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Share with us... Your Best & Worst Collections of Haute Couture S/S 2025
Grace Kelly
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scandinavian mags
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have anybody got photos of her early years in Philadelphia?
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Scroll back through the thread and you will see them.
opera gloves
opera gloves
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Windows in Monaco decorated for the wedding of Grace and Rainier
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Artist showing sketch of Grace and Rainier's wedding cake
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nj.com
It is perhaps the most select club in Hollywood: The Hitchcock Blondes.
He cast the pale beauties almost exclusively from his first thriller, the silent "The Lodger" in 1927, and by his final film, "Family Plot," not quite 50 years later, the list had grown to include some of cinema's best. Grace Kelly and Ingrid Bergman. Janet Leigh and Julie Andrews. Doris Day and Joan Fontaine, Eva Marie Saint and Carole Lombard.
Although he joked it was only because fair hair was like "virgin snow that shows up the bloody footprints," his tastes were precise. He ignored the obvious bombshells, the Mansfields and Monroes. If the woman was normally brunette, like Anne Baxter, he chose the hair dye; if she was an unknown, like Tippi Hedren, he chose everything.
Yet there is a line between being involved and with being obsessed, with controlling a production and controlling a person. And it was a line that Alfred Hitchcock often crossed.
Every good director is an obsessive in some way -- they have to be, if they're going to be successful. And Hitchcock was a great director, and perhaps Hollywood's most popular. A new, deluxe DVD set from MGM collects eight of his films; a recent one from Universal spotlighted even more. His name has become an adjective; his caricatured profile, a logo.
Yet there was a side of "The Master of Suspense" that the canny self-marketer took pains to conceal. The witty raconteur who, off the record, was fond of filthy jokes. The devoted husband who pined after frosty beauties like a schoolboy. And, most dreadfully, the kindly mentor who ruthlessly pursued his own young discoveries.
The new book by Donald Spoto, "Spellbound by Beauty: Alfred Hitchcock and His Leading Ladies," captures all of it. Spoto, who's written two other books on the director, has spent years speaking to many of his stars and colleagues. And the picture that develops is of a deeply unhappy and darkly secretive man.
It's certainly not the witty image the filmmaker or his family presented. When I interviewed Pat Hitchcock nearly a decade ago, she described her father as "very kind" ("I wish people would know that," she added wistfully). She claimed that, although she hadn't read Spoto's first unauthorized biography, "nothing that people quoted to me from it was true."
Yet even if the doting father was beloved in his own house, there are too many stories in too many other books for Spoto's to be ignored. Yes, Hitchcock's films are amazingly enjoyable (and, on second viewing, extraordinarily deep). But clearly they sprang from his own pain, and working with him could be a torment.
Born Catholic and a Cockney -- two circumstances that would shape the Englishman's attitude toward sin, and his feelings of exclusion -- Hitchcock grew up, he said, "uncommonly unattractive" with an artist's eye and a fondness for detail. That led to a job designing title cards for silent movies -- which, in those all-hands-on-deck days, soon led to directing.
Hitchcock would spend the first 17 years of his career in Europe in a variety of genres -- he made a musical, even adapted a Sean O'Casey play. But it was his touch with thrillers that made his name. And Hitchcock soon remade them in his name, with a focus on unfair accusations and inescapable guilt.
Yet there were other obsessions, too.
The most obvious on-screen fetish was for blondes. (The very first shot in the very first Hitchcock thriller, "The Lodger," is of a screaming, fair-haired woman.) The most disturbing off-screen fondness was for bullying his actresses (he delighted in putting Madeleine Carroll through painful stunts in "The 39 Steps," and left her in prop handcuffs until her wrists were raw). Like some holier-than-thou inquisitor, he tortured his temptations.
Directors are manipulators, of course -- it's in the job description -- and there were times when his bad behavior served his art. (Would he have gotten that perfect insecurity out of Joan Fontaine in "Rebecca" if he weren't privately telling her how much everyone disliked her?) Yet other times, like the elaborate practical jokes he played, it was simple sadism.
Not all of his actresses were victims. Ingrid Bergman was far too clear-headed; Grace Kelly, for all her chilly class, far too worldly. Both women knew he was half-in-love with them; both diplomatically deflected his attentions. And the movies that resulted were amazing, and oddly revealing (in "Notorious," a vulnerable Bergman is debased by her own lover; in "Rear Window," an eager-to-please Kelly is endangered by her boyfriend voyeur).
Arguably, both women did their best work for Hitchcock. Yet the Bergman collaboration ended when she left him -- and her husband, and the country -- for Italian director Roberto Rossellini; the Kelly union stopped when she married Prince Rainier. As Vera Miles would discover years later -- after Hitchcock had signed her to a rigidly exclusive contract, and she finally dropped out by getting pregnant -- there were only a few ways of escape.
"Vertigo" was already being planned for her, and when it was finally made and released, many viewed it as a convoluted mystery with a peculiar hero. Decades later, when I interviewed replacement star Kim Novak, she said she'd seen it as a metaphor for her own career, always being re-imagined as "this year's" somebody-or-other.
Yet today, it seems like a sad parable of Hitchcock's life as an artist.
The hero's flaw is that he tries to "direct" another person -- recreating a fantasy, dictating the heroine's "look." (In real life, Hitchcock was furious -- and immovable -- when Novak balked at a pair of pumps he insisted her character wear.) And, in the end, the heroine's independence tragically defeats the hero's fantasies -- as much as Bergman's and Kelly's quietly defeated Hitchcock's.
If "Vertigo" detailed his frustrations in directing a star, there was still one method of control left -- creating his own. This time, however -- instead of the 25-year-old, twice-married Miles -- Hitchcock picked a more malleable figure. Tippi Hedren was 31, a divorced mother (of the then-toddling Melanie Griffith) and a model with a slowing career. Her performing experience was minimal; her gratitude for his interest, immense.
Hitchcock counted on both.
The two films they made mirrored their relationship. In "The Birds," she plays the victim of senseless, meaningless attacks; on the set, Hitchcock's cruel insistence on using live animals for the final assault (which took a week to film) nearly sent her to the hospital. In "Marnie," she's a dazed young woman brutalized by her own husband; off the set, Hedren said, it was at this point that Hitchcock declared he was taking her as his mistress.
There have been too many spurious books written about dead celebrities to simply accept this, now that Hitchcock cannot defend himself. Yet Hedren -- who says she spurned his advances -- tells the story herself, and her co-stars have corroborated details. Even the late Francois Truffaut, a devoted partisan, called Hitchcock a "frustrated Pygmalion" who was never the same after "Marnie" ended his "personal and professional" relationship with Hedren.
There were still good films to come -- there is a cool assurance to "Frenzy," and a sort of peace to "Family Plot" -- but once he dropped Hedren's contract, Hitchcock dropped the polite mask as well. "Torn Curtain" features a gruesomely realistic killing and "Frenzy" a graphic r*pe; he then spent years planning a film that would open with a brutal sex murder. The project never came to pass; the director died in 1980.
Elegies were not easy to compose.
A shy man of peculiar phobias (raw eggs, policemen, untidy bathrooms) he made some of our most terrifying films; an astoundingly gifted filmmaker, he never won a best-director Oscar. When praised for the complexity of his work, he always changed the subject with a quip, or switched the topic to technical details; having cast the world's most beautiful actresses, he often greeted them with dirty jokes and sometimes dirtier behavior.
In the end, we honor the art, not the artist; if film lovers have -- mostly -- forgiven the sins of Charlie Chaplin, Woody Allen and Roman Polanski, surely there is room for Hitchcock's redemption, too.
Yet his flaws and fears are so interwoven with his films that they haunt them; it is impossible, once you know something of the man, to ever watch "Vertigo" or "Marnie" or even "Notorious" in quite the same way again. Was it because he knew how much his films revealed that he pretended they were mere entertainments? Or did he honestly never realize what impassioned confessions he had made?
Of all the mysteries that Alfred Hitchcock created, the greatest was himself.
Stephen Whitty may be reached at [email protected] or (212) 790-4435.
IF YOU'RE INTERESTED
Donald Spoto's "Spellbound by Beauty: Hitchcock and His Leading Ladies" is $25.95 from Harmony Books; the "Alfred Hitchcock Premiere Collection" is $119.98 from MGM Home Entertainment and includes "The Lodger," "Rebecca," "Notorious" and five other films, along with copious supplementary features and a 32-page book.
It is perhaps the most select club in Hollywood: The Hitchcock Blondes.
He cast the pale beauties almost exclusively from his first thriller, the silent "The Lodger" in 1927, and by his final film, "Family Plot," not quite 50 years later, the list had grown to include some of cinema's best. Grace Kelly and Ingrid Bergman. Janet Leigh and Julie Andrews. Doris Day and Joan Fontaine, Eva Marie Saint and Carole Lombard.
Although he joked it was only because fair hair was like "virgin snow that shows up the bloody footprints," his tastes were precise. He ignored the obvious bombshells, the Mansfields and Monroes. If the woman was normally brunette, like Anne Baxter, he chose the hair dye; if she was an unknown, like Tippi Hedren, he chose everything.
Yet there is a line between being involved and with being obsessed, with controlling a production and controlling a person. And it was a line that Alfred Hitchcock often crossed.
Every good director is an obsessive in some way -- they have to be, if they're going to be successful. And Hitchcock was a great director, and perhaps Hollywood's most popular. A new, deluxe DVD set from MGM collects eight of his films; a recent one from Universal spotlighted even more. His name has become an adjective; his caricatured profile, a logo.
Yet there was a side of "The Master of Suspense" that the canny self-marketer took pains to conceal. The witty raconteur who, off the record, was fond of filthy jokes. The devoted husband who pined after frosty beauties like a schoolboy. And, most dreadfully, the kindly mentor who ruthlessly pursued his own young discoveries.
The new book by Donald Spoto, "Spellbound by Beauty: Alfred Hitchcock and His Leading Ladies," captures all of it. Spoto, who's written two other books on the director, has spent years speaking to many of his stars and colleagues. And the picture that develops is of a deeply unhappy and darkly secretive man.
It's certainly not the witty image the filmmaker or his family presented. When I interviewed Pat Hitchcock nearly a decade ago, she described her father as "very kind" ("I wish people would know that," she added wistfully). She claimed that, although she hadn't read Spoto's first unauthorized biography, "nothing that people quoted to me from it was true."
Yet even if the doting father was beloved in his own house, there are too many stories in too many other books for Spoto's to be ignored. Yes, Hitchcock's films are amazingly enjoyable (and, on second viewing, extraordinarily deep). But clearly they sprang from his own pain, and working with him could be a torment.
Born Catholic and a Cockney -- two circumstances that would shape the Englishman's attitude toward sin, and his feelings of exclusion -- Hitchcock grew up, he said, "uncommonly unattractive" with an artist's eye and a fondness for detail. That led to a job designing title cards for silent movies -- which, in those all-hands-on-deck days, soon led to directing.
Hitchcock would spend the first 17 years of his career in Europe in a variety of genres -- he made a musical, even adapted a Sean O'Casey play. But it was his touch with thrillers that made his name. And Hitchcock soon remade them in his name, with a focus on unfair accusations and inescapable guilt.
Yet there were other obsessions, too.
The most obvious on-screen fetish was for blondes. (The very first shot in the very first Hitchcock thriller, "The Lodger," is of a screaming, fair-haired woman.) The most disturbing off-screen fondness was for bullying his actresses (he delighted in putting Madeleine Carroll through painful stunts in "The 39 Steps," and left her in prop handcuffs until her wrists were raw). Like some holier-than-thou inquisitor, he tortured his temptations.
Directors are manipulators, of course -- it's in the job description -- and there were times when his bad behavior served his art. (Would he have gotten that perfect insecurity out of Joan Fontaine in "Rebecca" if he weren't privately telling her how much everyone disliked her?) Yet other times, like the elaborate practical jokes he played, it was simple sadism.
Not all of his actresses were victims. Ingrid Bergman was far too clear-headed; Grace Kelly, for all her chilly class, far too worldly. Both women knew he was half-in-love with them; both diplomatically deflected his attentions. And the movies that resulted were amazing, and oddly revealing (in "Notorious," a vulnerable Bergman is debased by her own lover; in "Rear Window," an eager-to-please Kelly is endangered by her boyfriend voyeur).
Arguably, both women did their best work for Hitchcock. Yet the Bergman collaboration ended when she left him -- and her husband, and the country -- for Italian director Roberto Rossellini; the Kelly union stopped when she married Prince Rainier. As Vera Miles would discover years later -- after Hitchcock had signed her to a rigidly exclusive contract, and she finally dropped out by getting pregnant -- there were only a few ways of escape.
"Vertigo" was already being planned for her, and when it was finally made and released, many viewed it as a convoluted mystery with a peculiar hero. Decades later, when I interviewed replacement star Kim Novak, she said she'd seen it as a metaphor for her own career, always being re-imagined as "this year's" somebody-or-other.
Yet today, it seems like a sad parable of Hitchcock's life as an artist.
The hero's flaw is that he tries to "direct" another person -- recreating a fantasy, dictating the heroine's "look." (In real life, Hitchcock was furious -- and immovable -- when Novak balked at a pair of pumps he insisted her character wear.) And, in the end, the heroine's independence tragically defeats the hero's fantasies -- as much as Bergman's and Kelly's quietly defeated Hitchcock's.
If "Vertigo" detailed his frustrations in directing a star, there was still one method of control left -- creating his own. This time, however -- instead of the 25-year-old, twice-married Miles -- Hitchcock picked a more malleable figure. Tippi Hedren was 31, a divorced mother (of the then-toddling Melanie Griffith) and a model with a slowing career. Her performing experience was minimal; her gratitude for his interest, immense.
Hitchcock counted on both.
The two films they made mirrored their relationship. In "The Birds," she plays the victim of senseless, meaningless attacks; on the set, Hitchcock's cruel insistence on using live animals for the final assault (which took a week to film) nearly sent her to the hospital. In "Marnie," she's a dazed young woman brutalized by her own husband; off the set, Hedren said, it was at this point that Hitchcock declared he was taking her as his mistress.
There have been too many spurious books written about dead celebrities to simply accept this, now that Hitchcock cannot defend himself. Yet Hedren -- who says she spurned his advances -- tells the story herself, and her co-stars have corroborated details. Even the late Francois Truffaut, a devoted partisan, called Hitchcock a "frustrated Pygmalion" who was never the same after "Marnie" ended his "personal and professional" relationship with Hedren.
There were still good films to come -- there is a cool assurance to "Frenzy," and a sort of peace to "Family Plot" -- but once he dropped Hedren's contract, Hitchcock dropped the polite mask as well. "Torn Curtain" features a gruesomely realistic killing and "Frenzy" a graphic r*pe; he then spent years planning a film that would open with a brutal sex murder. The project never came to pass; the director died in 1980.
Elegies were not easy to compose.
A shy man of peculiar phobias (raw eggs, policemen, untidy bathrooms) he made some of our most terrifying films; an astoundingly gifted filmmaker, he never won a best-director Oscar. When praised for the complexity of his work, he always changed the subject with a quip, or switched the topic to technical details; having cast the world's most beautiful actresses, he often greeted them with dirty jokes and sometimes dirtier behavior.
In the end, we honor the art, not the artist; if film lovers have -- mostly -- forgiven the sins of Charlie Chaplin, Woody Allen and Roman Polanski, surely there is room for Hitchcock's redemption, too.
Yet his flaws and fears are so interwoven with his films that they haunt them; it is impossible, once you know something of the man, to ever watch "Vertigo" or "Marnie" or even "Notorious" in quite the same way again. Was it because he knew how much his films revealed that he pretended they were mere entertainments? Or did he honestly never realize what impassioned confessions he had made?
Of all the mysteries that Alfred Hitchcock created, the greatest was himself.
Stephen Whitty may be reached at [email protected] or (212) 790-4435.
IF YOU'RE INTERESTED
Donald Spoto's "Spellbound by Beauty: Hitchcock and His Leading Ladies" is $25.95 from Harmony Books; the "Alfred Hitchcock Premiere Collection" is $119.98 from MGM Home Entertainment and includes "The Lodger," "Rebecca," "Notorious" and five other films, along with copious supplementary features and a 32-page book.
scriptgirl
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cbs news
CBS) "The '50s, especially for me -- an age of innocence. There was a degree of prosperity and a sense of amazing optimism."
With those words, co-anchor Harry Smith perhaps summed up the feel that emerged from The Early Show's look back to the 1950s, as we began a weeklong series Monday, "Five Days, Five Decades." Smith, who was born in 1951, described himself as a "child of the '50s and '60s."
We'll be looking at a decade a day this week.
"Life was simple," in the '50s, said co-anchor Julie Chen. "Nice and easy."
"You had a society that I guess was very prosperous after World War II," news anchor Russ Mitchell pointed out.
"But it was a transitional period for the country, for the culture, for technology and for the world," remarked weather anchor and features reporter Dave Price.
"It was a decade of glamour, innocence, and purity," noted co-anchor Maggie Rodriguez.
"TV was huge," Smith recalled. "We had a black and white television. I remember that it was really exciting. Television was just such a big doggoned deal."
"That's where everybody gathered," Price says. "It wasn't just a piece of furniture and it wasn't just a piece of technology. It was magic. It was magic plugged into a wall."
"I Love Lucy," "The Ed Sullivan Show," "American Bandstand," "Leave It To Beaver" and scores of other classis shows dotted the landscape and left indelible marks on American culture.
"Families you pictured like the perfect family -- buying the perfect little house, starting out their life and Leave it to Beaver and family values," Chen summed up.
Several child stars fo the era -- all grown up now, of course -- chatted with Smith Monday.
The commercials were memorable, too!
Superstars such as Elvis and Sinatra held sway on the music front. Little Richard, too -- he performed on The Early Show Monday.
"When you think Elvis, you think Ed Sullivan," Price says. "You think of screaming fans, crying fans. God, that was good. That was good. That was rock 'n' roll. Those were superstars!"
Elsewhere on the culture front -- Smith says, "Among the kids I grew up, with cars were THE most important thing."
" '57 was a good year," Price feels. "It was a good year for Chevrolet, 'cause the '57 Chevy emerged. It was a good year for literature."
"Even to this day," Chen says. "You know, people are still reading 'Dr. Seuss' to their kids."
"I think I would have liked living in the '50s," Rodriguez observes, "because women (and their fashions) are so elegant. You think of Audrey Hepburn and Grace Kelly. I look at pictures of my grandmother, and she's always wearing a dress and heels, dressed to the nines.
"The most handsome actors of all time are from the '50s," Rodriguez continued. "You think of Rock Hudson, Cary Grant, James Dean. They were all rebellious, bad boys, but always gentlemen."
"Elizabeth Taylor plays my namesake, Maggie" in 'Cat on a Hot Tin Roof.' ... And she's paired up with Paul Newman. They were just magic together."
And the real world presented stark challenges, as always.
"In 1955," Price says, "the Soviet Union launched Sputnik and, for a lot of people, they were terrified. They were convinced that was where the attack from Communists or the Soviet Union was going to come from."
"I think about this a lot -- that if Rosa Parks didn't sit in the seat she sat in, I couldn't sit in the seat that I sit in, in this job," Mitchell says. "I think many of us (African-Americans) feel that way."
"1959 is the year that changed my parents' lives forever," Rodriguez shared. "(Fidel) Castro's government started seizing businesses and homes. And a lot of families made the painful decision to leave their homeland. My parents were among them."
"We call it the Korean War," Price said, "but it was a conflict, and it was a conflict we were mired in for a very long period of time."
"I really remember civil defense drills in school," Smith said. "We had 'Duck and cover' drills ... and we'd get under our desks, because we knew the Russians were gonna bomb us."
CBS) "The '50s, especially for me -- an age of innocence. There was a degree of prosperity and a sense of amazing optimism."
With those words, co-anchor Harry Smith perhaps summed up the feel that emerged from The Early Show's look back to the 1950s, as we began a weeklong series Monday, "Five Days, Five Decades." Smith, who was born in 1951, described himself as a "child of the '50s and '60s."
We'll be looking at a decade a day this week.
"Life was simple," in the '50s, said co-anchor Julie Chen. "Nice and easy."
"You had a society that I guess was very prosperous after World War II," news anchor Russ Mitchell pointed out.
"But it was a transitional period for the country, for the culture, for technology and for the world," remarked weather anchor and features reporter Dave Price.
"It was a decade of glamour, innocence, and purity," noted co-anchor Maggie Rodriguez.
"TV was huge," Smith recalled. "We had a black and white television. I remember that it was really exciting. Television was just such a big doggoned deal."
"That's where everybody gathered," Price says. "It wasn't just a piece of furniture and it wasn't just a piece of technology. It was magic. It was magic plugged into a wall."
"I Love Lucy," "The Ed Sullivan Show," "American Bandstand," "Leave It To Beaver" and scores of other classis shows dotted the landscape and left indelible marks on American culture.
"Families you pictured like the perfect family -- buying the perfect little house, starting out their life and Leave it to Beaver and family values," Chen summed up.
Several child stars fo the era -- all grown up now, of course -- chatted with Smith Monday.
The commercials were memorable, too!
Superstars such as Elvis and Sinatra held sway on the music front. Little Richard, too -- he performed on The Early Show Monday.
"When you think Elvis, you think Ed Sullivan," Price says. "You think of screaming fans, crying fans. God, that was good. That was good. That was rock 'n' roll. Those were superstars!"
Elsewhere on the culture front -- Smith says, "Among the kids I grew up, with cars were THE most important thing."
" '57 was a good year," Price feels. "It was a good year for Chevrolet, 'cause the '57 Chevy emerged. It was a good year for literature."
"Even to this day," Chen says. "You know, people are still reading 'Dr. Seuss' to their kids."
"I think I would have liked living in the '50s," Rodriguez observes, "because women (and their fashions) are so elegant. You think of Audrey Hepburn and Grace Kelly. I look at pictures of my grandmother, and she's always wearing a dress and heels, dressed to the nines.
"The most handsome actors of all time are from the '50s," Rodriguez continued. "You think of Rock Hudson, Cary Grant, James Dean. They were all rebellious, bad boys, but always gentlemen."
"Elizabeth Taylor plays my namesake, Maggie" in 'Cat on a Hot Tin Roof.' ... And she's paired up with Paul Newman. They were just magic together."
And the real world presented stark challenges, as always.
"In 1955," Price says, "the Soviet Union launched Sputnik and, for a lot of people, they were terrified. They were convinced that was where the attack from Communists or the Soviet Union was going to come from."
"I think about this a lot -- that if Rosa Parks didn't sit in the seat she sat in, I couldn't sit in the seat that I sit in, in this job," Mitchell says. "I think many of us (African-Americans) feel that way."
"1959 is the year that changed my parents' lives forever," Rodriguez shared. "(Fidel) Castro's government started seizing businesses and homes. And a lot of families made the painful decision to leave their homeland. My parents were among them."
"We call it the Korean War," Price said, "but it was a conflict, and it was a conflict we were mired in for a very long period of time."
"I really remember civil defense drills in school," Smith said. "We had 'Duck and cover' drills ... and we'd get under our desks, because we knew the Russians were gonna bomb us."
scriptgirl
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nbc
ashion designer Tommy Hilfiger, who was in town Saturday to show off his clothing line and light the Macy's Christmas tree, talked about his designs and his hopes for expanding his brand.
Macy's is now the only department store licensed to sell Hilfiger's collection of men's and women's sportswear. The new partnership is what brought Hilfiger to Chicago.
In Hilfiger's fall collection is a return to elegant American sportswear for women, reworking classics from the 60s and 70s. For men, it's classics mixed with tons of texture and patterns. Hilfiger said American icons such as Jackie Kennedy, Grace Kelly, Audrey Hepburn and James Dean.
"He's perfect for reinventing the classic," said Jenny Wilkins, Macy's trend correspondent. "So everything from the men's winter bomber jacket to a great button-down Oxford -- full pops of color and layering. Perfect for transitional weather here in Chicago."
Hilfiger's multi-billion dollar company is also into fragrance and home accessories -- and it's still expanding.
"In the future, I'd like to do more for the home, more stores," Hilfiger said. "So it's always exciting."
ashion designer Tommy Hilfiger, who was in town Saturday to show off his clothing line and light the Macy's Christmas tree, talked about his designs and his hopes for expanding his brand.
Macy's is now the only department store licensed to sell Hilfiger's collection of men's and women's sportswear. The new partnership is what brought Hilfiger to Chicago.
In Hilfiger's fall collection is a return to elegant American sportswear for women, reworking classics from the 60s and 70s. For men, it's classics mixed with tons of texture and patterns. Hilfiger said American icons such as Jackie Kennedy, Grace Kelly, Audrey Hepburn and James Dean.
"He's perfect for reinventing the classic," said Jenny Wilkins, Macy's trend correspondent. "So everything from the men's winter bomber jacket to a great button-down Oxford -- full pops of color and layering. Perfect for transitional weather here in Chicago."
Hilfiger's multi-billion dollar company is also into fragrance and home accessories -- and it's still expanding.
"In the future, I'd like to do more for the home, more stores," Hilfiger said. "So it's always exciting."
scriptgirl
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live pr
Burberry Scarves bring great Looks to Women
08.11.2008 05:54:32 For warmth or style or even a little bit of both scarves are the best and cheap options available, according to the fashionable scarf designers at 1designerscarves.com
(live-PR.com) - Buckinghamshire, November 2008 - “There is a common misconception among people that scarves are only meant for warmth. The fact is that they can be worn as outerwear or simply just to spice up a boring outfit”, says Mr. John Richards of 1designerscarves.com
“Scarves have been around for thousands of years, if Chinese sculptures representing fringed rectangles of fabric are
to be believed. In the last half century, particularly, Burberry scarves have been part and parcel of old Hollywood glamour. Celebrities and fashion icons such as Marilyn Monroe, Lana Turner and Grace Kelly and many others are all known for wearing scarves, tied in many different ways.”
He added that “there are many types of Burberry scarves available out there. The Burberry cashmere scarf is the most popular stuff. The cashmere scarf is basically a super fine quality of wool, which is hand woven, eco friendly. These scarves are long lasting when compared to other types of scarves.”
“Using Burberry scarves differs from people to people. Although they could be thrown over the shoulder or tied loosely around the neck, generally a much excepted way is to wear them is double-knotted and slightly off center (with the knot to either side). The great thing is that they can easily be removed and folded into a tote bag or even a pocket in case circumstances call for slight changes to the ensemble during the day.”
He concluded that, “the classy sense of elegance gained by Burberry scarves are the main reason they continue to be popular in all sorts of wardrobes. Because they add such a great touch to business wear or dinner wear, they can make all the difference between an average first impression and a double take.”
Burberry Scarves bring great Looks to Women
08.11.2008 05:54:32 For warmth or style or even a little bit of both scarves are the best and cheap options available, according to the fashionable scarf designers at 1designerscarves.com
(live-PR.com) - Buckinghamshire, November 2008 - “There is a common misconception among people that scarves are only meant for warmth. The fact is that they can be worn as outerwear or simply just to spice up a boring outfit”, says Mr. John Richards of 1designerscarves.com
“Scarves have been around for thousands of years, if Chinese sculptures representing fringed rectangles of fabric are
to be believed. In the last half century, particularly, Burberry scarves have been part and parcel of old Hollywood glamour. Celebrities and fashion icons such as Marilyn Monroe, Lana Turner and Grace Kelly and many others are all known for wearing scarves, tied in many different ways.”
He added that “there are many types of Burberry scarves available out there. The Burberry cashmere scarf is the most popular stuff. The cashmere scarf is basically a super fine quality of wool, which is hand woven, eco friendly. These scarves are long lasting when compared to other types of scarves.”
“Using Burberry scarves differs from people to people. Although they could be thrown over the shoulder or tied loosely around the neck, generally a much excepted way is to wear them is double-knotted and slightly off center (with the knot to either side). The great thing is that they can easily be removed and folded into a tote bag or even a pocket in case circumstances call for slight changes to the ensemble during the day.”
He concluded that, “the classy sense of elegance gained by Burberry scarves are the main reason they continue to be popular in all sorts of wardrobes. Because they add such a great touch to business wear or dinner wear, they can make all the difference between an average first impression and a double take.”
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metro news
amilla Scott has played parts that were originated by the likes of Doris Day, Patti LuPone and Grace Kelly. But never before has she followed in the footsteps of Adam Brazier.
Yet that’s exactly what’s happening at the Panasonic Theatre, where We Will Rock You continues to play to packed houses of people who can’t get enough of the music of Queen.
Scott has taken over the role of Khashoggi, the evil henchman to the Killer Queen in Ben Elton’s dystopian fantasy about a world where live rock music is illegal.
It’s a part that has always been played by a man, with the brawny Brazier as the role’s most recent inhabitant.
So how did Scott react to a call from Mirvish Productions asking her if she’d take on the challenge?
“I said, ‘Well, I’ve got a little hair on my chest; I think I’d be good.’ Seriously, I miss stage work, I’ve been doing too much film and TV.”
Strange as it may seem, the vocal requirements of the songs present no problem to Scott at all.
“Freddie Mercury’s voice was so high for a man,” she explains, “that all of his songs sit really well in a woman’s chest voice. So I sing them in the same key as the guys ... I just belt the crap out of them!”
Scott has always been known as a straight-ahead, take-no-prisoners kind of gal. It’s something she started early on in life.
One day she heard that the soap opera Days of Our Lives was looking for a young actress who could sing. Scott crashed her way into the casting office.
“Sing something,” the woman behind the desk commanded. Momentarily flummoxed, Scott thought of the last song she had heard on the car radio and immediately broke into her best Whitney Houston.
She started filming the next day and stayed on the series for two years.
Scott came back to Canada to star in Crazy for You with the Mirvish organization.
Lots of Grade A credits followed, but they all paled beside finally marrying actor Paul Eves in 2002 after decades of dating.
When she asked him why they waited so long, he said, “I’ll ask you when I’m ready ... You can’t be in charge of everything.”
Their son Jack followed in 2005. Scott admits, “It’s nice not to be the most important person in your own life any more.”
• We Will Rock You — with Camilla Scott — is on at the Panasonic Theatre until Jan. 4.
amilla Scott has played parts that were originated by the likes of Doris Day, Patti LuPone and Grace Kelly. But never before has she followed in the footsteps of Adam Brazier.
Yet that’s exactly what’s happening at the Panasonic Theatre, where We Will Rock You continues to play to packed houses of people who can’t get enough of the music of Queen.
Scott has taken over the role of Khashoggi, the evil henchman to the Killer Queen in Ben Elton’s dystopian fantasy about a world where live rock music is illegal.
It’s a part that has always been played by a man, with the brawny Brazier as the role’s most recent inhabitant.
So how did Scott react to a call from Mirvish Productions asking her if she’d take on the challenge?
“I said, ‘Well, I’ve got a little hair on my chest; I think I’d be good.’ Seriously, I miss stage work, I’ve been doing too much film and TV.”
Strange as it may seem, the vocal requirements of the songs present no problem to Scott at all.
“Freddie Mercury’s voice was so high for a man,” she explains, “that all of his songs sit really well in a woman’s chest voice. So I sing them in the same key as the guys ... I just belt the crap out of them!”
Scott has always been known as a straight-ahead, take-no-prisoners kind of gal. It’s something she started early on in life.
One day she heard that the soap opera Days of Our Lives was looking for a young actress who could sing. Scott crashed her way into the casting office.
“Sing something,” the woman behind the desk commanded. Momentarily flummoxed, Scott thought of the last song she had heard on the car radio and immediately broke into her best Whitney Houston.
She started filming the next day and stayed on the series for two years.
Scott came back to Canada to star in Crazy for You with the Mirvish organization.
Lots of Grade A credits followed, but they all paled beside finally marrying actor Paul Eves in 2002 after decades of dating.
When she asked him why they waited so long, he said, “I’ll ask you when I’m ready ... You can’t be in charge of everything.”
Their son Jack followed in 2005. Scott admits, “It’s nice not to be the most important person in your own life any more.”
• We Will Rock You — with Camilla Scott — is on at the Panasonic Theatre until Jan. 4.
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The Wharf
Pearls Of Wisdom
By Lucia Blash on November 6, 2008 12:29 PM | Tagged with: Chrissie Douglas, pearls, precious gems, Princess Diana
Ever since Marilyn Monroe shimmered through the movie Gentlemen Prefer Blondes purring about a certain gemstone, diamonds have been cemented in our consciousness as being a girl’s best friend, writes Lucia Blash. However, get Chrissie Douglas on the subject and you might just find yourself questioning the validity of that long-held belief.
“Forget diamonds and focus on pearls,” she says. “They really are a girl’s best friend.”
Chrissie is acknowledged as the UK’s leading expert on pearls and one of the world’s most celebrated jewellery designers, having been catapulted to fame when John Galliano used one of her pearl chokers in his now iconic first collection for Dior.
Her pieces can be seen on royalty, state figureheads, and celebrities such as Grace Jones, Kristen Scott Thomas, Marianne Faithful, Bette Midler, and Amelia Fox.
So where pearls are concerned she might just be a little biased. But when the refreshingly unpretentious designer starts pointing out the virtues of pearls it’s easy to see why they have long been the beauty secret of some of the world’s most glamorous women.
Think glamour. Think beauty. Think grace. Think elegance. Names such as Princess Diana, Audrey Hepburn, Coco Chanel, Jackie Kennedy and Princess Grace – all of them rarely seen without a strand of pearls in some shape, colour or size.
“Pearls give the wearer an instant face-lift,” explains Chrissie, whose designs are on permanent exhibition at the Earth Treasury section of the Natural History Museum. “They re-establish the natural harmony of the face, drawing attention away from unflattering features, and giving it a flattering and natural glow.
“You only have to look at the style icons over the years. You probably don’t even notice that they’re wearing pearls but look again and you’ll see their gem of choice.
“Once you know the secrets and beauty benefits of wearing pearls it’s easy to see why these women wore them.”
So with Christmas parties coming up and little black dresses to be worn, will you be wearing diamonds or pearls?
Pearls Of Wisdom
By Lucia Blash on November 6, 2008 12:29 PM | Tagged with: Chrissie Douglas, pearls, precious gems, Princess Diana
Ever since Marilyn Monroe shimmered through the movie Gentlemen Prefer Blondes purring about a certain gemstone, diamonds have been cemented in our consciousness as being a girl’s best friend, writes Lucia Blash. However, get Chrissie Douglas on the subject and you might just find yourself questioning the validity of that long-held belief.
“Forget diamonds and focus on pearls,” she says. “They really are a girl’s best friend.”
Chrissie is acknowledged as the UK’s leading expert on pearls and one of the world’s most celebrated jewellery designers, having been catapulted to fame when John Galliano used one of her pearl chokers in his now iconic first collection for Dior.
Her pieces can be seen on royalty, state figureheads, and celebrities such as Grace Jones, Kristen Scott Thomas, Marianne Faithful, Bette Midler, and Amelia Fox.
So where pearls are concerned she might just be a little biased. But when the refreshingly unpretentious designer starts pointing out the virtues of pearls it’s easy to see why they have long been the beauty secret of some of the world’s most glamorous women.
Think glamour. Think beauty. Think grace. Think elegance. Names such as Princess Diana, Audrey Hepburn, Coco Chanel, Jackie Kennedy and Princess Grace – all of them rarely seen without a strand of pearls in some shape, colour or size.
“Pearls give the wearer an instant face-lift,” explains Chrissie, whose designs are on permanent exhibition at the Earth Treasury section of the Natural History Museum. “They re-establish the natural harmony of the face, drawing attention away from unflattering features, and giving it a flattering and natural glow.
“You only have to look at the style icons over the years. You probably don’t even notice that they’re wearing pearls but look again and you’ll see their gem of choice.
“Once you know the secrets and beauty benefits of wearing pearls it’s easy to see why these women wore them.”
So with Christmas parties coming up and little black dresses to be worn, will you be wearing diamonds or pearls?
scriptgirl
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irish news
Paul Kelly, Founder of Ireland’s CONSOLE, receives Ireland Fund of Monaco’s Princess Grace Humanitarian Award
Monaco, Tuesday, 14th October, 2008The Ireland Fund of Monaco announces its third biennial Princess Grace Humanitarian Award, presented to Mr. Paul Kelly, founder of CONSOLE in Ireland. His Serene Highness, Prince Albert II, made the presentation at a special gala dinner in the Hotel de Paris, Monaco. The Princess Grace Humanitarian Award is the only one of its kind dedicated to the memory of the late Princess. His Serene Highness, Prince Albert II, is patron of the Ireland Fund of Monaco, and has presented this prestigious award since its inception.
Mr. Kelly was selected for the award in recognition of his efforts to address the tragic aftermath families experience in the wake of a suicide. With the statistics of suicidal behaviour among adolescents and young adults increasing at an alarming rate globally, the World Health Organization has declared the tragic problem ‘a global pandemic.’ Mr. Kelly has created an organisation in Ireland, unique at the time of its founding, which supports and helps those bereaved by suicide.
The Ireland Fund of Monaco adopted as its primary strategic focus the support of research in Ireland and along the Cote d’Azur that provides a better understanding of the causes of depression leading to suicidal behaviour among young people and that will result in better therapies and methods of prevention of these tragedies.
As he announced this year’s recipient, Mr. Michael Fitzgerald, President of The Ireland Fund of Monaco, said, “We are honoured that His Serene Highness, Prince Albert II, presents this important award which is named in honour of his late mother, Princess Grace. We are very pleased to single out Mr. Kelly and to call attention to the important work he is doing. His tireless efforts and his personal dedication to addressing and correcting tragic situations such as these are exemplary and extraordinary.”
“The late Princess Grace was adored in Ireland and by Irish people everywhere. She promoted compassion and care for people who suffer, and we are very honoured that Her family have allowed us to memorialize the late Princess by naming this Award after her.”
The Ireland Fund of Monaco, part of a worldwide philanthropic organization, was established in 1998 in the Principality. The Ireland Funds comprise the leading network of people of Irish ancestry and friends of Ireland dedicated to raising funds to support programmes of peace and reconciliation, arts and culture, education and community development for the island of Ireland. With operations in 11 countries, the Ireland Funds have to date raised almost $300 million for over 1,200 non-profit organizations in IrelandType the text here
Paul Kelly, Founder of Ireland’s CONSOLE, receives Ireland Fund of Monaco’s Princess Grace Humanitarian Award
Monaco, Tuesday, 14th October, 2008The Ireland Fund of Monaco announces its third biennial Princess Grace Humanitarian Award, presented to Mr. Paul Kelly, founder of CONSOLE in Ireland. His Serene Highness, Prince Albert II, made the presentation at a special gala dinner in the Hotel de Paris, Monaco. The Princess Grace Humanitarian Award is the only one of its kind dedicated to the memory of the late Princess. His Serene Highness, Prince Albert II, is patron of the Ireland Fund of Monaco, and has presented this prestigious award since its inception.
Mr. Kelly was selected for the award in recognition of his efforts to address the tragic aftermath families experience in the wake of a suicide. With the statistics of suicidal behaviour among adolescents and young adults increasing at an alarming rate globally, the World Health Organization has declared the tragic problem ‘a global pandemic.’ Mr. Kelly has created an organisation in Ireland, unique at the time of its founding, which supports and helps those bereaved by suicide.
The Ireland Fund of Monaco adopted as its primary strategic focus the support of research in Ireland and along the Cote d’Azur that provides a better understanding of the causes of depression leading to suicidal behaviour among young people and that will result in better therapies and methods of prevention of these tragedies.
As he announced this year’s recipient, Mr. Michael Fitzgerald, President of The Ireland Fund of Monaco, said, “We are honoured that His Serene Highness, Prince Albert II, presents this important award which is named in honour of his late mother, Princess Grace. We are very pleased to single out Mr. Kelly and to call attention to the important work he is doing. His tireless efforts and his personal dedication to addressing and correcting tragic situations such as these are exemplary and extraordinary.”
“The late Princess Grace was adored in Ireland and by Irish people everywhere. She promoted compassion and care for people who suffer, and we are very honoured that Her family have allowed us to memorialize the late Princess by naming this Award after her.”
The Ireland Fund of Monaco, part of a worldwide philanthropic organization, was established in 1998 in the Principality. The Ireland Funds comprise the leading network of people of Irish ancestry and friends of Ireland dedicated to raising funds to support programmes of peace and reconciliation, arts and culture, education and community development for the island of Ireland. With operations in 11 countries, the Ireland Funds have to date raised almost $300 million for over 1,200 non-profit organizations in IrelandType the text here
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ABS News
More than 200 dolls wearing costumes of different countries around the world were displayed in an exhibit at St. John's Institute in Bacolod City.
Owned by music and French teacher Bella Galang, these dolls wear the traditional costumes of the places they represent.
"I met Ms. Galang and she was looking for a place to put all her dolls and she asked me if I would she be willing to provide a home for her darlings, so I agreed to display them in one of my big classrooms here in school," said Fr. Noly Que, St. John's Institute administrator.
Galang mentioned that she received her first doll in 1956 from a Finnish pen pal. From that point on, she started collecting dolls as a hobby. This went on for 54 years.
She said that some of her dolls were bought from her travels, while others were given to her by friends from overseas. Even foreign dignitaries took part in her collection, including the late Rezah Palevi, the former Shah of Iran, the late Princess Grace of Monaco and the late President Chiang Kai-Shek.
Galang said that more of her dolls are displayed in a museum in Silay City. Marty Go, ABS-CBN Bacolod
More than 200 dolls wearing costumes of different countries around the world were displayed in an exhibit at St. John's Institute in Bacolod City.
Owned by music and French teacher Bella Galang, these dolls wear the traditional costumes of the places they represent.
"I met Ms. Galang and she was looking for a place to put all her dolls and she asked me if I would she be willing to provide a home for her darlings, so I agreed to display them in one of my big classrooms here in school," said Fr. Noly Que, St. John's Institute administrator.
Galang mentioned that she received her first doll in 1956 from a Finnish pen pal. From that point on, she started collecting dolls as a hobby. This went on for 54 years.
She said that some of her dolls were bought from her travels, while others were given to her by friends from overseas. Even foreign dignitaries took part in her collection, including the late Rezah Palevi, the former Shah of Iran, the late Princess Grace of Monaco and the late President Chiang Kai-Shek.
Galang said that more of her dolls are displayed in a museum in Silay City. Marty Go, ABS-CBN Bacolod
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set
