scriptgirl
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Live Streaming... The F/W 2025.26 Fashion Shows
Paris Fashion Week F/W 2025.26 Show Schedule
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crow_watcher
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^Look at her. Makes you forget what reality is for a while...
scriptgirl
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^Cute
scriptgirl
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scriptgirl
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NEXT
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^I just purchased a slim fit shirt similar to the color of her suit. We have something in common! 
scriptgirl
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^Shes fierce along with her protector.
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The outfit looks like a child may have designed it.
Noemie looks a bit tired but still gorgeous!
Noemie looks a bit tired but still gorgeous!
scriptgirl
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scriptgirl
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scriptgirl
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askmen.com
In less than four years, Noemie Lenoir has made it as a top model in both Europe and America, and can be seen in all the major fashion magazines, as well as sporting all the top designer labels on the runway, including Jean Paul Gaultier, Gucci and Versace.
She feels just as "at home" in Manhattan as in her native Paris, France. And that isn't the half of Lenoir's travels: From the ski slopes of the Alps, to tropical islands in Southeast Asia, Lenoir has certainly seen the world. This experience, she believes, has taught her much about life.
In less than four years, Noemie Lenoir has made it as a top model in both Europe and America, and can be seen in all the major fashion magazines, as well as sporting all the top designer labels on the runway, including Jean Paul Gaultier, Gucci and Versace.
She feels just as "at home" in Manhattan as in her native Paris, France. And that isn't the half of Lenoir's travels: From the ski slopes of the Alps, to tropical islands in Southeast Asia, Lenoir has certainly seen the world. This experience, she believes, has taught her much about life.
scriptgirl
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scriptgirl
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runwayblogs.com
To be sure fashion has had a long love affair with the “exotics,” but it’s also safe to say that it prefers it’s ethnicity’s (The great Alek Wek being an exception) somewhat watered down. Or as Lauren Hutton once said so eloquently, “dipped in tea” when referring to black models such as Beverly Johnson.
Take the roster of supers who dominated most of the 90’s for example. Out of the top 10 highest earning models at the time, 6 were of mixed heritage (though you can’t be faulted for not knowing that
1. Yasmeen Ghauri: half Pakistani-half German, 2. Christy Turlington: half-American-half-Salvadorian, 3. Nadege du Bospertus: half French-half Greek, 4. Helena Christiansen: half Danish-half Peruvian, 5. Yasmin Le Bon: half Iranian-half British, 6. Naomi Campbell: half Chinese- half Jamaican.
When you take this into account, the induction of a model like Chanel Iman (half Korean-half African American) into that rarified group doesn’t seem so groundbreaking after all. It also bares to remember that not so long ago, in the early 90’s, there was a teenage model by the name of Kimora lee (Simons). A half-Japanese –half African American beauty who became a Lagerfeld favorite and modeled for him on the Chanel Catwalk (in the same way Devon Aokie, the half Japanese-half Irish model went on to do so as well).
Around collection time one thing I like to do on Style.com is to go through the pictures of Jean Paul Gaultiers’ shows, because out of all the designers he’s one of the few who puts ethnic unknowns on his catwalk. But you get the feeling that they were picked because of their striking beauty and the character they convey to the clothes rather than filling in a quota. I think that’s one of the reasons I don’t get bored watching a Gaultier show, because I’m not seeing clones coming down the runway a million times.
But what I did find odd was that Style.com included the names of the models and agencies by the photos except for a certain Indian model, who was stunning. I am quick to say that I don’t think that was done out of racism so much as that they simply didn’t know who she was. The same thing happened on earlier coverage for the Gaultier Couture show when the model Naomie Lenoir’s name was not included by her picture. But if you’re in the fashion industry how would you not know whom Naomie Lenoir is?
I realize this post has gone longer than it should, but there is an interesting book I highly recommend that is a sort of cultural, social, and anthropological study of skin politics within the fashion industry. It’s called “Black & Beautiful: How women of Color Changed the Fashion Industry” by Barbara Summers. I found out about the book after Dorthea Towles had passed away last year, and I became intrigued by her fascinating life. She was the first African American model to make it big in Paris. Right at the end of the war around 1947 or 1948, she packed her bags and moved to Paris where she modeled for the likes of Dior and Balmain. The book includes a chapter on her as well as other notables such as Elizabeth “princess of Toro” who modeled for Saint Laurent and appeared on the cover of Harper’s Bazaar in the 60’s, as well as Givenchy’s love for the black models in his salon. The book definitely gave me some insight into a world that I never knew existed because we’ve become so conditioned to seeing certain types of face.
To be sure fashion has had a long love affair with the “exotics,” but it’s also safe to say that it prefers it’s ethnicity’s (The great Alek Wek being an exception) somewhat watered down. Or as Lauren Hutton once said so eloquently, “dipped in tea” when referring to black models such as Beverly Johnson.
Take the roster of supers who dominated most of the 90’s for example. Out of the top 10 highest earning models at the time, 6 were of mixed heritage (though you can’t be faulted for not knowing that
1. Yasmeen Ghauri: half Pakistani-half German, 2. Christy Turlington: half-American-half-Salvadorian, 3. Nadege du Bospertus: half French-half Greek, 4. Helena Christiansen: half Danish-half Peruvian, 5. Yasmin Le Bon: half Iranian-half British, 6. Naomi Campbell: half Chinese- half Jamaican.When you take this into account, the induction of a model like Chanel Iman (half Korean-half African American) into that rarified group doesn’t seem so groundbreaking after all. It also bares to remember that not so long ago, in the early 90’s, there was a teenage model by the name of Kimora lee (Simons). A half-Japanese –half African American beauty who became a Lagerfeld favorite and modeled for him on the Chanel Catwalk (in the same way Devon Aokie, the half Japanese-half Irish model went on to do so as well).
Around collection time one thing I like to do on Style.com is to go through the pictures of Jean Paul Gaultiers’ shows, because out of all the designers he’s one of the few who puts ethnic unknowns on his catwalk. But you get the feeling that they were picked because of their striking beauty and the character they convey to the clothes rather than filling in a quota. I think that’s one of the reasons I don’t get bored watching a Gaultier show, because I’m not seeing clones coming down the runway a million times.
But what I did find odd was that Style.com included the names of the models and agencies by the photos except for a certain Indian model, who was stunning. I am quick to say that I don’t think that was done out of racism so much as that they simply didn’t know who she was. The same thing happened on earlier coverage for the Gaultier Couture show when the model Naomie Lenoir’s name was not included by her picture. But if you’re in the fashion industry how would you not know whom Naomie Lenoir is?
I realize this post has gone longer than it should, but there is an interesting book I highly recommend that is a sort of cultural, social, and anthropological study of skin politics within the fashion industry. It’s called “Black & Beautiful: How women of Color Changed the Fashion Industry” by Barbara Summers. I found out about the book after Dorthea Towles had passed away last year, and I became intrigued by her fascinating life. She was the first African American model to make it big in Paris. Right at the end of the war around 1947 or 1948, she packed her bags and moved to Paris where she modeled for the likes of Dior and Balmain. The book includes a chapter on her as well as other notables such as Elizabeth “princess of Toro” who modeled for Saint Laurent and appeared on the cover of Harper’s Bazaar in the 60’s, as well as Givenchy’s love for the black models in his salon. The book definitely gave me some insight into a world that I never knew existed because we’ve become so conditioned to seeing certain types of face.
scriptgirl
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Philadelphia Inquirer
Jackie Chan, what a 'Rush'
By Carrie Rickey
Inquirer Movie Critic
Rush Hour 3, another sequel to the one about the cross-cultural crimebusters who crack jokes while cracking the case, does little to advance the art of filmmaking. But Brett Ratner's slipshod, continent-hopping comedy reuniting crazylegs Jackie Chan with locomouth Chris Tucker, elicits helpless laughter. By no means is it a great movie, but it is great slapstick fun, one of summer's guilty pleasures.
The first chapter of the franchise was set in Los Angeles, where LAPD stuporcop Carter (Tucker) babysat Hong Kong supercop Lee (Chan). The second took place in Hong Kong, where the kung fu king showed the kung foolish jester his turf.
This time around - to hell with jurisdictions - the officers fly to Paris and investigate the attempted assassination of a Chinese diplomat for whom Lee once served as bodyguard. The prime suspects are Chinese triads.
From a Godfather-esque hospital-room sequence to a set piece at the Eiffel Tower where gangsters and gangbusters tangle in the iron latticework, the script by Jeff Nathanson is a catch-as-catch-can pastiche of Coppola and Hitchcock.
Nathanson's best invention: a cabbie (Yvan Attal) who denounces America and its love of car chases, guns and violence. And who, after a few minutes in Carter and Lee's vehicle-chasing, gunplaying, butt-kicking company, is ready to apply for U.S. citizenship.
Now 53, Chan is no longer the athlete and martial artist he once was. But he has a few sequences - including a foot chase through downtown L.A. up and across freeway ramps - that would take your breath away if you weren't already gasping from laughter.
Still Chan, he of the polite deadpan, has exquisite poise and timing that play nicely off Tucker's rude banter. The martial artist can almost always kick, whirl or vault past any obstacle; the con artist can almost always talk his way past. They are opposites whose singular strengths make them unstoppable as a team.
Ratner, a hack who only the charitable would call workmanlike, is the sloppiest of filmmakers, editing scenes so abruptly, or arbitrarily, that the audience doesn't have time to laugh - let alone hear the next snatch of jokey dialogue.
Working with the elegant cinematographer J. Michael Muro, Ratner does a spectacularly crummy job in integrating Muro's lustrous imagery with the special effects. It's as if a world-class chef had made a souffle and Ratner punctured it.
While Rush Hour 2 boasted some strong female characters (played by Zhang Ziyi and Roselyn Sanchez), this time around the women are mostly decorative.
The striking Noemie Lenoir plays Genevieve, a scantily clad beauty who headlines a Folies Bergeres-type revue and who carries a dangerous secret. And the adorable Zhang Jingchu is on hand as Soo Yung, the diplomat's daughter who has little to do.
Finally, this is a buddy movie, which means the only significant relationship is that between Carter and Lee, who trade insults, diet advice and gibes while watching each other's backs.
Vladimir Nabokov wasn't talking about Rush Hour when he observed that "nothing is more exhilarating than philistine vulgarity," but he might well have been.
Rush Hour 3 **1/2 (Out of four stars)
Directed by Brett Ratner. With Jackie Chan, Chris Tucker, Max von Sydow, Yvan Attal, Vinnie Jones, Hiroyuki Sanada, Sun Ming Ming, Noemie Lenoir and Zhang Jingchu. Distributed by New Line Cinema.
Running time: 1 hour, 30 mins.
Parent's guide: PG-13 (profanity, sexual banter, action violence, brief nudity)
Playing at: area theaters
Jackie Chan, what a 'Rush'
By Carrie Rickey
Inquirer Movie Critic
Rush Hour 3, another sequel to the one about the cross-cultural crimebusters who crack jokes while cracking the case, does little to advance the art of filmmaking. But Brett Ratner's slipshod, continent-hopping comedy reuniting crazylegs Jackie Chan with locomouth Chris Tucker, elicits helpless laughter. By no means is it a great movie, but it is great slapstick fun, one of summer's guilty pleasures.
The first chapter of the franchise was set in Los Angeles, where LAPD stuporcop Carter (Tucker) babysat Hong Kong supercop Lee (Chan). The second took place in Hong Kong, where the kung fu king showed the kung foolish jester his turf.
This time around - to hell with jurisdictions - the officers fly to Paris and investigate the attempted assassination of a Chinese diplomat for whom Lee once served as bodyguard. The prime suspects are Chinese triads.
From a Godfather-esque hospital-room sequence to a set piece at the Eiffel Tower where gangsters and gangbusters tangle in the iron latticework, the script by Jeff Nathanson is a catch-as-catch-can pastiche of Coppola and Hitchcock.
Nathanson's best invention: a cabbie (Yvan Attal) who denounces America and its love of car chases, guns and violence. And who, after a few minutes in Carter and Lee's vehicle-chasing, gunplaying, butt-kicking company, is ready to apply for U.S. citizenship.
Now 53, Chan is no longer the athlete and martial artist he once was. But he has a few sequences - including a foot chase through downtown L.A. up and across freeway ramps - that would take your breath away if you weren't already gasping from laughter.
Still Chan, he of the polite deadpan, has exquisite poise and timing that play nicely off Tucker's rude banter. The martial artist can almost always kick, whirl or vault past any obstacle; the con artist can almost always talk his way past. They are opposites whose singular strengths make them unstoppable as a team.
Ratner, a hack who only the charitable would call workmanlike, is the sloppiest of filmmakers, editing scenes so abruptly, or arbitrarily, that the audience doesn't have time to laugh - let alone hear the next snatch of jokey dialogue.
Working with the elegant cinematographer J. Michael Muro, Ratner does a spectacularly crummy job in integrating Muro's lustrous imagery with the special effects. It's as if a world-class chef had made a souffle and Ratner punctured it.
While Rush Hour 2 boasted some strong female characters (played by Zhang Ziyi and Roselyn Sanchez), this time around the women are mostly decorative.
The striking Noemie Lenoir plays Genevieve, a scantily clad beauty who headlines a Folies Bergeres-type revue and who carries a dangerous secret. And the adorable Zhang Jingchu is on hand as Soo Yung, the diplomat's daughter who has little to do.
Finally, this is a buddy movie, which means the only significant relationship is that between Carter and Lee, who trade insults, diet advice and gibes while watching each other's backs.
Vladimir Nabokov wasn't talking about Rush Hour when he observed that "nothing is more exhilarating than philistine vulgarity," but he might well have been.
Rush Hour 3 **1/2 (Out of four stars)
Directed by Brett Ratner. With Jackie Chan, Chris Tucker, Max von Sydow, Yvan Attal, Vinnie Jones, Hiroyuki Sanada, Sun Ming Ming, Noemie Lenoir and Zhang Jingchu. Distributed by New Line Cinema.
Running time: 1 hour, 30 mins.
Parent's guide: PG-13 (profanity, sexual banter, action violence, brief nudity)
Playing at: area theaters
scriptgirl
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scriptgirl
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