#Alexandre hairstyle

[tina-aumont]

Harper's Bazaar October 1972 "The Couture by Night" Photographer: Hiro Featuring: Tina Aumont

The Fashion Spot

[gracie-bird]

Princess Grace of Monaco at Marigay Theatre in Paris on Dec. 5, 1968, to attend the gala at the benefit of UNICEF with the premiere of Oliver Twist.

[chicinsilk]

Hairstyle trends Spring/Summer 1971

Alexandre de Paris.

Photo Roland Bianchini

[jeanhuguesanglade]

Jean-Hugues Anglade photographed by Alexandre Alé De Basseville (~2000/2001)

[darklinggalleg0s]

Did you guys know about Russian Kerry Eurodyne? I honestly believe someone from CD Projekt Red used him as a reference for both Kerry's versions, LMAO. He has the same expression in his BLUE eyes as Mr. Eurodyne, moreover, he had the same hairstyle as Kerry right when Cyberpunk was in production!

+ An older version of him from a "Phantom Liberty" DLC, lol.

His name is Alexandr Rogov and he's a quite famous stylist and fashion designer. Of course, he's older now, but I still think he's hot ;)

[kaneni09]

TFA - TLJ - TROS

I honestly have no idea what the story of the Galactic Starcruiser is supposed to be, I've looked all over the interwebs and still nothing, so if anyone is aware of how this connects to the sequels please let me know. 

All I know is that there's a moment where Rey and Kylo Ren meet again after the battle on crait and have another duel. This has spawned many fun interpretations from the fans of how these events occur.

I took this as a chance to have fun and give Rey some star wars couture. Being the fashion nerd I am I already had a plethora of Rey style dresses for the formal occasion some range from trying to blend in with the first order crowd, being very obvious that she's a Jedi intruder and the rest are just me having fun.

I also tried to make it so the dress could also be fought in during her duel so, lot's of leg slits. And we can't forget the crazy hairstyles, the one at the top is probably my favourite.

Again feel free to give your two cents of which dress fits best for the Halcyon scenario. 

Below is a list of all the dress designers as well as a little moodboard I made for the funsies. 🤩

Shoes: Alexandre Vauthier - Spring/Summer 2022 Couture

Dress 1: Bronx & Banco - Spring/Summer 2022

Dress 2: ( couldn’t find the original image I used)

Dress 3: ???

Dress 4: Giambattista Valli - Spring/Summer 2023

Dress 5: Georges Hobeika - Fall/Winter 2022

Dress 6: GUCCI - Spring/Summer RTW 2022

Dress 7: Paolo Sebastian - The Wild Swans

Dress 8: FOUAD SARKIS - Spring/Summer RTW 2022

Dress 9: Bronx & Banco - Fall/Winter RTW 2022

Dress 10: ALEXIS MABILLE - Couture Spring/Summer 2022

[rhianna]

François Dumont - Portrait of Mademoiselle Marie-Anne Adelaide Le Normand - 1921.911 - Cleveland Museum of Art

Mademoiselle Marie-Anne Adelaide Le Normand, a famous Parisian fortune teller, was born in Alençon, France, between 1768 and 1772. Little is known of her early years, but by 1790 she had already established a strong following in Paris. Fortune telling was a highly lucrative field perhaps due to the extreme political unrest that permeated Paris in the 1790s. Although the practice of fortune telling was illegal at the time, people from the highest social classes sought Le Normand's services. She prophesied the bloody deaths of the French revolutionaries Maximilien Robespierre, Louis Antoine de Saint-Just, and Jean-Paul Marat when they visited her salon. Additionally, Alexandre Dumas was one of many to describe Le Normand's prediction of the monumental rise and fall of both Napoleon and his wife Josephine, who visited Le Normand's studio frequently. The fortune teller managed to retain her popularity through the Napoleonic era and the reign of King Charles X before retiring from Parisian life after correctly foretelling the outcome of the July Revolution in 1830. She moved back to Alençon and continued writing books of predictions until her death in 1843. Her greatest tangible legacy is a set of tarot cards known as the Blue Owl deck or Le Grand Jeu de Mlle. Le Normand. Grimaud, a self-proclaimed pupil of Le Normand, published the deck two years after her death. The accounts of Le Normand's physical appearance and her studio are almost as colorful as her predictions, and perhaps equally disputable. A description published in the late 1850s reported how "some thirty or forty volumes were arranged on the shelf against the wall, chiefly consisting of the works of the lady herself . . . Mademoiselle soon made her appearance-a short, fat little woman, with a ruddy face, overshadowed by the abundant curls of a flaxen wig, and surmounted by a semi-oriental turban, the rest of her attire being much in the style of a butter woman." Captain Rees Howell Gronow visited Le Normand between 1814 and 1830 and published his account in a book of recollections in 1865: "It was impossible for imagination to conceive a more hideous being. She looked like a monstrous toad, bloated and venomous. She had one walleye, but the other was a piercer. She wore a fur cap upon her head, from beneath which she glared out upon her horrified visitors. The walls of the room were covered with huge bats, nailed by their wings to the ceiling, stuffed owls, cabalistic signs, skeletons-in short, everything that was likely to impress a weak or superstitious mind." In "The Court of Napoleon," Frank Boot Goodrich noted that Le Normand's studio featured miniature portraits of the various rulers she patronized as well as a miniature of herself painted by Jean-Baptiste Isabey, court painter to Napoleon. The Cleveland Museum of Art's miniature does not reflect Le Normand's mythically monstrous appearance. She was in her early twenties when this miniature was painted. Perhaps the fortune teller chose François Dumont as the artist because he had recently produced several portraits of Marie-Antoinette, whom Le Normand admired greatly. Her dress and hairstyle here are reminiscent of the queen's in Dumont's 1792 portrait of her. A student of Jean Girardet, Dumont was one of the most exclusive French miniature painters of the late 18th and early 19th centuries and rendered many of the elite subjects of Le Normand's predictions; even if Dumont himself found no use for the prophetess's services, they certainly relied on similar clientele for their prosperity. The artist's inclusion of an owl eating a moth makes the CMA's miniature unusual. The owl often represents wisdom and was the companion of the ancient Greek goddess Athena. The ancient Romans were among many cultures to associate the nocturnal owl with the ability to predict death; even William Shakespeare called the bird of prey a "fatal bellman" in his play "Macbeth". These darker aspects of the owl make it an appropriate companion for Le Normand, who foretold the deaths of so many. Ashley Bartman (May 2014)

This all is from Wikimedia Commons

[maralbeauty]

Fashion Week August Couture 2024, Maison Margiela brand

On Thursday night, the unique show of the Maison Margiela brand was held at the last show of Paris Couture Fashion Week 2024, and this week ended with great grandeur under the heavy rain. John Galliano, the brand's creative director, presented a theatrical masterpiece that combined fashion, art and drama. Everything about this show was unique and scary at the same time: from the venue, which was a creepy underground bar under the Pont Alexandre III bridge, to the clothes, hairstyles, thick and oily makeup, and even the way the models walked, reminiscent of dolls. Cookie was possessed. The venue was littered with broken plates, dirty glasses and spent drinks, symbolically depicting 3am. The invitation to this show was a subway ticket, and famous guests such as Kim Kardashian and Kylie Jenner also sat in the first row of this show.

[fancyschmancyopinions]

MADELYN CLINE promoting “Glass Onion: A Knives Out Mystery” at “The Tonight Show with Jimmy Fallon” on November 23rd 2022 wearing ALEXANDRE VAUTHIER

I’m just borderline obsessed with Madelyn. She can do no wrong in my eyes. She always usually manages to chose some cool and interesting looks.

I love the green color of this dress. It’s unexpected and honestly looks great with Madelyn’s coloring. The matching boots really enhanced the outfit. I also loved her hairstyle. Just another superb look from her.

[shenanigans-and-imagines]

Juliana (Lana) Dawnborn Character Bio

D&D Beyond Character Sheet Link

(campaign is a homebrew)

Basics

Race: Variant Human

Class: Fighter/Eldritch Knight

Level: 3 (at start of campaign)

Appearance

Skin Tone: Fair and sun worn

Eye Color: Brown

Hair Color: Dirty blonde

Hairstyle: Typically worn in long tight braid, but otherwise wavy and a bit unruly

Build: Athletic and strong

Height: 5’ 10’’

Age: 23 (at start of campaign)

Style: Typically seen in traveling clothes, hard worn boots, breastplate, long red coat and scarf

Weapon(s): Rapier and Shield

Personality

General Personality Traits: Steadfast, Independent, Aimless

Ideals: Family. She wants her father to accept her as his daughter and as his heir. However, if he will not or cannot she is willing to cut ties and form a family of her own.

Bonds: Family comes first, but that does not always mean blood.

Flaws: She wants the throne as proof that her family values her rather than the betterment of the kingdom.

Secrets: Her identity as the Princess Juliana. She has been going by Lana Foundry for several years.

Regrets: Running away rather than staying to fight with her brother before he was killed.

Relationships

Friends: Finn Greenwood, Alexandre Dawnborn

Family: Ryan Dawnborn (father), Isabella Dawnborn (mother), Alexandre Dawnborn (older brother), Alexandre II Dawnborn (younger brother)

Alias: Unknown

Enemies: Unknown

Lovers: N/A

Relationship Status: It's complicated

Sexuality: Demisexual

Backstory

Born thirteen years before her family's rise to the throne, Juliana Dawnborn was the first born daughter and second born child of Lord and Lady Dawnborn. Her older brother Alexandre was born only two years before. As soon as she began to walk Juliana would follow her brother everywhere eventually leading everyone to call her his Little Shadow.

Once the war began, she and Alexandre only grew closer. With their father gone and their mother simply trying to keep the family affairs in order, they were often left to their own devices and had to rely on each other for comfort and companionship. Juliana often sat in on Alexandre's lessons providing her with a deeper understanding of history, politics, and, more importantly, swordplay. Alexandre encouraged this, happy to have somebody close to his own age to spar with, even if she was a girl. Juliana love of the sword did not so much come from the promise of combat or power, but as a way to clear her mind and spend time with her brother.

The war did end eventually and with her father as the new king Lady Juliana then became Princess Juliana of the House Dawnborn with her brother set to be heir to the throne. With these new titles came new responsibilities as things slowly began to change.

Suddenly, Juliana found it harder and harder to convince Alexandre's teachers to let her sit in on lessons. The swordmaster would have laughed in her face if it weren't for Alexandre's presence.

Both her mother and father were rather ambivalent to what she did, so long as she attended her own lessons and didn't distract Alexandre from his they made no fuss one way or another. However as Juliana became older, her mother did start insisting Juliana spend less time following her brother and more time socializing with the other ladies in the court.

Juliana did as she was bid, but still found time to join Alexandre in the practice ring and work out the frustrations of the day.

As the years went by, Juliana felt herself chafing against court life. The limited expectations of the other ladies made her skin itch. Whether her parents meant to or not, she spent her youth being taught as her brother's true equal. The idea that she was expected to be lesser was absurd.

She often vented to Alexandre about these feelings vowing on her more dramatic days that she was just going to get on a ship and leave. Alexandre would only laugh and ask if she meant to leave forever. Juliana would then begrudgingly admit that she'd have to come back for holidays and to make sure he was getting on alright.

However, just as Juliana began to finally become comfortable in her new life, tragedy struck just before her 18th birthday.

Partially out of boredom with the court and partially out of curiosity, Juliana would often sneak out of the palace with Alexandre not far behind. He would often insist it was to keep her safe, but he was also curious about what life was like among the common folk. If he was going to rule one day, it only made sense that he see what day to day life was like with his own eyes. They had been doing it for years and in some areas became a recognized faces as Lana and Xandre. However, as Juliana's eighteen birthday grew closer, it was clear that such excursions could not continue. Her mother was already starting to write out a list of potential suitors. Her lessons in etiquette and dance only increased and it was near impossible for she and Alexandre to spar at all except late a night. This was to be her metaphorical last day of freedom and she wanted to enjoy herself.

They stayed out perhaps later than they should have. The suns were already low in the sky and the torches were just starting to be lit. They'd have to hurry if they wanted to make it back to the palace before the changing of the guard, otherwise there was a good chance they'd be left out the whole night. As they made their way up the familiar alleyways, a group of men stopped them in their tracks. Juliana only remembered the rest in bits and pieces. Swords were drawn. Clashing. Shouting. Red. Dizzying pain and a long, deafening, heart wrenching scream.

They found her in the alleyway frozen with her hands covered in blood as she held her hands around her brother's throat trying desperately to stop the bleeding.

They later told her it was a robbery gone wrong. The men who had did this had fled and there was no telling where the thieves were.

In the wake of Alexandre's death, she had never felt so completely alone. Her father wouldn't look at her. Her mother couldn't speak without crying. Juliana was left a shadow in the palace without a body.

The only place she found solace was in the practice ring. In her moments alone, she would take her sword drill until there was nothing left in her mind but the next step forward. It was there she was able to find some sense of self again. She was still the princess. She was raised to rule just as her brother was. That ship would have to wait.

Trouble was, her father didn't see it that way. Barely six months after Alexandre's death, her father made the announcement; her mother was pregnant.

The relief on her father's face spelled it out plainly; he never wanted her to be his heir. Her father didn't allow her to sit in on her brother's lessons because he believed her capable, he just didn't care. Neither her father nor her mother really cared what she did. They're only concern was Alexandre, their golden child, their heir. Juliana was the spare, a bargaining chip who's name alone was enough to make her valuable. The only person who cared, who really cared about her was Alexandre and now he was gone.

She left shortly after, taking little with her save for her sword, a sack of gold and the clothes on her back.

She booked passage out of the kingdom, abandoning everything, even her name. Lana was all that was left.

She spent the next four years traveling all over the kingdom on various merchant ships, finding work where she could. She had her freedom she so longed for when she was younger. She could go where she wanted, whenever she wanted with little thought but how many coins were in her purse. The trouble was, it wasn't the same as she had imagined. She didn't mind the hard work or the long hours. It just became clear that, the sweetest part of that imagined future was having a safe harbor to come home to.

It was also during this time she fell into the company of a charming bard, Finn Greenwood.

Finn quickly figured out she was a noblewoman, but decided not to hold that against her, only asking for her story and for them to travel together for a time. In exchange he'd help her stay hidden from whoever she was hiding from and provide his own excellent company along the way. Juliana agreed and for three years they traveled together, slowly falling in love in the process.

It was not meant to last, however, as one of the King's spies eventually caught up to her and informed Finn exactly who his travel companion was.

Knowing Juliana would someday have to return to the palace and take her place as princess, Finn decided to leave rather than prolong the heart break he knew would come.

Juliana was devastated having lost the one true friend she had after the death of her brother and felt herself more adrift than ever.

It was several months later she got a message from the king himself requesting her return.

[boardchairman-blog]

2023 Oscar Predictions

Best Picture

All Quiet on the Western Front

Avatar: The Way of Water

The Banshees of Inisherin

Elvis

Everything Everywhere All at Once

The Fabelmans

Tár

Top Gun: Maverick

The Whale

Women Talking

Best Director

All Quiet on the Western Front- Edward Berger

The Banshees of Inisherin- Martin McDonagh

Everything Everywhere All at Once- Daniel Kwan & Daniel Scheinert

The Fabelmans- Steven Spielberg

Tár- Todd Field

Best Actress

Cate Blanchett- Tár

Viola Davis- The Woman King

Danielle Deadwyler- Till

Michelle Williams - The Fabelmans

Michelle Yeoh- Everything Everywhere All at Once

Best Actor

Austin Butler- Elvis

Colin Farrell- The Banshees of Inisherin

Brendan Fraser- The Whale

Paul Mescal- Aftersun

Bill Nighy- Living

Best Supporting Actor

Paul Dano- The Fabelmans

Brendan Gleeson- The Banshees of Inisherin

Barry Keoghan- The Banshees of Inisherin

Ke Huy Quan- Everything Everywhere All at Once

Eddie Redmayne- The Good Nurse

Best Supporting Actress

Angela Bassett- Black Panther: Wakanda Forever

Kerry Condon- The Banshees of Inisherin

Jamie Lee Curtis- Everything Everywhere All at Once

Dolly De Leon- Triangle of Sadness

Stephanie Hsu- Everything Everywhere All at Once

Best Original Screenplay

The Banshees of Inisherin- Martin McDonagh

Everything Everywhere All at Once- Daniel Kwan & Daniel Scheinert

The Fabelmans- Steven Spielberg and Tony Kushner

Tár-  Todd Field

Triangle of Sadness- Ruben Östlund

Best Adapted Screenplay

All Quiet on the Western Front-   Edward Berger, Lesley Paterson and Ian Stokel

Glass Onion-  Rian Johnson

Living-  Kazuo Ishiguro

The Whale- Samuel D. Hunter

Women Talking- Sarah Polley

Best Animated Feature

Marcell the Shell with Shoes On

Pinocchio

Puss in Boots: The Last Wish

Turning Red

Wendell and Wild

Best Documentary Feature

All That Breathes

All the Beauty and the Bloodshed

Fire of Love

Moonage Daydream

Navalny

Best Foreign Language Film

All Quiet on the Western Front (Germany)

Argentina, 1985 (Argentina)

Bardo, False Chronicle of a Handful of Truths (Mexico)

Decision to Leave (South Korea)

The Quiet Girl (Ireland)

Best Original Score

Carter Burwell- The Banshees of Inisherin

Alexandre Desplat- Pinocchio

Hildur Guðnadóttir- Women Talking

Justin Hurwitz- Babylon

John Williams- The Fabelmans

Best Original Song

“Applause” from Tell It Like a Woman

“Hold My Hand” from Top Gun: Maverick

“Lift Me Up” from Black Panther: Wakanda Forever

“Naatu Naatu” from RRR

“Stand Up” from Till

Best Cinematography

Greig Fraser- The Batman

James Friend- All Quiet on the Western Front

Janusz Kaminski- The Fabelmans

Claudio Miranda- Top Gun: Maverick

Mandy Walker- Elvis

Best Film Editing

All Quiet on the Western Front- Sven Budelmann 

The Banshees of Inisherin- Mikkel E. G. Nielsen

Elvis- Matt Villa and Jonathan Redmond

Everything Everywhere All at Once- Paul Rogers

Top Gun: Maverick- Eddie Hamilton

Best Costume Design

Jenny Beavan- Mrs. Harris Goes to Paris

Ruth E. Carter- Black Panther: Wakanda Forever

Catherine Martin- Elvis

Gersha Phillips- The Woman King

Mary Zophres- Babylon

Best Production Design

All Quiet on the Western Front- Christian M. Goldbeck and Ernestine Hipper

Avatar: The Way of Water- Dylan Cole, Ben Procter, and Vanessa Cole

Babylon- Florencia Martin and Anthony Carlino

Elvis- Catherine Martin, Karen Murphy and Bev Dunn

The Fabelmans- Rick Carter and Karen O'Hara

Best Sound

All Quiet on the Western Front

Avatar: The Way of Water

Elvis

Everything Everywhere All at Once

Top Gun: Maverick

Best Makeup and Hairstyling

All Quiet on the Western Front

The Batman

Crimes of the Future

Elvis

The Whale

Best Visual Effects

All Quiet on the Western Front

Avatar: The Way of Water

The Batman

Thirteen Lives

Top Gun: Maverick

Overall

All Quiet on the Western Front: 10

The Banshees of Inisherin: 9 

Everything Everywhere All at Once: 9

Elvis: 8

The Fabelmans: 8

Top Gun: Maverick: 6

Avatar: The Way of Water: 4

Tár: 4

The Whale: 4

Babylon: 3

The Batman: 3

Black Panther: Wakanda Forever: 3

Women Talking: 3

Living: 2

Pinocchio: 2

Till: 2

Triangle of Sadness: 2

The Woman King: 2

[gracie-bird]

Alexandre de Paris's creation for Princess Grace of Monaco , dated July 1975.

[chicinsilk]

US Vogue March 15, 1964

Yves SaintLaurent Haute Couture Collection Spring/Summer 1964. Model: Jean Shrimpton. Polka dot, floral banded cage, an enchanting new evening shape in white organza with black polka dots, with crowds of black silk roses circling the sleeves and plunging hem. The sheath inside, white Gazar with black satin strips. Jet earrings. Hairstyles Alexandre de Paris.

Yves SaintLaurent Collection Haute Couture Printemps/Été 1964. Modèle : Jean Shrimpton. Cage à pois, à bandes fleuries, une nouvelle forme de soirée enchanteresse en organza blanc à pois noirs, avec des foules de roses en soie noire cerclant les manches et l'ourlet plongeant. La gaine à l'intérieur, Gazar blanc avec des bandes de satin noir. Boucles d'oreilles en jais. Coiffures Alexandre de Paris.

Photo William Klein

[modorama]

fashion |  DES CHEVEUX ET DES POILS at MAD Paris

   Following the success of the exhibitions La mécanique des dessous (2013), Tenue correcte exigée ! (2017) and Marche et démarche (2019), the Musée des Arts Décoratifs continues its exploration of the relationship between the body and fashion with an exhibition on hair styles and body hair grooming. Des cheveux et des poils (Hair & Hairs) exhibition, which runs from April 5 to September 17, 2023, demonstrates how hairstyles and the grooming of human hair have contributed to the construction of appearances for centuries. Hair is an essential aspect of one’s identity and has often been used as a means of expressing our adherence to a fashion, a conviction, or a protest while invoking much deeper meanings such as femininity, virility, and negligence, to name just a few.

The exhibition explores through 600 works, from the 15th century to nowadays, the themes inherent in the history of hairstyles, but also the questions related to facial and bodily hair. The trades and skills of yesterday and today are highlighted with their iconic figures: Léonard Autier (favorite hairdresser of Marie- Antoinette), Monsieur Antoine, the Carita sisters, Alexandre de Paris, and more recently studio hairdressers. Great names in contemporary fashion such as Alexander McQueen, Martin Margiela, or Josephus Thimister are present with their spectacular creations made from this unique material that is hair.

The exhibition is presented in the Christine & Stephen A. Schwarzman’s fashion galleries of the Musée des Arts Décoratifs. The scenography will be created by David Lebreton of the Designers Unit agency.

In an atmosphere where shades of blond, brown and red evoke the main hair colors, the course, divided into five themes, questions what makes hair, in Greek- Roman and Judeo-Christian cultures, an attribute of the animal and wildness and explains why hair had to be constantly tamed to remove the woman or man from the beast.

FASHION AND EXTRAVAGANCE

The first part of the exhibition opens with the study of the evolution of feminine hairstyles, a real social indicator and marker of identity. In the Middle Ages, obeying the command of Saint Paul, the wearing of the veil imposes itself on women until the 15th century. Gradually, they abandon it in favor of extravagant hairstyles that are constantly renewed. In the 17th century, the hairstyle “to the Hurluberlu” (dear to Madame de Sévigné) and “to the Fontange” (after the name of Louis XIV’s mistress) are emblematic of real fashion phenomena.

Around 1770, the high hairstyles known as Poufs are undoubtedly the most extraordinary of Western hair modes. Finally, in the 19th century, women’s hairstyles − whether inspired by ancient Greece, or known as “the giraffe,” in curls or “the Pompadour” − are just as convoluted.

TO BEARD OR NOT TO BEARD

After the hairless faces of the Middle Ages, a turning point occurred around 1520 with the appearance of the beard, symbol of courage and strength. In the early 16th century, the three great Western monarchs: Francis I, Henry VIII, and Charles V were young and wore beards, which were then associated with the virile and warrior spirit. From the 1630s until the end of the 18th century, the hairless face and the wig were the hallmarks of courtiers. Facial hair did not reappear until the early 19th century with the mustache, sideburns, and beard: this century was by far the hairiest in the history of men’s fashion. A multitude of small objects used (mustache wax, brushes, curling irons, wax, etc.) testify to this enthusiasm for mustaches and beards.

During the 20th century, the rhythm of bearded, mustached, and smooth faces continued, until the return of the beard among Hipsters in the late 1990s. The maintenance of hairiness among these young urbanites has given rise to the profession of barber, which had disappeared since the 1950s. Today, the thick beards tend to give way to the mustache that had deserted faces since the 1970s.

The choice of keeping, eliminating, hiding, or displaying hair on other parts of the body is also a subject of history that the exhibition addresses through the representation of nude bodies in visual arts and written testimonials. Hairiness is rare, or even absent from ancient painting. The hairless body is synonymous with the antique and idealized body, while the hairy body is associated with virility, or even triviality. Only enthusiasts of virile sports such as boxing and rugby, as well as erotic illustrations or medical engravings, show individuals covered in hair.

Around 1910-1920, when women’s bodies were exposed, advertisements in magazines touted the benefits of hair removal creams and more efficient razors to eliminate them.

In 1972, actor Burt Reynolds posed naked, hairy body for Cosmopolitan magazine, but fifty years later, an abundance of hair is no longer in fashion. Since 2001, sportsmen being photographed naked for calendars like Les dieux du stade (The Gods of the Stadium) have had rigorously controlled hairiness.

BETWEEN TRUE AND FALSE

Hair styling is an intimate act. Moreover, a well-born lady could not show herself in public with her hair down. A painting by Franz-Xaver Winterhalter, dated 1864, depicting Empress Sissi in a robe and with her hair untied, was strictly reserved for Franz Joseph’s private cabinet. Louis XIV, who became bald at a very young age, adopted the so-called “bright hair” wig, which he then imposed on the court.

In the 20th century, Andy Warhol had the same misfortune: the wig he wore to hide his baldness became an icon of the artist. Nowadays, hairpieces and wigs are used in high fashion, during fashion shows or, of course, to compensate for hair loss.

The natural hair colors and their symbolism are studied along with what they convey. Blonde is said to be the color of women and childhood. Red hair is attributed to sultry women, witches and some famous stage women. As for black hair, it would betray the temperament of brown and brunettes. From the experimental colorations of the 19th century to the more certain dyes from the 1920s: artificial colors are not forgotten. The work of the hairdresser Alexis Ferrer who makes digital prints on real hair is also presented.

TRADES AND SKILLS

The exhibition reveals the different hair professions: barbers, barber-surgeons, hair stylists, wigmakers, ladies’ hairdressers, etc., through archival documents and a host of small objects: signs, tools, various products, and the astonishing perming machines and dryers of the 1920s.

In 1945, the creation of haute coiffure elevated the profession to the rank of an artistic discipline and a French savoir-faire. 20th century hairdressing is marked by Guillaume, Antoine, Rosy and Maria Carita, Alexandre de Paris styling princesses and celebrities. Nowadays, great hairstyling is mainly expressed during the fashion shows of prestigious fashion houses. Sam McKnight, Nicolas Jurnjack and Charlie Le Mindu were invited to the exhibition to create extraordinary hairstyles for top models and show business personalities.

A HAIRY CENTURY

Finally, a special focus will allow us to evoke the iconic hairstyles of the 20th and 21st centuries: the 1900 chignon, the 1920s garçonne haircut, the 1930s permed and notched hair, the 1960s pixie and sauerkraut, the 1970s long hair, the 1980s voluminous hairstyles, the 1990s gradations and blond streaks, not to mention afro-textured hair.

The arrangement of hair in a particular form can reveal the belonging to a group and manifest a political and cultural expression in opposition to society and the established order. More ideological than aesthetic, the Iroquois crest of the punks, the neglected hair of the grunges or the shaved heads of the skinheads are strong moments of hair creativities.

Wearing the hair of another, known or unknown, has an eerie dimension, and this superstition seems well-entrenched. Despite these apprehensions, some creators choose to transcend this familiar material into fashion objects. This is the case of contemporary designers such as Martin Margiela, Josephus Thimister and Jeanne Vicerial. The question of identity, treated lightly or more deeply, is often at the heart of the reasoning, whether the hair is real or fake.

The Musée des Arts Décoratifs has benefited from exceptional loans from the Château de Versailles, the Musée des Beaux-Arts d’Orléans, the Musée du Louvre and the Musée d’Orsay. till 17 sept. 2023 madparis.fr Andrei S.

[unisinogroup]

Hair Dryer Distress

The hair has so important to the appearance of the face that the elegance of a woman's hair and the resemblance of a man's face are largely dependent on its style. ~ Auguste Alexandre Philippe Charles Blanc (1813-1882), Art in Ornament and Dress. This is a fact and hair dryers are the most essential tool in the wardrobe of every girl. If you're not satisfied with your hair dryer then this is your ultimate guide to solving all of your problems with hair dryers.

In a perfect world , we would all have hair that is perfect as the supermodels do all the time. For the majority of us, it's an enormous amount of work to use our hair dryers , so it's crucial to use the correct one. There are many different heat tools available. designed equal, and it's often easy to figure out which one is suitable for blow-drying and which could harm your hair. What can you tell whether your hair needs an ion or tourmaline? Which one will provide you with the quantity you need? I've Good figure out the most important questions you'll be asking yourself based on my decades of experience dealing with the good as well as the ugly.

You can call it either blower, hair. As with most of us, I believed that an essential item in the dresser such as blow-dryers are easy to buy from the supermarket. I did not realize that my decision would result in the lack of blow-out options, and not ever that gorgeous hairstyle that you can get at the saloon. This was the beginning of my search of the questions might also be on your mind -

How can I achieve the flawless hair in my home like I can get in the saloon?

Is there a particular kind of hair dryer that is suited to my type of hair?

Does hair dryer does damage to my hair?

Are heat protection serum important?

Do I need to use an iron or curler instead of a straightener?

I will try my best to guide you in the right direction. assist you by writing thorough reviews and guides on how to choose the ideal dryer. I do not allow you to make the same mistakes that could cause you to be in a mess.

In the sense that technology and science have been around for a long time there are many stories from time about how people in earlier times tried to come up with new methods for dry and plaiting their hair. One of the most famous was the idea of trying to dry the hair with hot coals inside an unintentional hair dryer!

Today, we do not have to resort to these extreme and dangerous methods. The hair dryer that is powered by electricity is definitely a fantastic invention of the modern age. It was once a simple device to assist in drying out hair that is wet, today, the basic dryer has undergone transformation into a variety of forms from professional to amateur usage, with different various variations in the design and technological.

[mysticdragon3md3]

Reconsidering which faceplates to use for a custom Nendoroid Dimitri Alexandre Blaiddyd.

Someone else used Victor Nikiforov coach version faceplates for their custom Nendoroid Dimitri. But i only have the regular version Victor Nendoroid, and his smiling faceplate has an open mouth smile that I'm unsure would match Dimitri.

Kasen Kanesada has the best eye shape. But his purple eyebrows might stand out too much. And now that i look, his eyes are actually green.

Mikazuki Munechika is my best contender right now. Even if the yellow crescent moons in his eyes make him maybe too distinct to pass for Dimitri.

Izuminokami Kanesada might be good. But his eyes are a very intense shade of blue, while Dimitri has a lighter blue eye color.

The same might be said of Riku's eyes, though they aren't as dark as Izuminokami's.

Roxas has blond eyebrows like Dimitri. But all the Kingdom Hearts Nendoroids have an extra dark ring in the middle of their iris radii, and i worry if that art style might be too distinct to pass as Dimitri.

Basically, I'm once again trying to talk myself out of buying Nendoroid Nagi Rokuya. I was able to do it when his preorder was up months ago. But now that he's in stock at the GoodSmile shop's "Available Now" section, I'm tempted again. He looks SO MUCH like Dimitri. But I can't spend $53 just for a faceplate. His hair, though very similar to Dimitri's, is still closer to his teenage Academy hairstyle, while I'm trying to put together a post timeskip Dimitri to match my plans for a post timeskip custom Nendoroid Claude. But it's been so long since I've sculpted anything, I'm honestly VERY TEMPTED to just buy Nagi Rokuya for $53, overlook the differences between hair hair and Dimitri's post timeskip, and just PRETEND he's a Nendoroid Dimitri. I am SORELY TEMPTED.

And that's not to mention the candidates I've scouted for hairstyle pieces, for a custom Nendoroid Dimitri. I was going to pay $70 I don't have for Nendoroid Doll Camus, but I finally saw photos of the back of his hair and it's way too short in the back to pass for Dimitri. Now the new Dr Stone Nendoroid Ryusui Nanami has a much darker blond than Dimitri, but it is the closest to Dimitri's hair that I have ever seen in a Nendoroid. (Unless I expand to brunette Nendoroids, like Izumi Miyamura, and commit to painting them blond.) ...It's all so much money, because I'm so out of practice and unconfident in my sculpting now. x_x;

Gawd, Good Smile Company! It's been almost 4 years! And still no FE3H Nendoroids????????????????????????????? ;O;!!!!!!!!!

Every other time in the past, where I almost threw down $50 each for multiple Nendoroids, hoping to cobble together a custom Nendo for a character not in the official lineup...a few months after chickened out, GSC would announce an official Nendoroid for the character I was planning to make a custom for. I remember it distinctly happening with Persona 5 Joker. Thank goodness I hesitated to buy/hunt down Nendo TM Revolution and Devil Survivor. So I keep thinking that GSC might announce an official Nendo Dimitri soon, and what a shame it would be if I got 2+ $53 Nendoroids just to make a sub-parr Dimitri.

Also, there were Nendoroids like Kikyo, who I had a custom of for YEARS before she got an official Nendo. ...But she did eventually get one. And I never had to alter or damage any of the parts I used to make my custom Nendo Kikyo, while waiting for the official Nendo Kikyo. So I'm really hesitant to buy a Nendoroid, just to "ruin" it for a custom.