User:Laraxdafds3r
From P-MART wiki
Laraxdafds3r (Talk | contribs) (→Isabel Marant shoes appear coupled with pebble mp3 backgroun: new section) |
Laraxdafds3r (Talk | contribs) (→Isabel Marant sale Marc Jacobs: new section) |
||
| Line 567: | Line 567: | ||
<li>Cheap Isabel Marant Gucci Ankle Boots</li> | <li>Cheap Isabel Marant Gucci Ankle Boots</li> | ||
| + | |||
| + | </ul> | ||
| + | |||
| + | == Isabel Marant sale Marc Jacobs == | ||
| + | |||
| + | Marc Jacobs<br><br>The legend is indisputably true, but the clothing tells a similar and instructive story in which a special genius is realized-encyclopedic in its sources, poignantly romantic, remarkably sophisticated, and yet impudent and joyous. Fatefully, those sweaters earned him the Perry Ellis Golden Thimble award at Parsons. Upon graduation in 1984, he designed Sketchbook for Ruben Thomas through the fall of 1985. There he created a memorable collection based on the film Amadeus. Along the way, there were Homeric afflictions and distress, ranging from a major theft at the Ruben Thomas showroom to a fire that gutted his Kashiyama studio and destroyed his fall 1988 collection and fabrics two months before showings. The appointment at Perry Ellis was, of course, only another trial for the 25-year-old designer. As Peggy Edersheim wrote in Manhattan, Inc., "Instead of staying one step ahead of the bill collector, he now has to worry about keeping up with Calvin Klein," a prodigious challenge in leadership for one of the principal sportswear houses in America. Jacobs did not perpetuate Ellis, but expanded on fundamental traits. For example, Ellis' imaginative palette was hauntingly revived in Jacobs' work, including extraordinary colors of fall in ocher, pumpkin, plum, camel, and rust, renewing the vitality of the Ellis spectrum. In fall 1991, Jacobs showed a grape princess coat over a brown cardigan, and a tangerine car coat with a butterscotch sweater and trousers with complete coloristic self-confidence. His "hugs" sequined dress of 1985 remembered Schiaparelli, and his spring 1990 English sycamore sequined short sheath "for Perry Ellis" was a touching tribute of the workroom and showroom environment of Perry Ellis,Isabel Marant sale, with its silver accents on blond sycamore. Jacobs has long loved the 1960s and returned not only in the early sweaters with happy faces but also in his voluminous mohair balloon sweaters for fall 1989. Suzy Menkes, reviewing his first collection at Perry Ellis, noted, "Jacobs' own-label collections have also been all-American, but much less innocent- celebrations of Miami Beach kitsch, sendups of the 1960s hippies and wacky versions of patchwork and down-home gingham."New York-bred and street-smart, Jacobs is nimbly, naturally witty with a sliver of cynicism blended into his clothing. A spring 1990 redand-white tablecloth cotton shirt and jacket was accompanied by embroidered and beaded black ants; his early "Freudian slip" was a simple dress imprinted with the face of the Viennese master; fall 1991 showed sweaters with aphorisms borrowed from the tart embroideries of Elsie de Wolfe. Language, too, cropped up even in Jacobs' fall 1990 "fresh berries and cream" collection that included blueberry herringbone patterns on a cream field in wool jackets and the same design in short chiffon flirt skirts. Though the sensational collection never made it into retail stores, it was highly regarded for its trendsetting individualism by the fashion press. But Perry Ellis executives discontinued their designer clothing lines shortly thereafter, trying to maintain their more tailored reputation rather than embracing Jacobs' more unconventional designs. "His early work was characterized by a certain amount of high-concept whimsy but his designs in recent years have grown sleeker and subtler," wrote Zoe Heller of the New Yorker in 1997. Well-tailored striped pantsuits, knee-length skirts,Isabel Marant boots, and calf-length double-breasted satin coats were featured in his 1970s-inspired spring 1994 collection. A fitted wool jacket topped a silk floral dress, and jeweled cashmere cardigans framed taffeta slip dresses in his successful spring 1996 collection. Then in 1997, when 146-year-old luggage and handbag company Louis Vuitton decided to expand, luxury-goods conglomerate LVMH (which includes Christian Dior, Givenchy, Kenzo, Christian Lacroix, and Louis Vuitton) chose Jacobs as its artistic director. Then came Damier-print pony-skin slingbacks, patent leather-embossed Bernis bags in Crayola hues, and stiff raincoats and trenches splattered with tiny LVs. "Jacobs has taken the house's signature and gone native," wrote Sally Singer in Vogue (February 2000). Instead he dressed the "neo-romantic gentleman" in black leather pea coats with red trimmed buttonholes and bold stripy shirts worn under high-necked sweatshirts. His fall/winter 2001-2002 womenswear collection was "sheer perfection," according to Dana Thomas of the Fashion Windows website, writing in August 2001. Reminiscent of Jacqueline Kennedy during her White House years, small fitted jackets had cropped sleeves and there were bell skirts, princess coats, and soft empire-waist dresses. Fabrics included cotton flannel, silk twill, denim, jersey, and sealskin. The crowdpleasers were cashmere coats using oversized, childlike buttons, colorful trompe l'oeil lapels, yellow mohair and sequin coats, and edgy jersey dresses. And as if four lines of clothing weren't enough, Jacobs debuted his Marc collection in 2001, creating a lineup for his creased front, hip-hugging jeans. For fall, the Marc line included heavily-buttoned military coats mixed with multiple tiered skirts, pink and yellow striped jeans, and graffiti sweatshirts."Talents like Mr. Jacobs have become exceptional," wrote Amy Spindler of the New York Times. Relevant articles： | ||
| + | <ul> | ||
| + | |||
| + | <li>chanel sales</li> | ||
| + | |||
| + | <li>New Blog</li> | ||
</ul> | </ul> | ||
