INSPIRATION OF THE DAY: MIU MIU DREAM SHOES!

Plataforms aside I've a crush about these Miu Miu... Ok, ok they are not for dairy basis use and all that considerations about absurd price and this and that but they are my dream shoes which I only can dream about. So, please let me dream!!!

Plataformas à parte, tenho uma paixão assolapada por estes Miu Miu... ok, ok, não são para usar todos os dias (nem na calçada portuguesa é claro!!!) e nem me falem de coisas absurdas como a imoralidade do preço e isto e aquilo... estes são os meus sapatos de sonho e se os tivesse dormiria com eles a fazerem de candeeiro e jamais os calçaria nas ruas empedradas... Por isso deixem-me sonhar por favor!

Source: The Coveteur

JIL SANDER FALL 2011

Photos by Francesco Brigida via Another

IT'S ALLL ABOUT SHOES!

Spring is coming and wedges are the new spring statement since it-bags were replaced by simple bags. I pic those platforms to inspire you...

A Primavera está aí e as plataformas são o novo statement desde que as it-bags foram substiuidas por malas simples.. Escolhi estas para te inspirares...



Photo: The Coveteur



Color blocked are so into spring that you can´t ignore it. This red-and-pink wedges are from Lanvin and they are fabulous! A comfortable way to add a few more inches.

As cores em bloco estão tão dentro da Primavera que é impossivel ignora-las. Este par de sandálias Lanvin em vermelho e rosa são fabulosas. Uma forma comfortável de adicionar uns centimetros à tua altura.



Photo: Alexander Wang website



These Alexander Wang croc wedges are a good example of classic gets new and fashionable! They will work with everything!

Estas sandálias em croc de Alexander Wang são um bom exemplo de como um velho clássico se renova e se actualiza. Estas funcionarão com tudo!

These pics above were from Net-a-Porter and they are all gorgeous!

My advice: If we only can buy one pair you should buy a neutral ones to match with everything from shorts to dresses!

Estas imagens são da loja virtual net-a-porte e são todas magnificas!

O meu conselho: Se só puderes comprar um par de sandálias na próxima estação opta por cores neutras que ficarão bem com calções, vestidos...

Source: Inspired by  http://www.harperandharley.com/

FIVE MINUTES FICTION: TO BE OR NOT TO BE!

A probably talk beetween two fashionists:
Uma conversa provável entre duas fashionistas:

-Is the Chic factor a state of mind or a French thing with no connection with the the real woman?
- O factor chic é um estado de espirito ou uma coisa francesa, sem conexão com a mulher real?
- There are chic real woman, I think...but I can't remember any who aren't an actress, model or a princess!
- Na verdade acho que há mulheres reais e chiques... mas, não me lembro de nenhuma que não seja ou actriz, ou modelo ou princesa de qualquer coisa!

- ... But if French do it, why can we do? What about Italian?
- ... Mas, se as francesas conseguem porque é que nós não? E sobre as italianas? 
- Italian are hot not chic!
- As italianas são sexy e não chiques!

- The chic thing is like the cool think: We can't named it but when you saw it you know!
- O chique é como o cool: Não conseguimos nomea-lo mas quando o vimos sabemos que é!
- yeah! I think you are right.
- Yeah! Penso que tens razão.

- After all it's all about style!
- Afinal, tudo circula à volta do estilo! 
- To get our own style is important but I don't care about style. I love fashion, and fashion has nothing to do with style.
- termos o nosso próprio estilo é importante mas de facto eu não me interessa o estilo para nada. Eu adoro a moda, e a moda não tem nada a ver com estilo.

- You can have style and be fashionable at the same time!
- Podes ter estilo e estar na moda!
- No, no, no. That's impossible. Style is wearing always the same things in different colors. Fashion is fast, like the (fast) food! You wear it, and in the next day it's trash! And our wardrobe gets fat ehehehe!
- Não, não, penos que isso não seja possível. O estilo é usarmos sempre as mesmas coisas em cores diferentes. A moda é algo como a comida rápida que consumimos e no outro dia já é lixo. E engorda muito... mas é o nosso roupeiro eheheeh!

- So it's impossible to be fashionable always if you haven't much money to spend in all that staff. So you start to buy fast fashion and you only get cheap things with bad cuts and bad fabrics. So you got to the conclusion that less is more and you must find your own style and buy less trash and more quality design. You get stylish!
- It's not so easy. Because there are lot of people with money and they have not any sense of style.
- Good taste is very subjective.
- But style and chic isn't.
- No it isn't. I think there are two kind of people: These who are a natural born stylish and the others that must to be educated in what style is concern.
- I think there are a third kind - The natural born style killers!
- Ok, ok... do you see these shoes? Are they stylish or chic?
- I don't know I think they are fashionable, may be in twenty years we will know that!
- Come on, let's buy them. I love them to die for.
- Ok, in the end of the day only your passion counts. It's all about what you love or not.

xxx

- Então é impossivel estarmos na moda se não temos muito dinheiro. É por isso que começas a comprar más cópias de peças demasiado caras para a tua carteira. então, contentas-te com maus tecidos e peças mal feitas mas que são muito baratas. Entramos no dominio da moda rápida até que chegamos á conclusão que mais é menos e decidimos que temos de comprar menos lixo e investir em poucas peças mas que valham a pena. Muitos sapatos Zara (que não são assim tão baratos) significam um par de sapatos Prada de dois em dois anos... e tornas-te muito mais elegante!

- Não é assim tão fácil porque não podes usar o mesmo par de sapatos durante dois anos! E para além do mais há muita gente com dinheiro que não tem absolutamente estilo nenhum.

- O bom gosto é absolutamente subjectivo!

- Mas o estilo chique não é?

- Não, não é. Penso que existem dois tipo de pessoas elegantes: as que já nasceram naturalmente assim e as que têm que educar o gosto e obter ajuda.

- Oh! Eu penso que há um terceiro caso: as pessoas que nasceram naturalmente assassinas de estilo!

. Ok, ok! Vês estes sapatos? Será que são estilosos e chiques?

- Não sei, Vamos ter que esperar uns vinte anos para o saber com certeza!

- Bora lá, vou compra-los. São lindos de morrer!

- Ok, afinal o que importa mesmo é a nossa paixão pelas coisas e isso não se explica nem se aprende. No fim é tudo sobre o que amamos ou não.

Jane Russell

The Actress Heated Up the Silver Screen

Jane Russell started her career in movies as star of "The Outlaw," a film so sultry that it sat unreleased for 5 years while its producer, Howard Hughes, negotiated with the censors over shots of her cleavage.

Ms. Russell, who died Monday at age 89, was a star long before most of the public ever saw one of her movies—as a popular, World War II pinup.

But so over-the-top was her appearance that she had more success in comedies, including "The Paleface" (1948) with Bob Hope.

Mr. Hope liked to introduce her on his radio show as "the 2 and only Jane Russell."

Perhaps the highlight of Ms. Russell's career was co-starring with another bombshell, Marilyn Monroe, in "Gentlemen Prefer Blondes," Anita Loos's sly 1953 hit musical about a pair of showgirls on the prowl.

She was a native of Bemidji, Minn., and everything about her was real, including her name, Ernestine Jane Geraldine Russell.

Her family moved to the Los Angeles area in the 1930s. Her father worked as an office manager and her mother was a lay preacher. Ms. Russell took piano and acting lessons.

It was while she was working as a receptionist that she was discovered and signed immediately by Mr. Hughes to a film contract.

She made a string of movies including a pair of films noirs co-starring Robert Mitchum, one of the few leads who seemed to thrive on screen with her, "His Kind of Woman" (1951) and "Macao" (1952).

In the late 1940s, Ms. Russell launched a musical career as a nightclub singer.

She also recorded gospel music and headed a Hollywood Bible study group. In 1971, she did a turn on Broadway in Stephen Sondheim's "Company."

She also became the Tv spokesman for Playtex, and the ubiquitous Cross Your Heart Bras — "for us full-figured gals"— reintroduced her to generations unaware of what the original fuss had been about.

Unable to have children herself, Ms. Russell adopted 3 children and founded World Adoption International Agency, which helped arrange the adoptions of over 40,000 overseas children.

Jane Russell

The Actress Heated Up the Silver Screen

Jane Russell started her career in movies as star of "The Outlaw," a film so sultry that it sat unreleased for 5 years while its producer, Howard Hughes, negotiated with the censors over shots of her cleavage.

Ms. Russell, who died Monday at age 89, was a star long before most of the public ever saw one of her movies—as a popular, World War II pinup.

But so over-the-top was her appearance that she had more success in comedies, including "The Paleface" (1948) with Bob Hope.

Mr. Hope liked to introduce her on his radio show as "the 2 and only Jane Russell."

Perhaps the highlight of Ms. Russell's career was co-starring with another bombshell, Marilyn Monroe, in "Gentlemen Prefer Blondes," Anita Loos's sly 1953 hit musical about a pair of showgirls on the prowl.

She was a native of Bemidji, Minn., and everything about her was real, including her name, Ernestine Jane Geraldine Russell.

Her family moved to the Los Angeles area in the 1930s. Her father worked as an office manager and her mother was a lay preacher. Ms. Russell took piano and acting lessons.

It was while she was working as a receptionist that she was discovered and signed immediately by Mr. Hughes to a film contract.

She made a string of movies including a pair of films noirs co-starring Robert Mitchum, one of the few leads who seemed to thrive on screen with her, "His Kind of Woman" (1951) and "Macao" (1952).

In the late 1940s, Ms. Russell launched a musical career as a nightclub singer.

She also recorded gospel music and headed a Hollywood Bible study group. In 1971, she did a turn on Broadway in Stephen Sondheim's "Company."

She also became the Tv spokesman for Playtex, and the ubiquitous Cross Your Heart Bras — "for us full-figured gals"— reintroduced her to generations unaware of what the original fuss had been about.

Unable to have children herself, Ms. Russell adopted 3 children and founded World Adoption International Agency, which helped arrange the adoptions of over 40,000 overseas children.

Jane Russell

The Actress Heated Up the Silver Screen

Jane Russell started her career in movies as star of "The Outlaw," a film so sultry that it sat unreleased for 5 years while its producer, Howard Hughes, negotiated with the censors over shots of her cleavage.

Ms. Russell, who died Monday at age 89, was a star long before most of the public ever saw one of her movies—as a popular, World War II pinup.

But so over-the-top was her appearance that she had more success in comedies, including "The Paleface" (1948) with Bob Hope.

Mr. Hope liked to introduce her on his radio show as "the 2 and only Jane Russell."

Perhaps the highlight of Ms. Russell's career was co-starring with another bombshell, Marilyn Monroe, in "Gentlemen Prefer Blondes," Anita Loos's sly 1953 hit musical about a pair of showgirls on the prowl.

She was a native of Bemidji, Minn., and everything about her was real, including her name, Ernestine Jane Geraldine Russell.

Her family moved to the Los Angeles area in the 1930s. Her father worked as an office manager and her mother was a lay preacher. Ms. Russell took piano and acting lessons.

It was while she was working as a receptionist that she was discovered and signed immediately by Mr. Hughes to a film contract.

She made a string of movies including a pair of films noirs co-starring Robert Mitchum, one of the few leads who seemed to thrive on screen with her, "His Kind of Woman" (1951) and "Macao" (1952).

In the late 1940s, Ms. Russell launched a musical career as a nightclub singer.

She also recorded gospel music and headed a Hollywood Bible study group. In 1971, she did a turn on Broadway in Stephen Sondheim's "Company."

She also became the Tv spokesman for Playtex, and the ubiquitous Cross Your Heart Bras — "for us full-figured gals"— reintroduced her to generations unaware of what the original fuss had been about.

Unable to have children herself, Ms. Russell adopted 3 children and founded World Adoption International Agency, which helped arrange the adoptions of over 40,000 overseas children.