صور Chloe Moretz In Vivienne Westwood – 14th Annual Costume Designers Guild Awards افلام خلفيات اغاني

تحميل صور فضائح Celebrity Gossip, Photos, Chloe Moretz In Vivienne Westwood14th Annual Costume Designers Guild Awards 2024 – 2024 يوتيوب فيديو افلام اغاني فيديو

Image: https://redcfa.wpengine.netdna-cdn.co…z-Westwood.jpg Red Carpet Fashion Awards…

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Australian Indigenous affairs adviser to PM wears Confederate Flag Costume!

Australian Indigenous affairs adviser to PM wears Confederate Flag Costume!

Indigenous affairs adviser to PM ‘sorry’ for Confederate Flag costume and ‘unaware’ of US outrage

Indigenous affairs adviser to PM ‘sorry’ for Confederate flag costume and ‘unaware’ of US outrage

ABC News
Avani Dias 19 hrs ago

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© Supplied/ABC News Mark Coffey, an Indigenous affairs advisor to the Prime Minister, wore the Confederate Flag shirt to a Fourth of July themed dinner.

An Indigenous affairs adviser to Prime Minister Tony Abbott has apologised for wearing a Confederate Flag costume to an event, saying he was "unaware" of the flag’s connection to racial tensions after a mass shooting in the United States.

Mark Coffey, who works for the Department of Prime Minister and Cabinet in the Northern Territory, was photographed wearing the costume last weekend at the Central Australian Beef Breeders’ Fourth of July themed dinner.

A 21-year-old white man charged with fatally shooting nine African Americans at a church in the south-eastern US city of Charleston last month posed with the Confederate flag, which is seen by some as a symbol of white supremacy, before the massacre.

In a statement to the ABC, a spokesperson for the Department of Prime Minister and Cabinet said Mr Coffey was sorry.

"The officer has apologized unreservedly, and regrets that offence has been taken," it said.

The Federal Indigenous affairs Minister, NT Senator Nigel Scullion, said Mr Coffey’s apology "should be the end of the matter".

"It was clearly in circumstance that he was unaware that it might give offence," he said.

"What I understand from a letter from the department, which apologizes for his lack of judgement, is that he was simply unaware of the circumstances that recently happened in the United States.

"I don’t think he can behave any better than he has; he’s unreservedly apologized for any offence given and that should be end of the matter."

NT Labor Senator Nova Peris said the costume was inappropriate and Mr Coffey should be criticized for his decision.

"We are trying to move on from those days we are trying to build a more inclusive country," she said.

"I think whenever you go out in public and how you are perceived in public has got to draw some attention to the individual that has put himself out there."

South Carolina lawmakers have passed legislation to remove the Flag from the state’s capitol building since last month’s massacre, with US retailers pulling it from sale amid a public backlash.

US president Barack Obama praised the removal of the flag.

"For too long, we were blind to the pain that the Confederate Flag stirred in too many of our citizens," Mr Obama said on June 27 at a eulogy for the pastor killed in the attack.

"As we all have to acknowledge the Flag has always represented more than just ancestral pride.

"For many, black and white, that Flag was a reminder of systemic oppression. And we see that now."

*Yes World, our politicians really are this stupid..HELP!

January Jones In Roland Mouret – 17th Costume Designers Guild Awards

Charles James: Metropolitan Museum of Art Costume Institute’s 2024 Exhibit

Charles James: Metropolitan Museum of Art Costume Institute’s 2014 Exhibit

How Charles James became America’s first-ever couturier | Mail Online

How Charles James became America’s first-ever couturier: New book sheds light on the designer who pioneered zippers and inspired Christian Dior’s New Look
By Misty White Sidell
Published: 12:07 EST, 14 April 2014 | Updated: 10:42 EST, 15 April 2024

In anticipation of the Metropolitan Museum of Art’s upcoming Exhibit dedicated to legendary fashion designer Charles James, a sneak peak of the show’s corresponding book has been released.

Charles James: Beyond Fashion, includes photos of James’s awe-inspiring ball gowns that helped make him a household **** among American socialites, including Vogue’s late editor Diana Vreeland, in the Forties and Fifties.

James’s label drew fanfare for its sculptural designs that helped transform the **** into a feminine work of art. His approach to design is even said to have inspired Christian Dior’s ‘New Look’ collection.

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In print: Scenes from The Metropolitan Museum of Art’s Charles James: Beyond Fashion book have been released in anticipation of the museum’s Exhibit by the same **** (pictured, the most famous image of James’s work, photographed by Cecil Beaton for Vogue in 1948)

Considered America’s first-ever couture house, James’s confectionery designs were a favorite of society swans including Millicent Rogers, Diana Vreeland, and Austine Hearst.

The MET’s Exhibit book, written by Costume Institute curators Harold Koda and Jan Glier Reeder (out late May), chronologically explores James’s impact on the design world by tracing the many triumphs and pitfalls of his near 50 year career.

The title’s prologue is written by one of James’s modern-day *****alents, Ralph Rucci, who writes of James’s work: ‘[His designs] are not merely clothes, or “shapes,” as James would call them. They are three-dimensional sculptures that come alive once on a woman’s ****, because James was ever mindful of the woman wearing the shape. He was the couturier.’

Many of the gowns that will be displayed at the MET Exhibit James’s singature hand for construction and technique. The designer is best known for whipping feminine fabrics into frothy creations that accentuated a woman’s anatomy.

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Structurally sound: James’s work enlisted mathmatical structure to emphasize a woman’s ****, creating elegant, yet sensual designs (pictured, James fits a suit onto a model)

It’s for this reason that Mr Rucci writes: ‘Charles James had nothing to do with fashion. Rather, he applied himself to the rigors of mathematics in the creation of fashion.’

A native Englishman who grew up among nobility including Brideshead Revisited novelist Evelyn Waugh, James moved to Chicago in 1926 to open a hat shop.

Two years later, in 1928, he moved to New York City with 70 cents and opened a fashion design studio in a Long Island garage – later moving into a residence in Murray Hill, Queens.

It was then that James began conceptualizing his sartorial innovations while shuttling between London and New York City

In 1929, he designed his now-famous taxi dress- a gown that, while intricate in appearance, was constructed so that a woman could easily slip it on in the back of a taxi.

The dress was reconfigured to include a new invention, the zipper, in 1933 – versions of which will be included in the MET’s Costume Institute exhibit, opening on May 8.

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Picture perfect: James’s second wife Nancy poses in his ‘Swan’ gown in 1955. James would often **** many of his gowns after figures including butterflies and swans.

The exhbit will be celebrated with the MET’s annual star-studded Costume Institute Exhibit on May 5, which will also mark the opening of the Anna Wintour Costume Center wing.

Over the next 20 years James’s designs caught the eyes of social swans in New York and abroad, by offering couture services through stores including
Harrods and Bergdorf Goodman.

But throughout his success, Mr James’s lacking business skills landed him and his label in a flood of financial difficulties.

When WWII rations began, his adoration for voluminous gowns exacerbated these issues due to the soaring cost of ****iles.

But James managed to license his **** to brands including Elizabeth Arden and B. Altman, for which he created mass-produced lines in a ploy to recover some cash.

The designer managed to keep these ventures an arm’s length from his wealthier clients, who continued to patron his couture creations throughout the duration of the war and beyond. For this, he is considered an innovator in the field of licensing – a point of interest that will be highlighted in The MET’s exhibition.

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Plumage: James’s ‘Butterfly’ gown is worn by a model in 1954, in a photo taken by James’s friend Cecil Beaton

In 1948, James’s social notoriety lead to a Cecil Beaton fashion shoot for Vogue, which produced the most famous images of James’s work in existence.

Placed on society swans in an 18th century French room, Vogue’s image displays how James’s designs were not all that different from Rococo fashions, as both highlight femininity through exaggerated form.

But while Rococo-era gowns did so through extreme corseting and hoop skirts, James’s designs enlisted a more human approach – making them a viable option for both sitting pretty and navigating the dance floor.

He once said of his creations: ‘My structures…look as if the **** is no more ambulatory than a mermaid’s yet permit large reckless movement.’

But by the end of the Fifties, James’s financial difficulties began to catch up with him, leading to an entanglement with various business partners, as well as the IRS.

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Famous patron: Austine Hearst, one of James’s most famous society patrons, wears his ‘Clover Leaf’ gown in 1953 (this gown will be featured in the MET’s exhibition)

For this, James’s **** began to lose cachet, forcing him to turn his attentions elsewhere. In 1958, he began mentoring a young Roy Halston, who shot to acclaim for his own take on femininity in the Studio 54 era.

The two created a joint runway collection in 1970 which was widely panned, representing James’s last major stab at fashion design.

Eight years later, in 1978, he died of pneumonia in the Chelsea Hotel, completely penniless.

But as Mr Koda writes in the MET’s book, the Museum is more interested in reviving James’s importance, rather than his shortcomings.

‘This book and the exhibition it accompanies attempt to re-establish the stature of this singular artist and to revisit the details of his life with the belief that the work and then man, stripped of years of accrued anecdote and myth, emerge fresher and more astonishingly original than ever,’ he says.

Read more: How Charles James became America’s first-ever couturier | Mail Online
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Uzo Aduba in Costume National: Creative Arts Emmys 2024

Uzo Aduba in Costume National: Creative Arts Emmys 2024

Orange Is The New Black’s Uzo Aduba presented with Emmy by Morgan Freeman | Mail Online

Uzo Aduba who plays Suzanne ‘Crazy Eyes’ Warren in Orange Is The New Black won a Creative Arts Emmy for her Outstanding Guest Actress

ETA from redcarpet-fashionawards.com:
Uzo Aduba: Winning the Emmy for outstanding guest actress, Uzo took a minimalist approach to her style in a streamlined white Costume National V-neck dress, worn with Giuseppe Zanotti heels, a Lee Savage bag, and Jacob & Co. jewels.

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Laverne Cox, Uzo Aduba and Natasha Lyonne

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with Morgan Freeman
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Orange Is The New Black’s Uzo Aduba presented with Emmy by Morgan Freeman | Mail Online

‘Orange Is The New Black’ Stars @ The 2024 Creative Arts Emmy Awards » Red Carpet Fashion Awards

صور ‘Thor’ Stars In & Out of Costume

صور ‘Thor’ Stars In & Out of Costume
صور ‘Thor’ Stars In & Out of Costume 2024 photos Gossip News تحميل صور فضائح ‘Thor’ Stars In & Out of Costume 2024 – 2024 يوتيوب فيديو افلام اغاني فيديو عارية تعري اثارة مثيرة جديدة

السلام عليكم زوار مقهى كل العرب وأعضاء منتديات مقهى كل العرب اقدم لكم صورة ‘Thor’ Stars In & Out of Costume

The wig budget alone must have been mind bending.

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