Что есть что в нижней панели?
Сегодня добавлю описание нижней панели в
Все помнят фразу: "Сказал "А", говори и "Б"!". Потому после рассказа про верхнюю панель ЛиРу, логично было бы написать и про нижнюю панель.
Что есть что в верхней панели ЛиРу?
Сегодня решил добавить новую рубрику "Как устроен ЛиРу?" в
Верхняя панель - это роскошь, которую видят пользователи блогосервиса ЛиРу, когда находятся в блогах ЛиРу на некоторых доменах.
Левая часть панели в
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[526x640]Paris Womenswear S/S 11 Gareth Pugh « Anthony Vaccarello @ Paris Womenswear S/S 11
SHOWstudio is an online fashion broadcasting company committed to pioneering, live fashion media. Led by photographer Nick Knight, SHOWstudio has consistently broken new ground with its experimental interactive projects, films and live performances.
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SHOWstudio.com | The Home of Fashion Film
Its unique collaborations with the world's most sought-after and influential photographers, artists, writers, designers and cultural figures are broadcast live, in real time on the award-winning SHOWstudio website.
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SHOWstudio.com | The Home of Fashion Film
Committed to unveiling the entire process of creativity to a highly fashion literate audience, SHOWstudio involves its global community of dedicated viewers, encouraging them to respond and contribute to its projects.
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SHOWstudio.com | The Home of Fashion Film
The progress of each of SHOWstudio's 250+ collaborations --from pre-production meetings and stylists' selections to the live shoots- is documented as it occurs, communicated immediately via the BLOG and discussed and evaluated with viewers on the FORUM.
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SHOWstudio.com | The Home of Fashion Film
No other fashion media offers this direct connection between the closed, 'insider' world of high-end fashion and its international audience. Constantly changing, SHOWstudio delivers live fashion, as it happens, 24 hours per day.
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SHOWstudio.com | The Home of Fashion Film
[b][COLOR=royalblue][size=6]-----------------------------------------------------
[b][COLOR=royalblue][size=5]For his latest show Gareth Pugh took over Palais Omnisports de Paris-Bercy, a gargantuan sports stadium on the outskirts of Paris and coincidentally the stage for Maison Martin Margiela's Spring 2007 collection. That collection was intended as a parody of the razzle-dazzle high-octane fashion show that commandeer such venues for their cast-of-thousands spectaculars, and its easy to see Pugh's latest offering as a counterpart to that ground-breaking Margiela show. For S/S 2011, Pugh choose to erect not a catwalk, but an enormous video screen, projecting a film of his latest collection to captive audience and simultaneously live across the Internet. Pugh, in his owns words, called film not a secondary medium but 'a modern alternative' to live catwalk events: certainly borne out by his brave and ambitious staging.
Enough about the medium - what was the message? Pugh teamed once more with Ruth Hogben, the filmmaker who created his first foray into fashion film for A/W 2009, but their offering - and the collection - was very much separate. Naturally enough - this was Pugh in spring mode, after all. Hence the shot of Pugh's opening outfit bathed the cavernous space in white to showcase angular tailoring reminiscent of cyborgs or Storm Troopers.
When Hogben was quizzed about her film, she simply said 'I wanted it to look modern' - and it certainly did that, projecting us into Pugh's futuristic vision of fetishistic mirrored crinolines and giant inflatable coats in mind-boggling graphic prints. That print was the part that felt the most new, echoed in the film by kaleidoscopic mirroring and intricate patterns fragmenting model Kristen McMenamy into parts of a giant op-art puzzle. And please note, that monochrome grid was not only splashed across those giant show-stopping Pugh puffer-coats, but slipstream chiffons and a neat all-in one (it probably won't wrap over the face and obscure all features in the shops, but we can always dream). The mirrored crinolines were also suitable spectacular, created from aluminium-coated nylon that retained its lightness with a slick, metallic shine.
The most beautiful moments in the film, however, were some of the most
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