thanks Emilia!
Cindylover1969
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WHAT IS THIS FOR?!?!?! *swoons*
thanks Sanja, looks like a Peter Lindbergh stuff .
style_savy
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Cindy Crawford in Stella McCartney
instyle
Herr Oberst
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You mean the hat, right?could any fashion fan tell us what she is wearing?
-- Well it certainly looks like a part of old Soviet military/police force uniform [e.g.].
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You mean the hat, right?
the clothes in general, I mean, if it's high fashion maybe she's doing an editorial for Vogue or Bazaar, if it's only one brand maybe it's and ad campaign...
I have to confess that I know nothing about fashion collections
the clothes in general, I mean, if it's high fashion maybe she's doing an editorial for Vogue or Bazaar, if it's only one brand maybe it's and ad campaign...
I have to confess that I know nothing about fashion collections
looks more like edit... and i think it will be vogue...;-) or maybe In Style
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she used yo be my ex's boyfriend idol, years ago. 10 years later she's still Uber Hot...lucky Cindy
Maybe your ex-bf is here posting about Cindy .. ohh wait, BB. is it you?
.
.
.
.
.
. I'm kidding
OMG 
Cindy on the Ocean Drive Cover photographed by none other then the legendary Matthew Rolston 
source : ocendrive.com
Sunday morning at 7 a.m., and Cindy Crawford gives me a wake-up call.
Not intentionally, of course—ensconced in a New York hotel suite, Crawford did a little backwards math with her watch, set to California time, and could not have been more apologetic as she quickly realized it was not 10 a.m., our appointed hour. And truth be told, her call didn’t wake me— a shaggy mutt named Bear considers that her sole responsibility at 6 a.m.—but nonetheless I subsequently would tell all my male friends it was Crawford’s voice that wrested me from slumber, just to enjoy the looks on their faces. Such is the power of Cindy.
Indeed, it has been 17 years since Crawford writhed seductively in a steamy bath in George Michael’s “Freedom” video; she was already firmly installed in the decade’s pantheon of supermodels (Linda Evangelista, Christy Turlington and Naomi Campbell appeared alongside Crawford in “Freedom,” which was directed by David Fincher before he would go on to helm Se7en and Fight Club), but it is this video that fans continue to regard as a Favorite Cindy Moment, one among many in a career noted for being both powerful and unabashed in its duality of girl-next-door-meets-sex-symbol. “I was in Vegas yesterday, and the Playboy pictures still get pulled out [for autographs] more than anything,” she says of the nude pictorials she famously shot in 1988 and 1998 with celebrated lensman Herb Ritts, who passed away in 2002. “What it says to me is that fashion is fleeting, but the body never goes out of style.”
Asymmetrical silk-and-chiffon goddess gown by Marchesa available at Neiman Marcus. Gold peep-toe heels by Christian Louboutin available at Saks Fifth Avenue, Bal Harbour. Five-carat round brilliant-cut diamond studs by Neil Lane available at Neil Lane Jewelry, Beverly Hills. Pair of diamond honeycomb bracelets by Fred Leighton available at Fred Leighton, New York. Prop sofa courtesy of Peter Gargagliano Design.
Still, as tempting as such career milestones might be, Crawford admits she has other priorities these days. “The thing with Playboy came up again about a year ago, but now I make decisions for different reasons,” she says. “It would be good for my 41-year-old ego, but I have kids now, and from a business point of view I have to make sure it’s in line with the message I’m putting out there with other projects. Plus, the other times I did it were with Herb, and with him I knew the pictures would be beautiful, and it just wouldn’t feel right to do it with someone else.”
Throughout her career Crawford always has been positioned as the head-for-business supermodel—though she believes that “people give me too much credit for having some grand master plan that I didn’t have”—but that image never seems more true than of her latest partnership, with furniture giant Rooms to Go. Cindy Crawford Home launched in the fall of 2005 and quickly vaulted to the top of the retailer’s most popular collections. Its success recently prompted Rooms to Go to take the unprecedented step of offering Cindy Crawford Home to other retailers nationally in noncompete cities. And not to belabor the point, but such is the power of Cindy: She is not only the face of those ubiquitous television commercials, she is also involved in each phase of the design process, from concept to sample completion, and it was the initial exposure in Rooms to Go’s admittedly conservative Southeastern market that caused her to newly evaluate her other choices. The photo shoot for this magazine, for example, with photographer Matthew Rolston, shifted from its early concept of the dominatrix-chic looks currently filling fashion runways. “I enjoy doing edgier pictures for fun, but I don’t want to alienate my customer,” she says. “People in South Florida might totally get it, but not every market is as open-minded, so it has become a different decision- making process for me now.”
Crawford has been met by a pair of surprises since she launched the home collection: not only how successful the venture would be—“The guys I’m partnering with had an idea, but for me it has just gone so much better than I could have imagined”—but also simply how much fun she would have. “I’ll be the first to admit that I’m able to live a somewhat spoiled life,” Crawford says. “When I’ve bought furniture I’ve always worked with decorators, which can give you a really skewed view of what you have to spend to get good furniture; they tell you a good sofa costs $5,000, and you accept that. Part of the fun of this has been discovering that you don’t have to spend a ton of money to get style. I remember walking into the [Rooms to Go] store in Dallas when I was considering doing this, looking at what they were selling and thinking, I would totally have this in my house.” Crawford’s line will further expand later this year with the release of tabletop and home-accessories collections, which she believes also will be offered beyond Rooms to Go stores.
As a result, these days you will find one of the world’s most recognized faces (more than 600 appearances on magazine covers, according to her bio) working with design teams to discuss concepts and inspirations, reviewing sketches and fabric swatches, and taking occasional meetings at a warehouse not far from her Malibu home to test sample pieces before they go into production. “We put a lot of safeguards in place; nothing can be approved without me seeing it or touching it,” Crawford explains. “I was bracing myself for the kind of partnership where I would have to be a control freak, but it hasn’t been that way at all. They definitely want my input, but I also trust their expertise. It has been a great partnership, in which we both get to do what we’re good at.”
Crawford also admits that furniture design wasn’t part of the future she had envisioned, but it makes sense at this stage in her life. “When I was 35 I’d been with Revlon for 11 years when that relationship ended, and it was like, Wow, I can do my own thing now,” she remembers. “The first thing everyone wanted me to do was cosmetics, but I’m not a big makeup person and I’m not a makeup artist, so that didn’t feel organic to me. I also wasn’t interested in doing a clothing line, because to be successful it would have to be at the mass-market level, and I didn’t want to have my name on a line that I wouldn’t wear.”
The idea of Cindy as brand name was already in the mainstream—in 1994 Vanity Fair put her on the cover with the headline, “Cindy, Inc.”—not only because of her high-profile campaigns for Revlon, Pepsi and others, but also thanks to a pair of highly successful exercise videos she produced in the early ’90s with friend and fitness trainer Radu. The latter proved to be a model for another venture, Meaningful Beauty, a skin-care line featuring products developed by Paris-based cosmetic surgeon Jean-Louis Sebagh, which debuted in the fall of 2004 as a series of infomercials produced by Guthy-Renker. “As a woman and as a model, I was always interested in taking care of my skin,” Crawford says. “I always felt like my job was to show up ready to work, and that meant my body looked good and my skin looked good. I come in as a clean slate, and then the Matthew Rolstons and the hair and makeup people can work their magic.” (Crawford indeed penned a 1996 book, Basic Face, that emphasizes her natural-beauty philosophy.)
“One of the things I can offer people is access,” she continues. “Radu can only take eight clients a day, so we did a video together that says here’s the best of what he has to offer. It’s the same with the skin-care line—not everyone can get to see this doctor in Paris, so here’s what I learned. I love being a liaison, being able to bring these experiences to people.”
Black sleeveless velvet turtleneck by Wolford available at Wolford, Bal Harbour. Cream silk wide-leg trouser by Oscar de la Renta available at Oscar de la Renta, Bal Harbour. Diamond bangle bracelets by Martin Katz available at Martin Katz, Beverly Hills. The furniture seemed like a similar fit to Crawford, who always has been interested in interior design, she says, with ideas often stemming from her travels. Most recently she and husband Rande Gerber, whom Crawford married in 1998, built a Malibu home “from the earth up,” and that experience definitely informs her current project, she says: “I have a sense of style, and our houses have been published, so I feel very confident that I have a strong aesthetic, but developing the furniture line made me feel like such an idiot for spending some of the money I did for things for this house. There are certain pieces, like antiques, in which you’re making an investment, but I look at other things in the house and compare them to what I’m doing now and think, I could have bought 10 of those with what I spent.”
Crawford seems to apply that pragmatic attitude to just about everything in her life these days. She and Gerber may enjoy the Malibu lifestyle, hanging with friends such as George Clooney or Brad Pitt, but Crawford very much possesses a soccer-mom mentality, mentioning how one of the advantages of her Rooms to Go schedule is that it still allows her to pick up her children from school (she and Gerber have a seven-year-old son, Presley, and a five-year-old daughter, Kaya). And I ask if the kids show any early signs of modeling talent (the 45-year-old Gerber, who owns a number of nightclubs in the U.S. and abroad, was also a model early in his career), but Crawford promptly rejects the notion. “If anything, they don’t like having their picture taken,” she says. “Part of it is that there have been a few frightening experiences with paparazzi, with someone jumping out of a bush while we’re walking into preschool. They know that people know me, but they don’t think it’s strange that I’m on a magazine or on TV. They don’t have the grasp yet that it’s anything unusual. They’ll see a magazine in the grocery store and say, ‘Look, there’s Uncle George.’ ”
Crawford is equally pragmatic about the current mood in modeling. I remark that the dizzying heights of the Cindy-Christy-Linda-Naomi era of the early ’90s have never been recaptured, and she’s quick with reasons why, both practical and poetic. “The stars were just in alignment,” she says. “At the time Hollywood was not into looking glamorous, so models became the source for glamour. And Versace really loved that—Gianni wanted everyone to be larger than life, so he promoted that idea, because he knew that the bigger the models became, the better it would be for fashion. But these days it’s much tougher for young models; all the cosmetic companies want actresses for their campaigns, not only because they’re already a name, but because they have the synergy of also being out there in movies or television. I always say that if you’re a basketball player and you’re doing a sneaker line, your train that’s pulling everything is basketball. If you’re an actress, then acting is your main engine. But models don’t have that; our core business is modeling.”
You can’t help but smile to hear Crawford refer to modeling as “our” business, because the statement confirms she remains part of it, and vice versa. “I still do just straight modeling jobs,” she points out. “I just did something with Patrick Demarchelier, whom I’ve worked with for 20 years. It was great money and it was just one day, so I thought, Why not? Plus with Patrick, I know he could shoot me in a potato sack and I would look good.”
At this point Crawford’s room-service breakfast arrives, so I wrap up the conversation by asking if the current theme of her life is one of balance, of coming to terms with the best combination of Cindy the wife and mother with Cindy, Inc.
“It’s definitely nice to be in a place in which I can be clear about what I want and don’t want,” she says. “I feel like I’m a present mom and wife, and at the same time I get a lot of personal fulfillment from the work that I do. You know, I actually didn’t enjoy modeling as much as I do now; back then I didn’t have the confidence because I was always judging myself against everyone else and thinking, When are they going to figure out I’m just this girl from Illinois? But now I love trying different things, because I feel much more like myself.”
Photographed by Matthew Rolston.
Styling by Linda Medvene and Brandie Faria/margaretmaldonado.com.
Hair by Peter Savic using Redken/soloartists.com.
Makeup by Carol Shaw using Lorac Cosmetics/margaretmaldonado.com.
Manicure by April Foreman/The Wall Group.
Props by Peter Gargagliano/ [email protected]
http://www.oceandrive.com/hybrid/features/cover/index.html
Cindy on the Ocean Drive Cover photographed by none other then the legendary Matthew Rolston source : ocendrive.com
Sunday morning at 7 a.m., and Cindy Crawford gives me a wake-up call.
Not intentionally, of course—ensconced in a New York hotel suite, Crawford did a little backwards math with her watch, set to California time, and could not have been more apologetic as she quickly realized it was not 10 a.m., our appointed hour. And truth be told, her call didn’t wake me— a shaggy mutt named Bear considers that her sole responsibility at 6 a.m.—but nonetheless I subsequently would tell all my male friends it was Crawford’s voice that wrested me from slumber, just to enjoy the looks on their faces. Such is the power of Cindy.
Indeed, it has been 17 years since Crawford writhed seductively in a steamy bath in George Michael’s “Freedom” video; she was already firmly installed in the decade’s pantheon of supermodels (Linda Evangelista, Christy Turlington and Naomi Campbell appeared alongside Crawford in “Freedom,” which was directed by David Fincher before he would go on to helm Se7en and Fight Club), but it is this video that fans continue to regard as a Favorite Cindy Moment, one among many in a career noted for being both powerful and unabashed in its duality of girl-next-door-meets-sex-symbol. “I was in Vegas yesterday, and the Playboy pictures still get pulled out [for autographs] more than anything,” she says of the nude pictorials she famously shot in 1988 and 1998 with celebrated lensman Herb Ritts, who passed away in 2002. “What it says to me is that fashion is fleeting, but the body never goes out of style.”
Still, as tempting as such career milestones might be, Crawford admits she has other priorities these days. “The thing with Playboy came up again about a year ago, but now I make decisions for different reasons,” she says. “It would be good for my 41-year-old ego, but I have kids now, and from a business point of view I have to make sure it’s in line with the message I’m putting out there with other projects. Plus, the other times I did it were with Herb, and with him I knew the pictures would be beautiful, and it just wouldn’t feel right to do it with someone else.”
Throughout her career Crawford always has been positioned as the head-for-business supermodel—though she believes that “people give me too much credit for having some grand master plan that I didn’t have”—but that image never seems more true than of her latest partnership, with furniture giant Rooms to Go. Cindy Crawford Home launched in the fall of 2005 and quickly vaulted to the top of the retailer’s most popular collections. Its success recently prompted Rooms to Go to take the unprecedented step of offering Cindy Crawford Home to other retailers nationally in noncompete cities. And not to belabor the point, but such is the power of Cindy: She is not only the face of those ubiquitous television commercials, she is also involved in each phase of the design process, from concept to sample completion, and it was the initial exposure in Rooms to Go’s admittedly conservative Southeastern market that caused her to newly evaluate her other choices. The photo shoot for this magazine, for example, with photographer Matthew Rolston, shifted from its early concept of the dominatrix-chic looks currently filling fashion runways. “I enjoy doing edgier pictures for fun, but I don’t want to alienate my customer,” she says. “People in South Florida might totally get it, but not every market is as open-minded, so it has become a different decision- making process for me now.”
Crawford has been met by a pair of surprises since she launched the home collection: not only how successful the venture would be—“The guys I’m partnering with had an idea, but for me it has just gone so much better than I could have imagined”—but also simply how much fun she would have. “I’ll be the first to admit that I’m able to live a somewhat spoiled life,” Crawford says. “When I’ve bought furniture I’ve always worked with decorators, which can give you a really skewed view of what you have to spend to get good furniture; they tell you a good sofa costs $5,000, and you accept that. Part of the fun of this has been discovering that you don’t have to spend a ton of money to get style. I remember walking into the [Rooms to Go] store in Dallas when I was considering doing this, looking at what they were selling and thinking, I would totally have this in my house.” Crawford’s line will further expand later this year with the release of tabletop and home-accessories collections, which she believes also will be offered beyond Rooms to Go stores.
As a result, these days you will find one of the world’s most recognized faces (more than 600 appearances on magazine covers, according to her bio) working with design teams to discuss concepts and inspirations, reviewing sketches and fabric swatches, and taking occasional meetings at a warehouse not far from her Malibu home to test sample pieces before they go into production. “We put a lot of safeguards in place; nothing can be approved without me seeing it or touching it,” Crawford explains. “I was bracing myself for the kind of partnership where I would have to be a control freak, but it hasn’t been that way at all. They definitely want my input, but I also trust their expertise. It has been a great partnership, in which we both get to do what we’re good at.”
Crawford also admits that furniture design wasn’t part of the future she had envisioned, but it makes sense at this stage in her life. “When I was 35 I’d been with Revlon for 11 years when that relationship ended, and it was like, Wow, I can do my own thing now,” she remembers. “The first thing everyone wanted me to do was cosmetics, but I’m not a big makeup person and I’m not a makeup artist, so that didn’t feel organic to me. I also wasn’t interested in doing a clothing line, because to be successful it would have to be at the mass-market level, and I didn’t want to have my name on a line that I wouldn’t wear.”
The idea of Cindy as brand name was already in the mainstream—in 1994 Vanity Fair put her on the cover with the headline, “Cindy, Inc.”—not only because of her high-profile campaigns for Revlon, Pepsi and others, but also thanks to a pair of highly successful exercise videos she produced in the early ’90s with friend and fitness trainer Radu. The latter proved to be a model for another venture, Meaningful Beauty, a skin-care line featuring products developed by Paris-based cosmetic surgeon Jean-Louis Sebagh, which debuted in the fall of 2004 as a series of infomercials produced by Guthy-Renker. “As a woman and as a model, I was always interested in taking care of my skin,” Crawford says. “I always felt like my job was to show up ready to work, and that meant my body looked good and my skin looked good. I come in as a clean slate, and then the Matthew Rolstons and the hair and makeup people can work their magic.” (Crawford indeed penned a 1996 book, Basic Face, that emphasizes her natural-beauty philosophy.)
“One of the things I can offer people is access,” she continues. “Radu can only take eight clients a day, so we did a video together that says here’s the best of what he has to offer. It’s the same with the skin-care line—not everyone can get to see this doctor in Paris, so here’s what I learned. I love being a liaison, being able to bring these experiences to people.”
Crawford seems to apply that pragmatic attitude to just about everything in her life these days. She and Gerber may enjoy the Malibu lifestyle, hanging with friends such as George Clooney or Brad Pitt, but Crawford very much possesses a soccer-mom mentality, mentioning how one of the advantages of her Rooms to Go schedule is that it still allows her to pick up her children from school (she and Gerber have a seven-year-old son, Presley, and a five-year-old daughter, Kaya). And I ask if the kids show any early signs of modeling talent (the 45-year-old Gerber, who owns a number of nightclubs in the U.S. and abroad, was also a model early in his career), but Crawford promptly rejects the notion. “If anything, they don’t like having their picture taken,” she says. “Part of it is that there have been a few frightening experiences with paparazzi, with someone jumping out of a bush while we’re walking into preschool. They know that people know me, but they don’t think it’s strange that I’m on a magazine or on TV. They don’t have the grasp yet that it’s anything unusual. They’ll see a magazine in the grocery store and say, ‘Look, there’s Uncle George.’ ”
Crawford is equally pragmatic about the current mood in modeling. I remark that the dizzying heights of the Cindy-Christy-Linda-Naomi era of the early ’90s have never been recaptured, and she’s quick with reasons why, both practical and poetic. “The stars were just in alignment,” she says. “At the time Hollywood was not into looking glamorous, so models became the source for glamour. And Versace really loved that—Gianni wanted everyone to be larger than life, so he promoted that idea, because he knew that the bigger the models became, the better it would be for fashion. But these days it’s much tougher for young models; all the cosmetic companies want actresses for their campaigns, not only because they’re already a name, but because they have the synergy of also being out there in movies or television. I always say that if you’re a basketball player and you’re doing a sneaker line, your train that’s pulling everything is basketball. If you’re an actress, then acting is your main engine. But models don’t have that; our core business is modeling.”
You can’t help but smile to hear Crawford refer to modeling as “our” business, because the statement confirms she remains part of it, and vice versa. “I still do just straight modeling jobs,” she points out. “I just did something with Patrick Demarchelier, whom I’ve worked with for 20 years. It was great money and it was just one day, so I thought, Why not? Plus with Patrick, I know he could shoot me in a potato sack and I would look good.”
At this point Crawford’s room-service breakfast arrives, so I wrap up the conversation by asking if the current theme of her life is one of balance, of coming to terms with the best combination of Cindy the wife and mother with Cindy, Inc.
“It’s definitely nice to be in a place in which I can be clear about what I want and don’t want,” she says. “I feel like I’m a present mom and wife, and at the same time I get a lot of personal fulfillment from the work that I do. You know, I actually didn’t enjoy modeling as much as I do now; back then I didn’t have the confidence because I was always judging myself against everyone else and thinking, When are they going to figure out I’m just this girl from Illinois? But now I love trying different things, because I feel much more like myself.”
Photographed by Matthew Rolston.
Styling by Linda Medvene and Brandie Faria/margaretmaldonado.com.
Hair by Peter Savic using Redken/soloartists.com.
Makeup by Carol Shaw using Lorac Cosmetics/margaretmaldonado.com.
Manicure by April Foreman/The Wall Group.
Props by Peter Gargagliano/ [email protected]
http://www.oceandrive.com/hybrid/features/cover/index.html
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versustito
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ESCANEADO POR MI!
Marie claire Sept 1996
Marie claire Sept 1996
