#Agnès de Milan

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"Who's Hotter?" Familiar of Zero Girls

[odnagnisul]

100 livres à avoir lu dans sa vie (entre autres):

1984, George Orwell ✅

A la croisée des mondes, Philip Pullman

Agnès Grey, Agnès Bronte ✅

Alice au Pays des merveilles, Lewis Carroll ✅

Angélique marquise des anges, Anne Golon

Anna Karenine, Léon Tolstoï

A Rebours, Joris-Karl Huysmans

Au bonheur des dames, Émile Zola

Avec vue sur l'Arno, E.M Forster

Autant en emporte le vent, Margaret Mitchell

Barry Lyndon, William Makepeace Thackeray

Belle du Seigneur, Albert Cohen

Blonde, Joyce Carol Oates

Bonjour tristesse, Françoise Sagan ✅

Cent ans de solitude, Gabriel Garcia Marquez

Charlie et la chocolaterie, Roald Dahl ✅

Chéri, Colette

Crime et Châtiment, Féodor Dostoïevski

De grandes espérances, Charles Dickens

Des fleurs pour Algernon, Daniel Keyes

Des souris et des hommes, John Steinbeck ✅

Dix petits nègres, Agatha Christie ✅

Docteur Jekyll et Mister Hyde, Robert Louis Stevenson ✅

Don Quichotte, Miguel Cervantés

Dracula, Bram Stocker ✅

Du côté de chez Swann, Marcel Proust

Dune, Frank Herbert ✅

Fahrenheit 451, Ray Bradbury ✅

Fondation, Isaac Asimov

Frankenstein, Mary Shelley ✅

Gatsby le magnifique, Francis Scott Fitzgerald ✅

Harry Potter à l'école des sorciers, J.K Rowling

Home, Toni Morrison

Jane Eyre, Charlotte Bronte

Kafka sur le rivage, Haruki Murakami

L'adieu aux armes, Ernest Hemingway ✅

L'affaire Jane Eyre, Jasper Fforde

L'appel de la forêt, Jack London ✅

L'attrape-cœur, J. D. Salinger ✅

L'écume des jours, Boris Vian

L'étranger, Albert Camus ✅

L'insoutenable légèreté de l'être, Milan Kundera

La condition humaine, André Malraux

La dame aux camélias, Alexandre Dumas Fils

La dame en blanc, Wilkie Collins

La gloire de mon père, Marcel Pagnol

La ligne verte, Stephen King ✅

La nuit des temps, René Barjavel

La Princesse de Clèves, Mme de La Fayette ✅

La Route, Cormac McCarthy ✅

Le chien des Baskerville, Arthur Conan Doyle

Le cœur cousu, Carole Martinez

Le comte de Monte-Cristo, Alexandre Dumas : tome 1 et 2

Le dernier jour d'un condamné, Victor Hugo ✅

Le fantôme de l'opéra, Gaston Leroux

Le lièvre de Vaatanen, Arto Paasilinna

Le maître et Marguerite, Mikhaïl Boulgakov

Le meilleur des mondes, Aldous Huxley

Le nom de la rose, Umberto Eco

Le parfum, Patrick Süskind

Le portrait de Dorian Gray, Oscar Wilde ✅

Le Petit Prince, Antoine de Saint-Exupery ✅

Le père Goriot, Honoré de Balzac ✅

Le prophète, Khalil Gibran ✅

Le rapport de Brodeck, Philippe Claudel

Le rouge et le noir, Stendhal ✅

Le Seigneur des anneaux, J.R Tolkien ✅

Le temps de l'innocence, Edith Wharton

Le vieux qui lisait des romans d'amour, Luis Sepulveda ✅

Les Chroniques de Narnia, CS Lewis

Les Hauts de Hurle-Vent, Emily Brontë

Les liaisons dangereuses, Choderlos de Laclos ✅

Les Malaussène, Daniel Pennac ✅

Les mémoires d'une jeune fille rangée, Simone de

Beauvoir

Les mystères d'Udolfo, Ann Radcliff

Les piliers de la Terre, Ken Follett : tome 1

Les quatre filles du Docteur March, Louisa May

Alcott

Les racines du ciel, Romain Gary

Lettre d'une inconnue, Stefan Zweig ✅

Madame Bovary, Gustave Flaubert ✅

Millenium, Larson Stieg ✅

Miss Charity, Marie-Aude Murail

Mrs Dalloway, Virginia Woolf

Ne tirez pas sur l'oiseau moqueur, Harper Lee ✅

Nord et Sud, Elisabeth Gaskell

Orgueil et Préjugés, Jane Austen

Pastorale américaine, Philip Roth

Peter Pan, James Matthew Barrie

Pilgrim, Timothy Findley

Rebecca, Daphne Du Maurier

Robinson Crusoé, Daniel Defoe ✅

Rouge Brésil, Jean Christophe Ruffin

Sa majesté des mouches, William Goldwin ✅

Tess d'Uberville, Thomas Hardy

Tous les matins du monde, Pascal Quignard

Un roi sans divertissement, Jean Giono

Une prière pour Owen, John Irving

Une Vie, Guy de Maupassant

Vent d'est, vent d'ouest, Pearl Buck

Voyage au bout de la nuit, Louis-Ferdinand Céline ✅

Total : 37/100

[reblogbestanimugirl]

Reblog if Agnès Chevalier de Milan (Zero no Tsukaima) is best girl.

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!EVENEMENT!

Le mardi 23 avril 2019 est la Journée Mondiale du Livre et du Droit d’Auteur.

Celle-ci a été créé il y a 24 ans lors de la Conférence Générale de l’UNESCO à Paris en 1995. Le choix de cette date ne s’est pas fait au hasard mais pour sa forte symbolique puisqu’il s’agit de la date anniversaire de la mort de Shakespeare et Cervantes, tous deux décédés le 23 avril 1616. C’est aussi la date de naissance d’autres écrivains comme Maurice Druon en 1918 et Manuel Mejía Vallejo en 1923. Petite anecdote, c’est aussi le jour de la Saint Georges, jour où une jolie tradition catalane veut que les libraires offrent une rose à toute personne qui achète un livre.

Pour cette 24e édition, c’est la ville de Sharja aux Emirats Arabes Unis qui a été choisie comme capitale mondiale du livre pour un an à compter du 23 avril 2019.

Vous pouvez trouver plus d’informations au sujet de la Journée Mondiale du Livre et du Droit d’Auteur sur les sites de l’UNESCO et des Nations Unies.

Pour célébrer le livre à leur manière, le Centre de l’Illustration vous propose une sélection d’ouvrages chers au cœur de ses bibliothécaires, que vous retrouverez exposés au 5e étage de la Médiathèque André-Malraux :

- Les dix droits du lecteur – Daniel Pennac & Gérard Lo Monaco, éd. Gallimard Jeunesse (2012)

- L’art de la Fantasy Gothique – Jasmine Beckett-Griffith, éd. (2009)

- John Howe : sur les terres de Tolkien – Stéphanie Benson, Christophe Gallaz & Christopher Lee, éd. L’Atalante (2002)

- Cent aspects de la Lune – John Stevenson & Yoshitoshi, éd. Citadelles & Mazenod (2018)

- Les Contes Macabres – Edgar Allan Poe & Benjamin Lacombe, éd. Soleil (2010)

- Sketchbook – Pascal Moguérou, éd. Au bord des continents (2008)

- Steampunk – Antoni Cadalfach, éd. Le Pré aux Clercs (2015)

- Les Lettres des Fées Sechées de Lady Cottington – Brian Froud & Ari Berk, éd. Glénat (2008)

- Le grand Shakespeare illustré – Caroline Guillot, éd. Chêne (2016)

- Fashion addict – Jessica Jones, éd. Milan (2011)

- Couleurs – Francesco Pittau & Bernadette Gervais, éd. Albin Michel Jeunesse (2014)

- New York la nuit – Arnaud Roi & Louis Thomas, éd. Milan (2016)

- Jazz : dans le New York des années folles – Robert Nippoldt & Hans-Jürgen Schaal, éd. Taschen (2013)

- Dali pop-up – Courtney Watson McCarthy, éd. White Star (2014)

- Paris 2050 : almanach d'anticipation – Davide Cali (texte) & Ale + Ale (illustrations), éd. Actes Sud Junior (2014)

- Blue Note : les dernières heures de la prohibition (tome 1) – Mathieu Mariolle et Micka��l Bourgouin, éd. Dargaud (2013)

- Le Bestiaire Marin : histoires et légendes des animaux des mers et des océans – Jean-Baptiste de Panafieu, éd. Plume de carotte (2008)

- Tous les humains ont les même droits : la Déclaration universelle des droits de l'homme de 1948 racontée aux enfants – Marie-Agnès Combesque, images de Clotilde Perrin, éd. Rue du Monde (2008)

- Le temps des fées : 15 années de croquis, aquarelles, peintures – Sandrine Gestin, préface de John Howe, éd. Au bord des continents (2008)

À voir jusqu’au 10 mai 2019 !

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Did Europe show a slow and late response to the Pandemic?

On the 12th of March, the World Health Organization declared that the Coronavirus (Covid-19) reached the Pandemic stage (www.euro.who.int, 2020). In spite of the fact that WHO had been raising concerns about this health crisis since January 30, urging countries to take their precautionary measures towards the emergence of the virus, EU countries were sceptical, believing that the situation will not invoke severe measures such as systematic confinement. They assumed that the rate of their infected cases or deaths toll would not reach a critical situation. In fact, what happened was the opposite, where a dramatic upward shift in the number of cases and fatalities took place. It was at this time when Europe became the epicentre of the pandemic (Europe plans full border closure in virus battle, 2020).

On the supranational level, the European Union declared, on March 17, that it was going to close all its’ internal and external borders (Europe plans full border closure in virus battle, 2020). However, four days before this announcement, Slovakia, Malta and the Czech Republic had unilaterally shut their borders (Schengen Visa Info, 2020). All member states, represented by the EU, should have coordinated their national policies and announced a nationwide lockdown at the same time to be on the same page. According to Dr. François Dabis, “director of the Agency for Research on Aids and Hepatitis in Bordeaux, France”, the European Union with its’ institutions proved to be “working unilaterally” since member states were acting as nation states, taking and imposing their own agenda. It was the time when EU citizens expected a collective and harmonized scheme to face this pandemic that was crippling their zone and its’ populations (Penney, 2020).

In addition, some EU experts argued that closing borders would jeopardise the commercial activities and the EU economy in total (EUobserver, n.d.). Another point related to this argument is that the EU health ministers did not hold meetings on regular basis since the outbreak to discuss how they were going to confront the disease, it took them time to meet and coordinate their policies, ignoring the fast spreading of the virus (Wheaton, 2020). Even though the EU council narrowed the number of its personnel, they continued working and conducting sessions as if there was no health crisis taking place (POLITICO, 2020). By and large, this political inconsistency questioned the EU crisis management and how it failed to stop the influx of the pandemic.

On the national level, the German Chancellor Angela Merkel was reluctant to propose measures to curb the spread of the virus, instead she said that “about 60 to 70% of the population” were going to contract the virus. In France, Agnès Buzyn, France’s health minister, expressed her hesitation on whether to run for the municipal elections or not as an attempt to pay more attention to the fight against the spread of the virus. But later, when she realised that she had more chances to be elected since her opponent was caught up in “a sex scandal”, she reconsidered becoming a candidate and totally marginalised this public health emergency. According to Giovanni Rezza, “director of infectious diseases at the Istituto Superiore di Sanità, Italy’s national health institute”, people in France and Germany were acting as if there were not a pandemic to be fought against, they were gathering in many parts of the cities, only few regions considered listening to the health experts and decided to call off events and gatherings “with more than 1000 people” (Wheaton, 2020).

Even the Spanish government did not pay attention to the first death case on its territory, a patient who died on the 13th of February and was identified as the first fatality of the virus three weeks later (Wheaton, 2020). In one of the nations worst hit by the pandemic, Italy had shutdown only “one terminal of Milan main airport”, on March 16, at the time when “Lombardi had already 3,760 cases”. The situation was completely opposite in China who had halted all flights of “Hubei Provence on January 23, where it reported only 500 cases” (Penney, 2020). Moreover, the Italian government applied the “partial solutions” approach, which means that the government would opt for, more or less, effective measures, including locking down some regions, while others were left out of the imposed strategy. Consequently, this contributed to the widespread of the virus in other areas, where there was no sign of infected cases (Pisano, Sadun and Zanini, 2020).

To conclude, neither the European Union nor the member states adopted robust measures to curtail the virus from spreading. When the disease emerged in China, the neighbouring countries, including Japan and Taiwan, took a swift response in their decision of closing the borders. On the other hand, Europe did not apply the same strategy, instead its’ borders remained open, where they continued running their aerial services in airports like “Heathrew and Charles De Gaulle”, even after the virus was considered as pandemic, the fact that worsened the scenario for Europe and elsewhere. In many of these countries, no testing or “contact tracing” mechanisms were put forward in order to cut down the growing flow of the infected cases or the surge in fatalities. Dr. Claire Standley, “researcher at Georgetown University’s Department of International Health”, argued that amid the outbreak and the failure of these nations to act rapidly before Europe became the epicentre of the pandemic, these governments should be hold accountable of their mismanagement of the situation (Penney, 2020). By their late response, Europe proved that the economic aspect is prior to saving human lives; how to preserve the economy versus how to save lives (Wheaton, 2020).

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God Save My Shoes Trailer 3 min

A documentary about the relationship between women and shoes. Set on a quest to decipher—from a psychological, sociological, historical, cultural, and erotic perspective—the fiery emotions that shoes exert on most women (and on quite some men), God Save my Shoes went from New York to Los Angeles, Paris to Milan, Toronto and Florence to interview extreme shoe collectors, everyday women, such celebrities as burlesque dancer Dita Von Teese, Fergie of the Black Eyed Peas, former Destiny’s Child singer Kelly Rowland, Paris opera ballerina Marie-Agnès Gillot, and Baroness Von Neumann. We also turned to fashion historian Valerie Steele of the FIT in New York, Toronto museum curator Elizabeth Semmelhack, women’s marketing expert Mary Lou Quinlan, industry mogul Vincent Camuto, Filipa Fino of Vogue USA, Caroline de Fayet of ELLE magazine, Moulin Rouge dancers, shoe fetishists, and such designers as Christian Louboutin, Manolo Blahnik, Walter Steiger, Pierre Hardy, Bruno Frisoni, Vivienne Westwood, Robert Clergerie… all those that play a role in the ubiquitous shoe phenomenon! Likes: 4 Viewed:

The post God Save My Shoes Trailer 3 min appeared first on Good Info.

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L’étrange garçon d’à côté

Agnès de Lestrade - éditions Milan

Chez Nina, tout le monde rit, chante et parle fort. Ses nouveaux voisins sont étonnamment discrets. Cristobal, leur fils, se balance continuellement sur place et appelle tout le monde comme son chat. Un jour que ses parents sont en déplacement, elle apprend à découvrir le jeune garçon, autiste Asperger.

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Sheila et Ringo en deuil : leur fils Ludovic Chancel s'est suicidé...

Sa mort a été annoncée via un communiqué de presse transmis par le manager Stéphane Letellier-Rampon de Sheila , ce 8 juillet. On vient d'apprendre la disparition de Ludovic Chancel par ces quelques mots si tristes : "Sheila a la douleur d'annoncer le décès de son fils, Ludovic, survenu dans la nuit du 7 au 8 juillet, à l'âge de 42 ans". Et d'ajouter : "L'inhumation aura lieu dans l'intimité familiale. Afin de respecter une mère en deuil, il n'y aura aucune réponse par Sheila ou son entourage aux éventuelles sollicitations médiatiques"."Fils de"Ludovic Chancel avait été vu en public pour la dernière fois le 3 juillet dernier, lorsqu'il assistait à la présen­ta­tion de la collec­tion capsule Petit Bateau x Marie-Agnès Gillot avec sa femme, Sylvie Ortega Munos. Il gardait des rapports compliqués avec sa célèbre maman chanteuse. Fruit des amours de l'interprète de "L'école est finie" et de Ringo (alias Guy Bayle), il avait notamment reproché à Sheila son absence en 2005, dans son livre "Fils de". "Je t'aime. Ta pilule"Plus tard, à l'occasion des 70 ans de la star, il avait fini par lui écrire sur Facebook : "Il est évident que pour moi le 16 août à été une date spéciale, malgré un conflit qui nous sépare elle reste pour moi ma Maman avant tout. Je lui souhaite la santé, l'amour, la paix et le meilleur pour l'avenir. Je suis très heureux pour elle de l'affec­tion que toute la France lui touche pour ses 70 prin­temps et je termi­ne­rai juste par quelques mots : Je t'aime. Ta pilu... Retrouvez cet article sur Public

Photos : Stéphanie Clerbois : trompée par le père de son fils... elle a fini par lui pardonner !

Bixente Lizarazu se confie sur sa relation avec son fils Tximista, le nouveau beau gosse d'Instagram

Fashion Week de Milan : Noé Elmaleh, Christian Combs et Alain-Fabien Delon : Les "fils de" font sensation sur le podium pour Dolce & Gabbana

Nicky Hilton et James Rothschild attendent leur deuxième enfant

Public Royalty : Prince Charles et Camilla : les images de leur fou rire communicatif !

[voyagelitteraire]

Coucou les amis, on se retrouve aujourd’hui pour mon premier BILAN ANNUEL !

Je vous propose donc ce Bilan afin de revenir sur tout ce qui s’est passé en 2018.

Tout d’abord, mon Blog a vu le jour le 13 août 2018.  Et depuis ce n’est que joie et merveille que d’écrire des chroniques et de vous les faire partager. Je ne sais comment vous remercier pour cette année, tellement de choses ce sont passés, des bonnes choses mais aussi des mauvaises.

J’ai passé des concours pour rentrer dans une formation infirmière et j’en ai eu un ce qui m’a permis de rentrer dans un école de formation infirmière à Saint-Malo en Septembre. Malheureusement je me rend de plus en plus compte que ce métier n’est pas fait pour moi et je penses donc me réorienter dans une formation pour travailler dans un métier du livre (librairie, maison d’édition…) voir même réaliser mon rêve le plus fou: ouvrir un café littéraire à Edinburgh (mais ça je vous en parlerai plus tard). J’ai aussi vécu un stage qui s’est extrêmement mal passé et j’ai du finir en arrêt maladie, bref cette année n’a pas été toute rose.

Cette année a aussi été la création de mon blog. Pour être honnête je m’ennuyais tellement pendant les vacances que je me suis dit pourquoi pas? J’ai une amie qui s’en ai créé un en 2017 et qui s’épanouie tellement avec son blog alors pourquoi pas moi. Bref ce blog c’est mon petit coin de paradie, il me permet de rencontrer beaucoup de monde, de parler de livres… Je suis tellement heureuse. Heureuse d’avoir ce blog. Heureuse de vous partager mes lectures, qu’elle soit bonnes ou décevantes. De faire des partenariats avec des maisons d’éditions et des services presses avec des auteurs qui me permettent de découvrir de nouveaux livres tout les jours. La lecture est quelque chose de très important pour moi. C’est à travers la lecture qu’on peut s’évader et être qui l’on veut, voyager et découvrir des mondes que l’on ne pourrait rêver seul. Je ne me vois pas vivre sans.

Voici donc un petit récap de ce que j’ai fait sur ce Blog cette année : 

J’ai participé à ces RDV :

C’est lundi, que lisez vous ? #1

C’est lundi, que lisez vous? #2

Mes TAGS :

My Perfect Bookfriend

Back to Hogwarts

Mes livres lus en 2018 :

Août : (11)

Phobos, Tome 1 : Les Éphémères – Victor Dixen : ici

Phobos, Tome 2 – Victor Dixen : ici

Phobos, Tome 3 – Victor Dixen

Phobos, Tome 4 : Horizons – Victor Dixen

Bilbo Le Hobbit – J. R. R. Tolkien

Le Seigneur des Anneaux, Tome 1 : La Communauté de l’Anneau – J.R.R Tolkien

La Révolte de Maddie Freeman, Tome 1 – Katie Kacvinsky : ici

L’île des Disparus, Tome 1: La fille de l’eau – Camilla et Viveca Sten : ici

Un Palais d’Épines et de Roses, Tome 1 – Sarah J. Maas : ici

Rouge Rubis, Tome 1 – Kerstin Gier : ici

Six of Crows, Tome 1 – Leigh Bardugo : ici

  Septembre : (7)

Un Palais de Colère et de Brume, Tome 2 – Sarah J. Maas : ici

Entre Mes Mains le Bonheur se Faufile – Agnès Martin-Lugand : ici

Qui Es-Tu Alaska? – John Green : ici

364 Jours pour t’Oublier – Audrey Keysers: ici

La Fille de Brooklyn – Guillaume Musso : ici

Phobos, Tome 0 : Origines – Victor Dixen : ici

La Boite de Pandore – Bernard Werber : ici

  Octobre : (8)

Louis, Pas à Pas – Gersende et Francis Perrin : ici

La Passe-Miroir, tome 1: Les Fiancés de L’Hiver – Christelle Dabos : ici

Orcam, tome 1: Automne – Laura Muller : ici

D.I.M.I.L.Y, tome 1 – Estelle Maskame : ici

Bonjour, c’est l’infirmière – Charline

Illuminae, tome 1: dossier Alexander – Amie Kaufman, Jay Kristoff : ici

Blind – Joseph Kochmann : ici

Marquer les Ombres, tome 2 – Veronica Roth : ici

  Novembre : (8)

Le Signal – Maxime Chattam : ici

Skitswish – Céline Thomas : ici

Lula et les Monstres – Christelle Lebailly : ici

L’escorte Lune – Brice Milan : ici

A Tous Les Garçons que j’ai Aimé, tome 1: Les Amours de Lara Jean – Jenny Han : ici

A Tous Les Garçons que j’ai Aimé, tome 2: PS je t’Aime Toujours – Jenny Han : ici

Everything, Everything – Nicola Yoon : ici

Moi, Simon, 16 ans, Homo Sapiens – Becky Albertalli : ici

  Décembre: (9)

Snow Crystal, Tome 1 : La Danse hésitante des flocons de neige – Sarah Morgan : ici

Grisha, tome 1: Les Orphelins du royaume – Leigh Bardugo : ici

Souvenirs Introuvables – Laura Wilhelm : ici

Qui T’a Tuée, Alice? – Virginie Deniau : ici

Y aura t-il trop de Neige à Noël? – Marianna Levy, Isabelle Alexis : ici

Drive Through Love, tome 1 – Jessica De Raco : ici

Corruption – Don Winslow : ici

Six Of Crows, tome 2: La Cité Corrompue – Leigh Bardugo

Keleana, tome 1: La Prisonnière – Sarah J. Maas

Total de livres : 43

J’ai donc lu au TOTAL 43 livres depuis août , et je ne compte pas les livres lus entre janvier et Juillet.

Mes Coups de Cœur :

Un Palais d’Épines et de Roses

Un Palais de Colère et de Brume

Six of Crows, tome 1

Six of Crows, tome 2: La Cité Corrompue

Grisha, tome 1

Keleana, tome 1 : La Prisonnière

Saga Harry Potter

Les livres de John Green

Moi, Simon, 16 ans, Homo Sapiens

Everything, Everything

J’ai eu 3 partenariats avec les maisons d’Editions: Albin Michel et Harper Collins

La Boîte de Pandore – Bernard Werber – Albin Michel Le Signal – Maxime Chattam – Albin Michel

Corruption – Don Winslow – Harper Collins Noir

J’ai également eu 2 partenariats avec des auteurs:

364 Jours Pour T’Oublier – Audrey Keysers Blind – Joseph Kochmann

J’ai aussi eu des services presses avec différents auteurs grâce à la plateforme SimPlement:

Drive through love, tome 1 – Jessica De Raco L’Escorte-Lune – Brice Milan Lula et les Monstres – Christelle Lebailly Skitswish, épisode 1 – Céline Thomas Souvenirs Introuvables – Laura Wilhelm Qui t’a tuée, Alice ? – Virginie Deniau

  Bilans de toutes mes chroniques littéraires:

After You – Jojo Moyes Blind – Joseph Kochmann Corruption – Don Winslow Did I Mention I Love You? – Estelle Maskame Drive Through Love, tome 1 – Jessica De Raco Entre Mes Mains le Bonheur se Faufile – Agnès Martin Lugand Everything, Everything – Nicola Yoon Grisha, tome 1: Les Orphelins du royaume – Leigh Bardugo Harry Potter, tome 1: À l’École des Sorciers – J. K. Rowling Harry Potter, tome 2: et la Chambre des Secrets – J. K. Rowling Harry Potter, tome 3: et le Prisonnier d’Azkaban – J. K. Rowling Illuminae, tome 1: Dossier Alexander – Amie Kaufman & Jay Kristoff La Boîte de Pandore – Bernard Werber La Face Cachée de Margo – John Green La Fille de Brooklyn – Guillaume Musso La Passe-Miroir, tome 1: Les Fiancés de L’Hiver – Christelle Dabos La Révolte de Maddie Freeman, Tome 1 – Katie Kacvinsky La Vie Est Facile ne T’inquiète Pas, Tome 2 – Agnès Martin Lugand Le Labyrinthe, tome 1: L’Épreuve – James Dashner Le Signal – Maxime Chattam Les amours de Lara Jean, tome 1 : A tous les garçons que j’ai aimés – Jenny Han Les Amours de Lara Jean, tome 2: PS: Je T’aime Toujours… – Jenny Han Les Animaux Fantastiques: vie & habitat – J.K. Rowling L’Escorte-Lune – Brice Milan Les Gens Heureux Lisent et Boivent du Café, Tome 1 – Agnès Martin Lugand L’île des Disparus, Tome 1: La Fille de L’eau – Camilla et Viveca Sten Louis, Pas à Pas – Gersende et Francis Perrin Lula et les Monstres – Christelle Lebailly Marquer les Ombres, Tome 1 – Veronica Roth Marquer les Ombres, Tome 2 – Veronica Roth Moi, Simon, 16 ans, Homo Sapiens – Becky Albertalli Nos Etoiles Contraires – John Green Orcam, tome 1: Automne – Laura Muller Outlander, tome 1: Le Chardon et Le Tartan – Diana Gabaldon Phobos, Tome 0 : Origines – Victor Dixen Phobos, Tome 1: Les Éphémères – Victor Dixen Phobos, tome 2 – Victor Dixen Qui Es-Tu Alaska? – John Green Qui t’a tuée, Alice? – Virginie Deniau Rouge Rubis, Tome 1 – Kerstin Gier Six of Crows, Tome 1 – Leigh Bardugo Skitswish, épisode 1 – Céline Thomas Souvenirs Introuvables – Laura Wilhelm Time Riders, tome 1 – Alex Scarrow Un Palais d’Épines et de Roses, Tome 1 – Sarah J. Maas Un Palais de Colère et de Brume, Tome 2 – Sarah J. Maas 364 Jours Pour T’Oublier – Audrey Keysers

Autour du cinéma:

Movies De Chaque Instant Fantastic Beasts and Where To Find Them Fantastic Beasts: The Crimes of Grindelwald Love, Simon Mowgli: Legend of the Jungle To All The Boys I’ve Loved Before Venom

TV Shows Peaky Blinders

Articles indépendants:

Premier Article Lire avec une liseuse Wishlist ~ Octobre S’organiser dans ses lectures Whishlist ~ Edition Noël Mes Acquisitions

Pour parler du bilan du Blog:

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MERCI ! 

Bilan 2018: Goodbye 2018, Hello 2019 Coucou les amis, on se retrouve aujourd'hui pour mon premier BILAN ANNUEL ! Je vous propose donc ce Bilan afin de revenir sur tout ce qui s’est passé en 2018.

[adipz]

100 livres à avoir lu dans sa vie

1984, George Orwell

A la croisée des mondes, Philip Pullman

Agnès Grey, Agnès Brontë

Alice au Pays des merveilles, Lewis Carroll : lu

Angélique marquise des anges, Anne Golon

Anna Karenine, Léon Tolstoï : lu

A Rebours, Joris-Karl Huysmans

Au bonheur des dames, Émile Zola : lu

Avec vue sur l’Arno, E.M Forster

Autant en emporte le vent, Margaret Mitchell : lu

Barry Lyndon, William Makepeace Thackeray

Belle du Seigneur, Albert Cohen : lu

Blonde, Joyce Carol Oates

Bonjour tristesse, Françoise Sagan : livre audio

Cent ans de solitude, Gabriel Garcia Marquez

Charlie et la chocolaterie, Roald Dahl : lu

Chéri, Colette

Crime et Châtiment, Féodor Dostoïevski

De grandes espérances, Charles Dickens

Des fleurs pour Algernon, Daniel Keyes

Des souris et des hommes, John Steinbeck

Dix petits nègres, Agatha Christie : lu

Docteur Jekyll et Mister Hyde, Robert Louis Stevenson

Don Quichotte, Miguel Cervantès

Dracula, Bram Stocker

Du côté de chez Swann, Marcel Proust : pal

Dune, Frank Herbert

Fahrenheit 451, Ray Bradbury

Fondation, Isaac Asimov

Frankenstein, Mary Shelley

Gatsby le magnifique, Francis Scott Fitzgerald

Harry Potter à l’école des sorciers, J.K Rowling : lu 

Home, Toni Morrison

Jane Eyre, Charlotte Brontë

Kafka sur le rivage, Haruki Murakami

L’adieu aux armes, Ernest Hemingway

L’affaire Jane Eyre, Jasper Fforde

L’appel de la forêt, Jack London

L’attrape-cœur, J. D. Salinger : lu 

L’écume des jours, Boris Vian : pal

L’étranger, Albert Camus : lu 

L’insoutenable légèreté de l’être, Milan Kundera : lu

La condition humaine, André Malraux

La dame aux camélias, Alexandre Dumas Fils

La dame en blanc, Wilkie Collins

La gloire de mon père, Marcel Pagnol : lu

La ligne verte, Stephen King

La nuit des temps, René Barjavel

La Princesse de Clèves, Mme de La Fayette

La Route, Cormac McCarthy

Le chien des Baskerville, Arthur Conan Doyle : lu 

Le cœur cousu, Carole Martinez

Le comte de Monte-Cristo, Alexandre Dumas :  tome 1 et 2 lus

Le dernier jour d’un condamné, Victor Hugo : lu 

Le fantôme de l’opéra, Gaston Leroux

Le lièvre de Vaatanen, Arto Paasilinna : lu

Le maître et Marguerite, Mikhaïl Boulgakov

Le meilleur des mondes, Aldous Huxley

Le nom de la rose, Umberto Eco

Le parfum, Patrick Süskind

Le portrait de Dorian Gray, Oscar Wilde : lu

Le Petit Prince, Antoine de Saint-Exupery : lu 

Le père Goriot, Honoré de Balzac : lu

Le prophète, Khalil Gibran

Le rapport de Brodeck, Philippe Claudel

Le rouge et le noir, Stendhal : lu

Le Seigneur des anneaux, J.R Tolkien

Le temps de l’innocence, Edith Wharton

Le vieux qui lisait des romans d’amour, Luis Sepulveda :lu

Les Chroniques de Narnia, CS Lewis : lu

Les Hauts de Hurle-Vent, Emily Brontë : lu

Les liaisons dangereuses, Choderlos de Laclos : lu

Les Malaussène, Daniel Pennac

Les mémoires d’une jeune fille rangée, Simone de Beauvoir

Les mystères d’Udolfo, Ann Radcliff

Les piliers de la Terre, Ken Follett : tome 1 lu

Les quatre filles du Docteur March, Louisa May Alcott : lu

Les racines du ciel, Romain Gary

Lettre d’une inconnue, Stefan Zweig : lu

Madame Bovary, Gustave Flaubert : lu

Millenium, Larson Stieg : lu

Miss Charity, Marie-Aude Murail

Mrs Dalloway, Virginia Woolf : pal

Ne tirez pas sur l’oiseau moqueur, Harper Lee : lu

Nord et Sud, Elisabeth Gaskell

Orgueil et Préjugés, Jane Austen : lu

Pastorale américaine, Philip Roth

Peter Pan, James Matthew Barrie

Pilgrim, Timothy Findley

Rebecca, Daphne Du Maurier

Robinson Crusoé, Daniel Defoe

Rouge Brésil, Jean Christophe Ruffin

Sa majesté des mouches, William Goldwin :lu

Tess d’Uberville, Thomas Hardy

Tous les matins du monde, Pascal Quignard

Un roi sans divertissement, Jean Giono

Une prière pour Owen, John Irving

Une Vie, Guy de Maupassant : pal

Vent d’est, vent d’ouest, Pearl Buck

Voyage au bout de la nuit, Louis-Ferdinand Céline : lu

Total : 35/100

[irinache]

Niki de Saint Phalle

Niki de Saint Phalle (born Catherine-Marie-Agnès Fal de Saint Phalle, 29 October 1930 – 21 May 2002) was a French-American[3][4] sculptor, painter, and filmmaker. She was one of the few women artists widely known for monumental sculpture.[5]

She had a difficult and traumatic childhood and education, which she wrote about decades later. After an early marriage and two children, she began creating art in a naïve, experimental style. She first received world-wide attention for angry, violent assemblages which had been shot by firearms. These evolved into Nanas, light-hearted, whimsical, colorful, large-scale sculptures of animals, monsters, and female figures. Her most comprehensive work was the Tarot Garden, a large sculpture garden containing numerous works ranging up to house-sized creations. Her idiosyncratic style has been called "outsider art"; she had no formal training in art,[1] but associated freely with many other contemporary artists, writers, and composers.[6]

Throughout her creative career, she collaborated with other well-known artists such as Jasper Johns, Robert Rauschenberg, Larry Rivers, composer John Cage, and architect Mario Botta, as well as dozens of less-known artists and craftspersons. For several decades, she worked especially closely with Swiss kinetic artist Jean Tinguely, who also became her second husband. In her later years, she suffered from multiple chronic health problems attributed to repeated exposure to glass fibers and petrochemical fumes from the experimental materials she had used in her pioneering artworks, but she continued to create prolifically until the end of her life.

A critic has observed that Saint Phalle's "insistence on exuberance, emotion and sensuality, her pursuit of the figurative and her bold use of color have not endeared her to everyone in a minimalist age".[7] She was well-known in Europe,[7] but her work was little-seen in the US, until her final years in San Diego. Another critic said: "The French-born, American-raised artist is one of the most significant female and feminist artists of the 20th century, and one of the few to receive recognition in the male-dominated art world during her lifetime".[8]

https://en.wikipedia.org/wiki/Niki_de_Saint_Phalle

Public art

Many of Saint Phalle's sculptures are large and are exhibited in public places. The Niki Charitable Art Foundation maintains an online map and catalog of all her extant public artworks, including a pizza oven in La Jolla, California.[78]

Le Paradis Fantastique (The Fantastic Paradise, 1967), Moderna Museet, Stockholm, Sweden (in collaboration with Tinguely)

Golem (1971), Kiryat Hayovel, Jerusalem[44][79]

Hannover Nanas (1973), along the Leibnizufer in Hannover, Germany

La Fontaine Stravinsky (Stravinsky Fountain or Fontaine des automates, 1982) near the Centre Pompidou, Paris (in collaboration with Tinguely)

Sun God (1983), a fanciful winged creature next to the Faculty Club on the campus of the University of California San Diegoas a part of the Stuart Collection of public art

La Lune (The Moon, 1987), Brea Mall in Brea, California

Fontaine de Château-Chinon (1988), at Château-Chinon, Nièvre (in collaboration with Tinguely), a commission by French President François Mitterrand

Le Grand Oiseau Amoureux (Great Amorous Bird, 1988-1989), Mendrisio, Switzerland, depicts a Nana in a Yab-Yumembrace with a large standing bird[80][81]

Grand Oiseau de Feu sur l’arche (Great Firebird on the Arch, 1991), in front of Bechtler Plaza in Charlotte, North Carolina[82]

La Tempérance (1992) in Centre Hamilius, Luxembourg-Ville, Luxembourg (this work was in storage as the site was being demolished).[83]

Le Monstre du Loch Ness (Loch Ness Monster, 1992), Musée d'art moderne et d'art contemporain (MAMAC), Nice, France

Oiseau Amoureux Fontaine / Lebensretter-Brunnen (Amorous Bird Fountain / Lifesaver Fountain, 1989-1993), Duisburg, Germany (in collaboration with Tinguely)

Le Cyclop (1969-1994), Milly-la-Forêt, France (in collaboration with Tinguely and 15 other artists)[43][84]

Tympanum (1996) triangular mirror mosaic and mirrored pediment above the entrance to the Glasgow Gallery of Modern Art, Scotland[85]

L'Ange Protecteur (Guardian Angel, 1997) in the hall of the Zürich Hauptbahnhof, the largest rail station in Switzerland

Le poète et sa muse (Poet and His Muse, 1998), Mingei International Museum on The Prado, Balboa Park, San Diego, California

Big Ganesh (1998), San Diego Museum of Contemporary Art, the Hindu elephant-god Ganesh dances with a small mouse[86]

Miles Davis (1999), outside of Hotel Negresco in Nice, France

Nana on a Dolphin (1998), National Museum of Women in the Arts, Washington DC, US

Les Trois Grâces (The Three Graces, 1999), National Museum of Women in the Arts, Washington DC, US

Noah's Ark (1994-2001), Jerusalem Biblical Zoo, 23 works in a collaborative sculpture park with architect Mario Botta[74][87][44]

Nikigator (2001), Mingei International Museum on The Prado, Balboa Park, San Diego, California

Coming Together (2001), San Diego Convention Center[88]

Grotto (2001-2003), Herrenhäuser Gardens in Hannover, Germany[89]

Queen Califia's Magical Circle (2003), a sculpture garden in Kit Carson Park, Escondido, California[90]

Museums and collections

The Sprengel Museum has the largest holdings of Niki de Saint Phalle's work,[5] and other major holdings are at MAMAC.[91] Her archives and artistic rights are held by the Niki Charitable Art Foundation (NCAF) in Santee, California, near San Diego, which became active upon her passing.[65][13] The NCAF maintains an online catalog of artworks in museums and major collections.[91]

Bibliography (by publication date)[edit]

The World

Saint Phalle, Niki de (1987). AIDS : you can't catch it holding hands. San Francisco, California: Lapis Press. ISBN 0-932499-52-X.

Saint Phalle, Niki de (1994). Mon secret (in French). Paris: La Différence. ISBN 978-2729109783. – autobiography

Hulten, Pontus (1995). Niki de Saint Phalle : Kunst- und Ausstellungshalle der Bundesrepublik Deutschland (in German) (2nd ed.). Stuttgart: Verlag Gerd Hatje. ISBN 3-7757-0582-1.

Mazzanti, ed. by Anna (1998). Niki de Saint Phalle : the Tarot garden : [created on the occasion of the exhibition "Il giardino dei Tarocchi di Niki de Saint Phalle" at Orbetello, Polveriera Guzman in 1997] (1. Ital. ed.). Milan: Charta. ISBN 88-8158-167-1.

Longenecker, Martha [editor, et al.] (1998). Niki de Saint Phalle : insider, outsider world inspired art : the 20th anniversary exhibition of Mingei International Museum. LaJolla: Mingei Internat. Museum. ISBN 0-914155-10-5.

Saint Phalle, Niki de (1999). Traces : an autobiography. Lausanne: Acatos. ISBN 2-940033-43-9.

Parente, Janice [editor, et al.] (2001). Niki de Saint Phalle: Catalogue Raisonné: 1949–2000. Lausanne: Ed. Acatos. ISBN 2-940033-48-X.

de Gréce, Michele [et al.] (2002). Niki de Saint Phalle Monographie, Monograph, Catalogue raisonné. Lausanne: Acatos. ISBN 2-940033-63-3.

Landeshauptstadt Hannover, Fachbereich Umwelt und Stadtgrün, [editor] (2003). Niki de Saint Phalle : the Grotto ; [published on the occasion of the opening of the Grotto designed by Niki de Saint Phalle in the Herrenhausen Gardens in Hanover]. Ostfildern-Ruit: Hatje Cantz. ISBN 3-7757-1276-3.

Schulz-Hoffmann, Carla [editor] (2003). Niki de Saint Phalle : my art, my dreams. Munich ; Berlin ; London ; New York: Prestel. ISBN 3-7913-2876-X.

Krempel, Ulrich; Jackson, Rosie [translator] (2004). Niki's world : [Niki de Saint Phalle] (2nd ed.). Munich: Prestel. ISBN 3-7913-3068-3.

Saint Phalle, Niki de; Niki Charitable Art Foundation (NCAF), [editor] (2006). Harry and me : the family years ; 1950 - 1960. [Wabern-Bern]: Benteli Publishers. ISBN 3-7165-1442-X.

Jo Applin, "Alberto Burri and Niki de Saint Phalle: Relief Sculpture and Violence in the Sixties", Source: Notes in the History of Art, Winter 2008

Francblin, Catherine (2013). Niki de Saint Phalle : la révolte à l'œuvre : biographie (in French). Paris: Hazan. ISBN 978-2754104975.

Weidemann, Christiane (2014). Niki de Saint Phalle. Prestel. ISBN 978-3-7913-4975-6.

Pesapane, Lucia; Saint Phalle, Niki de; Niki Charitable Art Foundation (2014). Le petit dictionnaire Niki de Saint Phalle: en 49 symboles (in French). Paris: Réunion des musées nationales. ISBN 978-2-7118-6155-2.

Gether, Christian; Høholt, Stine; Jalving, Camilla (2016). Niki de Sainte Phalle. Ishøj, Denmark: Arken. ISBN 9788778751140.

A short, annotated bibliography is available at the Niki Charitable Art Foundation website.[92]

As of 2017, a definitive multi-volume catalogue raisonné is in preparation, and one volume has been published.[93]

Film

Daddy (1973), written and directed by Saint Phalle and Peter Lorrimer Whitehead

Un rêve plus long que la nuit / Camélia et le Dragon (A dream longer than the night / Camelia and the Dragon, 1976), written and directed by Saint Phalle

Niki de Saint Phalle: Wer ist das Monster – Du oder ich? (de) ("Who is the Monster, You or I?", 1995), biographical documentary (in German) by Peter Schamoni in collaboration with Saint Phalle

Niki de Saint Phalle: Introspections and Reflections (2003), posthumous documentary by André Blas

Niki de Saint Phalle and Jean Tinguely: Bonnie and Clyde of the arts (2012), posthumous documentary by Louise Faure and Anne Julien[92]

Niki de Saint Phalle, un rêve d’architecte (Niki de Saint Phalle: An architect’s dream, 2014), posthumous documentary by Louise Faure and Anne Julien[92]

A comprehensive listing is at the Niki Charitable Art Foundation website.[94]

[div-blog]

Paris Capitale de la mode

Paris Capitale de la mode

Historiquement, la mode, en particulier la haute couture, a toujours été un fleuron de l'image et du savoir-faire français à travers le monde. Paris est sans conteste la ville de la mode par excellence : les plus grands créateurs français y sont installés, qu'ils y aient leur maison-mère ou leurs multiples boutiques.

Bien sûr, la mode à Paris, ce sont d'abord les grandes maisons de couture, celles qui attirent des visiteurs passionnés du monde entier : Louis Vuitton sur les Champs-Élysées, ou encore les nombreuses boutiques de luxe installées le long de l'Avenue Montaigne, en plein Triangle d'Or Parisien : Chanel, Christian Dior. Aux alentours, on croise aussi les boutiques Yves Saint-Laurent, Jean-Paul Gaultier, Hermès (au-dessus)

Bien entendu, les grands noms de la mode ne sont pas cantonnés aux plus réputés du monde de la haute couture : au quotidien, des créatrices comme Agnès b. ou encore Inès de la Fressange incarnent une vision idéale de la Parisienne et d'un style qui, malgré les modes qui s'enchaînent... ne se démode pas, justement. Une vision revendiquée par Coco Chanel, et qui n'a jamais cessé de marquer la mode parisienne et ses héritiers !

Mais à quoi ressemble la mode parisienne... pour les Parisiens, au quotidien ? Comme dans beaucoup de pays, les achats se font aussi dans de grandes enseignes de prêt-à-porter : Zara, Zadig&Voltaire, MaxMara, Isabel Marrant, Paul Smith...une grande variété de noms que l'on retrouve autour de la planète, tout comme des chaînes plus « low-cost » de la mode, mais tout aussi prisées, à l'image de H&M et Uniqlo.

Les centres commerciaux de Paris sont des points importants de shopping, même si les boutiques sont nombreuses dans les rues des quartiers chics, comme Saint-Germain-des-Prés ou Montmartre par exemple. La mode passe aussi par une nouvelle tendance : celle des vide-dressings entre amies (mais ouvert à tous) et des friperies vintage ou de vêtements de marques... et oui, la crise n'a rien enlevé au goût des Parisiennes pour la mode !

Autres lieux de prédilection qui représentent la mode à Paris : les Grands Magasins, dont le Bon Marché fait figure de monument historique dans la ville ! Couture, tissus, grands créateurs, nouveaux couturiers, accessoires et chaussures... des Galeries Lafayette (qui se développent ailleurs) au Printemps, ces mecques du shopping attirent des milliers et milliers de visiteurs passionnés de mode. On les comprend ! Le choix y est toujours de grande qualité et les découvertes de jeunes créateurs côtoient les incontournables sacs Birkin... ou autres !

La mode à Paris, c'est aussi un agenda événementiel et culturel chargé : la capitale vit au rythme de fréquentes Fashion Weeks qui, comme à Milan ou New York, attirent les pontes de la mode autour des nouveaux défilés et des multiples soirées et happenings qui sont organisés pour l'occasion.

Reste que comme dans la plupart des pays occidentaux, le shopping sur Internet se développe, y compris pour l'achat de grandes marques ! Chaussures, grands créateurs ou petits prix, la mode est également devenue mobile. Même si rien ne vaut des heures de shopping et lèche-vitrine...

[sportlouder-blog]

Carles Puyol adora la musica

Els nens perduts del franquisme comparte mesilla de noche de futbol con la foto de su novia Agnès y con un IPod, ese aparato de blancos auriculares que Carles Puyol, jugador del Barca ha ido paseando por los aeropuertos de España. 

Cuando el capitán abandona por unos instantes su habitación del piso de la Bonanova, el periodista aprovecha para meter mano a la memoria de la máquina para comprobar su calidad musical. 

Es directamente proporcional al desorden de su cabellera. Eminem, la banda sonora de Lucía y el sexo, REM, Bon Jovi, Marlango, Hombres G, Lluís Llach, Els segadors o el Cant del Barca futbol se unen en una selección patrocinada por Porros María. Entra Puyol y le pilla con las manos en el aparato (musical). Le incrusta los auriculares y dispara a todo trapo Dover ,el grupo que oye como ritual desde la primera jornada de Liga justo antes de saltar al campo. Le cambió el ritmo del Ipod y salta a Antonio Flores. 

No hay confianza para pedirle que se vaya, que le deje a uno echarse en su cama de matrimonio y observar, al ritmo del No dudaría, las estrellas del Imaginarium que tiene incrustadas en el techo.

En su salón se ha instalado el Sonimag. Una televisión de pantalla plana, que se debe contar por metros cuadrados y no por pulgadas, acompaña cuatro torres gemelas de audio esparcidas por las esquinas del sofá. 

En su despacho, castigadas de caraa la pared, se inmortalizan la camiseta del Barça con el 32 en la espalda dignificada en una diminuta placa con la fecha de su debut en Valladolid (2/11/99) yla de la selección española sub-21 con el número 5 enmarcadas por el tío de su novia y sus suegros. 

Un diploma de Sydney hace los honores al festival de fotografías que tapan el estucado de la pared. Una especialmente llamativa: el capitán del Barça y, su ídolo, el capitán del Milan. Puyol con Maldini. Al lado,una con el amigo perfecto, Luis Enrique, recién regresado de su periplo por Australia, con quien ya ha compartido estos días alguna partida de su juego de Play Station preferido, el ISS Pro Evolution. 

Y allí, como perdida entre tantas fotos con su Agnès por Eivissa, otra con su íntimo Iván dela Peña. En un armario centenares de DVD están apiñados. Hay películas pero básicamente hay fútbol. Mucho fútbol. Y Barça. Mucho Barça. Todos sus partidos desde el día del debut. Su suegro Vicenç es el chispas que lo graba todo, que lo etiqueta y que le ha instalado todos los aparatos en perfecto estado de revista.No hay un cenicero en toda la casa. El que fuma es desterrado ala terraza. Eso sí, cantidades indecentes de CD con nombres y apellidos confirman que Puyol está en contra de la piratería. 

Habla por teléfono móvil de alta tecnología,tamaño zapatófono Mortadelo y Filemón que debe tener cocina incorporada,y oigo que sus dos camisetas del triomfant sábado ya tienen destinatario: la Penya Blaugrana de La Pobla y Toni Manzanares,su profesor de Pilates. Sí. Carles Puyol trabaja el método cada tarde en un centro del Eixample barcelonés. Empujado por el servicio médico del Barça acudió a principio de temporada después de un golpe recibido el año pasado porel delantero de la Real Sociedad, Nihat, en el músculo oblicuo que le impidió participar en el Gamper. 

Ahora se declara fan de este sistema que le ha ayudado a ganar más consistencia muscular.El periodista le ruega observar su videoteca. Y se encuentra allí en medio de sus nuevas adquisiciones Mar adentro, El Lobo o lavida de Maldini, El club de los poetas muertos, la película de Peter Weir donde los alumnos apoyan a su profesor al grito de “Oh, capitán,mi capitán” en un poema de Walt Whitman dedicado a Lincoln que sigue: “Nuestro azaroso viaje ha terminado. Al fin venció la nave y el premio fue ganado. Yael puerto se halla próximo, ya se oye la campana, y verse puede el pueblo que entre vítores, con la mirada sigue la nao soberana.¡Oh capitán, mi capitán!”.

[imaginationsjournal]

 7-2 | Table of Contents | DOI 10.17742/IMAGE.VOS.7-2.5 | HallidayPDF Coming Soon!

[column size=one_half position=first ]Abstract | Since the mid-2000s, street style blogs have documented individualized fashion in international cities. With their rise to prominence, photo-bloggers turned their lenses towards mobilities outside fashion show venues in the dominant industry capitals. Fashion Month is the bi-annual circuit of women’s ready-to-wear presentations in New York, London, Milan, and Paris. Each Fashion Week is an enactment of what fashion scholars, pace Pierre Bourdieu, term the field of fashion (Entwistle and Rocamora). This exclusive assemblage can also be described as a scene. This article contends that the circulation of media representations of fashion show attendees, under the banner street style, appropriates a contested term and reinscribes fashion’s elitist social and material ideals. I examine the career of Canadian photographer Tommy Ton and perform content analysis on photographs captured from the Spring/Summer 2014 and Fall/Winter 2014 seasons posted to Condé Nast Media’s Style.com. I trace the term street style to its definition as fashion “observed on the street” (Woodward) and to historical references to subcultures. I then situate online street style photography within a history of depictions of citizens in urban locations and contestations between the “real” and the “authentic” in editorial fashion. Combining Gillian Rose’s notion of social modality with Agnès Rocamora’s fashion media discourse analysis, I describe how Ton’s aesthetic combines non-place-specific architecture with ideal bodies and luxury signifiers to communicate social distinction. Ton’s photographs do not foreground features of cities but rather depict the literalized street itself as a status signifier—an editorial backdrop against which to emphasize fashions.[/column]

[column size=one_half position=last ]Résumé | Depuis le milieu des années 2000, les blogues de mode de rue ont documenté la mode individualisée dans les grandes métropoles. Leur popularité ne cessant d’augmenter, les photographes de rue et blogueurs se sont tournés vers l’évolution du style vestimentaire, et ce, en dehors des défilés des capitales mondiales de la mode. Le Mois de la mode est un événement bisannuel consacré au prêt-à-porter féminin avec des présentations à New York, Londres, Milan et Paris. S’appuyant sur les travaux de Bourdieu, les spécialistes de la mode soutiennent que chaque Semaine de la mode est une matérialisation du domaine de la mode (Entwistle and Rocamora). Ce rassemblement exclusif peut également être décrit en tant que scène. Cet article soutient que la diffusion des représentations médiatiques des spectateurs des défilés de mode, sous la bannière mode de rue, s’approprie un terme contesté et réinsère les idéaux sociaux et matériels élitistes de la mode. J’examine la carrière du photographe canadien Tommy Ton et je réalise une analyse de contenu avec les photographies prises durant les saisons Printemps/Été 2014 et Automne/Hiver 2014 et publiées sur Style.com de Condé Nast Media. J’examine le terme mode de rue selon sa définition de mode « observée dans la rue » (Woodward) et selon les références historiques aux sous-cultures. Je contextualise ensuite la photographie de mode de rue en ligne selon les représentations des citoyens dans les lieux urbains, mais aussi en fonction des contestations entre le « vrai » et l’« authentique » dans la mode éditoriale. En combinant la notion de modalité sociale de Gillian Rose avec l’analyse du discours de la mode dans les médias d’Agnès Rocamora, je décris la façon dont l’esthétique de Ton réunit l’architecture sans lieu spécifique avec des symboles de corps parfaits et de luxe afin de communiquer la distinction sociale. Les photographies de Ton ne mettent pas en évidence les caractéristiques des villes, mais représentent plutôt la rue elle-même en tant que symbole identitaire : une toile de fond éditoriale qui permet d’accentuer les modes.[/column]

Rebecca Halliday | York and Ryerson University

HOMOGENIZING THE CITY/ RE-CLASSIFYING THE STREET: Tommy Ton’s Street Style Fashion Show Photographs

The Italian fashion editor Anna Dello Russo perches on a red motorbike. She sports a sweater dress and a quilted leather purse in a near-identical shade, emblazoned with what appears to be McDonald’s “golden arches” logo but is actually a doubled signifier for the Italian brand Moschino (Fig. 1). Dello Russo’s look debuted during Fall/Winter 2014 Milan Fashion Week, where Moschino’s collection received criticism for its mix of high and mass culture icons. However, the sole clue that this photograph has been taken in Milan is the motorbike, a common mode of transportation in Italian cities; the name Deloitte, the international financial firm, is visible on mirrored windows that reflect brick facades. This photograph is one of 386 images that Canadian-born Tommy Ton captured of attendees at the Fall/Winter 2014 presentations and posted to Condé Nast Media’s Style.com under the banner street style. The “Big Four” Fashion Week circuit refers to the biannual showcase of women’s ready-to-wear collections in New York, London, Milan, and Paris—the complete series is termed Fashion Month. From 2009 to 2015, Ton captured thousands of photographs of the outdoor scenes of Fashion Month, in addition to Paris Couture Week and smaller-scale fashion weeks in other international cities.[i]

Fig. 1

In a phenomenon known as the street style parade, in-house and freelance photographers  compete to document attendees’ and models’ ensembles as they enter and leave Fashion Month venues. Street style blogs, the medium from which this spectacle arose, claim to capture the fashions of “real” people on the streets of international cities. Following the medium’s rise to popularity in the mid-2000s, fashion publications offered photographers lucrative contracts to contribute street style images from Fashion Month to enhance collection reportage. This article examines Tommy Ton’s photographs for Style.com to interrogate the media representations of fashion show attendees and the class politics communicated in the metropolitan streets on which Fashion Month materializes. I contend that these photographs, and their inclusion in press content, appropriate the contested term street style as a site on which to inscribe fashion’s elitist social, material, and embodied ideals. I further scrutinize depictions of Fashion Month cities to situate the clothes within fashion’s internationalization under neoliberalism. Fashion’s consecration of the Fashion Month insider photograph as palimpsest has disconnected the medium of street style photography from its (tenuous) ideals of candidness. The photographs’ circulation via professional websites and media outlets has rendered the sartorial choices of fashion’s arbiters arguably more influential than collection photographs and has blurred distinctions between the fashions worn in the indoor and outdoor environments. Jennifer Craik describes a form of “global high fashion worn by fashion journalists, stylists, and celebrities who travel worldwide to attend fashion weeks and special fashion events” (354). It is this subset that cultural parlance terms street style. Ton’s aesthetic utilizes streetscapes to promote this internationalized mode of dress that communicates wearers’ status not just in fashion circles but as members of a larger cultured class. Cities function as status enhancers within a discursive system that privileges beautiful clothes and bodies. Elements that do reveal location, such as historical landmarks, function within existent cultural discourses to promote cities as idealized fashion capitals (or fashion cities) and tourist destinations (see Gilbert).[ii]

This article is part of broader research situated in fashion, media, and cultural studies: this research examines the mediation of the fashion show as a microcosm of online media’s effects on consumer culture and assesses the social discursive production of fashion shows and their attendees via diverse textual and visual platforms. It is crucial to contextualize Ton’s photographs as embedded within the academic and social histories of the discursive terms and practices that they appropriate. Furthermore, one must account for the production of cultural and aesthetic ideals specific to the cities in which these representations are located, including intersections with other aspirational branding and consumer practices, such as those of tourism.

I first outline the methods used to analyze Ton’s photographs and defines a theoretical conceptualization of Fashion Month as scene. I then document Ton’s rise to prominence within fashion’s industrial structures. Further, I describe how the mobilities of Fashion Month within dominant cities enact fashion’s condition of internationalization. Next, I offer a scholastic genealogy of street style to illustrate the class and racial tensions in which Ton’s discursive representations circulate. Further, I summarize research in street style photography as both photographic genre and material practice, contextualized within historical representations of modern cities and fashionable subjects. Ton’s photographs demonstrate—and are situated within—a persistent dialectic between “real” or “authentic” depictions and fashion’s editorial or commercial dictates: this dialectic reflects international cities’ contestations in the cultural positioning of urban environments and class-based and/or racialized constructs of the “street.”

Methods

I performed manual content analysis on a non-random sample of all of the photographs that Ton posted to Style.com during the Spring/Summer 2014 (n=339) and Fall/Winter 2014 (n=386) ready-to-wear women’s collections, for a total of 725 photographs (n=725). The breakdown of cities is as follows: Fall/Winter 2014—Paris (44.3%), New York City (27.7%), Milan (17.9%), London (10.4%); Spring/Summer 2014—Paris (47.8%), New York City (24.2%), Milan (16.5%), London (12.1%). To obtain an accurate count of cities depicted, I cross-referenced the photographs with the archives on Ton’s personal website, which names the locations.[iii] Paris photographs comprise almost half of the sample, suggesting that Ton either attended more fashion shows or preferred to take more photographs there; this statistic also attests to Paris’s dominance as a fashion capital (Rocamora).

Gillian Rose’s Foucauldian approach to visual discourse analysis intersects Ton’s photographs with related media discourses and aesthetic and embodied trends predicated on an elevated class echelon. Rose’s notion of social modality considers the “economic processes” and “social practices” that inform the production of visual materials (24-31). Central to reception is the element of compositionality, the presentation and relation of items (22). Agnès Rocamora’s formulation of fashion discourse, or fashion media discourse, combines Bourdieu’s symbolic value production and Foucault’s relation of discourses to institutional structures in order to read representations of Paris and other fashion capitals and of the persons that inhabit these cities.

The Fashion Month Scene

This article applies a Bourdieusian lens to the material and social structures of Fashion Month and to the consumer distinctions communicated in fashion show attendees’ sartorial choices. Joanne Entwistle and Agnès Rocamora, pace Bourdieu, describe Fashion Week as a literal manifestation of the field of fashion in which cultural intermediaries compete for cultural, social, and economic capital (736). This formulation parallels Will Straw’s characterization of scenes:

 [A]s collectivities marked by some form of proximity; as spaces of assembly engaged in pulling together the varieties of cultural phenomena; as workplaces engaged . . . in the transformation of materials; as ethical worlds shaped by the working out or maintenance of behavioural protocols; as spaces of traversal and preservation through which cultural energies and practices pass at particular speeds, and as spaces of mediation . . . (477)

Fashion Weeks coalesce the industry’s social relations and material practices: audience risers create a Foucauldian “regime of looking”—a reverse Panopticon—in which members that possess the most influence are seated in the front row, visible to others (Entwistle and Rocamora 744). Insiders’ display of personal fashion capital constitutes a performance of habitus, sets of tastes and dispositions that Bourdieu identified as the product of class position (Entwistle and Rocamora 740). What can productively be called the fashion scene, or the Fashion Month scene, is rendered visible on an international scale and in an immediate timeframe via online photograph circulation. Bourdieu’s hierarchical theorization of consumer culture has its critics: Gilles Lipovetsky declared that the introduction of multiple markets facilitates individual choice, while Mike Featherstone posited that consumption in postmodern culture should be evaluated based on tastes. Subculture research, outlined below, further indicates alternative directions of fashion adoption. However the press’s increased focus on fashion show attendees indicates fashion’s reassertion of class-based hierarchies in the Internet era. Cultural intermediaries must appear to other field members, through their dress and embodiment, to possess appropriate economic capital, design knowledge, and professional connections (Entwistle and Rocamora 746). Consumers who access Fashion Month photographs perceive attendees as representative of an elite class, and their ability to travel to international fashion capitals as evidence of financial flexibility and industrial clout. 

The Rise of Online Street Style Photography

Online street style photography became a recognized practice through the work of photographers such as Ton, Garance Doré (Garance Doré), Phil Oh (Street Peeper), Yvan Rodic (Facehunter), and Scott Schuman (The Sartorialist, who photographed for Style.com from 2006 to 2009). These photographers documented international street fashion, purporting to capture cities’ sartorial experimentation. Photographer and ethnographer Brent Luvaas contends that street style blogs’ “cultural value” resides in their illustration of “specific cities at specific moments in time … well beyond the traditional boundaries of the global fashion industry” (4). Print and online street fashion photographers have earned their reputations touring cities with a casual, all-seeing approach that scholars liken to the flaneur of the Parisian arcades. Fashion and visual culture scholars have written on Schuman and Rodic’s portraiture as demonstrative of the form. Popular claims of street style blogs’ democratic nature are predicated on online media’s geographical reach and interactive capacities (including comment forums); depictions of clothes from different price echelons; and the fact that bloggers earned professional notice through amateur practices. However, scholars problematize such utopian ideals, noting the promotion of a homogenous aesthetic that adheres to fashion’s limited embodied standards. Further, fashion’s stakeholders exerted an influence in the medium from its earliest incarnations via brand collaborations, advertisements, and invitations to practitioners to attend fashion shows.[iv]

Ton’s position as one of the earliest online street style photographers facilitated his rapid rise to influence in the field of fashion and the formation of an international forum for his work. Ton created his blog Jak & Jil in 2005 while working as a buyer at the luxury department store Holt Renfrew in Toronto (Amed). Canadian retailer Lynda Latner, impressed with Ton’s online work, paid for Ton to travel to Paris Fashion Week: there, Ton honed a “candid” and frenetic photographic style that differed from his peers’ portraiture (though he does shoot portraits) (qtd. in Amed). Still in his 20s, Ton was not as established in fashion as predecessors such as Schuman, who had worked in menswear (de Perthuis 4; Rosser 158). Nonetheless, his position at Holt Renfrew reinforces the fact that several street style visionaries already worked in fashion prior to starting their recreational online pursuits. In 2009, Ton was one of four bloggers invited to sit front-row at Dolce & Gabbana’s Spring/Summer 2010 presentation, a moment that scholars pinpoint as fashion’s consecration of the medium. That same year, Condé Nast hired Ton as its “resident” photographer of Fashion Month street style (replacing Schuman). During Ton’s tenure, the street style parade became a documented phenomenon. Nicole Phelps lists Ton’s recruitment as a catalytic event before street style exploded in the form of bloggers’ increased Fashion Month presence and the pervasive influence of brands and media sites on the practice. The seasons covered in the sample represent street style photographers’ dominance in the streets of Fashion Month, later to be outnumbered by press and commercial photographers (Luvaas 284).

Ton’s photographs for Style.com demand analysis, as those few scholars that have addressed his work situate him within street style photography but do not examine his oeuvre in detail. In 2011, The Business of Fashion deemed Ton “the world’s most influential street style fashion photographer today” (Amed, my emphasis). Luvaas cites Ton as a creator of street style stars (270). Other photographers observe whom he shoots, and his chosen intermediaries gain public recognition—Dello Russo, who appears 22 times in this sample (at least with her face discernible), is the foremost example (Titton, “Styling the Street” 132-33).[v] Furthermore, Ton’s aesthetic has become representative of street style photographs and is often used as a visual referent for the term itself. Style.com is not the sole outlet to publish Fashion Month photographs under a street style banner: however, it is (or was) an essential resource that contains news stories, product recommendations, and a comprehensive database of collection reviews and photographs.[vi] Announcing his departure, Ton praised the site as “the most influential and relevant fashion publication” (qtd. in Wolf). For such a reputable site to feature street style—documented during Fashion Month—represents fashion’s appropriation of online street style photography. The move did not just conflate street style with the outfits worn at Fashion Month but naturalized its direct, delimited association with intermediaries’ ensembles. In the site’s context, the street style photograph becomes solely a representation of Fashion Month and reads in relation to collection photographs and advertisements.[vii] Style.com does not invite reader comments but instead compiles a clickable album, a more commercial mode of presentation (see de Perthuis). Ton’s images thus communicates aesthetics from within Fashion Month as a scene to an online spectatorship. Karen de Perthuis notes that documentation of “how fashion works in [a specific] street style blog offers a model that can be translated or applied … to other types of blogs across the field” (4). Analysis of Ton’s Fashion Month street style photographs illuminates the medium’s enfoldment into established discourses.

Fashion on the “Street”

The presence of Fashion Weeks inform cities’ cultural positions, while their representations are situated within historical referents (Craik; Gilbert). Fashion capitals have become international due to increased corporatization of fashion houses and sponsorship of Fashion Week events—a phenomenon that Frédéric Godart terms imperialization (14, 129-42). Fashion Weeks impress a set of classist signifiers onto urban environments, through the arrival of editors, retailers, celebrities, and photographers and their enactments—what de Certeau terms spatial practices (96). Presentations occur in tourist-centered cosmopolitan areas rather than in residential (or disenfranchised) communities. Alan Blum examines scenes as products of cities’ “urban theatricality” and notes that “fashion scenes” are positioned as exclusive (365-67). Rocamora and Alistair O’Neill contrast “the public space of ordinary people” with “the exclusive space of the fashion show and its extraordinary audience of celebrities and other fashion insiders” (189). Fashion Month has assumed such spatial proportions, distinct ensembles, and theatrical interactions that columnists and scholars compare it to a circus or a red carpet affair (Menkes; Shea; Titton, “Styling the Street”). On-site observation that I conducted of New York Fashion Week in February 2016 confirmed a sartorial distinction between elite attendees and outsiders, the “real” inhabitants whose quotidian, work-related mobilities underwrite the streets (de Certeau 93). People familiar with Fashion Month photograph conventions can determine which individuals will attract photographers based on their outfits and attractiveness (see Luvaas 266). Nonetheless, comments from locals and tourists indicated that even outsiders could conclude that attendees’ dress transcended the mainstream. Craik stresses that event producers fabricate a “cosmopolitan atmosphere” via “international” associations (366): this construction follows tourism advertisements that turn cities into simulacral destinations (362). Notions of the international street as simultaneously accessible and elitist exist alongside alternative imaginings of the global street as a site of political resistance (Sassen). Fashion Month’s depictions of the urban street complement and clash with its often European associations to editorial effect: manipulating subversive formulations just as, pace de Certeau, the fashion scene performatively appropriates cities’ physical spaces (98).

Street Style in Discourse

Scholars trace the term street style to its references to popular trends and subcultural movements, situating its traditional associations in urban communities. Sophie Woodward defines street style as fashion worn and “observed on the street” and outlines how the term is constituted via a circuit of discourses: “as part of popular parlance, within media representations of fashion in the street style sections of magazines, in outfits that are assembled, in exhibitions and academics’ accounts” (84, my emphasis). Monica Titton delineates between notions of style, as individual experimentation, and fashion as subject to commercial imperatives (“Fashion in the City” 136).  David Gilbert observes that communities influence cities’ cultural fabrics in a manner that fashion narratives overlook: “the creativity arising from the intermixing and chaos … the performance of fashion on the streets” (29). Research in subcultures illuminates problematics between examination of street style as representative of demarcated communities and acknowledgment of its diverse influences (Woodward 85). Caroline Evans observes that attempts to categorize subcultures overlook the nuances of cultural statements as derived from multiple sites, references, and practices.[viii] Subcultures have offered well-documented inspiration to fashion: hip-hop and punk aesthetics have recurred in the collections of Chanel and Jean Paul Gaultier and in mainstream retail lines (Barnard 45-46). Ted Polhemus formulates a “bubble-up” model of influence that contradicts classical social theories. Dick Hebdige asserts that the dominant culture incorporates statements’ subversive intent for commercial and political interests (94). For publications to name Fashion Month photographs street style represents not just an incorporation of the medium but also fashion’s textual incorporation of the term. In limiting street style as a referent to Fashion Month ensembles, the press erases dress as a situated practice and describes items from high fashion, positioned at a socioeconomic remove from urban communities. Journalists complain that for media discourses to use the term to refer to intermediaries’ outfits diminishes the individual locatable expression that true street style should constitute, and lament a lost space “free from” fashion’s “transactional compromises” (Berlinger; see also LaFerla, Shea). Indeed, editors’ outfits are often donated or loaned from fashion houses and public relations companies, and high-profile attendees have become notorious for changing outfits between presentations.

Street Style in Photographs

The historical presence of cities and streets, as place and idea, illuminates how fashion photography operates on a spectrum between the authentic and the produced, invoking a contentious politics of urban representation. Fashion needs “the street” to position itself as upper-class, while the “street” needs fashion to read as authentic (Rocamora and O’Neill 189). In an echo of Woodward, Luvaas defines street style photography “as simply fashion photography taken ‘on the street,’” in contrast with studio shoots and fashion shows (23, my emphasis). Predecessors include street photography; anthropological portraits; fashion photographs of models in outdoor locations or studio-replicated streets; street style photographs in which subjects are not aware of the camera; and portraits of non-professional subjects (see Luvaas).[ix] Titton comments that cities have occupied a “central” position “as both scene and real space for the photographic staging of fashion” (“Fashion in the City” 128). Luvaas and Titton (“Styling the Street”) trace street style photographs to the modern period and its fascination with man-made environments, notably Haussmann’s Paris. Luvaas articulates the predominance of “the street” as “a subject of street style photography, perhaps even the subject, a fluid, amorphous entity that accumulates meanings as it snowballs into fashion world ubiquity” (25, original emphasis). Fashion photographers such as Irving Penn and Edward Steichen romanticized the street as a construct of urban impoverishment: a location “where upmarket fashionistas could go slumming in search of ‘real life’” (Luvaas 43; see also Rocamora & O’Neill 187). Fashion’s embrace of subcultures and countercultures celebrated the street as a site of raw expression (Luvaas 44; Rocamora & O’Neill 188-89). The work of print media street fashion photographers such as Bill Cunningham and Amy Arbus in New York demonstrates a confluence of these aesthetics (Luvaas 45-47; Titton, “Styling the Street” 128-29).[x] iD Magazine’s iconic 1980s “straight-up” portrait showcased the UK’s “real” fashion choices via its comparative lack of production. Subjects were captured against a white wall on an actual street, represented as a “site for the creative performance of ‘real’ people” (Rocamora & O’Neill 185; see also Luvaas 49). Creator Steve Johnston shot most of the portraits in front of the same wall—the location was both specific and representational (Luvaas 51). Rocamora and O’Neill contend that print media’s co-optation of street fashion erased the street in lieu of a metaphorical (and perhaps racist) white space or brick wall: i-D’s 2003 studio-produced homage to street fashion renders the street “a blank canvas” or a reductionist “urban wasteland” (195). The Los Angeles magazine NYLON and the Japanese magazines FRUiTS and TUNE return to a more untouched street fashion portraiture (Luvaas 55-56).

While online street style photography returns to literal streets, it commits a similar act of erasure—the wall reappears, but its connotations are editorialized. Luvaas posits that the street has been turned into a “conceptual screen” (25), blurring social and locational contexts. Susan Ingram observes that The Sartorialist renders cities visually indiscernible:

[T]he city forms an anonymous backdrop against which fashionistas can look urban. The [subjects] … are in an interesting way placeless. In many of the images, the city disappears completely, and it is rarely clear from the photos themselves where they have been taken, which is why each has to be labeled. Viewed without their labels, it becomes apparent how lacking in specificity these places are, and how similar the looks. (188)

Elizabeth Wilson notes that marketers use the term “urban” to invoke the lifeblood of streets or allude to wastelands (35): these inverted associations become connected to cosmopolitanism. Sarah Banet-Weiser asserts that “street” and “urban” are racialized in American cultural discourses, connoting dangerous ghettos or nostalgic historical sites (105). For Luvaas, the street remains contested: “the last vestige of authenticity in a commodified culture and … a stage on which that very commodified culture performs some of its most ostentatious displays” (68). Ton’s photographs collapse the distinction between the authentic and the constructed, imposing the fashion scene upon the “street” and repositioning the street itself as status marker.

Ton’s photographs must be read beside his contemporaries’ ambivalent realizations of the “street.” Luvaas likens Ton’s aesthetic to that of H. B. Nam (streetfsn.com), Youngjun Koo (koo.im), Michael Dumler (onabbottkinney.com), Nabile Quenum (jaiperdumavest.com), Driely S. (Driely S.), and Adam Katz Sinding (Le 21ème) (63-64). These photographers’ movement-based shots include “the details of the garment” as but one component and instead reconstitute the modernist, European street “of the poetic moment … of romantic possibility, of happy accident … [the rest] dissolves into a field of lens blur” (Luvaas 65). Ton remains, however, a pioneer in the use of the horizontal frame and cropped focus (see Phelps). While lens blur and streetscapes are prominent compositional elements, Ton’s conceptualization of the street is much more complex: here, it becomes aestheticized and often effaced. Moreover, his focus on fashion is far from (and cannot be) incidental. Ton’s is the international street of fashion tourism, of tourist mobilities predicated on consumerism, and the arrival of the international fashion set (Craik 354). Ton’s composition is more readable than that of his peers, prioritizing opulent commodities and their aspirational wearers over mood. However, the photographs are not democratic: rather, the aesthetic treads a line between the experimental and the commercial.

Analysis: Tommy Ton’s Cities as Streetscapes

Ton’s photographs share numerous elements: foremost are the attendees walking or running to or from venues, while in the background are rows of town cars, taxis, and motorbikes and/or textured architecture. Ton also offers cropped torso shots or close-ups of handbags, shoes, and other accessories (Fig. 2). Ton positions the street as an editorial backdrop against which to emphasize fashion; cities are often recognizable only to those who are already familiar with them. Weather helps to indicate location: shifts inform light and shadow, while select photographs represent extreme conditions. New York endured wet snowfall during Fall/Winter 2014 Fashion Week, and several photographs depict insiders protecting themselves from the elements. Taxis and buses, in addition to license plates, often become the only markers of place. Sixteen photographs taken at New York Fashion Week (eight from each album) show editors in front of iconic yellow taxis; similarly, red double-decker buses feature in several London photographs. Nonetheless, the vehicles’ presence becomes naturalized as a scene of international mobilities and an advertisement for these cities as tourist destinations: not cities as lived but cities as discursively produced. The vehicles become a flattened and often blurred element. More than half of the photographs (56.1%) make visible the literal street and its referents (54.7% for Spring/Summer 2014 and 57.3% for Fall/Winter 2014). 349 photographs (48.1%) illustrate cars; 104 (29.8%) of these feature cars in a prominent position. 211 photographs (29.1%) contain traffic, parking, or directional signage, or barriers and traffic cones. 219 photographs (30.2%) depict subjects on or in the street, while 69 (31.5%) of these show an indicated crosswalk (Fig. 3). 174 photographs (24.0%) capture individuals close in front of an architectural structure, while half (50.1%) illustrate architectural structures in the distance. 33 photographs (5.0%) were coded as “perspective shots” that Ton took from the middle of a street, creating a striking aesthetic that recalls a modern-era fascination with urban architecture (Fig. 4).

Figure 2

Figure 3

Figure 4

Ton’s photographs frequently convey a sense of placelessness, similar to those of The Sartorialist. Esther Rosser observes that photographs’ location in the dominant fashion capitals lends clout to the insiders who appear (161; see also Titton, “Styling the Street” 132). However, status is communicated through the fact of the subjects’ location and not the cities’ specific architectural features. I coded 343 photographs (47.2%) as “streetscape,” in which elements of the urban setting comprised significant additional space in the frame or were otherwise instrumental to the composition (Fig. 5). This percentage is consistent across seasons (51.3% for Spring/Summer 2014 and 43.8% for Fall/Winter 2014). Historical architecture with friezes and columns reads as European but not location-specific: it increases the cachet of the locations as museum cities. It suffices that the architecture appears to be antiquated and European. 76 photographs (10.5%) capture subjects in front of walls or doors, whose colours and textures reflect or contrast with their outfits (11.5% for Spring/Summer 2014 and 10.0% for Fall/Winter 2014). 20 of these photographs (26.3%) feature a brick wall. One particular beige brick wall in New York (Fall/Winter 2014) matches an insider’s parka (Fig. 6). In a subsequent photograph, it offers a plain canvas to foreground Russian fashion editor Miroslava Duma’s flower-printed coat (Fig. 7). 404 photographs (55.7%) use lens blur to render streets indiscernible or erase them (53.1% for Spring/Summer 2014 and 58.0% for Fall/Winter 2014). 129 photographs (17.8%) contain sculptures, walls, architectural structures, landmarks, or (torn) street posters or advertisements that bear similar or opposite colour palettes and/or textures to subjects’ outfits.

In 18 photographs (9 from each album), from New York and Milan, Ton juxtaposes ensembles with graffiti. Banet-Weiser examines street art’s “ambivalent” role, both contentious and productive, in cities’ cultural positioning: “street art’s association with graffiti and tagging … are not only deeply racialized in the US imagination but also fetishized for their links to racial otherness” (101). Graffiti emerged out of the 1970s and 1980s US hip-hop scene in response to the encroachment of commercial culture onto public spaces and the disenfranchisement of Black and Latino neighbourhoods under New York’s “urban ‘renewal’” policies (Banet-Weiser 102). As “figures” that rhetoricize urban spaces, such “calligraphies howl without raising their voices” and resist photographic pinning down (de Certeau 102). Cities’ use of street art to self-brand as creative—making it palatable for a white audience (Banet-Weiser 105)—parallels photographers’ use of graffiti to mark streets and persons as fashionable. In a Fall/Winter 2014 Milan photograph, Ton frames Dello Russo in profile in a fringed black jacket and pencil skirt in front of black, curled scrawl (Fig. 8). In another, a woman stands in a white trench coat (printed with red lips) and embellished red heels in front of a yellow wall with red graffiti (Fig. 9). The tagged walls invoke “urban” hip-hop aesthetics to create a class contrast that prioritizes the expensive fashions.

Figure 5

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Figure 6

Figure 7

Figure 8

Figure 9

Tourist Locations

Ton has begun to depict specific locations more often, as certain fashion shows are held at recognizable tourist destinations; however, he continues to use attractions to construct a fashionable aesthetic. Rocamora recalls that the Eiffel Tower is Paris’s most persistent visual signifier, functioning, like a couture label, as a “geographical signature” (172). Artists depict the Tower as a feminine form, as the shape of its base recalls the lines of a dress or skirt (167). Three photographs juxtapose the Eiffel Tower with female fashion personnel. In the first, Dello Russo stands in black stiletto boots and a black mini-dress. Lean and muscular, she appears half as tall as the structure, while the chainmail pattern on her dress echoes its crossed steel beams (Fig. 10). In the second, editor Giovanna Engelbert stands cross-legged, wearing a sweater dress that flares out past the knee and black stiletto heels (Fig. 11). In the third, stylist Sarah Chavez stands in profile, bent over to light a cigarette; her ankle-length skirt blows in the wind (Fig. 12). Ton comments that “there’s a certain chicness to the way that people smoke” (qtd. in Hainey). The Eiffel Tower creates a sense of placelessness, as the view from the top “naturalizes” Paris within the modern period as simulacrum (Rocamora 166), in a similar manner to de Certeau’s view from New York’s World Trade Center (92-3). Craik declares that the “traveling … spectacle” of Fashion Month “rivals the more familiar attractions of the tourism industry” (368). In one Paris photograph, editor Michelle Elie performs an air kick that frames a group of tourists and their guide (recognizable for his flag) (Fig. 13). Ton’s photographs therefore reduce landmarks to icons for international tourism and invoke their associations as a thematic, luxurious backdrop.

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Figure 10

Figure 11

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Figure 13 

Fashionable Mobilities as Exclusive

The photographs’ composition presents fashion as an exclusive realm in which access is denied via subjects’ visualities and positionalities. Just 84 photographs (11.6%) depict subjects that look at the camera: all others look ahead or to the street, are shot from behind, or have their heads omitted from the frame. 199 photographs (27.5%) illustrate subjects wearing sunglasses. 258 photographs (35.6%) feature subjects holding a cell phone, while 94 (36.4% of these) illustrate subjects talking or texting, detached from the chaos or coordinating their schedules. Ton claims that insiders’ nonchalance attracts his lens: “the fact that they don’t want to be photographed or they’re running away from you makes you want to photograph them more” (qtd. in Hainey).[xi] Attendees maintain an awareness of Ton’s surveillance, as he has the power to render them visible outside of the field of fashion. While the totality of photographs depicts the “fashion set” as a collective, Ton’s selective focus on specific members indicates that the competition for distinction happens at an individual level. 83.6% of the photographs (606) feature one individual (even if others appear in the background) while none features more than five. The rest of the scene becomes enfolded into the spectacle: 261 photographs (36.0%) feature members in behind, near or at a distance (38.1% in Spring/Summer 2014 and 34.2% in Fall/Winter 2014), while a handful (45, or 6% of total) capture other photographers shooting the same subjects, boosting their visible social influence.

The sense of exclusion is enhanced via icons and invocations of urban mobilities: recalling de Certeau, the scene is constituted via the modalities of walking (99). Directional signage appears with arrows pointing to other parts of cities (Fig. 14). Traffic markers indicate “walk” or “don’t park,” preventing persons from becoming situated. Street names function as “metaphors … detached from actual places … a foggy geography of ‘meanings’ held in suspension, directing the physical deambulations below” (de Certeau 104). Here, street names indicate everywhere and elsewhere. 401 photographs (55.3%) depict subjects walking, often with their skirts, coats, or hair billowing behind them or in the opposite direction. 430 photographs (59.3%) are shot at a 45-degree angle. 219 (30.2%) position subjects at the side of the frame to showcase the streetscape or the crowd as additional elements. 101 (13.9%) depict subjects in profile. 84 (11.6%) tilt subjects’ bodies. The bodies’ ephemeral presence in the frame invokes Peggy Phelan’s famous observation that the disappearance of the female form as unmarked is powerful, just as performance’s disappearance informs its cultural status. 149 photographs (20.5%) communicate an overall sense of movement due to the curvature of a sidewalk or traffic circle; to the position of vehicles in extreme close-up, or parallel or opposite to the subject’s facing direction (Fig. 15); or to subjects depicted riding bicycles or motorbikes. That Ton photographs hundreds of these movements emblematizes de Certeau’s observation of mobilities as individual and fragmented: “The moving about that the city multiplies and concentrates makes the city itself an immense social experience of lacking a place … broken up into countless tiny deportations (displacements and walks)” (103). For the duration of Fashion Month, personnel (several of whom work in international markets) become placeless, as do their ensembles. Attendees often do not inhabit these cities outside of the hectic presentation schedules (Craik 367; Skov 773). Ton’s photographs, however, position these insiders as arbiters of “real” fashion: street names are immaterial—rather, fashion is constructed as an aspirational realm within its international cities.

Figure 14

Figure 15

Embodied Fashion Capital

The fashions and bodies that appear in Ton’s frame reference high fashion’s ideals of embodied social distinction. Bourdieu observed that the upper classes base consumer choices on considerations of cleanliness, smoothness, and fabrics to convey financial ease (Distinction 247-48). Fashion insiders here similarly communicate a moneyed aesthetic through luxurious fabrics. Outerwear appears in 504 (69.5%) photographs—166 (49.0%) from Spring/Summer 2014 and 338 (87.6%) from Fall/Winter 2014. A total of 598 pieces are depicted, due to multiple people in the frame or to layering practices.[xii] 239 coats (40.0%) appear to be constructed from wool or felt; 126 (21.1%) appear to be leather or suede (often the classic black leather jacket); and 80 (13.4%) read as fur, faux fur, or (in two cases) feathers. Dana Thomas states that such materials have functioned as signifiers of privilege since prehistoric times (6), and that leather handbags continue to be fashion’s most coveted item (188-194). Identifiable brand logos do not consistently appear, though Louis Vuitton’s “Damier check canvas” pattern and Chanel’s quilted leather are still visible on handbags (see Thomas 19). 492 photographs (67.9%) contain handbags or purses. 564 handbags appear in total, while 60 photographs contain more than one item: handbags are the focus of 148 (30.1%) of these photographs. 405 bags (71.8%) appear to be made of leather, crocodile, suede, or other animal skins, while 163 (40.2%) are black leather. Journalist Connie Wang muses that, because insiders’ ensembles’ worth resides in fabric and construction, provenance is discernible only to members: “The people who know about these things know that the plain grey sweater is from The Row and costs $1,000” (qtd. in Shea). Authentic field membership is thus indicated through authentic materials, which denote authentic luxury brands to those that possess authentic fashion capital.

Ton’s photographs further promote pervasive industrial standards of attractiveness that are both classist and racialized. Titton comments that street style blogs “reintroduced the body image, racial stereotypes, and sartorial style of mainstream fashion into a new media format and an old photographic genre” (“Styling the Street” 135). 98.0% (711) of the bodies in Ton’s photographs were coded as “lean,” “lean–athletic,” or “lean–petite,” while another 13 (1.8%) were coded as “petite.” Half (50.0%) of all outerwear pieces were coded as “oversized”: the exaggerated proportions serve the simultaneous function of rendering the clothes distinctive and the wearers’ bodies slimmer.[xiii] 34 coat-wearing individuals (20.6%) in Spring/Summer 2014 and 50 individuals (14.8%) in Fall/Winter 2014 drape coats over their shoulders, emphasizing a lithe frame underneath. Titton claims that the repeated appearances of editors such as Giovanna Engelbert and Hanneli Mustaparta, who both had prior modeling careers, illustrate street style blogs’ aesthetic reductionism (“Styling the Street” 135). Engelbert appears fourteen times in the sample, and Mustaparta four times; other editors such as Emmanuelle Alt (five appearances) and Caroline de Maigret (eight appearances) also worked as models. Ton also features current models: blonde Belgian model Hanne Gaby Odiele appears in thirteen photographs (third behind Dello Russo and Engelbert). East Asian models Ming Xi, Liu Wen, Soo Joo Park, and Xiao Wen Ju appear 29 times combined. Other faces-of-the-moment include Joan Smalls, Saskia de Brauw, Caroline Brasch Nielsen, Binx Walton, Edie Campbell, Chloe Norgaard, Alanna Zimmer, and Grace Mahary, all photographed three or more times. The racial breakdown reflects fashion’s disproportionate whiteness: Caucasian—502 (69.3%); East Asian—95 (13.1%); Unclear—91 (12.6%); Black—34 (5.0%).[xiv] 

Elements of “Real” Streets

Elements of the “real” streets persist that resist incorporation, such as construction sites or refuse; however, Ton contains these within an aesthetic frame. In Fall/Winter 2014, Ton captures Torontonian bloggers and socialites Samantha and Caillianne Beckerman—profiled for their eclectic, expensive tastes (Sanati)—at New York Fashion Week, posing alongside street workers (Fig. 16). The photograph illuminates the labour that maintains cities, but also smacks of class tokenism. One of the twins dons a worker’s vest and a neon toque, making her resemble a traffic cone, while holes in her sweater and jeans suggest burns or contact with the pavement. Jeans appear in 175 photographs (24.1%), often ripped or with oversized patches. Calculated distressing increases their retail value and creates an appearance of conspicuous waste. In contrast, the workers’ uniforms are intact and clean. Three street workers are black, while the Beckerman twins represent the white subjects that dominate Ton’s photographs. Luvaas observes street style photographs’ capacities to render “occasional critique” of the class-based nature of Fashion Month’s social enactments (64). However, the posed, even touristic appearance of this photograph eliminates such potential. The combination of high fashion and street workers’ uniforms abstracts street fashion from situated streets and occludes the cultural specificities of fashion capitals, in addition to the high-low sartorial combinations that once characterized notions of street style.

Figure 16

Conclusion

Analysis of Tommy Ton’s Style.com Spring/Summer 2014 and Fall/Winter 2014 photograph albums demonstrates that high fashion has incorporated the contested term street style to refer to the ensembles worn by members of the elite industrial scene within fashion cities. Scholars and columnists propose that fashion editors have become the primary arbiters of trends, perhaps more so than the collections. Titton documents a reciprocal relationship between intermediaries who have advanced their careers via appearances in street style photographs and behind-the-scenes tastemakers and decision-making processes that dictate what is fashionable (“Styling the Street” 135). Editors are trusted to “incorporate the newest fashion trends into their wardrobes” because their positions place them ahead of a representational curve (135). However, close examination and season-to-season comparison of Ton’s photographs reveals that ensembles are uniform: a flattened mode of dress via which members of the fashion set communicate industrial and social distinction, rather than a mode of innovative, individual expression. Furthermore, editors who wear items direct from the runways disseminate trends determined by fashion houses (Berlinger), but do not demonstrate that these trends can be made wearable. Titton declares that “the establishment of street style blogs was only possible through the intense cooperation with fashion industry insiders and resulted in the reinforcement of prevailing power structures and visual narratives” (“Styling the Street” 135). Ton’s Style.com albums can be seen as evidence of this collusion. However, the photographs’ aesthetic standards are not those of mainstream fashion but rather those enclosed within the field of fashion, a (materialized) realm predicated on class-based forms of capital. Style.com, while accessible to consumers thanks to the ostensibly democratic medium of the Internet, is nonetheless dedicated to high fashion aesthetics. The comprehension required to read the photographs is predicated on habitus: if one recognizes a specific location, architectural element, or designer, one feels a sense of inclusion within an elite and mobile fashion scene. At the same time, it becomes sufficient to represent these cities as fashion capitals rather than as specific geographical locations. Since not all consumers possess the means to travel or to purchase the products or the clout to attend fashion shows, street style photographs become a tool for the production of desire. The proliferation of these images as representative of the “real” is intended to fuel the luxury and mainstream marketplaces via consumers’ imitation. Further critical analysis of Fashion Month representations should account for consumers’ social interactions with fashion content, and their material effects, in the Internet era.

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Image Notes

Fig. 1: Anna Dello Russo at Milan Fashion Week, Fall/Winter 2014. Photo credit: Tommy Ton. Source: Tommyton.com.

Fig. 2: Milan Fashion Week, Spring/Summer 2014. Photo credit: Tommy Ton. Source: Vogue.com/runway.

Fig. 3: Edie Campbell at Paris Fashion Week, Spring/Summer 2014. Photo credit: Tommy Ton. Source: Tommyton.com.

Fig. 4: Hanne Gaby Odiele at Milan Fashion Week, Spring/Summer 2014. Photo credit: Tommy Ton. Source: Tommyton.com.

Fig. 5: New York Fashion Week, Spring/Summer 2014. Photo credit: Tommy Ton. Source: Tommyton.com.

Fig. 6: New York Fashion Week, Fall/Winter 2014. Photo credit: Tommy Ton. Source: Tommyton.com.

Fig. 7: Miroslava Duma at New York Fashion Week, Fall/Winter 2014. Photo credit: Tommy Ton. Source: Tommyton.com.

Fig. 8: Anna Dello Russo at Milan Fashion Week, Fall/Winter 2014. Photo credit: Tommy Ton. Source: Tommyton.com.

Fig. 9: Milan Fashion Week, Fall/Winter 2014. Photo credit: Tommy Ton. Source: vogue.com/runway.

Fig. 10: Anna Dello Russo at Paris Fashion Week, Spring/Summer 2014. Photo credit: Tommy Ton. Source: Tommyton.com.

Fig. 11: Giovanna Engelbert at Paris Fashion Week, Spring/Summer 2014. Photo credit: Tommy Ton. Source: Tommyton.com.

Fig. 12: Sarah Chavez at Paris Fashion Week, Fall/Winter 2014. Photo credit: Tommy Ton. Source: Tommyton.com.

Fig. 13: Michelle Elie at Paris Fashion Week, Spring/Summer 2014. Photo credit: Tommy Ton. Source: Tommyton.com.

Fig. 14: Milan Fashion Week, Fall/Winter 2014. Photo credit: Tommy Ton. Source: Vogue.com/runway.

Fig. 15: London Fashion Week, Spring/Summer 2014. Photo credit: Tommy Ton. Source: Vogue.com/runway.

Fig. 16: Samantha and Caillianne Beckerman at New York Fashion Week, Fall/Winter 2014. Photo credit: Tommy Ton. Source: Tommyton.com. 

Notes

[i] In July 2015, Ton resigned from Style.com. Style.com became an e-commerce site while fashion show information migrated to the new Vogue.com/runway.

[ii] A draft of this article was presented at the “Cities and their Fashions: Capital Connections” seminar at the American Comparative Literature Association conference in New York in March 2014.

[iii] In September 2015, Ton launched an eponymous website with separate archives; several photographs overlap with those on Vogue.com/runway. The FW 2014 Vogue.com/runway archive omits 22 photographs from the initial Style.com album. I retained these photographs in the sample.

[iv] Schuman, based in New York, started to shoot New York Fashion Week in 2005 (Rosser 160).

[v] The artist-muse relationship that Dello Russo developed with Ton was the subject of a 2011 photograph exhibition in Toronto.

[vi] Luvaas provides a list of street style photographers (with Ton as top earner) that contribute to print and online media publications (235).

[vii] Street style blogs increasingly feature advertisements and/or collection photographs (see Luvaas).

[viii] For street style in specific cities, see Intellect’s street style series.

[ix] Thanks to New York-based photographer Dan Bendjy for outlining these categories.

[x] The process of photographing fashion show attendees has also been compared to the approach of paparazzi.

[xi] Men appear in just 16 photographs (2.20%), and no man is photographed solo. This could be because Ton photographs men’s street style for GQ; nonetheless, Style.com covers men’s and women’s fashion.

[xii] The Fall/Winter presentations occur in February and March, and Spring/Summer in September and October. Almost half of Spring/Summer 2014 photographs feature outerwear despite milder weather.

[xiii] Ton’s website also lists “oversized” as a trend.

[xiv] Latin American, East Indian, and Middle Eastern subjects did not appear enough to be considered statistically significant.

This article is licensed under a  Creative Commons 3.0 License although certain works referenced herein may be separately licensed, or the author has exercised their right to fair dealing under the Canadian Copyright Act.

Homogenizing the City/Re-classifying the Street  7-2 | Table of Contents | DOI 10.17742/IMAGE.VOS.7-2.5 | HallidayPDF Coming Soon! Abstract | Since the mid-2000s, …

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God Save My Shoes Trailer 3 min

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Bilan du mois ~ Juillet 2020

  Ce mois ci j’ai acheté …

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