈΠΈ, ΡΠΎΡΠΌΠΈΡΡΠ΅ΠΌ Π²Π½ΡΡΡΠ΅Π½Π½ΠΈΠΉ Π»Π°Π½Π΄ΡΠ°ΡΡ.
Π’Π°ΠΊΠΈΠΌ ΠΎΠ±ΡΠ°Π·ΠΎΠΌ, ΡΠ΅ΡΡΠΈΡΠΎΠ²Π°Π½ΠΈΠ΅ ΡΠ°Π·ΡΠΌΠ° ΡΡΠ°Π½ΠΎΠ²ΠΈΡΡΡ ΠΏΡΡΠ΅Π²ΠΎΠ΄ΠΈΡΠ΅Π»Π΅ΠΌ Π² ΡΠ΅Π±Ρ. ΠΠΎΠ·Π²ΠΎΠ»ΡΡΠ΅ ΡΠ΅Π±Π΅ Π΅ΡΡ Π³Π»ΡΠ±ΠΆΠ΅ ΠΏΠΎΠ½ΠΈΠΊΠ½ΡΡΡ Ρ ΠΏΡΠΈΡ ΠΎΠ»ΠΎΠ³ΠΈΡΠ΅ΡΠΊΠΈΠΌΠΈ ΡΠ΅ΡΡΠ°ΠΌΠΈ ΠΈ ΡΠ°ΡΠΊΡΡΠ²Π°ΡΡ Π³Π»ΡΠ±ΠΈΠ½Ρ ΡΠ²ΠΎΠ΅ΠΉ ΠΏΡΠΈΡ ΠΈΠΊΠΈ. Π‘ΡΠ°Π½ΡΡΠ΅ ΡΠ²ΠΈΠ΄Π΅ΡΠ΅Π»ΡΠΌΠΈ Π»ΠΈΡΠ½ΠΎΡΡΠ½ΠΎΠ³ΠΎ ΡΡΠ°Π½ΠΎΠ²Π»Π΅Π½ΠΈΡ ΠΈ ΠΏΡΡΠ΅Π²ΠΎΠ΄ΠΈΡΠ΅Π»ΡΠΌΠΈ Π² ΡΠΎΠ±ΡΡΠ²Π΅Π½Π½ΡΡ ΠΌΡΡΠ»ΡΡ . ΠΠ°Ρ ΠΆΠ΄ΡΡ Π·Π°Ρ Π²Π°ΡΡΠ²Π°ΡΡΠΈΠ΅ ΠΎΡΠΊΡΠΎΠ²Π΅Π½ΠΈΡ Π½Π° ΡΡΡΠ°Π½ΠΈΡΠ°Ρ ΠΏΡΠΈΡ ΠΎΡΠ΅ΡΡΠΎΠ². ΠΡΡΠ»Π΅Π΄ΡΠΉΡΠ΅ Π³Π»ΡΠ±ΠΈΠ½Ρ ΡΠ²ΠΎΠ΅Π³ΠΎ "Π―" Π²ΠΌΠ΅ΡΡΠ΅ Ρ Π½Π°ΠΌΠΈ.
From: ErnestoCoand Wed Feb 7 23:36:04 2024
ΠΠ° ΠΈΠ½ΡΠ΅ΡΠ½Π΅Ρ-ΠΏΠΎΡΡΠ°Π»Π΅ [url=https://anekdotitut.ru/]https://anekdotitut.ru/[/url] Π²Ρ ΠΎΠΊΡΠ½Π΅ΡΠ΅ΡΡ Π² ΠΌΠΈΡ Π±Π΅ΡΠΊΡΠ°ΠΉΠ½Π΅Π³ΠΎ ΡΠΌΠΎΡΠ° ΠΈ ΡΠΌΠ΅Ρ Π°. Π¨ΡΡΠΊΠΈ - ΡΡΠΎ Π½Π΅ ΠΏΡΠΎΡΡΠΎ Π»Π°ΠΊΠΎΠ½ΠΈΡΠ½ΡΠ΅ ΠΈΡΡΠΎΡΠΈΠΈ, Π° ΠΈΡΡΠΎΠΊ Π²Π΅ΡΠ΅Π»ΡΡ, ΠΊΠ°ΠΊΠΎΠΉ ΡΠΏΠΎΡΠΎΠ±Π΅Π½ ΠΏΠΎΠ΄Π½ΡΡΡ Π½Π°ΡΡΡΠΎΠ΅Π½ΠΈΠ΅ Π² ΠΊΠ°ΠΊΠΎΠΉ ΡΠ³ΠΎΠ΄Π½ΠΎ ΡΠΈΡΡΠ°ΡΠΈΠΈ.
ΠΠ½Π΅ΠΊΠ΄ΠΎΡΡ Π±ΡΠ²Π°ΡΡ ΡΠ°Π·Π½ΠΎΠΎΠ±ΡΠ°Π·Π½ΡΠ΅: ΠΊΠΎΠΌΠΈΡΠ΅ΡΠΊΠΈΠ΅, ΠΏΡΠΈΡΡΠ½ΡΠ΅, ΠΊΡΠΈΡΠΈΡΠ΅ΡΠΊΠΈΠ΅ ΠΈ Π΄Π°ΠΆΠ΅ Π°Π±ΡΡΡΠ΄Π½ΡΠ΅. ΠΠ½ΠΈ ΠΌΠΎΠ³ΡΡ ΡΠ°ΡΡΠΊΠ°Π·ΡΠ²Π°ΡΡ ΠΎ ΠΎΠ±ΡΠ΄Π΅Π½Π½ΡΡ ΡΠΈΡΡΠ°ΡΠΈΡΡ , Π»ΠΈΡΠ°Ρ ΠΈΠ·Π²Π΅ΡΡΠ½ΡΡ ΠΌΡΠ»ΡΡΠΈΠΊΠΎΠ² ΠΈΠ»ΠΈ ΠΏΠΎΠ»ΠΈΡΠΈΡΠ΅ΡΠΊΠΈΡ Π»ΠΈΠ΄Π΅ΡΠΎΠ², Π½ΠΎ Π²ΡΠ΅Π³Π΄Π° ΡΠ΅Π»ΡΡ ΠΎΡΡΠ°Π΅ΡΡΡ Π²ΡΠ·Π²Π°ΡΡ ΡΠ»ΡΠ±ΠΊΡ Ρ ΠΏΡΠ±Π»ΠΈΠΊΠΈ.
ΠΠ° anekdotitut.ru ΡΠΎΠ±ΡΠ°Π½Π° ΠΎΠ³ΡΠΎΠΌΠ½Π°Ρ ΠΊΠΎΠ»Π»Π΅ΠΊΡΠΈΡ Π°Π½Π΅ΠΊΠ΄ΠΎΡΠΎΠ² Π½Π° ΡΠ°ΠΌΡΠ΅ ΡΠ°Π·Π½ΠΎΠΎΠ±ΡΠ°Π·Π½ΡΠ΅ ΡΠ΅ΠΌΡ. ΠΡ Π½Π°ΠΉΠ΄Π΅ΡΠ΅ Π·Π΄Π΅ΡΡ Π°Π½Π΅ΠΊΠ΄ΠΎΡΡ ΠΎ ΠΆΠΈΠ²ΠΎΡΠ½ΡΡ , ΡΠ΅ΠΌΠ΅ΠΉΠ½ΡΡ ΠΎΡΠ½ΠΎΡΠ΅Π½ΠΈΡΡ , ΡΠ°Π±ΠΎΡΠ΅ΠΉ Π΄Π΅ΡΡΠ΅Π»ΡΠ½ΠΎΡΡΠΈ, ΠΏΠΎΠ»ΠΈΡΠΈΡΠ΅ΡΠΊΠΎΠΉ ΡΡΠ΅ΡΠ΅ ΠΈ ΠΌΠ½ΠΎΠ³ΠΈΠ΅ ΠΈΠ½ΡΠ΅. ΠΠ½ΠΎΠΆΠ΅ΡΡΠ²ΠΎ ΡΠ°Π·Π΄Π΅Π»ΠΎΠ² ΠΈ ΠΏΠΎΠ΄ΡΠ°Π·Π΄Π΅Π»ΠΎΠ² ΠΏΠΎΠΌΠΎΠ³ΡΡ Π²Π°ΠΌ Π±ΡΡΡΡΠΎ Π½Π°ΠΉΡΠΈ ΡΠΌΠΎΡ ΠΏΠΎ Π²Π°ΡΠ΅ΠΌΡ Π²ΠΊΡΡΡ.
ΠΠ΅Π·ΠΎΡΠ½ΠΎΡΠΈΡΠ΅Π»ΡΠ½ΠΎ Π²Π°ΡΠ΅Π³ΠΎ ΡΠ°Π·poloΠΆΠ΅Π½ΠΈΡ, Π°Π½Π΅ΠΊΠ΄ΠΎΡΡ Ρ anekdotitut.ru ΠΏΠΎΠ΄Π΄Π΅ΡΠΆΠ°Ρ Π²Π°Ρ ΡΠ½ΡΡΡ Π½Π°ΠΏΡΡΠΆΠ΅Π½ΠΈΠ΅ ΠΈ Π·Π°Π±ΡΡΡ ΠΎ ΠΏΠΎΠ²ΡΠ΅Π΄Π½Π΅Π²Π½ΡΡ Π·Π°Π±ΠΎΡΠ°Ρ . ΠΡΠΎΡ Π²Π΅Π±-ΡΠ΅ΡΡΡΡ ΡΡΠ°Π½Π΅Ρ Π²Π°ΡΠΈΠΌ ΠΏΠΎΡΡΠΎΡΠ½Π½ΡΠΌ ΠΊΠΎΠΌΠΏΠ°Π½ΡΠΎΠ½ΠΎΠΌ Π² ΠΌΠΈΡΠ΅ Ρ ΠΎΡΠΎΡΠ΅Π³ΠΎ Π½Π°ΡΡΡΠΎΠ΅Π½ΠΈΡ ΠΈ Π½Π΅ΠΏΡΠΈΠ½ΡΠΆΠ΄Π΅Π½Π½ΠΎΠ³ΠΎ ΡΠΌΠ΅Ρ Π°.
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ΠΠ΅ Π·Π°Π±ΡΠ΄ΡΡΠ΅ Π΄ΠΎΠ±Π°Π²ΠΈΡΡ Π½Π°Ρ ΡΠ°ΠΉΡ <a href="https://anekdotitut.ru/">https://anekdotitut.ru/</a>; Π² Π·Π°ΠΊΠ»Π°Π΄ΠΊΠΈ!
From: <a href="https://frag-x.ru/aforizmy-i-sovremennye- Sun Feb 11 19:54:20 2024
Π‘ΠΎΠ²Π΅ΡΡΡ ΠΏΡΠΎΡΠΈΡΠ°ΡΡ ΡΡΡ ΡΡΠ°ΡΡΡ ΠΏΡΠΎ Π°ΡΠΎΡΠΈΠ·ΠΌΡ ΠΈ ΡΡΠ°ΡΡΡΡ [url=https://frag-x.ru/aforizmy-i-sovremennye-vyzovy-primenenie-mudryx-slov-v-sovremennom-mire/]https://frag-x.ru/aforizmy-i-sovremennye-vyzovy-primenenie-mudryx-slov-v-sovremennom-mire/[/url].
Π’Π°ΠΊΠΆΠ΅ Π½Π΅ Π·Π°Π±ΡΠ΄ΡΡΠ΅ Π΄ΠΎΠ±Π°Π²ΠΈΡΡ ΡΠ°ΠΉΡ Π² Π·Π°ΠΊΠ»Π°Π΄ΠΊΠΈ: <a href="https://frag-x.ru/aforizmy-i-sovremennye-vyzovy-primenenie-mudryx-slov-v-sovremennom-mire/">https://frag-x.ru/aforizmy-i-sovremennye-vyzovy-primenenie-mudryx-slov-v-sovremennom-mire/</a>;
From: <a href="https://humaninside.ru/poznavatelno/84196 Tue Feb 13 22:23:36 2024
Π‘ΠΎΠ²Π΅ΡΡΡ ΠΏΡΠΎΡΠΈΡΠ°ΡΡ ΡΡΡ ΡΡΠ°ΡΡΡ ΠΏΡΠΎ Π°ΡΠΎΡΠΈΠ·ΠΌΡ ΠΈ ΡΡΠ°ΡΡΡΡ [url=https://humaninside.ru/poznavatelno/84196-aforizmy-o-tayne-zhizni-zagadki-mira-v-c.html]https://humaninside.ru/poznavatelno/84196-aforizmy-o-tayne-zhizni-zagadki-mira-v-c.html[/url]
Π’Π°ΠΊΠΆΠ΅ Π½Π΅ Π·Π°Π±ΡΠ΄ΡΡΠ΅ Π΄ΠΎΠ±Π°Π²ΠΈΡΡ ΡΠ°ΠΉΡ Π² Π·Π°ΠΊΠ»Π°Π΄ΠΊΠΈ: <a href="https://humaninside.ru/poznavatelno/84196-aforizmy-o-tayne-zhizni-zagadki-mira-v-c.html">https://humaninside.ru/poznavatelno/84196-aforizmy-o-tayne-zhizni-zagadki-mira-v-c.html/</a>;
From: <a href="https://4istorii.ru/avtorskie-rasskazy-i- Wed Feb 14 10:08:15 2024
Π‘ΠΎΠ²Π΅ΡΡΡ ΠΏΡΠΎΡΠΈΡΠ°ΡΡ ΡΡΡ ΡΡΠ°ΡΡΡ ΠΏΡΠΎ Π°ΡΠΎΡΠΈΠ·ΠΌΡ ΠΈ ΡΡΠ°ΡΡΡΡ [url=https://4istorii.ru/avtorskie-rasskazy-i-istorii/129043-aforizmy-o-tekhnologicheskom-progress.html]https://4istorii.ru/avtorskie-rasskazy-i-istorii/129043-aforizmy-o-tekhnologicheskom-progress.html[/url]
Π’Π°ΠΊΠΆΠ΅ Π½Π΅ Π·Π°Π±ΡΠ΄ΡΡΠ΅ Π΄ΠΎΠ±Π°Π²ΠΈΡΡ ΡΠ°ΠΉΡ Π² Π·Π°ΠΊΠ»Π°Π΄ΠΊΠΈ: <a href="https://4istorii.ru/avtorskie-rasskazy-i-istorii/129043-aforizmy-o-tekhnologicheskom-progress.html">https://4istorii.ru/avtorskie-rasskazy-i-istorii/129043-aforizmy-o-tekhnologicheskom-progress.html</a>;
From: <a href="https://a-so.ru/">AlvinAnabe</a> Wed Feb 14 16:47:21 2024
Π‘ΠΎΠ²Π΅ΡΡΡ ΠΏΡΠΎΡΠΈΡΠ°ΡΡ ΡΠ°ΠΉΡ ΠΏΡΠΎ ΠΎΡΠΎΠΏΠ»Π΅Π½ΠΈΠ΅ [url=https://a-so.ru/]https://a-so.ru/[/url]
Π’Π°ΠΊΠΆΠ΅ Π½Π΅ Π·Π°Π±ΡΠ΄ΡΡΠ΅ Π΄ΠΎΠ±Π°Π²ΠΈΡΡ ΡΠ°ΠΉΡ Π² Π·Π°ΠΊΠ»Π°Π΄ΠΊΠΈ: <a href="https://a-so.ru/">https://a-so.ru/</a>;
From: <a href="https://artcet.ru/">AlvinAnabe</a> Wed Feb 14 21:20:32 2024
Π‘ΠΎΠ²Π΅ΡΡΡ ΠΏΡΠΎΡΠΈΡΠ°ΡΡ ΡΠ°ΠΉΡ ΠΏΡΠΎ ΠΎΡΠΎΠΏΠ»Π΅Π½ΠΈΠ΅ [url=https://artcet.ru/]https://artcet.ru/[/url]
Π’Π°ΠΊΠΆΠ΅ Π½Π΅ Π·Π°Π±ΡΠ΄ΡΡΠ΅ Π΄ΠΎΠ±Π°Π²ΠΈΡΡ ΡΠ°ΠΉΡ Π² Π·Π°ΠΊΠ»Π°Π΄ΠΊΠΈ: <a href="https://artcet.ru/">https://artcet.ru/</a>;
From: <a href="https://artcet.ru/">Williamclend</a> Fri Feb 16 20:10:15 2024
Π‘ΠΎΠ²Π΅ΡΡΡ ΠΏΡΠΎΡΠΈΡΠ°ΡΡ ΡΠ°ΠΉΡ ΠΏΡΠΎ ΠΎΡΠΎΠΏΠ»Π΅Π½ΠΈΠ΅ [url=https://artcet.ru/]https://artcet.ru/[/url]
Π’Π°ΠΊΠΆΠ΅ Π½Π΅ Π·Π°Π±ΡΠ΄ΡΡΠ΅ Π΄ΠΎΠ±Π°Π²ΠΈΡΡ ΡΠ°ΠΉΡ Π² Π·Π°ΠΊΠ»Π°Π΄ΠΊΠΈ: <a href="https://artcet.ru/">https://artcet.ru/</a>;
From: <a href="https://avtomaxi22.ru/">Williamclend</a> Sat Feb 17 11:19:37 2024
Π‘ΠΎΠ²Π΅ΡΡΡ ΠΏΡΠΎΡΠΈΡΠ°ΡΡ ΡΠ°ΠΉΡ ΠΏΡΠΎ Π°Π²ΡΠΎΡΡΠ΅ΠΊΠ»Π° [url=https://avtomaxi22.ru/]https://avtomaxi22.ru/[/url]
Π’Π°ΠΊΠΆΠ΅ Π½Π΅ Π·Π°Π±ΡΠ΄ΡΡΠ΅ Π΄ΠΎΠ±Π°Π²ΠΈΡΡ ΡΠ°ΠΉΡ Π² Π·Π°ΠΊΠ»Π°Π΄ΠΊΠΈ: <a href="https://avtomaxi22.ru/">https://avtomaxi22.ru/</a>;
From: <a href="https://med-like.ru/">Williamclend</a> Sat Feb 17 13:10:26 2024
Π‘ΠΎΠ²Π΅ΡΡΡ ΠΏΡΠΎΡΠΈΡΠ°ΡΡ ΡΠ°ΠΉΡ ΠΏΡΠΎ ΡΠ²Π΅ΡΡ [url=https://med-like.ru/]https://med-like.ru/[/url]
Π’Π°ΠΊΠΆΠ΅ Π½Π΅ Π·Π°Π±ΡΠ΄ΡΡΠ΅ Π΄ΠΎΠ±Π°Π²ΠΈΡΡ ΡΠ°ΠΉΡ Π² Π·Π°ΠΊΠ»Π°Π΄ΠΊΠΈ: <a href="https://med-like.ru/">https://med-like.ru/</a>;
From: <a href="https://metal82.ru/">Williamclend</a> Sat Feb 17 15:32:06 2024
Π‘ΠΎΠ²Π΅ΡΡΡ ΠΏΡΠΎΡΠΈΡΠ°ΡΡ ΡΠ°ΠΉΡ ΠΏΡΠΎ ΠΌΠ΅ΡΠ°Π»Π»ΠΎΠΈΠ·Π΄Π΅Π»ΠΈΡ [url=https://metal82.ru/]https://metal82.ru/[/url]
Π’Π°ΠΊΠΆΠ΅ Π½Π΅ Π·Π°Π±ΡΠ΄ΡΡΠ΅ Π΄ΠΎΠ±Π°Π²ΠΈΡΡ ΡΠ°ΠΉΡ Π² Π·Π°ΠΊΠ»Π°Π΄ΠΊΠΈ: <a href="https://metal82.ru/">https://metal82.ru/</a>;
From: <a href="https://admlihoslavl.ru/">Williamclend</a Sat Feb 17 18:15:57 2024
Π‘ΠΎΠ²Π΅ΡΡΡ ΠΏΡΠΎΡΠΈΡΠ°ΡΡ ΡΠ°ΠΉΡ Π³ΠΎΡΠΎΠ΄Π° ΠΠΈΡ ΠΎΡΠ»Π°Π²Π»Ρ [url=https://admlihoslavl.ru/]https://admlihoslavl.ru/[/url]
Π’Π°ΠΊΠΆΠ΅ Π½Π΅ Π·Π°Π±ΡΠ΄ΡΡΠ΅ Π΄ΠΎΠ±Π°Π²ΠΈΡΡ ΡΠ°ΠΉΡ Π² Π·Π°ΠΊΠ»Π°Π΄ΠΊΠΈ: <a href="https://admlihoslavl.ru/">https://admlihoslavl.ru/</a>;
From: <a href="https://elegos.ru/">Williamclend</a> Sat Feb 17 20:54:11 2024
Π‘ΠΎΠ²Π΅ΡΡΠ΅ΠΌ ΠΏΠΎΡΠ΅ΡΠΈΡΡ ΡΠ°ΠΉΡ ΠΎ ΠΊΡΠ»ΡΡΡΡΠ΅ [url=https://elegos.ru/]https://elegos.ru/[/url]
Π’Π°ΠΊΠΆΠ΅ Π½Π΅ Π·Π°Π±ΡΠ΄ΡΡΠ΅ Π΄ΠΎΠ±Π°Π²ΠΈΡΡ ΡΠ°ΠΉΡ Π² Π·Π°ΠΊΠ»Π°Π΄ΠΊΠΈ: <a href="https://elegos.ru/">https://elegos.ru/</a>;
From: <a href="https://allkigurumi.ru/">Williamclend</a> Sun Feb 18 14:53:30 2024
Π‘ΠΎΠ²Π΅ΡΡΠ΅ΠΌ ΠΏΠΎΡΠ΅ΡΠΈΡΡ ΡΠ°ΠΉΡ ΠΎ ΠΌΠΎΠ΄Π΅ [url=https://allkigurumi.ru/]https://allkigurumi.ru/[/url]
Π’Π°ΠΊΠΆΠ΅ Π½Π΅ Π·Π°Π±ΡΠ΄ΡΡΠ΅ Π΄ΠΎΠ±Π°Π²ΠΈΡΡ ΡΠ°ΠΉΡ Π² Π·Π°ΠΊΠ»Π°Π΄ΠΊΠΈ: <a href="https://allkigurumi.ru/">https://allkigurumi.ru/</a>;
From: <a href="https://40-ka.ru/">Williamclend</a> Sun Feb 18 17:31:42 2024
Π‘ΠΎΠ²Π΅ΡΡΠ΅ΠΌ ΠΏΠΎΡΠ΅ΡΠΈΡΡ ΡΠ°ΠΉΡ ΠΎ ΠΌΠΎΠ΄Π΅ [url=https://40-ka.ru/]https://40-ka.ru/[/url]
Π’Π°ΠΊΠΆΠ΅ Π½Π΅ Π·Π°Π±ΡΠ΄ΡΡΠ΅ Π΄ΠΎΠ±Π°Π²ΠΈΡΡ ΡΠ°ΠΉΡ Π² Π·Π°ΠΊΠ»Π°Π΄ΠΊΠΈ: <a href="https://40-ka.ru/">https://40-ka.ru/</a>;
From: <a href="https://100sm.ru/">Williamclend</a> Sun Feb 18 19:49:21 2024
Π‘ΠΎΠ²Π΅ΡΡΠ΅ΠΌ ΠΏΠΎΡΠ΅ΡΠΈΡΡ ΡΠ°ΠΉΡ ΠΎ ΡΡΡΠΎΠΈΡΠ΅Π»ΡΡΡΠ²Π΅ [url=https://100sm.ru/]https://100sm.ru/[/url]
Π’Π°ΠΊΠΆΠ΅ Π½Π΅ Π·Π°Π±ΡΠ΄ΡΡΠ΅ Π΄ΠΎΠ±Π°Π²ΠΈΡΡ ΡΠ°ΠΉΡ Π² Π·Π°ΠΊΠ»Π°Π΄ΠΊΠΈ: <a href="https://100sm.ru/">https://100sm.ru/</a>;
From: <a href="https://club-columb.ru/">Williamclend</a> Mon Feb 19 11:41:47 2024
Π‘ΠΎΠ²Π΅ΡΡΠ΅ΠΌ ΠΏΠΎΡΠ΅ΡΠΈΡΡ ΡΠ°ΠΉΡ ΠΎ ΡΡΡΠΎΠΈΡΠ΅Π»ΡΡΡΠ²Π΅ [url=https://club-columb.ru/]https://club-columb.ru/[/url]
Π’Π°ΠΊΠΆΠ΅ Π½Π΅ Π·Π°Π±ΡΠ΄ΡΡΠ΅ Π΄ΠΎΠ±Π°Π²ΠΈΡΡ ΡΠ°ΠΉΡ Π² Π·Π°ΠΊΠ»Π°Π΄ΠΊΠΈ: <a href="https://club-columb.ru/">https://club-columb.ru/</a>;
From: <a href="https://daibob.ru/">Williamclend</a> Mon Feb 19 15:22:39 2024
Π‘ΠΎΠ²Π΅ΡΡΠ΅ΠΌ ΠΏΠΎΡΠ΅ΡΠΈΡΡ ΡΠ°ΠΉΡ ΠΎ ΡΡΡΠΎΠΈΡΠ΅Π»ΡΡΡΠ²Π΅ [url=https://daibob.ru/]https://daibob.ru/[/url]
Π’Π°ΠΊΠΆΠ΅ Π½Π΅ Π·Π°Π±ΡΠ΄ΡΡΠ΅ Π΄ΠΎΠ±Π°Π²ΠΈΡΡ ΡΠ°ΠΉΡ Π² Π·Π°ΠΊΠ»Π°Π΄ΠΊΠΈ: <a href="https://daibob.ru/">https://daibob.ru/</a>;
From: <a href="https://gulliverauto.ru/">Williamclend</a Mon Feb 19 18:32:04 2024
Π‘ΠΎΠ²Π΅ΡΡΠ΅ΠΌ ΠΏΠΎΡΠ΅ΡΠΈΡΡ ΡΠ°ΠΉΡ ΠΎΠ± Π°Π²ΡΠΎ [url=https://gulliverauto.ru/]https://gulliverauto.ru/[/url]
Π’Π°ΠΊΠΆΠ΅ Π½Π΅ Π·Π°Π±ΡΠ΄ΡΡΠ΅ Π΄ΠΎΠ±Π°Π²ΠΈΡΡ ΡΠ°ΠΉΡ Π² Π·Π°ΠΊΠ»Π°Π΄ΠΊΠΈ: <a href="https://gulliverauto.ru/">https://gulliverauto.ru/</a>;
From: <a href="https://vektor-meh.ru/">Williamclend</a> Mon Feb 19 21:28:12 2024
Π‘ΠΎΠ²Π΅ΡΡΠ΅ΠΌ ΠΏΠΎΡΠ΅ΡΠΈΡΡ ΡΠ°ΠΉΡ ΠΎΠ± Π°Π²ΡΠΎ [url=https://vektor-meh.ru/]https://vektor-meh.ru/[/url]
Π’Π°ΠΊΠΆΠ΅ Π½Π΅ Π·Π°Π±ΡΠ΄ΡΡΠ΅ Π΄ΠΎΠ±Π°Π²ΠΈΡΡ ΡΠ°ΠΉΡ Π² Π·Π°ΠΊΠ»Π°Π΄ΠΊΠΈ: <a href="https://vektor-meh.ru/">https://vektor-meh.ru/</a>;
From: <a href="https://kryshi-remont.ru/">Williamclend</ Tue Feb 20 10:46:18 2024
Π‘ΠΎΠ²Π΅ΡΡΠ΅ΠΌ ΠΏΠΎΡΠ΅ΡΠΈΡΡ ΡΠ°ΠΉΡ ΠΏΡΠΎ ΡΠ΅ΠΌΠΎΠ½Ρ ΠΊΡΡΡΠΈ [url=https://kryshi-remont.ru/]https://kryshi-remont.ru/[/url]
Π’Π°ΠΊΠΆΠ΅ Π½Π΅ Π·Π°Π±ΡΠ΄ΡΡΠ΅ Π΄ΠΎΠ±Π°Π²ΠΈΡΡ ΡΠ°ΠΉΡ Π² Π·Π°ΠΊΠ»Π°Π΄ΠΊΠΈ: <a href="https://kryshi-remont.ru/">https://kryshi-remont.ru/</a>;
From: <a href="https://stroydvor89.ru/">Williamclend</a> Tue Feb 20 14:10:05 2024
Π‘ΠΎΠ²Π΅ΡΡΠ΅ΠΌ ΠΏΠΎΡΠ΅ΡΠΈΡΡ ΡΠ°ΠΉΡ ΠΏΡΠΎ ΡΡΡΠΎΠΉΠΊΡ [url=https://stroydvor89.ru/]https://stroydvor89.ru/[/url]
Π’Π°ΠΊΠΆΠ΅ Π½Π΅ Π·Π°Π±ΡΠ΄ΡΡΠ΅ Π΄ΠΎΠ±Π°Π²ΠΈΡΡ ΡΠ°ΠΉΡ Π² Π·Π°ΠΊΠ»Π°Π΄ΠΊΠΈ: <a href="https://stroydvor89.ru/">https://stroydvor89.ru/</a>;
From: <a href="https://kinokabra.ru/">Williamclend</a> Tue Feb 20 17:06:25 2024
Π‘ΠΎΠ²Π΅ΡΡΠ΅ΠΌ ΠΏΠΎΡΠ΅ΡΠΈΡΡ ΡΠ°ΠΉΡ ΠΏΡΠΎ ΠΊΠΈΠ½ΠΎ [url=https://kinokabra.ru/]https://kinokabra.ru/[/url]
Π’Π°ΠΊΠΆΠ΅ Π½Π΅ Π·Π°Π±ΡΠ΄ΡΡΠ΅ Π΄ΠΎΠ±Π°Π²ΠΈΡΡ ΡΠ°ΠΉΡ Π² Π·Π°ΠΊΠ»Π°Π΄ΠΊΠΈ: <a href="https://kinokabra.ru/">https://kinokabra.ru/</a>;
From: <a href="https://balkonnaya-dver.ru/">Williamclend Tue Feb 20 21:02:42 2024
Π‘ΠΎΠ²Π΅ΡΡΠ΅ΠΌ ΠΏΠΎΡΠ΅ΡΠΈΡΡ ΡΠ°ΠΉΡ ΠΏΡΠΎ Π±Π°Π»ΠΊΠΎΠ½ [url=https://balkonnaya-dver.ru/]https://balkonnaya-dver.ru/[/url]
Π’Π°ΠΊΠΆΠ΅ Π½Π΅ Π·Π°Π±ΡΠ΄ΡΡΠ΅ Π΄ΠΎΠ±Π°Π²ΠΈΡΡ ΡΠ°ΠΉΡ Π² Π·Π°ΠΊΠ»Π°Π΄ΠΊΠΈ: <a href="https://balkonnaya-dver.ru/">https://balkonnaya-dver.ru/</a>;
From: <a href="https://daibob.ru/">Williamclend</a> Wed Feb 21 12:43:29 2024
Π‘ΠΎΠ²Π΅ΡΡΠ΅ΠΌ ΠΏΠΎΡΠ΅ΡΠΈΡΡ ΡΠ°ΠΉΡ ΠΏΡΠΎ ΡΡΡΠΎΠΈΡΠ΅Π»ΡΡΡΠ²ΠΎ [url=https://daibob.ru/]https://daibob.ru/[/url]
Π’Π°ΠΊΠΆΠ΅ Π½Π΅ Π·Π°Π±ΡΠ΄ΡΡΠ΅ Π΄ΠΎΠ±Π°Π²ΠΈΡΡ ΡΠ°ΠΉΡ Π² Π·Π°ΠΊΠ»Π°Π΄ΠΊΠΈ: <a href="https://daibob.ru/">https://daibob.ru/</a>;
From: <a href="https://drova-smolensk.ru/">Williamclend< Wed Feb 21 16:27:28 2024
Π‘ΠΎΠ²Π΅ΡΡΠ΅ΠΌ ΠΏΠΎΡΠ΅ΡΠΈΡΡ ΡΠ°ΠΉΡ ΠΏΡΠΎ Π΄ΡΠΎΠ²Π° [url=https://drova-smolensk.ru/]https://drova-smolensk.ru/[/url]
Π’Π°ΠΊΠΆΠ΅ Π½Π΅ Π·Π°Π±ΡΠ΄ΡΡΠ΅ Π΄ΠΎΠ±Π°Π²ΠΈΡΡ ΡΠ°ΠΉΡ Π² Π·Π°ΠΊΠ»Π°Π΄ΠΊΠΈ: <a href="https://drova-smolensk.ru/">https://drova-smolensk.ru/</a>;
From: <a href="https://arenda-legkovyh-pricepov.ru/">Wil Wed Feb 21 18:54:03 2024
Π‘ΠΎΠ²Π΅ΡΡΠ΅ΠΌ ΠΏΠΎΡΠ΅ΡΠΈΡΡ ΡΠ°ΠΉΡ ΠΏΡΠΎ ΠΏΡΠΈΡΠ΅ΠΏΡ [url=https://arenda-legkovyh-pricepov.ru/]https://arenda-legkovyh-pricepov.ru/[/url]
Π’Π°ΠΊΠΆΠ΅ Π½Π΅ Π·Π°Π±ΡΠ΄ΡΡΠ΅ Π΄ΠΎΠ±Π°Π²ΠΈΡΡ ΡΠ°ΠΉΡ Π² Π·Π°ΠΊΠ»Π°Π΄ΠΊΠΈ: <a href="https://arenda-legkovyh-pricepov.ru/">https://arenda-legkovyh-pricepov.ru/</a>;
From: <a href="https://amurplanet.ru/">Williamclend</a> Wed Feb 21 21:12:06 2024
Π‘ΠΎΠ²Π΅ΡΡΠ΅ΠΌ ΠΏΠΎΡΠ΅ΡΠΈΡΡ ΡΠ°ΠΉΡ ΠΏΡΠΎ ΠΏΡΠΈΡΠ΅ΠΏΡ [url=https://amurplanet.ru/]https://amurplanet.ru/[/url]
Π’Π°ΠΊΠΆΠ΅ Π½Π΅ Π·Π°Π±ΡΠ΄ΡΡΠ΅ Π΄ΠΎΠ±Π°Π²ΠΈΡΡ ΡΠ°ΠΉΡ Π² Π·Π°ΠΊΠ»Π°Π΄ΠΊΠΈ: <a href="https://amurplanet.ru/">https://amurplanet.ru/</a>;
From: <a href="https://amurplanet.ru/">Williamclend</a> Thu Feb 22 12:04:50 2024
Π‘ΠΎΠ²Π΅ΡΡΠ΅ΠΌ ΠΏΠΎΡΠ΅ΡΠΈΡΡ ΡΠ°ΠΉΡ Ρ Π°Π½Π΅ΠΊΠ΄ΠΎΡΠ°ΠΌΠΈ[url=https://anekdotitut.ru/]https://anekdotitut.ru/[/url]
Π’Π°ΠΊΠΆΠ΅ Π½Π΅ Π·Π°Π±ΡΠ΄ΡΡΠ΅ Π΄ΠΎΠ±Π°Π²ΠΈΡΡ ΡΠ°ΠΉΡ Π² Π·Π°ΠΊΠ»Π°Π΄ΠΊΠΈ: <a href="https://anekdotitut.ru/">https://anekdotitut.ru/</a>;
From: <a href="https://usovanton.blogspot.com/">Williamc Thu Feb 22 14:14:19 2024
Π‘ΠΎΠ²Π΅ΡΡΠ΅ΠΌ ΠΏΠΎΡΠ΅ΡΠΈΡΡ ΡΠ°ΠΉΡ ΠΏΡΠΎ Π°Π²ΡΠΎΠΌΠ°ΡΠ»ΠΎ [url=https://usovanton.blogspot.com/]https://usovanton.blogspot.com/[/url]
Π’Π°ΠΊΠΆΠ΅ Π½Π΅ Π·Π°Π±ΡΠ΄ΡΡΠ΅ Π΄ΠΎΠ±Π°Π²ΠΈΡΡ ΡΠ°ΠΉΡ Π² Π·Π°ΠΊΠ»Π°Π΄ΠΊΠΈ: <a href="https://usovanton.blogspot.com/">https://usovanton.blogspot.com/</a>;
From: <a href="https://astrologiyanauka.blogspot.com/">W Thu Feb 22 16:16:19 2024
Π‘ΠΎΠ²Π΅ΡΡΠ΅ΠΌ ΠΏΠΎΡΠ΅ΡΠΈΡΡ ΡΠ°ΠΉΡ ΠΏΡΠΎ Π°ΡΡΡΠΎΠ»ΠΎΠ³ΠΈΡ [url=https://astrologiyanauka.blogspot.com/]https://astrologiyanauka.blogspot.com/[/url]
Π’Π°ΠΊΠΆΠ΅ Π½Π΅ Π·Π°Π±ΡΠ΄ΡΡΠ΅ Π΄ΠΎΠ±Π°Π²ΠΈΡΡ ΡΠ°ΠΉΡ Π² Π·Π°ΠΊΠ»Π°Π΄ΠΊΠΈ: <a href="https://astrologiyanauka.blogspot.com/">https://astrologiyanauka.blogspot.com/</a>;
From: <a href="https://telegra.ph/Tainstvennyj-mir-dikih Thu Feb 22 18:43:56 2024
Π‘ΠΎΠ²Π΅ΡΡΠ΅ΠΌ ΠΏΠΎΡΠ΅ΡΠΈΡΡ ΡΠ°ΠΉΡ ΠΏΡΠΎ Π΄ΠΈΠΊΠΈΡ ΠΆΠΈΠ²ΠΎΡΠ½ΡΡ [url=https://telegra.ph/Tainstvennyj-mir-dikih-zhivotnyh-putevoditel-po-neizvedannym-tropam-prirody-12-23]https://telegra.ph/Tainstvennyj-mir-dikih-zhivotnyh-putevoditel-po-neizvedannym-tropam-prirody-12-23[/url]
Π’Π°ΠΊΠΆΠ΅ Π½Π΅ Π·Π°Π±ΡΠ΄ΡΡΠ΅ Π΄ΠΎΠ±Π°Π²ΠΈΡΡ ΡΠ°ΠΉΡ Π² Π·Π°ΠΊΠ»Π°Π΄ΠΊΠΈ: <a href="https://telegra.ph/Tainstvennyj-mir-dikih-zhivotnyh-putevoditel-po-neizvedannym-tropam-prirody-12-23">https://telegra.ph/Tainstvennyj-mir-dikih-zhivotnyh-putevoditel-po-neizvedannym-tropam-prirody-12-23</a>;
From: <a href="https://antipushkin.ru/">Williamclend</a> Sun Feb 25 18:22:41 2024
Π‘ΠΎΠ²Π΅ΡΡΠ΅ΠΌ ΠΏΠΎΡΠ΅ΡΠΈΡΡ ΡΠ°ΠΉΡ ΠΠ½ΡΠΈΠΏΡΡΠΊΠΈΠ½ [url=https://antipushkin.ru/]https://antipushkin.ru/[/url]
Π’Π°ΠΊΠΆΠ΅ Π½Π΅ Π·Π°Π±ΡΠ΄ΡΡΠ΅ Π΄ΠΎΠ±Π°Π²ΠΈΡΡ ΡΠ°ΠΉΡ Π² Π·Π°ΠΊΠ»Π°Π΄ΠΊΠΈ: <a href="https://antipushkin.ru/">https://antipushkin.ru/</a>;
From: <a href="https://zhiloy-komplex.ru/">Williamclend< Sun Feb 25 21:50:42 2024
Π‘ΠΎΠ²Π΅ΡΡΠ΅ΠΌ ΠΏΠΎΡΠ΅ΡΠΈΡΡ ΡΠ°ΠΉΡ ΠΏΡΠΎ ΠΆΠΈΠ»ΡΠ΅ ΠΊΠΎΠΌΠΏΠ»Π΅ΠΊΡΡ [url=https://zhiloy-komplex.ru/]https://zhiloy-komplex.ru/[/url]
Π’Π°ΠΊΠΆΠ΅ Π½Π΅ Π·Π°Π±ΡΠ΄ΡΡΠ΅ Π΄ΠΎΠ±Π°Π²ΠΈΡΡ ΡΠ°ΠΉΡ Π² Π·Π°ΠΊΠ»Π°Π΄ΠΊΠΈ: <a href="https://zhiloy-komplex.ru/">https://zhiloy-komplex.ru/</a>;
From: <a href="https://telegra.ph/Udivitelnyj-mir-ptic-1 Thu Feb 29 13:27:41 2024
Π‘ΠΎΠ²Π΅ΡΡΠ΅ΠΌ ΠΏΠΎΡΠ΅ΡΠΈΡΡ ΡΠ°ΠΉΡ ΠΏΡΠΎ ΠΏΡΠΈΡ [url=https://telegra.ph/Udivitelnyj-mir-ptic-12-23]https://telegra.ph/Udivitelnyj-mir-ptic-12-23[/url]
Π’Π°ΠΊΠΆΠ΅ Π½Π΅ Π·Π°Π±ΡΠ΄ΡΡΠ΅ Π΄ΠΎΠ±Π°Π²ΠΈΡΡ ΡΠ°ΠΉΡ Π² Π·Π°ΠΊΠ»Π°Π΄ΠΊΠΈ: <a href="https://telegra.ph/Udivitelnyj-mir-ptic-12-23">https://telegra.ph/Udivitelnyj-mir-ptic-12-23</a>;
From: <a href="https://telegra.ph/Mir-gryzunov-interesny Thu Feb 29 17:48:04 2024
Π‘ΠΎΠ²Π΅ΡΡΠ΅ΠΌ ΠΏΠΎΡΠ΅ΡΠΈΡΡ ΡΠ°ΠΉΡ ΠΏΡΠΎ Π³ΡΡΠ·ΡΠ½ΠΎΠ² [url=https://telegra.ph/Mir-gryzunov-interesnye-fakty-i-vidy-melkih-zhivotnyh-na-yuge-Rossii-12-23]https://telegra.ph/Mir-gryzunov-interesnye-fakty-i-vidy-melkih-zhivotnyh-na-yuge-Rossii-12-23[/url]
Π’Π°ΠΊΠΆΠ΅ Π½Π΅ Π·Π°Π±ΡΠ΄ΡΡΠ΅ Π΄ΠΎΠ±Π°Π²ΠΈΡΡ ΡΠ°ΠΉΡ Π² Π·Π°ΠΊΠ»Π°Π΄ΠΊΠΈ: <a href="https://telegra.ph/Mir-gryzunov-interesnye-fakty-i-vidy-melkih-zhivotnyh-na-yuge-Rossii-12-23">https://telegra.ph/Mir-gryzunov-interesnye-fakty-i-vidy-melkih-zhivotnyh-na-yuge-Rossii-12-23</a>;
From: <a href="https://telegra.ph/Reptilii-Udivitelnyj-m Fri Mar 1 10:58:14 2024
Π‘ΠΎΠ²Π΅ΡΡΠ΅ΠΌ ΠΏΠΎΡΠ΅ΡΠΈΡΡ ΡΠ°ΠΉΡ ΠΏΡΠΎ ΡΠ΅ΠΏΡΠΈΠ»ΠΈΠΉ [url=https://telegra.ph/Reptilii-Udivitelnyj-mir-cheshujchatyh-12-23]https://telegra.ph/Reptilii-Udivitelnyj-mir-cheshujchatyh-12-23[/url]
Π’Π°ΠΊΠΆΠ΅ Π½Π΅ Π·Π°Π±ΡΠ΄ΡΡΠ΅ Π΄ΠΎΠ±Π°Π²ΠΈΡΡ ΡΠ°ΠΉΡ Π² Π·Π°ΠΊΠ»Π°Π΄ΠΊΠΈ: <a href="https://telegra.ph/Reptilii-Udivitelnyj-mir-cheshujchatyh-12-23">https://telegra.ph/Reptilii-Udivitelnyj-mir-cheshujchatyh-12-23</a>;
From: <a href="https://telegra.ph/Kak-uhazhivat-za-domas Fri Mar 1 17:49:38 2024
Π‘ΠΎΠ²Π΅ΡΡΠ΅ΠΌ ΠΏΠΎΡΠ΅ΡΠΈΡΡ ΡΠ°ΠΉΡ ΠΏΡΠΎ Π΄ΠΎΠΌΠ°ΡΠ½ΠΈΡ ΠΆΠΈΠ²ΠΎΡΠ½ΡΡ [url=https://telegra.ph/Kak-uhazhivat-za-domashnimi-zhivotnymi-sovety-i-rekomendacii-12-23]https://telegra.ph/Kak-uhazhivat-za-domashnimi-zhivotnymi-sovety-i-rekomendacii-12-23[/url]
Π’Π°ΠΊΠΆΠ΅ Π½Π΅ Π·Π°Π±ΡΠ΄ΡΡΠ΅ Π΄ΠΎΠ±Π°Π²ΠΈΡΡ ΡΠ°ΠΉΡ Π² Π·Π°ΠΊΠ»Π°Π΄ΠΊΠΈ: <a href="https://telegra.ph/Kak-uhazhivat-za-domashnimi-zhivotnymi-sovety-i-rekomendacii-12-23">https://telegra.ph/Kak-uhazhivat-za-domashnimi-zhivotnymi-sovety-i-rekomendacii-12-23</a>;
From: <a href="https://kinokabra.ru/">Williamclend</a> Fri Mar 1 20:01:29 2024
Π‘ΠΎΠ²Π΅ΡΡΠ΅ΠΌ ΠΏΠΎΡΠ΅ΡΠΈΡΡ ΡΠ°ΠΉΡ ΠΎ ΠΊΠΈΠ½ΠΎ [url=https://kinokabra.ru/]https://kinokabra.ru/[/url]
Π’Π°ΠΊΠΆΠ΅ Π½Π΅ Π·Π°Π±ΡΠ΄ΡΡΠ΅ Π΄ΠΎΠ±Π°Π²ΠΈΡΡ ΡΠ°ΠΉΡ Π² Π·Π°ΠΊΠ»Π°Π΄ΠΊΠΈ: <a href="https://kinokabra.ru/">https://kinokabra.ru/</a>;
From: <a href="https://zaslushaem.ru/">Williamclend</a> Sat Mar 2 16:44:40 2024
Π‘ΠΎΠ²Π΅ΡΡΠ΅ΠΌ ΠΏΠΎΡΠ΅ΡΠΈΡΡ ΡΠ°ΠΉΡ ΠΎ ΠΌΡΠ·ΡΠΊΠ΅ [url=https://zaslushaem.ru/]https://zaslushaem.ru/[/url]
Π’Π°ΠΊΠΆΠ΅ Π½Π΅ Π·Π°Π±ΡΠ΄ΡΡΠ΅ Π΄ΠΎΠ±Π°Π²ΠΈΡΡ ΡΠ°ΠΉΡ Π² Π·Π°ΠΊΠ»Π°Π΄ΠΊΠΈ: <a href="https://zaslushaem.ru/">https://zaslushaem.ru/</a>;
From: <a href="https://40-ka.ru/news/page/konstruktor-ku Sun Mar 3 10:40:04 2024
Π‘ΠΎΠ²Π΅ΡΡΠ΅ΠΌ ΠΏΠΎΡΠ΅ΡΠΈΡΡ ΡΠ°ΠΉΡ ΠΊΠΎΠ½ΡΡΡΡΠΊΡΠΎΡΠ° ΠΊΡΡ Π½ΠΈ ΠΎΠ½Π»Π°ΠΉΠ½ [url=https://40-ka.ru/news/page/konstruktor-kuhni-online-besplatno]https://40-ka.ru/news/page/konstruktor-kuhni-online-besplatno[/url]
Π’Π°ΠΊΠΆΠ΅ Π½Π΅ Π·Π°Π±ΡΠ΄ΡΡΠ΅ Π΄ΠΎΠ±Π°Π²ΠΈΡΡ ΡΠ°ΠΉΡ Π² Π·Π°ΠΊΠ»Π°Π΄ΠΊΠΈ: <a href="https://40-ka.ru/news/page/konstruktor-kuhni-online-besplatno">https://40-ka.ru/news/page/konstruktor-kuhni-online-besplatno</a>;
From: <a href="https://daibob.ru/himiya-tsveta-kak-nauka Sun Mar 3 15:51:30 2024
Π‘ΠΎΠ²Π΅ΡΡΠ΅ΠΌ ΠΏΠΎΡΠ΅ΡΠΈΡΡ ΡΠ°ΠΉΡ, ΡΡΠΎΠ±Ρ ΠΏΡΠΎΡΠΈΡΠ°ΡΡ ΠΎ ΡΠ²Π΅ΡΠ°Ρ Π² ΠΊΠ°ΡΡΠΈΠ½Π°Ρ [url=https://daibob.ru/himiya-tsveta-kak-nauka-ozhivlyaet-iskusstvo/]https://daibob.ru/himiya-tsveta-kak-nauka-ozhivlyaet-iskusstvo/[/url]
Π’Π°ΠΊΠΆΠ΅ Π½Π΅ Π·Π°Π±ΡΠ΄ΡΡΠ΅ Π΄ΠΎΠ±Π°Π²ΠΈΡΡ ΡΠ°ΠΉΡ Π² Π·Π°ΠΊΠ»Π°Π΄ΠΊΠΈ: <a href="https://daibob.ru/himiya-tsveta-kak-nauka-ozhivlyaet-iskusstvo/">https://daibob.ru/himiya-tsveta-kak-nauka-ozhivlyaet-iskusstvo/</a>;
From: <a href="https://allkigurumi.ru/products/kigurumu- Mon Mar 4 17:10:22 2024
Π‘ΠΎΠ²Π΅ΡΡΠ΅ΠΌ ΠΏΠΎΡΠ΅ΡΠΈΡΡ ΡΠ°ΠΉΡ [url=https://allkigurumi.ru/products/kigurumu-stich]https://allkigurumi.ru/products/kigurumu-stichs[/url]
Π’Π°ΠΊΠΆΠ΅ Π½Π΅ Π·Π°Π±ΡΠ΄ΡΡΠ΅ Π΄ΠΎΠ±Π°Π²ΠΈΡΡ ΡΠ°ΠΉΡ Π² Π·Π°ΠΊΠ»Π°Π΄ΠΊΠΈ: <a href="https://allkigurumi.ru/products/kigurumu-stich">https://allkigurumi.ru/products/kigurumu-stich</a>;
From: <a href="https://a-so.ru/">Williamclend</a> Tue Mar 5 10:29:14 2024
Π‘ΠΎΠ²Π΅ΡΡΠ΅ΠΌ ΠΏΠΎΡΠ΅ΡΠΈΡΡ ΡΠ°ΠΉΡ [url=https://a-so.ru/]https://a-so.ru/[/url]
Π’Π°ΠΊΠΆΠ΅ Π½Π΅ Π·Π°Π±ΡΠ΄ΡΡΠ΅ Π΄ΠΎΠ±Π°Π²ΠΈΡΡ ΡΠ°ΠΉΡ Π² Π·Π°ΠΊΠ»Π°Π΄ΠΊΠΈ: <a href="https://a-so.ru/">https://a-so.ru/</a>;
From: <a href="https://a-so.ru/">Williamclend</a> Tue Mar 5 17:37:33 2024
Π‘ΠΎΠ²Π΅ΡΡΠ΅ΠΌ ΠΏΠΎΡΠ΅ΡΠΈΡΡ ΡΠ°ΠΉΡ [url=https://a-so.ru/]https://a-so.ru/[/url]
Π’Π°ΠΊΠΆΠ΅ Π½Π΅ Π·Π°Π±ΡΠ΄ΡΡΠ΅ Π΄ΠΎΠ±Π°Π²ΠΈΡΡ ΡΠ°ΠΉΡ Π² Π·Π°ΠΊΠ»Π°Π΄ΠΊΠΈ: <a href="https://a-so.ru/">https://a-so.ru/</a>;
From: <a href="https://togliatti24.ru/svadebnye-tosty-ch Wed Mar 6 13:05:16 2024
Π‘ΠΎΠ²Π΅ΡΡΠ΅ΠΌ ΠΏΠΎΡΠ΅ΡΠΈΡΡ ΡΠ°ΠΉΡ [url=https://togliatti24.ru/svadebnye-tosty-chto-pozhelat-i-kakim-dolzhen-byt-tost/]https://togliatti24.ru/svadebnye-tosty-chto-pozhelat-i-kakim-dolzhen-byt-tost/[/url]
Π’Π°ΠΊΠΆΠ΅ Π½Π΅ Π·Π°Π±ΡΠ΄ΡΡΠ΅ Π΄ΠΎΠ±Π°Π²ΠΈΡΡ ΡΠ°ΠΉΡ Π² Π·Π°ΠΊΠ»Π°Π΄ΠΊΠΈ: <a href="https://togliatti24.ru/svadebnye-tosty-chto-pozhelat-i-kakim-dolzhen-byt-tost/">https://togliatti24.ru/svadebnye-tosty-chto-pozhelat-i-kakim-dolzhen-byt-tost/</a>;
From: <a href="https://penzavzglyad.ru/chuvstvo-jumora-i Fri Mar 8 11:05:16 2024
Π‘ΠΎΠ²Π΅ΡΡΠ΅ΠΌ ΠΏΠΎΡΠ΅ΡΠΈΡΡ ΡΠ°ΠΉΡ [url=https://penzavzglyad.ru/chuvstvo-jumora-i-shutki-v-povsednevnoj-zhizni-cheloveka.dhtm]https://penzavzglyad.ru/chuvstvo-jumora-i-shutki-v-povsednevnoj-zhizni-cheloveka.dhtm[/url]
Π’Π°ΠΊΠΆΠ΅ Π½Π΅ Π·Π°Π±ΡΠ΄ΡΡΠ΅ Π΄ΠΎΠ±Π°Π²ΠΈΡΡ ΡΠ°ΠΉΡ Π² Π·Π°ΠΊΠ»Π°Π΄ΠΊΠΈ: <a href="https://penzavzglyad.ru/chuvstvo-jumora-i-shutki-v-povsednevnoj-zhizni-cheloveka.dhtm">https://penzavzglyad.ru/chuvstvo-jumora-i-shutki-v-povsednevnoj-zhizni-cheloveka.dhtm</a>;
From: <a href="https://style.sq.com.ua/2021/10/25/kakim- Sat Mar 9 15:53:32 2024
Π‘ΠΎΠ²Π΅ΡΡΠ΅ΠΌ ΠΏΠΎΡΠ΅ΡΠΈΡΡ ΡΠ°ΠΉΡ [url=https://style.sq.com.ua/2021/10/25/kakim-dolzhen-byt-tost-na-svadbu-kak-vybrat/]https://style.sq.com.ua/2021/10/25/kakim-dolzhen-byt-tost-na-svadbu-kak-vybrat/[/url]
Π’Π°ΠΊΠΆΠ΅ Π½Π΅ Π·Π°Π±ΡΠ΄ΡΡΠ΅ Π΄ΠΎΠ±Π°Π²ΠΈΡΡ ΡΠ°ΠΉΡ Π² Π·Π°ΠΊΠ»Π°Π΄ΠΊΠΈ: <a href="https://style.sq.com.ua/2021/10/25/kakim-dolzhen-byt-tost-na-svadbu-kak-vybrat/">https://style.sq.com.ua/2021/10/25/kakim-dolzhen-byt-tost-na-svadbu-kak-vybrat/</a>;
From: <a href="https://samaraonline24.ru/narodnyje-primj Sat Mar 9 17:59:59 2024
Π‘ΠΎΠ²Π΅ΡΡΠ΅ΠΌ ΠΏΠΎΡΠ΅ΡΠΈΡΡ ΡΠ°ΠΉΡ [url=https://samaraonline24.ru/narodnyje-primjety-o-pogodje]https://samaraonline24.ru/narodnyje-primjety-o-pogodje[/url]
Π’Π°ΠΊΠΆΠ΅ Π½Π΅ Π·Π°Π±ΡΠ΄ΡΡΠ΅ Π΄ΠΎΠ±Π°Π²ΠΈΡΡ ΡΠ°ΠΉΡ Π² Π·Π°ΠΊΠ»Π°Π΄ΠΊΠΈ: <a href="https://samaraonline24.ru/narodnyje-primjety-o-pogodje">https://samaraonline24.ru/narodnyje-primjety-o-pogodje</a>;
From: <a href="https://invest.kr.ua/igor-mamenko-i-ego-z Sun Mar 10 11:55:11 2024
Π‘ΠΎΠ²Π΅ΡΡΠ΅ΠΌ ΠΏΠΎΡΠ΅ΡΠΈΡΡ ΡΠ°ΠΉΡ [url=https://invest.kr.ua/igor-mamenko-i-ego-zhena.html]https://invest.kr.ua/igor-mamenko-i-ego-zhena.html[/url]
Π’Π°ΠΊΠΆΠ΅ Π½Π΅ Π·Π°Π±ΡΠ΄ΡΡΠ΅ Π΄ΠΎΠ±Π°Π²ΠΈΡΡ ΡΠ°ΠΉΡ Π² Π·Π°ΠΊΠ»Π°Π΄ΠΊΠΈ: <a href="https://invest.kr.ua/igor-mamenko-i-ego-zhena.html">https://invest.kr.ua/igor-mamenko-i-ego-zhena.html</a>;
From: <a href="https://pfo.volga.news/594544/article/obr Sun Mar 10 15:06:12 2024
Π‘ΠΎΠ²Π΅ΡΡΠ΅ΠΌ ΠΏΠΎΡΠ΅ΡΠΈΡΡ ΡΠ°ΠΉΡ [url=https://pfo.volga.news/594544/article/obrazy-russkogo-nemca-i-amerikanca-v-anekdotah.html]https://pfo.volga.news/594544/article/obrazy-russkogo-nemca-i-amerikanca-v-anekdotah.html[/url]
Π’Π°ΠΊΠΆΠ΅ Π½Π΅ Π·Π°Π±ΡΠ΄ΡΡΠ΅ Π΄ΠΎΠ±Π°Π²ΠΈΡΡ ΡΠ°ΠΉΡ Π² Π·Π°ΠΊΠ»Π°Π΄ΠΊΠΈ: <a href="https://pfo.volga.news/594544/article/obrazy-russkogo-nemca-i-amerikanca-v-anekdotah.html">https://pfo.volga.news/594544/article/obrazy-russkogo-nemca-i-amerikanca-v-anekdotah.html</a>;
From: <a href="https://podveski-remont.ru/">Williamclend Sun Mar 10 18:45:58 2024
Π‘ΠΎΠ²Π΅ΡΡΠ΅ΠΌ ΠΏΠΎΡΠ΅ΡΠΈΡΡ ΡΠ°ΠΉΡ [url=https://podveski-remont.ru/]https://podveski-remont.ru/[/url]
Π’Π°ΠΊΠΆΠ΅ Π½Π΅ Π·Π°Π±ΡΠ΄ΡΡΠ΅ Π΄ΠΎΠ±Π°Π²ΠΈΡΡ ΡΠ°ΠΉΡ Π² Π·Π°ΠΊΠ»Π°Π΄ΠΊΠΈ: <a href="https://podveski-remont.ru/">https://podveski-remont.ru/</a>;
From: <a href="https://mari-eparhia.ru/useful/?id=12206" Mon Mar 11 11:30:57 2024
Π‘ΠΎΠ²Π΅ΡΡΠ΅ΠΌ ΠΏΠΎΡΠ΅ΡΠΈΡΡ ΡΠ°ΠΉΡ [url=https://mari-eparhia.ru/useful/?id=12206]https://mari-eparhia.ru/useful/?id=12206[/url]
Π’Π°ΠΊΠΆΠ΅ Π½Π΅ Π·Π°Π±ΡΠ΄ΡΡΠ΅ Π΄ΠΎΠ±Π°Π²ΠΈΡΡ ΡΠ°ΠΉΡ Π² Π·Π°ΠΊΠ»Π°Π΄ΠΊΠΈ: <a href="https://mari-eparhia.ru/useful/?id=12206">https://mari-eparhia.ru/useful/?id=12206</a>;
From: <a href="https://etc.bdir.in/dialogue/movies/A">Wi Mon Mar 11 14:21:50 2024
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Also, don't forget to add the site to your bookmarks: <a href="https://etc.bdir.in/dialogue/movies/A">https://etc.bdir.in/dialogue/movies/A</a>;
From: <a href="https://back2russia.net/index.php?/topic/ Mon Mar 11 18:51:02 2024
Π‘ΠΎΠ²Π΅ΡΡΠ΅ΠΌ ΠΏΠΎΡΠ΅ΡΠΈΡΡ ΡΠ°ΠΉΡ [url=https://back2russia.net/index.php?/topic/2622-rvp-v-permi/]https://back2russia.net/index.php?/topic/2622-rvp-v-permi/[/url]
Π’Π°ΠΊΠΆΠ΅ Π½Π΅ Π·Π°Π±ΡΠ΄ΡΡΠ΅ Π΄ΠΎΠ±Π°Π²ΠΈΡΡ ΡΠ°ΠΉΡ Π² Π·Π°ΠΊΠ»Π°Π΄ΠΊΠΈ: <a href="https://back2russia.net/index.php?/topic/2622-rvp-v-permi/">https://back2russia.net/index.php?/topic/2622-rvp-v-permi/</a>;
From: <a href="https://mama.ru/forums/theme/kredity/page Tue Mar 12 10:27:51 2024
Π‘ΠΎΠ²Π΅ΡΡΠ΅ΠΌ ΠΏΠΎΡΠ΅ΡΠΈΡΡ ΡΠ°ΠΉΡ [url=https://mama.ru/forums/theme/kredity/page/22/]https://mama.ru/forums/theme/kredity/page/22/[/url]
Π’Π°ΠΊΠΆΠ΅ Π½Π΅ Π·Π°Π±ΡΠ΄ΡΡΠ΅ Π΄ΠΎΠ±Π°Π²ΠΈΡΡ ΡΠ°ΠΉΡ Π² Π·Π°ΠΊΠ»Π°Π΄ΠΊΠΈ: <a href="https://mama.ru/forums/theme/kredity/page/22/">https://mama.ru/forums/theme/kredity/page/22/</a>;
From: <a href="https://pravchelny.ru/useful/?id=1266">Wi Tue Mar 12 13:16:22 2024
Π‘ΠΎΠ²Π΅ΡΡΠ΅ΠΌ ΠΏΠΎΡΠ΅ΡΠΈΡΡ ΡΠ°ΠΉΡ [url=https://pravchelny.ru/useful/?id=1266]https://pravchelny.ru/useful/?id=1266[/url]
Π’Π°ΠΊΠΆΠ΅ Π½Π΅ Π·Π°Π±ΡΠ΄ΡΡΠ΅ Π΄ΠΎΠ±Π°Π²ΠΈΡΡ ΡΠ°ΠΉΡ Π² Π·Π°ΠΊΠ»Π°Π΄ΠΊΠΈ: <a href="https://pravchelny.ru/useful/?id=1266">https://pravchelny.ru/useful/?id=1266</a>;
From: <a href="https://ancientcivs.ru/">Williamclend</a> Tue Mar 12 16:03:47 2024
Π‘ΠΎΠ²Π΅ΡΡΠ΅ΠΌ ΠΏΠΎΡΠ΅ΡΠΈΡΡ ΡΠ°ΠΉΡ [url=https://ancientcivs.ru/]https://ancientcivs.ru/[/url]
Π’Π°ΠΊΠΆΠ΅ Π½Π΅ Π·Π°Π±ΡΠ΄ΡΡΠ΅ Π΄ΠΎΠ±Π°Π²ΠΈΡΡ ΡΠ°ΠΉΡ Π² Π·Π°ΠΊΠ»Π°Π΄ΠΊΠΈ: <a href="https://ancientcivs.ru/">https://ancientcivs.ru/</a>;
From: <a href="https://amurplanet.ru/">Williamclend</a> Wed Mar 13 15:53:15 2024
Π‘ΠΎΠ²Π΅ΡΡΠ΅ΠΌ ΠΏΠΎΡΠ΅ΡΠΈΡΡ ΡΠ°ΠΉΡ [url=https://amurplanet.ru/]https://amurplanet.ru/[/url]
Π’Π°ΠΊΠΆΠ΅ Π½Π΅ Π·Π°Π±ΡΠ΄ΡΡΠ΅ Π΄ΠΎΠ±Π°Π²ΠΈΡΡ ΡΠ°ΠΉΡ Π² Π·Π°ΠΊΠ»Π°Π΄ΠΊΠΈ: <a href="https://amurplanet.ru/">https://amurplanet.ru/</a>;
From: <a href="https://krasilovdreams.borda.ru/?1-11-0-0 Thu Mar 14 20:36:47 2024
Π‘ΠΎΠ²Π΅ΡΡΠ΅ΠΌ ΠΏΠΎΡΠ΅ΡΠΈΡΡ ΡΠ°ΠΉΡ [url=https://krasilovdreams.borda.ru/?1-11-0-00000014-000-30-0-1266268332]https://krasilovdreams.borda.ru/?1-11-0-00000014-000-30-0-1266268332[/url]
Π’Π°ΠΊΠΆΠ΅ Π½Π΅ Π·Π°Π±ΡΠ΄ΡΡΠ΅ Π΄ΠΎΠ±Π°Π²ΠΈΡΡ ΡΠ°ΠΉΡ Π² Π·Π°ΠΊΠ»Π°Π΄ΠΊΠΈ: <a href="https://krasilovdreams.borda.ru/?1-11-0-00000014-000-30-0-1266268332">https://krasilovdreams.borda.ru/?1-11-0-00000014-000-30-0-1266268332</a>;
From: <a href="https://anekdotitut.ru/kak-promokody-pomo Fri Mar 15 20:43:53 2024
Π‘ΠΎΠ²Π΅ΡΡΠ΅ΠΌ ΠΏΠΎΡΠ΅ΡΠΈΡΡ ΡΠ°ΠΉΡ <a href="https://anekdotitut.ru/kak-promokody-pomogayut-sekonomit-na-onlajn-pokupkah/
">https://anekdotitut.ru/kak-promokody-pomogayut-sekonomit-na-onlajn-pokupkah/
</a>
Π’Π°ΠΊΠΆΠ΅ Π½Π΅ Π·Π°Π±ΡΠ΄ΡΡΠ΅ Π΄ΠΎΠ±Π°Π²ΠΈΡΡ ΡΠ°ΠΉΡ Π² Π·Π°ΠΊΠ»Π°Π΄ΠΊΠΈ: <a href="https://anekdotitut.ru/kak-promokody-pomogayut-sekonomit-na-onlajn-pokupkah/
">https://anekdotitut.ru/kak-promokody-pomogayut-sekonomit-na-onlajn-pokupkah/
</a>
From: <a href="https://antipushkin.ru/preimushhestva-isp Sat Mar 16 12:50:15 2024
Π‘ΠΎΠ²Π΅ΡΡΠ΅ΠΌ ΠΏΠΎΡΠ΅ΡΠΈΡΡ ΡΠ°ΠΉΡ <a href="https://antipushkin.ru/preimushhestva-ispolzovaniya-promokodov-pri-onlajn-pokupkah/
">https://antipushkin.ru/preimushhestva-ispolzovaniya-promokodov-pri-onlajn-pokupkah/
</a>
Π’Π°ΠΊΠΆΠ΅ Π½Π΅ Π·Π°Π±ΡΠ΄ΡΡΠ΅ Π΄ΠΎΠ±Π°Π²ΠΈΡΡ ΡΠ°ΠΉΡ Π² Π·Π°ΠΊΠ»Π°Π΄ΠΊΠΈ: <a href="https://antipushkin.ru/preimushhestva-ispolzovaniya-promokodov-pri-onlajn-pokupkah/
">https://antipushkin.ru/preimushhestva-ispolzovaniya-promokodov-pri-onlajn-pokupkah/
</a>
From: <a href="https://fotonons.ru/preimushhestva-ispolz Sat Mar 16 15:35:48 2024
Π‘ΠΎΠ²Π΅ΡΡΠ΅ΠΌ ΠΏΠΎΡΠ΅ΡΠΈΡΡ ΡΠ°ΠΉΡ <a href="https://fotonons.ru/preimushhestva-ispolzovaniya-promokodov-pri-onlajn-pokupkah/
">https://fotonons.ru/preimushhestva-ispolzovaniya-promokodov-pri-onlajn-pokupkah/
</a>
Π’Π°ΠΊΠΆΠ΅ Π½Π΅ Π·Π°Π±ΡΠ΄ΡΡΠ΅ Π΄ΠΎΠ±Π°Π²ΠΈΡΡ ΡΠ°ΠΉΡ Π² Π·Π°ΠΊΠ»Π°Π΄ΠΊΠΈ: <a href="https://fotonons.ru/preimushhestva-ispolzovaniya-promokodov-pri-onlajn-pokupkah/
">https://fotonons.ru/preimushhestva-ispolzovaniya-promokodov-pri-onlajn-pokupkah/
</a>
From: <a href="https://kinokabra.ru/promokody-glavnye-ro Sat Mar 16 17:58:22 2024
Π‘ΠΎΠ²Π΅ΡΡΠ΅ΠΌ ΠΏΠΎΡΠ΅ΡΠΈΡΡ ΡΠ°ΠΉΡ <a href="https://kinokabra.ru/promokody-glavnye-roli-v-mire-mody-i-kino/
">https://kinokabra.ru/promokody-glavnye-roli-v-mire-mody-i-kino/
</a>
Π’Π°ΠΊΠΆΠ΅ Π½Π΅ Π·Π°Π±ΡΠ΄ΡΡΠ΅ Π΄ΠΎΠ±Π°Π²ΠΈΡΡ ΡΠ°ΠΉΡ Π² Π·Π°ΠΊΠ»Π°Π΄ΠΊΠΈ: <a href="https://kinokabra.ru/promokody-glavnye-roli-v-mire-mody-i-kino/
">https://kinokabra.ru/promokody-glavnye-roli-v-mire-mody-i-kino/
</a>
From: <a href="https://mymeizuclub.ru/polezno/ekonomiya- Sun Mar 17 13:44:39 2024
Π‘ΠΎΠ²Π΅ΡΡΠ΅ΠΌ ΠΏΠΎΡΠ΅ΡΠΈΡΡ ΡΠ°ΠΉΡ <a href="https://mymeizuclub.ru/polezno/ekonomiya-v-seti-kak-promokody-delayut-vashi-onlajn-pokupki-bolee-vygodnymi
">https://mymeizuclub.ru/polezno/ekonomiya-v-seti-kak-promokody-delayut-vashi-onlajn-pokupki-bolee-vygodnymi
</a>
Π’Π°ΠΊΠΆΠ΅ Π½Π΅ Π·Π°Π±ΡΠ΄ΡΡΠ΅ Π΄ΠΎΠ±Π°Π²ΠΈΡΡ ΡΠ°ΠΉΡ Π² Π·Π°ΠΊΠ»Π°Π΄ΠΊΠΈ: <a href="https://mymeizuclub.ru/polezno/ekonomiya-v-seti-kak-promokody-delayut-vashi-onlajn-pokupki-bolee-vygodnymi
">https://mymeizuclub.ru/polezno/ekonomiya-v-seti-kak-promokody-delayut-vashi-onlajn-pokupki-bolee-vygodnymi
</a>
From: <a href="https://anekdotitut.ru/srochnyj-vykup-avt Mon Mar 18 11:59:42 2024
Π‘ΠΎΠ²Π΅ΡΡΠ΅ΠΌ ΠΏΠΎΡΠ΅ΡΠΈΡΡ ΡΠ°ΠΉΡ <a href="https://anekdotitut.ru/srochnyj-vykup-avto-v-saratove-kak-eto-proishodit-i-kakie-preimushhestva/
">https://anekdotitut.ru/srochnyj-vykup-avto-v-saratove-kak-eto-proishodit-i-kakie-preimushhestva/
</a>
Π’Π°ΠΊΠΆΠ΅ Π½Π΅ Π·Π°Π±ΡΠ΄ΡΡΠ΅ Π΄ΠΎΠ±Π°Π²ΠΈΡΡ ΡΠ°ΠΉΡ Π² Π·Π°ΠΊΠ»Π°Π΄ΠΊΠΈ: <a href="https://anekdotitut.ru/srochnyj-vykup-avto-v-saratove-kak-eto-proishodit-i-kakie-preimushhestva/
">https://anekdotitut.ru/srochnyj-vykup-avto-v-saratove-kak-eto-proishodit-i-kakie-preimushhestva/
</a>
From: <a href="https://anekdotitut.ru/pochemu-vazhna-kon Mon Mar 18 14:53:54 2024
Π‘ΠΎΠ²Π΅ΡΡΠ΅ΠΌ ΠΏΠΎΡΠ΅ΡΠΈΡΡ ΡΠ°ΠΉΡ <a href="https://anekdotitut.ru/pochemu-vazhna-konsultatsiya-surdologa-dlya-detej-s-problemami-sluha/">https://anekdotitut.ru/pochemu-vazhna-konsultatsiya-surdologa-dlya-detej-s-problemami-sluha/</a>;
Π’Π°ΠΊΠΆΠ΅ Π½Π΅ Π·Π°Π±ΡΠ΄ΡΡΠ΅ Π΄ΠΎΠ±Π°Π²ΠΈΡΡ ΡΠ°ΠΉΡ Π² Π·Π°ΠΊΠ»Π°Π΄ΠΊΠΈ: <a href="https://anekdotitut.ru/pochemu-vazhna-konsultatsiya-surdologa-dlya-detej-s-problemami-sluha/">https://anekdotitut.ru/pochemu-vazhna-konsultatsiya-surdologa-dlya-detej-s-problemami-sluha/</a>;
From: <a href="https://zaslushaem.ru/ekonomiya-v-seti-pr Mon Mar 18 18:26:18 2024
Π‘ΠΎΠ²Π΅ΡΡΠ΅ΠΌ ΠΏΠΎΡΠ΅ΡΠΈΡΡ ΡΠ°ΠΉΡ <a href="https://zaslushaem.ru/ekonomiya-v-seti-preimushhestva-promokodov-pri-onlajn-pokupkah">https://zaslushaem.ru/ekonomiya-v-seti-preimushhestva-promokodov-pri-onlajn-pokupkah</a>;
Π’Π°ΠΊΠΆΠ΅ Π½Π΅ Π·Π°Π±ΡΠ΄ΡΡΠ΅ Π΄ΠΎΠ±Π°Π²ΠΈΡΡ ΡΠ°ΠΉΡ Π² Π·Π°ΠΊΠ»Π°Π΄ΠΊΠΈ: <a href="https://zaslushaem.ru/ekonomiya-v-seti-preimushhestva-promokodov-pri-onlajn-pokupkah">https://zaslushaem.ru/ekonomiya-v-seti-preimushhestva-promokodov-pri-onlajn-pokupkah</a>;
From: <a href="https://zhiloy-komplex.ru/promokody-vash- Tue Mar 19 11:29:33 2024
Π‘ΠΎΠ²Π΅ΡΡΠ΅ΠΌ ΠΏΠΎΡΠ΅ΡΠΈΡΡ ΡΠ°ΠΉΡ <a href="https://zhiloy-komplex.ru/promokody-vash-nadezhnyj-sputnik-v-mire-onlajn-shopinga/">https://zhiloy-komplex.ru/promokody-vash-nadezhnyj-sputnik-v-mire-onlajn-shopinga/</a>;
Π’Π°ΠΊΠΆΠ΅ Π½Π΅ Π·Π°Π±ΡΠ΄ΡΡΠ΅ Π΄ΠΎΠ±Π°Π²ΠΈΡΡ ΡΠ°ΠΉΡ Π² Π·Π°ΠΊΠ»Π°Π΄ΠΊΠΈ: <a href="https://zhiloy-komplex.ru/promokody-vash-nadezhnyj-sputnik-v-mire-onlajn-shopinga/">https://zhiloy-komplex.ru/promokody-vash-nadezhnyj-sputnik-v-mire-onlajn-shopinga/</a>;
From: <a href="https://artcet.ru/mastera-ekonomii-promok Tue Mar 19 13:55:17 2024
Π‘ΠΎΠ²Π΅ΡΡΠ΅ΠΌ ΠΏΠΎΡΠ΅ΡΠΈΡΡ ΡΠ°ΠΉΡ <a href="https://artcet.ru/mastera-ekonomii-promokody-kak-klyuch-k-bolee-vygodnym-onlajn-pokupkam/">https://artcet.ru/mastera-ekonomii-promokody-kak-klyuch-k-bolee-vygodnym-onlajn-pokupkam/</a>;
Π’Π°ΠΊΠΆΠ΅ Π½Π΅ Π·Π°Π±ΡΠ΄ΡΡΠ΅ Π΄ΠΎΠ±Π°Π²ΠΈΡΡ ΡΠ°ΠΉΡ Π² Π·Π°ΠΊΠ»Π°Π΄ΠΊΠΈ: <a href="https://artcet.ru/mastera-ekonomii-promokody-kak-klyuch-k-bolee-vygodnym-onlajn-pokupkam/">https://artcet.ru/mastera-ekonomii-promokody-kak-klyuch-k-bolee-vygodnym-onlajn-pokupkam/</a>;
From: <a href="https://admlihoslavl.ru/promokody-sekretn Tue Mar 19 16:14:20 2024
Π‘ΠΎΠ²Π΅ΡΡΠ΅ΠΌ ΠΏΠΎΡΠ΅ΡΠΈΡΡ ΡΠ°ΠΉΡ <a href="https://admlihoslavl.ru/promokody-sekretnyj-instrument-ekonomii-v-mire-onlajn-shopinga/">https://admlihoslavl.ru/promokody-sekretnyj-instrument-ekonomii-v-mire-onlajn-shopinga/</a>;
Π’Π°ΠΊΠΆΠ΅ Π½Π΅ Π·Π°Π±ΡΠ΄ΡΡΠ΅ Π΄ΠΎΠ±Π°Π²ΠΈΡΡ ΡΠ°ΠΉΡ Π² Π·Π°ΠΊΠ»Π°Π΄ΠΊΠΈ: <a href="https://admlihoslavl.ru/promokody-sekretnyj-instrument-ekonomii-v-mire-onlajn-shopinga/">https://admlihoslavl.ru/promokody-sekretnyj-instrument-ekonomii-v-mire-onlajn-shopinga/</a>;
From: <a href="https://elegos.ru/promokody-vash-put-k-ek Tue Mar 19 18:38:37 2024
Π‘ΠΎΠ²Π΅ΡΡΠ΅ΠΌ ΠΏΠΎΡΠ΅ΡΠΈΡΡ ΡΠ°ΠΉΡ <a href="https://elegos.ru/promokody-vash-put-k-ekonomii-i-udovolstviyu-v-mire-onlajn-shopinga/">https://elegos.ru/promokody-vash-put-k-ekonomii-i-udovolstviyu-v-mire-onlajn-shopinga/</a>;
Π’Π°ΠΊΠΆΠ΅ Π½Π΅ Π·Π°Π±ΡΠ΄ΡΡΠ΅ Π΄ΠΎΠ±Π°Π²ΠΈΡΡ ΡΠ°ΠΉΡ Π² Π·Π°ΠΊΠ»Π°Π΄ΠΊΠΈ: <a href="https://elegos.ru/promokody-vash-put-k-ekonomii-i-udovolstviyu-v-mire-onlajn-shopinga/">https://elegos.ru/promokody-vash-put-k-ekonomii-i-udovolstviyu-v-mire-onlajn-shopinga/</a>;
From: <a href="https://avtomaxi22.ru/">Williamclend</a> Wed Mar 20 12:27:38 2024
Π‘ΠΎΠ²Π΅ΡΡΠ΅ΠΌ ΠΏΠΎΡΠ΅ΡΠΈΡΡ ΡΠ°ΠΉΡ <a href="https://avtomaxi22.ru/">https://avtomaxi22.ru/</a>;
Π’Π°ΠΊΠΆΠ΅ Π½Π΅ Π·Π°Π±ΡΠ΄ΡΡΠ΅ Π΄ΠΎΠ±Π°Π²ΠΈΡΡ ΡΠ°ΠΉΡ Π² Π·Π°ΠΊΠ»Π°Π΄ΠΊΠΈ: <a href="https://avtomaxi22.ru/">https://avtomaxi22.ru/</a>;
From: <a href="https://med-like.ru/">Williamclend</a> Wed Mar 20 15:16:19 2024
Π‘ΠΎΠ²Π΅ΡΡΠ΅ΠΌ ΠΏΠΎΡΠ΅ΡΠΈΡΡ ΡΠ°ΠΉΡ <a href="https://med-like.ru/">https://med-like.ru/</a>;
Π’Π°ΠΊΠΆΠ΅ Π½Π΅ Π·Π°Π±ΡΠ΄ΡΡΠ΅ Π΄ΠΎΠ±Π°Π²ΠΈΡΡ ΡΠ°ΠΉΡ Π² Π·Π°ΠΊΠ»Π°Π΄ΠΊΠΈ: <a href="https://med-like.ru/">https://med-like.ru/</a>;
From: <a href="https://metal82.ru/">Williamclend</a> Wed Mar 20 18:32:22 2024
Π‘ΠΎΠ²Π΅ΡΡΠ΅ΠΌ ΠΏΠΎΡΠ΅ΡΠΈΡΡ ΡΠ°ΠΉΡ <a href="https://metal82.ru/">https://metal82.ru/</a>;
Π’Π°ΠΊΠΆΠ΅ Π½Π΅ Π·Π°Π±ΡΠ΄ΡΡΠ΅ Π΄ΠΎΠ±Π°Π²ΠΈΡΡ ΡΠ°ΠΉΡ Π² Π·Π°ΠΊΠ»Π°Π΄ΠΊΠΈ: <a href="https://metal82.ru/">https://metal82.ru/</a>;
From: <a href="https://balkonnaya-dver.ru/">Williamclend Thu Mar 21 17:41:26 2024
Π‘ΠΎΠ²Π΅ΡΡΠ΅ΠΌ ΠΏΠΎΡΠ΅ΡΠΈΡΡ ΡΠ°ΠΉΡ <a href="https://balkonnaya-dver.ru/">https://balkonnaya-dver.ru/</a>;
Π’Π°ΠΊΠΆΠ΅ Π½Π΅ Π·Π°Π±ΡΠ΄ΡΡΠ΅ Π΄ΠΎΠ±Π°Π²ΠΈΡΡ ΡΠ°ΠΉΡ Π² Π·Π°ΠΊΠ»Π°Π΄ΠΊΠΈ: <a href="https://balkonnaya-dver.ru/">https://balkonnaya-dver.ru/</a>;
From: <a href="https://drova-smolensk.ru/">Williamclend< Sat Mar 23 11:36:54 2024
Π‘ΠΎΠ²Π΅ΡΡΠ΅ΠΌ ΠΏΠΎΡΠ΅ΡΠΈΡΡ ΡΠ°ΠΉΡ <a href="https://drova-smolensk.ru/">https://drova-smolensk.ru/</a>;
Π’Π°ΠΊΠΆΠ΅ Π½Π΅ Π·Π°Π±ΡΠ΄ΡΡΠ΅ Π΄ΠΎΠ±Π°Π²ΠΈΡΡ ΡΠ°ΠΉΡ Π² Π·Π°ΠΊΠ»Π°Π΄ΠΊΠΈ: <a href="https://drova-smolensk.ru/">https://drova-smolensk.ru/</a>;
From: <a href="https://arenda-legkovyh-pricepov.ru/">Wil Sat Mar 23 13:49:12 2024
Π‘ΠΎΠ²Π΅ΡΡΠ΅ΠΌ ΠΏΠΎΡΠ΅ΡΠΈΡΡ ΡΠ°ΠΉΡ <a href="https://arenda-legkovyh-pricepov.ru/">https://arenda-legkovyh-pricepov.ru/</a>;
Π’Π°ΠΊΠΆΠ΅ Π½Π΅ Π·Π°Π±ΡΠ΄ΡΡΠ΅ Π΄ΠΎΠ±Π°Π²ΠΈΡΡ ΡΠ°ΠΉΡ Π² Π·Π°ΠΊΠ»Π°Π΄ΠΊΠΈ: <a href="https://arenda-legkovyh-pricepov.ru/">https://arenda-legkovyh-pricepov.ru/</a>;
From: <a href="https://podveski-remont.ru/">Williamclend Sat Mar 23 15:46:28 2024
Π‘ΠΎΠ²Π΅ΡΡΠ΅ΠΌ ΠΏΠΎΡΠ΅ΡΠΈΡΡ ΡΠ°ΠΉΡ <a href="https://podveski-remont.ru/">https://podveski-remont.ru/</a>;
Π’Π°ΠΊΠΆΠ΅ Π½Π΅ Π·Π°Π±ΡΠ΄ΡΡΠ΅ Π΄ΠΎΠ±Π°Π²ΠΈΡΡ ΡΠ°ΠΉΡ Π² Π·Π°ΠΊΠ»Π°Π΄ΠΊΠΈ: <a href="https://podveski-remont.ru/">https://podveski-remont.ru/</a>;
From: <a href="https://admlihoslavl.ru/">Williamclend</a Sat Mar 23 18:05:45 2024
Π‘ΠΎΠ²Π΅ΡΡΠ΅ΠΌ ΠΏΠΎΡΠ΅ΡΠΈΡΡ ΡΠ°ΠΉΡ <a href="https://admlihoslavl.ru/">https://admlihoslavl.ru/</a>;
Π’Π°ΠΊΠΆΠ΅ Π½Π΅ Π·Π°Π±ΡΠ΄ΡΡΠ΅ Π΄ΠΎΠ±Π°Π²ΠΈΡΡ ΡΠ°ΠΉΡ Π² Π·Π°ΠΊΠ»Π°Π΄ΠΊΠΈ: <a href="https://admlihoslavl.ru/">https://admlihoslavl.ru/</a>;
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ΠΡΠΎΠΌΠ΅ ΡΠΎΠ³ΠΎ, Π½Π΅ Π·Π°Π±ΡΠ΄ΡΡΠ΅ Π΄ΠΎΠ±Π°Π²ΠΈΡΡ ΡΠ°ΠΉΡ Π² Π·Π°ΠΊΠ»Π°Π΄ΠΊΠΈ: [url=https://telegra.ph/Uspeh-na-konce-udochki-kak-vybrat-i-ispolzovat-kachestvennoe-rybolovnoe-oborudovanie-03-31]https://telegra.ph/Uspeh-na-konce-udochki-kak-vybrat-i-ispolzovat-kachestvennoe-rybolovnoe-oborudovanie-03-31[/url]
From: <a href="https://telegra.ph/Instrumenty-dlya-udovo Sat Apr 6 21:13:21 2024
ΠΡ ΡΠ΅ΠΊΠΎΠΌΠ΅Π½Π΄ΡΠ΅ΠΌ ΠΏΠΎΡΠ΅ΡΠΈΡΡ Π²Π΅Π±-ΡΠ°ΠΉΡ <a href="https://telegra.ph/Instrumenty-dlya-udovolstviya-pochemu-kachestvennoe-rybolovnoe-oborudovanie---zalog-uspeshnoj-i-komfortnoj-rybalki-03-31">https://telegra.ph/Instrumenty-dlya-udovolstviya-pochemu-kachestvennoe-rybolovnoe-oborudovanie---zalog-uspeshnoj-i-komfortnoj-rybalki-03-31</a>;.
ΠΡΠΎΠΌΠ΅ ΡΠΎΠ³ΠΎ, Π½Π΅ Π·Π°Π±ΡΠ΄ΡΡΠ΅ Π΄ΠΎΠ±Π°Π²ΠΈΡΡ ΡΠ°ΠΉΡ Π² Π·Π°ΠΊΠ»Π°Π΄ΠΊΠΈ: [url=https://telegra.ph/Instrumenty-dlya-udovolstviya-pochemu-kachestvennoe-rybolovnoe-oborudovanie---zalog-uspeshnoj-i-komfortnoj-rybalki-03-31]https://telegra.ph/Instrumenty-dlya-udovolstviya-pochemu-kachestvennoe-rybolovnoe-oborudovanie---zalog-uspeshnoj-i-komfortnoj-rybalki-03-31[/url]
From: <a href="https://telegra.ph/Sekrety-uspeshnogo-ulo Sun Apr 7 10:41:21 2024
ΠΡ ΡΠ΅ΠΊΠΎΠΌΠ΅Π½Π΄ΡΠ΅ΠΌ ΠΏΠΎΡΠ΅ΡΠΈΡΡ Π²Π΅Π±-ΡΠ°ΠΉΡ <a href="https://telegra.ph/Sekrety-uspeshnogo-ulova-znachenie-pravilnogo-vybora-i-ispolzovaniya-oborudovaniya-pri-rybalke-03-31">https://telegra.ph/Sekrety-uspeshnogo-ulova-znachenie-pravilnogo-vybora-i-ispolzovaniya-oborudovaniya-pri-rybalke-03-31</a>;.
ΠΡΠΎΠΌΠ΅ ΡΠΎΠ³ΠΎ, Π½Π΅ Π·Π°Π±ΡΠ΄ΡΡΠ΅ Π΄ΠΎΠ±Π°Π²ΠΈΡΡ ΡΠ°ΠΉΡ Π² Π·Π°ΠΊΠ»Π°Π΄ΠΊΠΈ: [url=https://telegra.ph/Sekrety-uspeshnogo-ulova-znachenie-pravilnogo-vybora-i-ispolzovaniya-oborudovaniya-pri-rybalke-03-31]https://telegra.ph/Sekrety-uspeshnogo-ulova-znachenie-pravilnogo-vybora-i-ispolzovaniya-oborudovaniya-pri-rybalke-03-31[/url]
From: <a href="https://telegra.ph/Na-rybalku-s-uverennos Sun Apr 7 13:57:10 2024
ΠΡ ΡΠ΅ΠΊΠΎΠΌΠ΅Π½Π΄ΡΠ΅ΠΌ ΠΏΠΎΡΠ΅ΡΠΈΡΡ Π²Π΅Π±-ΡΠ°ΠΉΡ <a href="https://telegra.ph/Na-rybalku-s-uverennostyu-kak-vybrat-kachestvennoe-oborudovanie-dlya-uspeshnoj-rybalki-03-31">https://telegra.ph/Na-rybalku-s-uverennostyu-kak-vybrat-kachestvennoe-oborudovanie-dlya-uspeshnoj-rybalki-03-31</a>;.
ΠΡΠΎΠΌΠ΅ ΡΠΎΠ³ΠΎ, Π½Π΅ Π·Π°Π±ΡΠ΄ΡΡΠ΅ Π΄ΠΎΠ±Π°Π²ΠΈΡΡ ΡΠ°ΠΉΡ Π² Π·Π°ΠΊΠ»Π°Π΄ΠΊΠΈ: [url=https://telegra.ph/Na-rybalku-s-uverennostyu-kak-vybrat-kachestvennoe-oborudovanie-dlya-uspeshnoj-rybalki-03-31]https://telegra.ph/Na-rybalku-s-uverennostyu-kak-vybrat-kachestvennoe-oborudovanie-dlya-uspeshnoj-rybalki-03-31[/url]
From: <a href="https://telegra.ph/Rybachok-vsyo-neobhodi Sun Apr 7 17:47:31 2024
ΠΡ ΡΠ΅ΠΊΠΎΠΌΠ΅Π½Π΄ΡΠ΅ΠΌ ΠΏΠΎΡΠ΅ΡΠΈΡΡ Π²Π΅Π±-ΡΠ°ΠΉΡ <a href="https://telegra.ph/Rybachok-vsyo-neobhodimoe-dlya-rybolova-03-31">https://telegra.ph/Rybachok-vsyo-neobhodimoe-dlya-rybolova-03-31</a>;.
ΠΡΠΎΠΌΠ΅ ΡΠΎΠ³ΠΎ, Π½Π΅ Π·Π°Π±ΡΠ΄ΡΡΠ΅ Π΄ΠΎΠ±Π°Π²ΠΈΡΡ ΡΠ°ΠΉΡ Π² Π·Π°ΠΊΠ»Π°Π΄ΠΊΠΈ: [url=https://telegra.ph/Rybachok-vsyo-neobhodimoe-dlya-rybolova-03-31]https://telegra.ph/Rybachok-vsyo-neobhodimoe-dlya-rybolova-03-31[/url]
From: <a href="https://telegra.ph/Osnovnye-principy-udac Sun Apr 7 20:39:43 2024
ΠΡ ΡΠ΅ΠΊΠΎΠΌΠ΅Π½Π΄ΡΠ΅ΠΌ ΠΏΠΎΡΠ΅ΡΠΈΡΡ Π²Π΅Π±-ΡΠ°ΠΉΡ <a href="https://telegra.ph/Osnovnye-principy-udachnoj-rybalki-03-31">https://telegra.ph/Osnovnye-principy-udachnoj-rybalki-03-31</a>;.
ΠΡΠΎΠΌΠ΅ ΡΠΎΠ³ΠΎ, Π½Π΅ Π·Π°Π±ΡΠ΄ΡΡΠ΅ Π΄ΠΎΠ±Π°Π²ΠΈΡΡ ΡΠ°ΠΉΡ Π² Π·Π°ΠΊΠ»Π°Π΄ΠΊΠΈ: [url=https://telegra.ph/Osnovnye-principy-udachnoj-rybalki-03-31]https://telegra.ph/Osnovnye-principy-udachnoj-rybalki-03-31[/url]
From: <a href="https://telegra.ph/CHto-neobhodimo-vzyat- Mon Apr 8 11:42:56 2024
ΠΡ ΡΠ΅ΠΊΠΎΠΌΠ΅Π½Π΄ΡΠ΅ΠΌ ΠΏΠΎΡΠ΅ΡΠΈΡΡ Π²Π΅Π±-ΡΠ°ΠΉΡ <a href="https://telegra.ph/CHto-neobhodimo-vzyat-s-soboj-na-rybalku-03-31">https://telegra.ph/CHto-neobhodimo-vzyat-s-soboj-na-rybalku-03-31</a>;.
ΠΡΠΎΠΌΠ΅ ΡΠΎΠ³ΠΎ, Π½Π΅ Π·Π°Π±ΡΠ΄ΡΡΠ΅ Π΄ΠΎΠ±Π°Π²ΠΈΡΡ ΡΠ°ΠΉΡ Π² Π·Π°ΠΊΠ»Π°Π΄ΠΊΠΈ: [url=https://telegra.ph/CHto-neobhodimo-vzyat-s-soboj-na-rybalku-03-31]https://telegra.ph/CHto-neobhodimo-vzyat-s-soboj-na-rybalku-03-31[/url]
From: <a href="https://telegra.ph/Obzor-populyarnyh-pnev Mon Apr 8 14:55:52 2024
ΠΡ ΡΠ΅ΠΊΠΎΠΌΠ΅Π½Π΄ΡΠ΅ΠΌ ΠΏΠΎΡΠ΅ΡΠΈΡΡ Π²Π΅Π±-ΡΠ°ΠΉΡ <a href="https://telegra.ph/Obzor-populyarnyh-pnevmaticheskih-pistoletov-sovety-po-vyboru-03-31">https://telegra.ph/Obzor-populyarnyh-pnevmaticheskih-pistoletov-sovety-po-vyboru-03-31</a>;.
ΠΡΠΎΠΌΠ΅ ΡΠΎΠ³ΠΎ, Π½Π΅ Π·Π°Π±ΡΠ΄ΡΡΠ΅ Π΄ΠΎΠ±Π°Π²ΠΈΡΡ ΡΠ°ΠΉΡ Π² Π·Π°ΠΊΠ»Π°Π΄ΠΊΠΈ: [url=https://telegra.ph/Obzor-populyarnyh-pnevmaticheskih-pistoletov-sovety-po-vyboru-03-31]https://telegra.ph/Obzor-populyarnyh-pnevmaticheskih-pistoletov-sovety-po-vyboru-03-31[/url]
From: <a href="https://softnewsportal.ru/">Williamclend< Mon Apr 8 21:04:55 2024
ΠΡ ΡΠ΅ΠΊΠΎΠΌΠ΅Π½Π΄ΡΠ΅ΠΌ ΠΏΠΎΡΠ΅ΡΠΈΡΡ Π²Π΅Π±-ΡΠ°ΠΉΡ <a href="https://softnewsportal.ru/">https://softnewsportal.ru/</a>;.
ΠΡΠΎΠΌΠ΅ ΡΠΎΠ³ΠΎ, Π½Π΅ Π·Π°Π±ΡΠ΄ΡΡΠ΅ Π΄ΠΎΠ±Π°Π²ΠΈΡΡ ΡΠ°ΠΉΡ Π² Π·Π°ΠΊΠ»Π°Π΄ΠΊΠΈ: [url=https://softnewsportal.ru/]https://softnewsportal.ru/[/url]
From: <a href="https://doutuapse.ru/">Williamclend</a> Tue Apr 9 11:14:01 2024
ΠΡ ΡΠ΅ΠΊΠΎΠΌΠ΅Π½Π΄ΡΠ΅ΠΌ ΠΏΠΎΡΠ΅ΡΠΈΡΡ Π²Π΅Π±-ΡΠ°ΠΉΡ <a href="https://doutuapse.ru/">https://doutuapse.ru/</a>;.
ΠΡΠΎΠΌΠ΅ ΡΠΎΠ³ΠΎ, Π½Π΅ Π·Π°Π±ΡΠ΄ΡΡΠ΅ Π΄ΠΎΠ±Π°Π²ΠΈΡΡ ΡΠ°ΠΉΡ Π² Π·Π°ΠΊΠ»Π°Π΄ΠΊΠΈ: [url=https://doutuapse.ru/]https://doutuapse.ru/[/url]
From: <a href="https://telegra.ph/Internet-magazin-Rybac Tue Apr 9 17:41:52 2024
ΠΡ ΡΠ΅ΠΊΠΎΠΌΠ΅Π½Π΄ΡΠ΅ΠΌ ΠΏΠΎΡΠ΅ΡΠΈΡΡ Π²Π΅Π±-ΡΠ°ΠΉΡ <a href="https://telegra.ph/Internet-magazin-Rybachok-Vash-provodnik-v-mire-rybolovstva-04-09-2">https://telegra.ph/Internet-magazin-Rybachok-Vash-provodnik-v-mire-rybolovstva-04-09-2</a>;.
ΠΡΠΎΠΌΠ΅ ΡΠΎΠ³ΠΎ, Π½Π΅ Π·Π°Π±ΡΠ΄ΡΡΠ΅ Π΄ΠΎΠ±Π°Π²ΠΈΡΡ ΡΠ°ΠΉΡ Π² Π·Π°ΠΊΠ»Π°Π΄ΠΊΠΈ: [url=https://telegra.ph/Internet-magazin-Rybachok-Vash-provodnik-v-mire-rybolovstva-04-09-2]https://telegra.ph/Internet-magazin-Rybachok-Vash-provodnik-v-mire-rybolovstva-04-09-2[/url]
From: <a href="https://telegra.ph/Internet-magazin-Rybac Tue Apr 9 19:41:29 2024
ΠΡ ΡΠ΅ΠΊΠΎΠΌΠ΅Π½Π΄ΡΠ΅ΠΌ ΠΏΠΎΡΠ΅ΡΠΈΡΡ Π²Π΅Π±-ΡΠ°ΠΉΡ <a href="https://telegra.ph/Internet-magazin-Rybachok-Vash-nadezhnyj-pomoshchnik-v-mire-rybolovstva-04-09">https://telegra.ph/Internet-magazin-Rybachok-Vash-nadezhnyj-pomoshchnik-v-mire-rybolovstva-04-09</a>;.
ΠΡΠΎΠΌΠ΅ ΡΠΎΠ³ΠΎ, Π½Π΅ Π·Π°Π±ΡΠ΄ΡΡΠ΅ Π΄ΠΎΠ±Π°Π²ΠΈΡΡ ΡΠ°ΠΉΡ Π² Π·Π°ΠΊΠ»Π°Π΄ΠΊΠΈ: [url=https://telegra.ph/Internet-magazin-Rybachok-Vash-nadezhnyj-pomoshchnik-v-mire-rybolovstva-04-09]https://telegra.ph/Internet-magazin-Rybachok-Vash-nadezhnyj-pomoshchnik-v-mire-rybolovstva-04-09[/url]
From: <a href="https://telegra.ph/Internet-magazin-Rybac Wed Apr 10 10:21:35 2024
ΠΡ ΡΠ΅ΠΊΠΎΠΌΠ΅Π½Π΄ΡΠ΅ΠΌ ΠΏΠΎΡΠ΅ΡΠΈΡΡ Π²Π΅Π±-ΡΠ°ΠΉΡ <a href="https://telegra.ph/Internet-magazin-Rybachok-Vash-nadezhnyj-pomoshchnik-v-mire-rybolovstva-04-09">https://telegra.ph/Internet-magazin-Rybachok-Vash-nadezhnyj-pomoshchnik-v-mire-rybolovstva-04-09</a>;.
ΠΡΠΎΠΌΠ΅ ΡΠΎΠ³ΠΎ, Π½Π΅ Π·Π°Π±ΡΠ΄ΡΡΠ΅ Π΄ΠΎΠ±Π°Π²ΠΈΡΡ ΡΠ°ΠΉΡ Π² Π·Π°ΠΊΠ»Π°Π΄ΠΊΠΈ: [url=https://telegra.ph/Internet-magazin-Rybachok-Vash-nadezhnyj-pomoshchnik-v-mire-rybolovstva-04-09]https://telegra.ph/Internet-magazin-Rybachok-Vash-nadezhnyj-pomoshchnik-v-mire-rybolovstva-04-09[/url]
From: <a href="https://telegra.ph/Internet-magazin-Rybac Wed Apr 10 16:25:12 2024
ΠΡ ΡΠ΅ΠΊΠΎΠΌΠ΅Π½Π΄ΡΠ΅ΠΌ ΠΏΠΎΡΠ΅ΡΠΈΡΡ Π²Π΅Π±-ΡΠ°ΠΉΡ <a href="https://telegra.ph/Internet-magazin-Rybachok-Mesto-gde-rybalka-nachinaetsya-s-vybora-snaryazheniya-04-09">https://telegra.ph/Internet-magazin-Rybachok-Mesto-gde-rybalka-nachinaetsya-s-vybora-snaryazheniya-04-09</a>;.
ΠΡΠΎΠΌΠ΅ ΡΠΎΠ³ΠΎ, Π½Π΅ Π·Π°Π±ΡΠ΄ΡΡΠ΅ Π΄ΠΎΠ±Π°Π²ΠΈΡΡ ΡΠ°ΠΉΡ Π² Π·Π°ΠΊΠ»Π°Π΄ΠΊΠΈ: [url=https://telegra.ph/Internet-magazin-Rybachok-Mesto-gde-rybalka-nachinaetsya-s-vybora-snaryazheniya-04-09]https://telegra.ph/Internet-magazin-Rybachok-Mesto-gde-rybalka-nachinaetsya-s-vybora-snaryazheniya-04-09[/url]
From: <a href="https://telegra.ph/Internet-magazin-Rybac Thu Apr 11 11:46:11 2024
ΠΡ ΡΠ΅ΠΊΠΎΠΌΠ΅Π½Π΄ΡΠ΅ΠΌ ΠΏΠΎΡΠ΅ΡΠΈΡΡ Π²Π΅Π±-ΡΠ°ΠΉΡ <a href="https://telegra.ph/Internet-magazin-Rybachok-Vash-provodnik-v-mire-rybolovstva-04-09">https://telegra.ph/Internet-magazin-Rybachok-Vash-provodnik-v-mire-rybolovstva-04-09</a>;.
ΠΡΠΎΠΌΠ΅ ΡΠΎΠ³ΠΎ, Π½Π΅ Π·Π°Π±ΡΠ΄ΡΡΠ΅ Π΄ΠΎΠ±Π°Π²ΠΈΡΡ ΡΠ°ΠΉΡ Π² Π·Π°ΠΊΠ»Π°Π΄ΠΊΠΈ: [url=https://telegra.ph/Internet-magazin-Rybachok-Vash-provodnik-v-mire-rybolovstva-04-09]https://telegra.ph/Internet-magazin-Rybachok-Vash-provodnik-v-mire-rybolovstva-04-09[/url]
From: <a href="https://telegra.ph/Internet-magazin-Rybac Thu Apr 11 14:52:31 2024
ΠΡ ΡΠ΅ΠΊΠΎΠΌΠ΅Π½Π΄ΡΠ΅ΠΌ ΠΏΠΎΡΠ΅ΡΠΈΡΡ Π²Π΅Π±-ΡΠ°ΠΉΡ <a href="https://telegra.ph/Internet-magazin-Rybachok-Vash-provodnik-v-mire-rybolovstva-04-09">https://telegra.ph/Internet-magazin-Rybachok-Vash-provodnik-v-mire-rybolovstva-04-09</a>;.
ΠΡΠΎΠΌΠ΅ ΡΠΎΠ³ΠΎ, Π½Π΅ Π·Π°Π±ΡΠ΄ΡΡΠ΅ Π΄ΠΎΠ±Π°Π²ΠΈΡΡ ΡΠ°ΠΉΡ Π² Π·Π°ΠΊΠ»Π°Π΄ΠΊΠΈ: [url=https://telegra.ph/Internet-magazin-Rybachok-Vash-provodnik-v-mire-rybolovstva-04-09]https://telegra.ph/Internet-magazin-Rybachok-Vash-provodnik-v-mire-rybolovstva-04-09[/url]
From: <a href="https://telegra.ph/Internet-magazin-Rybac Thu Apr 11 17:14:25 2024
ΠΡ ΡΠ΅ΠΊΠΎΠΌΠ΅Π½Π΄ΡΠ΅ΠΌ ΠΏΠΎΡΠ΅ΡΠΈΡΡ Π²Π΅Π±-ΡΠ°ΠΉΡ <a href="https://telegra.ph/Internet-magazin-Rybachok-Vash-nadezhnyj-pomoshchnik-v-mire-rybolovstva-04-09-2">https://telegra.ph/Internet-magazin-Rybachok-Vash-nadezhnyj-pomoshchnik-v-mire-rybolovstva-04-09-2</a>;.
ΠΡΠΎΠΌΠ΅ ΡΠΎΠ³ΠΎ, Π½Π΅ Π·Π°Π±ΡΠ΄ΡΡΠ΅ Π΄ΠΎΠ±Π°Π²ΠΈΡΡ ΡΠ°ΠΉΡ Π² Π·Π°ΠΊΠ»Π°Π΄ΠΊΠΈ: [url=https://telegra.ph/Internet-magazin-Rybachok-Vash-nadezhnyj-pomoshchnik-v-mire-rybolovstva-04-09-2]https://telegra.ph/Internet-magazin-Rybachok-Vash-nadezhnyj-pomoshchnik-v-mire-rybolovstva-04-09-2[/url]
From: <a href="https://telegra.ph/Internet-magazin-Rybac Thu Apr 11 20:00:25 2024
ΠΡ ΡΠ΅ΠΊΠΎΠΌΠ΅Π½Π΄ΡΠ΅ΠΌ ΠΏΠΎΡΠ΅ΡΠΈΡΡ Π²Π΅Π±-ΡΠ°ΠΉΡ <a href="https://telegra.ph/Internet-magazin-Rybachok-Vash-vernyj-sputnik-v-mire-rybnoj-lovli-04-09">https://telegra.ph/Internet-magazin-Rybachok-Vash-vernyj-sputnik-v-mire-rybnoj-lovli-04-09</a>;.
ΠΡΠΎΠΌΠ΅ ΡΠΎΠ³ΠΎ, Π½Π΅ Π·Π°Π±ΡΠ΄ΡΡΠ΅ Π΄ΠΎΠ±Π°Π²ΠΈΡΡ ΡΠ°ΠΉΡ Π² Π·Π°ΠΊΠ»Π°Π΄ΠΊΠΈ: [url=https://telegra.ph/Internet-magazin-Rybachok-Vash-vernyj-sputnik-v-mire-rybnoj-lovli-04-09]https://telegra.ph/Internet-magazin-Rybachok-Vash-vernyj-sputnik-v-mire-rybnoj-lovli-04-09[/url]
From: <a href="https://telegra.ph/Internet-magazin-Rybac Fri Apr 12 10:00:55 2024
ΠΡ ΡΠ΅ΠΊΠΎΠΌΠ΅Π½Π΄ΡΠ΅ΠΌ ΠΏΠΎΡΠ΅ΡΠΈΡΡ Π²Π΅Π±-ΡΠ°ΠΉΡ <a href="https://telegra.ph/Internet-magazin-Rybachok-Vash-nadezhnyj-pomoshchnik-v-mire-rybolovstva-04-09-3">https://telegra.ph/Internet-magazin-Rybachok-Vash-nadezhnyj-pomoshchnik-v-mire-rybolovstva-04-09-3</a>;.
ΠΡΠΎΠΌΠ΅ ΡΠΎΠ³ΠΎ, Π½Π΅ Π·Π°Π±ΡΠ΄ΡΡΠ΅ Π΄ΠΎΠ±Π°Π²ΠΈΡΡ ΡΠ°ΠΉΡ Π² Π·Π°ΠΊΠ»Π°Π΄ΠΊΠΈ: [url=https://telegra.ph/Internet-magazin-Rybachok-Vash-nadezhnyj-pomoshchnik-v-mire-rybolovstva-04-09-3]https://telegra.ph/Internet-magazin-Rybachok-Vash-nadezhnyj-pomoshchnik-v-mire-rybolovstva-04-09-3[/url]
From: <a href="https://telegra.ph/Internet-magazin-Rybac Fri Apr 12 12:47:50 2024
ΠΡ ΡΠ΅ΠΊΠΎΠΌΠ΅Π½Π΄ΡΠ΅ΠΌ ΠΏΠΎΡΠ΅ΡΠΈΡΡ Π²Π΅Π±-ΡΠ°ΠΉΡ <a href="https://telegra.ph/Internet-magazin-Rybachok-Vash-vernyj-sputnik-v-mire-rybnoj-lovli-04-09-2">https://telegra.ph/Internet-magazin-Rybachok-Vash-vernyj-sputnik-v-mire-rybnoj-lovli-04-09-2</a>;.
ΠΡΠΎΠΌΠ΅ ΡΠΎΠ³ΠΎ, Π½Π΅ Π·Π°Π±ΡΠ΄ΡΡΠ΅ Π΄ΠΎΠ±Π°Π²ΠΈΡΡ ΡΠ°ΠΉΡ Π² Π·Π°ΠΊΠ»Π°Π΄ΠΊΠΈ: [url=https://telegra.ph/Internet-magazin-Rybachok-Vash-vernyj-sputnik-v-mire-rybnoj-lovli-04-09-2]https://telegra.ph/Internet-magazin-Rybachok-Vash-vernyj-sputnik-v-mire-rybnoj-lovli-04-09-2[/url]
From: <a href="https://doutuapse.ru/">Williamclend</a> Fri Apr 12 16:54:55 2024
ΠΡ ΡΠ΅ΠΊΠΎΠΌΠ΅Π½Π΄ΡΠ΅ΠΌ ΠΏΠΎΡΠ΅ΡΠΈΡΡ Π²Π΅Π±-ΡΠ°ΠΉΡ <a href="https://doutuapse.ru/">https://doutuapse.ru/</a>;.
ΠΡΠΎΠΌΠ΅ ΡΠΎΠ³ΠΎ, Π½Π΅ Π·Π°Π±ΡΠ΄ΡΡΠ΅ Π΄ΠΎΠ±Π°Π²ΠΈΡΡ ΡΠ°ΠΉΡ Π² Π·Π°ΠΊΠ»Π°Π΄ΠΊΠΈ: [url=https://doutuapse.ru/]https://doutuapse.ru/[/url]
From: <a href="https://vektor-meh.ru/">Williamclend</a> Fri Apr 12 21:01:58 2024
ΠΡ ΡΠ΅ΠΊΠΎΠΌΠ΅Π½Π΄ΡΠ΅ΠΌ ΠΏΠΎΡΠ΅ΡΠΈΡΡ Π²Π΅Π±-ΡΠ°ΠΉΡ <a href="https://vektor-meh.ru/">https://vektor-meh.ru//</a>;.
ΠΡΠΎΠΌΠ΅ ΡΠΎΠ³ΠΎ, Π½Π΅ Π·Π°Π±ΡΠ΄ΡΡΠ΅ Π΄ΠΎΠ±Π°Π²ΠΈΡΡ ΡΠ°ΠΉΡ Π² Π·Π°ΠΊΠ»Π°Π΄ΠΊΠΈ: [url=https://vektor-meh.ru/]https://vektor-meh.ru/[/url]
From: <a href="https://russkiy-spaniel.ru/">Williamclend Sat Apr 13 10:45:09 2024
ΠΡ ΡΠ΅ΠΊΠΎΠΌΠ΅Π½Π΄ΡΠ΅ΠΌ ΠΏΠΎΡΠ΅ΡΠΈΡΡ Π²Π΅Π±-ΡΠ°ΠΉΡ <a href="https://russkiy-spaniel.ru/">https://russkiy-spaniel.ru/</a>;.
ΠΡΠΎΠΌΠ΅ ΡΠΎΠ³ΠΎ, Π½Π΅ Π·Π°Π±ΡΠ΄ΡΡΠ΅ Π΄ΠΎΠ±Π°Π²ΠΈΡΡ ΡΠ°ΠΉΡ Π² Π·Π°ΠΊΠ»Π°Π΄ΠΊΠΈ: [url=https://russkiy-spaniel.ru/]https://russkiy-spaniel.ru/[/url]
From: <a href="https://stroydvor89.ru/">Williamclend</a> Sat Apr 13 19:32:44 2024
ΠΡ ΡΠ΅ΠΊΠΎΠΌΠ΅Π½Π΄ΡΠ΅ΠΌ ΠΏΠΎΡΠ΅ΡΠΈΡΡ Π²Π΅Π±-ΡΠ°ΠΉΡ <a href="https://stroydvor89.ru/">https://stroydvor89.ru/</a>;.
ΠΡΠΎΠΌΠ΅ ΡΠΎΠ³ΠΎ, Π½Π΅ Π·Π°Π±ΡΠ΄ΡΡΠ΅ Π΄ΠΎΠ±Π°Π²ΠΈΡΡ ΡΠ°ΠΉΡ Π² Π·Π°ΠΊΠ»Π°Π΄ΠΊΠΈ: [url=https://stroydvor89.ru/]https://stroydvor89.ru/[/url]
From: <a href="https://magic-magnit.ru/">Williamclend</a Sun Apr 14 11:12:34 2024
ΠΡ ΡΠ΅ΠΊΠΎΠΌΠ΅Π½Π΄ΡΠ΅ΠΌ ΠΏΠΎΡΠ΅ΡΠΈΡΡ Π²Π΅Π±-ΡΠ°ΠΉΡ <a href="https://magic-magnit.ru/">https://magic-magnit.ru/</a>;.
ΠΡΠΎΠΌΠ΅ ΡΠΎΠ³ΠΎ, Π½Π΅ Π·Π°Π±ΡΠ΄ΡΡΠ΅ Π΄ΠΎΠ±Π°Π²ΠΈΡΡ ΡΠ°ΠΉΡ Π² Π·Π°ΠΊΠ»Π°Π΄ΠΊΠΈ: [url=https://magic-magnit.ru/]https://magic-magnit.ru/[/url]
From: <a href="https://kvest4x4.ru/">Williamclend</a> Sun Apr 14 14:05:51 2024
ΠΡ ΡΠ΅ΠΊΠΎΠΌΠ΅Π½Π΄ΡΠ΅ΠΌ ΠΏΠΎΡΠ΅ΡΠΈΡΡ Π²Π΅Π±-ΡΠ°ΠΉΡ <a href="https://kvest4x4.ru/">https://kvest4x4.ru/</a>;.
ΠΡΠΎΠΌΠ΅ ΡΠΎΠ³ΠΎ, Π½Π΅ Π·Π°Π±ΡΠ΄ΡΡΠ΅ Π΄ΠΎΠ±Π°Π²ΠΈΡΡ ΡΠ°ΠΉΡ Π² Π·Π°ΠΊΠ»Π°Π΄ΠΊΠΈ: [url=https://kvest4x4.ru/]https://kvest4x4.ru/[/url]
From: <a href="https://photo-res.ru/">Williamclend</a> Sun Apr 14 18:42:27 2024
ΠΡ ΡΠ΅ΠΊΠΎΠΌΠ΅Π½Π΄ΡΠ΅ΠΌ ΠΏΠΎΡΠ΅ΡΠΈΡΡ Π²Π΅Π±-ΡΠ°ΠΉΡ <a href="https://photo-res.ru/">https://photo-res.ru/</a>;.
ΠΡΠΎΠΌΠ΅ ΡΠΎΠ³ΠΎ, Π½Π΅ Π·Π°Π±ΡΠ΄ΡΡΠ΅ Π΄ΠΎΠ±Π°Π²ΠΈΡΡ ΡΠ°ΠΉΡ Π² Π·Π°ΠΊΠ»Π°Π΄ΠΊΠΈ: [url=https://photo-res.ru/]https://photo-res.ru/[/url]
From: <a href="https://great-galaxy.ru/">Williamclend</a Mon Apr 15 10:21:28 2024
ΠΡ ΡΠ΅ΠΊΠΎΠΌΠ΅Π½Π΄ΡΠ΅ΠΌ ΠΏΠΎΡΠ΅ΡΠΈΡΡ Π²Π΅Π±-ΡΠ°ΠΉΡ <a href="https://great-galaxy.ru/">https://great-galaxy.ru/</a>;.
ΠΡΠΎΠΌΠ΅ ΡΠΎΠ³ΠΎ, Π½Π΅ Π·Π°Π±ΡΠ΄ΡΡΠ΅ Π΄ΠΎΠ±Π°Π²ΠΈΡΡ ΡΠ°ΠΉΡ Π² Π·Π°ΠΊΠ»Π°Π΄ΠΊΠΈ: [url=https://great-galaxy.ru/]https://great-galaxy.ru/[/url]
From: <a href="https://90sad.ru/">Williamclend</a> Mon Apr 15 12:16:10 2024
ΠΡ ΡΠ΅ΠΊΠΎΠΌΠ΅Π½Π΄ΡΠ΅ΠΌ ΠΏΠΎΡΠ΅ΡΠΈΡΡ Π²Π΅Π±-ΡΠ°ΠΉΡ <a href="https://90sad.ru/">https://90sad.ru/</a>;.
ΠΡΠΎΠΌΠ΅ ΡΠΎΠ³ΠΎ, Π½Π΅ Π·Π°Π±ΡΠ΄ΡΡΠ΅ Π΄ΠΎΠ±Π°Π²ΠΈΡΡ ΡΠ°ΠΉΡ Π² Π·Π°ΠΊΠ»Π°Π΄ΠΊΠΈ: [url=https://90sad.ru/]https://90sad.ru/[/url]
From: <a href="https://telegra.ph/Internet-magazin-Rybac Mon Apr 15 13:19:36 2024
ΠΡ ΡΠ΅ΠΊΠΎΠΌΠ΅Π½Π΄ΡΠ΅ΠΌ ΠΏΠΎΡΠ΅ΡΠΈΡΡ Π²Π΅Π±-ΡΠ°ΠΉΡ <a href="https://telegra.ph/Internet-magazin-Rybachok-vash-nadezhnyj-partner-v-mire-rybalki-04-15">https://telegra.ph/Internet-magazin-Rybachok-vash-nadezhnyj-partner-v-mire-rybalki-04-15</a>;.
ΠΡΠΎΠΌΠ΅ ΡΠΎΠ³ΠΎ, Π½Π΅ Π·Π°Π±ΡΠ΄ΡΡΠ΅ Π΄ΠΎΠ±Π°Π²ΠΈΡΡ ΡΠ°ΠΉΡ Π² Π·Π°ΠΊΠ»Π°Π΄ΠΊΠΈ: [url=https://telegra.ph/Internet-magazin-Rybachok-vash-nadezhnyj-partner-v-mire-rybalki-04-15]https://telegra.ph/Internet-magazin-Rybachok-vash-nadezhnyj-partner-v-mire-rybalki-04-15[/url]
From: <a href="https://kmc-ia.ru/">Williamclend</a> Mon Apr 15 14:16:26 2024
ΠΡ ΡΠ΅ΠΊΠΎΠΌΠ΅Π½Π΄ΡΠ΅ΠΌ ΠΏΠΎΡΠ΅ΡΠΈΡΡ Π²Π΅Π±-ΡΠ°ΠΉΡ <a href="https://kmc-ia.ru/">https://kmc-ia.ru/</a>;.
ΠΡΠΎΠΌΠ΅ ΡΠΎΠ³ΠΎ, Π½Π΅ Π·Π°Π±ΡΠ΄ΡΡΠ΅ Π΄ΠΎΠ±Π°Π²ΠΈΡΡ ΡΠ°ΠΉΡ Π² Π·Π°ΠΊΠ»Π°Π΄ΠΊΠΈ: [url=https://kmc-ia.ru/]https://kmc-ia.ru/[/url]
From: <a href="https://thebachelor.ru/">Williamclend</a> Mon Apr 15 16:42:50 2024
ΠΡ ΡΠ΅ΠΊΠΎΠΌΠ΅Π½Π΄ΡΠ΅ΠΌ ΠΏΠΎΡΠ΅ΡΠΈΡΡ Π²Π΅Π±-ΡΠ°ΠΉΡ <a href="https://thebachelor.ru/">https://thebachelor.ru/</a>;.
ΠΡΠΎΠΌΠ΅ ΡΠΎΠ³ΠΎ, Π½Π΅ Π·Π°Π±ΡΠ΄ΡΡΠ΅ Π΄ΠΎΠ±Π°Π²ΠΈΡΡ ΡΠ°ΠΉΡ Π² Π·Π°ΠΊΠ»Π°Π΄ΠΊΠΈ: [url=https://thebachelor.ru/]https://thebachelor.ru/[/url]
From: <a href="https://kreativ-didaktika.ru/">Williamcle Mon Apr 15 21:03:41 2024
ΠΡ ΡΠ΅ΠΊΠΎΠΌΠ΅Π½Π΄ΡΠ΅ΠΌ ΠΏΠΎΡΠ΅ΡΠΈΡΡ Π²Π΅Π±-ΡΠ°ΠΉΡ <a href="https://kreativ-didaktika.ru/">https://kreativ-didaktika.ru/</a>;.
ΠΡΠΎΠΌΠ΅ ΡΠΎΠ³ΠΎ, Π½Π΅ Π·Π°Π±ΡΠ΄ΡΡΠ΅ Π΄ΠΎΠ±Π°Π²ΠΈΡΡ ΡΠ°ΠΉΡ Π² Π·Π°ΠΊΠ»Π°Π΄ΠΊΠΈ: [url=https://kreativ-didaktika.ru/]https://kreativ-didaktika.ru/[/url]
From: <a href="https://cultureinthecity.ru/">Williamclen Tue Apr 16 10:33:52 2024
ΠΡ ΡΠ΅ΠΊΠΎΠΌΠ΅Π½Π΄ΡΠ΅ΠΌ ΠΏΠΎΡΠ΅ΡΠΈΡΡ Π²Π΅Π±-ΡΠ°ΠΉΡ <a href="https://cultureinthecity.ru/">https://cultureinthecity.ru/</a>;.
ΠΡΠΎΠΌΠ΅ ΡΠΎΠ³ΠΎ, Π½Π΅ Π·Π°Π±ΡΠ΄ΡΡΠ΅ Π΄ΠΎΠ±Π°Π²ΠΈΡΡ ΡΠ°ΠΉΡ Π² Π·Π°ΠΊΠ»Π°Π΄ΠΊΠΈ: [url=https://cultureinthecity.ru/]https://cultureinthecity.ru/[/url]
From: <a href="https://core-rpg.ru/">Williamclend</a> Tue Apr 16 16:14:35 2024
ΠΡ ΡΠ΅ΠΊΠΎΠΌΠ΅Π½Π΄ΡΠ΅ΠΌ ΠΏΠΎΡΠ΅ΡΠΈΡΡ Π²Π΅Π±-ΡΠ°ΠΉΡ <a href="https://core-rpg.ru/">https://core-rpg.ru/</a>;.
ΠΡΠΎΠΌΠ΅ ΡΠΎΠ³ΠΎ, Π½Π΅ Π·Π°Π±ΡΠ΄ΡΡΠ΅ Π΄ΠΎΠ±Π°Π²ΠΈΡΡ ΡΠ°ΠΉΡ Π² Π·Π°ΠΊΠ»Π°Π΄ΠΊΠΈ: [url=https://core-rpg.ru/]https://core-rpg.ru/[/url]
From: <a href="https://urkarl.ru/">Williamclend</a> Tue Apr 16 19:48:52 2024
ΠΡ ΡΠ΅ΠΊΠΎΠΌΠ΅Π½Π΄ΡΠ΅ΠΌ ΠΏΠΎΡΠ΅ΡΠΈΡΡ Π²Π΅Π±-ΡΠ°ΠΉΡ <a href="https://urkarl.ru/">https://urkarl.ru/</a>;.
ΠΡΠΎΠΌΠ΅ ΡΠΎΠ³ΠΎ, Π½Π΅ Π·Π°Π±ΡΠ΄ΡΡΠ΅ Π΄ΠΎΠ±Π°Π²ΠΈΡΡ ΡΠ°ΠΉΡ Π² Π·Π°ΠΊΠ»Π°Π΄ΠΊΠΈ: [url=https://urkarl.ru/]https://urkarl.ru/[/url]
From: <a href="https://upsskirt.ru/">Williamclend</a> Thu Apr 18 11:23:21 2024
ΠΡ ΡΠ΅ΠΊΠΎΠΌΠ΅Π½Π΄ΡΠ΅ΠΌ ΠΏΠΎΡΠ΅ΡΠΈΡΡ Π²Π΅Π±-ΡΠ°ΠΉΡ <a href="https://upsskirt.ru/">https://upsskirt.ru/</a>;.
ΠΡΠΎΠΌΠ΅ ΡΠΎΠ³ΠΎ, Π½Π΅ Π·Π°Π±ΡΠ΄ΡΡΠ΅ Π΄ΠΎΠ±Π°Π²ΠΈΡΡ ΡΠ°ΠΉΡ Π² Π·Π°ΠΊΠ»Π°Π΄ΠΊΠΈ: [url=https://upsskirt.ru/]https://upsskirt.ru/[/url]
From: <a href="https://yarus-kkt.ru/">Williamclend</a> Thu Apr 18 13:12:52 2024
ΠΡ ΡΠ΅ΠΊΠΎΠΌΠ΅Π½Π΄ΡΠ΅ΠΌ ΠΏΠΎΡΠ΅ΡΠΈΡΡ Π²Π΅Π±-ΡΠ°ΠΉΡ <a href="https://yarus-kkt.ru/">https://yarus-kkt.ru/</a>;.
ΠΡΠΎΠΌΠ΅ ΡΠΎΠ³ΠΎ, Π½Π΅ Π·Π°Π±ΡΠ΄ΡΡΠ΅ Π΄ΠΎΠ±Π°Π²ΠΈΡΡ ΡΠ°ΠΉΡ Π² Π·Π°ΠΊΠ»Π°Π΄ΠΊΠΈ: [url=https://yarus-kkt.ru/]https://yarus-kkt.ru/[/url]
From: <a href="https://imgtube.ru/">Williamclend</a> Thu Apr 18 16:17:26 2024
ΠΡ ΡΠ΅ΠΊΠΎΠΌΠ΅Π½Π΄ΡΠ΅ΠΌ ΠΏΠΎΡΠ΅ΡΠΈΡΡ Π²Π΅Π±-ΡΠ°ΠΉΡ <a href="https://imgtube.ru/">https://imgtube.ru/</a>;.
ΠΡΠΎΠΌΠ΅ ΡΠΎΠ³ΠΎ, Π½Π΅ Π·Π°Π±ΡΠ΄ΡΡΠ΅ Π΄ΠΎΠ±Π°Π²ΠΈΡΡ ΡΠ°ΠΉΡ Π² Π·Π°ΠΊΠ»Π°Π΄ΠΊΠΈ: [url=https://imgtube.ru/]https://imgtube.ru/[/url]
From: <a href="https://svetnadegda.ru/">Williamclend</a> Thu Apr 18 18:19:33 2024
ΠΡ ΡΠ΅ΠΊΠΎΠΌΠ΅Π½Π΄ΡΠ΅ΠΌ ΠΏΠΎΡΠ΅ΡΠΈΡΡ Π²Π΅Π±-ΡΠ°ΠΉΡ <a href="https://svetnadegda.ru/">https://svetnadegda.ru/</a>;.
ΠΡΠΎΠΌΠ΅ ΡΠΎΠ³ΠΎ, Π½Π΅ Π·Π°Π±ΡΠ΄ΡΡΠ΅ Π΄ΠΎΠ±Π°Π²ΠΈΡΡ ΡΠ°ΠΉΡ Π² Π·Π°ΠΊΠ»Π°Π΄ΠΊΠΈ: [url=https://svetnadegda.ru/]https://svetnadegda.ru/[/url]
From: <a href="https://tione.ru/">Williamclend</a> Thu Apr 18 21:03:37 2024
ΠΡ ΡΠ΅ΠΊΠΎΠΌΠ΅Π½Π΄ΡΠ΅ΠΌ ΠΏΠΎΡΠ΅ΡΠΈΡΡ Π²Π΅Π±-ΡΠ°ΠΉΡ <a href="https://tione.ru/">https://tione.ru/</a>;.
ΠΡΠΎΠΌΠ΅ ΡΠΎΠ³ΠΎ, Π½Π΅ Π·Π°Π±ΡΠ΄ΡΡΠ΅ Π΄ΠΎΠ±Π°Π²ΠΈΡΡ ΡΠ°ΠΉΡ Π² Π·Π°ΠΊΠ»Π°Π΄ΠΊΠΈ: [url=https://tione.ru/]https://tione.ru/[/url]
From: <a href="https://telegra.ph/Internet-magazin-Rybac Fri Apr 19 09:08:53 2024
ΠΡ ΡΠ΅ΠΊΠΎΠΌΠ΅Π½Π΄ΡΠ΅ΠΌ ΠΏΠΎΡΠ΅ΡΠΈΡΡ Π²Π΅Π±-ΡΠ°ΠΉΡ <a href="https://telegra.ph/Internet-magazin-Rybachok-vash-vybor-dlya-uspeshnoj-rybalki-04-15">https://telegra.ph/Internet-magazin-Rybachok-vash-vybor-dlya-uspeshnoj-rybalki-04-15</a>;.
ΠΡΠΎΠΌΠ΅ ΡΠΎΠ³ΠΎ, Π½Π΅ Π·Π°Π±ΡΠ΄ΡΡΠ΅ Π΄ΠΎΠ±Π°Π²ΠΈΡΡ ΡΠ°ΠΉΡ Π² Π·Π°ΠΊΠ»Π°Π΄ΠΊΠΈ: [url=https://telegra.ph/Internet-magazin-Rybachok-vash-vybor-dlya-uspeshnoj-rybalki-04-15]https://telegra.ph/Internet-magazin-Rybachok-vash-vybor-dlya-uspeshnoj-rybalki-04-15[/url]
From: <a href="https://telegra.ph/Internet-magazin-Rybac Fri Apr 19 11:58:25 2024
ΠΡ ΡΠ΅ΠΊΠΎΠΌΠ΅Π½Π΄ΡΠ΅ΠΌ ΠΏΠΎΡΠ΅ΡΠΈΡΡ Π²Π΅Π±-ΡΠ°ΠΉΡ <a href="https://telegra.ph/Internet-magazin-Rybachok-vash-put-k-uspeshnoj-rybalke-04-15">https://telegra.ph/Internet-magazin-Rybachok-vash-put-k-uspeshnoj-rybalke-04-15</a>;.
ΠΡΠΎΠΌΠ΅ ΡΠΎΠ³ΠΎ, Π½Π΅ Π·Π°Π±ΡΠ΄ΡΡΠ΅ Π΄ΠΎΠ±Π°Π²ΠΈΡΡ ΡΠ°ΠΉΡ Π² Π·Π°ΠΊΠ»Π°Π΄ΠΊΠΈ: [url=https://telegra.ph/Internet-magazin-Rybachok-vash-put-k-uspeshnoj-rybalke-04-15]https://telegra.ph/Internet-magazin-Rybachok-vash-put-k-uspeshnoj-rybalke-04-15[/url]
From: <a href="https://telegra.ph/Internet-magazin-Rybac Fri Apr 19 19:45:47 2024
ΠΡ ΡΠ΅ΠΊΠΎΠΌΠ΅Π½Π΄ΡΠ΅ΠΌ ΠΏΠΎΡΠ΅ΡΠΈΡΡ Π²Π΅Π±-ΡΠ°ΠΉΡ <a href="https://telegra.ph/Internet-magazin-Rybachok-vash-partner-v-mire-rybnoj-lovli-04-15">https://telegra.ph/Internet-magazin-Rybachok-vash-partner-v-mire-rybnoj-lovli-04-15</a>;.
ΠΡΠΎΠΌΠ΅ ΡΠΎΠ³ΠΎ, Π½Π΅ Π·Π°Π±ΡΠ΄ΡΡΠ΅ Π΄ΠΎΠ±Π°Π²ΠΈΡΡ ΡΠ°ΠΉΡ Π² Π·Π°ΠΊΠ»Π°Π΄ΠΊΠΈ: [url=https://telegra.ph/Internet-magazin-Rybachok-vash-partner-v-mire-rybnoj-lovli-04-15]https://telegra.ph/Internet-magazin-Rybachok-vash-partner-v-mire-rybnoj-lovli-04-15[/url]
From: <a href="https://telegra.ph/Internet-magazin-Rybac Sat Apr 20 12:17:26 2024
ΠΡ ΡΠ΅ΠΊΠΎΠΌΠ΅Π½Π΄ΡΠ΅ΠΌ ΠΏΠΎΡΠ΅ΡΠΈΡΡ Π²Π΅Π±-ΡΠ°ΠΉΡ <a href="https://telegra.ph/Internet-magazin-Rybachok-vash-partner-v-mire-rybnoj-lovli-04-15">https://telegra.ph/Internet-magazin-Rybachok-vash-partner-v-mire-rybnoj-lovli-04-15</a>;.
ΠΡΠΎΠΌΠ΅ ΡΠΎΠ³ΠΎ, Π½Π΅ Π·Π°Π±ΡΠ΄ΡΡΠ΅ Π΄ΠΎΠ±Π°Π²ΠΈΡΡ ΡΠ°ΠΉΡ Π² Π·Π°ΠΊΠ»Π°Π΄ΠΊΠΈ: [url=https://telegra.ph/Internet-magazin-Rybachok-vash-partner-v-mire-rybnoj-lovli-04-15]https://telegra.ph/Internet-magazin-Rybachok-vash-partner-v-mire-rybnoj-lovli-04-15[/url]
From: <a href="https://telegra.ph/Internet-magazin-Rybac Sat Apr 20 15:00:39 2024
ΠΡ ΡΠ΅ΠΊΠΎΠΌΠ΅Π½Π΄ΡΠ΅ΠΌ ΠΏΠΎΡΠ΅ΡΠΈΡΡ Π²Π΅Π±-ΡΠ°ΠΉΡ <a href="https://telegra.ph/Internet-magazin-Rybachok-vash-nadezhnyj-partner-v-mire-rybalki-04-15-2">https://telegra.ph/Internet-magazin-Rybachok-vash-nadezhnyj-partner-v-mire-rybalki-04-15-2</a>;.
ΠΡΠΎΠΌΠ΅ ΡΠΎΠ³ΠΎ, Π½Π΅ Π·Π°Π±ΡΠ΄ΡΡΠ΅ Π΄ΠΎΠ±Π°Π²ΠΈΡΡ ΡΠ°ΠΉΡ Π² Π·Π°ΠΊΠ»Π°Π΄ΠΊΠΈ: [url=https://telegra.ph/Internet-magazin-Rybachok-vash-nadezhnyj-partner-v-mire-rybalki-04-15-2]https://telegra.ph/Internet-magazin-Rybachok-vash-nadezhnyj-partner-v-mire-rybalki-04-15-2[/url]
From: <a href="https://telegra.ph/Internet-magazin-Rybac Sat Apr 20 18:35:19 2024
ΠΡ ΡΠ΅ΠΊΠΎΠΌΠ΅Π½Π΄ΡΠ΅ΠΌ ΠΏΠΎΡΠ΅ΡΠΈΡΡ Π²Π΅Π±-ΡΠ°ΠΉΡ <a href="https://telegra.ph/Internet-magazin-Rybachok-vash-vybor-dlya-uspeshnoj-rybalki-04-15-2">https://telegra.ph/Internet-magazin-Rybachok-vash-vybor-dlya-uspeshnoj-rybalki-04-15-2</a>;.
ΠΡΠΎΠΌΠ΅ ΡΠΎΠ³ΠΎ, Π½Π΅ Π·Π°Π±ΡΠ΄ΡΡΠ΅ Π΄ΠΎΠ±Π°Π²ΠΈΡΡ ΡΠ°ΠΉΡ Π² Π·Π°ΠΊΠ»Π°Π΄ΠΊΠΈ: [url=https://telegra.ph/Internet-magazin-Rybachok-vash-vybor-dlya-uspeshnoj-rybalki-04-15-2]https://telegra.ph/Internet-magazin-Rybachok-vash-vybor-dlya-uspeshnoj-rybalki-04-15-2[/url]
From: <a href="https://telegra.ph/Internet-magazin-Rybac Sat Apr 20 21:13:39 2024
ΠΡ ΡΠ΅ΠΊΠΎΠΌΠ΅Π½Π΄ΡΠ΅ΠΌ ΠΏΠΎΡΠ΅ΡΠΈΡΡ Π²Π΅Π±-ΡΠ°ΠΉΡ <a href="https://telegra.ph/Internet-magazin-Rybachok-vash-put-k-udachnoj-rybalke-04-15">https://telegra.ph/Internet-magazin-Rybachok-vash-put-k-udachnoj-rybalke-04-15</a>;.
ΠΡΠΎΠΌΠ΅ ΡΠΎΠ³ΠΎ, Π½Π΅ Π·Π°Π±ΡΠ΄ΡΡΠ΅ Π΄ΠΎΠ±Π°Π²ΠΈΡΡ ΡΠ°ΠΉΡ Π² Π·Π°ΠΊΠ»Π°Π΄ΠΊΠΈ: [url=https://telegra.ph/Internet-magazin-Rybachok-vash-put-k-udachnoj-rybalke-04-15]https://telegra.ph/Internet-magazin-Rybachok-vash-put-k-udachnoj-rybalke-04-15[/url]
From: <a href="https://telegra.ph/O-magazine-Rybachok-04 Sun Apr 21 11:23:01 2024
ΠΡ ΡΠ΅ΠΊΠΎΠΌΠ΅Π½Π΄ΡΠ΅ΠΌ ΠΏΠΎΡΠ΅ΡΠΈΡΡ Π²Π΅Π±-ΡΠ°ΠΉΡ <a href="https://telegra.ph/O-magazine-Rybachok-04-15">https://telegra.ph/O-magazine-Rybachok-04-15</a>;.
ΠΡΠΎΠΌΠ΅ ΡΠΎΠ³ΠΎ, Π½Π΅ Π·Π°Π±ΡΠ΄ΡΡΠ΅ Π΄ΠΎΠ±Π°Π²ΠΈΡΡ ΡΠ°ΠΉΡ Π² Π·Π°ΠΊΠ»Π°Π΄ΠΊΠΈ: [url=https://telegra.ph/O-magazine-Rybachok-04-15]https://telegra.ph/O-magazine-Rybachok-04-15[/url]
From: <a href="https://telegra.ph/Internet-magazin-Rybac Sun Apr 21 14:09:19 2024
ΠΡ ΡΠ΅ΠΊΠΎΠΌΠ΅Π½Π΄ΡΠ΅ΠΌ ΠΏΠΎΡΠ΅ΡΠΈΡΡ Π²Π΅Π±-ΡΠ°ΠΉΡ <a href="https://telegra.ph/Internet-magazin-Rybachok-vash-put-k-uspeshnoj-rybalke-04-15-2">https://telegra.ph/Internet-magazin-Rybachok-vash-put-k-uspeshnoj-rybalke-04-15-2</a>;.
ΠΡΠΎΠΌΠ΅ ΡΠΎΠ³ΠΎ, Π½Π΅ Π·Π°Π±ΡΠ΄ΡΡΠ΅ Π΄ΠΎΠ±Π°Π²ΠΈΡΡ ΡΠ°ΠΉΡ Π² Π·Π°ΠΊΠ»Π°Π΄ΠΊΠΈ: [url=https://telegra.ph/Internet-magazin-Rybachok-vash-put-k-uspeshnoj-rybalke-04-15-2]https://telegra.ph/Internet-magazin-Rybachok-vash-put-k-uspeshnoj-rybalke-04-15-2[/url]
From: <a href="https://telegra.ph/Internet-magazin-Rybac Sun Apr 21 17:32:24 2024
ΠΡ ΡΠ΅ΠΊΠΎΠΌΠ΅Π½Π΄ΡΠ΅ΠΌ ΠΏΠΎΡΠ΅ΡΠΈΡΡ Π²Π΅Π±-ΡΠ°ΠΉΡ <a href="https://telegra.ph/Internet-magazin-Rybachok-vash-nadezhnyj-partner-v-mire-rybnoj-lovli-04-15">https://telegra.ph/Internet-magazin-Rybachok-vash-nadezhnyj-partner-v-mire-rybnoj-lovli-04-15</a>;.
ΠΡΠΎΠΌΠ΅ ΡΠΎΠ³ΠΎ, Π½Π΅ Π·Π°Π±ΡΠ΄ΡΡΠ΅ Π΄ΠΎΠ±Π°Π²ΠΈΡΡ ΡΠ°ΠΉΡ Π² Π·Π°ΠΊΠ»Π°Π΄ΠΊΠΈ: [url=https://telegra.ph/Internet-magazin-Rybachok-vash-nadezhnyj-partner-v-mire-rybnoj-lovli-04-15]https://telegra.ph/Internet-magazin-Rybachok-vash-nadezhnyj-partner-v-mire-rybnoj-lovli-04-15[/url]
From: <a href="https://burger-kings.ru/">Williamclend</a Sun Apr 21 20:08:14 2024
ΠΡ ΡΠ΅ΠΊΠΎΠΌΠ΅Π½Π΄ΡΠ΅ΠΌ ΠΏΠΎΡΠ΅ΡΠΈΡΡ Π²Π΅Π±-ΡΠ°ΠΉΡ <a href="https://burger-kings.ru/">https://burger-kings.ru/</a>;.
ΠΡΠΎΠΌΠ΅ ΡΠΎΠ³ΠΎ, Π½Π΅ Π·Π°Π±ΡΠ΄ΡΡΠ΅ Π΄ΠΎΠ±Π°Π²ΠΈΡΡ ΡΠ°ΠΉΡ Π² Π·Π°ΠΊΠ»Π°Π΄ΠΊΠΈ: [url=https://burger-kings.ru/]https://burger-kings.ru/[/url]
From: <a href="https://remonttermexov.ru/">Williamclend< Mon Apr 22 15:01:34 2024
ΠΡ ΡΠ΅ΠΊΠΎΠΌΠ΅Π½Π΄ΡΠ΅ΠΌ ΠΏΠΎΡΠ΅ΡΠΈΡΡ Π²Π΅Π±-ΡΠ°ΠΉΡ <a href="https://remonttermexov.ru/">https://remonttermexov.ru/</a>;.
ΠΡΠΎΠΌΠ΅ ΡΠΎΠ³ΠΎ, Π½Π΅ Π·Π°Π±ΡΠ΄ΡΡΠ΅ Π΄ΠΎΠ±Π°Π²ΠΈΡΡ ΡΠ°ΠΉΡ Π² Π·Π°ΠΊΠ»Π°Π΄ΠΊΠΈ: [url=https://remonttermexov.ru/]https://remonttermexov.ru/[/url]
From: <a href="https://lostfiilmtv.ru/">Williamclend</a> Mon Apr 22 18:41:52 2024
ΠΡ ΡΠ΅ΠΊΠΎΠΌΠ΅Π½Π΄ΡΠ΅ΠΌ ΠΏΠΎΡΠ΅ΡΠΈΡΡ Π²Π΅Π±-ΡΠ°ΠΉΡ <a href="https://lostfiilmtv.ru/">https://lostfiilmtv.ru/</a>;.
ΠΡΠΎΠΌΠ΅ ΡΠΎΠ³ΠΎ, Π½Π΅ Π·Π°Π±ΡΠ΄ΡΡΠ΅ Π΄ΠΎΠ±Π°Π²ΠΈΡΡ ΡΠ°ΠΉΡ Π² Π·Π°ΠΊΠ»Π°Π΄ΠΊΠΈ: [url=https://lostfiilmtv.ru/]https://lostfiilmtv.ru/[/url]
From: <a href="https://my-caffe.ru/">Williamclend</a> Mon Apr 22 21:57:21 2024
ΠΡ ΡΠ΅ΠΊΠΎΠΌΠ΅Π½Π΄ΡΠ΅ΠΌ ΠΏΠΎΡΠ΅ΡΠΈΡΡ Π²Π΅Π±-ΡΠ°ΠΉΡ <a href="https://my-caffe.ru/">https://my-caffe.ru/</a>;.
ΠΡΠΎΠΌΠ΅ ΡΠΎΠ³ΠΎ, Π½Π΅ Π·Π°Π±ΡΠ΄ΡΡΠ΅ Π΄ΠΎΠ±Π°Π²ΠΈΡΡ ΡΠ°ΠΉΡ Π² Π·Π°ΠΊΠ»Π°Π΄ΠΊΠΈ: [url=https://my-caffe.ru/]https://my-caffe.ru/[/url]
From: <a href="https://adventime.ru/">Williamclend</a> Tue Apr 23 11:46:15 2024
ΠΡ ΡΠ΅ΠΊΠΎΠΌΠ΅Π½Π΄ΡΠ΅ΠΌ ΠΏΠΎΡΠ΅ΡΠΈΡΡ Π²Π΅Π±-ΡΠ°ΠΉΡ <a href="https://adventime.ru/">https://adventime.ru/</a>;.
ΠΡΠΎΠΌΠ΅ ΡΠΎΠ³ΠΎ, Π½Π΅ Π·Π°Π±ΡΠ΄ΡΡΠ΅ Π΄ΠΎΠ±Π°Π²ΠΈΡΡ ΡΠ°ΠΉΡ Π² Π·Π°ΠΊΠ»Π°Π΄ΠΊΠΈ: [url=https://adventime.ru/]https://adventime.ru/[/url]
From: <a href="https://ipodtouch3g.ru/">Williamclend</a> Tue Apr 23 16:15:29 2024
ΠΡ ΡΠ΅ΠΊΠΎΠΌΠ΅Π½Π΄ΡΠ΅ΠΌ ΠΏΠΎΡΠ΅ΡΠΈΡΡ Π²Π΅Π±-ΡΠ°ΠΉΡ <a href="https://ipodtouch3g.ru/">https://ipodtouch3g.ru/</a>;.
ΠΡΠΎΠΌΠ΅ ΡΠΎΠ³ΠΎ, Π½Π΅ Π·Π°Π±ΡΠ΄ΡΡΠ΅ Π΄ΠΎΠ±Π°Π²ΠΈΡΡ ΡΠ°ΠΉΡ Π² Π·Π°ΠΊΠ»Π°Π΄ΠΊΠΈ: [url=https://ipodtouch3g.ru/]https://ipodtouch3g.ru/[/url]
From: <a href="https://kaizen-tmz.ru/">Williamclend</a> Tue Apr 23 20:16:34 2024
ΠΡ ΡΠ΅ΠΊΠΎΠΌΠ΅Π½Π΄ΡΠ΅ΠΌ ΠΏΠΎΡΠ΅ΡΠΈΡΡ Π²Π΅Π±-ΡΠ°ΠΉΡ <a href="https://kaizen-tmz.ru/">https://kaizen-tmz.ru/</a>;.
ΠΡΠΎΠΌΠ΅ ΡΠΎΠ³ΠΎ, Π½Π΅ Π·Π°Π±ΡΠ΄ΡΡΠ΅ Π΄ΠΎΠ±Π°Π²ΠΈΡΡ ΡΠ°ΠΉΡ Π² Π·Π°ΠΊΠ»Π°Π΄ΠΊΠΈ: [url=https://kaizen-tmz.ru/]https://kaizen-tmz.ru/[/url]
From: <a href="https://mehelper.ru/">Williamclend</a> Fri Apr 26 15:13:32 2024
ΠΡ ΡΠ΅ΠΊΠΎΠΌΠ΅Π½Π΄ΡΠ΅ΠΌ ΠΏΠΎΡΠ΅ΡΠΈΡΡ Π²Π΅Π±-ΡΠ°ΠΉΡ <a href="https://mehelper.ru/">https://mehelper.ru/</a>;.
ΠΡΠΎΠΌΠ΅ ΡΠΎΠ³ΠΎ, Π½Π΅ Π·Π°Π±ΡΠ΄ΡΡΠ΅ Π΄ΠΎΠ±Π°Π²ΠΈΡΡ ΡΠ°ΠΉΡ Π² Π·Π°ΠΊΠ»Π°Π΄ΠΊΠΈ: [url=https://mehelper.ru/]https://mehelper.ru/[/url]
From: <a href="https://useit2.ru/">Williamclend</a> Fri Apr 26 18:05:49 2024
ΠΡ ΡΠ΅ΠΊΠΎΠΌΠ΅Π½Π΄ΡΠ΅ΠΌ ΠΏΠΎΡΠ΅ΡΠΈΡΡ Π²Π΅Π±-ΡΠ°ΠΉΡ <a href="https://useit2.ru/">https://useit2.ru/</a>;.
ΠΡΠΎΠΌΠ΅ ΡΠΎΠ³ΠΎ, Π½Π΅ Π·Π°Π±ΡΠ΄ΡΡΠ΅ Π΄ΠΎΠ±Π°Π²ΠΈΡΡ ΡΠ°ΠΉΡ Π² Π·Π°ΠΊΠ»Π°Π΄ΠΊΠΈ: [url=https://useit2.ru/]https://useit2.ru/[/url]
From: <a href="https://orenbash.ru/">Williamclend</a> Fri Apr 26 21:48:18 2024
ΠΡ ΡΠ΅ΠΊΠΎΠΌΠ΅Π½Π΄ΡΠ΅ΠΌ ΠΏΠΎΡΠ΅ΡΠΈΡΡ Π²Π΅Π±-ΡΠ°ΠΉΡ <a href="https://orenbash.ru/">https://orenbash.ru/</a>;.
ΠΡΠΎΠΌΠ΅ ΡΠΎΠ³ΠΎ, Π½Π΅ Π·Π°Π±ΡΠ΄ΡΡΠ΅ Π΄ΠΎΠ±Π°Π²ΠΈΡΡ ΡΠ°ΠΉΡ Π² Π·Π°ΠΊΠ»Π°Π΄ΠΊΠΈ: [url=https://orenbash.ru/]https://orenbash.ru/[/url]
From: <a href="https://center-esm.ru/">Williamclend</a> Sat Apr 27 12:01:25 2024
ΠΡ ΡΠ΅ΠΊΠΎΠΌΠ΅Π½Π΄ΡΠ΅ΠΌ ΠΏΠΎΡΠ΅ΡΠΈΡΡ Π²Π΅Π±-ΡΠ°ΠΉΡ <a href="https://center-esm.ru/">https://center-esm.ru/</a>;.
ΠΡΠΎΠΌΠ΅ ΡΠΎΠ³ΠΎ, Π½Π΅ Π·Π°Π±ΡΠ΄ΡΡΠ΅ Π΄ΠΎΠ±Π°Π²ΠΈΡΡ ΡΠ°ΠΉΡ Π² Π·Π°ΠΊΠ»Π°Π΄ΠΊΠΈ: [url=https://center-esm.ru/]https://center-esm.ru/[/url]
From: <a href="https://stalker-land.ru/">Williamclend</a Sat Apr 27 21:47:18 2024
ΠΡ ΡΠ΅ΠΊΠΎΠΌΠ΅Π½Π΄ΡΠ΅ΠΌ ΠΏΠΎΡΠ΅ΡΠΈΡΡ Π²Π΅Π±-ΡΠ°ΠΉΡ <a href="https://stalker-land.ru/">https://stalker-land.ru/</a>;.
ΠΡΠΎΠΌΠ΅ ΡΠΎΠ³ΠΎ, Π½Π΅ Π·Π°Π±ΡΠ΄ΡΡΠ΅ Π΄ΠΎΠ±Π°Π²ΠΈΡΡ ΡΠ°ΠΉΡ Π² Π·Π°ΠΊΠ»Π°Π΄ΠΊΠΈ: [url=https://stalker-land.ru/]https://stalker-land.ru/[/url]
From: <a href="https://kanunnikovao.ru/">Williamclend</a Fri May 3 13:40:05 2024
ΠΡ ΡΠ΅ΠΊΠΎΠΌΠ΅Π½Π΄ΡΠ΅ΠΌ ΠΏΠΎΡΠ΅ΡΠΈΡΡ Π²Π΅Π±-ΡΠ°ΠΉΡ <a href="https://kanunnikovao.ru/">https://kanunnikovao.ru/</a>;.
ΠΡΠΎΠΌΠ΅ ΡΠΎΠ³ΠΎ, Π½Π΅ Π·Π°Π±ΡΠ΄ΡΡΠ΅ Π΄ΠΎΠ±Π°Π²ΠΈΡΡ ΡΠ°ΠΉΡ Π² Π·Π°ΠΊΠ»Π°Π΄ΠΊΠΈ: [url=https://kanunnikovao.ru/]https://kanunnikovao.ru/[/url]
From: <a href="https://church-bench.ru/">Williamclend</a Sat May 4 11:55:15 2024
ΠΡ ΡΠ΅ΠΊΠΎΠΌΠ΅Π½Π΄ΡΠ΅ΠΌ ΠΏΠΎΡΠ΅ΡΠΈΡΡ Π²Π΅Π±-ΡΠ°ΠΉΡ <a href="https://church-bench.ru/">https://church-bench.ru/</a>;.
ΠΡΠΎΠΌΠ΅ ΡΠΎΠ³ΠΎ, Π½Π΅ Π·Π°Π±ΡΠ΄ΡΡΠ΅ Π΄ΠΎΠ±Π°Π²ΠΈΡΡ ΡΠ°ΠΉΡ Π² Π·Π°ΠΊΠ»Π°Π΄ΠΊΠΈ: [url=https://church-bench.ru/]https://church-bench.ru/[/url]
From: <a href="https://novaplastica.ru/luchshie-sposoby- Wed May 8 13:26:23 2024
ΠΡ ΡΠ΅ΠΊΠΎΠΌΠ΅Π½Π΄ΡΠ΅ΠΌ ΠΏΠΎΡΠ΅ΡΠΈΡΡ Π²Π΅Π±-ΡΠ°ΠΉΡ <a href="https://novaplastica.ru/luchshie-sposoby-podderzhaniya-zdorovya-v-techenie-dnya/">https://novaplastica.ru/luchshie-sposoby-podderzhaniya-zdorovya-v-techenie-dnya/</a>;.
ΠΡΠΎΠΌΠ΅ ΡΠΎΠ³ΠΎ, Π½Π΅ Π·Π°Π±ΡΠ΄ΡΡΠ΅ Π΄ΠΎΠ±Π°Π²ΠΈΡΡ ΡΠ°ΠΉΡ Π² Π·Π°ΠΊΠ»Π°Π΄ΠΊΠΈ: [url=https://novaplastica.ru/luchshie-sposoby-podderzhaniya-zdorovya-v-techenie-dnya/]https://novaplastica.ru/luchshie-sposoby-podderzhaniya-zdorovya-v-techenie-dnya/[/url]
From: <a href="https://btc-fish.ru/kak-izbezhat-stressa- Wed May 8 19:56:29 2024
ΠΡ ΡΠ΅ΠΊΠΎΠΌΠ΅Π½Π΄ΡΠ΅ΠΌ ΠΏΠΎΡΠ΅ΡΠΈΡΡ Π²Π΅Π±-ΡΠ°ΠΉΡ <a href="https://btc-fish.ru/kak-izbezhat-stressa-na-rabote/">https://btc-fish.ru/kak-izbezhat-stressa-na-rabote/</a>;.
ΠΡΠΎΠΌΠ΅ ΡΠΎΠ³ΠΎ, Π½Π΅ Π·Π°Π±ΡΠ΄ΡΡΠ΅ Π΄ΠΎΠ±Π°Π²ΠΈΡΡ ΡΠ°ΠΉΡ Π² Π·Π°ΠΊΠ»Π°Π΄ΠΊΠΈ: [url=https://btc-fish.ru/kak-izbezhat-stressa-na-rabote/]https://btc-fish.ru/kak-izbezhat-stressa-na-rabote/[/url]
From: <a href="https://lodtrk.org.ua/kak-pravilno-vybrat Thu May 9 12:05:58 2024
ΠΡ ΡΠ΅ΠΊΠΎΠΌΠ΅Π½Π΄ΡΠ΅ΠΌ ΠΏΠΎΡΠ΅ΡΠΈΡΡ Π²Π΅Π±-ΡΠ°ΠΉΡ <a href="https://lodtrk.org.ua/kak-pravilno-vybrat-udochku-sekrety-uspeshnoy-rybalki/">https://lodtrk.org.ua/kak-pravilno-vybrat-udochku-sekrety-uspeshnoy-rybalki/</a>;.
ΠΡΠΎΠΌΠ΅ ΡΠΎΠ³ΠΎ, Π½Π΅ Π·Π°Π±ΡΠ΄ΡΡΠ΅ Π΄ΠΎΠ±Π°Π²ΠΈΡΡ ΡΠ°ΠΉΡ Π² Π·Π°ΠΊΠ»Π°Π΄ΠΊΠΈ: [url=https://lodtrk.org.ua/kak-pravilno-vybrat-udochku-sekrety-uspeshnoy-rybalki/]https://lodtrk.org.ua/kak-pravilno-vybrat-udochku-sekrety-uspeshnoy-rybalki/[/url]
From: <a href="https://kobovec.org.ua/interesnoe/issledo Fri May 10 14:07:19 2024
ΠΡ ΡΠ΅ΠΊΠΎΠΌΠ΅Π½Π΄ΡΠ΅ΠΌ ΠΏΠΎΡΠ΅ΡΠΈΡΡ Π²Π΅Π±-ΡΠ°ΠΉΡ <a href="https://kobovec.org.ua/interesnoe/issledovanie-produktivnye-tovary-dlya-rybakov-kotorye-uluchshat-vash-opyt/">https://kobovec.org.ua/interesnoe/issledovanie-produktivnye-tovary-dlya-rybakov-kotorye-uluchshat-vash-opyt/</a>;.
ΠΡΠΎΠΌΠ΅ ΡΠΎΠ³ΠΎ, Π½Π΅ Π·Π°Π±ΡΠ΄ΡΡΠ΅ Π΄ΠΎΠ±Π°Π²ΠΈΡΡ ΡΠ°ΠΉΡ Π² Π·Π°ΠΊΠ»Π°Π΄ΠΊΠΈ: [url=https://kobovec.org.ua/interesnoe/issledovanie-produktivnye-tovary-dlya-rybakov-kotorye-uluchshat-vash-opyt/]https://kobovec.org.ua/interesnoe/issledovanie-produktivnye-tovary-dlya-rybakov-kotorye-uluchshat-vash-opyt/[/url]
From: <a href="https://car2steal.ru/magazin-ribachok/">W Fri May 10 20:40:53 2024
ΠΡ ΡΠ΅ΠΊΠΎΠΌΠ΅Π½Π΄ΡΠ΅ΠΌ ΠΏΠΎΡΠ΅ΡΠΈΡΡ Π²Π΅Π±-ΡΠ°ΠΉΡ <a href="https://car2steal.ru/magazin-ribachok/">https://car2steal.ru/magazin-ribachok/</a>;.
ΠΡΠΎΠΌΠ΅ ΡΠΎΠ³ΠΎ, Π½Π΅ Π·Π°Π±ΡΠ΄ΡΡΠ΅ Π΄ΠΎΠ±Π°Π²ΠΈΡΡ ΡΠ°ΠΉΡ Π² Π·Π°ΠΊΠ»Π°Π΄ΠΊΠΈ: [url=https://car2steal.ru/magazin-ribachok/]https://car2steal.ru/magazin-ribachok/[/url]
From: <a href="https://kartina.info/">Williamclend</a> Wed May 22 15:40:37 2024
ΠΡ ΡΠ΅ΠΊΠΎΠΌΠ΅Π½Π΄ΡΠ΅ΠΌ ΠΏΠΎΡΠ΅ΡΠΈΡΡ Π²Π΅Π±-ΡΠ°ΠΉΡ <a href="https://kartina.info/">https://kartina.info/</a>;.
ΠΡΠΎΠΌΠ΅ ΡΠΎΠ³ΠΎ, Π½Π΅ Π·Π°Π±ΡΠ΄ΡΡΠ΅ Π΄ΠΎΠ±Π°Π²ΠΈΡΡ ΡΠ°ΠΉΡ Π² Π·Π°ΠΊΠ»Π°Π΄ΠΊΠΈ: [url=https://kartina.info/]https://kartina.info/[/url]
From: <a href="https://kartina.info/">Williamclend</a> Wed May 22 17:58:41 2024
ΠΡ ΡΠ΅ΠΊΠΎΠΌΠ΅Π½Π΄ΡΠ΅ΠΌ ΠΏΠΎΡΠ΅ΡΠΈΡΡ Π²Π΅Π±-ΡΠ°ΠΉΡ <a href="https://kartina.info/">https://kartina.info/</a>;.
ΠΡΠΎΠΌΠ΅ ΡΠΎΠ³ΠΎ, Π½Π΅ Π·Π°Π±ΡΠ΄ΡΡΠ΅ Π΄ΠΎΠ±Π°Π²ΠΈΡΡ ΡΠ°ΠΉΡ Π² Π·Π°ΠΊΠ»Π°Π΄ΠΊΠΈ: [url=https://kartina.info/]https://kartina.info/[/url]
From: <a href="https://car2steal.ru/magazin-ribachok/">W Wed May 22 21:08:09 2024
ΠΡ ΡΠ΅ΠΊΠΎΠΌΠ΅Π½Π΄ΡΠ΅ΠΌ ΠΏΠΎΡΠ΅ΡΠΈΡΡ Π²Π΅Π±-ΡΠ°ΠΉΡ <a href="https://car2steal.ru/magazin-ribachok/">https://car2steal.ru/magazin-ribachok/</a>;.
ΠΡΠΎΠΌΠ΅ ΡΠΎΠ³ΠΎ, Π½Π΅ Π·Π°Π±ΡΠ΄ΡΡΠ΅ Π΄ΠΎΠ±Π°Π²ΠΈΡΡ ΡΠ°ΠΉΡ Π² Π·Π°ΠΊΠ»Π°Π΄ΠΊΠΈ: [url=https://car2steal.ru/magazin-ribachok/]https://car2steal.ru/magazin-ribachok/[/url]
From: <a href="https://ecoenergy.org.ua/news/rybolovnye- Thu May 23 17:34:17 2024
ΠΡ ΡΠ΅ΠΊΠΎΠΌΠ΅Π½Π΄ΡΠ΅ΠΌ ΠΏΠΎΡΠ΅ΡΠΈΡΡ Π²Π΅Π±-ΡΠ°ΠΉΡ <a href="https://ecoenergy.org.ua/news/rybolovnye-snasti-polnoe-rukovodstvo-dlya-rybakov-vseh-urovney.html">https://ecoenergy.org.ua/news/rybolovnye-snasti-polnoe-rukovodstvo-dlya-rybakov-vseh-urovney.html</a>;.
ΠΡΠΎΠΌΠ΅ ΡΠΎΠ³ΠΎ, Π½Π΅ Π·Π°Π±ΡΠ΄ΡΡΠ΅ Π΄ΠΎΠ±Π°Π²ΠΈΡΡ ΡΠ°ΠΉΡ Π² Π·Π°ΠΊΠ»Π°Π΄ΠΊΠΈ: [url=https://ecoenergy.org.ua/news/rybolovnye-snasti-polnoe-rukovodstvo-dlya-rybakov-vseh-urovney.html]https://ecoenergy.org.ua/news/rybolovnye-snasti-polnoe-rukovodstvo-dlya-rybakov-vseh-urovney.html[/url]
From: <a href="https://nastroenie.com.ua/masterstvo-v-uh Fri May 24 11:03:11 2024
ΠΡ ΡΠ΅ΠΊΠΎΠΌΠ΅Π½Π΄ΡΠ΅ΠΌ ΠΏΠΎΡΠ΅ΡΠΈΡΡ Π²Π΅Π±-ΡΠ°ΠΉΡ <a href="https://nastroenie.com.ua/masterstvo-v-uhode-za-karpom-ekspertnye-sovety-i-prakticheskie-podskazki/">https://nastroenie.com.ua/masterstvo-v-uhode-za-karpom-ekspertnye-sovety-i-prakticheskie-podskazki/</a>;.
ΠΡΠΎΠΌΠ΅ ΡΠΎΠ³ΠΎ, Π½Π΅ Π·Π°Π±ΡΠ΄ΡΡΠ΅ Π΄ΠΎΠ±Π°Π²ΠΈΡΡ ΡΠ°ΠΉΡ Π² Π·Π°ΠΊΠ»Π°Π΄ΠΊΠΈ: [url=https://nastroenie.com.ua/masterstvo-v-uhode-za-karpom-ekspertnye-sovety-i-prakticheskie-podskazki/]https://nastroenie.com.ua/masterstvo-v-uhode-za-karpom-ekspertnye-sovety-i-prakticheskie-podskazki/[/url]
From: <a href="https://replyua.net.ua/ru/effektivnye-aks Fri May 24 14:20:55 2024
ΠΡ ΡΠ΅ΠΊΠΎΠΌΠ΅Π½Π΄ΡΠ΅ΠΌ ΠΏΠΎΡΠ΅ΡΠΈΡΡ Π²Π΅Π±-ΡΠ°ΠΉΡ <a href="https://replyua.net.ua/ru/effektivnye-aksessuary-dlya-hraneniya-ulova-i-zhivtsa/">https://replyua.net.ua/ru/effektivnye-aksessuary-dlya-hraneniya-ulova-i-zhivtsa/</a>;.
ΠΡΠΎΠΌΠ΅ ΡΠΎΠ³ΠΎ, Π½Π΅ Π·Π°Π±ΡΠ΄ΡΡΠ΅ Π΄ΠΎΠ±Π°Π²ΠΈΡΡ ΡΠ°ΠΉΡ Π² Π·Π°ΠΊΠ»Π°Π΄ΠΊΠΈ: [url=https://replyua.net.ua/ru/effektivnye-aksessuary-dlya-hraneniya-ulova-i-zhivtsa/]https://replyua.net.ua/ru/effektivnye-aksessuary-dlya-hraneniya-ulova-i-zhivtsa/[/url]
From: <a href="https://automir.in.ua/newsm.php?id=23145" Fri May 24 18:09:37 2024
ΠΡ ΡΠ΅ΠΊΠΎΠΌΠ΅Π½Π΄ΡΠ΅ΠΌ ΠΏΠΎΡΠ΅ΡΠΈΡΡ Π²Π΅Π±-ΡΠ°ΠΉΡ <a href="https://automir.in.ua/newsm.php?id=23145">https://automir.in.ua/newsm.php?id=23145</a>;.
ΠΡΠΎΠΌΠ΅ ΡΠΎΠ³ΠΎ, Π½Π΅ Π·Π°Π±ΡΠ΄ΡΡΠ΅ Π΄ΠΎΠ±Π°Π²ΠΈΡΡ ΡΠ°ΠΉΡ Π² Π·Π°ΠΊΠ»Π°Π΄ΠΊΠΈ: [url=https://automir.in.ua/newsm.php?id=23145]https://automir.in.ua/newsm.php?id=23145[/url]
From: <a href="https://avto.dzerghinsk.org/publ/poleznaj Fri May 24 20:36:17 2024
ΠΡ ΡΠ΅ΠΊΠΎΠΌΠ΅Π½Π΄ΡΠ΅ΠΌ ΠΏΠΎΡΠ΅ΡΠΈΡΡ Π²Π΅Π±-ΡΠ°ΠΉΡ <a href="https://avto.dzerghinsk.org/publ/poleznaja_informacija/zagadka_podvodnogo_mira_iskusstvo_prikarmlivanija_ryby/1-1-0-1271">https://avto.dzerghinsk.org/publ/poleznaja_informacija/zagadka_podvodnogo_mira_iskusstvo_prikarmlivanija_ryby/1-1-0-1271</a>;.
ΠΡΠΎΠΌΠ΅ ΡΠΎΠ³ΠΎ, Π½Π΅ Π·Π°Π±ΡΠ΄ΡΡΠ΅ Π΄ΠΎΠ±Π°Π²ΠΈΡΡ ΡΠ°ΠΉΡ Π² Π·Π°ΠΊΠ»Π°Π΄ΠΊΠΈ: [url=https://avto.dzerghinsk.org/publ/poleznaja_informacija/zagadka_podvodnogo_mira_iskusstvo_prikarmlivanija_ryby/1-1-0-1271]https://avto.dzerghinsk.org/publ/poleznaja_informacija/zagadka_podvodnogo_mira_iskusstvo_prikarmlivanija_ryby/1-1-0-1271[/url]
From: <a href="https://business.dp.ua/inform16/654.htm"> Sun May 26 11:13:09 2024
ΠΡ ΡΠ΅ΠΊΠΎΠΌΠ΅Π½Π΄ΡΠ΅ΠΌ ΠΏΠΎΡΠ΅ΡΠΈΡΡ Π²Π΅Π±-ΡΠ°ΠΉΡ <a href="https://business.dp.ua/inform16/654.htm">https://business.dp.ua/inform16/654.htm</a>;.
ΠΡΠΎΠΌΠ΅ ΡΠΎΠ³ΠΎ, Π½Π΅ Π·Π°Π±ΡΠ΄ΡΡΠ΅ Π΄ΠΎΠ±Π°Π²ΠΈΡΡ ΡΠ°ΠΉΡ Π² Π·Π°ΠΊΠ»Π°Π΄ΠΊΠΈ: [url=https://business.dp.ua/inform16/654.htm]https://business.dp.ua/inform16/654.htm[/url]
From: <a href="https://topnews.kiev.ua/other/2024/05/24/ Sun May 26 18:25:12 2024
ΠΡ ΡΠ΅ΠΊΠΎΠΌΠ΅Π½Π΄ΡΠ΅ΠΌ ΠΏΠΎΡΠ΅ΡΠΈΡΡ Π²Π΅Π±-ΡΠ°ΠΉΡ <a href="https://topnews.kiev.ua/other/2024/05/24/160818.html">https://topnews.kiev.ua/other/2024/05/24/160818.html</a>;.
ΠΡΠΎΠΌΠ΅ ΡΠΎΠ³ΠΎ, Π½Π΅ Π·Π°Π±ΡΠ΄ΡΡΠ΅ Π΄ΠΎΠ±Π°Π²ΠΈΡΡ ΡΠ°ΠΉΡ Π² Π·Π°ΠΊΠ»Π°Π΄ΠΊΠΈ: [url=https://topnews.kiev.ua/other/2024/05/24/160818.html]https://topnews.kiev.ua/other/2024/05/24/160818.html[/url]
From: <a href="https://uanews.kharkiv.ua/other/2024/05/2 Sun May 26 21:49:19 2024
ΠΡ ΡΠ΅ΠΊΠΎΠΌΠ΅Π½Π΄ΡΠ΅ΠΌ ΠΏΠΎΡΠ΅ΡΠΈΡΡ Π²Π΅Π±-ΡΠ°ΠΉΡ <a href="https://uanews.kharkiv.ua/other/2024/05/24/457958.html">https://uanews.kharkiv.ua/other/2024/05/24/457958.html</a>;.
ΠΡΠΎΠΌΠ΅ ΡΠΎΠ³ΠΎ, Π½Π΅ Π·Π°Π±ΡΠ΄ΡΡΠ΅ Π΄ΠΎΠ±Π°Π²ΠΈΡΡ ΡΠ°ΠΉΡ Π² Π·Π°ΠΊΠ»Π°Π΄ΠΊΠΈ: [url=https://uanews.kharkiv.ua/other/2024/05/24/457958.html]https://uanews.kharkiv.ua/other/2024/05/24/457958.html[/url]
From: <a href="https://city-ck.com/catalog/articles/2024 Mon May 27 09:27:12 2024
ΠΡ ΡΠ΅ΠΊΠΎΠΌΠ΅Π½Π΄ΡΠ΅ΠΌ ΠΏΠΎΡΠ΅ΡΠΈΡΡ Π²Π΅Π±-ΡΠ°ΠΉΡ <a href="https://city-ck.com/catalog/articles/2024-05/podsaki-i-bagri-neotemlemie-atributi-uspeshnoi-ribalki.html">https://city-ck.com/catalog/articles/2024-05/podsaki-i-bagri-neotemlemie-atributi-uspeshnoi-ribalki.html</a>;.
ΠΡΠΎΠΌΠ΅ ΡΠΎΠ³ΠΎ, Π½Π΅ Π·Π°Π±ΡΠ΄ΡΡΠ΅ Π΄ΠΎΠ±Π°Π²ΠΈΡΡ ΡΠ°ΠΉΡ Π² Π·Π°ΠΊΠ»Π°Π΄ΠΊΠΈ: [url=https://city-ck.com/catalog/articles/2024-05/podsaki-i-bagri-neotemlemie-atributi-uspeshnoi-ribalki.html]https://city-ck.com/catalog/articles/2024-05/podsaki-i-bagri-neotemlemie-atributi-uspeshnoi-ribalki.html[/url]
From: <a href="https://brands.kiev.ua/?p=7921">Williamcl Mon May 27 12:38:39 2024
ΠΡ ΡΠ΅ΠΊΠΎΠΌΠ΅Π½Π΄ΡΠ΅ΠΌ ΠΏΠΎΡΠ΅ΡΠΈΡΡ Π²Π΅Π±-ΡΠ°ΠΉΡ <a href="https://brands.kiev.ua/?p=7921">https://brands.kiev.ua/?p=7921</a>;.
ΠΡΠΎΠΌΠ΅ ΡΠΎΠ³ΠΎ, Π½Π΅ Π·Π°Π±ΡΠ΄ΡΡΠ΅ Π΄ΠΎΠ±Π°Π²ΠΈΡΡ ΡΠ°ΠΉΡ Π² Π·Π°ΠΊΠ»Π°Π΄ΠΊΠΈ: [url=https://brands.kiev.ua/?p=7921]https://brands.kiev.ua/?p=7921[/url]
From: <a href="https://kupimebel.info/instrumenty-dlya-r Mon May 27 20:13:21 2024
ΠΡ ΡΠ΅ΠΊΠΎΠΌΠ΅Π½Π΄ΡΠ΅ΠΌ ΠΏΠΎΡΠ΅ΡΠΈΡΡ Π²Π΅Π±-ΡΠ°ΠΉΡ <a href="https://kupimebel.info/instrumenty-dlya-rybalki-osnova-uspeshnogo-promysla/">https://kupimebel.info/instrumenty-dlya-rybalki-osnova-uspeshnogo-promysla/</a>;.
ΠΡΠΎΠΌΠ΅ ΡΠΎΠ³ΠΎ, Π½Π΅ Π·Π°Π±ΡΠ΄ΡΡΠ΅ Π΄ΠΎΠ±Π°Π²ΠΈΡΡ ΡΠ°ΠΉΡ Π² Π·Π°ΠΊΠ»Π°Π΄ΠΊΠΈ: [url=https://kupimebel.info/instrumenty-dlya-rybalki-osnova-uspeshnogo-promysla/]https://kupimebel.info/instrumenty-dlya-rybalki-osnova-uspeshnogo-promysla/[/url]
From: <a href="https://city.zp.ua/articles/recreation/40 Tue May 28 10:34:21 2024
ΠΡ ΡΠ΅ΠΊΠΎΠΌΠ΅Π½Π΄ΡΠ΅ΠΌ ΠΏΠΎΡΠ΅ΡΠΈΡΡ Π²Π΅Π±-ΡΠ°ΠΉΡ <a href="https://city.zp.ua/articles/recreation/400-polotenca-dlja-rybalki-nezamenimyi-aksessuar-v-mire-uvlekatelnogo-otdyha.html">https://city.zp.ua/articles/recreation/400-polotenca-dlja-rybalki-nezamenimyi-aksessuar-v-mire-uvlekatelnogo-otdyha.html</a>;.
ΠΡΠΎΠΌΠ΅ ΡΠΎΠ³ΠΎ, Π½Π΅ Π·Π°Π±ΡΠ΄ΡΡΠ΅ Π΄ΠΎΠ±Π°Π²ΠΈΡΡ ΡΠ°ΠΉΡ Π² Π·Π°ΠΊΠ»Π°Π΄ΠΊΠΈ: [url=https://city.zp.ua/articles/recreation/400-polotenca-dlja-rybalki-nezamenimyi-aksessuar-v-mire-uvlekatelnogo-otdyha.html]https://city.zp.ua/articles/recreation/400-polotenca-dlja-rybalki-nezamenimyi-aksessuar-v-mire-uvlekatelnogo-otdyha.html[/url]
From: <a href="https://planetarebusov.com/masterim-ideal Wed May 29 08:53:59 2024
ΠΡ ΡΠ΅ΠΊΠΎΠΌΠ΅Π½Π΄ΡΠ΅ΠΌ ΠΏΠΎΡΠ΅ΡΠΈΡΡ Π²Π΅Π±-ΡΠ°ΠΉΡ <a href="https://planetarebusov.com/masterim-idealnyj-ulov-rukovodstvo-po-montazham-rybolovnym">https://planetarebusov.com/masterim-idealnyj-ulov-rukovodstvo-po-montazham-rybolovnym</a>;.
ΠΡΠΎΠΌΠ΅ ΡΠΎΠ³ΠΎ, Π½Π΅ Π·Π°Π±ΡΠ΄ΡΡΠ΅ Π΄ΠΎΠ±Π°Π²ΠΈΡΡ ΡΠ°ΠΉΡ Π² Π·Π°ΠΊΠ»Π°Π΄ΠΊΠΈ: [url=https://planetarebusov.com/masterim-idealnyj-ulov-rukovodstvo-po-montazham-rybolovnym]https://planetarebusov.com/masterim-idealnyj-ulov-rukovodstvo-po-montazham-rybolovnym[/url]
From: <a href="https://planetarebusov.com/masterim-ideal Wed May 29 11:27:16 2024
ΠΡ ΡΠ΅ΠΊΠΎΠΌΠ΅Π½Π΄ΡΠ΅ΠΌ ΠΏΠΎΡΠ΅ΡΠΈΡΡ Π²Π΅Π±-ΡΠ°ΠΉΡ <a href="https://sunsay.name/statti/rybolovnye-primanki-i-iskusstvo-ih-ispolzovaniya/">https://sunsay.name/statti/rybolovnye-primanki-i-iskusstvo-ih-ispolzovaniya/</a>;.
ΠΡΠΎΠΌΠ΅ ΡΠΎΠ³ΠΎ, Π½Π΅ Π·Π°Π±ΡΠ΄ΡΡΠ΅ Π΄ΠΎΠ±Π°Π²ΠΈΡΡ ΡΠ°ΠΉΡ Π² Π·Π°ΠΊΠ»Π°Π΄ΠΊΠΈ: [url=https://sunsay.name/statti/rybolovnye-primanki-i-iskusstvo-ih-ispolzovaniya/]https://sunsay.name/statti/rybolovnye-primanki-i-iskusstvo-ih-ispolzovaniya/[/url]
From: <a href="https://avtomaxi22.ru/">Williamclend</a> Wed May 29 14:14:53 2024
ΠΡ ΡΠ΅ΠΊΠΎΠΌΠ΅Π½Π΄ΡΠ΅ΠΌ ΠΏΠΎΡΠ΅ΡΠΈΡΡ Π²Π΅Π±-ΡΠ°ΠΉΡ <a href="https://avtomaxi22.ru/">https://avtomaxi22.ru/</a>;.
ΠΡΠΎΠΌΠ΅ ΡΠΎΠ³ΠΎ, Π½Π΅ Π·Π°Π±ΡΠ΄ΡΡΠ΅ Π΄ΠΎΠ±Π°Π²ΠΈΡΡ ΡΠ°ΠΉΡ Π² Π·Π°ΠΊΠ»Π°Π΄ΠΊΠΈ: [url=https://avtomaxi22.ru/]https://avtomaxi22.ru/[/url]
From: <a href="https://med-like.ru/">Williamclend</a> Wed May 29 16:44:56 2024
ΠΡ ΡΠ΅ΠΊΠΎΠΌΠ΅Π½Π΄ΡΠ΅ΠΌ ΠΏΠΎΡΠ΅ΡΠΈΡΡ Π²Π΅Π±-ΡΠ°ΠΉΡ <a href="https://med-like.ru/">https://med-like.ru/</a>;.
ΠΡΠΎΠΌΠ΅ ΡΠΎΠ³ΠΎ, Π½Π΅ Π·Π°Π±ΡΠ΄ΡΡΠ΅ Π΄ΠΎΠ±Π°Π²ΠΈΡΡ ΡΠ°ΠΉΡ Π² Π·Π°ΠΊΠ»Π°Π΄ΠΊΠΈ: [url=https://med-like.ru/]https://med-like.ru/[/url]
From: <a href="https://metal82.ru/">Williamclend</a> Wed May 29 20:09:32 2024
ΠΡ ΡΠ΅ΠΊΠΎΠΌΠ΅Π½Π΄ΡΠ΅ΠΌ ΠΏΠΎΡΠ΅ΡΠΈΡΡ Π²Π΅Π±-ΡΠ°ΠΉΡ <a href="https://metal82.ru/">https://metal82.ru/</a>;.
ΠΡΠΎΠΌΠ΅ ΡΠΎΠ³ΠΎ, Π½Π΅ Π·Π°Π±ΡΠ΄ΡΡΠ΅ Π΄ΠΎΠ±Π°Π²ΠΈΡΡ ΡΠ°ΠΉΡ Π² Π·Π°ΠΊΠ»Π°Π΄ΠΊΠΈ: [url=https://metal82.ru/]https://metal82.ru/[/url]
From: <a href="https://kryshi-remont.ru/">Williamclend</ Thu May 30 10:24:25 2024
ΠΡ ΡΠ΅ΠΊΠΎΠΌΠ΅Π½Π΄ΡΠ΅ΠΌ ΠΏΠΎΡΠ΅ΡΠΈΡΡ Π²Π΅Π±-ΡΠ°ΠΉΡ <a href="https://kryshi-remont.ru/">https://kryshi-remont.ru/</a>;.
ΠΡΠΎΠΌΠ΅ ΡΠΎΠ³ΠΎ, Π½Π΅ Π·Π°Π±ΡΠ΄ΡΡΠ΅ Π΄ΠΎΠ±Π°Π²ΠΈΡΡ ΡΠ°ΠΉΡ Π² Π·Π°ΠΊΠ»Π°Π΄ΠΊΠΈ: [url=https://kryshi-remont.ru/]https://kryshi-remont.ru/[/url]
From: <a href="https://balkonnaya-dver.ru/">Williamclend Thu May 30 13:15:15 2024
ΠΡ ΡΠ΅ΠΊΠΎΠΌΠ΅Π½Π΄ΡΠ΅ΠΌ ΠΏΠΎΡΠ΅ΡΠΈΡΡ Π²Π΅Π±-ΡΠ°ΠΉΡ <a href="https://balkonnaya-dver.ru/">https://balkonnaya-dver.ru/</a>;.
ΠΡΠΎΠΌΠ΅ ΡΠΎΠ³ΠΎ, Π½Π΅ Π·Π°Π±ΡΠ΄ΡΡΠ΅ Π΄ΠΎΠ±Π°Π²ΠΈΡΡ ΡΠ°ΠΉΡ Π² Π·Π°ΠΊΠ»Π°Π΄ΠΊΠΈ: [url=https://balkonnaya-dver.ru/]https://balkonnaya-dver.ru/[/url]
From: <a href="https://drova-smolensk.ru/">Williamclend< Thu May 30 16:21:29 2024
ΠΡ ΡΠ΅ΠΊΠΎΠΌΠ΅Π½Π΄ΡΠ΅ΠΌ ΠΏΠΎΡΠ΅ΡΠΈΡΡ Π²Π΅Π±-ΡΠ°ΠΉΡ <a href="https://drova-smolensk.ru/">https://drova-smolensk.ru/</a>;.
ΠΡΠΎΠΌΠ΅ ΡΠΎΠ³ΠΎ, Π½Π΅ Π·Π°Π±ΡΠ΄ΡΡΠ΅ Π΄ΠΎΠ±Π°Π²ΠΈΡΡ ΡΠ°ΠΉΡ Π² Π·Π°ΠΊΠ»Π°Π΄ΠΊΠΈ: [url=https://drova-smolensk.ru/]https://drova-smolensk.ru/[/url]
From: <a href="https://arenda-legkovyh-pricepov.ru/">Wil Thu May 30 18:51:15 2024
ΠΡ ΡΠ΅ΠΊΠΎΠΌΠ΅Π½Π΄ΡΠ΅ΠΌ ΠΏΠΎΡΠ΅ΡΠΈΡΡ Π²Π΅Π±-ΡΠ°ΠΉΡ <a href="https://arenda-legkovyh-pricepov.ru/">https://arenda-legkovyh-pricepov.ru/</a>;.
ΠΡΠΎΠΌΠ΅ ΡΠΎΠ³ΠΎ, Π½Π΅ Π·Π°Π±ΡΠ΄ΡΡΠ΅ Π΄ΠΎΠ±Π°Π²ΠΈΡΡ ΡΠ°ΠΉΡ Π² Π·Π°ΠΊΠ»Π°Π΄ΠΊΠΈ: [url=https://arenda-legkovyh-pricepov.ru/]https://arenda-legkovyh-pricepov.ru/[/url]
From: <a href="https://podveski-remont.ru/">Williamclend Thu May 30 22:03:35 2024
ΠΡ ΡΠ΅ΠΊΠΎΠΌΠ΅Π½Π΄ΡΠ΅ΠΌ ΠΏΠΎΡΠ΅ΡΠΈΡΡ Π²Π΅Π±-ΡΠ°ΠΉΡ <a href="https://podveski-remont.ru/">https://podveski-remont.ru/</a>;.
ΠΡΠΎΠΌΠ΅ ΡΠΎΠ³ΠΎ, Π½Π΅ Π·Π°Π±ΡΠ΄ΡΡΠ΅ Π΄ΠΎΠ±Π°Π²ΠΈΡΡ ΡΠ°ΠΉΡ Π² Π·Π°ΠΊΠ»Π°Π΄ΠΊΠΈ: [url=https://podveski-remont.ru/]https://podveski-remont.ru/[/url]
From: <a href="https://admlihoslavl.ru/">Williamclend</a Fri May 31 09:36:48 2024
ΠΡ ΡΠ΅ΠΊΠΎΠΌΠ΅Π½Π΄ΡΠ΅ΠΌ ΠΏΠΎΡΠ΅ΡΠΈΡΡ Π²Π΅Π±-ΡΠ°ΠΉΡ <a href="https://admlihoslavl.ru/">https://admlihoslavl.ru/</a>;.
ΠΡΠΎΠΌΠ΅ ΡΠΎΠ³ΠΎ, Π½Π΅ Π·Π°Π±ΡΠ΄ΡΡΠ΅ Π΄ΠΎΠ±Π°Π²ΠΈΡΡ ΡΠ°ΠΉΡ Π² Π·Π°ΠΊΠ»Π°Π΄ΠΊΠΈ: [url=https://admlihoslavl.ru/]https://admlihoslavl.ru/[/url]
From: <a href="https://elegos.ru/">Williamclend</a> Fri May 31 12:21:59 2024
ΠΡ ΡΠ΅ΠΊΠΎΠΌΠ΅Π½Π΄ΡΠ΅ΠΌ ΠΏΠΎΡΠ΅ΡΠΈΡΡ Π²Π΅Π±-ΡΠ°ΠΉΡ <a href="https://elegos.ru/">https://elegos.ru/</a>;.
ΠΡΠΎΠΌΠ΅ ΡΠΎΠ³ΠΎ, Π½Π΅ Π·Π°Π±ΡΠ΄ΡΡΠ΅ Π΄ΠΎΠ±Π°Π²ΠΈΡΡ ΡΠ°ΠΉΡ Π² Π·Π°ΠΊΠ»Π°Π΄ΠΊΠΈ: [url=https://elegos.ru/]https://elegos.ru/[/url]
From: <a href="https://ancientcivs.ru/">Williamclend</a> Fri May 31 15:20:12 2024
ΠΡ ΡΠ΅ΠΊΠΎΠΌΠ΅Π½Π΄ΡΠ΅ΠΌ ΠΏΠΎΡΠ΅ΡΠΈΡΡ Π²Π΅Π±-ΡΠ°ΠΉΡ <a href="https://ancientcivs.ru/">https://ancientcivs.ru/</a>;.
ΠΡΠΎΠΌΠ΅ ΡΠΎΠ³ΠΎ, Π½Π΅ Π·Π°Π±ΡΠ΄ΡΡΠ΅ Π΄ΠΎΠ±Π°Π²ΠΈΡΡ ΡΠ°ΠΉΡ Π² Π·Π°ΠΊΠ»Π°Π΄ΠΊΠΈ: [url=https://ancientcivs.ru/]https://ancientcivs.ru/[/url]
From: <a href="https://ancientcivs.ru/">Williamclend</a> Fri May 31 17:57:12 2024
ΠΡ ΡΠ΅ΠΊΠΎΠΌΠ΅Π½Π΄ΡΠ΅ΠΌ ΠΏΠΎΡΠ΅ΡΠΈΡΡ Π²Π΅Π±-ΡΠ°ΠΉΡ <a href="https://ancientcivs.ru/">https://ancientcivs.ru/</a>;.
ΠΡΠΎΠΌΠ΅ ΡΠΎΠ³ΠΎ, Π½Π΅ Π·Π°Π±ΡΠ΄ΡΡΠ΅ Π΄ΠΎΠ±Π°Π²ΠΈΡΡ ΡΠ°ΠΉΡ Π² Π·Π°ΠΊΠ»Π°Π΄ΠΊΠΈ: [url=https://ancientcivs.ru/]https://ancientcivs.ru/[/url]
From: <a href="https://allkigurumi.ru/">Williamclend</a> Fri May 31 20:01:53 2024
ΠΡ ΡΠ΅ΠΊΠΎΠΌΠ΅Π½Π΄ΡΠ΅ΠΌ ΠΏΠΎΡΠ΅ΡΠΈΡΡ Π²Π΅Π±-ΡΠ°ΠΉΡ <a href="https://allkigurumi.ru/">https://allkigurumi.ru/</a>;.
ΠΡΠΎΠΌΠ΅ ΡΠΎΠ³ΠΎ, Π½Π΅ Π·Π°Π±ΡΠ΄ΡΡΠ΅ Π΄ΠΎΠ±Π°Π²ΠΈΡΡ ΡΠ°ΠΉΡ Π² Π·Π°ΠΊΠ»Π°Π΄ΠΊΠΈ: [url=https://allkigurumi.ru/]https://allkigurumi.ru/[/url]
From: <a href="https://40-ka.ru/">Williamclend</a> Sat Jun 1 10:12:49 2024
ΠΡ ΡΠ΅ΠΊΠΎΠΌΠ΅Π½Π΄ΡΠ΅ΠΌ ΠΏΠΎΡΠ΅ΡΠΈΡΡ Π²Π΅Π±-ΡΠ°ΠΉΡ <a href="https://40-ka.ru/">https://40-ka.ru/</a>;.
ΠΡΠΎΠΌΠ΅ ΡΠΎΠ³ΠΎ, Π½Π΅ Π·Π°Π±ΡΠ΄ΡΡΠ΅ Π΄ΠΎΠ±Π°Π²ΠΈΡΡ ΡΠ°ΠΉΡ Π² Π·Π°ΠΊΠ»Π°Π΄ΠΊΠΈ: [url=https://40-ka.ru/]https://40-ka.ru/[/url]
From: <a href="https://100sm.ru/">Williamclend</a> Sat Jun 1 13:37:33 2024
ΠΡ ΡΠ΅ΠΊΠΎΠΌΠ΅Π½Π΄ΡΠ΅ΠΌ ΠΏΠΎΡΠ΅ΡΠΈΡΡ Π²Π΅Π±-ΡΠ°ΠΉΡ <a href="https://100sm.ru/">https://100sm.ru/</a>;.
ΠΡΠΎΠΌΠ΅ ΡΠΎΠ³ΠΎ, Π½Π΅ Π·Π°Π±ΡΠ΄ΡΡΠ΅ Π΄ΠΎΠ±Π°Π²ΠΈΡΡ ΡΠ°ΠΉΡ Π² Π·Π°ΠΊΠ»Π°Π΄ΠΊΠΈ: [url=https://100sm.ru/]https://100sm.ru/[/url]
From: <a href="https://club-columb.ru/">Williamclend</a> Sat Jun 1 15:52:51 2024
ΠΡ ΡΠ΅ΠΊΠΎΠΌΠ΅Π½Π΄ΡΠ΅ΠΌ ΠΏΠΎΡΠ΅ΡΠΈΡΡ Π²Π΅Π±-ΡΠ°ΠΉΡ <a href="https://club-columb.ru/">https://club-columb.ru/</a>;.
ΠΡΠΎΠΌΠ΅ ΡΠΎΠ³ΠΎ, Π½Π΅ Π·Π°Π±ΡΠ΄ΡΡΠ΅ Π΄ΠΎΠ±Π°Π²ΠΈΡΡ ΡΠ°ΠΉΡ Π² Π·Π°ΠΊΠ»Π°Π΄ΠΊΠΈ: [url=https://club-columb.ru/]https://club-columb.ru/[/url]
From: <a href="https://gulliverauto.ru/">Williamclend</a Sun Jun 2 10:18:12 2024
ΠΡ ΡΠ΅ΠΊΠΎΠΌΠ΅Π½Π΄ΡΠ΅ΠΌ ΠΏΠΎΡΠ΅ΡΠΈΡΡ Π²Π΅Π±-ΡΠ°ΠΉΡ <a href="https://gulliverauto.ru/">https://gulliverauto.ru/</a>;.
ΠΡΠΎΠΌΠ΅ ΡΠΎΠ³ΠΎ, Π½Π΅ Π·Π°Π±ΡΠ΄ΡΡΠ΅ Π΄ΠΎΠ±Π°Π²ΠΈΡΡ ΡΠ°ΠΉΡ Π² Π·Π°ΠΊΠ»Π°Π΄ΠΊΠΈ: [url=https://gulliverauto.ru/]https://gulliverauto.ru/[/url]
From: <a href="https://doutuapse.ru/">Williamclend</a> Sun Jun 2 13:01:07 2024
ΠΡ ΡΠ΅ΠΊΠΎΠΌΠ΅Π½Π΄ΡΠ΅ΠΌ ΠΏΠΎΡΠ΅ΡΠΈΡΡ Π²Π΅Π±-ΡΠ°ΠΉΡ <a href="https://doutuapse.ru/">https://doutuapse.ru/</a>;.
ΠΡΠΎΠΌΠ΅ ΡΠΎΠ³ΠΎ, Π½Π΅ Π·Π°Π±ΡΠ΄ΡΡΠ΅ Π΄ΠΎΠ±Π°Π²ΠΈΡΡ ΡΠ°ΠΉΡ Π² Π·Π°ΠΊΠ»Π°Π΄ΠΊΠΈ: [url=https://doutuapse.ru/]https://doutuapse.ru/[/url]
From: <a href="https://russkiy-spaniel.ru/">Williamclend Sun Jun 2 15:23:42 2024
ΠΡ ΡΠ΅ΠΊΠΎΠΌΠ΅Π½Π΄ΡΠ΅ΠΌ ΠΏΠΎΡΠ΅ΡΠΈΡΡ Π²Π΅Π±-ΡΠ°ΠΉΡ <a href="https://russkiy-spaniel.ru/">https://russkiy-spaniel.ru/</a>;.
ΠΡΠΎΠΌΠ΅ ΡΠΎΠ³ΠΎ, Π½Π΅ Π·Π°Π±ΡΠ΄ΡΡΠ΅ Π΄ΠΎΠ±Π°Π²ΠΈΡΡ ΡΠ°ΠΉΡ Π² Π·Π°ΠΊΠ»Π°Π΄ΠΊΠΈ: [url=https://russkiy-spaniel.ru/]https://russkiy-spaniel.ru/[/url]
From: <a href="https://vektor-meh.ru/">Williamclend</a> Sun Jun 2 18:18:27 2024
ΠΡ ΡΠ΅ΠΊΠΎΠΌΠ΅Π½Π΄ΡΠ΅ΠΌ ΠΏΠΎΡΠ΅ΡΠΈΡΡ Π²Π΅Π±-ΡΠ°ΠΉΡ <a href="https://vektor-meh.ru/">https://vektor-meh.ru/</a>;.
ΠΡΠΎΠΌΠ΅ ΡΠΎΠ³ΠΎ, Π½Π΅ Π·Π°Π±ΡΠ΄ΡΡΠ΅ Π΄ΠΎΠ±Π°Π²ΠΈΡΡ ΡΠ°ΠΉΡ Π² Π·Π°ΠΊΠ»Π°Π΄ΠΊΠΈ: [url=https://vektor-meh.ru/]https://vektor-meh.ru/[/url]
From: <a href="https://stroydvor89.ru/">Williamclend</a> Sun Jun 2 21:35:47 2024
ΠΡ ΡΠ΅ΠΊΠΎΠΌΠ΅Π½Π΄ΡΠ΅ΠΌ ΠΏΠΎΡΠ΅ΡΠΈΡΡ Π²Π΅Π±-ΡΠ°ΠΉΡ <a href="https://stroydvor89.ru/">https://stroydvor89.ru/</a>;.
ΠΡΠΎΠΌΠ΅ ΡΠΎΠ³ΠΎ, Π½Π΅ Π·Π°Π±ΡΠ΄ΡΡΠ΅ Π΄ΠΎΠ±Π°Π²ΠΈΡΡ ΡΠ°ΠΉΡ Π² Π·Π°ΠΊΠ»Π°Π΄ΠΊΠΈ: [url=https://stroydvor89.ru/]https://stroydvor89.ru/[/url]
From: <a href="https://magic-magnit.ru/">Williamclend</a Mon Jun 3 09:02:32 2024
ΠΡ ΡΠ΅ΠΊΠΎΠΌΠ΅Π½Π΄ΡΠ΅ΠΌ ΠΏΠΎΡΠ΅ΡΠΈΡΡ Π²Π΅Π±-ΡΠ°ΠΉΡ <a href="https://magic-magnit.ru/">https://magic-magnit.ru/</a>;.
ΠΡΠΎΠΌΠ΅ ΡΠΎΠ³ΠΎ, Π½Π΅ Π·Π°Π±ΡΠ΄ΡΡΠ΅ Π΄ΠΎΠ±Π°Π²ΠΈΡΡ ΡΠ°ΠΉΡ Π² Π·Π°ΠΊΠ»Π°Π΄ΠΊΠΈ: [url=https://magic-magnit.ru/]https://magic-magnit.ru/[/url]
From: <a href="https://kvest4x4.ru/">Williamclend</a> Mon Jun 3 12:47:12 2024
ΠΡ ΡΠ΅ΠΊΠΎΠΌΠ΅Π½Π΄ΡΠ΅ΠΌ ΠΏΠΎΡΠ΅ΡΠΈΡΡ Π²Π΅Π±-ΡΠ°ΠΉΡ <a href="https://kvest4x4.ru/">https://kvest4x4.ru/</a>;.
ΠΡΠΎΠΌΠ΅ ΡΠΎΠ³ΠΎ, Π½Π΅ Π·Π°Π±ΡΠ΄ΡΡΠ΅ Π΄ΠΎΠ±Π°Π²ΠΈΡΡ ΡΠ°ΠΉΡ Π² Π·Π°ΠΊΠ»Π°Π΄ΠΊΠΈ: [url=https://kvest4x4.ru/]https://kvest4x4.ru/[/url]
From: <a href="https://photo-res.ru/">Williamclend</a> Mon Jun 3 15:34:36 2024
ΠΡ ΡΠ΅ΠΊΠΎΠΌΠ΅Π½Π΄ΡΠ΅ΠΌ ΠΏΠΎΡΠ΅ΡΠΈΡΡ Π²Π΅Π±-ΡΠ°ΠΉΡ <a href="https://photo-res.ru/">https://photo-res.ru/</a>;.
ΠΡΠΎΠΌΠ΅ ΡΠΎΠ³ΠΎ, Π½Π΅ Π·Π°Π±ΡΠ΄ΡΡΠ΅ Π΄ΠΎΠ±Π°Π²ΠΈΡΡ ΡΠ°ΠΉΡ Π² Π·Π°ΠΊΠ»Π°Π΄ΠΊΠΈ: [url=https://photo-res.ru/]https://photo-res.ru/[/url]
From: <a href="https://great-galaxy.ru/">Williamclend</a Mon Jun 3 17:48:44 2024
ΠΡ ΡΠ΅ΠΊΠΎΠΌΠ΅Π½Π΄ΡΠ΅ΠΌ ΠΏΠΎΡΠ΅ΡΠΈΡΡ Π²Π΅Π±-ΡΠ°ΠΉΡ <a href="https://great-galaxy.ru/">https://great-galaxy.ru/</a>;.
ΠΡΠΎΠΌΠ΅ ΡΠΎΠ³ΠΎ, Π½Π΅ Π·Π°Π±ΡΠ΄ΡΡΠ΅ Π΄ΠΎΠ±Π°Π²ΠΈΡΡ ΡΠ°ΠΉΡ Π² Π·Π°ΠΊΠ»Π°Π΄ΠΊΠΈ: [url=https://great-galaxy.ru/]https://great-galaxy.ru/[/url]
From: <a href="https://doutuapse.ru/">Williamclend</a> Wed Jun 5 12:22:34 2024
ΠΡ ΡΠ΅ΠΊΠΎΠΌΠ΅Π½Π΄ΡΠ΅ΠΌ ΠΏΠΎΡΠ΅ΡΠΈΡΡ Π²Π΅Π±-ΡΠ°ΠΉΡ <a href="https://doutuapse.ru/</a>;.
ΠΡΠΎΠΌΠ΅ ΡΠΎΠ³ΠΎ, Π½Π΅ Π·Π°Π±ΡΠ΄ΡΡΠ΅ Π΄ΠΎΠ±Π°Π²ΠΈΡΡ ΡΠ°ΠΉΡ Π² Π·Π°ΠΊΠ»Π°Π΄ΠΊΠΈ: [url=https://doutuapse.ru/]https://doutuapse.ru/[/url]
From: <a href="https://d3buuag9gcp8bb.cloudfront.net/new Thu Jun 6 22:45:38 2024
ΠΡ ΡΠ΅ΠΊΠΎΠΌΠ΅Π½Π΄ΡΠ΅ΠΌ ΠΏΠΎΡΠ΅ΡΠΈΡΡ Π²Π΅Π±-ΡΠ°ΠΉΡ
<a href="https://ninjateknik.com/konstnaren-vandaliserar-snapchat-och-jeff-koons-ar-skulptur/">https://ninjateknik.com/konstnaren-vandaliserar-snapchat-och-jeff-koons-ar-skulptur/</a>;
ΠΡΠΎΠΌΠ΅ ΡΠΎΠ³ΠΎ, Π½Π΅ Π·Π°Π±ΡΠ΄ΡΡΠ΅ Π΄ΠΎΠ±Π°Π²ΠΈΡΡ ΡΠ°ΠΉΡ Π² Π·Π°ΠΊΠ»Π°Π΄ΠΊΠΈ:
[url=https://th.jugomobile.com/%E0%B8%A8%E0%B8%B4%E0%B8%A5%E0%B8%9B%E0%B8%B4%E0%B8%99-%E0%B8%81%E0%B9%88%E0%B8%AD%E0%B8%81%E0%B8%A7%E0%B8%99-snapchat-%E0%B9%81%E0%B8%A5%E0%B8%B0%E0%B8%A3%E0%B8%B9%E0%B8%9B%E0%B8%9B/]https://th.jugomobile.com/%E0%B8%A8%E0%B8%B4%E0%B8%A5%E0%B8%9B%E0%B8%B4%E0%B8%99-%E0%B8%81%E0%B9%88%E0%B8%AD%E0%B8%81%E0%B8%A7%E0%B8%99-snapchat-%E0%B9%81%E0%B8%A5%E0%B8%B0%E0%B8%A3%E0%B8%B9%E0%B8%9B%E0%B8%9B/[/url]
From: <a href="https://xakerforum.com/topic/282/">Willia Fri Jun 7 11:36:10 2024
ΠΡΠΈΡΠ΅ ΠΏΡΠΎΡΠ΅ΡΡΠΈΠΎΠ½Π°Π»ΡΠ½ΠΎΠ³ΠΎ ΠΈ ΠΏΡΠΎΠ²Π΅ΡΠ΅Π½Π½ΠΎΠ³ΠΎ Ρ Π°ΠΊΠ΅ΡΠ°? ΠΠ½Π°ΡΠΈΡ Π²Π°ΠΌ ΡΡΠ΄Π° -
<a href="https://xakerforum.com/forum/42/page-9">;ΠΡΠΎΠ²Π΅ΡΠ΅Π½Π½ΡΠ΅ Ρ Π°ΠΊΠ΅ΡΡ</a>
ΠΠ΄Π½ΠΎ ΠΈΠ· ΡΠ°ΠΌΡΡ ΠΏΠΎΠΏΡΠ»ΡΡΠ½ΡΡ Π½Π°ΠΏΡΠ°Π²Π»Π΅Π½ΠΈΠΉ:
<a href="https://xakerforum.com/topic/282/">;ΠΠ΅ΡΠ°Π»ΠΈΠ·Π°ΡΠΈΡ ΡΠΌΡ</a>
ΠΠΎΠ½ΡΠ°ΠΊΡΡ:
https://t.me/WebXak
Xaktop@protonmail.com
From: <a href="https://xakerforum.com/topic/110/">Willia Fri Jun 7 16:28:46 2024
Π Π΅ΠΊΠΎΠΌΠ΅Π½Π΄ΡΠ΅ΠΌ ΠΏΠΎΠΏΡΠ»ΡΡΠ½ΡΠ΅ ΡΡΠ»ΡΠ³ΠΈ ΠΏΡΠΎΠ²Π΅ΡΠ΅Π½Π½ΠΎΠ³ΠΎ Ρ Π°ΠΊΠ΅ΡΠ°:
<a href="https://xakerforum.com/topic/110/">;ΠΠ·Π»ΠΎΠΌΠ°ΡΡ ΡΠ΅Π»Π΅ΡΠΎΠ½</a>
ΠΠΎΠ½ΡΠ°ΠΊΡΡ:
<a href="https://t.me/WebXak">https://t.me/WebXak</a>;
<a href="mailto:Xaktop@protonmail.com">Xaktop@protonmail.com</a>
From: <a href="https://cultureinthecity.ru/">Williamclen Sun Jun 9 09:29:08 2024
ΠΡ ΡΠ΅ΠΊΠΎΠΌΠ΅Π½Π΄ΡΠ΅ΠΌ ΠΏΠΎΡΠ΅ΡΠΈΡΡ Π²Π΅Π±-ΡΠ°ΠΉΡ <a href="https://cultureinthecity.ru/">https://cultureinthecity.ru/</a>;.
ΠΡΠΎΠΌΠ΅ ΡΠΎΠ³ΠΎ, Π½Π΅ Π·Π°Π±ΡΠ΄ΡΡΠ΅ Π΄ΠΎΠ±Π°Π²ΠΈΡΡ ΡΠ°ΠΉΡ Π² Π·Π°ΠΊΠ»Π°Π΄ΠΊΠΈ: [url=https://cultureinthecity.ru/]https://cultureinthecity.ru/[/url]
From: <a href="https://cultureinthecity.ru/">Williamclen Mon Jun 10 01:43:48 2024
ΠΡ ΡΠ΅ΠΊΠΎΠΌΠ΅Π½Π΄ΡΠ΅ΠΌ ΠΏΠΎΡΠ΅ΡΠΈΡΡ Π²Π΅Π±-ΡΠ°ΠΉΡ <a href="https://cultureinthecity.ru/">https://cultureinthecity.ru/</a>;.
ΠΡΠΎΠΌΠ΅ ΡΠΎΠ³ΠΎ, Π½Π΅ Π·Π°Π±ΡΠ΄ΡΡΠ΅ Π΄ΠΎΠ±Π°Π²ΠΈΡΡ ΡΠ°ΠΉΡ Π² Π·Π°ΠΊΠ»Π°Π΄ΠΊΠΈ: [url=https://cultureinthecity.ru/]https://cultureinthecity.ru/[/url]
From: <a href="https://xakervip.com/topic/282/page/10/"> Wed Jun 12 13:52:37 2024
ΠΡΠΈΡΠ΅ ΠΏΡΠΎΡΠ΅ΡΡΠΈΠΎΠ½Π°Π»ΡΠ½ΠΎΠ³ΠΎ ΠΈ ΠΏΡΠΎΠ²Π΅ΡΠ΅Π½Π½ΠΎΠ³ΠΎ Ρ Π°ΠΊΠ΅ΡΠ°? ΠΠ½Π°ΡΠΈΡ Π²Π°ΠΌ ΡΡΠ΄Π°:
<a href="https://xakerforum.com/forum/42/page-8">;Π£ΡΠ»ΡΠ³ΠΈ Π²Π·Π»ΠΎΠΌΠ°</a>
ΠΠ΄Π½ΠΎ ΠΈΠ· ΡΠ°ΠΌΡΡ ΠΏΠΎΠΏΡΠ»ΡΡΠ½ΡΡ Π½Π°ΠΏΡΠ°Π²Π»Π΅Π½ΠΈΠΉ:
<a href="https://xakervip.com/topic/282/page/10">;ΠΠ΅ΡΠ½ΡΡΡ ΠΊΡΠΈΠΏΡΠΎΠ²Π°Π»ΡΡΡ</a>
Π’Π°ΠΊΠΆΠ΅ ΡΠ΅ΠΊΠΎΠΌΠ΅Π½Π΄ΡΠ΅ΠΌ:
<a href="https://xakervip.com/topic/282/page/6">;ΠΠ·Π»ΠΎΠΌ ΡΠ°ΠΉΡΠΎΠ²</a>
ΠΠΎΠ½ΡΠ°ΠΊΡΡ:
<a href="mailto:XakTop@protonmail.com">XakTop@protonmail.com</a>
From: <a href="https://xakervip.com/topic/282/page/10/"> Wed Jun 12 21:05:50 2024
ΠΡΠΈΡΠ΅ ΠΏΡΠΎΡΠ΅ΡΡΠΈΠΎΠ½Π°Π»ΡΠ½ΠΎΠ³ΠΎ ΠΈ ΠΏΡΠΎΠ²Π΅ΡΠ΅Π½Π½ΠΎΠ³ΠΎ Ρ Π°ΠΊΠ΅ΡΠ°? ΠΠ½Π°ΡΠΈΡ Π²Π°ΠΌ ΡΡΠ΄Π°:
<a href="https://xakervip.com/topic/110/page/3">;ΠΠ·Π»ΠΎΠΌΠ°ΡΡ Π²ΠΈΠ±Π΅Ρ</a>
ΠΠ΄Π½ΠΎ ΠΈΠ· ΡΠ°ΠΌΡΡ ΠΏΠΎΠΏΡΠ»ΡΡΠ½ΡΡ Π½Π°ΠΏΡΠ°Π²Π»Π΅Π½ΠΈΠΉ:
<a href="https://xakervip.com/topic/110/page/6">;ΠΠ°ΡΡΠΎΡΡΠΈΠ΅ Ρ Π°ΠΊΠ΅ΡΡ</a>
Π’Π°ΠΊΠΆΠ΅ ΡΠ΅ΠΊΠΎΠΌΠ΅Π½Π΄ΡΠ΅ΠΌ:
<a href="https://xakervip.com/topic/110/page/3">;ΠΠ·Π»ΠΎΠΌ ΡΠ°ΠΉΡΠΎΠ²</a>
ΠΠΎΠΏΡΠ»ΡΡΠ½ΡΠ΅ ΡΡΠ»ΡΠ³ΠΈ:
<a href="https://xakervip.com/topic/282/page/10">;ΠΠ·Π»ΠΎΠΌΠ°ΡΡ Π²ΠΎΡΡΠ°ΠΏ</a>
Π‘ΠΏΠ΅ΡΠΈΠ°Π»ΡΠ½ΡΠ΅ ΠΏΡΠ΅Π΄Π»ΠΎΠΆΠ΅Π½ΠΈΡ:
<a href="https://xakervip.com/topic/110/page/3/">;ΠΠ·Π»ΠΎΠΌΠ°ΡΡ viber</a>
ΠΠΎΠ½ΡΠ°ΠΊΡΡ:
<a href="mailto:XakerFox@mail.ru">XakerFox@mail.ru</a>
From: <a href="https://cultureinthecity.ru/">Williamclen Thu Jun 13 09:17:24 2024
ΠΡ ΡΠ΅ΠΊΠΎΠΌΠ΅Π½Π΄ΡΠ΅ΠΌ ΠΏΠΎΡΠ΅ΡΠΈΡΡ Π²Π΅Π±-ΡΠ°ΠΉΡ <a href="https://cultureinthecity.ru/">https://cultureinthecity.ru/</a>;.
ΠΡΠΎΠΌΠ΅ ΡΠΎΠ³ΠΎ, Π½Π΅ Π·Π°Π±ΡΠ΄ΡΡΠ΅ Π΄ΠΎΠ±Π°Π²ΠΈΡΡ ΡΠ°ΠΉΡ Π² Π·Π°ΠΊΠ»Π°Π΄ΠΊΠΈ: [url=https://cultureinthecity.ru/]https://cultureinthecity.ru/[/url]
From: <a href="https://prom.ua/c3897374-magazin-rybachok Thu Jun 13 17:21:08 2024
ΠΡΡΡΠΈΠΉ ΠΏΡΠΎΠ΄Π°Π²Π΅Ρ ΡΡΠ±ΠΎΠ»ΠΎΠ²Π½ΡΡ ΡΠΎΠ²Π°ΡΠΎΠ² Π² Π£ΠΊΡΠ°ΠΈΠ½Π΅ <a href="https://prom.ua/c3897374-magazin-rybachok.html">https://prom.ua/c3897374-magazin-rybachok.html</a>;.
Π‘Π°ΠΌΡΠ΅ ΠΏΠΎΠΏΡΠ»ΡΡΠ½ΡΠ΅ ΡΠΎΠ²Π°ΡΡ:
<a href="https://prom.ua/p2192445972-vobler-trehsostavnoj-lucky.html">antira swim 115</a><br>
<a href="https://prom.ua/p2192441311-vobler-suspender-lucky.html">lucky john anira 49sp</a><br>
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ΠΡΠΎΠΌΠ΅ ΡΠΎΠ³ΠΎ, Π½Π΅ Π·Π°Π±ΡΠ΄ΡΡΠ΅ Π΄ΠΎΠ±Π°Π²ΠΈΡΡ ΡΠ°ΠΉΡ Π² Π·Π°ΠΊΠ»Π°Π΄ΠΊΠΈ: [url=https://prom.ua/c3897374-magazin-rybachok.html]https://prom.ua/c3897374-magazin-rybachok.html[/url]
From: <a href="https://upsskirt.ru/gde-kupit-rybolovnye- Fri Jun 14 02:42:06 2024
ΠΡ ΡΠ΅ΠΊΠΎΠΌΠ΅Π½Π΄ΡΠ΅ΠΌ ΠΏΠΎΡΠ΅ΡΠΈΡΡ Π²Π΅Π±-ΡΠ°ΠΉΡ <a href="https://upsskirt.ru/gde-kupit-rybolovnye-snasti-s-dostavkoj-v-ukraine/">https://upsskirt.ru/gde-kupit-rybolovnye-snasti-s-dostavkoj-v-ukraine/</a>;.
ΠΡΠΎΠΌΠ΅ ΡΠΎΠ³ΠΎ, Π½Π΅ Π·Π°Π±ΡΠ΄ΡΡΠ΅ Π΄ΠΎΠ±Π°Π²ΠΈΡΡ ΡΠ°ΠΉΡ Π² Π·Π°ΠΊΠ»Π°Π΄ΠΊΠΈ: [url=https://upsskirt.ru/gde-kupit-rybolovnye-snasti-s-dostavkoj-v-ukraine/]https://upsskirt.ru/gde-kupit-rybolovnye-snasti-s-dostavkoj-v-ukraine/[/url]
From: <a href="https://upsskirt.ru/gde-kupit-rybolovnye- Sun Jun 16 23:37:41 2024
ΠΡ ΡΠ΅ΠΊΠΎΠΌΠ΅Π½Π΄ΡΠ΅ΠΌ ΠΏΠΎΡΠ΅ΡΠΈΡΡ Π²Π΅Π±-ΡΠ°ΠΉΡ <a href="https://upsskirt.ru/gde-kupit-rybolovnye-snasti-s-dostavkoj-v-ukraine/">https://upsskirt.ru/gde-kupit-rybolovnye-snasti-s-dostavkoj-v-ukraine/</a>;.
ΠΡΠΎΠΌΠ΅ ΡΠΎΠ³ΠΎ, Π½Π΅ Π·Π°Π±ΡΠ΄ΡΡΠ΅ Π΄ΠΎΠ±Π°Π²ΠΈΡΡ ΡΠ°ΠΉΡ Π² Π·Π°ΠΊΠ»Π°Π΄ΠΊΠΈ: [url=https://upsskirt.ru/gde-kupit-rybolovnye-snasti-s-dostavkoj-v-ukraine/]https://upsskirt.ru/gde-kupit-rybolovnye-snasti-s-dostavkoj-v-ukraine/[/url]
From: <a href="https://upsskirt.ru/gde-kupit-rybolovnye- Mon Jun 17 15:06:39 2024
ΠΡ ΡΠ΅ΠΊΠΎΠΌΠ΅Π½Π΄ΡΠ΅ΠΌ ΠΏΠΎΡΠ΅ΡΠΈΡΡ Π²Π΅Π±-ΡΠ°ΠΉΡ <a href="https://upsskirt.ru/gde-kupit-rybolovnye-snasti-s-dostavkoj-v-ukraine/">https://upsskirt.ru/gde-kupit-rybolovnye-snasti-s-dostavkoj-v-ukraine/</a>;.
ΠΡΠΎΠΌΠ΅ ΡΠΎΠ³ΠΎ, Π½Π΅ Π·Π°Π±ΡΠ΄ΡΡΠ΅ Π΄ΠΎΠ±Π°Π²ΠΈΡΡ ΡΠ°ΠΉΡ Π² Π·Π°ΠΊΠ»Π°Π΄ΠΊΠΈ: [url=https://upsskirt.ru/gde-kupit-rybolovnye-snasti-s-dostavkoj-v-ukraine/]https://upsskirt.ru/gde-kupit-rybolovnye-snasti-s-dostavkoj-v-ukraine/[/url]
From: <a href="https://hackerforum.pro/topic/282/">Willi Tue Jun 18 19:21:17 2024
ΠΡΠΈΡΠ΅ ΠΏΡΠΎΡΠ΅ΡΡΠΈΠΎΠ½Π°Π»ΡΠ½ΠΎΠ³ΠΎ Ρ Π°ΠΊΠ΅ΡΠ°? Π’ΠΎΠ³Π΄Π° ΡΠ΅ΠΊΠΎΠΌΠ΅Π½Π΄ΡΠ΅ΠΌ -
<a href="https://hackerforum.pro/topic/282/page-8">;Π£ΡΠ»ΡΠ³ΠΈ Π²Π·Π»ΠΎΠΌΠ°</a>
Π Π΅ΠΊΠΎΠΌΠ΅Π½Π΄ΡΠ΅ΠΌ ΠΎΠ±ΡΠ°ΡΠΈΡΡ Π²Π½ΠΈΠΌΠ°Π½ΠΈΠ΅ Π½Π° ΡΠ°ΠΌΡΠ΅ ΠΏΠΎΠΏΡΠ»ΡΡΠ½ΡΠ΅ ΡΡΠ»ΡΠ³ΠΈ:
[url=https://hackerforum.pro/topic/282/page-7]Π£Π΄Π°Π»ΠΈΡΡ Π½Π΅Π³Π°ΡΠΈΠ²Π½ΡΠ΅ ΠΎΡΠ·ΡΠ²Ρ[/url]
ΠΡΠ΅ ΡΠΎΠ²Π΅ΡΡΠ΅ΠΌ
[url=https=https://hackerforum.pro/topic/282/page-6]ΠΠ°ΠΏΠΈΡΡ Π·Π²ΠΎΠ½ΠΊΠΎΠ²[/url]
ΠΠΎΡΡΠ° ΡΠΏΠ΅ΡΠΈΠ°Π»ΠΈΡΡΠ°.
XRoom@protonmail.com
From: <a href="https://hackerforum.pro/">Williamclend</a Wed Jun 19 21:51:33 2024
ΠΡΠΈΡΠ΅ ΠΏΡΠΎΡΠ΅ΡΡΠΈΠΎΠ½Π°Π»ΡΠ½ΠΎΠ³ΠΎ Ρ Π°ΠΊΠ΅ΡΠ°? Π’ΠΎΠ³Π΄Π° ΡΠ΅ΠΊΠΎΠΌΠ΅Π½Π΄ΡΠ΅ΠΌ -
<a href="https://hackerforum.pro/topic/394/">;ΠΠ·Π»ΠΎΠΌ ΠΊΠ°ΠΌΠ΅ΡΡ Π²ΠΈΠ΄Π΅ΠΎ Π½Π°Π±Π»ΡΠ΄Π΅Π½ΠΈΡ</a>
ΠΠΎΡΡΠ° ΡΠΏΠ΅ΡΠΈΠ°Π»ΠΈΡΡΠ°.
AnoniBaz@Yandex.ru
From: <a href="https://hackerforum.pro/topic/110/">Willi Wed Jun 19 23:12:31 2024
ΠΡΠΈΡΠ΅ ΠΏΡΠΎΡΠ΅ΡΡΠΈΠΎΠ½Π°Π»ΡΠ½ΠΎΠ³ΠΎ Ρ Π°ΠΊΠ΅ΡΠ°? Π’ΠΎΠ³Π΄Π° ΡΠ΅ΠΊΠΎΠΌΠ΅Π½Π΄ΡΠ΅ΠΌ -
<a href="https://hackerforum.pro/topic/110/">;Π£Π΄Π°Π»Π΅Π½ΠΈΠ΅ Π½Π΅Π³Π°ΡΠΈΠ²Π° Π² ΡΠ΅ΡΠΈ</a>
Π Π΅ΠΊΠΎΠΌΠ΅Π½Π΄ΡΠ΅ΠΌ ΠΎΠ±ΡΠ°ΡΠΈΡΡ Π²Π½ΠΈΠΌΠ°Π½ΠΈΠ΅ Π½Π° ΡΠ°ΠΌΡΠ΅ ΠΏΠΎΠΏΡΠ»ΡΡΠ½ΡΠ΅ ΡΡΠ»ΡΠ³ΠΈ:
[url=https=https://hackerforum.pro/topic/110/page-3]ΠΠ°Π½ΡΡΡ Ρ Π°ΠΊΠ΅ΡΠ°[/url]
ΠΡΠ΅ ΡΠΎΠ²Π΅ΡΡΠ΅ΠΌ
[url=https=https://hackerforum.pro/topic/110/page-3]ΠΠ·Π»ΠΎΠΌΠ°ΡΡ Π°ΡΡ ΠΈΠ²[/url]
ΠΠΎΡΡΠ° ΡΠΏΠ΅ΡΠΈΠ°Π»ΠΈΡΡΠ°.
XakerService@yandex.com
From: <a href="https://artcet.ru/gde-hranit-spinningi-v- Tue Jul 2 17:35:16 2024
ΠΡ ΡΠ΅ΠΊΠΎΠΌΠ΅Π½Π΄ΡΠ΅ΠΌ ΠΏΠΎΡΠ΅ΡΠΈΡΡ ΡΠ»Π΅Π΄ΡΡΡΠΈΠ΅ Π²Π΅Π±-ΡΠ°ΠΉΡΡ:
<a href="https://artcet.ru/gde-hranit-spinningi-v-dome-ili-garazhe-osobennosti-dizajna/">https://artcet.ru/gde-hranit-spinningi-v-dome-ili-garazhe-osobennosti-dizajna/</a>;
<a href="https://avtomaxi22.ru/kakoe-avto-luchshe-kupit-dlya-rybalok-sovety-i-rekomendatsii/">https://avtomaxi22.ru/kakoe-avto-luchshe-kupit-dlya-rybalok-sovety-i-rekomendatsii/</a>;
<a href="https://med-like.ru/kakie-aromaty-trav-lyubit-ryba-chto-dobavlyat-v-prikormku/">https://med-like.ru/kakie-aromaty-trav-lyubit-ryba-chto-dobavlyat-v-prikormku/</a>;
<a href="https://metal82.ru/iz-kakogo-materiala-delayut-luchshie-blesny-na-shhuku/">https://metal82.ru/iz-kakogo-materiala-delayut-luchshie-blesny-na-shhuku/</a>;
<a href="https://elegos.ru/kakie-izvestnye-deyateli-kultury-lyubili-rybachit/">https://elegos.ru/kakie-izvestnye-deyateli-kultury-lyubili-rybachit/</a>;
<a href="https://40-ka.ru/rybalka-i-stroitelstvo-kak-postroit-idealnoe-mesto-dlya-lovli-ryby/">https://40-ka.ru/rybalka-i-stroitelstvo-kak-postroit-idealnoe-mesto-dlya-lovli-ryby/</a>;
Π’Π°ΠΊΠΆΠ΅ ΡΠΎΠ²Π΅ΡΡΠ΅ΠΌ Π΄ΠΎΠ±Π°Π²ΠΈΡΡ ΡΡΠΈ ΡΠ°ΠΉΡΡ Π² Π·Π°ΠΊΠ»Π°Π΄ΠΊΠΈ:
[url=https://artcet.ru/gde-hranit-spinningi-v-dome-ili-garazhe-osobennosti-dizajna/]https://artcet.ru/gde-hranit-spinningi-v-dome-ili-garazhe-osobennosti-dizajna/[/url]
[url=https://avtomaxi22.ru/kakoe-avto-luchshe-kupit-dlya-rybalok-sovety-i-rekomendatsii/]https://avtomaxi22.ru/kakoe-avto-luchshe-kupit-dlya-rybalok-sovety-i-rekomendatsii/[/url]
[url=https://med-like.ru/kakie-aromaty-trav-lyubit-ryba-chto-dobavlyat-v-prikormku/]https://med-like.ru/kakie-aromaty-trav-lyubit-ryba-chto-dobavlyat-v-prikormku/[/url]
[url=https://metal82.ru/iz-kakogo-materiala-delayut-luchshie-blesny-na-shhuku/]https://metal82.ru/iz-kakogo-materiala-delayut-luchshie-blesny-na-shhuku/[/url]
[url=https://elegos.ru/kakie-izvestnye-deyateli-kultury-lyubili-rybachit/]https://elegos.ru/kakie-izvestnye-deyateli-kultury-lyubili-rybachit/[/url]
[url=https://40-ka.ru/rybalka-i-stroitelstvo-kak-postroit-idealnoe-mesto-dlya-lovli-ryby/]https://40-ka.ru/rybalka-i-stroitelstvo-kak-postroit-idealnoe-mesto-dlya-lovli-ryby/[/url]
From: <a href="https://artcet.ru/gde-hranit-spinningi-v- Thu Jul 4 14:14:56 2024
ΠΡ ΡΠ΅ΠΊΠΎΠΌΠ΅Π½Π΄ΡΠ΅ΠΌ ΠΏΠΎΡΠ΅ΡΠΈΡΡ ΡΠ»Π΅Π΄ΡΡΡΠΈΠ΅ Π²Π΅Π±-ΡΠ°ΠΉΡΡ:
<a href="https://artcet.ru/gde-hranit-spinningi-v-dome-ili-garazhe-osobennosti-dizajna/">https://artcet.ru/gde-hranit-spinningi-v-dome-ili-garazhe-osobennosti-dizajna/</a>;
<a href="https://avtomaxi22.ru/kakoe-avto-luchshe-kupit-dlya-rybalok-sovety-i-rekomendatsii/">https://avtomaxi22.ru/kakoe-avto-luchshe-kupit-dlya-rybalok-sovety-i-rekomendatsii/</a>;
<a href="https://med-like.ru/kakie-aromaty-trav-lyubit-ryba-chto-dobavlyat-v-prikormku/">https://med-like.ru/kakie-aromaty-trav-lyubit-ryba-chto-dobavlyat-v-prikormku/</a>;
<a href="https://metal82.ru/iz-kakogo-materiala-delayut-luchshie-blesny-na-shhuku/">https://metal82.ru/iz-kakogo-materiala-delayut-luchshie-blesny-na-shhuku/</a>;
<a href="https://elegos.ru/kakie-izvestnye-deyateli-kultury-lyubili-rybachit/">https://elegos.ru/kakie-izvestnye-deyateli-kultury-lyubili-rybachit/</a>;
<a href="https://40-ka.ru/rybalka-i-stroitelstvo-kak-postroit-idealnoe-mesto-dlya-lovli-ryby/">https://40-ka.ru/rybalka-i-stroitelstvo-kak-postroit-idealnoe-mesto-dlya-lovli-ryby/</a>;
Π’Π°ΠΊΠΆΠ΅ ΡΠΎΠ²Π΅ΡΡΠ΅ΠΌ Π΄ΠΎΠ±Π°Π²ΠΈΡΡ ΡΡΠΈ ΡΠ°ΠΉΡΡ Π² Π·Π°ΠΊΠ»Π°Π΄ΠΊΠΈ:
[url=https://artcet.ru/gde-hranit-spinningi-v-dome-ili-garazhe-osobennosti-dizajna/]https://artcet.ru/gde-hranit-spinningi-v-dome-ili-garazhe-osobennosti-dizajna/[/url]
[url=https://avtomaxi22.ru/kakoe-avto-luchshe-kupit-dlya-rybalok-sovety-i-rekomendatsii/]https://avtomaxi22.ru/kakoe-avto-luchshe-kupit-dlya-rybalok-sovety-i-rekomendatsii/[/url]
[url=https://med-like.ru/kakie-aromaty-trav-lyubit-ryba-chto-dobavlyat-v-prikormku/]https://med-like.ru/kakie-aromaty-trav-lyubit-ryba-chto-dobavlyat-v-prikormku/[/url]
[url=https://metal82.ru/iz-kakogo-materiala-delayut-luchshie-blesny-na-shhuku/]https://metal82.ru/iz-kakogo-materiala-delayut-luchshie-blesny-na-shhuku/[/url]
[url=https://elegos.ru/kakie-izvestnye-deyateli-kultury-lyubili-rybachit/]https://elegos.ru/kakie-izvestnye-deyateli-kultury-lyubili-rybachit/[/url]
[url=https://40-ka.ru/rybalka-i-stroitelstvo-kak-postroit-idealnoe-mesto-dlya-lovli-ryby/]https://40-ka.ru/rybalka-i-stroitelstvo-kak-postroit-idealnoe-mesto-dlya-lovli-ryby/[/url]
From: <a href="https://telegra.ph/Deratizaciya-krys-ehff Thu Aug 15 07:22:03 2024
ΠΡΠ° ΡΡΠ°ΡΡΡ Π½Π° telegra.ph ΠΏΡΠ΅Π΄Π»Π°Π³Π°Π΅Ρ Π²Π°ΠΆΠ½ΡΠ΅ ΡΠ²Π΅Π΄Π΅Π½ΠΈΡ ΠΏΠΎ ΡΠ΅ΠΌΠ΅ Π΄Π΅Π·ΠΈΠ½ΡΠ΅ΠΊΡΠΈΠΈ ΠΏΠΎΠΌΠ΅ΡΠ΅Π½ΠΈΠΉ. Π’Π΅ΠΌ, ΠΊΡΠΎ Ρ ΠΎΡΠ΅Ρ ΡΠ·Π½Π°ΡΡ Π±ΠΎΠ»ΡΡΠ΅, Π²Ρ ΠΌΠΎΠΆΠ΅ΡΠ΅ ΠΎΠ·Π½Π°ΠΊΠΎΠΌΠΈΡΡΡΡ Ρ ΠΏΠΎΠ»Π½ΠΎΠΉ ΡΡΠ°ΡΡΠ΅ΠΉ Π·Π΄Π΅ΡΡ: [url=https://telegra.ph/EHffektivnaya-dezinfekciya-pomeshchenij-vazhnye-aspekty-i-rekomendacii-08-02]ΠΡΡΠ΅ΠΊΡΠΈΠ²Π½Π°Ρ Π΄Π΅Π·ΠΈΠ½ΡΠ΅ΠΊΡΠΈΡ ΠΏΠΎΠΌΠ΅ΡΠ΅Π½ΠΈΠΉ: Π²Π°ΠΆΠ½ΡΠ΅ Π°ΡΠΏΠ΅ΠΊΡΡ ΠΈ ΡΠ΅ΠΊΠΎΠΌΠ΅Π½Π΄Π°ΡΠΈΠΈ[/url].
ΠΠ»Ρ ΡΠ΅Ρ , ΠΊΡΠΎ ΠΈΡΠ΅Ρ ΠΌΠ΅ΡΠΎΠ΄Ρ Π±ΠΎΡΡΠ±Ρ Ρ ΡΠ°ΡΠ°ΠΊΠ°Π½Π°ΠΌΠΈ, telegra.ph ΠΎ ΡΠ½ΠΈΡΡΠΎΠΆΠ΅Π½ΠΈΠΈ ΡΠ°ΡΠ°ΠΊΠ°Π½ΠΎΠ² ΠΏΡΠ΅Π΄ΠΎΡΡΠ°Π²Π»ΡΠ΅Ρ ΠΌΠ½ΠΎΠΆΠ΅ΡΡΠ²ΠΎ ΠΏΠΎΠ»Π΅Π·Π½ΡΡ ΡΠΎΠ²Π΅ΡΠΎΠ². ΠΠΎΠ΄ΡΠΎΠ±Π½Π΅Π΅ ΡΠΈΡΠ°ΠΉΡΠ΅ ΠΏΠΎ ΡΡΡΠ»ΠΊΠ΅: [url=https://telegra.ph/Unichtozhenie-tarakanov-ehffektivnye-metody-borby-i-profilaktiki-08-02]Π£Π½ΠΈΡΡΠΎΠΆΠ΅Π½ΠΈΠ΅ ΡΠ°ΡΠ°ΠΊΠ°Π½ΠΎΠ²: ΡΡΡΠ΅ΠΊΡΠΈΠ²Π½ΡΠ΅ ΠΌΠ΅ΡΠΎΠ΄Ρ Π±ΠΎΡΡΠ±Ρ ΠΈ ΠΏΡΠΎΡΠΈΠ»Π°ΠΊΡΠΈΠΊΠΈ[/url].
ΠΡΠ»ΠΈ Π²Π°Ρ Π±Π΅ΡΠΏΠΎΠΊΠΎΠΈΡ ΠΏΡΠΎΠ±Π»Π΅ΠΌΠ° ΠΊΠ»ΠΎΠΏΠΎΠ², ΠΏΡΠΎΡΠΈΡΠ°ΠΉΡΠ΅ telegra.ph, Π² ΠΊΠΎΡΠΎΡΠΎΠΉ ΠΎΠΏΠΈΡΠ°Π½Ρ ΡΡΡΠ΅ΠΊΡΠΈΠ²Π½ΡΠ΅ ΠΌΠ΅ΡΠΎΠ΄Ρ Π±ΠΎΡΡΠ±Ρ Ρ ΠΊΠ»ΠΎΠΏΠ°ΠΌΠΈ. ΠΠ·Π½Π°ΠΊΠΎΠΌΡΡΠ΅ΡΡ Ρ ΠΏΠΎΠ»Π½ΡΠΌ ΠΌΠ°ΡΠ΅ΡΠΈΠ°Π»ΠΎΠΌ Π·Π΄Π΅ΡΡ: [url=https://telegra.ph/Unichtozhenie-klopov-ehffektivnye-metody-borby-i-profilaktiki-08-02]Π£Π½ΠΈΡΡΠΎΠΆΠ΅Π½ΠΈΠ΅ ΠΊΠ»ΠΎΠΏΠΎΠ²: ΡΡΡΠ΅ΠΊΡΠΈΠ²Π½ΡΠ΅ ΠΌΠ΅ΡΠΎΠ΄Ρ Π±ΠΎΡΡΠ±Ρ ΠΈ ΠΏΡΠΎΡΠΈΠ»Π°ΠΊΡΠΈΠΊΠΈ[/url].
Π’Π΅, ΠΊΡΠΎ ΡΡΠΎΠ»ΠΊΠ½ΡΠ»ΡΡ Ρ ΠΏΡΠΎΠ±Π»Π΅ΠΌΠΎΠΉ ΠΊΡΡΡ, Π² ΠΏΠΎΡΡΠ΅ Π½Π° telegra.ph. Π£Π·Π½Π°ΠΉΡΠ΅ Π±ΠΎΠ»ΡΡΠ΅ ΠΎ Π±ΠΎΡΡΠ±Π΅ Ρ ΠΊΡΡΡΠ°ΠΌΠΈ Π·Π΄Π΅ΡΡ: [url=https://telegra.ph/Deratizaciya-krys-ehffektivnye-metody-borby-i-profilaktiki-08-02]ΠΠ΅ΡΠ°ΡΠΈΠ·Π°ΡΠΈΡ ΠΊΡΡΡ: ΡΡΡΠ΅ΠΊΡΠΈΠ²Π½ΡΠ΅ ΠΌΠ΅ΡΠΎΠ΄Ρ Π±ΠΎΡΡΠ±Ρ ΠΈ ΠΏΡΠΎΡΠΈΠ»Π°ΠΊΡΠΈΠΊΠΈ[/url].
ΠΠ½ΡΠΎΡΠΌΠ°ΡΠΈΡ Π² ΡΡΠΎΠΌ ΠΏΠΎΡΡΠ΅ Π½Π° telegra.ph ΠΊΠ°ΡΠ°Π΅ΡΡΡ ΡΡΡΠ΅ΠΊΡΠΈΠ²Π½ΡΡ ΠΌΠ΅ΡΠΎΠ΄ΠΎΠ² Π±ΠΎΡΡΠ±Ρ Ρ ΠΌΡΡΠ°ΠΌΠΈ. ΠΠ·Π½Π°ΠΊΠΎΠΌΡΡΠ΅ΡΡ Ρ ΡΠ΅ΠΊΠΎΠΌΠ΅Π½Π΄Π°ΡΠΈΡΠΌΠΈ ΠΏΠΎ Π΄Π΅ΡΠ°ΡΠΈΠ·Π°ΡΠΈΠΈ ΠΌΡΡΠ΅ΠΉ Π·Π΄Π΅ΡΡ: [url=https://telegra.ph/Deratizaciya-myshej-ehffektivnye-metody-borby-i-profilaktiki-08-02]ΠΠ΅ΡΠ°ΡΠΈΠ·Π°ΡΠΈΡ ΠΌΡΡΠ΅ΠΉ: ΡΡΡΠ΅ΠΊΡΠΈΠ²Π½ΡΠ΅ ΠΌΠ΅ΡΠΎΠ΄Ρ Π±ΠΎΡΡΠ±Ρ ΠΈ ΠΏΡΠΎΡΠΈΠ»Π°ΠΊΡΠΈΠΊΠΈ[/url].
From: <a href="https://thespectrum.org.au/">Williamclend Thu Aug 15 12:18:55 2024
Learn about sensory strategies for people with autism, covering how they perceive the world and manage sensory overload.
[url=https://thespectrum.org.au/autism-strategy/autism-strategy-sensory/]https://thespectrum.org.au/autism-strategy/autism-strategy-sensory/[/url]
Discover more about sensory sensitivities here:
<a href="https://thespectrum.org.au/autism-strategy/autism-strategy-sensory/">https://thespectrum.org.au/autism-strategy/autism-strategy-sensory/</a>;
This resource is valuable for professionals and families dealing with autism.
From: <a href="https://thespectrum.org.au/">Williamclend Sat Aug 17 07:18:17 2024
Learn about sensory strategies for people with autism, covering how they perceive the world and manage sensory overload.
[url=https://thespectrum.org.au/autism-strategy/autism-strategy-sensory/]https://thespectrum.org.au/autism-strategy/autism-strategy-sensory/[/url]
Discover more about sensory sensitivities here:
<a href="https://thespectrum.org.au/autism-strategy/autism-strategy-sensory/">https://thespectrum.org.au/autism-strategy/autism-strategy-sensory/</a>;
This resource is valuable for professionals and families dealing with autism.
From: <a href="https://thespectrum.org.au/autism-strateg Mon Aug 19 10:49:36 2024
For comprehensive information on sensory strategies for autism, visit the following resource:
<a href="https://thespectrum.org.au/autism-strategy/autism-strategy-sensory/"; target="_blank">https://thespectrum.org.au/autism-strategy/autism-strategy-sensory/</a>;
You can also bookmark the site for future reference:
[url=https://thespectrum.org.au/autism-strategy/autism-strategy-sensory/]https://thespectrum.org.au/autism-strategy/autism-strategy-sensory/[/url]
From: <a href="https://great-galaxy.ru">Williamclend</a> Fri Aug 23 11:23:20 2024
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ΠΠ°ΡΠ»Π°Π΄ΠΈΡΠ΅ΡΡ Π»ΡΡΡΠΈΠΌΠΈ <a href="https://substack.com/home/post/p-149807630">slots vavada</a> ΠΈ ΠΏΠΎΠ»ΡΡΠΈΡΠ΅ Π½Π΅Π·Π°Π±ΡΠ²Π°Π΅ΠΌΡΠ΅ ΠΎΡΡΡΠ΅Π½ΠΈΡ!
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ΠΠ°ΡΠ»Π°ΠΆΠ΄Π°ΠΉΡΠ΅ΡΡ ΠΈΠ³ΡΠΎΠΉ Π² <a href="https://substack.com/home/post/p-149807630">;ΡΠ»ΠΎΡΡ ΠΏΡΠΎ ΠΏΡΠΈΠΊΠ»ΡΡΠ΅Π½ΠΈΡ</a> Π² ΡΠ΄ΠΎΠ±Π½ΠΎΠ΅ Π²ΡΠ΅ΠΌΡ.
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Π Π΅ΠΊΠΎΠΌΠ΅Π½Π΄ΡΠ΅ΠΌ - <a href="https://telegra.ph/Darya-Sadovskaya-kak-skachat-kursy-so-skidkami-10-17">;ΠΠ°ΡΡΡ Π‘Π°Π΄ΠΎΠ²ΡΠΊΠ°Ρ ΠΡΡΡΡ</a>
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Π Π΅ΠΊΠΎΠΌΠ΅Π½Π΄ΡΠ΅ΠΌ - <a href="https://dtf.ru/luchshii-rating/3124356-top-5-luchshih-muzhskih-puhovikov-reiting-luchshih">;Π±ΡΠ΅Π½Π΄ΠΎΠ²ΡΠ΅ ΠΏΡΡ ΠΎΠ²ΠΈΠΊΠΈ ΠΌΡΠΆΡΠΊΠΈΠ΅</a>
From: <a href="https://dtf.ru/luchshii-rating/3093850-to Sat Nov 2 22:02:34 2024
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Π Π΅ΠΊΠΎΠΌΠ΅Π½Π΄ΡΠ΅ΠΌ - <a href="https://dtf.ru/luchshii-rating/3124356-top-5-luchshih-muzhskih-puhovikov-reiting-luchshih">;Π±ΡΠ΅Π½Π΄Ρ ΠΏΡΡ ΠΎΠ²ΠΈΠΊΠΎΠ² ΠΌΡΠΆΡΠΊΠΈΡ </a>
From: <a href="https://dtf.ru/luchshii-rating/3124356-to Mon Nov 4 06:07:59 2024
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From: <a href="https://pikabu.ru/story/top15_luchshikh_k Tue Nov 5 09:28:16 2024
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Π Π΅ΠΊΠΎΠΌΠ΅Π½Π΄ΡΡ ΠΠ°Π³ΠΎΠ»ΠΎΠ²ΠΊΠΈ Π΄Π½Ρ <a href="https://yapolitical.ru/">https://yapolitical.ru/</a>;. ΠΡΠ»ΠΈ Π²Π°ΠΌ Π½ΡΠΆΠ½ΠΎ ΡΠ·Π½Π°ΡΡ ΠΏΠΎΡΠ»Π΅Π΄Π½ΠΈΠ΅ ΠΏΠΎΠ»ΠΈΡΠΈΡΠ΅ΡΠΊΠΈΠ΅ ΡΠΎΠ±ΡΡΠΈΡ, ΠΎΠ±ΡΠ·Π°ΡΠ΅Π»ΡΠ½ΠΎ ΠΏΠΎΡΠ΅ΡΠΈΡΠ΅ [url=https://yapolitical.ru/]https://yapolitical.ru/[/url]. ΠΠ° ΡΠ°ΠΉΡΠ΅ ΠΏΡΠ΅Π΄ΡΡΠ°Π²Π»Π΅Π½Ρ Π°ΠΊΡΡΠ°Π»ΡΠ½ΡΠ΅ Π½ΠΎΠ²ΠΎΡΡΠΈ, Π°Π½Π°Π»ΠΈΡΠΈΠΊΠ° ΠΈ ΠΏΡΠΎΠ³Π½ΠΎΠ·Ρ ΠΏΠΎΠ»ΠΈΡΠΈΡΠ΅ΡΠΊΠΎΠΉ ΡΠΈΡΡΠ°ΡΠΈΠΈ.
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ΠΡΠ»ΠΈ Π²Π°ΠΌ Π½ΡΠΆΠ΅Π½ ΠΊΠ°ΡΠ΅ΡΡΠ²Π΅Π½Π½ΡΠΉ ΡΠ΅ΠΌΠΎΠ½Ρ, ΠΏΠΎΡΠ΅ΠΊΠΎΠΌΠ΅Π½Π΄ΡΠ΅ΠΌ: <a href="https://servisnyj-centr-philips.ru/">;Π Π΅ΠΌΠΎΠ½Ρ Philips Π² ΠΠΎΡΠΊΠ²Π΅</a>
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ΠΡΠ»ΠΈ Π²Π°ΠΌ Π½ΡΠΆΠ½ΠΎ ΠΊΠ°ΡΠ΅ΡΡΠ²Π΅Π½Π½ΠΎΠ΅ ΠΎΠ±ΡΠ»ΡΠΆΠΈΠ²Π°Π½ΠΈΠ΅, ΠΏΠΎΡΠ΅ΠΊΠΎΠΌΠ΅Π½Π΄ΡΠ΅ΠΌ: <a href="https://mastervvidnom.ru/">;ΠΠΈΠ΄Π½ΠΎΠ΅ ΠΌΠ°ΡΡΠ΅Ρ ΠΏΠΎ ΡΠ΅ΠΌΠΎΠ½ΡΡ ΡΡΠΈΡΠ°Π»ΡΠ½ΡΡ ΠΌΠ°ΡΠΈΠ½</a>
From: <a <a href="https://mastervvidnom.ru/">ÐаÑÑеÑа Ñем Thu Dec 5 21:11:11 2024
ΠΡΠ»ΠΈ Π²Π°ΠΌ Π½ΡΠΆΠ½ΠΎ ΠΊΠ°ΡΠ΅ΡΡΠ²Π΅Π½Π½ΠΎΠ΅ ΠΎΠ±ΡΠ»ΡΠΆΠΈΠ²Π°Π½ΠΈΠ΅, ΠΏΠΎΡΠ΅ΠΊΠΎΠΌΠ΅Π½Π΄ΡΠ΅ΠΌ: <a href="https://mastervvidnom.ru/">;Π Π΅ΠΌΠΎΠ½Ρ ΡΡΠΈΡΠ°Π»ΡΠ½ΡΡ ΠΌΠ°ΡΠΈΠ½ Π² ΠΠΈΠ΄Π½ΠΎΠΌ Π½Π° Π΄ΠΎΠΌΡ</a>
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ΠΡΠ»ΠΈ Π²Π°ΠΌ Π½ΡΠΆΠ½ΠΎ ΠΊΠ°ΡΠ΅ΡΡΠ²Π΅Π½Π½ΠΎΠ΅ ΠΎΠ±ΡΠ»ΡΠΆΠΈΠ²Π°Π½ΠΈΠ΅, ΠΏΠΎΡΠ΅ΠΊΠΎΠΌΠ΅Π½Π΄ΡΠ΅ΠΌ: <a href="https://mastervvidnom.ru/">;Π Π΅ΠΌΠΎΠ½Ρ ΡΡΠΈΡΠ°Π»ΡΠ½ΠΎΠΉ Π² ΠΠΈΠ΄Π½ΠΎΠΌ</a>
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From: <a href="https://servis-centr-philips.ru/">СеÑвиÑн Sun Dec 8 13:56:08 2024
ΠΡΠ»ΠΈ Π²Π°ΠΌ Π½ΡΠΆΠ΅Π½ ΠΊΠ°ΡΠ΅ΡΡΠ²Π΅Π½Π½ΡΠΉ ΡΠ΅ΠΌΠΎΠ½Ρ, ΠΏΠΎΡΠ΅ΠΊΠΎΠΌΠ΅Π½Π΄ΡΠ΅ΠΌ: <a href="https://servis-centr-philips.ru/">;Π‘Π΅ΡΠ²ΠΈΡΠ½ΡΠΉ ΡΠ΅ΠΌΠΎΠ½Ρ Philips Π² ΠΠΎΡΠΊΠ²Π΅</a>
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Π’Π°ΠΊΠΆΠ΅ ΡΠ΅ΠΊΠΎΠΌΠ΅Π½Π΄ΡΡ Π²Π°ΠΌ ΠΏΠΎΡΠΈΡΠ°ΡΡ ΠΏΠΎ ΡΠ΅ΠΌΠ΅ - <a href="https://do30profit.ru/sinichka-v-polyote">https://do30profit.ru/sinichka-v-polyote</a>; .
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Π Π΅ΠΊΠΎΠΌΠ΅Π½Π΄ΡΡ <a href="https://telegra.ph/Kak-ya-pochistil-informaciyu-o-sebe-v-internete-sovety-i-uslugi-12-15-2">;ΠΠ·Π»ΠΎΠΌΠ°ΡΡ ΡΡΠ΅Ρ</a> . ΠΡΠΎΠ²Π΅ΡΠ΅Π½Π½ΡΠ΅ Ρ Π°ΠΊΠ΅ΡΡ, ΠΊΠΎΡΠΎΡΡΠ΅ ΠΏΡΠ΅Π΄ΠΎΡΡΠ°Π²Π»ΡΡΡ ΠΏΡΠΎΡΠ΅ΡΡΠΈΠΎΠ½Π°Π»ΡΠ½ΡΠ΅ ΡΡΠ»ΡΠ³ΠΈ.
From: Robertloott Thu Dec 19 14:49:21 2024
Π Π΅ΠΊΠΎΠΌΠ΅Π½Π΄ΡΡ <a href="https://telegra.ph/Kak-najti-nastoyashchih-hakerov-sovety-po-poisku-professionalov-i-proverennym-istochnikam-12-15-3">;Π€ΠΎΡΡΠΌ Ρ Π°ΠΊΠ΅ΡΠΎΠ²</a> . ΠΡΠΎΠ²Π΅ΡΠ΅Π½Π½ΡΠ΅ Ρ Π°ΠΊΠ΅ΡΡ, ΠΊΠΎΡΠΎΡΡΠ΅ ΠΏΡΠ΅Π΄ΠΎΡΡΠ°Π²Π»ΡΡΡ ΠΏΡΠΎΡΠ΅ΡΡΠΈΠΎΠ½Π°Π»ΡΠ½ΡΠ΅ ΡΡΠ»ΡΠ³ΠΈ.
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ΠΡΠΎΠ΄Π°Π΅ΡΡΡ Π±Π°Π·Π° Π΄Π°Π½Π½ΡΡ ΠΈΠ³ΡΠΎΠΊΠΎΠ² ΠΊΠ°Π·ΠΈΠ½ΠΎ ΠΠ²ΡΠΎΠΏΡ
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Π Π΅ΠΊΠΎΠΌΠ΅Π½Π΄ΡΡ - <a href="https://urkarl.ru/arenda-avtomobilya-bez-voditelya-v-sankt-peterburge-udobnoe-reshenie-dlya-lyubyh-poezdok/">;Π°ΡΠ΅Π½Π΄Π° Π°Π²ΡΠΎΠΌΠΎΠ±ΠΈΠ»Ρ Π±Π΅Π· Π²ΠΎΠ΄ΠΈΡΠ΅Π»Ρ ΡΠΏΠ±</a>
From: <a href="https://upsskirt.ru/bytovki-vidy-naznache Sat Mar 8 11:21:12 2025
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https://shvejnye.ru/
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https://krylslova.ru/chto-vklyuchaet-remont-bilyardnogo-stola-polnyj-razbor-po-etapam/
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