the latest trends among college students in the U.S. Students from Illinois Institute of Art

Lindsey Johnson Illinois institute of Art Chicago, IL
Movies: Little Miss Sunshine, Talladega Nights

TV: Project Runway, Grey's Anatomy, Carnivale. "But with UTube you don't watch much TV."

Music: Bjork, The Gossip, The Brother Kite, Silverscreen, Mira

Clothing: Thrift store clothes, cowboy and leather boots, tasteful cowboy hats, Vidal Sassoon-style hair, T-shirts with designs but not logos, long '60s bangs

Munchies: Vegetarian and organic foods, Chipotle's fajita burrito, chocolate milk, smoothies, granola bars

Down time: Blogging, especially on Livejournal.com; eating at divey diners; watching indies while eating homemade cupcakes

Asti Merino Menlo College Atherton, CA
Movies: Jackass 2 Pirates of the Caribbean, The Protector

TV: Grey's Anatomy, Nip/Tuck

Music: Modern Hawaiian music. Ne-Yo, One Groove

Clothing: T-shirts and shorts, slippers, sandals, skirts and halters. Popular brands are Quicksilver, Billabong, Old Navy, Abercrombie & Fitch, Armani Exchange

Munchies: Quesadillas, Jack in the Box, Gatorade.

Down time: Surfing, playing music and singing together, campus events like Spam-o-rama--an entire day devoted to Spam, from Spam cuisine to Spam sculptures

Del Vajdl Greensboro College Greensboro, NC
Movies: Accepted, Fearless, Wedding Crashers

TV: Grey's Anatomy, Laguna Beach, Desperate House-wives, Flava of Love

Music: Beyoncé, Rascal Flatts, Justin Timberlake

Clothing: "Everyone is wearing hoodies." Also, short jean skirts, big Ugg boots with fur, chandelier earrings, big necklaces, messy ponytails, gelled hair for guys, and sweatpants. Popular brands are Baby Phat, Nike, Jordan, Express, and Guess.

Munchies: Cheap Mexican food, honey buns, and lots of bottled water.

Down time: Greek life, football, and volunteering. "Volunteering is huge here. For example, our Neewollah Fest [that's Halloween backwards] helps underprivileged kids in the area."

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Although I wore dresses and skirts, it was usually with a pair of shorts underneath

THE COURAGE TO BE CUTE
Karen R. Good believed that pretty was a privilege--until she decided it was a choice

Growing up, I considered myself a tomboy. Although I wore dresses and skirts, it was usually with a pair

of shorts underneath so I could break into a sprint or kick up my leg if I felt like it. At dances, I

wore second-skin jeans, one of Daddy's undershirts and a crisp, white pair of tennis shoes--Fila or K-

Swiss--because I liked to move. I wasn't a girly girl. And I certainly didn't think I was pretty. I was

a dark-skinned Black girl raised under a hot South Texas sun in the 1970's. Long face, high forehead,

braces and a loud mouththat disguised a deep shyness, I can't count how many times I'd been called

blackie, or worse.

This was classic ugly duckling business that, to this day, must be monitored. I still get anxious

sometimes when I walk past a group of guys for fear of ridicule. Or I'll find myself walking with my

head down. But, you know, you grow up; move to New York City; become a woman. Realize that you enjoy

pretty things, like lace, lingerie and beautiful shoes. You begin to understand that insanity is

allowing the (real and imagined) opinions of others to dictate how you feel about yourself. Never was

this more apparent than when I took a job at a popular fashion and lifestyle magazine. Working in an

environment where style was celebrated, indeed requisite, was both exasperating and thrilling.

Exasperating because of the silly--and seductive--pretentiousness. Thrilling because every day was an

inspiration: the pretty brown beauty editor who favored fabulous five-inch heels; the breezy, elegant

fashion editor who was a style savant; the researcher with the voluminous hair. I marveled at their

flagrant, playful embrace of their beauty. Thought it was the bravest thing.

Then came picture day. The staff was asked to wear black for a photo that would appear in the magazine.

That morning I dressed myself in a pair of black pants, a blousy top and a pair of black fourinch heels,

respectable Jessica Simpson--Gucci knockoffs. I wanted a pop of color and reached for my tomato red

Kenneth Jay Lane earrings--big, Spanish-inspired, perfect.

My heart raced at the audacity of boarding the 9:00 A.M. subway so decked out. Who did I think I was?

Tipping on the tightrope between honoring oneself and vanity wasn't easy. But when Raven, the security

guard, complimented me on my look, I felt like Tracy Chambers in Mahogany after the Italian billionaire

stands up at the fashion show and bids "Twenty million lire!" for her design. Triumphant. Not that being

cute is about outside validation; that day it was about celebrating my choice to be a swan.

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She taught me to embrace fine wools, rich cottons and silks, and run from synthetic fabrics like polyester and rayon

From my mother I learned never to buy anything at full price and to choose timeless classics over

trends. She taught me to embrace fine wools, rich cottons and silks, and run from synthetic fabrics like

polyester and rayon. Fingering a particularly offensive piece of material, she'd shake her head and say,

"The minute you start sweating in this, the smell alone will kill you." Pleather was a huge no-no. And

cheap shoes? "They'll destroy your feet," she'd say. As she dropped her nuggets of sartorial wisdom, I

took mental notes. On those days she wasn't my mother "the dictator," and I wasn't her daughter "the

surly, hormone-ravaged insurgent." Instead, we were comrades and friends, eager to help each other look

our best.

Over the years, I inherited my mother's love of crisp white button-downs, form-fitting black

turtlenecks, statement jewelry and massive Jackie O--inspired sunglasses. I'm still partial to wide-leg

pants--"They're flattering to our figure," Mom always said--and wouldn't dare appear in flammable

clothing. But our special favor has always been reserved for the sharply tailored trench. So when the

Gap marked down a lovely knee-length number with a funky polka-dot lining to $34.99, I couldn't stop

myself from buying one for me and one for my mother. "I love it," she said, when I presented it to her.

"It's so my style." She didn't have to tell me. I already knew. And I also knew that I had lied to my

husband, because I didn't really blame my mother for my trench coat obsession. In my heart, I was

thanking her.

SEXY GROWS UP
As a curvy girl in the 'hood. Bevy Smith embraced spandex. But what does sexy look like on the other

side of 40?

Just because a woman has curves doesn't mean she can wear spandex. But I was one of the lucky ones.

Coming of age in the 1980's, I was an early adopter of the skintight material, which earned me the

distinction of being "The first girl in Harlem to wear a catsuit." The term brick house fit me, my firm

breasts encased in a 34C cup over a divine 26-inch waist and size-6 bottom. I quickly realized that

being a chocolate Jessica Rabbit garnered me attention, and like most teen girls, I wanted attention. I

began to dress like an eroticized super heroine; spandex was my superpower.

Initially when I stepped onto the streets of Harlem in a skimpy neon pink spandex minidress, barely

covering my thick thighs, I was the recipient of much derision from the block. My style of dress made

both men and women gawk. But each day when I left my house, my mother told me I looked good and I had a

beautiful shape. That gave me the courage to adopt the mantra, If you got it, flaunt it. After a summer

of watching me stop traffic in flesh-baring, brightly colored outfits, girls from the neighborhood

decided "if you can't beat them, join them." I was more than happy to take quite a few of them to get

their first spandex outfits.

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it was determined to report all clothes given as presents to the storehouse keepers

 In some Kibbutzim it was determined to report all clothes
given as presents to the storehouse keepers, who reduced them from the
member's norm, thus enabling members not to part from personal gifts
whiie at the same time maintaining equality, at least in quantity.''
Presents in general were viewed as a "social problem," but on tbe
practical and particular level, a more lenient attitude resigned to the fact
that members will keep and wear their gifts." In spite of disagreements
over the change in clothing distribution, the move toward more personal
freedom and less communal dictation was a one way route: Kibbutzim
did not reenter the norm system after introducing a personai allowance.
Furthermore, more clothing items and other consumer goods were
gradually included in the personal allowance system."
Figure 4
Meal in Kibbutz Gh/at Brenner's
communal dining hall,
November 1951. Photographer;
Fritz Cohen. Israeli Government
Press Office, Item no. 36779.
picture code D290-091.
Kibbutz Dress in the 1950s: Utopian Equality, Anti Fashion, and Change 325
Conformity i
Alongside direct discussions of principles, followed by formal changes
in the policy and the system of clothing distribution, other and less
formal changes were also taking place in Kibbutz society and affecting
its sartorial culture. One of the challenges facing 1950s Kibbutzim was
how to maintain social unity and conformity as the community was
becoming more heterogeneous. The ideological and age uniformity of
Kibbutz founders was giving way to a multi-generational society, to
where newcomers sometimes brought ethnic-cultura! novelties, and
where the unifying ideology played a lesser role (Bamachaneh 1950;
Gelbert 1954:53,95).^"
On the one hand. Kibbutz members described change as inevitable,
declaring that, "We have to realize that male and female members
won't be content, as they were ten years ago, with a iight-blue shirt,
a pullover and white socks." New needs, such as nylon stockings
for women, should therefore be acknowledged and calculated in the
clothing budget.-^ Note the use of the word "need," which was more
appropriate and suitable to Kibbutz austere ideology than the word
"wish," legitimizing its content by connecting it to the Kibbutz formal
motto. Moreover, present "needs" in the 1950s covered items such as
nylon stockings, which in the recent past were condemned as a symbol
of bourgeois vanity.^''
On the other hand, sartorial change was accepted only as long as it
was not considered improper. In 1956, a member of a religious Kibbutz
demanded "a bit of modesty." He wrote that lately there appeared
some outfits that clearly deviate from the acceptable dress. Although
the Kibbutz has moved to a personal clothing allowance and people
can choose their outfits as they like, the member alluded to the biblical
phrase "That when they shall see them, they may remember all the
commandments of the Lord, and not follow their own thoughts and
eyes going astray after divers things" (Numbers 15: ^9) . He concluded,
"A minimal consideration for public opinion is required even within the
personal allowance. The deviants should return to the framework."^^ In
a religious Kibbutz, the term "immodesty" could mean either excessive
luxury, contradicting the Kibbutz value of simplicity, or sexually
provocative apparel, contradicting the religious value of chastity.
Significantly and typically, the writer did not have to specify or explain
his exact meaning: Kibbutz members who read their bulletin well knew
their local codes of dress and easily recognized when these codes were
transgressed; they also probably knew exactly who the "deviants" were.
Local gossip and social pressure are powerful tools in small collective
communities.
Triandis writes that the advantages of collectivism are particularly
clear when resources are scarce, but become less obvious as societies
become richer, larger, more differentiated, and more exposed to mass
326 Anat Helman
communication.

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short-sleeved or sleeveless working dress

high-laced working shoes or rubber
boots in winter. Heads were covered with kaskets or the ""tember hat,
a floppy belKshaped head covering which in the 1950s became strongly
associated with the IsraeH born natives (Almog 1997: 433, n.HO; Kol
yisrael 1951; Raz 1996: 160)/ The typical female working clothes
included a straight lined, short-sleeved or sleeveless working dress, an
apron, and a head kerchief for mature women of the founding generation;
short trousers and a buttoned shirt for younger women. Hair was either
cut short or gathered or braided, not conspicuously groomed. Working
shoes and hoots were unisex {La-ishah 1950b; Figures 1 and 2}.''
Whereas the simplicity of working clothes could be attributed mainly
to their technical function, the aesthetic ideal of simplicity was also the
main feature of Kibbutz leisurewear, commonly known as the "Sahhath
clothes." These were usually newer and in better condition than the
working clothes hut maintained lines of austerity. The most prominent
feature in the Sabbath clothes among both male and female members
was the white shirt, sometimes embroidered but mostly unadorned.
Men wore it with dark trousers, adding a jacket or a cardigan in winter.
Elder women wore it with a dark skirt and younger women mostly with
dark trousers (Dvar hashavu'a 1951; Figures 3 and 5).^
Elder women often opted for a dress as their Sabbath attire. Sabbath
dresses were more tailored than working dresses, made of better
materials if possible; however, they were almost undecorated and their
simple cut resembled the 1940s style, though the hem was slightly
lower than the knee and the shoulders less boxy than in typical 1940s
patterns." It looks as if the female members of the Kibbutz founding
generation chose, perhaps unconsciously, to channel their anti fashion
into a stylistic "freeze" of the previous two decades. The 1930s and
1940s were the heyday of the Kibbutz, the days when the founders
were young, energetic, and hopeful. Yet apart from possible nostalgic
reasons, aesthetically the 1930s and 1940s styles were more suitable
for expressing ideals of modesty and simplicity than were the elegant,
feminine, and lavish styles of the 1950s. Thus, even the Sahhath dress
could maintain its role as anti-fashion, both by its anachronism and by
the particular choice of its inspirational period.
Writing about the "beautification" campaign in mid-1950s China,
Chen remarks that new fashions were suggested for the female
population as alternatives to be enjoyed during times of leisure, such as
the weekend, yet these fashions did not seek to replace or challenge the
utilitarian work outfit of trousers and blouse or the Mao jacket (Chen
2001: 153). Similarly, the Kibbutz Sahhath clothes neither replaced
nor challenged the centrality and symbolic importance of the working
clothes. Furthermore, working and Sabbath clothes were separated as
distinctly different categories: the former were given by the storehouse
whenever needed, while the latter were distributed according to a set
3 2 0 Anat Heiman
Laundry worker in Kibbutz
Kfar Giladi. June 1949. Israel!
Government Press Office,
Item no. 32856, picture code
D262-097.
"norm" or purchased by the members'' personal clothing allowance;
the former were unchanged and preserved uniformity and equality,
whereas the latter served a more aesthetic personal role. Shoes also
mirrored the strict division into work ing/Sabbath-wear that divided
clothes, with an additional third category: sandals, which remained the
common summer footwear' The preservation of working clothes as a
stable, egalitarian, and unique Kibbutz dress might have legitimized and
mitigated the "opening up" of the separated category of the Sabbath
clothes to further varieties and to some fashionable influences.
Kibbutz Dress in the 1950s: Utopian Equaiity, Anti Fashion, and Change 321.

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“The Dark Knight Rises” premiere, red carpet perfect review

Directed by Christopher Nolan’s “batman” series of the final instalment of the batman: the dark knight rises at the same time, in the premiere , on the red carpet is full of watching focus

and the new “catwoman” Anne Hathaway and Oscar winner Marion Cotillard (Marion had) become the biggest two focus, several perfect appearance of the two actress on the red carpet made them mount onto the list of best dressed; “Batman” Christian Bale  and the villain “bain” Tom Hardy  all appeared. Domestic popular “town,” Joseph Gordon Levitt/Joseph Gordon Levitt – handsome, old play bone Morgan Freeman and Gary Oldman’s aura is dye-in-the-wood. Let’s review the perfect red carpet moment together!

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Spring/summer 2013 wild striped shirt, wearing a unique temperament

Recently open the LOOKBOOK of every brands , it is not difficult to find the shadow of the stripes, this year they have a strong hit, and design ideas emerge in endlessly, surprises, stripe unlined upper garment is broke through the traditional style, with a wider variety of deductive, to dress up especially wild to grab your eye.

Middle is the vertical type, oblique is on both sides, stripe shape show thin effect ably, make easily version type of concise and big style.

Join the flowers and the leaves on the vertical black and white stripe create romantic and visual appeal of the restoring ancient styles. diamond plaid splicing is also ramping up the sleeves of the high-end design, the overall portfolio aura is very strong, and full of feminine flavour.

Black and white and the vertical stripe is concise and agile, very pure and fresh and beautiful. Version – both formal and casual shirt, what collocation are very stylish.

Stripe with diamond, adding flowers to adorn forge super gorgeous big style, collar is dignified, and combination of 7 minutes of sleeve is very personality.

Inclined type stripe show thin, easily to make a figure from the vision to see three bows ornament in the shape of stereo aesthetic feeling, with ascension of lovely degree.

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desire figuratively surges at the seams of the garment

 strategy is found in the fourteenth-century Canterimry Tales: the Wife of Bath's closely
tied hose express her social status as a successftil cloth maker, and Alison's belt
decorated with silk over a skirt full of gores calls attention to her comical
hSTRTiITHMhNT BENDfi
attempt at gentility in the Miller's Tale.-" Whereas the Wife's fitted attire speaks
predominantly to her position as an upwardly mobile individual in the later
Middle Ages, Mson's and Dido's banded torsos articulate more than just social
status.^' In these latter instances, desire figuratively surges at the seams of the
garment in a way that suggests a fundamental ambivalence at the heart of
clothing. On the one hand, 'le costume r v le les normes de la d cence et de La
pudeur' in that it covets naked fiesh. But it also introduces the body into 'le
champ de l' rotisme' by emphasizing its physical contours: 'L' tranglement de
la taille, par exemple, y atdre l'attention, ce qui n'est pas sans cons quences dans
la relation homme-femme.''' Indeed, Alison's outfit makes her attractive as either
a mistress for a lord or a wife for a yeoman {Canterbury Tales: Miller's Tale,
1.5268-70) ('She was a prymerolc, a piggesnye, For any lord to leggen in his
hedde,  Or yet for any good yemen to wedde'), and Dido's garment, which she
L?ons just before seducing ?neas, reveals her sensual body and produces sexual
attraction. The same is true for dght clothing in the Prise d'Orange (f.i i6o-j),'-
?mern de ?a Rose ou de GuiUmme de Dole,'''^ as well as one of the romans antiques
believed to have direcdy influenced Marie', the Roman de Th hfS {c. 11  O-O.^"*
!n these texts, the fitted bodice becomes a sign of a body in love.
Marie, too, utilizes fitted garments as an expression of aristocratic splendour
that stimulates observers in luirwa and Guigemar, the only two Ian that feature
body-hugging garments." This sartorial strategy initially appears to confirm the
clerical view that righdy clad women unleash perilous desires. In the final scene at
Arthur's court, Lanval's lover wears a form-fitting b?au  that titillates those who
look: 'Ele iert vestue en itel guise  De chainse blanc e de chemise  Que tuit 11
cost  li pareient,Ki de deus parz laci  esteient' (lines 5 59-62; 'She was dressed
in this fashion: in a white linen shift that revealed both her sides since the lacing
was along the side"). The judges who saw her 'a grant merveille le teneient' (line
?82; 'marvelled at the sight*) and were consequendy 'de dreite joie n'esehaufast'
(line 584; 'warmed with joy"). Likewise, Lord Meriaduc, in the luii de Guigemar,
.ilso behaves as if he is 'warmed with joy' when he observes a woman's figure
.iccentuated by a laced bliaut. After Guigemar's lady faints, Meriaduc proceeds
(() cut the laces of her dress and tries to unfasten her belt 'Kar de bon quor
kl peot amer' (line 720; 'because he wanted to love her with all his heart*). In
these instances, men's beha'iour may be perceived as an example of precisely
what clerics feared: upon witnessing women in fitted atdre, men not only appear
sdmulated, as in Lanval, but also take drastic measures in order to satisfy illicit
desires, the case in Guigemar.

Yet both I^nval and Guigemar depart from the common clerical view in
significantly different ways. Tight dress communicates an ethical code lacking
in Arthur's court: Lanval's lover, clothed in a revealing and erotic way, is a
tesdfying figure who dearly speaks truth and supports virnie. Her appearance
prompts Arthur's attendants to acquit Lanval from his crime so as to please
ihf well-dressed lady. Guigemar further revises clerical understanding by calling
attention to a paradox surrounding fitted attire: belts, knots, and laces serve as
important signifiers of excessive, passionate love ?12X is nevertheless honourable
MEDIUM J?VLIM i.xxvii.i
and restrained. Indeed, Guigemar's lady underscores not lascivious sexuality but
fidelity to her beloved when she reveals her belt to Meriadue.

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Star love brands: supermodel cool black suit, is the most attractive

Although printing and colors bring us a pleasant visual enjoyment, but more like is the black aura that actress convey. To have a look the Europe and the United States actress performing big brands style, upermodel cool black suit, is the most attractive.

http://www.510.me/products/Elegant-sweetheart-floor-length-lace-a%252dline-gown.html

Spring/summer 13 women’s clothing trends: 60 s VS a doll’s house

T stage, Marc Jacobs 60 s

60 s is one of the most important trend in spring/summer 13 T stage, maybe New York’s metropolitan museum of Andy Warhol retrospective stimulate the nerve of most designers, in the ’60 s become common nostalgic expression on T stage. Especially Marc Jacobs as representative

: he first in his own brand launched a ’60 s wave general style is modelling, and then in the Louis Vuitton show, eight minutes show big style playing in the’ 60 s with double color checkerboard style.

Advertising large

In spring/summer 13 large advertising, this style is the maximum deduction. This is a very good for graphic design style: minimalist colour, black and white or bright yellow, and blue; Geometric lines and colors, and a large number of stripes and the application of case grain, as well as recurring models with mirror. This trend map is minimalist decoration style, especially in geometry and color contrast the new order as the leading factor, space is the op art. Main features include: clean lines, Mosaic structure and optical illusion.

High street brand Lookbook Oasis

The trend in the high street brand warm response: main show is in A strong visual impact or monochrome printing stripe combined with simple profile, such as type A straight dress, stressed that “less is more” dress concept. This style favor with the trend of the young people market with its concise type.

A doll’s house’s catwalk Chanel

The emergence of a doll’s house on a runway at first is not a typical style, the more is new interpretation of the visual model in the AD of the girl on T stage . Karl unabashed Lagerfeld has been committed to the Chanel being more younger, in the spring/summer 13 T stage show the youth girl of new type of A contour.  And the Raf Simons with the style of rigorous, accurate personal endowed with another kind of calm of sexy Dior girl.

 

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Zhang huimei “turandot” (杜兰朵) costume

Zhang huimei’s costume for “turandot”, expensive handmade costume worth nt $2.9 million.

Have Zhang huimei has wear first cost about 10 million yen (about $2.9 million nt) handmade costume to desert trailer, Japan dispatched more than 30 staff to photograph, her modelling is luxuriant, crown and shoe soles bag are made of sterling silver,  website of “turandot” also make her as chief actors.

In Japan, “turandot” adaptation of the play, turandot is kingdom ruler, but controlled by general nakamura lion the king of the children’s play, until the shore valley five lang played prince appear, to release her inner enthusiasm; In real life, a-mei, cheerful and generous, for love, she think more brave than turandot, and examines some gossip since her debut, including her recent He “sister younger brother love” with basketball star Shouzheng, her attitude is always better than the man, is magnanimous, confirms her “brave”.

http://www.510.me/blog/zhang-huimei-turandot-%E6%9D%9C%E5%85%B0%E6%9C%B5-costume/

Fan bingbing’s colorful costumes in “the orphan of zhao “

Recently we have been leaked behind the story “the orphan of zhao “, the fan bingbing plays ZhuangJi princess, if you noticed, the aristocratic women’s clothing she worn? These clothes is elegant, or simple plain and neat, in fact hides a lot of little secret. Want to know the truth, might as well go with host Li Mi explaining ZhuangJi princess dress.

The underlying unease in purple dress: showily

I’m afraid you are very familiar to the purple velvet Mosaic gold piping fans the dress, it is “the orphan of zhao “’s the first exposure ZhuangJi modelling.

The host Li Mi: this dress is ZhuangJi princess in zhao the orphan “, is fan bingbing first wearing the costume, is undoubtedly the most grand, it contains total four or five layer. So when we wear it also cost a lot of time.

At the beginning of shooting, how long does it take for fan bingbing to put on this dress?

Fan bingbing: may have three or four people together to help you with the belt, and then include this at the time that how the bow tie, dress the way to make a costume play is indeed a more complex process. Probably may last for three to four hours.

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Leslie Cheung always was a wild fashion pioneer, all modelling were from the big brand

On April 1, the day of the 10th anniversary which Leslie cheung left us, if you ever remember Leslie cheung’s passion concert 2000, on the stage he wearing skirt, dress and whole modelling were pioneer. At that time, however, the concert taunted by the media and a lot of people, say it’s modelling was too vulgar.

In practice all dress of the concert is the world’s leading fashion guru today, it was Jean Paul Gaultier’s works, known as the old urchin, once an outrage dress, isn’t it look still have very good fashion and trend feeling today, the popular element is often applied to concert star, now we can not help but sigh Leslie Cheung was went ahead of fashion and deserves to be eternal fashion pioneer.

Great  fashion designer , Jean Paul Gaultier was the dress designer of the concert. The Concert from drama repertoire choreography to the series model, the films are initiated and interpretation skills and become one of the most sensational concert in Hong Kong, has become the most controversial, concert most being accused.

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