-VINTAGE
-ROMANTIC
-MODERN
-MANISH
-ACTING
Sunday, September 27, 2009
Sunday, September 20, 2009
NINAKI
NINAKI.- ph Jack Fanning
NINAKI.- jewelry before and after being worked
Nouveau lipstick case from Ninaki's antiques personal collection
NINAKI.- Viola. Ph Dave Maupin
Interviews can uncover really interesting personalities, some artists surprise you while answering your questions because they reveal themselves as something much more than you expected.This happened while interviewing L.A.-based jewelry designer NINAKI; I expected to talk about rings, gold and gems and we ended up talking about delivering babies in outer space, 3d computer programs such MAYA or RHINO and biology.
Interview by Patricia YagüePictures © NINAKI
Q.- Hello Nina. Tell me, what have you been doing lately? Since finishing school, now all my time is devoted establishing the jewelry company. Getting the name out, bombarding editors with emails.
Q.-When did you start the company?Well i started sculpting in between majors, not knowing it was going to turn into an actual business, i was just obsessed with chunky jewelry and in taking a sculpting class, all the leftover remnants around the studio i gathered and started making little pieces for myself so now i have these chunky alabaster pendants and rings, and people started really embracing them, and asked if they were avaibale in silver and gold. But only through being in school, have i been able to mature its identity, philosophy.. create a narrative for them to exist.
Q.- You studied Biology, did you?yeah.. three years. internship at the med center. Sculpting was really organic to me, carving away felt like surgery.My pursuit in pediatrics was definately confronted when i had my intership in the labor and delivery at the UCLA medical center. I didn't know how to separate patient and science, so when complications arised... i couldn't not feel what that woman was going through. And then septmber 11th happened and a lot of things just shifted inside
Q.- What was the connection between sept 11 and your life? You were in L.A. at the time, right? Why that event affected the way it did?A lot of protocols within the hospital... what ifs... setting up triage if a disaster were to hit L.A.My placement just felt very rocky, like everything that i had formulated was beginning to breakdown
Q.- Were you doing sculpting at the time or that came later?In dropping out of medicine soon after the 11th.. I decided to do something artys, tap into my creative spirit that had repressed under all the science and in taking a sculpting class at smc (community college), i had been mentored under an architect... and the dialog of space began understanding the relationship of biology and its presence within our connection to the built environment. He encouraged me to go to architecture... and so i did.i went to architecture school. the Southern California Institute of Arch.
Q.- So have you studied both biology + architecture?well i never finshed bio...but yeah..
Q.- Have you ever been interested in jewelry?I always loved trinkets.. I would collect everything. Very novelty items, to antiques, but always very precious and i would create little scenarios for them, so i believe thats where that world of mythology started.i found the most beautiful anntique lipstick case. incased with a mirror and art novue swirls, its beautiful. I will send you a pic. I got for like $15 in some tiny store in New Hampshire... i was shocked he was giving it away!
Q.- Is there any names in jewelry design that you follow and like? Christine J Brandt is gorgeous.. very organic woodowork, and plops on the most amazing stones.Elsa Peretti just for classics..Vir Honestus, for the crazy cocktail look
Q.- Elsa Peretti has disappointed me lately...Well i'm shocked at whats happened with Tiffany.
Q.- Every season I go to Tiffanys to see her latest pieces and her jewelry is becoming more and more 'delicate'Even the Gehry collection!! i'm a little bias, we both come from the same discipline, and i was disappointed.Tiffany is very reserved.. its just about the blue box.Original Tiffany is extraordinary though... lockets, brooches... meticulous. Early American jewelry is pretty extravagant, trying to enamor all that Hollywood glam.
Q.- Do you know Ligia Dias?i dont.
Q.- She did some collections for Comme des Garçons. She uses all kind of random materials.i see some raw materials. [this interview was made "chatting" on the net so the designer was in front of a computer].Dynasty seems to be back in!I'm all about body ornamentation.. I'd wear a head-dress if i wouldn't get clobbered walking through the door. I believe in thinking caps, and playing dress-up... or dancing... Soul Train was on the other night... People just don't move like that anymore!Self-expression was not something to hide-- free love baby!
My dad was a hippy and my mom was the disco queen... love that... lotsa music in the house.
Q.- Which kind of music?Beatles, Fleetwood Mac, Bee Gees, Ambrosia, Alan Parson, Erasure, The Cure... my parents were in the recording business so i would trolley with my dad when he would go set up a studio or do a delivery.They had A/V stores. recording equipment, lotsa professional gear.
Q.- Is music on when you design?No no... always stare at the paino adoringly... like one dayyyy.. but i do need silence. I seal myself in when i go into creative spurt. When i'm sculpting... yes.. absolutely. But a lot of work on the computer has been taking place..
Q.- Which kind?The graphic narrative... lotsa vector art.. the new collection is definately generated more by the 3d interfac now... the first collection was all sculpted, the next one will be a little more "techno slutty"...I think design needs to be intelligent, but enlightening..
Q.- Don't you sketch?I doodle all the time!.The computer is great tool, but it's an application.Sketching in 3d is becoming more accessible, but the flow of hand drawing pieces, you can breathe through it, its more fluid, all the digital art i do is hand drawn first, and tweeked later in ilustrator.
Q.- Don't you use 3d progams like MAYA?Kidding... MAYA is my baby! Rhino too, but maya is just so intuitive. Rendering and animation capabilitied are unbelieveable..I was working on a project with scifi director Rene Daalder, he's a part of this new instituion called The Space Collective, to create scenarios of life outisde of earth and i created a whole simulated environment for what it would be like for woman to give birth in space, designing the actually birthing system..its a 4 minute treatment. Huge file will have to figure how to post it but all rendered and designed in MAYA
Q.- How did you start working with Rene Daalder?He taught a seminar at sciarc. He's friends with a lot of archi-heads. Rem Koolhas, Greg Lynn.There's a new wave of designers that are part of this big space race- you know about the first Space hotel by Bigelow? and of course Virgin's space flight. Space is the new real estate. It's a really exciting time to be in architecture, with all the smart materials innovations.
Q.- Who are your favourite architects?ZAHA HADID hands down!Hernan Diaz Alonso, Koolhas, Steffen Liesner... you can get lost in translation, which is unfortunate but the mass appeal in becoming more refined.. people's palate are changing, and its very much apparent in the generation of designers.There's an over zealous attempt to out brand yourself; it has to be inspired by the the reality tv show phenonmenon, everyone demanding their 15 minutes so you get the manufactured extreme of the pop stars and celebs created their own clothing, perfume, hair line... you have this digital world to that can now be infected, the internet, myspace, you tube.. second life, you have designers like American Apparel and Dior creating commercee in an altered reality.
Q.- Do you think people is 'buying' all that stuff? not purchasing but actually buying the lie (celebrities designing clothing etc)?We have to identify to something, we respond to extrenal cues and triggers, biologically that's how we are conditioned.
Q.- I saw the picture of Jeremy Scott with one of your rings? do you know him personally?I don't.. i was lucky enough to have some reps that went to his birthday party in Paris! Kodak moment right!
Q.- Whi's your favourite designer?I'm religious about Diane von Fustenberg... and Lanvin, forever devoted for Tom Ford's era of GUCCI..and shoes, CASADEI, JIMMY CHOO.
Q.- Ford's GUCCI was really killer.It dripped sex..
Q.- He is such a sexy man.Yummy
Q.- Do you find sex inspiring?My pieces are pretty suggestive. I like androgyny... I think it's more suggestive.When you just lay it all out, legs spread open-- you still want to look but if it makes question yourself... it'll keep you captivated.
Q.- Thanks so much NinakiThat was fun.... i actually just downloaded messenger just for this interview. My friends are so upset that it took me this long. I have this phobia of little IM sounds buslting through in concentrated moments... funny trivia..
You're "gooey" back in the day when IBM first started computers and everything was a systax line, the first graphic icon that we have now were known as "gooey" for the graphic user. graphic discovery channel special.
MAGDA MALINA
MAGDA MALINA.- portrait. Ph by Kalouna Toulakoun
MAGDA MALINA.- atelier. Ph by Kalouna Toulakoun
MAGDA MALINA.- Chromo
MAGDA MALINA.- headpiece from Good Company,
a collaboration with Nozomi Kume and Hiroaki Kanai
Northern Europe is becoming the mother of a new breed of young and mind-moving designers, artists that take into consideration creativity, experimentation, and concept, as a focuss in their work. Places like Berlin, Arhnem or Stockholm are commonly seen as hometowns in bios from the most interesting fashion designers today: BLESS, Sandra Backlund, Claudia Rosa Lukas or Poland-born artist Magda Malina.Magda studied Industrial Design in the Academy of Arts in Arnhem. Her constant contact with fashion designers led her to start designing pieces to wear, pieces that reflect her Industral background in their structural complexity and architectural feeling.
Interview by Patricia YagüePictures © Magda Malina
Northern Europe is becoming the mother of a new breed of young and mind-moving designers, artists that take into consideration creativity, experimentation, and concept, as a focuss in their work. Places like Berlin, Arhnem or Stockholm are commonly seen as hometowns in bios from the most interesting fashion designers today: BLESS, Sandra Backlund, Claudia Rosa Lukas or Poland-born artist Magda Malina.Magda studied Industrial Design in the Academy of Arts in Arnhem. Her constant contact with fashion designers led her to start designing pieces to wear, pieces that reflect her Industral background in their structural complexity and architectural feeling.
Interview by Patricia YagüePictures © Magda Malina
Q.- Hello Magda, what's keeping you busy these days?Right now I’m actually busy with figuring out how the next time will look like, how to fund my projects, what are the next steps to do. I’m still busy with the paper collection.I have to make over several of the pieces for an exhibition in January. It’s really difficult to keep them alive from one exhibition to another so it happens that pieces are used for just one time even they are not worn by anybody.I'm making special boxes for them to keep them safe and dry during the transport or storage.
Q.- When did you feel the need of designing?I always used to have the need of creating. Before I started studying I was painting and drawing a lot, or making over my clothes. I got more and more interested in three dimensional work, and the idea of making something you could use and knowing how it works, how it becomes real.
I think when I was 18 I decided to apply for a product design department after high school. I was looking around a lot and visiting open days until I found a place which felt like the right one to stay and study.
Q.- Do you like the design scene in Germany? Is it another city where you would like to see yourself living and working?I like it for certain qualities it has, but for myself it was interesting to choose studying in the Netherlands because it felt more free or individual in a way. I didn’t need to think about the commercial aspect all the time, which doesn’t say that I don’t want to, or that I didn’t need to defend my work, but I know now that it gave me the possibility to think from out another perspective and find my own vision and way.
I mean I’m lucky to be influenced by different cultures and places and I could imagine to live anywhere if I have a mission there, a reason why. At the moment it’s a good opportunity to stay in the Netherlands for some time because there I have possibilities I wouldn’t have elsewhere.
Q.- I read you collaborated with designer Maaike Mekking in the realization of her S/S 08 collection where you designed headpieces for the show. You both met in the Academy of Arts in Arnhem where you were studying Industrial Design. Why did you decided to work together?Actually we didn’t meet at the Academy, we just met through a friend when she already graduated at the fashion department and was living in London.
It was more at random that I got to know she was searching for someone to help with the headpieces for her show. In the end it was just some little pieces but it was nice to dive into her inspiration for the collection and share the certain atmosphere she wanted to reach.
It could happen that in the future there will be another collaboration between us.
Q.- What made you want to start doing fashion objects?During my studies I met a lot of fashion people and there are some who have shown me a different view on what fashion can be. I found out that I could express my ideas in a way which is more free or unforced than making products for daily use. Beside that I really like working at the body and kind of transform it into something else, giving an other identity to the one who’s wearing one of my pieces. That’s what for me is so interesting about fashion, to have the possibility to appear as whatever you want depending on what you wear, telling a story with a certain combination of clothes, building a microcosm with a collection.
Q.- Another artist with who you have collaborated has been Industrial designer Barry Rengelink; you showed part of your wok in the exhibition Lift-Off. What can you tell me of this collaboration and show?We started working together at the academy, there we had group projects, assignments we got from different companies or institutions. We decided to work together because we share some kind of view and ideas about aesthetics. We found out that we can accomplish each others skills.
For the lift-off exhibition at the Dutch design week, it was interesting for me to place my work in Barry’s environment en see what would happen. We decided it would just fit together and we could create something new, using just several of our pieces and combining them. Some of the decisions we made spontaneously because like that it fitted better than what we had planned. It was funny to see that there are a lot of similarities but a completely different way of thinking as well. I think we created a more lively atmosphere, enriching both our work.
Q.- Your work is very architectural and industrial in a way. In an interview for Trés Plus Cool you mention the importance of the City and its architecture as inspiration for your work. Which kind of architecture is more inspiring to you?I think it’s architecture in general which also includes the whole city as composition of buildings and streets, subways, the atmosphere, the systems and structures. I must say I’m also getting attracted by little details of buildings or in the streets, it can be something you see when you just pass, like structures which are always repeated, everywhere there are lines and curves and grids. Even I’m especially fascinated by the Bauhaus period, sure there’s also postmodern or old for example venetian buildings which inspire me a lot. There are all different buildings from different periods existing next to each other, creating an urban landscape which is giving a character to all the different cities in different states. I also like broken windows, laundry drying on a balcony or a smell, which makes that street special. It is the irrational side of architecture and city planning you cannot calculate which makes it come to life.
Q.- Which computer programs do you use to make the patterns of your creations?It’s a 3d construction program. I really like using it because it is so precise and logical.
For the patterns I only use it to draw two dimensional, the rest I try out in real models.
Q.- Is there a special kind of paper that you use for your collection Paper Cuts///How To Love The Moment?Yes there are several kinds of paper, one of them is a special paper from Arjo Wiggins, usually they use it for prints. It has a metallic shine and is quite stiff but light. I found it fascinating to use that one cause it adds a special dimension to the pieces and you just stop thinking about the fact that it is paper.
Q.- Tell me about the inspiration behind the armor-jackets. What was the main problem you needed to solve in the design of them?The first idea was to create a cape, which is a kind of protecting the one who’s wearing it, hiding something beautiful under, like a birds’ wings or an insect or indeed a knight or king. I was experimenting, cutting in paper to create volume and space and liked the fact that you could influence that volume and space by wearing it, using the shoulders and neck as crucial point for the objects’ behaviour. The main problem was to get that behaviour under control, to lead it the way of how the volume builds up and giving it the shape I wanted it to have. Yes that was quite problematic, all the lines that are cut in, I changed them a hundred of times to get the right distance, the right relation between the layers and so on. It really took a lot of time, because I always needed to make the piece in total to see if it works out or not.
Q.- In the same Tres Plus Cool interview mentioned before you speak about theater and films as a future project. What kind of projects would you like to see your creations involved with?Talking about films in general what I like is for example on the one hand films by Stanley Kubrik or Fassbinder and on the other Krzystof Kieslowski, Almodovar or Michel Gondry. (I'm not sure if I should dare to mention all of them in one sentence but I do.)
Talking about work it’s more experimental (short)films or theatres or even opera I see my work involved with.
I could also imagine making a video clip with someone like Chris Cunningham.
And there’s for example Philip Stölzl who directed an opera in a very innovative way, he dared to completely break the rules of tradition what provoked a lot of discussion and discussion is good.
I’m also inspired by work from Oscar Schlemmer from the Bauhaus, his ‘triadic ballet’ was a new way to use the dancers’ body combined with the music, the costumes and stage at the same time. It is so minimal but so rich.
I guess a film by Matthew Barney would be one of the greatest projects I would love my work to be involved with.
For me films or theatre pieces or performances should take you on a journey somewhere. It is about creating a microcosm but then with more layers added than you can show with a collection itself.
Q.- Is there a moment in Art or Fashion that you relate to?For sure I feel a kind of related to the 80’s because of the huge hairstyles and shoulders.
I like that time because it is the first time that there are several styles to choose from in fashion.
My number one in contemporary fashion definitely is Hussein Chalayan.
I love his work and his presentations but also his whole attitude.
The earlier work of Vivienne Westwood I find very inspiring. I’ve been to a retrospective of her work and was so fascinated by her passion for fabrics and their behaviour and the combination of these.
Others in fashion who are important for me are for example comme des garcons, Maison Martin Margiela, Yohji Yamamoto and, sure, Balenciaga.
Whose work I really admire is the work of BLESS and Shoplifter.
It is so fresh, you cannot specifically categorize it. What they do is so unpredictable and authentic.
Q.- What are your reading right now? What is the book about?To be honest I‘m always reading several books at the same time, lot of them I never finish. One of the books I’m reading at the moment is ‘Spheres’ by Peter Sloterdijk. It’s a theory about people and there surroundings, about that everyone builds up his own microcosm which forms a sphere, a lot of spheres build up foam, a society in which one microcosm keeps alive the other. It’s really interesting so I hope I’m able to finish it.
BUDICCA
BOUDICCA [brian & zowei] by Olimpia Dior
BOUDICCA.- Preliminary Studies
This interview was made for the autumn issue of milkshake CHOCOLATE; publication date September 22st. Unfortunately some technical problems kept us from publishing on time, and for this reason some of the information in these pages might be dated, like the fact that noovo festival has already taken place (November 1-4) or the fact that their collection SS:08 Preliminary Studies has been released and it's not "news" as it was intended when we did this questionaire.In any case I couldn't leave this interview out because A: it's an honour to have them in this magazine and B: because Boudicca belongs to the group of designers that are helping the fashion world to push forward, and it's mandatory to fend for ideas like theirs.
Interview by Patricia YagüePictures © Boudicca
1.- Hello Zowie and Brian. What are you working on right now? We are somewhere in the middle of many things. We have come from a Preliminary Study for Spring Summer 2008 and face the finality of that collection. We are also in discussion for Couture 02. We are now an invited member to Couture, which began last year and so our thoughts are always pushing towards the art of dress and how that can manifest itself in either a presentation or a collection.
2.- The Victoria & Albert, one of the most important Museums in terms of fashion support, featured your work in the event Fashion in Motion in November 2003, the same year that American Express offered to sponsor your collections. What did it mean to you when all of a sudden big institutions started to pay attention to your work?Susanne Lussier was at the V & A at the time and it felt more supportive and encouraging of creativity. Also Katherine Whitton was at American Express at the time and she too felt like a great person who was looking for ways to make creative relationships between commercial and independent companies; relationships that are essential for all history of ideas to survive, in fact.I think both relationships had their great times and led to new relationships and opened our eyes of how further relationships / collaborations can work. You learn much from these partnerships that are essential in moving forward both in business and in forming ideas.
The V & A have most recently asked us to be the designer who creates their Christmas tree for 2007.
3.- Back in 2001, the G8 at Genoa involved a big crowd of people fighting against the advance of corporate globalization. In an interview you did for Hint magazine I discovered you were in that crowd; do you think that things are really changing for good now that movies like China Blue or An Inconvenient True are being supportive in mass? Did you have any kind of personal issue when a big company as Amex got in contact with you to work with?Genoa is something we both feel deeply proud of. It was an exhilaration to understand the strength you have as individuals to fight for your beliefs. To fight for something that at the time most people had no understanding of. In fact it is great to see at last after many, many years that people are beginning to take on board some of the issues that were being raised. If you go back as far as 1995 to Virdana Shiva and Anthony Geddens , George Sorros, Polly Toynbee , George Monbiot to name a few, you will find they all wrote a series of essays that encompassed the issues that need to be raised as we moved forward into our global environment. These issues are mostly still around and if we all just learned to listen more to those around us who are wise... It is key if we are to benefit from the greatness of our world.
Anti globalization is not what we protested for though, it was anti banality. We need support as all art has over the ages, from those who can afford to. It is important to recognize that the wealth has the power to do everything, and so to develop relationships with these people is key. To possibly change the way they think even should not be forgotten moving forward.
4.- Your creative world is somewhat inspired by old things, starting with the origins of your own label's name. Fashion Prints; Boudicca Animate series, is a collection of etching prints in collaboration with artist Graham Dolphin. Etching is one of the most antiques techniques of printmaking, back to the Middle Ages, and you created with it a contemporary view on XIX century fashion plates; How did this project come to live? A guy called Shaun Castle who had originally come to talk to us about Wode, our soon to be released fragrance, represented Graham at the time. And with most intriguing people, he wandered in his conversation and thoughts and finally asked if Graham could base a project on one of our collections, one of our designs. He showed us Grahams’ work and we loved it; the obsession, and the palimpsest quality in ways that had been words and processes that run across and through our work often.And so to work. We met with Graham a few times and he studied our workings and created a small collection of ideas. These were then shown at David Risely’s gallery in Vyner Street. And crossed various national exhibitions.
5.- Being film buffs as you are, is there any movie you wished you'd done the costumes for? is there any costume designer that needs to be mentioned?Moidele Bickel is the costume designer for La Reine Margot which has to be an impressive credit to your CV. La Reine Margot has a sense of the complete when you watch it that not only allows an emotional response to the story but there is no sense of even watching a film, there is no dysfunction or edges that remind you where you are. For a moment you are submerged into time.
The colour and the sense of texture and powder, the dry of the stone, the cold of the leather, they all intertwine. This is an impressive language of costume that inspires us to want to create our own film.
6.- The sets in your shows are as important as the clothing you feature. The one for your SS:00 collection, Plans for A Woman, really disturbed me, in a good sense. Could you tell me something about it? The story behind the sets and the inspirations?The obsession of someone building a woman, someone they adore passionately and yet that sense of inspection as we design every season, can have a horrific feel. In fact the industry of fashion has that constantly if you want to feel or see that. On the other hand in a more storyteller romance of a novel we have discovered a story about a man obsessed with a woman that he wanted to have built for him. {We believe he was the artist Oscar Kokoshka in fact) He would send all the measurements he could gather; how many eyelashes, how many freckles on her back etc etc and then these would be sent off to the puppeteer maker in Czechoslovakia perhaps. . The finality. Well she was distorted. Unbeautiful. A set of conditions that gave birth to something lacking beauty. It is the uncertain, the unknown, the fragile soul, that holds a beauty together in fact. Instructions and detail alone did not work.
Philip Pullman wrote a great book story that has a similar feel “Clockwork” and there is a wonderful scene in Fellini’s Casanova where Donald Sutherland lays his love to sleep – she is an automata doll and the woman he wants to love the most.
7.- An Artificial Paradise is a very special site where you can enjoy not only your SS:07 collection but also a series of photographs divided in three "books", Elegance, Science, and Violence!, and accompanied by music. What's behind each of these books? What each of these books represent?Elegance – is a silhouette, a moment of linear understanding that if you take that time to flick through you will be fed by what covers our wall for inspiration of silhouette and design.It is important to understand that a word is created from all influences and that these come in many different forms and guise and that the books give a small feeling of division and focus.
So then we have Science – which shows the world of pattern for the future, the skins that you can buy online and the world of a new obsession, a new elsewhere you can become another, on another, live a second life. This has not really fully defined itself on line as yet and there is already drop out from the world Second Life BUT timing is for genius and this is just bad timing. Wait and see these three dimensional worlds will return and they will become our future.There was a time when we saw that Internet shopping was not to survive and yet now .. Well we all experience the modernity of it and so … this will be our new world and we would love to make a Boudicca world, worlds for you to step into, a virtual experience, a dream, a new place….. that is another interview to explain fully some time…..
Finally Violence – a word that belongs within our vocabulary but this talks of the notion of violence in a more poetic way / need, looking at Jean Genet ‘s obsession with violence and how his words gave a beauty. In the same way we can see the beauty in darkness through a lot of our work. The fragility of violence and how that can shape us daily in a poetic way rather than a dark tilted way. AND that is ok.
8.- In 2004 you showed your FW:05 collection in NY after years showing in London. NYFW is not known for being very supportive to off-the-box and independent talents for some reason, or at least that's the impression I get. How has it been all these years showing in NYFW? Have you found support among the press? Among the public? Why did you decide to take this step in your careers? We showed for three seasons in NY: AW:05, SS:06, AW:06. We found great support in New York, starting with family, Sarah Broach is key and then onwards to Patti Wilson, who is a deep inspiration, Yana, Tommy Saleh, Michael Gordon and Kim Smith of Bumble and Bumble all played a huge part in our story, our scene of New York. Dr. Valerie Steele and her team, Kim Hastreiter, Sally Singer, Julie Gilhart of Barney’s the list tumbles forth.And then the history of creatives in New York deeply inspired us – Marcel Duchamp, Warhol, Joseph Cornell, Rauschenburg although he is not really seen as a NewYorker I do not feel. But anyways there is so much great art and writing, people who wander those street, Alfred Stieglitz recorded them for us all to still see and so on.
We seem to sit on the edge of the industry and try not to feel the negatives of the fashion system. It happens in London too but it is not about the cities themselves, but about money and order. And so I guess if you can remain swimming and stubbornly travel further towards your ideals then you learn to ignore the unsupportive and draw towards you those that find your design and ideas important to them. There is always support for ideas in the end. Ideas are what people feed upon!
9.- This year Boudicca was invited to attend the 1st Festival International of Fashion and Photography noovo in Santiago de Compostela, Spain. How was the experience? Any anecdote to tell?We have not been there yet so we may come back to you on that one! Diane Pernet though is the lady who invited us and Diane ...Well, Diane is just a stella lady. She is opinionated and strong and needs to just be worshipped in many ways. You should connect to her sites and type pads and all that she talks online.
http://www.ashadedviewonfashion.com/http://iqons.com/diane+pernet
10.- What are you reading these days? The Meaning of the 21st Century by James MartinBlack Swan by Nassim Nicholas TalebA Hero of our Time by Mikhail Lermontov
Sunday, September 13, 2009
Subscribe to:
Posts (Atom)